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其它協會新聞稿 SPCA Press Releases
Respect for Animals Becomes Important Lesson in Classrooms
Taipei ---Math and Geography are not the only subjects children are learning in school these days. Respect for life and protection of animals are now becoming important topics in Taiwan’s public and private schools. The Taiwan SPCA (Society for the Prevention of Cruelty to Animals) has recently published an “Animal Welfare Curriculum” consisting of 280+ pages of lesson plans, worksheets and interactive power-point presentations for both the Primary and Secondary levels. Taiwan SPCA’s Chairwoman Annie Chiang says, “Unlike in many Western countries, animal welfare is still a new subject for teachers and students here in Taiwan. This curriculum is really a stepping-stone for us as we truly feel that education is the key to change. With the right morals and values instilled in children at a young age, they are more likely to grow into responsible adults that treat animals with love and respect”.
Taiwan SPCA’s annual ambassador Aya Liu (阿雅) has recently spoken up against the cruelties of animal abuse and has written a recommendation for the curriculum . At a recent photo-shoot, Aya urged the public to treat animals like part of the family and to care for dogs properly by giving them ample exercise and not tying them up.
Taiwan SPCA’s Animal Welfare Curriculum was adapted from Hong Kong SPCA’s Humane Education Package and has now been adopted by Giraffe English (長頸鹿美語) and Kang Hsuan Educational Publishing Group (康軒). Beki Hunt, Deputy Director of Taiwan SPCA says“we welcome any schools and institutions to contact us regarding this curriculum. We hope that more and more teachers and students will use this curriculum and that is what will really make a positive impact on the way people see and treat animals in Taiwan”.
For more information please contact the Taiwan SPCA community@spca.org.tw 02-2921-7530.
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Gophers 508142932
Coach Tom Izzo wants to put Michigan State in rare company by winning a second NCAA title
Winning a second NCAA title with Michigan State is the coach's goal
By Joe Christensen Star Tribune
April 5, 2019 — 12:31am
A new century had just dawned, and Tom Izzo was a fresh-faced 45-year-old the last time Michigan State was celebrating an NCAA basketball title.
This is the seventh time since that 2000 championship run that Michigan State has reached the Final Four, giving Izzo, 64, a score to settle in Minneapolis.
He doesn’t want to be another one-and-done. He knows some critics believe he needs a second title to validate the rest of his accomplishments.
“I’d say they’re right because I need to validate it for me,” Izzo said. “I have my own goals. … And what I want to do is put Michigan State University in rare air.”
Of course, there is more to a coach’s legacy than championships.
Izzo took heat two weeks ago for an aggressive, on-court tirade at freshman Aaron Henry, but Michigan State’s players rushed to their coach’s defense. The rest of the NCAA tournament has been an extended lovefest for Izzo.
Consider these words from the coach of Michigan State’s opponent Saturday: “Coach Izzo is always one of my, you know, idols,” Texas Tech coach Chris Beard said. “In our program, we have terminology: ‘Michigan State toughness,’ ‘Tom Izzo rebounding.’ … It’s almost surreal that we’ll be having a chance to coach and play against him.”
Inside Michigan State’s locker room Friday, Henry was talking about all the things Izzo has taught him since he arrived on campus last summer.
Two games after Izzo’s televised tongue-lashing, Henry scored a career-high 20 points with eight rebounds and six assists in the Spartans’ Sweet 16 win over LSU.
“You’d be wrong to judge [Izzo] in that clip that you saw in the Bradley game,” Henry said. “The relationship is much more than him yelling at me or him getting on me. He sits down and talks to me as well and tries to help me the best way he can.”
Anybody who watched Michigan State’s upset of Duke last Sunday knows Izzo hasn’t softened. Xavier Tillman made a basket, starting the Spartans’ late comeback. After Duke’s next possession, Izzo called timeout and started laying into Tillman before captain Cassius Winston grabbed the coach by both shoulders to calm him down.
Izzo gathered himself and drew up the inside-out play that set up Kenny Goins’ game-winning three-pointer.
“That’s what we do,” Izzo said. “They say we’re a family. You’ve got to push people, and you’ve got to compliment people. It’s kind of sad that certain things happen and nobody sees 95 percent of what goes on. And in that 95 percent of what goes on, there’s a lot more pulling and hugging than pushing.”
Izzo loves the way this team has responded. He compared it to his first Final Four squad — the 1998-99 team of Mateen Cleaves, Morris Peterson, etc., the season before they won the NCAA title.
“This team isn’t as physically tough as that one,” Izzo said. “But they might be as mentally tough as any team I’ve ever had.”
The only coaches with more Final Four appearances than Izzo’s eight are Mike Krzyzewski (12), John Wooden (12), Dean Smith (11) and Roy Williams (nine).
But when it comes to NCAA titles, Izzo isn’t in such select company. Many coaches have won one national title. The group that has won two or more has just 15 members.
For those who say Izzo needs a second title, he said: “Five years ago, fire and brimstone in me would have wanted to fight that person. Now I want to say, ‘You’re right.’ ”
Izzo is relishing the chance to do it in Minnesota, where his late friend Flip Sanders carved his basketball legacy before dying of Hodgkin’s lymphoma in 2015. Izzo and Saunders often called each other late into the night, just to talk.
These days, there’s often another Saunders on the phone for Izzo at 1 a.m. It’s Flip’s son, Ryan Saunders, the Timberwolves interim coach.
“He actually told me the first time I called him in the middle of the night he got a little choked up because he saw ‘Saunders’ and he had missed that over the last couple of years,” Ryan Saunders said.
Izzo said he hopes to see Ryan and his mother, Debbie Saunders, while he’s in town.
As for Flip, Izzo said he hopes he’s “enjoying a beer up there with Jud [Heathcote, his predecessor at Michigan State], and my father, and Gus [Ganakas, Heathcote’s predecessor] and all the other guys who are looking down upon us.”
Staff writer Chris Hine contributed to this report.
Joe Christensen, the Star Tribune’s sports enterprise reporter, graduated from the University of Minnesota and spent 15 years covering Major League Baseball, including stops at the Riverside Press-Enterprise and Baltimore Sun. He joined the Star Tribune in 2005 and spent four years covering Gophers football.
Joe.Christensen@StarTribune.com 612-673-7844 JoeCStrib
Cruz: I'll learn from ninth-inning popup
Twins designated hitter Nelson Cruz says he's disappointed he didn't come through with game-winning hit in ninth inning Tuesday, but he'll learn from it.
Kyle Schwarber wasn't thinking home run when he stepped to the plate in the bottom of the 10th inning Tuesday night.
Bryce Harper hit a two-run double off Dodgers closer Kenley Jansen with one out in the bottom of the ninth after pinch-hitter Matt Beaty hit a three-run homer off Philadelphia closer Hector Neris in the top half, rallying the Phillies to a 9-8 win over Los Angeles on Tuesday night.
The bases were loaded in the ninth inning against sputtering New York Mets closer Edwin Díaz, and the Minnesota Twins had their most experienced hitter at the plate in Nelson Cruz for a classic power-versus-power matchup.
A single by Nicholas Castellanos in the fifth inning prevented Zach Plesac and three Cleveland Indians relievers from making history.
THE FINAL FOUR: Road to Minneapolis
Izzo's toughness puts the Sparty in Spartans
Apr. 5
Michigan State: Who to watch
Michigan State: 'Go White!' ... 'Go Green!'
East Ridge basketball star Brown leaving for Kansas prep school • Gophers
Recruiting picks up for Rochester's Gabe Madsen, but what about his twin? • Gophers
Redshirt freshman running back Edmonds medically retires from Gophers • Gophers
Hopkins guard Kerwin Walton sees interest soar after big AAU weekend • Gophers
Reusse: Legendary St. Olaf swim coach 'Haucker' dies at 87 • Gophers
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Love and Hanami in Early Ukiyo-e | TABlog | Tokyo Art Beat
Love and Hanami in Early Ukiyo-e
“An Exhibition of Early Ukiyo-e” Reflects a Time of Peace and Pleasure.
An Exhibition of Early Ukiyo-e
at Chiba City Museum of Art
in the Kanto: others area
In Reviews by Victoria Vlisides 2016-02-20
Ever wonder what it would be like attend a cherry blossom party in the Edo period? The Chiba City Museum of Art is showing Ukiyo-e featuring scenes of love, hanami (flowering viewing), and more through February 28th.
“Early Ukiyo-e: Power of the Woodblock, Power of the Brush” presents 17th-century Japanese artwork in celebration of the museum’s 20th anniversary. Numbering almost 200, these brush paintings and prints incorporate familiar aspects of Japanese culture such as cherry blossoms, taiko drums, lanterns, masks, cranes, dragons, kimonos, and Kabuki theater.
This is an exhibition Ukiyo-e aficionados and newbies alike can enjoy. There are English titles for the works at the front desk, and English information is listed with each piece. At its most basic level, the show offers a creative view into life during the Edo period (1603–1867), said to be an age of political stability, peace, and economic growth. The works here reflect the spirit of these times, and contain hundreds of scenes ranging from the playful to the serene, sexual, and somber. Above all, their tableaus embody the era’s sense of peace and enjoyment.
The sheer size of the gold-accented, six-panel Scenes of Pleasure Quarters in Edo from the Hosomi Museum leaves eyes lingering. While this is a larger piece, the displays vary from small books to wall hangings. Some are painted or printed onto panels or scrolls, with massively detailed depictions containing upwards of ten different mini-scenes of 20-40 people.
Then there are Ukiyo-e offering a less cluttered feel, such as the Bijinga paintings of beautiful women. These works perhaps reflect the importance of subtleness in beauty, yet no matter how uncomplicated their compositions, their detailed facial expressions and wardrobes, warm colors, and uses of gold lend them a veneer of ornamentation.
Typically dressed in kimono with pinned-up hair, many of these Bijinga beauties are portrayed standing or sitting, while others ride cranes or walk a dog. Beauty Riding a Crane by the noted artist Choki Miyagawa illuminates the imagination with its charming portrayal of movement.
The most well-represented artists in the show (those with 10 pieces or more) include Moronobu Hishikawa, Kiyonobu Torii, Kiyomasu Torii I, and Masanobu Okumura. The Chiba-born Moronobu Hishikawa produced the first sumizuri-e, the black and white India ink prints that were one of Ukiyo-e’s earliest forms. Hishikawa established himself as a highly popular printmaker in Edo, illustrating more than 150 novels and taking on disciples including Kiyonobu Torii and Masanobu Okumura.
Kiyomasu Torii I, who may or may not have been the same artist as Torii Kiyomasu II, created actor portraits including The Actors Ichikawa Danzo I and Otani Hiroji I in the Scene “Kusazuribiki” (Armor-pulling). This work, one of the highlights of the show, is reunited with its woodblock in an exceptionally rare pairing of an Ukiyo-e and the carving with which it was printed. These two pieces have not been displayed together since an exhibition for the 1964 Tokyo Olympics.
Details on more standout “Early Ukiyo-e” works:
· Scenes of the Pleasure Quarters in Edo (circa 1630-1631) by anonymous is a six-panel folding screen of ink and color on paper from the Hosomi Museum.
· The Insistent Lover (1681-1688) by Jihei Sugimura is a hand-colored woodblock print from the Art Institute of Chicago.
· Beauty Riding a Crane (Parody of Fei Zhangfang, Chinese Tang-Period Taoist Immortal) (1716-1736) by Choki Miyagawa is a hanging scroll of ink and color on paper from the Tekisuiken Memorial Foundation.
· Scenes from Asakusa (1704-1716) by anonymous is a hand scroll of ink and color on paper from the National Museum of Japanese History.
· Whispers of Love, Forty-Eight Situations (1679) by Moronobu Hishikawa is a woodblock-printed illustrated book (volume 1) from the Chiba City Museum of Art, Ravicz Collection.
· Kintaro and a Bear (1711-1716) by Torii Kiyomasu I is a hand-colored woodblock print from the Honolulu Museum of Art in Hawaii.
While art from three or four centuries ago can be difficult to relate to for the modern person, the traditions seen in these early Ukiyo-e continue to resonate with Japanese society and culture today. This exhibition demonstrates Ukiyo-e’s role as a window onto a still-present and palpable past.
Victoria Vlisides. Victoria Vlisides arrived in Japan in 2014. Since then, she found out natto really isn't that bad, that she will likely always nervous about missing a train, and that o-nigiri is one of the handiest and tastiest inventions ever. She's done reporting, editing and design work for publications in the USA since 2009, and now enjoys putting her creative side to good use while writing for Tokyo Art Beat and JapanTravel.com. See more on her website : (https://victoriavlisides.wordpress.com/articles/) » See other writings
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Peel Region Third DUI Offence
Defending Against a 3rd DUI Offence in Peel Region, Ontario
Due to the severe and harsh punishments handed out to Peel Region DUI offenders charged with impaired driving, it is always advisable to contact an experienced and reliable DUI Lawyer.
What To Do When Charged With a 3rd DUI Offence in Peel Region, ON
Driving under the influence offences are considered to be a serious crime as per the Criminal Code of Canada. A third DUI offence may include jail time as one of its consequences in addition to leaving you with a criminal record that may scar the rest of your life. The law imposes heavy penalties on any DUI offence in Peel Region and the penalties keep on increasing with every subsequent offence.
A third DUI offence in Peel Region, Ontario is likely to have severe repercussions and it can be an extremely difficult situation to get out of. In this case, the only reasonable decision is to hire an experienced DUI lawyer in order to be safeguarded against conviction. We employ the most renowned DUI defence lawyers in Peel Region, ON. We explore all possibilities when fighting for your protection against a DUI conviction and we strive to defend and fight your case in the best way possible.
The Consequences of a 3rd DUI Offence in Peel Region, ON
The consequences of a DUI charge conviction vary from case to case depending on the facts and the criminal background, if any, of the individual apart from other personal circumstances. A DUI offence attracts a lot of serious penalties and the consequences in the case of a conviction are life altering. Notably, with every subsequent DUI offence the penalties and consequences keep getting more intense. A 3rd DUI offence can have some severe legal implications which may be tough to defend and avoid.
Penalties for a 3rd DUI Offence in Peel Region, ON
The penalties of a DUI offence are very serious and they keep on increasing with every subsequent offence. A 3rd DUI offence attracts some really severe consequences which may be life altering. The penalties may include:
A 10 year to lifetime license suspension.
A fine which may be decided at the judge’s discretion.
Minimum one hundred and twenty days of jail time and it may go up as per the discretion of the judge.
A lifetime enrollment in the ignition interlock program if your license is ever restored.
If you are facing 3rd DUI offence charges, then it is going to be a tough fight for you. In this case you will have to defend yourself from the legal implications that may follow if convicted with a DUI offence for the 3rd time.
Do Not Hesitate To Contact Us If You Have Received A DUI Offence in Peel Region
Financial Consequences of a 3rd DUI Offence in Peel Region, Ontario
A DUI offence conviction may leave you in a very tight financial position, and if it’s your 3rd DUI offence then you may probably end up bankrupt. It is hard to estimate the exact amount of fine that a judge will impose in the case of a 3rd DUI offence but in most cases the fine ranges between $5,000 to $50,000 or more. With these charges, you may end up in a financial debt that may take you years to overcome.
In Peel Region, What Are My Options If Charged with a 3rd degree DUI?
In the case of a 3rd degree DUI, you only have two options which are pleading guilty and not guilty. In case of a 3rd degree DUI, pleading guilty will attract much harsher penalties but pleading not guilty may result in a lighter sentence. When there is a situation of 3 DUIs it is advisable to hire a good DUI lawyer in Peel Region, Ontario where such crimes are dealt with in the strictest manner. As an experienced Peel Region DUI lawyer we are your best option in such a case. We strive to protect you against all legal complication arising out of a DUI charge.
Hire An Experienced DUI Lawyer If Your Dealing With a 3rd Offence DUI in Peel Region
Peel Region DUI Services
Peel Region DUI Defence Attorney
Peel Region DUI Defence Attorney With Consistent Results
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Posts by: Kathryn Moore
FDOT hosting a Ciclovía Sunday, 12/14 on SW 8th St
By Kathryn Moore On October 13, 2014 · 1 Comment
[UPDATED]: The Florida Department of Transportation, under Secretary Ananth Prasad, is bringing ciclovía to Miami-Dade County. The plan is to “open the street” (in this case, SW 8th St from SW 22nd Ave to SW 9th Ct) to people on foot, on bike, on any form of non-motorized transportation, to experience historic Calle Ocho and provide FDOT with citizen input toward ongoing studies related to proposed improvements of this corridor.
Save the Date! Sunday, December 14, 2014, from 9am to 1pm.
Like Bike Miami Days, this ciclovía will be 100% free, family-friendly and locally based. There are no vendors - but there are lots of opportunities for local groups (Bicycle/Pedestrian/Health advocates, artists, community organizations) to participate by activating their own section of the 1.2 mile stretch.
If you’d like to participate, please contact Zak Lata, FDOT Bike/Ped Coordinator here.
If you’re interested in coordinating or leading a group ride (“bike bus”) to the event, please contact Sue Kawalerski from Bike305 here.
I’m personally helping to coordinate this new program and would love to hear from you in the comments and to see you on December 14th!
Watch a video about FDOT District 5’s ciclovía, held in September in Orlando here.
Note: This ciclovía is confirmed on Sunday, December 14th. A previous version of this post stated a since changed date.
City of Doral Investing in Illuminated Greenway
By Kathryn Moore On September 25, 2014 · 1 Comment
The City of Doral has released the following RFQ/Notice. We are eager to see this and more “Illuminated Bicycle and Pedestrian Trails” in Miami.
ITB 2014-33 Illuminated Bicycle and Pedestrian Trail
By way of this ITB, the City of Doral desires to retain the services of a qualified State of Florida licensed Contractor or a Miami-Dade County Certified Engineering Contractor to construct an illuminated bicycle and pedestrian trail (Greenway Trial) on NW 50th Street between NW 112th Avenue and NW 107th Avenue and other roadway improvements as shown on the plans. The project includes, without limitation, milling and resurfacing between NW 109th Avenue and NW 107th Avenue and, as an additive alternative, between NW 112th Avenue and NW 109th Avenue. Through the ITB process described herein, licensed and certified General Contractors interested in assisting the City with the provision of such services must prepare and submit a bid packet in accordance with the procedure and schedule of this ITB. The City will review submittals only from those contractors that submit an ITB packet which includes all the information required to be included as described herein.
The City intends to award a contract for the construction of the an illuminated bicycle and pedestrian trail (Greenway Trial) on NW 50th Street between NW 112th Avenue and NW 107th Avenue and other roadway improvements to the contractor that: possesses qualified man power, equipment, and administrative capabilities to provide the proposed services; possesses previous experience on this type of work; and provides the best offer and prices deemed to be in the greatest benefit to the City.
It is the intent of the City to award a contract for a period of one hundred and fifty (150) calendar days for substantial completion of project.
A copy of the complete ITB package may be obtained from the City of Doral website, www.cityofdoral.com, by clicking on the Procurement Division link under City Departments. Select the “RFP/Open Bids” link. It is important that you click on the “register and download” hyperlink to access the entire document. Please note that a brief registration process is required prior to download. Once registered you will receive an activation code that will grant you access to the documents.
All questions or comments should be directed to the following email: procurement@cityofdoral.com. Inquiries must reference “Illuminated Bicycle and Pedestrian Trail (Greenway Trial) on NW 50th Street Between NW 112th Avenue And NW 107th Avenue, ITB #2014-33” in the subject line. No phone calls will be accepted in reference to this ITB. Any communications regarding matters of clarification must be made in writing to the email address listed above. In the event that it become necessary to provide additional clarifying data or information that revises any part of this ITB, supplements or revisions will be made available via written addendum.
The City of Doral reserves the right to accept any bid deemed to be in the best interest of the City or to waive any informality in any bid. The City may reject any or all bids and re-advertise.
Mandatory Pre-bid Conference:
11:00 am, October 3, 2014
City of Doral, Government Center 8401 NW 53 Terrace,Third Floor Training Room Doral, FL 33166
For directions, please call 305-593-6725
Deadline for Written Questions:
12:00 pm (Noon), October 10, 2014
Deadline for Submittal & Proposal Opening:
Visit City of Doral Website to Download Full Package
Download Notice of RFQ
Copyright © 2013 City of Doral, Florida, All rights reserved.
Bicycle Film Festival Tonight Only
By Kathryn Moore On March 20, 2014 · Leave a Comment
Get your tickets here and at bicyclefilmfestival.com
FDOT District 6 Seeks New PR Specialist
Applications due in by March 26.
“The Department is looking for a highly motivated employee to assist in the many outreach efforts in the Miami area. The FDOT is involved in some of the most interesting and challenging projects in Southeast Florida, and our Public Information Office plays a critical role in the success of those projects by getting the word out, helping technical experts better understand and respond to community needs, responding to elected official and public inquiries and clarifying information, coordinating and communicating with the media on stories about the FDOT and its projects, celebrating the success of the projects by coordinating events such as ribbon cuttings, press events, etc. The PIO office also assists the leadership of the District in communicating with employees and industry by producing newsletters, collateral material, media packets and coordinating events.
Debora M. Rivera, P.E., Director of Transportation Operations
Florida Department of Transportation, District Six
1000 NW 111 Avenue, Room 6236
Telephone (305)470-5449
Email: debora.rivera@dot.state.fl.us -
Apply on-line via People First. Paper applications will not be accepted. https://peoplefirst.myflorida.com/logon.htm
Start Your Application at: http://jobs.myflorida.com/startsubmission.html?erjob=692141
ACTIVATION DATE: 03- 18-2014 CLOSING DATE: 03-26-2014
PUBLIC RELATIONS SPECIALISTS Req No: 55007113-51145322-20140317160001
Working Title: PUBLIC INFORMATION ASSISTANT/SPECIALIST
Broadband/Class Code: 27-3031-01
Position Number: 55007113-51145322
Annual Salary Range: $36,400.00 - $43,888.00
Announcement Type: Open Competitive
Facility: DISTRICT 6 COMPLEX
Pay Grade/ Pay Band: BB003
Closing Date: 3/26/2014
The State Personnel System is an E-Verify employer. For more information click on our E-Verify website.
STATE OF FLORIDA DEPARTMENT OF TRANSPORTATION
POSITION NUMBER: 55007113
BROADBAND OCCUPATION: PUBLIC RELATIONS SPECIALISTS
Completed State of Florida applications are required and should be submitted on-line through this website. If you need assistance, call 1-877-562-7287 (TTY applicants call 1-866-221-0268), and a People First customer service specialist will assist you. Current State of Florida Applications may be faxed to People First @1-888-403-2110. All applications must be submitted by 11:59 P.M. Eastern Time on the closing date, or unless otherwise specified in the advertisement.
POSITION LOCATED IN: MIAMI-DADE
CONTACT PERSON: Maribel Lena
CONTACT PHONE NUMBER: 305-470-5277
SPECIAL REQUIREMENTS: You may be required to provide your Social Security Number to conduct required verifications. During a declared emergency event, the incumbent will be required to assist the District as needed. Responsible for adhering to the provisions and requirements of Section 215.422, Florida Statute (FS) related State Comptroller’s Rules and Department of Transportation’s invoice processing and warrant distribution procedures.
POSITION DESCRIPTION: Provides office management, organization and support for the Public Information Office (PIO). Maintains office file and records. Responds to inquiries – phone, written and walk-in from various internal and external customers.
Assists the District Public Information Officer in preparation of materials and information for dissemination to the public. Reviews, edits and approves consultant news releases, brochures, fact sheets, media alerts, and lane closure information for the public and media.
Assists in the coordination and implementation of any special event involving the Department which includes tours, visitors and press conferences. Assist with the coordination of materials (exhibits, printed materials, name tags and comment cards for public hearings, meetings and other events. Coordinate and oversee activities geared to provide recognition and observance to ethnic calendar events for customers and internal partners.
Assists Florida Department of Transportation personnel and consultants with community awareness meetings. Attends and promotes public meetings/hearings, public information and construction workshops.
Assists in the coordination and implementation of special events involving the department such as ribbon cuttings, groundbreakings and special announcements.
Assists in writing and disseminating information for local and statewide education/safety programs and other transportation information, utilizing social media.
Receives and review all contract invoices for accuracy; accepts or rejects invoices based on procedures. Creates Consultant Invoice Transmittals for all invoices, maintains independent budget files for internal auditing purposes. Ensures all invoices have been paid, by verifying payment through the Florida Accounting Information Resource system (FLAIR), prior to filing.
KNOWLEDGE, SKILLS AND ABILITIES: KNOWLEDGEABLE OF JOURNALISTIC WRITING STYLE AND THE CONCEPTS OF GRAMMAR, PUNCTUATION AND ASSOCIATED PRESS STYLE. KNOWLEDGEABLE AND SKILLED IN MICROSOFT WORD, EXCEL, POWERPOINT, PUBLISHER, OUTLOOK AT AN INTERMEDIATE LEVEL. SKILLED IN TAKING TECHNICAL INFORMATION AND TRANSLATING INTO PLAIN LANGUAGE THAT THE PUBLIC CAN UNDERSTAND. ABILITY TO RESEARCH AND WRITE NEWS RELEASES AND REPORTS AND NEWSLETTERS FOR THE GENERAL PUBLIC’S UNDERSTANDING. SKILLED IN STRONG WRITTEN AND VERBAL COMMUNICATION. KNOWLEDGEABLE AT PERFORMING BASIC MATHEMATICAL CALCULATIONS. ABILITY TO ESTABLISH AND MAINTAIN EFFECTIVE WORKING RELATIONSHIPS WITH OTHERS. KNOWLEDGE OF SOCIAL MEDIA. SKILLED IN DEALING WITH THE PUBLIC IN A PROMPT AND COURTEOUS MANNER. ABILITY TO ORGANIZE AND MANAGE MEETINGS AND SPECIAL EVENTS. ABILITY TO SET AND MANAGE PRIORITIES. ABILITY TO REMAIN CALM AND BE EFFECTIVE UNDER PRESSURE.
SPECIAL NOTES: A Competitive Area Differential (CAD) additive in the amount of $1,268.80 will be added to the annual salary.
Applicants requiring a reasonable accommodation, as defined by the Americans with Disabilities Act, must notify the agency hiring authority and/or the People First Service Center (1-877-562-7287). Notification to the hiring authority must be made in advance to allow sufficient time to provide the accommodation.
The Department of Transportation hires only U.S. citizens and lawfully authorized alien workers. An Employment Eligibility Verification check will be conducted using the U.S. Citizen and Immigration Services’ electronic database (E-Verify) on each new employee.
Pursuant to Chapter 295, Florida Statutes, eligible veterans and spouses of veterans who are Florida residents will receive preference in employment and are encouraged to apply. However, applicants claiming Veterans’ Preference must attach supporting documentation with each application submission that includes character of service (for example, DD Form 214 Member Copy #4) along with documentation as required by Rule 55A-7, Florida Administrative Code. All documentation is due by the closing date of the vacancy announcement. Documentation is based on the type of veteran preference claim. For information on the supporting documentation required, click here. Applicants may fax their supporting documentation to People First at 1-888-403-2110.
The Department of Transportation supports a Drug-Free workplace. All employees are subject to reasonable suspicion drug testing in accordance with Section 112.0455, F.S., Drug-Free Workplace Act.
The Department of Transportation is an Equal Opportunity Employer/Affirmative Action Employer and does not tolerate discrimination or violence in the workplace.
7 Tips for Preparing Effective State Applications – Click here to learn how to prepare your State of Florida Application to showcase your knowledge, skills, abilities, and experience.
FDOT Publishes New Traffic Analysis Handbook
[Media Advisory] Florida Department of Transportation (FDOT) Systems Planning Office has published a new handbook titled Traffic Analysis Handbook – A Reference for Planning and Operations (March 2014) to streamline the review process for accepting and approving traffic analysis reports.
The purpose of the handbook is to provide guidelines on different levels of traffic analysis (such as generalized planning, preliminary engineering, design, and operation analyses) that are conducted on the State Highway System. The information contained in the handbook when used and adapted to site specific conditions would not only streamline proper selection and application of appropriate approach and tools but also improve consistency and effectiveness of the traffic analysis process. Additionally, the handbook is expected to improve documentation and transparency of the assumptions, input values, calibration and outputs from traffic analyses.
The handbook guides the analysts to items that need to be included in the traffic analysis component of the project development. Additionally, the handbook guides the reviewer and decision maker to items that need to be checked and verified before accepting or approving the report.
The handbook is available online in the Systems Planning Office website or can be downloaded by clicking here. The first informational webinar about this handbook will be conducted on May 8, 2014.
For more information please contact Jennifer Fortunas at Jennifer.fortunas@dot.state.fl.us or 850-414-4909.
FDOT wants your opinion on proposed pedestrian-focused changes to Biscayne Boulevard
By Kathryn Moore On February 4, 2014 · 3 Comments
[Public Notice with particular import to residents of MiMo, Upper Eastside, Edgewater, Midtown, Omni areas] FDOT to Host Public Meeting for Roadway Project State Road (SR) 5/Biscayne Boulevard Miami — The Florida Department of Transportation District Six (FDOT) will hold a public information meeting for a roadway project along SR 5/Biscayne Boulevard from NE 13 Street to NE 78 Street.
The public information meeting will be held from 6 p.m. to 8 p.m. on Tuesday, February 11, 2014 at Unity on the Bay, 411 NE 21 Street, Miami, FL 33137. Attendees may arrive at any time from 6 p.m. to 8 p.m. Graphic displays of the project will be shown and FDOT staff will be on hand to discuss the project and answer questions after the presentation.
The proposed work for this project includes:
Installing five new mid-block pedestrian crossings at:
NE 16 Street
Between NE 23 Street and NE 24 Street
Between NE 30 Street to NE 31 Street
Installing pedestrian signals at the existing signals of NE 15 Street and NE 17 Street
Installing a pedestrian crossing at the intersection of NE 54 Street
Installing a raised landscaping median at various locations which include:
Upgrading pedestrian curb ramps and signals to current standards at various locations Construction is expected to begin in June 2015 and last about four months.
The estimated construction cost of the project is $780,000. Please contact Public Information Specialist Sandra Bello if you have any questions about this project at (305) 470-5349 or email at sandra.bello@dot.state.fl.us.
FDOT encourages public participation without regard to race, color, national origin, age, gender, religion, disability or family status. Persons who need special assistance under the Americans with Disabilities Act of 1990 or who need translation services (free of charge) should contact, Brian Rick at (305) 470-5349 or in writing at FDOT, 1000 NW 111 Avenue, Miami, FL 33172 or by email at: brian.rick@dot.state.fl.us at least seven days prior to the public meeting. www.dot.state.fl.us
Consistent, Predictable, Repeatable
www.dot.state.fl.us February 4, 2014 Maribel Lena, (305) 470-5349; maribel.lena@dot.state.fl.us
Two out of 100 Top City Innovators from Miami
By Kathryn Moore On October 24, 2013 · Leave a Comment
A round of applause and some Miami pride is in order.
The launch of Future Cities 100, a list of the top city innovators and changemakers worldwide, features two local civic heroes: Carol Coletta and Manny Diaz.
Carol Coletta, Vice President for Community and National Initiatives for the Knight Foundation, came to Miami from CEOs for Cities in Chicago, where she was accustomed to the freedom of car-free living. Since her arrival in Miami, she has been a vocal supporter of civic engagement initiatives around transit, including our friends at TrAC. If you have never heard her speak, she is truly inspiring and extraordinarily candid. She is doing great things. A TransitMiami Shout Out to the Knight Foundation in thanks.
Former City of Miami Mayor and President of the US Conference of Mayors, Manny Diaz, is championed for leading Miami’s ongoing transformation from a sprawled suburbia to a sustainable, functioning city where people want to live. His Miami 21 plan is cited as being “well on its way to setting a standard for other cities.”
Watch the UBM video on Manny Diaz here:
FIU & MIT Leading Free Transportation Sustainability Summit Tuesday
FIU & MIT are convening a new think tank representing academic, industry, government and environmental groups to discuss the economic, social, technological, and environmental challenges and strategies that will advance the achievement of sustainability in transportation infrastructure in Florida.
Funded by a block of concrete and asphalt companies, the official purpose suggests they do want to hear from people, too.
It’s absolutely free to take part in this.
Transportation Infrastructure Sustainability Summit
Kovens Conference Center
FIU Biscayne Bay Campus
3000 N.E. 151 Street, Miami, Fl. 33181-3000
Lead by Franz Ulm of MIT Concrete Sustainability Hub and Irtishad Ahmad of FIU OHL School of Construction, this is great opportunity to engage the people and interests that are literally paving our region’s future. That said, this the photo they use to promote the summit:
THIS is their image of transportation sustainability?
If you need any additional information, you can contact: Bernadette Chung at chungbl@fiu.edu or at (305) 348-3537.
MDT removes seats from Mover, makes transit less accessible
By Kathryn Moore On October 19, 2013 · 8 Comments
Miami-Dade Public Transit “solves” homeless “problem” by removing the seats on the Metromover.
As with every opportunity to engage on local transit issues, TrAC Miami is urging the public to come to the CTAC meeting on Wednesday, October 23 at 5:30pm to let them know what you think. (Government Center, 18th floor)
Is MDT is cutting off their nose to spite their face? One 2-person seat remains on each car for ADA compliance, but what if there are three people who actually need to be able to sit down? Like your mom, your grandpa or a pregnant woman and her children. An employee attempted to explain the new policy as follows: MDT has “struggled” to reduce use of the free public MetroMover by people who take up excessive space with their personal belongings. A number of users have complained about the mess and odor that some, likely homeless, people bring to our public transit. So what if said problem person takes the whole seat? What does MDT consider “struggling” to resolve this and improve the quality of our transit. Are the not concerned this could reduce ridership?
So…why not enforce a restriction of seats to one per person? There’s already funded security in the MetroMover cars.
No More Seats for You!
One alternative that has been considered and rejected includes charging something minimal to ride the MetroMover - something that would be financially impossible. Time will tell if no seating becomes politically impossible.
Texting While Driving (Finally) Against the Law in Florida
By Kathryn Moore On September 30, 2013 · 2 Comments
As of tomorrow, October 1, it will be illegal to text while driving. Advocates for safer streets have been lobbying for this for years (nod to Florida Bicycle Association, CommuteOrlando), but we’ve only now joined the 41 states, D.C., Puerto Rico, Guam and the U.S. Virgina Islands to make it illegal. There are still some glaring loopholes that set us apart.
In Florida, texting while driving is only a secondary offense, meaning law enforcement can’t pull you over solely for the action. The ticket itself is only $30, but multiple offenses become moving violations and add points to your license/ raise your insurance premiums.
In Florida, it remains just fine to text or drop an email when you’re at a red light - which sounds okay until you realize that motorists are obliged to check for people still in crosswalks as well as green lights. It’s also fine to take calls, change your Pandora station or use Google Maps.
If you’re like most people, you think you’re better than the average driver and don’t know you’re four times more likely to get into a serious collision (re: hurt yourself, not just your car) when you reach for the phone. Be careful out there. And please, put the phone down.
More fun infographics here.
My Car is Just Like the I-95 Express Bus!
By Kathryn Moore On June 20, 2013 · 5 Comments
In this morning’s Sun Sentinel:
Some of Broward County’s new express buses are breaking down, struggling to make it over railroad tracks and carrying commuters at a 10 mph crawl down Interstate 95.
The I-95 Express Buses get a lock of flack for their unreliable transmissions that leave riders “late for work” and feeling like they’ve been “held hostage.” This sounds just like my car! My station wagon doesn’t make it into the Sun Sentinel, though.
When my car’s transmission fails (frequently, despite a recent, costly rebuild and lifetime warrantied parts), I don’t really have anyone to complain to. I wish it was easier, but I still think it’s pretty lucky to have the 95 Express. It’s a pain being late to work regardless of whose transmission just died. BUT when it’s your car, you are looking at 3-5 days with no back-up car with which to get to work plus another bill in the hundreds or thousands of dollars.
Public transit has some real benefits over driving. #1 being that I can get work done on the bus (yay, Free Wi-fi!) or catch up with Words with Friends. Texting is both legal and safe! #2 meeting interesting people or just people-watching helps me feel charged up at the start of the day, rather than frustrated. #3 $2.35 each way is probably what 35+ minutes in my station wagon costs these days, excluding taxes, title, insurance and all that stress. I‘m sure it’s miserable sitting on the side of the road waiting for someone to come fix your ride or pick you up with another bus. I promise you, it’s more miserable when the bus doesn’t automatically come and you have to pay for your trouble.
Of course, the bus takes longer. Here is my very multi-modal commute from Midtown Miami to north Downtown Fort Lauderdale:
CAR: to the bus stop in Downtown Miami that is NOT on SE 1st and 1st.(If you wait there, the driver will pass you and point to where you need to run.) I get a ride, but otherwise, I could use my Car2Go membership. $0
WAITING for a bus that says “to Downtown Miami.” You MUST ask the driver which Express they are driving, or you will end up in the Everglades. I mean, Miramar. (True story). $0. or $1.25 for a cortadito.
BUS: Very comfortable. Wifi is dependable. Northbound means a practically empty bus. Pro Tip: Bring a sweater or sit in the front. $2.35
SHUTTLE: Free shuttle from the Broward Blvd Tri-rail down Broward, south on Andrews, around the Courthouse. $0
BIKE SHARE: From the Courthouse, I pick up a B-cycle and head to work. About 2 miles in 10 minutes. $0 (membership is $45 a year)
This commute takes over an hour. However, at every point, I’m interacting positively with people around me and can take calls from the office. The biggest problem for me is not having a car at work - and Fort Lauderdale doesn’t have Car2Go. My job usually requires a lot of driving from Hallandale Beach to Pompano Beach and everywhere in between. If it wasn’t for bike sharing and some help from colleagues, I’d really be in a bind.
The Express Buses would benefit from improvements, but not the ones I keep seeing on the TransitMiami facebook page.
Better Wayfinding. There are so many bus stops in Downtown Miami and around the Tri-Rail station. Make it easier to find the Bus!
Better Signage on the bus. Yes, I ended up in Miramar. I’m not proud of it. I think that as soon as the bus gets to Downtown, even if it has more pick up points within Downtown, it should be marked with its final destination. No one in their right mind picks up an Express bus to go 2 blocks.
Later hours! I work 8:30am-6pm. I have to leave early to catch the bus home. No bueno.
Same pick up and drop off stops. I don’t understand why the bus picks up at SE 1st & 1st and drops off at NW 8th and 1st, 12 blocks away. Can anyone explain this to me? Does the Corner Bar subsidize this? They should…
TM Readers, have you taken the Express Bus? What do you think?
Bike Lanes Work: Some Case Studies
By Kathryn Moore On June 6, 2013 · 2 Comments
The Middle River Neighborhood in the City of Fort Lauderdale is considering three options for their section of North Dixie Highway, including rejecting $2.3 million is MPO funding that would include a road diet, new and improved crosswalks and a solid green bike lane that would continue along the section to the north (into Wilton Manors).
Neighbors and local business owners packed a public meeting tonight and some argued for paving the swale on one side with a 12 ft wide shared use path (sidewalk) instead of accepting funding for the green lanes. Why would they want to do this?
Some arguments made for the “shared-use path” option:
Even if the speed is 30mph, I drive 40mph, at least, so cyclists should ride on the sidewalk for their own safety. [Response: that’s why city is recommending multiple traffic calming measures, including speed tables at crossings.]
No one has ever been killed by a car reversing out of a driveway while they were riding a bike on a sidewalk. [Response: You’re lucky. Many people are not.]
Narrowing the travel lanes to 10’ will slow down traffic too much and how can that be legal when trucks can be 8 ½ ‘ wide. [The purpose of this project, even the shared use path option, is to discourage tractor trailers from this roadway.]
Why do we need any of this? Can’t we just leave everything the way it is? [Response: Well, yes on both. If we don’t use it, another city project in the LRTP pipeline will.]
Is there any proof that bike lanes increase property values? The local economy?
My response, of course, is there are several. Here are a few that come to mind:
In 2010, rents along NYC’s new Times Square-area green bike lanes increased 71% - the greatest rise in the city.[APTA]
When San Francisco put its own 4-lane Valencia Street through a project similar to the one proposed for Dixie Highway (road diet, adding bike lanes and better pedestrian crossings], nearly 40% of local business owners reported increased sales and 60% reported more area residents shopping locally due to reduced travel time and convenience. Two-thirds said business improved overall. [San Francisco Bicycle Coalition]
Across American cities, houses located in areas that are particularly bicycle and/or pedestrian friendly are worth as much as $34,000 more than comparable houses with just average walkability/bikeability. [CEOs for Cities]
Toronto merchants surveyed in 2009 reported that patrons who came by bike or on visit not only stopped in their stores more often, but spent more money per month than those who came by car. [Clean Air Partnership]
Find more stats in this article: Want to make money? Build Your Business on a Bike Lane (FastCo.exist)
There are more reasons to support the “green bike lanes” option:
It has secured funding. Changing the concept negates the funding approval years in development and would leave the city to find money elsewhere.
The bike lane concept includes funding for bio-swales, a critically needed and environmentally sound flood mitigation tool.
Continuity. The lanes are planned for the contiguous section directly to the north. It is unfortunate the local politics and funding challenges have lead to so many sidewalks that end and bike lanes/trails/paths to nowhere. I hope that doesn’t happen here.
People who ride for transportation are not required to ride on sidewalks, no matter how wide they are. Those who do, put themselves at risk at every driveway and reduce to safety of the path for kids and those walking their dogs.
Road treatments like this reduce speeds and therefore improve safety for everyone. [NYC DOT]
There was a time when city officials and engineers were the ones fighting the bike facilities here in South Florida. The times are changing - will a different kind of local politics prevent our governments from doing the right thing in favor of cars and trucks?
Tampa Bike Summit: “Zero Tolerance for those who disrespect cyclists”
By Kathryn Moore On April 12, 2013 · 1 Comment
Local biketivists from across Miami and Broward joined around 200 more transportation planners, engineers and bicycle professionals in Tampa yesterday for the first National Bike Summit, hosted by USDOT. The event kicked off a campaign that USDOT Secretary Ray LaHood promised to do for bike safety what ‘Click it or Ticket’ did for seat belt use and Mothers Against Drunk Driving have done for DUI. It has no catchy name yet but the idea is simple: We need a cultural shift in this country so that nowhere is it socially acceptable or legal for motorists to disrespect cyclists. LaHood and other speakers promoted more bike lanes, more tickets for those who pass cyclists too closely and an aggressive education campaign targeting people who ride and drive on proper, safe behavior.
There is more at Streetsblog but Transit Miami thanks all who traveled to Tampa to represent Southeast Florida. Special shout out to Bike SoMi, the City of Fort Lauderdale, Broward Complete Streets, Green Mobility Network, Atlantic Bike Shop, Fort Lauderdale Critical Mass, and many others I may have missed. There were also three of us from the Broward B-cycle program, including myself.
Florida Bicycle Association Executive Director Tim Bustos sent us this recap of the event:
“When we first got the official notice that there would be a bike summit in Tampa, we were ecstatic! Although many of us are already actively engaged in trying to improve the dismal bicycle crash record in Florida, we really felt like this kind of exposure, and the support of USDOT would be very helpful. The only catch was that it was happening in 10 days! Wow. Having put on many events like this over the years, I knew that most conference planners require at least six months - and a year is preferred. However, USDOT staff vowed to make it happen, and, since Secretary Ray LaHood has already announced that he would be stepping down soon, I can only guess that he wanted to be sure it happened before he left. So, no problems - just opportunities!”
“First steps were to contact all of our members possible - as soon as possible, as well as colleagues and affiliate organizations. This blitz was followed with a conference call between USDOT and FHWA staff to offer our assistance with planning efforts in Florida, and to suggest speakers.”
“Given the incredibly short window of opportunity, the bike summit actually came off very well. USDOT was hoping for at least 150 participants, and there were almost 200 in attendance! The speakers were also very well qualified and engaging, and spoke to the issues of community design, traffic engineering countermeasures, law enforcement, and current bicycle education efforts in the state. The only area I felt was lacking was the subject of funding programs. Given that MAP-21 (the new transportation funding bill) is still relatively new, and many people are still trying to figure it out - including FDOT, we felt this could have been a welcome addition to the line-up of presentations, but to me, it seemed to be conspicuous by its absence.”
“Still, Secretary LaHood should be commended for his intent to pull off this conference before he left office, and his staff gets bonus points for pulling it together at warp speed. And, as I mentioned at the end of my presentation on bicycle education, I look at this event not as a one time effort, but the beginning of a renewed effort throughout Florida to make bicycling safer and more enjoyable effort in Tampa, and throughout the state.”
Get to the Tennis EARLY
By Kathryn Moore On March 20, 2013 · 2 Comments
(Community Commentary) It’s time for the Lipton Sony Ericsson Open Nasdaq Key Biscayne Grand Prix Miami Masters Tennis Tournament! If you live, work, ride, beach, etc anywhere near the entrance to Rickenbacker Causeway… we recommend bicycling or mass transit. Or, at least, podcasts. With Miami-Dade County Bear Cut Bridge renovations already underway, event organizers are urging drivers to be extra careful. They reached out to TM directly and asked us to share the following with you: In short, organizers suggest you GET THERE EARLY. They don’t want anyone missing their Tennis. Also,
Expect new traffic patterns to and from the Crandon Park Tennis Center.
Bear Cut Bridge will continue to have two lanes traveling in each direction, just as in past years, however the outermost westbound lane of the bridge will be open to pedestrian and cyclist traffic only. As a result, westbound drivers headed toward Miami may be required to change lanes before crossing the bridge. The eastbound traffic pattern toward Key Biscayne will remain unchanged.
Eastbound pedestrians and cyclists will be guided across Crandon Boulevard by a uniformed police officer. Drivers are urged to share the road with additional care.
Consider taking the bus! Route B/ 102 will make regular stops at the Tournament’s main entrance, as well as the Brickell Metrorail Station, Brickell Financial District, Rickenbacker Causeway, Miami Seaquarium, the City of Key Biscayne, and Cape Florida State Park.
Patrons who park in the Tournament’s General Parking lot, located on Arthur Lamb Road across the street from the Miami Seaquarium, will board free shuttles to the main entrance. Shuttles will run continuously throughout the day and up to an hour after the last evening match has been completed.
Florida traffic information is available by calling 511 or visiting www.fl511.com.
You can read more about these traffic modifications in our earlier blog post here. However, wherever you go, be safe. If you witness something that you think should be here, please try and get a photo plus any related information and contact us here.
Bike Thieves, Meet BikeSpike
Two tricycles, recently tuned up for the seniors at Bay Oaks - Miami’s historic retirement residence - gone. Broad daylight. The tricycles were locked and hidden from view behind a gate on the private property of the non-profit old folks’ home, just this week; just before any of the residents got to ride them.
Who does this?
Most of us have had a bike, car or other means of transportation taken from us.
It’s horrible. Violating. Nightmare and rage-inducing.
I’d like to believe there is a special place is Hell for such individuals, but the optimism is fleeting.
And then my friend told me about the BikeSpike.
The BikeSpike movie is almost as awesome as the tool. Yes, that’s Gregory Holliman.
How we used to (try to) prevent bike theft:
Register your bike’s serial #. Keep insurance, any proof of purchase, up to date pictures.
Paranoia. Only park in secured, enclosed Bike Corrals, bike valet or else use your local bikeshare program.
Find your bike locked with a flat? Don’t leave her behind! It could be a trick!
Just ride a really crappy bike! Or ugly one. But, but… why??
Sign every Petition asking eBay and Craigslist to require serial # posting with ads. (I did.)
But now really, really soon, there’ll be app for all that: The BikeSpike. It’s definitely the future of bicycle theft prevention. Let’s help get there faster.
“Spike your Bike with the world’s smallest GPS chipset with built-in antenna, an on-board accelerometer, and a connection to a global cellular network.”
Basically, the BikeSpike is the ‘Find My iPhone’ for your bike that we’ve all been waiting for. More than just allowing you and your local PD to track down your stolen wheels….
You’re at work. Someone knocks your bike over - at your house. You get a text message.
Your favorite city bike planner needs you to list all the places you ride so he can defend your safe-ish routes. You can share your data.
You want to keep track of your training stats and compete with friends on your team who supposedly hit 35 going up the Bear Cut Bridge this morning. Um, yeah. BikeSpike tells the truth.
In the event of a collision, the BikeSpike knows you’re down before the driver can even get away. Calls 911 plus your mom/significant other/roommate or whomever you designate.
On a happier note, your many fans can follow your progress in a race, and thus can catch you at all the good cheering points. It fits all aero in a spiffy custom carbon-fiber bottle cage.
Wives, moms and boyfriends: The only way to make sure you get one for your beloved bicyclist is here. Early Bird price is temporarily $149. Why not get one for your favorite TM writers?
And if you’ve lost all hope, just remember: Sometimes, the good guys win!
Bike Advocates Rule
Craigslist Victory + High Speed Chase in the Pacific Northwest
Lost & Found, Take 5.
Local Hero, theMiamiBikeScene.
Bike Love, the movie.
Keep your two (& three) wheels safe!
Mike Lintro on City of Miami Public Hearing: Small Building Parking Exemption
Anonymous on Follow Tri-Rail on Twitter
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The Fatigue of the 9/11 Generation and the Rise of ISIS
Perhaps every generation has their moment in which the ideological terrain abruptly shifts, and tomorrow feels different than yesterday. Growing up my parents would occasionally describe the JFK assassination with precise clarity. When Challenger exploded I was unaware of the disaster on the television several feet away because I was too young to notice but it certainly affected others.
When the first plane hit the World Trade Center, I was 19, in college and helping my professor dispose of used plaster from a sculpture class. Someone shouted, we went into the hallway and watched the next plane hit the second tower on the television. It was difficult to understand.
Weeks prior I had purchased a ticket to soon fly to New York and it was with hesitation that I boarded the plane in late September. The flight was nearly empty. Two hours later we passed over the city and I could see the smoldering debris of the World Trade Center below. Walking the streets, the city was quiet and the air tasted like burnt dust. I intentionally wanted to avoid lower Manhattan, but walking around late at night, I got lost and searching for a subway entrance, I wandered into ground zero. Smoke rose from the ruins while workers combed the rubble.
Ten years later I was living in Afghanistan, teaching at a university, advising ngos and city governments, and traveling to other conflicted states to work on similar problems of urban conflict and reconstruction. By that time I had already lived elsewhere in the Middle East and North Africa. I could speak a couple different languages in multiple dialects. Everyday I tackled issues of youth militarization, forced displacement, and extreme poverty. I did my best to apply the mundane insights of urban planning and design to the world's most challenging problems.
My friends were no different. We all studied foreign languages and earned multiple degrees in middle eastern studies, economics, law, social sciences, and history. Some of us joined the military, some of us worked alongside it, and others moved into humanitarian relief and development. We found no reason to fear Islam or those different ourselves but discovered the joy of difference and we indulged those cultural identities to inform our own. Regardless of what we chose or discovered, we all left our homes to travel and live in foreign communities to understand the root causes of terrorism, hoping to unravel the strands and in some way lessen the brutal consequences of global market failures. We all sought an understanding.
Some of us took additional steps to plant ourselves into the center of these problems so as to be truly effective. We spent years without consistent access to running water, working toilets, or proper heat in the winter. We experienced deep trembling fear as bombs exploded in eyesight. We laid on the floor as bullets ricocheted and spent days locked in steel paneled rooms. We found these moments both terrifying and addicting because those places and people that once constituted home now felt boring and static. In contrast, we were on the edge of living. Between the hardest moments we indulged in ridiculous parties with contraband booze to blow off steam and make ourselves feel like normal human beings. On occasion we fled to an exotic beach to spend our hard earned money on any distraction that will make us feel reconnected to the world we once knew. We pushed every moment to the threshold of human experience.
Our lives were saturated but not sustainable. We found ourselves increasingly estranged from our families who were incapable of understanding our lifestyles. We found ourselves alienated among everyone but each other and new relationships became challenging as we quickly brushed off anyone that didn't measure up to our unique expectations. Most people do not. In the meanwhile the pools of money have dried in many hotspots, leading to less jobs, less people, and less parties. The risks seem less manageable.
One by one we have found ways to cope and change. Most of us have quit our jobs and perhaps found another place to live. Some of us spent too much time in the deep and our choices have made us unemployable in our own professions. If you spent five years in Iraq and try to find a new life in Washington DC, you will be surprised to find yourself overlooked. Some of us are so deep that we have dropped the career goals but have remained in Kabul or Baghdad or Peshawar because we now feel that we belong there. A few of us have managed to better adjust than others, but none of us have gone back to the homes where we started, or want to. We have instead found relief in making a home somewhere else. Some of us are working as english teachers in Qatar. Others have returned to school for PhDs and many are struggling to make a decision. Some of us run successful consulting companies. But none of us have a desk job.
We have changed our paths not from lack of caring. Watching the rise of the Islamic State on television we are stricken with deep fear and worry. These problems are not distant, but are connected to our lives and are personal. We believe in a moral imperative that something must be done because we know what happens, how it happens, and the imminent future if nothing is done. Because we actually know the problems, we are also the most afraid.
But we are the 9/11 Generation and we are exhausted. We will not likely be a remembered generation for our efforts and our losses. People will accuse us of being colonialists rather than empathizers and technicians. While rightly we honor the sacrifices of soldiers there will be no monument for my friends who died working as teachers. We do not have an Allen Ginsberg to write about us or a Jimi Hendrix to rewrite our anthems. We listen to the same outdated Katy Perry songs and read the same terrible airport novels as everyone else.
And now as we step out of one life and into another, we watch the rise of ISIS on television and we despair. Having dedicated over a decade to these same problems, we understand where it comes from and how it functions. We know the history of caliphates and modern jihadism. We understand what the guy is saying on the radio before the translator chimes in with a softer version. But this doesn't feel like our war. We are not rushing to confront it because we have already given ourselves. We are uncertain if we can give more. We are uncertain if there is anything else left to give.
at February 25, 2015 No comments:
Labels: Conflict and Stability, Humanitarianism, International Development
The Fatigue of the 9/11 Generation and the Rise of...
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PHOTO: 'First Look' at the Katniss Barbie Doll
Entertainment Weekly brings us our exclusive 'first look' at the Katniss Barbie Doll. Read the designers interview, describing how the doll was made, below.
“I chose to dress her in the outfit she wears during the games, since this is where all the non-stop action takes place and is instantly recognizable by fans,” says [Bill] Greening of the Katniss Barbie. “Of course, she wears her mockingjay pin proudly on her lapel.”
Designers at Mattel created Katniss’ look by going straight to the source and examining the actual costume that Jennifer Lawrence wore inThe Hunger Games. “Hopefully Hunger Games fans can appreciate the attention to detail,” Greening says.”The doll’s minimalistic style and details — such as her loosely braided hair and makeup-free look — also really embody the heroic character Katniss.”
Of course, it took a true fan to create such a doll. “I am a huge Hunger Games fan and loved all three books, so it was truly an amazing experience for me to be able to design the Katniss Barbie doll,” Greening says. “I think it really pays tribute to Katniss and The Hunger Games.”
The Hunger Games' Katniss Barbie Doll will be available on August 1st, but you can pre-order today at 12 PM ET at BarbieCollector.com and other various online retail outlets for $29.95.
We personally don't know what to think about this. How about you? Are you guys planning to purchase a Katniss Barbie?
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World War One Focus
Book Review: Dublin’s Great Wars
Dublin’s Great Wars, The First World War, The Easter Rising and the Irish Revolution By Richard Grayson Published By Cambridge University Press, …
Written by: John_Dorney on 22 March, 2019.
Interview: Richard Grayson on ‘Dublin’s Great Wars’
John Dorney interviews Richard Grayson on his recent book Dublin’s Great Wars, which examines Ireland’s capital city’s experience both of the First …
Ireland and the First World War – A Brief Overview
By John Dorney Ireland throughout the First World War of 1914-1918 was an integral part of the United Kingdom of Great Britain …
Written by: John_Dorney on 9 November, 2018.
‘A Declaration of War on the Irish People’ The Conscription Crisis of 1918
How the attempt to impose conscription on Ireland was defeated in 1918. By John Dorney. In April 1918, the British government of …
Written by: John_Dorney on 24 April, 2018.
Book review: Ireland’s Call: Irish Sporting Heroes who Fell in the Great War
By Stephen Walker Published by Merrion Press, Sallins, 2015 ISBN: 978-1-78537-018-2 Reviewer: Gordon O’Sullivan “I felt more nervous before playing an …
Book Review: Harry Clarke’s War – Illustrations for Ireland’s Memorial Records 1914-1918
By Marguerite Helmers, Published by Irish Academic Press, 2016. Reviewer: Patricia Curtin Kelly Harry Clarke (1889-1931) is best known for his magnificent stained …
Gallipoli and the Irish home front
Fionnuala Walsh on the impact the terrible Irish losses at Gallipoli in 1915 had back in Ireland. On the 25th of April …
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2017 Patek’s New Creation of Titanium Chronograph Functions
Each year under the patronage of H.S.H. Prince Albert II of Monaco, the Only Watch auction benefiting muscular dystrophy sees the creation of unique luxury timepieces created in editions of one. This year Christie’s has been selected to conduct the proceedings, which will take place on Nov. 11 at the Four Seasons – Hôtel des Bergues in Geneva. Among the field of offerings earmarked for this year’s sale one in particular stands out – a replica Patek Philippe Triple Complication watch in titanium expected to bring in up to $1.1 million alone.
The fake models were originally released in 2011 to “showcase Patek Philippe’s mastery in the sphere of grand complication replica watches.” They feature a minute repeater, a monopusher chronograph, and an instantaneous perpetual calendar displayed in apertures along an arc, and is also one of very few ultra-complicated with a self-winding mechanism.
This special watch, which was created for Only Watch 2017, is the first and only version ever produced in titanium, a metal that Patek rarely uses. It also features a blue dial adorned with a hand-guilloched carbon-fiber pattern, and the caliber R CH 27 PS QI movement, visible through a sapphire crystal display back, is black rhodium-plated. It’s a graceful piece that manages to look understated and elegant even with its million-dollar looks. Such is the genius of Patek.
On a much more ebullient note the auction will also feature a special innovation from Hublot. It pairs a see-through sapphire case with a microblasted yellow gold plated skeleton dial highlighted in green and gold and a caliber Hublot “UNICO” Manufacture self-winding chronograph flyback movement with column wheel.
We much prefer the offering from the replica Audemars Piguet, a unique Royal Oak Perpetual Calendar in black ceramic estimated at up to $124,000. It features a ‘skylight’ blue Grande Tapisserie dial with polished counters in solid grey gold and an orange-tinted moon, juxtaposed against the entirely hand-finished black ceramic Royal Oak case, bezel and bracelet. In addition to the unique dial, it’s the first black ceramic perpetual calendar wristwatch to feature a black ceramic caseback with sapphire display back, and a tour de force among rare Royal Oaks.
There are 49 pieces in the sale in all, and ahead of the auction itself they will be on display at the Monaco Yacht Club Sept. from 27-30 September, followed by stops in Bangkok, Singapore, Dubai and Hong Kong.
Published in best
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"I’m fascinated by people and why they do things. That’s why I love ‘Front Up'." -Actress, Frances O’Connor
UNDERWORLD: RISE OF THE LYCANS
In the beginning ...a feud erupts between two powerful, immortal tribes: the aristocratic Vampires, or Death Dealers, and the Lycans, a line of fierce werewolves when the young Lycan, Lucian (Michael Sheen), falls in love with Sonja (Rhona Mitra) the daughter of the cruel Vampire King, Viktor (Bill Nighy). Although a collared servant like all Lycans, Lucian had been Viktor's protégé and Viktor's fury ignites the simmering tensions. Lucian is arrested and beaten - and Sonja's own life is at stake. But the oppressed multitude of Lycans rise up against their rulers in a brutal clash.
Review by Andrew L. Urban:
It's Romeo and Juliet retold in medieval rock n' roll style, with the feuding houses portrayed by snotty immortal vampires on the one hand and enslaved werewolves, the Lycans, creatures able to transform from werewolf to human and back again - unless locked into human form by special collars, whose key is guarded by the King.
This is the prequel to the two previous Underworld movies, a newly fashionable movie device that enables filmmakers to squeeze extra material from a successful film, helping to gather hardcore fans. It was always the writers' intention to make a trilogy, they say, and they have invested heavily in creating a world that differs from other vampire and/ or werewolf movies by attaching its backstory to a scientific sort of basis, rather than a mystical one. But still, the old Balkan origins remain, with several characters sporting Hungarian-ish names, though not accents.
If you're a fan of the series, you'll be bored reading all this 'context' I'm carrying on with, but the chances are that if you are indeed a fan, you probably won't bother even reading this review. So for those who are a) not fans, just casual observers, or b) newcomers to the series, here is a glimpse into this Underworld.
First of all, it looks brilliant; the overall production design is first class, with much of the action on specially built sets and the rest in specially chosen New Zealand locations. Yes, the shadow of LOTR hangs over the movie: production designer Dan Hennah was supervising art director on that trilogy.
Patrick Tatopoulos makes his directing debut - but he has designed all the creatures for the Underworld films. And in this third film, they are magnificent. The battles are bloody, but some of the fighting is like madly scrambled eggs and all you see is fur and blood and movement.
As for the actual performances, Bill Nighy is at his cruel, cold, vicious best, Michael Sheen is all beefed up and powerful as Lucian, Rhona Mitra plays Sonja (and we don't miss the fabulous Kate Beckinsale, no matter how good she was); and the entire supporting cast, including the mechanical ones, are just spot on. It's not quite my cup of blood, but when you see these characters morph back and forth like some underworldly Weightwatchers commercial, you get a great sense of being entertained.
UNDERWORLD: RISE OF THE LYCANS (MA)
(US, 2008)
CAST: Michael Sheen, Bill Nighy, Rhona Mitra, Tania Nolan, Craig Parker, Steven Mackintosh, Kevin Grevioux, Jared Turner
PRODUCER: Gary Lucchesi, Tom Rosenberg, Skip Williamson, Len Wiseman, Richard Wright
DIRECTOR: Patrick Tatopoulos
SCRIPT: Danny McBride, Dirk Blackman, Howard McCain
CINEMATOGRAPHER: Ross Emery
EDITOR: Peter Amundson, Eric Potter
MUSIC: Paul Halsinger
PRODUCTION DESIGN: Dan Hennah
AUSTRALIAN DISTRIBUTOR: Sony
AUSTRALIAN RELEASE: January 22, 2009
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Northern Michigan Region
cross country skiing and snowshoeing in Northern Michigan
Crystal Mountain in Thompsonville, MI with 40 km groomed trails. Lessons, and rental equipment for xc, snowshoe and telemark. Children skis and narrow tracks are available. Voted number one in state by Michigan Living readers. Crystal Mountain is a Fischer Key Nordic Center. Day care and a comprehensive list of accommodations and services such as ice skating, hot tub, sauna and swimming pool are available in association with the alpine ski area. Michigan Legacy Art Park at Crystal Mountain is a 30-acre land preservation outdoor art exhibit that celebrates Michigan's history that can be cross country skied or snowshoed on snow covered trails in the winter. The social and historical geographical exhibit features a stockade labyrinth and maze with artifacts from colonial times. CCSAA member
Active Backwoods Retreat (ABR) in Ironwood, MI is in the Lake Superior snowbelt. Ironwood is in the northern part of Michigan that is connected to Wisconsin. There are 40 km of groomed trails and 5 km of snowshoe trails. Lessons, xc ski and snowshoe rental equipment are available. CCSAA member
Sunset Cabins in Grand Marais, MI on the shore of Lake Superior in the Upper Peninsula offers five different private accommodations. The cabins are on the old Sucker River overlooking the lake and there are 10 miles of trails on the surrounding terrain.
Shanty Creek is in Bellaire, MI with 30 km of groomed trails. Lessons, xc ski and snowshoe rental equipment available. Ski through evergreen forests and picnic beside a swift flowing creek. The White Pine Stampede race trail is known for its stretching and bending terrain and is ideal for short strides and long glides. Shanty Creek offers 3 options for accommodations at Summit Village, Schuss Village or Cedar River Village. Received #1 rating for dining in the MidWest by SKI Magazine 2002. Snow Sports Academy program and ski lesson packages are available. Located on M-88 accessed from Routes I-75, US 131 and US 27.
Timber Ridge Nordic Center in Traverse City, MI with 27 km groomed trails. Lighted trails, too. Lessons and xc ski and snowshoe rental equipment available. Borders 60,000 acres of state land and the Vasa Trail. Timber Ridge has a large lodge with a fireplace, snack service and hot showers.
CedarHurst Lodge in the central Upper Peninsula is the Northwoods Retreat with 12 km of trails and 200 inches of annual snowfall. The resort is on the Michigamme River and has two lakes on the property. Accommodations include a lodge, two housekeeping cabins and a river cabin.
Birchwood Country Club, 600 Birchwood Dr., Harbor Springs. 14K, three loops. The 3.2-mile loop is mostly flat; the other loops have a few hills for intermediate skiers. Groomed for striding. No fee.
Boyne Highlands Resort, 600 Highlands Dr., Harbor Springs. 35K, 12 loops. Scenic views. Terrain is hilly to flat and offers a variety of options for all levels of skiers. Groomed for skating and striding. Charge for usage. Chairlift access.
Elmer Johnston Preserve: 1.5 miles of ungroomed trails in the Good Hart area which feature some steep slopes. At the hilltop is a view of Lake Michigan. Located off Church Road, one mile east of Good Hart.
Goodhart Farms Preserve: 5.2 miles of groomed trails over flat and hilly terrain in the Good Hart area. Parking off Robinson Road, about 2 miles east of Good Hart.
The Headlands: 4.5 miles of trails in the Mackinaw City area features flat stretches and average hills. 7725 E. Wilderness Park Drive, Mackinaw City.
McCune Preserve: Three miles of ungroomed trails through fairly flat terrain in the Petoskey area. Parking 3/4 mile south on Maxwell Road off Mitchell Road.
North Central Michigan College, 1515 Howard St., Petoskey. 4 miles of ungroomed but packed trails over three loops. Bordering the Bear River, the trails are relatively flat and suitable for beginners. Free.
Nub’s Nob, 500 Nub’s Nob Road, Harbor Springs. 20.8K, two loops. Beginners through advanced skiers can enjoypicturesque trails. Groomed, power-tilled and trackset for skating and striding. 2K loop lit for night skiing. Charge for usage.
Offield Preserve: 3.7 miles of ungroomed trails in the Harbor Springs area. Parking off Quick and Hedrick roads.
Petoskey State Park, 2475 M-119, Petoskey. Three miles of ungroomed trails over two loops. Most of the trails are flat, although there are a few small hills. Suitable for intermediate skiers. Recreation Passport required.
Round Lake Nature Preserve: Less than one mile of trail over two loops, boardwalk and deck on Round Lake. Parking in the Little Traverse Conservancy lot off Powell Road between Harbor Springs and Petoskey.
Trout Creek, 4749 Pleasantview Road, Harbor Springs. 14K, four loops. Skiers of all levels will find a suitable route at Trout Creek. There is a flat beginner loop, an intermediate loop and two loops for the more experienced. No fee.
Wilderness State Park, Wilderness Park Dr., Carp Lake. 7.1 miles of designated trails, with another 18 miles of multi-use trails. There are plans to set tracks this year. The terrain varies, making it a good choice for novice or intermediate skiers. Recreation Passport required.
Wildwood Hills Pathway, Wildwood Road, Petoskey. 15K, three loops. The rolling hills on these trails make it interesting for beginners or intermediate skiers. It’s designed to allow beginners to bypass the most difficult hills. Loops 1 and 2 are double tracked; loop 3 is groomed for skate skiing. No fee; however, donations are accepted.
Avalanche Mountain Preserve trail, corner of Lake and Ann streets, Boyne City. 9K (5.6 miles) of ungroomed trails over four loops. The difficulty ranges from flat terrain good for beginners to steep inclines designed for experienced skiers. Free.
Boyne Mountain Resort, One Boyne Mountain Road, Boyne Falls. 35K, 12 loops. Gliders, skaters and telemark skiers, from beginners to advanced, will find trails that fit their style and skiing ability. Groomed for striding and skating. Charge for usage. Chairlift access.
Charlevoix X-Country Ski Trail, Mount McSauba Road, Charlevoix. 8K, three loops. Panoramic views of Lake Michigan. Suitable for novice to advanced skiers with conditions that can vary from flat ground to ste
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Caesars Palace Files Declaratory Judgment Action Over OCTAVIUS TOWER
In so many trademark lawsuit stories that grab the media’s attention, the story is often one of a large corporation enforcing its trademark rights against individuals and small businesses in a manner that is often described as “trademark bullying” (but which, of course, from the corporation’s perspective could be seen as zealous protection of the company’s valuable trademark rights). The story behind this lawsuit is quite the opposite – in this case, it is the large corporation that is being bullied (or more accurately, majorly inconvenienced since a large corporation has sufficient resources to fight a legal battle in court) by an individual that is seeking to enforce highly questionable trademark rights.
On April 8, 2011, Caesars World, Inc. (“Caesars”), the owner of the CAESARS PALACE brand of hotel-casinos (including Caesars Palace in Las Vegas), filed a declaratory judgment action against a German man named Marcel July and his Nevada limited liability company, Octavius Tower LLC, based on the defendants claims to have exclusive ownership rights to the mark OCTAVIUS TOWER and demands that Caesars stop using the name in connection with a hotel tower. See Caesars World, Inc. v. July et al, Case No. 11-cv-00536 (D. Nev. April 8, 2011). A copy of the complaint (with exhibits) can be downloaded here.
Back in 2007, Caesars World’s parent company, Harrah’s Entertainment, Inc. (which has since been renamed Caesars Entertainment Corporation) announced a $1 billion expansion of the Caesars Palace Hotel-Casino in Las Vegas. One of the new hotel towers built as part of the expansion was going to be named the “Octavius Tower” (going along with Caesars “Roman” themed hotel/casino – presumably named after Julius Caesar’s adopted nephew, Gaius Octavius [for you Roman history scholars, feel free to correct me]).
The Octavius Tower at Caesars Palace in Las Vegas
Two days after Caesars’ announcement regarding its plans to build Octavius Tower, Mr. July, being the enterprising fellow that he appears to be, decided to registered several domain names such as octaviustowercom; octaviustowers.com; octaviustowerlasvegas.com; and octaviustowerslasvegas.com. The same day, July also registered the domain namescaesarstower.com; caesarstowers.com; caesarspalacetower.com; caesarspalacetowers.com; and caesarspalacetowerslasvegas.com. The websites at those domain names promoted that “The new Caesars Palace Towers are Coming Soon” and that the domain names were for sale (see Exhibit B of the Complaint). Caesars filed domain name arbitration actions against July under the UDRP with respect to those domain names that incorporated the mark Caesars Palace (but chose not to go after the Octavius Tower domain names without any trademark registration). The domain names were transferred to Caesars after the arbitrator determined that the domain names had been registered in bad faith. See Caesars World, Inc. v Marcel July Ra Christian Kaldenhoff, Nat'l Arb. Forum, FA 0801001126341 (March 3, 2008).
On July 20, 2007, Caesars filed its own intent-to-use application for the mark OCTAVIUS TOWER for “hotel services.” The application was allowed by the PTO on January 29, 2008; however, because of well-publicized construction delays due to lack of funding after the major downturn in the economy (see news articles here and here), Caesars was not able to provide a Statement of Use before the January 29, 2011 deadline and the application went abandoned (although Caesars, anticipating that its original application would go abandon, filed a new application on December 10, 2010).
Of course, what happened during the interim? Mr. July filed his own trademark registration applications with the PTO for the mark Octavius Tower in connection with entertainment services – specifically on May 7, 2008, July filed for the mark OCTAVIUS TOWER for “Entertainment services, namely, providing a web site featuring musical performances, musical videos, related film clips and photographs”. A registration was issued September 1, 2009. [Query—given that Caesars was already aware of Mr. July propensity for opportunism as illustrated by his domain name registrations and the fact that the marks were identical, why didn’t Caesar file an Opposition against Mr. July’s applications when it had the chance?] On July 23, 2009, July filed a second application for OCTAVIUS TOWER for “Entertainment in the nature of visual and audio performances, and musical, variety, news and comedy shows; Presentation of live show performances; Theatrical and musical floor shows provided at discotheques and nightclubs; Theatrical and musical floor shows provided at performance venues.” A registration for this second application issued on January 12, 2010. In addition to these federal registrations, July also filed three Nevada state trademark registrations for the mark OCTAVIUS TOWER in connection with entertainment services (here, here, and here) as well as a Florida trademark registration. Caesars alleges in its complaint that July has not used the mark in connection with any of the entertainment services identified in the registration (while I have not reviewed the specimens of use submitted by July in order to get his marks registered, I would not be surprised if they are questionable on their face).
Given that the PTO allowed Mr. July’s applications to register despite Caesars pending application for OCTAVIUS TOWER for hotel services, one would naturally not expect Caesars second application for OCTAVIUS TOWER to encounter any objections from the PTO, right? Wrong. On February 24, 2011, the PTO issued a non-final office action rejecting Caesars new application on the basis of a likelihood of confusion with Mr. July’s registration. So what did Mr. July do once he learned of the rejection? He got an attorney to send a cease and desist letter to Caesars (see Exhibit D of the Complaint) demanding that Caesars stop using Mr. July’s “trademarked name” Octavius Tower in any manner and threatening to pursue “all legal remedies available to him.” Caesars counsel wrote back on March 21, 2011, arguing no likelihood of confusion and offering to enter into a coexistence agreement. On March 23, 2011, July’s attorney later wrote back rejecting the coexistence agreement and reiterating the threat to take legal action. Subsequently, July purportedly modified his website at http://www.octaviustower.com/ to add a page that includes Caesars' 2007 announcement of its plan to launch Octavius Tower and includes copies of the correspondence July’s counsel sent to Caesars along with the message to the public about Caesars “infringement” of July’s trademark rights:
Public awareness of this unacceptable corporate behavior is crucial to eradicating it and we are asking you to take a stand and make a difference on this issue. Your collective voice is more compelling than the lobbying power of corporate giants and it is a voice that cannot be ignored. Together we can make a difference and help keep our freedom intact, for us, for our children, and for our grandchildren.
Caesars, recognizing its opportunity to file a declaratory judgment action against Mr. July in order to redress this mess, filed the instant action. In addition to seeking declarations of non-infringement of Mr. July’s trademark rights, Caesars also seeks to cancel July’s federal and state trademark registrations on the basis of non-use and fraud.
So with all of Mr. July’s talk about enforcing his trademark rights, we shall see how important those marks truly are to him and how strongly he feels about his trademark rights (and the strenghth of such rights). Too many individuals seem to have this impression that registration of a particular mark is the end-all-be-all for solidifying exclusive rights to a particular term. But registration is merely prima facie evidence of trademark rights. If you don't actually have any underlying trademark rights to a mark (i.e., some associated goodwill that the consuming public associates with your mark and thegoods/serivces sold using the mark), then you will not be entitled to make a claim of exclusive rights to a term (especially against a third party using the mark in connection with a substantially differnet good or service).
And while I suspect that Mr. July may try to turn this dispute into a "David vs. Goliath" battle (as reflected by his website) of a large corporation using its corporate power and the legal system to steal his valuable trademark, this is one time where I side with the big company.
Posted by Ryan Gile at 7:30 AM
Labels: Cybersquatting, Declaratory Judgment, Infringement
Great Blog! Can you make it more Facebook friendly for sharing?
octavius.tower said...
OCTAVIUS TOWER/MARCEL JULY
To our fans and friends, I would like to apologize for not responding to your phone calls and emails. This has been a very trying time for me and my family. As you are aware, Caesars World, Inc. has filed a federal civil lawsuit against me, and, in this suit, they have called me a criminal and stated that I have committed fraud when applying for my federal and state registrations for the name “Octavius Tower”. As many of you know, the band and the website have been around since 1993, which is some 14 years before Caesars even thought about a new hotel tower called Octavius Tower. I believe that Caesars hired their attorneys from Las Vegas, NV and Atlanta, GA to try to steal my trademarks, and, because they are big and powerful, they think that they can do anything to a small guy like me. After Caesars received my “Cease and Desist” letter, they then had an attorney in Atlanta, GA, send me a letter calling me a “fraud” and an “opportunist” AND this attorney also wrote: “We can cancel your client’s US Trademark Registrations”, but yet, in that same letter, they also said that they would like to “co~exist” with me (imagine that: they want to co~exist with someone they believe to be a fraud and an opportunist?!) So, of course, I told them that I had NO intention of co~existing with people like them, so then…. their next move…….they sue me!! Now I am forced to respond to these ridiculous and frivolous allegations, and I have to spend my time trying to prove our “Octavius Tower” existence from nearly 20 years ago (which by the way I have done and submitted to the court). I have provided indisputable proof, and yet, they are still pursuing this matter, which forces me to deal with Caesars instead of taking care of my wife who is dealing with a serious medical matter. This ordeal has caused a tremendous amount of stress and financial hardship for both of us, and it has nearly destroyed our spirits. We are not sure if it is worth all of the time, stress and money, but I’ll be dammed if I will let these vultures ruin my good name, make these allegations, and steal my legally obtained trademarks (to say nothing about what this is doing to my wife) without a good fight.
Thank you all for your good wishes and support. God bless you.
Marcel / co. OCTAVIUS TOWER (R)
Dear Mr.Ryan Gile,
I like to thank you for posting my PRESS RELEASE on your blog.
I wonder if you had a chance to look up some details and hope for a word of your expertise.
M.July
Hear and read the "LIVE CBS INTERVIEW" with M.July about Caesars Inc. using M.July's registered Trademark. Just paste and copy the link:
http://octaviustower.com/octavius_tower_2_013.htm
and see what is going on in the "name battle".
Thanks to all,
CBS LIVE INTERVIEW WITH M.JULY about Caesars Inc. using his registered trade and servicemarks
Octavius Tower. Look behind and see the true story about tha "name battle" we fight. Just paste and copy the link to see, read and hear it.
You also can find all other Interviews and videos on our website www.OctaviusTower.com
Thank yo very much for posting this.
Regards to all,
M.July/Octavius Tower
Egg Works Loses 9th Circuit Appeal Despite No Oppo...
Caesars Palace Files Declaratory Judgment Action O...
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Home / News / Kelly’s Story: How Greenhouse Sports is helping the Tennis Foundation grow the sport in East London boroughs
Kelly’s Story: How Greenhouse Sports is helping the Tennis Foundation grow the sport in East London boroughs
Kelly Montgomery is Programme Manager at Greenhouse Sports, a London-based sports charity that is helping the Tennis Foundation broaden horizons through tennis and bring new opportunities to young people in some of the most deprived areas of London.
Greenhouse Sports work to help young people from boroughs such as Tower Hamlets and Hackney create better life opportunities than they may have previously been afforded. The seven-year partnership between Greenhouse and the Tennis Foundation has seen tennis used as a tool to do this.
Working in local schools, the tennis programmes have now reached almost 6,000 children and young people in the area, with around 400 of those participating in extra-curricular tennis activity as well.
Kelly, who joined Greenhouse in 2011 as the charity looked to expand their coverage to those east London boroughs, has revealed the important role the partnership with the Tennis Foundation has played in bringing tennis to areas in which the sport wasn’t prominent.
“It was our joint initiative with the Tennis Foundation. All four of our programmes are currently in Hackney, Tower Hamlets and Newham, and most of these places didn’t really have tennis clubs or good facilities,” she said.
“But that’s changing now, things are improving. It’s rare that our coaches come across someone who has played tennis before, so we are reaching young people that, without our programmes being at their schools, would never have the opportunity to play.
“We reach every single child in each school because we run lunch clubs, taster sessions and help in PE lessons, so our coaches have made a big impact. There’s roughly 1,200 to 1,500 children in each of the four schools.
“The Tennis Foundation has allowed us to grow our tennis programme – we’re pushing tennis as the sport we want to grow most because of the extra support we have from them, it’s the easiest to expand. The funding has continued and we have an agreement for it to increase year on year, so we will gradually reach even more children.”
With so many children now playing tennis thanks to the impact of Greenhouse Sports and the Tennis Foundation, it’s likely that one or two stars of the future could come through the ranks, although for Kelly, that’s not the most important thing.
Each of the four tennis coaches that Greenhouse Sports hire to run their tennis programmes are of an impressive level – three are currently at LTA Level 4, with the fourth currently working towards Level 4 – but it’s what happens off the court that has the biggest impact.
“It’s not about creating amazing sportspeople, although that happens almost by default because we employ high-level coaches. Our ethos is to give young people better life chances.”
“Our focus is on leadership, and now we’ve got four girls who are LTA Level 1 coaches themselves and are starting to get out in the community and volunteer. There are lots of stories along the leadership pathway because we’re looking to give them employability skills as well.
“We teach them social, emotional, physical and mental skills through our coaching. We do a lot of mentoring too so our coaches might not always be on the tennis court, they might be supporting a young person that comes to tennis in a lesson or a difficult situation at school.
“We’ve recently carried out some research with Loughborough University to find out about the impact Greenhouse Sports is having. We found that Greenhouse participants attended school four more days per year than other students, so we feel the Tennis Foundation are not just impacting on tennis and sports, but are affecting young peoples’ lives for the better.”
Greenhouse’s partnership with Tennis Foundation not only brings opportunities to play tennis, but also to watch and partake in major events across the region, such as being members of the ball crew at the Wheelchair Masters, among others.
The cream of the crop though? The annual visit to Wimbledon that even the teachers get excited about.
“We absolutely love it. We’ve had this relationship for seven years and each year our young people have the opportunity to go to Wimbledon which is something they’d never do.
“The Tennis Foundation supply us with 20 passes per school, so there will be 80 of us in total rocking up in our Greenhouse t shirts – even the teachers come along and it’s something they would never do either. It’s the highlight of the year.”
SPWT @_Greenhouse_ team enjoying the tennis on Court 1 at #Wimbledon today! Currently supporting @kyle8edmund Thank you to @TennisFndation pic.twitter.com/HOAGnQ0a1y
— Christine Dransfield (@GH_Tennis_Chris) July 3, 2018
Posted in #MyTennisStory, Education, tennis foundation, WimbledonTagged #MyTennisStory, education, news, tennis, wimbledon
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Dentsu rocks!
I think this was the first seminar that almost made me cry. No, it wasn’t because of the bad english shown by the speakers of Dentsu, Japan. The reason was this ad, screened in memory of one of their colleaugues, who passed away two years ago. Enjoy it before continuing this post.
Moving on, i must praise the well-known japanese concern about technology. They combined that with the will to give consumers a complete experience of music and created Miku Hatsune. Miku looks like a girl, but you can’t touch her.. cause she’s a holograme. And not only that. Miku Hatsune is an application that enables any user to sing (no mather how badly) and compose a song that would be transformed into a piece of art. The best 50 songs were taken to stage by a cute holograme of an anime female character, Miku. Everybody went nuts for her and the unusual concert was a great success and everything was real (the audience, the band, etc) but the singer!
The japanese people live very concentrated in very small places, so their smartphones become their last sanctuaries. That’s why their advertising industry has been heavily digitalized in the last years. One thing I liked from their tones of digital success case studies was that of a phone application that could see and catch butterflies in real time and space. Now that’s what I call reuniting humans and nature.. through machines!
Andrei Lacatus
The new semester will open soon, until then check out the new logo. →← MDC Partners: How To Build An Agency From Scratch
GeniuSaatchi!
Microsoft and it’s new Kinetic system
Design matters, Fitch says
#CanneSummer: Projections.Talks.Winners
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Ramses II versus Muwatallis II: A Hittite army under Muwatallis ambushes part of an Egyptian army under Ramses as it is strung out in march formation. The various Egyptian divisions are divided and unaware of the unfolding disaster. How will Ramses rally his army and meet the Hittite attack?
The Battle of Kadesh was definitely not one of the decisive battles of history. For starters, the battle itself was inconclusive with each side taking some significant but not crippling losses, and then agreeing to a truce. Kadesh was both an Egyptian tactical victory – with Ramses rallying his army and repulsing the Hittite chariot attack – and a Hittite strategic victory – with the end result being an Egyptian withdrawal from the disputed zone. Even if the battle had a clear winner, the region being fought over was not vital to either side’s existence regardless of what either leader thought:
The battle at Kadesh was not fought on the territory of either power, but far from each’s homeland in a buffer zone the control of which was seen as vital to preserving the national security of the homeland itself. As in modern times, what had begun as a buffer zone for each antagonist had, over time, become defined as a vital interest. The situation was somewhat analogous to the role of East Europe in Soviet calculations of national security. Although the region was originally acquired as a buffer zone, the preservation of Soviet power in East Europe quickly became redefined as a vital Soviet security interest. What had once been negotiable quickly became nonnegotiable. (Gabriel and Boose, 1994: 64)
We can observe similar phenomena today in disputes over even smaller, less important regions that nonetheless feature prominently in the nation’s perception of its vital security interests. Despite being an inconclusive skirmish in a buffer zone between the two sides, it is interesting to note that Ramses’ withdrawal back across the Orontes River following the battle of Kadesh marked the last time an Egyptian army was north of the Orontes for the next three millennia and counting.
The most intriguing question from this battle is why Muwattalis did not send his otherwise uncommitted infantry across the Orontes River to complete the destruction of the Egyptian army as the chariots pressed the Egyptian camp on three sides:
This was the critical point in the battle. Muwattalis had achieved complete tactical surprise and, without committing either his infantry or chariot reserve, had shattered the Egyptian force and was closing in on its commander. The commitment of either infantry or reserve chariots would have sealed the Egyptian fate. Muwattalis could have sent infantry contingents over the ford north of the city and completed the envelopment of the [camp]. The Hittite infantry was still behind the city guarding the king and the baggage train. But Muwattalis did nothing. (Gabriel and Boose, 1994: 79).
Healy (1993) offers one explanation in the Osprey volume on this battle. Healy argues that the fact the Hittite infantry did not attack across the ford is difficult to explain away (1993: 66) and argues that far from a great pitched battle, the engagement of Kadesh was really just a reconnaissance in force that turned into a running combat (1993: 82). In this account, the chariot force Muwatallis initially sent across the Orontes was smaller than otherwise reported, maybe 500 chariots, and its objective was really just to determine the Egyptian army’s location and size (Healy, 1993: 66). The rout of the P’Re division was not a coordinated flank attack but simply the Hittite chariots riding through whatever appeared in their way as they emerged from the brush around the ford (Healy, 1993: 69). While this account is certainly plausible, as pharaohs are known to exaggerate and glorify their exploits no matter how minor they may have actually been, it is much easier to explain away Muwattalis not committing the Hittite infantry to the battle than it appears.
Gabriel and Boose offer another explanation:
The reasons for this inaction [at the critical point in the battle] are unknown but it is probable that [Muwattalis] fell prey to the old trap of other commanders that “the best is the enemy of the good.” From Muwattalis’ perspective, things were going fine. Why change? Do nothing rash. Wait! See how the situation develops, hold back the reserve, and wait for the decisive moment. Wait for the best possible situation. Under these circumstances, risk nothing to achieve only a good result. The result was paralysis. (1994: 79)
While Muwatallis may have suffered from some paralysis, it is important to keep in mind that Muwattalis achieved his strategic goals in this battle while Ramses did not. The Egyptian army, minus a division and the heads of many subordinate commanders, withdrew from Syria after the battle. The Egyptian army never crossed the Orontes River again while the Hatti was able to foment revolt in Egyptian-held Palestine. Muwattalis risked nothing and did achieve a good result. The committal of a large infantry force of unknown quality across a river is not without risk. If Muwattalis had committed his infantry to the battle, it is possible that they too would have been defeated with the chariot force when the rest of the Egyptian army arrived from the northwest and south. Rather than an Egyptian tactical victory in a skirmish, the result could have been an Egyptian decisive victory in a pitched battle that Ramses was able to exploit and achieve his strategic objectives at the cost of Hittite ones. It only seems fair that we explore better questions than why Muwattalis did not commit his infantry, such as how Ramses allowed his army to be divided without any effective information gathering capabilities to determine where the enemy was.
There are a lot of uncertainties regarding this battle. I have followed Gabriel and Boose’s account fairly closely while incorporating some elements from Suhr’s account featured in a 1995 Military History magazine that is now available online. I have also downplayed Ramses’ propagandist claims that he was at the head of every charge and critical point in the battle as much as possible.
If you are looking for some good war-gaming of the battle and other battles during the same era, check out GMT’s Chariots of Fire, another volume in its amazing Great Battles of History series. Highly recommended.
Drews, Robert. The End of the Bronze Age: Changes in Warfare and the Catastrophe c. 1200 BC. Princeton: Princeton University Press, 1993.
Ferrill, Arther. The Origins of War: From the Stone Age to Alexander the Great. London: Thames and Hudson, 1985.
Gabriel, Richard A. and Donald W. Boose Jr. The Great Battles of Antiquity: A Strategic and Tactical Guide to Great Battles that Shaped the Development of War. Westport: Greenwood, 1994.
Goodenough, Simon. Tactical Genius in Battle. Oxford: Phodian Press, 1979.
Healy, Mark. The Warrior Pharaoh: Ramses II and the Battle of Qadesh. London: Osprey, 1993.
Rice, Rob S. “Kadesh, 1285 BC.” In Battles of the Ancient World 1300 BC – AD 451, 206-215. London: Amber, 2007.
Egyptian infantry: http://www.dbaol.com/armies/army_11_figure_1.htm
Egyptian light chariots: Healy, Mark. The Warrior Pharaoh: Ramses II and the Battle of Qadesh. London: Osprey, 1993.
Hittite heavy chariots: Healy, Mark. The Warrior Pharaoh: Ramses II and the Battle of Qadesh. London: Osprey, 1993.
Hittite infantry: http://www.dbaol.com/armies/army_9_figure_1.htm
Map of the Middle East: https://en.wikipedia.org/wiki/Battle_of_Kadesh
Ramses II: https://en.wikipedia.org/wiki/Ramesses_II
If you enjoyed the Battle of Kadesh 1285 BC battle animation, you may also enjoy these other battle animations:
Battle of Raphia 217 BC, another ancient battle featuring the Egyptians:
Battle of Yarmuk 636, another battle featuring a commander choosing not to commit his entire force to the battle for unexplained reasons:
Battle of Ad Decimum 533, another battle featuring an ambush of an army on the march:
Tags: 1200s BC, ambush, Ancient Era, chariot, Egyptians, envelopment of a single flank, Hittites, infantry, land, modern day Syria, Muwatallis II, Ramses II, Season 10, Western Asia
Readers Comments (1)
Anne July 18, 2017 @ 8:18 am
This is fantastic, thank you! Teaching this to a Year 12 Ancient History class and they loved it.
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The Capitol Kempinski Hotel Singapore is located at 15 Stamford Rd, Singapore 178906. Special opening rates begin at SGD 568++. For reservations, please contact +65 6368 8888 or email reservations.singapore@kempinski.com.
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Home - Magazines and Books - Educational - Vintage Mining and Scientific Press, 1862 - 1882, 1000 Back Issues Vol1 DVD
Vintage Mining and Scientific Press, 1862 - 1882, 1000 Back Issues Vol1 DVD
The Mining and Scientific Press was a weekly periodical that started publishing during the industrial revolution and the hey day of modern mining. Each book is in high resolution PDF format.
Mining and Scientific Press
An Illustrated Journal of Mining, Popular Science, and General News.
Volume 1 DVD, 1862 - 1882
Over 1,000 issues covering 20 years
Great Collection on one data DVD.
This is a data DVD can be played in any computer. It cannot be played in a DVD player attached to your TV.
All publications are in PDF format, for easy searching and printing
The Mining and Scientific Press was a weekly periodical that started publishing during the industrial revolution and the hey day of modern mining, in the late 1800's and early 1900's. Published every week, it served as a heavy industry newspaper, covering the technological, business, and economic issues surrounding mining, manufacturing and industry.
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Mining and Scientific Press, 1862 to 63 Volume 6 and 7, ~60 issues
Mining and Scientific Press, 1864, Volume 8 and 9, 52 issues
Mining and Scientific Press, 1865, Volume 10 and 11, 52 issues
Each volume on the DVD contains numerous issues, typically spanning 6 months per volume.
Model: CA-V33
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News4 I
November 30, 2015 April 1, 2019 Jill T Frey 0 Comments news4
Before he handed over the White Home to Trump, former President Barack Obama sanctioned Russia for its alleged involvement in the election – a move that may finally come back to dismantle one in every of Trump’s senior aides. Neighborhood considerations and KCTV5 Information studies concerning the Kansas Metropolis police department’s 911 system are getting outcomes.
Whereas the end result of felony investigations into allegations in opposition to Weinstein stays unclear, the producer might have to present sworn testimony in a lawsuit he filed against his former company. The Director of the Particular Investigations Unit, Tony Loparco, has determined there aren’t any cheap grounds to lay legal costs in opposition to a Toronto Police Service officer in relation to an incident by which a 44-year-outdated man was injured after he fell out of a van and was arrested.
Trey Gowdy, R-S.C., and Bob Goodlatte , R-Va., the chairs of the House Oversight and Judiciary Committees, respectively, mentioned their committees would be investigating the Obama Justice Division ‘s decisions and disclosures concerning the investigation of Clinton’s use of a non-public electronic mail server , in addition to its investigation of Trump campaign associates.
Mr Papadopoulos plead guilty to federal costs for mendacity to the FBI as part of a cooperation agreement with Special Counsel Robert Mueller’s investigation. The recipients’ names are shielded in the emails, however Mr Clovis’s lawyer has confirmed that references to the campaign supervisor” certainly consult with Mr Clovis, who served as campaign co-chair.
The investigations got here four weeks after The New York Instances printed an exposé of sexual harassment allegations towards Weinstein, resulting in his firing from the corporate he co-founded and his expulsion from the producers guild and the organization that bestows the Academy Awards. There have been clearly some efforts from Trump associates to get dust on Hillary Clinton from the Russians — as seen, as an illustration, in the meeting Donald Trump Jr., Paul Manafort, and Jared Kushner took with a Russian lawyer.
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Board index ‹ Main Forum ‹ Coaxial
The greatest TV in history is being made right now. The worst TV in history is being made right now.
by Nordling on Fri Jan 19, 2007 12:57 pm
http://www.variety.com/article/VR1117957532.html?categoryid=14&cs=1
Peter Dinklage as Tyrion!
Anyone else read these books? HBO is perfect for this series.
Last edited by Nordling on Fri Jan 19, 2007 1:00 pm, edited 1 time in total.
Nordling
Location: Missouri City, TX
by thebostonlocksmith on Fri Jan 19, 2007 12:59 pm
The formation of scree is often a result of frost heaving, one of the physical weathering processes that slowly wear mountains down. During the day, water can flow into cracks and crevices in the rock. If the temperature drops sufficiently, for example with the onset of evening, the water freezes. Since water expands when it freezes, it forms a powerful wedge which can eventually break out pieces of rock. A repeated cycle of freeze-thaw can lead to significant erosion and most of the loose rock or scree slopes so common in the mountains have been formed in this way.
They'll need all the luck they can get!!!
thebostonlocksmith
by Nordling on Fri Jan 19, 2007 1:01 pm
Yeah, kick a guy when he's down. I tried to fix that in Edit to no avail.
Heh!
by thebostonlocksmith on Fri Jan 19, 2007 1:04 pm
I'm the worst spellist in the worlds, i can't believe i did it to be honest, but i did it anyway... sorry...
by LaDracul on Fri Jan 19, 2007 1:06 pm
Can someone fill me in on this series? The first time I heard about it was when "Game Informer" ran an article on the top 10 licensed games we want to see.
LaDracul
Location: Gothamized Chicago
Basically, it's a huge fantasy epic involving 7 different families spread out all over the country trying to claim the throne. Lots of battles, political intrigue, familial infighting, and a little magic and even some dragons thrown into the mix. It's very adult, and don't get too attached to some of the characters.
Hmm, thanks. It does have HBO series written all over it, I'll give it that.
by Carolian on Fri Jan 19, 2007 1:22 pm
Love love love the books. Absolutely classic stuff. I definitely can't wait for the series to start.
The whole world's wild at heart and weird on top.
This is a snakeskin jacket. And for me it's a symbol of my individuality, and my belief... in personal freedom.
Carolian
by VegasRon on Sun Aug 31, 2008 11:43 pm
Does anyone have any up-to-date info on this project? Oh, and IMDBPro can die in a fiery fire. This is, by far, my favorite fantasy series. But with HBO nixing Preacher for being too violent (though I bet that has more to do with the religious angle than violence), I've just become suddenly worried about the status of Martin's excellent work.
VegasRon
MONKEY BUTLER
Location: Sin City
Re: HBO's "A Song of Ice and Fire"
by Starks on Wed Sep 10, 2008 10:10 pm
Things are still progressing albeit slowly, but given the snail like pace martin releases these books at if HBO were to start filming for next season they would catch up to Martin before he finished the story :
from George RR Martin's blog
http://grrm.livejournal.com/
I have some exciting news to share.
(But please, guys and gals, don't get TOO excited. This is what it is, and so far that's all it is, so don't make any assumptions).
HBO has just exercised its option, and purchased the television rights to A GAME OF THRONES.
For those of you who don't know Hollywood, an option gives a production company the right to buy a property (a book, a screenplay, whatever) at a certain agreed-upon price for a certain period of time (a year, six months, whatever). When that time runs out, they can let the option lapse, renew the option, or exercise the option and buy the property. The last is what HBO has just done.
What they have NOT done is greenlight the project. A GAME OF THRONES remains in development. They're still budgeting, still looking at locations (Spain and the Czech Republic at present, I hear). No decision has been reached, so any celebration would be premature. In Hollywood it is always best not to assume something is going to happen until it actually happens.
Even so... this is a very encouraging sign, and one that suggests a continued high level of enthusiasm and commitment for A GAME OF THRONES at HBO.
So keep your fingers crossed.
Interesting that the are looking at Spain and the Czech Republic. I thought NZ would get a look in due to various environments available within short distances, but Europe would have the advantage of having real Medieval castles to use as backdrops.
by Ribbons on Thu Feb 05, 2009 12:58 am
Well, this is just a rumor right now, but Peter Dinklage may be signing on to play... some character whose name I can't remember:
http://www.aintitcool.com/node/40001
To the people who've read the books, is this good news?
by zane on Tue Mar 10, 2009 6:53 pm
Yes I've read them. They are very long winded as well as simply long, and not particularly satisfying. Most of the characters are not likeable or interesting. I'm always shocked at how little closure there is at the end of every book until I discovered that Martin intended each one to be only pieces tot he big puzzle. It's like watching 30 minutes of a 2 hour movie every few years. He may be a good writer but not a very good storyteller.
by hassman on Mon Apr 27, 2009 10:23 pm
Read the books. Great series. Martin is a fantastic writer. Unlike some fantasy writers, he's not afraid to kill characters or move the story along. I for one am hoping that this project isn't dead and HBO gets moving on it. But Hollywood is Hollywood and it moves at the pace it does.
hassman
by Fievel on Mon Apr 27, 2009 11:28 pm
Here's some news you guys should like:
HBO to film TV pilot in Northern Ireland
Achievement Unlocked: TOTAL DOMINATION (Win a Werewolf Game without losing a single player on your team)
by Werthead on Wed May 06, 2009 10:02 am
Here's some news you should like even more:
Peter Dinklage cast as Tyrion Lannister.
Last edited by Werthead on Wed May 06, 2009 11:15 pm, edited 1 time in total.
Check out The Wertzone for SF&F book, TV, movie and game reviews.
Werthead
Location: Colchester, UK
by Ribbons on Wed May 06, 2009 2:53 pm
Werthead wrote: Here's some news you should like even more:
Wait, I... what?
by Fievel on Wed May 06, 2009 3:43 pm
Ribbons wrote:
I read that earlier today... clicked the link... and was immediately confused.
Hell of a first post though...?
by Confused Pete on Wed May 06, 2009 7:41 pm
i don't know what you two are babbling about. makes perfect sense to me.
tosh... toshirolash?
Confused Pete
Location: Remedial Room 213
by Werthead on Wed May 06, 2009 11:20 pm
Hmm. How embarassing. I put it down to unseemly excitement at this casting news. And fixed the link (* facepalms *)
by Fievel on Thu May 07, 2009 12:02 am
Confused Pete wrote: i don't know what you two are babbling about. makes perfect sense to me.
The Return Of Pete!!!
The Zone always needs more Confused Pete... but where's the av?
by Werthead on Thu Jul 16, 2009 9:30 pm
Excited rumours that Sean Bean has been cast as Eddard Stark. No official word from HBO yet.
by Starks on Wed Aug 05, 2009 2:56 pm
Casting Update:
http://www.hollywoodreporter.com/hr/con ... 13cf46b0d9
According to the Hollywood Reporter, two time Tony-winning actress Jennifer Ehle has been cast as Catelyn.
As of now the acting writing and directing talent attached to the show is:
Writers: David Benioff (Troy), D.B. Weiss and George RR Martin (he will write one episode a season).
Director: Thomas McCarthy (The Station Agent, The Visitor)
Another dozen or so major roles are to be cast over the next 8 weeks, with filming of the pilot to commence in October.
Last edited by Starks on Sat Oct 17, 2009 10:20 pm, edited 1 time in total.
by Fievel on Wed Aug 05, 2009 3:56 pm
Nice update, Starks! Thanks!
by VegasRon on Sun Aug 09, 2009 10:53 am
Good work, Starks.
I am seriously jonesing for this, my all-time favorite literary work (is King of Hyperbole a rank?).
Now if they'd just make WWZ an HBO/Showtime dealio...
by swoop91 on Sun Aug 09, 2009 6:58 pm
I am just starting to reread ASOIAF after more than 7 years since I've picked up The game of thrones for the first time.
What I find interesting is that I feel joy, sorrow and anger all mixed up when I remember what happened and what will be of all
characters that I find close and appealing as well of characters I hate and dislike and how do they all turn out.
Also, I give you internet video as a gift:
http://www.youtube.com/watch?v=6lz3lAd2nGQ
swoop91
STEAK-A-BABY
Location: Frakkin' Island
by Bob Samonkey on Thu Sep 03, 2009 4:53 pm
I am unsure how I feel about this...
Bob Samonkey
Große Fäuste
Location: Samonkey Island
by VegasRon on Tue Sep 08, 2009 3:55 pm
Bob Poopflingius Maximus wrote: I am unsure how I feel about this...
How can you be anything but estatic? An HBO series was the only way the books could get justice.
by Bob Samonkey on Tue Sep 08, 2009 4:03 pm
VegasRon wrote:
I know! I am just always afraid to get my hopes up...
by Starks on Sat Oct 17, 2009 10:19 pm
Further Casting update:
With production to start on the A Game of Thrones pilot on the 24th of October, the final pieces of casting are being announced.
Jason Momoa (Star Gate: Atlantis) announced during a convention in Melbourne, and it has been since confirmed by HBO, that he has landed the role of Khal Drogo. He is of Native Hawaiian and German-Irish anncestory and is 6'4" (1.93m) tall, giving him the required look.
UK child actor Isaac Hempstead-Wright has been cast as Bran Stark.
A trio of actors have also announced (via Twitter, personal website, etc) that they will be filling the roles of the three characters from the prologue:
Jamie Campbell Bower as Waymar Royce
Broson Webb as Will
Richard Ridings as Gared
In the strongly rumoured department:
Joseph Mawle has (probably) landed the role of Benjen Stark.
Ron Donachie is said to be playing Rodrik Cassel.
Ian McNeice may be playing Illyrio Mopatis
and Donald Sumpter has been rumoured to have landed the role of Maester Luwin
Characters that have been cast:
Sean Bean as Eddard Stark - Warden of the North and Lord of Winterfell
Jennifer Ehle as Catelyn Stark - Wife of Sean Bean's Eddard Stark. Originally betrothed to Ned's older brother, but when the older brother was killed she fulfilled her duty by marrying Ned, securing an alliance between their two houses.
Richard Madden as Rob Stark - Eddard Starks 2nd oldest child. The legitimate heir to Winterfell.
Sophie Turner as Sansa Stark - Eddard Starks 3rd child and oldest daughter.
Maisie Williams as Arya Stark - Eddard Starks 4th child.
Isaac Hempstead Wright as Bran Stark - Eddard Starks 5th child, second in line to the throne of Winterfell behind his older brother Robb Stark.
Kit Harington as Jon Snow - Eddard Starks eldest, but bastard, child.
Joseph Mawles as Benjen Stark - Eddard's Starks younger brother, and the First Ranger of the Night's Watch
Alfie Allen as Theon Greyjoy - The son of Balon Greyjoy, Lord of the Iron Islands. Was taken hostage and made a ward of Ned Stark after Balon's attempted rebellion ten years earlier.
Ron Donachie as Ser Rodrik Cassel - Master-At-Arms of Winterfell.
Donald Sumpter as Maester Luwin - Maester of Winterfell and trusted advisor to House Stark.
Mark Addy as Robert Baratheon - King of the Seven Kingdoms, who took the Iron Throne after he crushed the royal House of the Targaryens in a bloody civil war 15 years earlier
Lena Headey as Cersei Lannister - The Queen of the Seven Kingdoms and twin sister to Jaime Lannister.
Jack Gleeson as Joffrey Baratheon - The oldest son of Robert Baratheon & Cersei Lannister, heir to the Iron Throne
Rory McCaan as Sandor "The Hound" Clegane - Bodyguard of Prince Joffrey Baratheon.
Nikolaj Coster-Waldau as Jamie "Kingslayer" Lannister - Twin Brother of Queen Cersei. A member of the Kingsguard. Also known as the Kingslayer as he killed the old King Aerys Targaryen during the civil war 15 years earlier.
Peter Dinklage as Tyrion Lannister - A sarcastic and cynical dwarf, younger brother to the Queen of the Seven Kingdoms, Cersei Lannister and her twin brother Jamie Lannister .
Harry Llyod as Viserys Targaryen - The exiled and bitter heir of the royal dynasty that once ruled the Seven Kingdoms.
Tamzin Merchant as Daenerys Targaryen - Younger sister of Viserys Targaryen. Alongside her brother she lives in exile.
Iian Glen as Jorah Mormont - An exiled knight, Daenerys Targaryen's most trusted companion.
Jason Momoa as Khal Drogo - A rich and powerful horselord of Dothraki.
Ian McNeice as Ilyrio Mopatis - A wealthy and powerful Magister in the Free City of Pentos.
Jamie Campbell Bower as Waymar Royce - A member of the Night's Watch sent out on a ranging mission.
Bronson Webb as Will - A member of the Night's Watch sent out on a ranging mission.
Richard Ridings as Gared - A member of the Night's Watch sent out on a ranging mission.
by Ribbons on Sat Oct 17, 2009 11:15 pm
Winter is coming, bitches! Yee-haw!!!
by Determinator on Tue Oct 20, 2009 6:04 pm
I guess this give me time to read these books! Will be interesting to see this, compared to the other big fantasy series based on Terry Goodkind's Sword of Truth series.
Determinator
by Werthead on Fri Nov 06, 2009 8:42 am
BEWARE OF THE ODD SPOILER
Well, that was a fun few days. I flew over to Northern Ireland to see GRRM and some of the castmembers doing a book-signing at Easons in Belfast on Tuesday followed by an informal party in the evening.
From left to right that's Ron Donachie (Ser Rodrik Cassel), Alfie Allen (Theon Greyjoy), Kit Harington (Jon Snow), Sophie Turner (Sansa Stark), Maisie Williams (Arya Stark) and Richard Madden (Robb Stark), with GRRM seated. More photos of the signing and the evening party can be found here.
The signing was packed. Someone at the bookstore said they weren't expecting too many people and for it not to take too long. My estimate was well upwards of 100 people showed up and it took well over an hour to clear the queue. GRRM introduced himself and Matt Hughes, who wrote an excellent story in Songs of the Dying Earth, and they mostly signed copies of that book, although many copies of ASoIaF were also presented for signing. George also introduced the castmembers who had arrived: all of the above plus Rory McCann (Sandor Clegane) who was on his way to the studio so could only stay for a few minutes.
GRRM took great delight in telling everyone that Richard Madden (Robb) had just won the 'Best-Dressed Man in Scotland' competition, whilst Alfie Allen (Theon) jumped the queue to get his own copies of the books signed.
As for the castmembers, Richard had read all of Book 1 but no further (though he knows his character's eventual fate); Kit Harington (Jon) had reached Book 4 and was happy with all the stuff Jon gets to do in the third book; Maisie Williams (Arya) and Sophie Turner (Sansa) had not read the books at all but were being fed edited highlights by their mothers; Alfie Allen had reached Book 2 and was happy to see Theon become a much bigger character; and Ron Donachie (Rodrik Cassel) had 'devoured' all four books in just a few days and was now bugging George by asking when the fifth book is out.
Everyone was brilliant. The actors weren't behind a desk, they just milled around in the back corner of the store, chatting to fans, signing books and posing for pictures. They were all really relaxed. I get the impression Alfie was very happy to be talking about himself and his job rather than fielding tedious journalist questions about his celebrity dad/girlfriend/sister. He told me he liked boats and was looking forward to those parts in Book/Season 2. I'd previously been skeptical over his casting as he doesn't look anything at all like I'd imagined Theon, but his attitude and good humour won me over. I think he'll be great. He and Richard Madden had a great double-act going which seemed appropriate given their characters are best friends.
If GoT goes to series, Richard Madden is going to be its biggest break-out star, I think I can comfortably predict. I can see the fansites going up already. He was tremendously outgoing, tried to make sure he had a word with every fan who stopped by, joked around with 'his little sisters' and so on. All my female friends seemed very taken with him (at least there was much giggling and requests for photos with him). He seemed convincing as Sean Bean's son and I think he's going to be a great Robb Stark.
Kit Harington was quite quiet and subdued, as he'd just come off three 17-hour days in a row. He was shattered, but posed for pics, talked to the fans and was happy to talk about the filming of the scenes with the direwolf pups, which were apparently very small and cute. The girls hadn't acted with them (no scenes of them and their pups in the pilot) but were looking forward to it in the series.
Sophie Turner and Maisie Williams were awesome. They were very convincing as sisters and both seemed to embody their characters: Sophie was doing great PR work, talking to fans, signing yet more books and being as diplomatic and friendly as Sansa is in the books, whilst Maisie seemed to take great delight in tormenting the boys (Alfie in particular). She turned very serious when discussing her character and interestingly said to another fan that whilst Sansa cried on the outside a lot in the first book, she thought Arya did her crying on the inside, which was a very astute observation (especially as she only had limited info to go on: the girls' mums thought the books a little too adult for them to read in full just yet). She also did a "Stick them with the pointy end!" for another fan, which was excellent.
Ron Donachie was very laidback and professional, full of excellent actors' stories, including some about filming Titanic with James Cameron which were very funny, such as one time where the cameramen thought they didn't have the right lighting to film a scene in the water, so Cameron got annoyed, grabbed a handheld and just waded out to do it himself. I was going to ask him about his recent appearance on Doctor Who, but erm, forgot. He was the most experienced actor present and I thought would be more reserved, but seemed to enjoy the experience of meeting the fans very much. He thought the books were excellent and wanted the chance to tell Rodrik's full story across the first two books/seasons.
GRRM himself was his normal friendly self, signing the books people brought in, assuring them that ADWD is looking good at the moment (more than that in another post) and so on.
Picking up where I left off before, we returned from the signing to the hostel to freshen up before heading to McHughes, the pub where the party was to be held. Despite a slight signage hiccup ("GRRF AND FRIENDS") it was great. We got the large basement bar to ourselves, which comfortably fitted the 60-70+ people who showed up.
The attendance was similar to that at the signing: we lost Kit and Alfie, who were too worn out by filming, but gained Esme Bianco, who plays 'Ros', a lady of negotiable affection in King's Landing. Esme did some autographs and photos for fans eager to 'get the full set' and explained her role in the series to some book fans who hadn't been keeping up to date on the casting news. I think we settled on the idea being to give Tyrion a 'more HBO introduction' than he had in the books.
An American fan from Kentucky who'd been visiting Ireland took advantage of the occasion to propose to his girlfriend (she said yes), and they promptly were congratulated by GRRM and the castmembers, which was very cool.
I spent some time talking to Maisie and Sophie's parents, who were almost as enthusiastic and excited about the show as their daughters. They'd attended the cast read-through and reported that the rest of the actors are all terrific as well, taking time to especially praise Tamzin Merchant as Daenerys who obviously has a very challenging role but did a great job at the read-through.
George worked the room, sitting with each table of fans in turn, talking to everyone and discussing the books, the TV show and his other projects. He confirmed that ADWD is now well over 1100 pages long in manuscript and more is required. He didn't want to give out any dates, but indicated he didn't see the book getting as long as ASoS (almost 1600 MS pages). He also indicated that getting events to happen at the right time and in the right order to make sense compared to AFFC and the following books is part of the 'Meereenese Knot' problem, but he is working away at it. Someone asked if his blog post about his sword bouncing off the knot and cutting his nose off was a reference to Tyrion and he laughed and said that fans read way too much into every little thing he says.
It may be worth bearing that in mind during the next bit of news: at one point, whilst talking to everyone from the stage bit at the front of the pub, GRRM said the show was not greenlit yet, it's just a pilot and a lot of pilots don't make it to series, but he also said that HBO might give them a one-season order or maybe even a two-season order. He also expects to hear about the series by March. Whether that's HBO saying they'll make the decision in March or that's merely the latest time they'll decide (I was thinking January myself, based on some recent pick-ups they have given, but obviously GRRM is far better-informed) wasn't clear, but that was the first indication of a timescale involved.
The actors were great, continuing to sign books for people who'd missed the signing earlier that day and chatting to people. Ron Donachie turned out to be a fan of the New York Jets which GRRM was taken aback by (American football has a following in the UK, but not a very large one) before promptly jumping into a detailed American football discussion with Ron.
The actors had a 5am call the next day, so left reasonably early. Because it had been a fairly early start to the meet, we were left in the highly unusual state (for SoIaF fans anyway) of everyone deflating at around 10pm. Luckily, we were buoyed up by the arrival of Julia Frey, who is an effects supervisor on the project. Julia had (somewhat briefly and quickly edited) blogged about some very early work on the show, bringing her to the attention of the fans of Winter is Coming and Westeros.org, but she was diplomatically circumspect on her current work on the show (seriously, she has a terrific poker face). Eventually we gave up trying to get intel on the show and ended up listening to Julia's great stories about working on Alien 3 and other projects. Very cool stuff. She also has a funny website on safety graphics here.
And then it was time for everyone to go home. It was an excellent trip, some new friends were met and made, the cast were universally excellent and the buzz about the production was palpable. Nothing is set in stone and the series may not yet be commissioned, but I am firmly convinced that the the series is in great hands.
by Werthead on Thu Jan 14, 2010 11:57 pm
HBO have given Game of Thrones a significant display of confidence, reporting that the footage they have seen so far is fantastic, that the performances are impressive, the budget they gave the pilot was huge (possibly the biggest of any show since Rome, if the $10 million figure is correct) and that they would be very surprised if they now didn't commission it.
They even went as far as to give a potential airdate: if Game of Thrones is picked up they will air it in March or April of 2011.
Final news on the series is expected in March this year.
by Ribbons on Tue Mar 02, 2010 7:29 pm
w00p w00p! HBO orders a full season of A Game of Thrones:
http://www.thrfeed.com/2010/03/hbo-greenlights-game-of-thrones-.html
So far they've only filmed the pilot, but according to the article they plan to do another 9 or 10 episodes
by Starks on Sun Jul 18, 2010 3:15 am
With production of the 10 epsiodes order for Season 1 to begin in earest over the next 4 weeks, casting (and re-casting from the Pilot in some cases) for season 1 roles has been announced at a constant pace in recent times.
Filming of Westeros scences have moved production from Morocco to Malta.
Roles Recast from the Pilot Episode (Scences to be reshot):
- Michelle Fairley as Catelyn Stark - Jennifer Ehle played this role in the Pilot, which has since been recast.
- Emilia Clarke as Daenerys Targaryen - Tamzin Merchant played this role in the Pilot, which has since been recast. Clarke is a relative newcommer to acting, but has some clips on YouTube, http://www.youtube.com/watch?v=AtjeDEectH8&feature=related,
http://www.youtube.com/watch?v=BxAPXnsXXfc&feature=related
- The three Prolouge roles of Waymar Royce, Will and Gared have also been recast.
Newley cast Roles:
- Aidan Gillen as Petyr "Littlefinger" Baelish - Gillen is an Irish actor, best known for his role as Councilman Thomas Carcetti on seasons 3 - 5 of HBO's "The Wire".
- Conan Stevens as Gregor "The Mountain That Rides" Clegane - Conan Stevens is a 7ft+ tall Australian actor who has mostly starred in Asian productions to date.
- John Bradley as Samwell Tarly
- Jerome Flynn as Bronn
- Conleth Hill as Varys
- Kristian Nairn as Hodor
- Gethin Anthony as Renly Baratheon
- Susan Brown as Septa Mordane
- Dominic Carter as Janos Slynt
- Antonia Christophers as Mhaegen
- Kate Dickie as Lysa Arryn
- Roy Dotrice as Grand Maester Pycelle
- Finn Jones is Ser Loras Tyrell
- Miltos Yeromelou as Syrio Forel
Season 1 Roles yet to be cast:
- Tywin Lannister
Michelle Fairley as Catelyn Stark - Wife of Sean Bean's Eddard Stark. Originally betrothed to Ned's older brother, but when the older brother was killed she fulfilled her duty by marrying Ned, securing an alliance between their two houses.
Jamie Sives as Jory Cassel - Captain of the Guard at Winterfell.
Miltos Yerolemou as Syrio Forel - The former First Sword of Braavos, is hired by Lord Eddard to train Arya Stark at swordplay.
Kate Dickie as Lysa Arryn - Sister of Catelyn Stark, who married Jon Tully, Overlord of The Vale
Lena Headey as Cersei Lannister - Wife of the King Robert Baratheon, Queen of the Seven Kingdoms, and twin sister to Jaime Lannister.
Conan Stevens as Ser Gregor "The Mountain who Rides" Clegane - A huge knight who is the elder brother of Sandor Clegane. He is known throughout the seven kingdoms for his size, cruelty, and prowess in battle.
Jerome Flynn as Bronn - A sell-sword with a sardonic sense of humor.
Finn Jones as Ser Loras Tyrell - Known as the "Knight of Flowers", is a highly skilled knight and jouster.
Gethin Anthony as Renly Baratheon - Lord of Storm's End, the youngest brother of King Robert, and Master of Laws in the Small Council
Roy Dotrice as Pycelle, Grand Maester of the Seven Kingdoms - A member of the Small Council, the ruling body of advisors to the King of the Seven Kingdoms.
Ian McElhinney as Ser Barristan Selmy - Lord Commander of the Kingsguard.
Aiden Gillen as Lord Petyr Baelish - Nicknamed "Littlefinger," is the Master of Coin in King Robert Baratheon's Small Council, the ruling body of advisors to the King of the Seven Kingdoms of Westeros.
Conleth Hill as Lord Varys, the Master of Whisperers - Is the royal spymaster and a member of King Robert's Small Council.
Emilia Clarke as Daenerys Targaryen - Younger sister of Viserys Targaryen. Alongside her brother she lives in exile.
Peter Vaughan as Maester Aemon - The old and blind Maester of the Night's Watch.
James Cosmo as Jeor Mormont - The 998th Lord Commander of the Night's Watch. Estranged father of Ser Jorah who gave up his lands to serve the Night's Watch.
Derek Halligan as Allister Thorne - A bitter, hardened drill instructor at Castle Black, the Night's Watch main fortress.
John Bradley as Samwell Tarly - The elder son and former heir of Lord Randyll Tarly. A brother of the Night's Watch.
Francis Magee as Yoren - A recruiter for the Night's Watch.
by TonyWilson on Sun Jul 18, 2010 9:19 am
Some of this casting is brilliant. Are HBO going to film the pilot ep again with the new cast? Oh and Aidan Gillen as Littlefinger is sodding perfect.
Elitism is positing that your taste is equivalent to quality, you hate "Hamlet" does it make it "bad"? If you think so, you're one elite motherfucker.
TonyWilson
No Less Liquid Than His Shadow
Location: A Drained Swimming Pool
by stereosforgeeks on Sun Jul 18, 2010 1:09 pm
TonyWilson wrote: Some of this casting is brilliant. Are HBO going to film the pilot ep again with the new cast? Oh and Aidan Gillen as Littlefinger is sodding perfect.
I think they are just redoing the scenes that need it. Not the whole episode.
stereosforgeeks
Re-Wound
Location: DCish
by TheBaxter on Mon Jul 19, 2010 8:50 am
that's a HUGE cast. i have a feeling this show could end up being very confusing with that many characters to keep track of.
TheBaxter
Carlos Danger
by Starks on Tue Jul 20, 2010 5:29 am
TheBaxter wrote: that's a HUGE cast. i have a feeling this show could end up being very confusing with that many characters to keep track of.
I wouldn't worry about it. As anyone who has read the 4 already released books would know, that cast list reads more like an obituary. Anyone that has issues with characters being killed off in shows should give A Game of Thrones a wide berth, deaths occur frequently and no character is safe!
by VegasRon on Tue Sep 21, 2010 10:56 pm
Just in case anyone missed this tidbit last week:
by Werthead on Mon Nov 29, 2010 10:46 am
New 60-second trailer.
Looks pretty good. They've changed Alfie Allen's hair colour since the pilot, so now he looks a lot more like Theon. There's also some nice shots in the trailer like Tyrion slapping Joffrey for being disrespectful and Jaime getting ready to kick some ass.
There's a whole bunch of other behind-the-scenes videos on the official making-of website.
by geekgrrl on Thu Dec 16, 2010 11:00 am
This is probably the first time that an upcoming show has prompted me to go out and read the book series it was based on.
http://lostinreviews.com/2010/12/lip-tv-edition-game-of-thrones-extended/
http://lostinreviews.com/ For those of us who live outside of normal
geekgrrl
Location: miles from normal
by Werthead on Mon Jan 17, 2011 7:15 am
New trailer. Warning! Contains awesome.
Any chance a moderator could change the thread title to GAME OF THRONES, otherwise people won't have a clue what we're talking about here
Re: HBO's "GAME OF THRONES"
by Ribbons on Thu Mar 03, 2011 6:42 pm
Kakow! (New trailer)
http://insidetv.ew.com/2011/03/03/game-of-thrones-new-trailer/
April is sooo close. Hard to believe this is finally happening.
Re: HBO's GAME OF THRONES
by Nice Marmot on Fri Mar 04, 2011 5:14 pm
Seemed like forever and now we can say NEXT MONTH . . .
Nice Marmot
by Nice Marmot on Thu Mar 17, 2011 12:36 pm
HERE THERE BE SPOILERS
HBO Issues First Two Episode Descriptions For GAME OF THRONES
by swoop91 on Sun Mar 20, 2011 10:39 am
every time i watch this i Jizz in my pants
by Nice Marmot on Mon Mar 28, 2011 9:00 am
Just an FYI, there are some behind the scenes/introduction type shorts on HBO on Demand. They cover things like the storyline, costume design, introducing the Starks, Lannisters, etc . . .
And some kind of a more extensive preview is coming on April 3rd . . .
by Nice Marmot on Sun Apr 03, 2011 11:05 am
Tonight . . .
by Ribbons on Sun Apr 03, 2011 10:23 pm
swoop91 wrote: every time i watch this i Jizz in my pants
And on that note, sticky'd!
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AP Photo/Gerry Broome
No. 4 Virginia Rally Past No. 8 North Carolina 69-61
AP-BKC--T25-Virginia-North Carolina
By AARON BEARD , AP Basketball Writer
Eds: APNewsNow. No. 4 Virginia 69, No. 8 North Carolina 61. With AP Photos.
CHAPEL HILL, N.C. (AP) — Kyle Guy scored 20 points, including back-to-back 3-pointers in the final two minutes, to help No. 4 Virginia beat No. 8 North Carolina 69-61 on Monday night.
De'Andre Hunter also had 20 points for the Cavaliers (21-2, 9-2 Atlantic Coast Conference), who played with veteran poise down the stretch after trailing for a good chunk of the second half.
The Cavaliers were coming off a second loss this season to No. 2 Duke and arrived in Chapel Hill facing the prospect of their first losing streak of any kind in two years. Yet Guy and his teammates rallied from seven down in the final eight minutes to snap UNC's seven-game winning streak.
Coby White scored 17 points to lead the Tar Heels (19-5, 9-2), who were off to their best start in league play under 16th-year coach Roy Williams. UNC shot just 35 percent for the game.
Virginia: The Cavaliers' home loss to the Blue Devils on Saturday gave them more league losses than all of last year, when they went 20-1 against ACC teams to sweep the regular-season and tournament titles. Yet as it always seems to do, Virginia stuck to its unhurried offensive pace and stubborn defense to hang around as UNC threatened to stretch the lead. And when the Cavs got their opening, Guy pounced by hitting two huge shots.
UNC: The Tar Heels had Michael Jordan in the house for this game and plenty of momentum. But after managing to speed up Virginia in the second half to get out in transition, the Tar Heels sputtered down the stretch when they had a chance to seize control. UNC had to go much of the way without key freshman reserve Nassir Little, who injured his right ankle with 12:06 left in the first half and didn't return.
Virginia: The Cavaliers return home to host Notre Dame on Saturday.
UNC: The Tar Heels visit Wake Forest on Saturday.
Follow Aaron Beard on Twitter at https://twitter.com/aaronbeardap
Guy, No. 4 Virginia rally past No. 8 North Carolina 69-61
By AARON BEARD, AP Basketball Writer
Virginia North Carolina ACC NCAAM Basketball Win
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Anglo-American University cultivates a global learning environment, promoting analytical, creative and practical thinking in the pursuit of academic excellence.
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Professors in the Pub: Venezuela
Back to the Articles
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AAU School of International Relations and Diplomacy in cooperation with the Ibero-American Center of the Metropolitan University Prague would like to invite you to this month´s Professors in the Pub on the topic of the situation in Venezuela. Event is open to all.
Political, economic, and humanitarian crises have been building up in Venezuela for years. Now, events appear to be coming to a head with Maduro’s regime on one side and Guaidó and the reformers on the other. The division in Venezuela has also divided the world, with different powers supporting the different leaders. What is it like to live in contemporary Venezuela? What are the daily struggles faced by common citizens? What are the roots of the current crisis, and what does the future look like? What are the possible solutions and the implications of those solutions for Venezuela, the region, and the world? Come discuss these questions and ask your own.
The lead professors will be Kateřina Březinová, Head of the Iberoamerican Studies Center and lecturer at Metropolitan University Prague, and Lucia Argüellová, Head of the Latin American Human Rights Program at People in Need (Člověk v tísni) and member of the Ibero-American Centre at Metropolitan University Prague.
Come to Café Des Taxis to have a drink and discussion with your professors and other experts about important events happening in the world. Share your questions and your views, and join the long tradition of politics in the pub.
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Child shot in road rage incident released from hospital
HOUSTON, Texas (KTRK) -- A 1-year-old child child who was shot in a road rage incident has been released from the hospital in good condition.
Brandon Jayden Ross was shot in his father's car at 8601 Southwest Freeway around 1:15 p.m. on May 3.
According to police, the father accidentally cut the suspect off on the feeder road before the shooting. The father told authorities that he even tried to apologize, but the suspect started waving a gun.
The child was released from Children's Memorial Hermann on Sunday.
Brandon's family released the following statement:
"Brandon's father and I want to thank each and every person who opened their arms to us and who prayed for our son following the senseless act that harmed him and our family. We are extremely grateful for the care Brandon received before and during his time in the hospital. We are looking forward to being home as a family and ask for privacy as Brandon recovers. God is love."
WATCH: Hero nurse speaks exclusively to ABC13
Brandon Jayden Ross is likely alive because of a hero nurse who was in the right place at the right time.
SEE ALSO: 1-year-old injured during road rage shooting in southwest Houston: police
The shooter remains unidentified and at large. Police believe the boy's father may have bumped his car or cut him off, which triggered the road rage.
RELATED: Baby's road rage shooting is wake-up call: HPD chief
The family of little Brandon Jayden Ross has launched two GoFundMe campaigns: one to help cover his medical expenses and another for a birthday party to lift his spirits.
houstonchild injuredshootingnurseschild shotroad rage
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Kentucky Derby 2019: Maximum Security disqualified, Country House wins
By Beth Harris
LOUISVILLE, Ky. -- Maximum Security led all the way in the Kentucky Derby on Saturday, only to become the first winner disqualified for interference in the race's 145-year history. After a long wait, Long shot Country House was declared the winner.
Country House, a 65-1 shot, finished second in the slop before an objection was raised, causing a lengthy delay while stewards repeatedly reviewed several angles of video footage, before he was elevated into the winner's circle.
The stunning outcome gave Hall of Fame trainer Bill Mott his first Derby victory at age 65. Jockey Flavien Prat, who originated the claim of foul, also won his first Derby.
LOOK BACK: The first Kentucky Derby first-finisher disqualification in history
In 1968, a failed drug test led officials to controversially disqualify Kentucky Derby winner Dancer's Image.
Country House paid $132.40 to win - the second-highest payout in Derby history.
It was a crushing turn of events for trainer Jason Servis and jockey Luis Saez, who already had begun celebrating what they thought were their first Derby victories.
They had to wait a little longer to celebrate but the connections of Country House are Kentucky Derby winners!pic.twitter.com/TuMtTvIv7j
— Kentucky Derby (@KentuckyDerby) May 4, 2019
Instead, Maximum Security was dropped to 17th of 19 horses. The colt was the 9-2 second choice in the wagering.
Prat claimed that Maximum Security ducked out in the final turn and forced several horses to steady.
War of Will came perilously close to clipping heels with Maximum Security, which could have caused a chain-reaction accident.
VIDEO: Maximum Security works out days before Derby
Maximum Security works out on Thursday, May 2, ahead of the 145th running of the Kentucky Derby.
The stewards reviewed race footage for nearly 20 minutes while keeping the crowd of 150,729 in suspense, clutching their betting tickets. Trainers and jockeys involved stared at the closest video screen waiting for a result.
Code of Honor was moved up to second and Tacitus was third.
Improbable was fourth and Game Winner fifth, two of trainer Bob Baffert's trio of entries.
sportskentuckyhorseskentucky derbyu.s. & world
Kentucky Derby 1968: 1st winner disqualification in history
Trump on Kentucky Derby: 'The best horse did NOT win'
Field Trip: Harness racing at Yonkers Raceway
Woman wins $1.2 million on $18 Kentucky Derby bet
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3.6MIL FRAUD: COURT DISCHARGES BANKER
A Wuse Zone II Magistrates’ Court, Abuja, on Thursday discharged and acquitted a microfinance bank worker, Mola Oluwatobi, 25, charged with N3.6 million fraud.
The police charged Oluwatobi with criminal breach of trust and cheating in 2017.
Chief Magistrate Azubike Okeagu in his judgment said “for failure of prosecutor to discharge the burden of proof placed on him by the law.
“The prosecution did not satisfactorily establish that the defendant is culpable for the offence she was charged with, I hereby enter a verdict of not guilty, for her”, he said.
He also said based on the evidence before the court which showed the failure of the prosecution to prove the charge of breach of trust and cheating against the defendant beyond reasonable doubt,
“The defendant is hereby discharged and acquitted of the charges”, Okeagu ruled.
Ebie Eugene, the defence counsel, raised a sole issue to be determined as “whether the prosecution has proved its case beyond a reasonable doubt as required by evidence Act, 2011 to justify the conviction of my client”.
The prosecutor, Adeniyi Oyeyemi told alleged that the defendant who was a staff of LAPO Microfinance Bank, was arraigned in 2017, for allegedly defrauding the bank to the tune of N3.6 million.
The prosecutor told the court that the manager of the bank reported the matter at the Wuse Zone 3 Police Station.
Oyeyemi alleged that instead of the defendant to remit money deposited by some of the bank’s customers, she misappropriated the money.
The defendant denied committing the offence.
Oyeyemi said the offence contravened the provisions of sections 312 and 322 of the Penal Code.
PASTOR ORDERS WIDOWS, WAR VETERANS TO PICK AS MUCH AS THEY NEED FROM CHURCH OFFERING, SEE PIX
MOHAMMED ABACHA SET TO REBUILD KANO SAYS CAMPAIGN MANAGER
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EPICA/MOONSPELL/STARKILL
(January 30, 2016; READY ROOM, Saint Louis MO)
I gotta admit, I wasn’t real sure what to expect out of Epica… I just knew that I really wanted to see legendary Portuguese Goth metallers, Moonspell, again. Serious doubts entered my mind about the whole night when it seemed as though this was going to be another one of those sparsely attended Saint Louis shows; with about 30 minutes to go before start time, the room was less than half full. However, to my utter surprise (and delight), each check over my shoulder saw the head count rise to the point that, by the time Starkill took the stage, the floor was packed. And, what a great evening of rock and roll was on hand for one and all, beginning with…
Starkill (Tony Keathley; Parker Jameson, Shaun Andruchuk; Shaun Andruchuk) (photo credits: DARREN TRACY)
Chicago progressive speed merchants, Starkill. The band’s prime mover, Parker Jameson, showed himself adept at both dirty and clean vocal styles, as well as impressive lead and solo guitar… he was even responsible for the prerecorded keyboard parts featured throughout the six-song set. The show highlighted Starkill’s most recent release, VIRUS OF THE MIND with three songs, including their opening salvo, “Be Dead or Die.” Odd title aside, the tune featured an intense orchestral intro from Jameson and a massive drum sound. Surprisingly, the strongest material has yet to be officially released, “Burn Your World” and “Cloudless,” from an upcoming third album (after two albums with Century Media, the band is self-releasing this one with fan funding from Indiegogo); maybe the strength of these new songs comes from the fact that guitarist Tony Keathley and bassist Shaun Andruchuk are now firmly ensconced in the fold (VIRUS OF THE MIND was pretty much finished when they were brought on board). Andruchuk is an absolute beast, prowling the stage and giving the guitars and vocals ample underpinning alongside the borderline maniacal drum-bashing of Spencer Weidner. As impressive as the rhythm section is, this group’s strength lies in the vocals (with Keathley supporting Jameson with clean counter-vocals and, in some instances, nice harmonies) and the twin lead work from the fleet-fingered guitarists, put to particularly good use on “Virus of the Mind.” What could have been a fairly unextraordinary set of Death Metal was continually lifted to unexpected heights by the clean vocals of both Parker and Tony, Spencer’s percussive expertise and the use of Parker’s keyboard and orchestral embellishments. These guys can only get better.
Moonspell (Fernando Ribeiro; Mike Gaspar; Aires Pereira) (photo credits: DARREN TRACY)
Moonspell have always tended toward the dark, Gothic edges of metal. More recently, they have gone full-tilt into the Gothic sound and lyrical imagery of such bands as the Damned, True Sounds of Liberty (TSOL), Danzig (both the metal band and their punk Misfit leader) and the lugubrious funeral dirges of Type-O Negative. The band were ushered to the stage with the atmospheric, near-operatic (as in THE PHAMTOM OF… ) “La Baphomette,” the final track from their latest record, EXTINCT; as vocalist Fernando Ribeiro took to the boards, the recorded intro faded, replaced by the ponderous beats of Mike Gaspar’s drums and the massive sound of Pedro Paixao’s pipe organ for the haunting “Breathe (Until We Are No More),” the opening cut from the same album. Guitarist Ricardo Amorim and bassist Aires Pereira initially seemed to be completely buried in the mix with the nearly overwhelming volume of the pipe organ. However, the problem was soon rectified and, to paraphrase the dearly departed Lemmy, everything was louder than everything else, with Pereira’s bass adding to the rhythmic din laid down by Gaspar and Amorim’s tasty licks leading the way on Moonspell’s musical moonlight drive through the cemetery. The band seemed to kick into high gear with the title track from EXTINCT, particularly Ricardo, who delivered the first of many killer solos; they really hit their stride, however, on older tunes like the slow grind of “Awake” (from 1998’s IRRELIGIOUS album) and a pair of late set favorites from their 1995 debut, WOLFHEART (the eerie fist-pumper “Vampiria” and “Alma Mater,” which featured a very nice old-school rock solo from Amorim). Ribeiro hung around the lower registers, occasionally approximating the bone-rattling baritone of the sorely missed Peter Steele or, alternately, delivering the gutteral death-rattle of the genre – moving effortlessly between the two at the drop of a coffin lid… plus, his accent kinda reminded me of Bela Lugosi. As good as Starkill was, this was definitely the highlight of the evening for me; could the headliner hope to match or exceed what Moonspell brought to the stage?
Epica (Simone SImons; Mark Jansen; Arien van Weesenbeek) (photo credits: DARREN TRACY)
Kicking their set off with a couple of tracks from their latest release (THE QUANTUM ENIGMA from 2014), from the get-go, it was obvious that the name of these Nederlanders’ game was speed and precision; guitarists Isaac Delahaye (the lone Belgian in the group) and Mark Jansen proved to be fleet-of-finger, while bassist Rob van der Loo and drummer Arien van Weesenbeek matched them with a wicked ferocity and keyboardist Coen Janssen added a touch of the symphonic. Of course, above all was the unbelievable mezzo-soprano voice of the lovely Simone Simons. “The Second Stone” and “The Essence of Silence” were formidable blasts of Wagnerian bombast, with mystical/metaphysical lyrics, alternating between Simons’ operatic vocals and Jansen’s harsh, throaty growl. Amidst a flurry of hair-whipping, it was obvious – much like Moonspell before them – that the band (and an appreciative audience) really started to have fun with the introduction of some fan-favorite older material, beginning with “Sensorium,” from the group’s debut release, THE PHANTOM AGONY. With “Martyr of the Free World,” Coen Janssen emerged from the shadows (and fog) engulfing stage-right’s back corner with a unique bowed keyboard, soloing and mugging for the crowd (and I still couldn’t get a decent shot of the third original member of the group, along with Simone and band founder, Mark Jansen); toward the end of the song, after basking in the much-deserved accolades of the packed room, Janssen returned to his omni-directional keyboard as Delahaye killed a lightning-quick solo.
Epica (Rob van der Loo; Mark Jansen; Simone SImons) (photo credits: DARREN TRACY)
As you may well guess, any band with the type of near-virtuosity that each member possesses is going to solo and solo often. On “Cry For the Moon,” it was Weesenbeek’s turn, as the hard-pounding drummer delivered a powerful, tastefully short exhibit of his abilities. The song itself, another track from THE PHANTOM AGONY, built from a basic, martial rhythm to an anthemic slow-simmer to a full-blown operatic tour de force, with a Teutonic-sounding choir (via a sample or backing tape) adding a new dimension to the already forceful vocals of Simone Simons. Though Epica has been called a “Gothic Metal” band, it really isn’t until “Storm the Sorrow” that I caught anything (other than certain lyrical content) remotely Gothic in their music, with the heavy, near-industrial riffage and doom-laden piano flourishes; the fact that the upbeat vocal performance belies the nightmarish lyrics only adds to the Goth feel… a real highlight. The brutally dark vibe continued, with Mark delivering more of his intense, harsh vocals throughout the next few songs,” including “The Obsessive Devotion” and, from THE QUANTUM ENIGMA, “Victims of Contengiency.” This darker sound also gave van der Loo a chance to shine with more complex bass lines, rather than sticking fairly close to the rhythmic patterns laid down by the drums and guitars; this complexity was best displayed on the title track to 2009’s DESIGN YOUR UNIVERSE, the closing number of the main set, which also featured some very nice multi-textured keyboard work from Coen.
Epica (Isaac Delahaye; Simone SImons; Mark Jansen) (photo credits: DARREN TRACY)
Unsated, the appreciative crowd refused to leave without hearing more; Epica was more than willing to oblige. With Janssen exhorting the rabid fans, he was soon joined by Weesenbeek, Delahaye and van der Loo, teasing the encore before Simons and Jansen returned for a stirring “Sancta Terra.” The band wasn’t messing around with a “one-and-done” trip back to the stage; they followed that tune with a great version of one of the stronger songs from THE QUANTUM ENIGMA, “Unchain Utopia.” If that wasn’t enough, refusing to go gentle into that good night, the sextet finished with a thundering version of the bombastic, anthemic epic, “Consign To Oblivion.” Like last November’s Amaranthe show at Pop’s, Epica eschewed the use of any visible, onstage amplification or monitors; however, where the sound was, at best, spotty for that earlier show, here, it was near perfect. The lighting, also, was some of the best I’ve seen in recent memory. So, earlier in this review, I asked the question, “Could Epica hope to match or exceed what Moonspell brought to the stage?” The answer, my friends, is an unequivocal, “Yes!” A great night of metal, from top to bottom.
DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | February 3, 2016 | Aires Pereira Arien van Weesenbeek Coen Janssen Epica Fernando Ribeiro Gothic Metal Hard Rock Heavy Metal Isaac Delahaye Live Music Mark Jansen Mike Gaspar Moonspell Music Parker Jameson Pedro Paixao Progressive Metal Progressive Rock Ricardo Amorim Rob van der Loo Rock and Roll Saint Louis Shaun Andruchuk Simone Simons Spencer Weidner Starkill Symphonic Metal The Ready Room Tony Keathley
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Just heard a horrible radio commercial for Lyle Oberg's campaign to run for Premier of Alberta. It sounded like the Liberal radio ads in 2004, or the Conservative radio ads in 2006. In other words, a damned woman trying to softly butter up the candidate to persuade these soccer moms to vote the right way. I've always held opposite: Women's Suffrage was a horrendous mistake, and we should try not to repeat the errors of history by encouraging them to vote any more than necessary.
Anyways, Oberg put in his nomination yesterday, being the ninth person to do that. Now he's got a fully-functional website, and radio ads, and it sounds like he's trying to make a massive public splash to get his name thrown as a front-runner through the sheer volume of media. It's probably best to remind everyone that the left hates him for the education budget cuts, the Klein loyalists hate him for his March comments urging delegates to vote en-masse against Klein at the PC Leadership Review, and everybody else hates him for his general creepiness.
Bonus curious ObergForAlberta.ca observation: The sidebar on Oberg's campaign website has a serious deictic problem: they can't decide whether this sidebar is being told to the website viewer by Oberg himself or an agent: "My Policies & Vision", "My Record", "Campaign Schedule", "Ask Lyle", etc. It's not easy to switch deixis and voice incompatibly, but they manage to acheive it.
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Emergency medicine is a highly-rewarding yet challenging career. The training program can be demanding both physically and emotionally and it is important that you look after yourself whilst caring for others.
ACEM provides support and connects you with external services who can help trainees with:
Alcohol misuse
Bullying, discrimination and harassment
Clinical incident stress
Clinical performance issues
Concerns for a colleague
Exam-related issues
Infectious disease and biohazard exposure concerns
Issues with Workplace-Based Assessments (WBAs) or FACEM Training Program requirements
Issues with your supervisor or colleagues
Personal or family issues.
Every state and territory has an ACEM Trainee Representative to provide support and guidance to trainees. To find your local Trainee Representative, visit the Member Portal.
Need help right now?
Lifeline:
Australia: 13 11 14
beyondblue - 1300 224 636
Suicide Call Back Service - 1300 659 467
By doctors, for doctors
There are 24-hour helplines such as the Doctors Health Advisory Service, staffed by doctors, for doctors and medical students.
Region Service Contact Operating hours
NSW Doctors Health Advisory Service NSW
Medical Benevolent Association of NSW (02) 9437 6552
(02) 9987 0504 24 hours
VIC Victorian Doctors Health Program
AMA Victoria Peer Support Service (03) 9495 6011
1300 853 338 9am – 5pm weekdays
Clinical services also available
8am to 10pm daily
QLD Queensland Doctors' Health Programme (07) 3833 4352 24 hours
SA Doctors' Health SA (08) 8366 0250 24 hours
Rural Doctors Workforce Agency, Dr DOC program (08) 8234 8277
E [email protected] Clinical services also available
WA Doctors Health Advisory Service WA (08) 9321 3098 24 hours
NT Doctors' Health NT (08) 8366 0250 24 hours
ACT Doctors Health Advisory Service NSW (02) 9437 6552 24 hours
TAS Victorian Doctors Health Program
AMA Tasmania Peer Support Service (03) 9495 6011
New Zealand Doctor’s Health Advisory Service (Wellington)
Resident Doctor’s Support Team (Canterbury District Health Board) 0800 471 2654
Christchurch 24 hours
ACEM Employee Assistance Program (EAP)
It is appreciated that the nature of the work and study commitments of doctors in emergency medicine can often be difficult to balance while maintaining a personal quality of life.
ACEM has partnered with EAP provider Converge International to offer its services to trainees to support their wellbeing. Converge International is Australia’s oldest and most experienced EAP provider. Its counselling services offer support to you for professional, educational or personal matters, including:
Managing heavy workloads
Relationships (personal and professional)
Workplace changes
Motivation and self-esteem
Sleep and fatigue.
The College is offering four funded EAP sessions per calendar year to its trainees/members. This service is completely confidential. Participant information is de-identified and the College has no access to your records.
Converge International’s services can be accessed over the phone, via their website or on the Converge International app (EAP Connect). To access the service, please identify yourself as a trainee. All trainees are eligible to access this service.
The College encourages you to utilise these support services as required. Appointments are available Monday to Friday 8.00am to 6.00pm.
Emergency telephone counselling is available 24/7.
Find more information here.
Converge International:
1300 687 327 (Australia)
0800 666 367 (New Zealand)
www.convergeinternational.com.au *
Get the EAP Connect app on Google Play or the App Store.
*Login details for the Converge International online portal are available on your My ACEM Resources page.
Wellbeing Network
The Wellbeing Network is a space for members and trainees to discuss topics relating to the wellbeing of people working in Emergency Medicine. It has been set up to facilitate the sharing of information, ideas, stories and initiatives.
Best of Web EM
Best of Web EM is an ACEM resource hub, linking you with peer-reviewed resources including those relating to doctor health and wellbeing .
There is an Australian website and service dedicated to helping junior doctors make their way in the profession. Check out jmohealth.org.au
If you are experiencing clinical performance issues, contact your Director of Emergency Medicine Training (DEMT) or Director of Emergency Medicine (DEM) in the first instance. If you feel uncomfortable in doing this or if an issue remains unresolved, you can contact the ACEM Trainee Advocate who can provide advice and help you take any further steps if necessary:
Trainee Advocate
You can also contact your Local Trainee Representative. For details, visit the Member Portal for details.
If you are concerned about an upcoming exam and require guidance, contact your DEMT or FACEM mentor. For more information on mentoring, visit the ACEM Mentoring Resources.
For general exam advice, please contact the ACEM assessments team or visit the Examinations page.
Issues with Workplace-Based Assessments (WBAs) and FACEM Training Program requirements
If you are concerned about meeting your training and assessment requirements and require guidance, contact your DEMT. There are several options to help address your circumstances and meet the necessary training and assessment requirements.
Interruption of Training
You may interrupt your training for a maximum period of two years accumulated over the course of your training program. More time may be granted for parental leave or exceptional circumstances at the discretion of the College. For more information, view the Exceptional Circumstances & Special Consideration Policy.
Trainees undergoing formal assessment may apply for special consideration for circumstances that adversely affect their performance. For more information, view the Exceptional Circumstances & Special Consideration Policy.
Some of your training may be completed on a part-time basis, provided that at least 50 per cent of the full-time commitment is completed and the placement meets accreditation requirements in all other respects.
Take leave
Your allowable annual leave, study leave, and sick leave is calculated in relation to your training time:
Up to 5 weeks in every 13 week In-Training Assessment period (40% ITA period)
Up to 10 weeks in a 12 month period (19% annually).
For more information regarding your WBA and FACEM Training Program requirements, contact the ACEM Training Team.
The ACEM Training Team is available to assist you with any concerns or issues you have with your workplace supervisor or colleagues.
We also encourage trainees to speak with the human resources department in their workplace to discuss these types of concerns.
After resolving the conflict, you are encouraged to engage with your Local Mentoring Program. It is compulsory for all ACEM-accredited EDs to have a mentoring program in place. Trainees are encouraged to develop a mentoring relationship with a trusted colleague.
For more information, contact your local Mentoring Program Coordinator.
The following resources can help you to identify whether you may be developing an alcohol use disorder:
The National Health and Medical Research Council (NHMRC) publishes Australian Guidelines to Reduce Health Risks from Drinking Alcohol
The AUDIT Tool, written by doctors in the UK, is a trusted self-assessment questionnaire.
It is important to seek help if you are developing an alcohol use disorder. This may be from your own trusted general practitioner, an addiction medicine specialist or a doctor-friendly Alcoholics Anonymous (AA) group in Australia or New Zealand. Alternately most university psychology departments administer interactive web-based counselling programs that can be accessed anonymously.
Lifetime prevalence studies indicate that one in 10 people will develop alcohol strife. There is no need to feel shame if it is affecting you. Lifestyle changes such as replacing alcohol consumption with alternate habits such as exercise, hobbies and satisfying social interactions have been shown to assist. Fortunately, the prognosis for doctors who develop alcohol use disorder is favourable, especially where the problem is both recognised and managed early.
Bullying, discrimination or harassment
Up to 50 percent of Australian junior doctors have experienced bullying in their workplace, and a New Zealand study found that 50 percent of doctors had experienced bullying in the past three to six months (Australian Medical Association). Bullying can happen to anyone, from medical student to senior specialist.
If you have encountered discrimination, bullying or sexual harassment in your workplace, we encourage you to seek confidential support from either your workplace Employee Assistance Program (EAP) or your local Doctors’ Health Advisory Service.
If your experience is related to any College-associated activity, you can contact Converge International, which has been engaged by ACEM to provide additional support to our members and trainees. The service is completely confidential:
New Zealand: +61 3 8620 5300
Converge International also offers online resources that provide you with information to deal with on work-related and personal issues. The portal contains information on the latest news and events from Converge International, newsletter inserts on various topics, research papers and tip sheets.
If you would like to make a formal complaint to ACEM about the conduct of any College member or trainee or to enquire about the College’s complaints process, you can email [email protected].
Also see the Complaints Policy and the Procedures for Resolving Discrimination, Bullying and Sexual Harassment Complaints.
Mind Tools is a website that helps you learn the management, leadership and personal excellence skills needed for a happy, successful career. It provides a collection of strategies for reducing and managing stress.
In emergency medicine, there are likely to be times when practitioners are involved in situations that are stressful. It is not unusual to find yourself affected an adverse incident or particularly confronting case. Therefore it is important to have some coping strategies.
You are not alone. There are times when you can feel hopelessly inadequate, and others around appear self-confident and assured. These outward appearances can be quite different from how other people feel. Anyone working in this challenging environment feels like this some of the time, particularly after a critical incident.
Talk to others about how you are feeling after any stressful event. You may be surprised about how they have had similar experiences, and can often share details of their failures and successes to help you maintain perspective. This might be with a colleague whom you respect, admire and can talk to.
Some departments and organisations have a formal structure in place for debriefs, sometimes with professional facilitators. If one is offered where you work, and you think it would be beneficial, ensure you know when they are occurring and can have the time from other duties to attend.
If you believe a doctor is unwell and may be unable to practice safely, you are required by law to notify the Australian Health Practitioners Regulatory Agency (AHPRA). Your employer will have specific reporting rules.
Your concerns should be escalated to a line manager, the Director of Emergency Medicine Training (DEMT), Director of Emergency Medicine (DEM) or the Director of Clinical Training. Providing that you do this in good faith, there are legal protections from civil and administrative liability.
If you believe a doctor is unwell and may be unable to practice safely, you are required by law to notify the Medical Council. If you have a reasonable belief that a doctor may be unable to perform the functions required for the practice of medicine, the obligation to notify takes effect.
If you haven’t notified the Medical Council of New Zealand, this could be seen to be a breach of professional obligation and give rise to disciplinary proceedings. Supporting the obligation to notify, the Health Practitioners Competence Assurance Act 2003 protects whistleblowers.
The Australian Medical Association offers doctors a web-based tool that enables you to evaluate the safety of your roster, track your work, on-call, recreational and sleeping hours over a week, and determine whether your work arrangements are placing you at risk of serious fatigue.
Ensure you are aware of the ACEM G26 Infectious Disease and Biohazard Exposure in the Emergency Department guidelines.
The following resources provide support and services for those experiencing mental health issues:
Beyond Blue Doctors Mental Health Program aims to address the prevalence of anxiety, depression and suicide in staff working in health services across Australia."
The Beyond Blue Mental Health Checklist measures whether you may have been affected by depression and anxiety during the past four weeks
The Black Dog Institute provides information and resources including online self-testing information on current treatments
For New Zealand-based support and service, the Mental Health Foundation's Get Help website has a full range of associated resources.
Learning more about mental health issues
The following online resources can help you learn more about mental health issues:
The Centre for Clinical Interventions provides access to self-guided online modules about depression, perfectionism, panic attacks, assertiveness and much more
The Australian National University developed the eCouch platform contains online exercises and strategies
The University of Auckland's CALM website contains podcasts on resilience, managing stress, anxiety and depression, healthy relationships, and finding meaning in life.
Mindfulness and meditation resources
There are many freely available mindfulness and meditation resources. Not-for-profit organisations, Headspace and Smiling Mind, both have apps for Apple and Android. The Auckland-based CALM website has online meditation modules.
The Resilience Project teaches positive mental health strategies and has developed a daily well-being journal app.
Personal or family issues
Relationships Australia provides a range of services including what to do when your relationship breaks down and resolving a conflict.
The Australian Centre for Grief and Bereavement provides helpful information about grief, supporting grieving children, adolescents and adults.
WRaP EM
WRaP EM is a group of ordinary but passionate clinicians and medical educators who want to promote the concepts of Wellness, Resilience and Performance, from being considered ‘the soft stuff’ to becoming a core part of Emergency Medicine practice.
WRaP EM is creating an expanding Free Open Access Medical Education (FOAMEd) curriculum and blog to help achieve these goals, and aims to facilitate tangible cultural growth in work spaces through connection with other like-minded clinicians.
ACEM sets out the requirements for progression and remediation in the FACEM Training Program under the Progression and Remediation Policy. We have a dedicated Trainee Support Team to discuss your training and assessment requirements.
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Granada: Alhambra and Generalife Skip-the-Line & Guided Tour
Explore the Alhambra Palace and Generalife Gardens with skip-the-line tickets on this 3-hour guided tour. Engulf yourself in the pinnacle of Moorish…
Alhambra: Tours & Tickets
Granada: Alhambra & Generalife Ticket with Audio Guide
Valid: 1 day
Enjoy guaranteed and skip-the-line access to the popular Alhambra fortress and Generalife Gardens. Go at your own pace with an informational audio…
Granada: Alhambra Tour
Experience 8 centuries of history across a single tour. Learn about the Islamic and Christian past of Granada. Gaze at one of Spain’s most beautiful…
Skip the Line: Alhambra & Generalife Guided Tour
Alhambra hides endless opportunities for discovery. If you would like to unravel the secrets and legends of the monument and explore the Alhambra and…
Alhambra: Nasrid Palaces & Generalife Gardens Walking Tour
Discover every corner of the Alhambra and the Generalife Gardens on this tour and see its spectacular mix of elaborate Islamic architecture.
Granada: Alhambra & Generalife Ticket with Official Guide
Enjoy guaranteed and skip-the-line access to the popular Alhambra fortress and Generalife Gardens. Go at your own pace with an official guide and get…
Granada: Full Alhambra Complex Guided Tour
Visit the Alhambra complex in full with a professional guide: explore the Alhambra, the Generalife Gardens, the Nasrid Palaces, and the Alcazaba to…
Alhambra: Select Group Skip-the-Line Tour
Discover the wonderful Alhambra with this small guided tour. Skip the lines and embark on a 3-hour walking tour throughout the history of the Nasrid…
Skip the Line: Alhambra Palace and Generalife Gardens
Discover the Alhambra Palace and Generalife Gardens on this fascinating 3-hour tour. Escorted by your friendly local guide, you will explore beyond…
See all tours & things to do in Alhambra
Top sights in Granada
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5 Lovely Highlights of Alhambra Palace
Granada's Alhambra Palaces, built for the court of the Nasrid dynasty, date back to 889AD. So much history means there's quite a lot to learn. So, where should you start?
Alcazaba Military Fortress
This former stronghold is the oldest part of the complex, dating back to the 13th century. It protected the Muslim settlers of Andalucia from the Catholic Crusaders.
Generalife Gardens
Once the summer residence of the sultan, the palace is surrounded by lush vegetation in the gardens (now enjoyed by visitors in the present day!).
Courtyard of the Lions
View the main courtyard of the Nasrid dynasty's regal home, and take a step back into medieval Mediterranean times. Book a night tour to see the illuminated beauty of it all.
Hall of the Two Sisters
Named for large marble stones in the floor, this central hall boasts carefully-crafted lighting and intricate detail. Pause, and imagine the sultana and her family that lived here.
Albayzin
The palace is located in the Albayzin neighborhood. Find a winding side street in the town, and stop to take beautiful photos of the Alhambra from afar.
Our insider tips
When can I visit?
The palace is open all year, except for December 25 (Christmas) and January 1 (New Year's Day).
What are the opening times?
The open times are divided into morning tickets (8:30AM to 2:00PM) and afternoon tickets (2:00PM to 8:00PM). Entry to the Nasrid Palaces is allocated per half-hour time slot. Tickets for the night visit to Nasrid Palaces are valid from 10:00PM to 11:30PM.
There is no dress code for the palace, but be aware that some other Catholic establishments in the city may require arms and legs to be covered. And remember to stay in the shade and drink lots of water!
Public transport (line C3) will take you right to the ticket office. Alternatively, you can walk. There are a few different routes from the city center (about 800m each). The most serene, beautiful, and historically interesting is the road from Plaza Nueva. The route will take you up the Cuesta de Gomérez, through the Gate of the Pomegranates, and into the tree-lined avenues that lead to the Alhambra.
When should I visit?
Is it expensive?
The adult ticket prices start at €14.00, and booking in advance is highly recommended.
Will I need a guide?
You may be interested in an expert's narration while you try to take in the architecture, room by room.
Public transport (line C3), car, or on foot from the city center.
This attraction is free for children under twelve years old, but booking is still required.
Entrance to the Nasrid Palaces is allocated per half-hour time slot. Don't be late!
What people are saying about Alhambra
based on 35,116 reviews
Worth it. Glad we did it, but would change Albaycin tour
The worst part- the local company and this website have totally different pick up locations. Be very careful to go to the right place. Really enjoyed the tour of Al-Hambra. Gustavo was an amazing tour guide. He was humorous and engaging and I really enjoyed learning from him. Our tour guide on the way up/ for Albaycin was okay. Her English was a little hard to understand at times, but she was kind and sweet. I wish we hadn't booked the Albaycin. We saw cool stuff, but would have enjoyed some solo exploration more. Albaycin was fine, but not worth the money or the inability to do touring alone. Another thing, we got some free time to rest during our al-Hambra tour but the free time took place in outside of Al-Hambra. I wish we had some free time to explore al-Hambra. I wanted to see some things for longer, but that opportunity never arose. A don't regret doing this day trip at all and would recommend, but wish I could make some minor tweaks.
From Seville: Alhambra Palace and Albaycin Tour Reviewed by Anonymous, 02/07/2019
Great relaxed and informative tour of Alcazar
We found our guide and the meeting point easily and it was not directly at the main entry with the crowds so it was a very relaxed experience to try and locate the meeting point before the tour commenced. Miguel took us through with no hiccups and no wait time and spoke very passionately about the history of the gardens. He ran through the history of the gardens including the history behind the cultural influences of the construction over the years as well as history of the royal family and how they influenced Spain as a country. He pointed out several little interesting facts or visual cues in parts of the gardens we would not have known if we had wandered in on our own. He spoke clearly, well paced for the group and informatively about the history of the gardens. All in all, a great tour and would definitely recommend to friends and family.
Granada: Alhambra & Generalife Ticket with Audio Guide Reviewed by Debbie, 07/07/2019
Thoroughly enriching experience! Excellent guide!
We were 2 couples and all of us felt our guide Francex, a highly educated art historian, did an outstanding job. He delivered fascinating information tailored to our interests in a conversational way. It was in depth without being overwhelming and all questions were welcomed. He set a pace that was relaxed but also ensured that we saw and understood what was most important and most interesting historically and artistically about this very large complex. Don’t wander around lost, wondering what you’re looking at or following someone with 30 other people and so no time for your questions — get your own guide! Totally worth it! Also a great (and the only) way to get last minute tickets.
Granada: Private Alhambra Tour with Skip-the-Line Entrance Reviewed by Anonymous, 29/06/2019
A beautiful and historically fascinating experience.
The Alhambra was breathtaking. Our guide (Natasha) was excellent. She provided a very informative and good humoured tour, answering all questions. At several intervals she invited the group to answer questions of her own about the possible use or identify of several objects and artefacts. We were given adequate time to take photographs at various points during the tour. A memorable experience enhanced by first class tour guide.
Granada: Alhambra and Generalife Tour Reviewed by Simón, 04/07/2019
Good BUT we didn’t get to see everything!
Part of this is my fault for waiting until the last minute to get tickets to the Alhambra and I also ASSUMED that everything in the Alhambra was included in the tour and access. The best thing is buy from the actual Alhambra website. It is only 17 Euros and it includes everything and you can come and go as many times as you would like. As far as the tour guide though, she was really nice and helpful, knowledgeable.
Granada: Alhambra & Generalife Ticket with Official Guide Reviewed by Jennifer, 29/06/2019
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Russ Hendron
Home › Experience › Heroes › Russ Hendron
Back To Heroes
Drag racer.
Born in Chicago in 1960, Russ Hendron recalls that he fell in love with Harley-Davidsons at the age of 10. By 13 he had built a Harley 45 entirely from spare parts. A motorcycle technician by trade, he joined the staff at Kersting's Harley-Davidson in 1979 and began his drag racing career in 1984 with a secondhand ex-Leo Payne machine. Hendron rides for Gary Stroud and has earned four national titles through HDRA and AMRA in 1987, 1988 and 1989. He considers Paul Plummer, Jim McClure and Pete Hill his role models.
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Tag Archives: Knock-On Effects Of Illegal Libya War & More
Syria’s Collapse & Netanyahu’s GRAVE Miscalculation: Hitched Israel To Obama’s “Rebel” Bandwagon! Commentary By Adina Kutnicki
Posted on May 29, 2015 by Adina Kutnicki
(UPDATED intel can be found below….)
AS joined-at-the-hip as Syria’s Assad is with his benefactor, Iran’s Hiterlite regime, the fact remains that in relationship to Israel – vis-a-vis the shared northern border – he was all bark and no bite. In other words, every so often he would saber rattle about “taking back the Golan”, yet, he knew better than to start a shooting war. Regardless, whatever else he did at the behest of Iran was not lost on Israeli intelligence, and they clearly dealt with its ramifications for over 40 years. Quiet ensued.
BUT somewhere along the line a GRAVE miscalculation was made by PM Netanyahu, when he decided to aid and abet HUSSEIN Obama’s “rebels” – al-Nusra/al-Qaeda offshoots who are thoroughly aligned with ISIS – as a bulwark against Hezbollah! Wait and see…
TO build the above case, specifically May 22, 2013, this investigative journalist gave a major interview for the record: “The Inquisitr Interviews Adina Kutnicki: The Reality Of Life For An Israeli Patriot”. Within it many issues were examined, but as to Syria the following was noted:
Wolff Bachner: How dangerous is life in Israel and how serious is the threat to Israel’s survival from her Arab Neighbors?
Adina Kutnicki: This is a loaded question, simply because on a daily basis life in Israel is just as normal (and routine) as in any other democratic nation, although the constant presence of IDF soldiers throughout its cities (and thankfully so), in tandem with the inspection of ones bags/cars at various venues, is not exactly “normal”. But the U.S. will surely have to adopt some of these measures, particularly in the aftermath of Boston’s urban jihad.
Be that as it may, there is no other democracy as imperiled as Israel, simply by dint of the fact that many world actors (in unison with civil society elitists) continually call for its elimination, albeit some are more circumspect than others. As a matter of record, aside from incessant exhortations from the Iranian Hilter – as he calls for Israel’s total obliteration and he means every word of it – as well as non-stop terror attacks from the PA/Fatah/Hamas junta (Israel’s erstwhile “peace” partners), the fact of the matter is that the region is fully primed for a MEGA explosion, even in juxtaposition to its usual upheavals.
Alas, the current chaos can be traced directly back to Barack HUSSEIN Obama’s indecorous unseating of Hosni Mubarak, Egypt’s strong arm dictator for decades. While hardly a democrat, he understood very well which actors would become unleashed, if the status quo was tampered with. As a result, the much ballyhooed “Arab Spring” turned into an Arab Nightmare, untethering jihadist forces in warp speed. So if blame is to be assigned to the current catastrophe – and it is one – it must start at the Commander-in-Chief’s door, as he shrilly dictated to Mubarak – GO NOW!
Concomitantly, as this is being written, Israel’s northern front with Syria, as well as its border with Lebanon, is a tinderbox. Hezbollah’s terror brigades, in concert with Iranian militia forces, are poised to strike at Israel’s Golan. And with Israel barely the size of some counties in the U.S., let alone relative to its states, the notion that “only” one part of Israel is in the cross hairs is patently and dangerously misguided. Absurd too. Extrapolating therein, it is essential to understand the following: the Golan has been quiet for over forty years, but this is no longer the case. Most significantly, now that Al-Qaeda has entered the fray via Libya’s Benghazigate, the fear which deterred Assad from starting another war with Israel is no longer a factor. Desperate to save his regime, he has openly welcomed Russian and Iranian proxies to fight on his behalf. This has tipped the “balance of regional terror”, and its effects will soon play out on Israel’s borders. The readers should internalize, in the middle of all this chaos the Iranian centrifuges keep spinning, as such, the ensuing conflagration suits them well…continue reading here…
THAT being said, fast forward two years onward, ISIS is gobbling up Syria and Iraq, and is poised to lay waste to the region and beyond. But one has to honestly lay the facts on the table and see where they lead. Land.
AS repeatedly assessed at this site, most recently, on May 26, 2015: the “ISIS-Monster (Iran Alike) Is Fed By HUSSEIN Obama: Knock-On Effects Of Illegal Libya War & More.” The leader of the free world (through incendiary actions and derelict inaction) has brought the Mid East to the brink. Guaranteed, its eventual blow back will reverberate in the U.S. – sooner than later. Yes, related proofs are conclusive and manifest…continue here…
IN this regard, it also has been proven that PM Netanyahu is incapable of extricating himself from HUSSEIN Obama’s demands, even though it appears otherwise. Evidence abounds within another interview from March 17, 2015, and its basis is manifestly clear: “ISIS, Islam and Obama: Understanding The Threat To The Free World.”
TO wit, the above leads us to the latest news:
Just a week after losing the big Palmyra air base to the Islamic State – and with it large stocks of ammo and military equipment – Syrian military and air units Wednesday, May 27, began pulling out of the big air base at Deir ez-Zour. This was Bashar Assad’s last military stronghold in eastern Syria and the last air facility for enabling fighter-bombers to strike ISIS forces in northeastern Syria and the western Iraqi province of Anbar.
His surrender of the Deir ez-Zour base is evidence that the Syrian president has run out of fighting strength for defending both his front lines and his air bases. He is also too tied down to be able to transfer reinforcements from front to front. He is therefore pulling in the remnants of his army from across the country for the defense of the capital, Damascus.
DEBKAfile’s military sources report that the Islamic State now has in its sights the Syrian army’s biggest air facility, T4 Airbase, which is located on the fast highway linking Homs with Damascus 140 km away.
It is home base for the bulk of the air force’s fighters and bombers. In its hangars are an estimated 32 MiG-25 fighters, as well as smaller numbers of MiG-25PDS interceptors, designed for combat with the Israeli air force, MiG-25RBT bombers-cum-surveillance planes; MiG-25PU trainers, which are routinely used to strike rebel forces in crowded built-up areas, and advanced MiG-29SM fighter jets.
Stationed there too are 20 advanced Su-24M2 bombers, the strategic backbone of the Syrian air force.
T4 Airbase also holds the largest Syrian stocks of guided bombs, air-to-air and air-to-ground missiles.
In the last few hours, air crews have been frantically removing these warplanes from T4 and distributing them among smaller bases in central Syria, at the cost of their operational effectiveness.
In the space of a week, therefore, Bashar Assad has lost three of his major air bases, including Palmyra, where Iranian and Russian air freights had been landing regularly with fresh supplies of ordnance and spare parts for his army.
Our military experts say that this bonanza frees ISIS to cut off the eastern, northern and central regions from the capital, and deprive the Syrian and Hizballah units battling for control of the Qalamoun Mts of air support against rebel and Islamist forces.
If they manage to take T4 as well, the Islamists will be able to prevent US jets from taking off for strikes against them in Syria, or bombing the their forces which have seized long stretches of the fast highway from Homs to Damascus.
NOW, back to PM Netanyahu’s onus, and the warning blared from these pages in Dec. 2014, as confirmed by inside sources:
ALONG this dangerous terrain, certain matters have come to this investigative journalist’s attention, being an American-Israeli living in Israel. Significantly (and attributed to a Golani Druze journalist, who shall remain nameless), he interviewed Syrian Druze and they credibly documented ISIS, for quite some time, inside their border, one which is adjacent to Israel’s Golan!
THE urgent query becomes: could it be remotely possible, in any rational reality – with Israel’s second to none “eyes in the sky” and other operational capabilities – that they haven’t seen the “rebels” merging with ISIS, long before this week’s “announcement”? Whom are they kidding?
IN this regard, there is a growing sense of outrage within the Druze community, as they realize that Israel’s leadership “lent” the IDF to quarterback for Obama’s “rebels”, those whom have proven to be (many months ago) ISIS affiliated.
ONCE again, a source has confirmed an unfathomable situation: Israel’s gov’t is clearly taking care of the medical needs of Obama’s “rebels”.
REPORTEDLY (another contact would have to go into hiding, if his identity was revealed), Israeli hospitals are at their disposal! Therefore, it is up to others to document the story’s underlying basis.
IN April 2014, over 10 Islamists (identified as either ISIS or Al-Nusra…six of one, half a dozen of another) were being treated in a Tsfat hospital for almost an entire month. To wit, they were separated from the rest of the patients, they were forbidden to walk around the hospital, and they were always guarded by IDF soldiers. By the way, it doesn’t matter a wit how this source was able to identify their presence. That’s neither here nor there…continue here…
MIND you, the aforementioned source witnessed the above with his own eyes, even though open source got wind of it in the aftermath.
Israeli soldiers treat wounded Syrian rebels in a video by Vice News
CONCLUSIVELY, a Feb. 2015 commentary “foreshadowed” ISIS’s catapult and its blow back to Israel alike. So, isn’t it now clear why (and how) a May 2015 analysis pinpointed the out-sized dangers via “Islamic Mega Alert: ISIS Marches On Jordan, Israel In The Cross Hairs?”
BESIDES, what kind of rational leadership believes that Sunni jihadists are the “preferred” terror address to push back against Iran’s proxy pawn in Syria? Not only that, but since 40 plus years of quiet was already in the bag, why jeopardize all that to prop up Sunni terrorists, in the vain expectation that they would be the “better” option to replace Assad?
RESULTANT, indictment rendered against HUSSEIN Obama and his purposeful Mid East fires, in tandem with Israel’s joined-at-the-hip leadership.
VISE-like. Full circle. Indeed, the well-worn adage, “the enemy of my enemy is my friend” is about to blow back with a cruel vengeance!
UPDATE: ISIS arrives in Gaza: Supporters of the “Islamic State of Jerusalem” sighted on Israeli border!
Posted in Uncategorized | Tagged "Islamic Mega Alert: ISIS Marches On Jordan, HUSSEIN Obama's "rebels", ISIS, ISIS forces, Islam And Obama: Understanding The Threat To The Free World, Israel In The Cross Hairs?", Israel’s Golan, Knock-On Effects Of Illegal Libya War & More, PM Netanyahu, The Inquisitr Interviews Adina Kutnicki: The Reality Of Life For An Israeli Patriot | 11 Replies
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AdmissionSquad has helped with making the high school admissions process simpler and easier to navigate by providing us with a list of the top high schools in each borough, and guiding us with choosing schools based on categories of preference. Also, the tips provided were very helpful. The process was a lot less arduous than it would have been without them.
— Alexa's Parents
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AdventureCoupleAsia
Travel gems….
Argentina and the moon-Aldea Luna
Teaching in Taream
Khmer New Year-Kampot Province
Tết take Tu…..
Scurrying into El Hormiguero…(The anthill)
A bewildering beginning…Teaching in Cambodia
Enter mystical Myanmar – Yangon
Double bubble night trains, Chiang Mai, the good life with a hippy called Willow….And eating bugs
Koh Samui and three days of silence….
July 1, 2015 July 1, 2015 Adventure, Asia, Myanmar Leave a comment ArchitectureAsiaBaganlifelifestyleMyanmarphotographyShawadagonstreet photographySule PagodatemplesTraveltravellingYangon
Having had a few days in the modern wonder that is Singapore, we landed in Yangon looking forward to exploring the mysteries of Myanmar.
Yangon is the former capital of Myanmar, and remains the largest city with a population in excess of 5 million. It was originally a small fishing village called Dagon centred about the Shwedagon Pagoda. In 1755 King Alaungpaya conquered the village and renamed it Yangon, since then settlements formed around the central Dagon area eventually forming the sprawling city of today. When you visit the city now, you will notice that it is now made up of a multitude of ‘townships’, a reminder of how the city developed from it’s humble beginnings. The British seized Yangon in the Anglo-Burmese War of 1852, and subsequently transformed Yangon into the commercial and political hub of British Burma-lining the streets with colonial buildings and British influence.
We arrived at our hotel in downtown and hit the streets to do some exploring-the par for course upon arriving anywhere on our travels. Stepping out onto the street and we were met with the most intense heat that I think I have ever experienced….The street temperature was 46 degrees! We ducked, dodged and weaved our way into every spot of shade possible as we ventured towards our first tourist spot-the 2,500 year old Sule Pagoda in central downtown. Not quite what you would expect from an ancient pagoda, nowadays it serves a dual purpose, the other being that of a rather busy roundabout. Supposedly enshrined in the temple is a hair of Buddha, given to two Burmese merchant brothers by Buddha himself. More recently, during the 1988 and 2007 protests, the Sule Pagoda was a meeting point for anti-government and pro-democracy protesters.
We negotiated the Yangon traffic to enter the temple and were soon hotfooting it around the pagoda-literally! At all religious sites in Myanmar you have to remove your shoes and socks and, bearing in mind the temperatures, it felt like we were walking on the surface of the sun! This feeling was amplified by the suns’ reflection off the quite wonderful golden stupa located in the middle of the temple-and soon we found ourselves a shady spot to simply sit, and absorb.
The Sule Roudabout….I mean the Sule Pagoda!
Ready to brave the heat once again, we set off to explore the colonial architecture of the Yangon streets. It was really tough, there’s no comfort of an air conditioned MRT like you have in Bangkok & Singapore-you just have to tackle the heat and traffic, and take it slow! Soon you realise that Yangon has a three dimensional street structure. I know that sounds like a strange statement, but it’s the best way that I can describe the fact that to find offices, shops and businesses you look all around on street level, as well as up. For example, our hotel was on the seventh and eighth floor of a building, with just a little doorway and a lift giving you access to all businesses in the building.
The colonial streets of Yangon
Not only street level, you can see the many businesses in the upper levels on the left
Walking around the streets we encountered street food like no other. Sure in Bangkok and Siem Reap you have street stalls selling bugs, but in Yangon the street vendors offer something quite different, but equally as difficult for us to comprehend. The best way that I can describe it is to call it ‘entrails fondue’, basically you have a street vendor with a large vat of hot oil, and a selection of unidentifiable ‘animal parts’. Locals just take a seat around vat, pick a nugget of choice, and then cook it themselves in the oil. I have to say that the thought of actually trying this cuisine didn’t even come close to crossing my mind. There have been a number of formally questionable culinary experiences over the last seven months, but this proved to be a step too far!
We did end up discovering some local fare, albeit not as risky as the ‘fondue’-and it was done so quite by accident. Settling down for the first bottle of Myanmar Beer and a street vendor comes around serving what I thought were salted peanuts, I managed to order some of what he was selling and we were given a container of sweetcorn and beans, accompanied with an unidentified paste. Not what we were expecting, but it was absolutely delicious, we still don’t know what the paste was (we were afraid to ask!) and haven’t seen this titbit anywhere else-so if you’re in Yangon, keep your eyes pealed. Frequenting the street café located under our hotel, we sampled eating as the locals do-a few beers and a number of little side dishes. Meat balls with chilli sauce, vegetable noodles, spiced sausage and more sweetcorn and beans-spot on!
Having explored the streets and Sule Pagoda, next on the list for Yangon were the central market and the famous Shewadagon Pagoda. The market is a welcome respite from the heat of the day, and so we headed there before heading up to the temple for sunset. Yangon market has to rate as once of the best ‘gift’ markets that we have been to, a cavern of jade, jewels, clothing and art. Interesting, bustling and colourful-and, of course, out of the heat of the midday sun.
The main hall of the market, the high roof helping keep the heat of the day away
Take your pick of interesting alleyways with a myriad of trinkets
With no tuk-tuks or identifiable form of alternative transport, we grabbed a taxi and headed for Shwedagon Pagoda. Here we encountered our first ‘tourist tax’ when hit with an unexpected $8 fee for entry to the pagoda-at the time it seemed quite expensive, as Myanmar is in comparison to the rest of South East Asia, but it would prove to be worth every penny.
The imposing sight of the golden Shwedagon Pagoda
Golden Buddha under the Bodhi Tree, signifying the moment he reached enlightenment
It’s a pagoda!!!
Shwedagon Pagoda was constructed more than 2,600 years ago, making it the oldest Buddhist stupa in the world. It is situated on Singuttara Hill and towers above you at a height of 99 metres, overlooking the sprawling Yangon city below. It is the most sacred Buddhist pagoda in Myanmar, as it is believed to contain relics of the four previous Buddhas. The staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa, and eight strands of hair from the head of Gautama.
It was here that we would encounter something that we found quite funny, all of a sudden we found ourselves being the subjects of surreptitious photography. Locals would be walking by and engineering opportunities to get us in their photos, ‘check out the tourists’! It’s easy to forget that until 2012, Myanmar has been a difficult place for people to travel, and so tourists are still something of a novelty. Being a subject of so much intrigue in a heaving and populous city just seemed quite odd.
Our inflating ego’s aside, Shwedagon Pagoda proved to be absolutely breath-taking. A large complex of temples and pagodas centred on Shwedagon itself, as the sun set, the darkness drew in and the candles were lit-we both had to take a moment to come to terms with our surroundings-it really was quite overwhelming.
Having been blown away by Shwedagon, our time in Yangon had drawn to the end and we readied ourselves for a night train to possibly the most famous of Myanmar images-the pagodas of Bagan. Our research had informed us that the train journey was a little bumpy, but well worth it for the views. Little did we know how ‘bumpy’ it would be….
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Diamondbacks reliever admits to soiling himself before an outing | TribLIVE.com
Breakfast With Benz
Diamondbacks reliever admits to soiling himself before an outing
Tim Benz
Wed., June 27, 2018 7:00 a.m. | Wednesday, June 27, 2018 7:00 a.m.
Diamondbacks reliever Archie Bradley delivers a pitch in the eighth inning against the Milwaukee Brewers at Chase Field on May 15, 2018 in Phoenix.
Is this a case of reliever relief?
Arizona Diamondbacks relief pitcher Archie Bradley soiled himself moments before going into a game.
Sorry. I can’t really write around it and properly tell the story. He then pitched with his pants containing the excrement.
And a pleasant good morning to you as well!
Bradley revealed the story on a Yahoo! Sports podcast. The incident occurred during warmups as he was about to enter a game earlier this season.
“Right before I’m about to go in the game, I pooped my pants,” Bradley admitted. “I know I’m a pitch away from going in the game, so I’m scrambling to clean myself up. I get it cleaned up the best I can, button my pants up, and our bullpen coach Mike Fetters says, ‘Hey, you’re in the game.’ So I’m jogging into the game to pitch with poop in my pants essentially.
“It was the most uncomfortable I’ve ever been on the mound. And I actually had a good inning. I had a clean inning, and I walked in the dugout and I was like, ‘Guys, I just (expletive) myself.’ ”
Strange. I bet most Pirates fans have the same reaction any time one of their bullpen pitchers comes into a game as well.
By the way, did he really just say he had a “clean inning?” Please tell me after that “clean inning” all he got were fist bumps and high fives. No pats on the backside I hope.
You may have seen Bradley’s mention of Fetters as his bullpen coach. Fetters was a relief pitcher in Pittsburgh for some awful Pirates clubs ‘in 2001 and 2002. I bet he thought cleaning up messes for those teams was going to be as bad as it got in his career.
CBS News settles lawsuit with 3 women who accused Charlie Rose of harassment
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Work Search: tip: words:100
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1. Homecoming 2. First Meeting 3. Animal 4. Hero or The Bad Guy 5. The Story of The Evil Ones 6. PSA
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<a href="http://archiveofourown.org/works/15772923"><strong>Twilight Rewrite (Re-uploaded)</strong></a> (22992 words) by <a href="http://archiveofourown.org/users/theredsnakeking"><strong>theredsnakeking</strong></a><br />Chapters: 6/?<br />Fandom: <a href="http://archiveofourown.org/tags/Twilight%20Series%20-%20Stephenie%20Meyer">Twilight Series - Stephenie Meyer</a>, <a href="http://archiveofourown.org/tags/Twilight%20Series%20-%20All%20Media%20Types">Twilight Series - All Media Types</a>, <a href="http://archiveofourown.org/tags/Twilight%20(Movies)">Twilight (Movies)</a><br />Rating: Explicit<br />Warnings: Graphic Depictions Of Violence<br />Relationships: Edward Cullen/Bella Swan<br />Characters: Bella Swan, Edward Cullen, Carlisle Cullen, Esme Cullen, Rosalie Hale, Alice Cullen, Jasper Hale, Emmett Cullen<br />Additional Tags: Canon Rewrite, Racebending, Blood and Violence, Explicit Language, Explicit Sexual Content<br />Summary: <p>When Bella Swan moves to the town of Forks Washington, she meets the mysterious Edward Cullen and is brought into a world that changes her life forever. This is a reimagining of Stephanie Meyer's Twilight series.</p>
Twilight Series - Stephenie Meyer
Twilight Series - All Media Types
Twilight (Movies)
Edward Cullen/Bella Swan
Canon Rewrite
Blood and Violence
Explicit Language
Twilight Rewrite (Re-uploaded)
theredsnakeking
When Bella Swan moves to the town of Forks Washington, she meets the mysterious Edward Cullen and is brought into a world that changes her life forever. This is a reimagining of Stephanie Meyer's Twilight series.
Chapter 1: Homecoming
There is a charm about the forbidden that makes it unspeakably desirable
This is meant to fix the problems of twilight. While I will use the text/plot from the book, I will also add in original content to give more originality to this story so it will be different from the source material including the characters.
Bella kept the car windows down and let the cool air hit her face as her mother drove her to the airport. She took in the sight of the beautiful blue sky of Phoenix; for it would be the last time she would ever see it.
She was moving to the Olympic Peninsula of northwest Washington State. A small town named Forks existed under a near-constant cover of clouds. It rained on this inconsequential town more than any other place in the United States of America. When Bella was just a few months old, her mother took her and left Forks, and she had been spending every summer there with her dad, Charlie, until she was fourteen.
As much as she loved her dad, she hated Forks. She hated the rain. Anything to do with the cold or wet made her clumsiness worse.
She would miss Phoenix. She would miss the sun and the blistering heat.
"Bella," her mother called before she got on the plane. "Honey, you don't have to do this, you know."
People have always said Bella and her mother looked alike; her mother had ebony skin, black shoulder length hair, and laugh lines. She didn't want to leave her loving, erratic, harebrained mother, but Renee had her new husband Phil. She also knew her mother was unhappy she couldn't see Phil a lot because of his minor league baseball job, so Bella decided to move with Charlie so her mom and Phil could spend more time together.
"Mom, I want to go," she lied as she put on her best smile.
"All right. I'll see you soon, okay?" She smiled back. "You call me whenever you want to come home, and tell your father I said hello."
Tears welled up in her mother's eyes.
"Mom, I'll be okay. I promise. I love you so much." She hugged her mother, holding back her own tears.
The flight from Phoenix to Seattle took four hours, another hour to Port Angeles, and then another hour to drive down to Forks. Bella was nervous about the car ride with her dad since both of them were awkward around each other and didn't really express their feelings to one another.
Nonetheless, Charlie was still happy to have his daughter live with him since he only saw her for the summer. He had already enrolled her in school and was going to help find Bella a car.
When she landed in Port Angeles, her dad was waiting with his police cruiser. He was the chief of police and another reason Bella wanted to get a car since she refused to ride around in a cop car for the remainder of her stay.
As she got off the plane and met him in the lobby, he gave her an awkward, one-armed hug. "It's great to see you again, Bells." He smiled as he got her luggage. "How is Renee doing?"
"It's great to see you, too, dad. Mom's fine too." She smiled back. She wasn't allowed to call him Charlie to his face. Her dad still looked the same. He had short brown hair, brown eyes, a stubble beard, and ivory skin.
She only had a few bags. Bella and her mother had pooled their resources for her winter clothes, which fit easily into the trunk of the cruiser.
"Bells, I got a good car for you. It was really cheap," Charlie said as he started the engine of the car.
She looked suspicious. "Really? What kind of a car?"
"I got you a truck, actually. It's a Chevy."
"Where did you get it?"
"My friend, Billy Black, from La Push. You remember him, don't you?"
La Push is a Indian reservation on the coast.
"Not really."
"You were really young. He used to go fishing with us every summer."
That explained why she didn't remember him.
"Well, he's in a wheelchair now. So he offered it to me for free."
"Does it run good?" she asked, her tone sounding skeptically.
He chuckled a little. "Billy did some work on the engine, but he got it back in 1984. Probably bought it in the late fifties, early sixties, but," he said before she could say anything, "it's a good car. Very cheap, and I'll pay for any mechanical problems you have."
"Dad, you didn't have to do that. I was going to get a job and pay for a car, but thank you. That was really sweet. I really appreciate it."
"You're welcome, sweetie." he said, flushed with embarrassment.
They continued to make small talk about the weather, which was wet, and then the awkward conversation ended. Bella stared out the window in silence.
If there was one thing Bella could say about Forks, it was beautiful. Almost everything was green, from the trees to the trunks with moss and the ground with ferns. The air even smelled sweet. It was almost like an alien planet.
After ten minutes, they finally reached the house. It was the same as always-a small white, two-story house with two bedrooms that Charlie bought with her mother in the early days of their marriage. Parked in the driveway was a faded red pick-up truck with big, rounded fenders and a bulbous cab.
"No way." she whispered as they pulled in the driveway. As soon as Charlie parked, she immediately went to her new truck, in awe at how perfect it was.
"Do you like it?" He was smiling.
"Dad, I love it so much! Thank you!"
He turned red with embarrassment again. "You're welcome. Now, let's get you settled in."
It only took one trip to get all her stuff upstairs. Bella got the west bedroom that faced the front yard of the house. It was still the same. The room had a wooden floor, light blue walls, a peaked ceiling, and white laced curtains around the window. The only change Charlie made was switching her old baby crib for a bed and a desk with a MacBook Pro on top of it. The rocking chair from when she was a baby was still in the corner.
There was only one small bathroom at the top of the stairs, which she had to share with Charlie and she tried not to think about it that much. One of the best things about Charlie was that he didn't hover. Once he made sure she had everything she needed, he left her alone to unpack. She was already feeling a little homesick.
Once she was done unpacking her clothes, she flopped down onto her bed and stared up at her ceiling.
"Don't fucking stress. You can do this," she said to herself.
When Bella awoke the next morning, after a rough night of sleep due to the heavy rain, all she could see was a thick fog outside her window, which made her feel claustrophobic. To be honest, Bella would rather stay at home then face her new school, which had a total of only three hundred and fifty-seven – and now fifty-eight – students, less than her old school back home.
Bella hated attention, and she knew she would be the new school gossip. She never really paid much attention to gossiping, but she would be lying if she said she didn't wonder what people would think of her. What would people expect? Bella was nowhere near an athletic type since she lacked hand-eye coordination or anything that goes on back in Phoenix.
She didn't relate well to people her age. Maybe the truth was that she didn't relate well to people, period. Even her mother, who she was closer to than anyone else on the planet, was never in harmony with her.
Sometimes Bella wondered if she was seeing the same things through her eyes that the rest of the world was seeing through theirs. Maybe there was a glitch in her brain.
Regardless of that, Bella was a very pretty girl, even though she never thought about her appearance that much. She was of average height, had medium dark skin with warm orange-red undertones, a heart-shaped face, armpit length black wavy hair, and the same brown eyes just like her dad.
After taking a shower, brushing her teeth, and getting dressed, she went downstairs to see her dad who was already dressed and eating breakfast.
They exchanged a couple of words before Charlie wished her luck and left to go to the police station. After he left, Bella wandered around the house. The kitchen was small, with its dark paneled walls, white cabinets, and white linoleum floor. Nothing had changed.
Next, she headed into the living room. Like the kitchen, everything was the same, from the furniture to the pictures on the mantle. The first picture was of Renee and Charlie's wedding in California. There were also pictures of her as a baby in the hospital after she was born, followed by all of her school pictures up until last year.
It was hard being in this house knowing her dad was not completely over her mother.
After eating a quick bowl of cereal, Bella grabbed her backpack, keys, and jacket before running out to her car. Inside the truck, it was fairly nice. The tan seats had obviously been re-holstered and smelled faintly of tobacco, gasoline, and peppermint. It also had a modern radio system that worked well.
When she started the engine, it roared to life, to her relief. The school wasn't hard to find since it was just off the highway like most things. A building with maroon-colored bricks, surrounded by trees and shrubs, came into view. Next to it was sign that read 'Forks High School'
Bella parked in front of the first building, which had a sign on the door that read 'Front Office' and walked down the path into the building. The inside was warm and brightly lit, with warm colored furniture, plants in large plastic pots, and notices and awards on the bulletin board. The office was cut in half by a large counter that had three desks behind it, one which was occupied by a redheaded woman wearing glasses. She turned her attention to Bella as soon as Bella walked in the door.
"May I help you?" the secretary asked.
"Yes. Hi, I'm Isabella Swan," she informed her, and the woman's face lit up with recognition. As expected, Bella knew she would be the topic of gossip. Daughter of divorced chief Swan has finally arrived.
"Of course, dear. I've been expecting you," the secretary said. She dug through a pile of papers on the desk until she found the one she was looking for. "I have your schedule right here, with your locker number and combination, and a map of the school. I could show you around if you would like."
"Yes, please," Bella responded. The secretary went over her classes, highlighting the best route to each of them. Then she gave Bella a slip for each of her teachers to sign and return back at the end of the day. She smiled and wished Bella luck.
As Bella went over the map, the other students started to arrive. She went back out to the parking lot and drove her car around the school, following the line of traffic. She was thankful most of the cars were similar to hers and not flashy. The only car that stood out was a shiny black Aston Martin Vanquish S.
She stuffed all of her things in her backpack and sucked in a huge breath, reminding herself that she could do this, and no one was going to bite her. She stepped out of the trunk and followed the crowd into the main building. She located her locker and put her coat and extra stuff into it and proceeded to her first class.
She found the class easily and handed her slip to her teacher, Mr. Mason, who is a tall, balding, white male. He signed her paper, and gave her a reading list and sent her to an empty seat in the back of the room, which Bella was thankful for. She had already read all of the books on the list-Bronte, Shakespeare, Chaucer, and Faulkner. She debated on whether or not she should use her old essays from back home but decided to wait.
When the bell rang, a boy with dark ocher skin and black hair tied into a tiny bun on the back of his head leaned across the aisle toward her.
"Hi," he greeted warmly. "You're Isabella Swan, right?"
"Just Bella," she corrected. The people nearby then turned their attention to them, which annoyed her.
He ignored the people watching and held out his hand. "Hey, it's nice to meet you. I'm Eric Yorkie," he said, shaking her hand. "Do you need any help with your next class?"
"Uh…" She was silent for a few seconds as she contemplated his question. "Yeah, sure. Why not."
"Cool. The principal asked me to show you around, so I wasn't sure if it was you."
Bella nodded her head in understanding.
"So, what's your next class?" Eric asked as they left the room.
She reached into her pocket to check her schedule. "Um, government with Jefferson in building six."
They began to walk toward the other building on the right side of the school.
"So, you're from Phoenix?" he asked.
"Yeah, but I was born here."
"Must be fun there. Forks is boring as shit," he stated.
Bella smiled a little. "Phoenix is kind of boring too, unless you're the sporty type."
They walked around the cafeteria and steered toward a new building with the room she was looking for.
"Well, this is it," Eric announced. "I guess I'll see you around, maybe at lunch?"
"Yeah sure, and thank you."
"No problem." He gave her a smile before heading off to the building on the other end, and she entered her classroom.
The rest of the morning passed pretty quickly. Bella's Trigonometry teacher, Mr. Varner, whom she already disliked for the subject he taught, was the only teacher to make her introduce herself in front of the class. She felt completely embarrassed and tripped on her boots as she walked back to her seat.
Bella recognized a couple of people from her other classes. Some of them even introduced themselves and asked her about how she liked Forks, which she mostly lied about.
One of the girls, whose name was Jessica Stanley, who sat with her in trig and Spanish decided to walk with her to the cafeteria. Jessica was white, and the same height as Bella with straight brown hair.
After getting their lunch, they sat at full table with Jessica's friends, whose names Bella couldn't remember. The only one she remembered was Eric, the boy from her English class, who gave her a hello which she returned.
Bella was having a conversation with one of the people at the table, and that was when she saw them.
They were by themselves, sitting in the corner of the cafeteria, far from everyone else. Bella couldn't help but stare. There were five of them. They just sat there, taking small bites of their food. What really caught her attention was the fact that none of them looked alike.
Three of them were boys. One was big, muscled like a footballer; he had brown skin, and short, dark brown curly hair. Another one had light ocher skin, was tall; lean, but muscular, with dark blond hair in a wavy undercut. The last one has golden brown skin; was tall, with untidy black hair styled in a modern quiff and has an athletic build, but not as tall as the dark blonde or as buff as the big one.
The two girls were different. One was tall and statuesque. She had light ocher skin and a beautiful figure, like one in a Victoria's Secret ad that made every girl envious. Her hair was dark blonde, gently waving to the middle of her back. The other girl was short and pixie like. She had rich ebony skin and was thin, with small features. Her hair was raven black, cropped short pointing everywhere.
All of them had beautiful brown eyes, like the evening sun shining through an enstatite gemstone. All their features were straight, perfect angular, but this is not why she couldn't look away. Bella couldn't stop staring because they were all so exquisitely, inhumanly beautiful.
The small one rose from her seat with her tray and walked away so gracefully it looked like she belonged on a runway or on Broadway. She dumped her tray and walked out the back door so quickly, Bella hardly saw her. She turned her attention back to the others, who still just sat there.
"Who are they?" Bella asked Jessica.
As Jessica turned to see who she meant, the boy with the untidy hair looked at Bella which made her drop her eyes immediately, flushed with embarrassment.
Jessica giggled, dropping her gaze like Bella had.
"The dark-haired ones are Edward and Emmett Cullen. The one that left was Alice Cullen. The dark blondes are Rosalie and Jasper Hale. They all live with Dr. Cullen and his wife," Jessica spoke under her breath.
Bella looked at the black-haired boy again and saw him picking at his food. She wondered why they had such odd names.
"They're really gorgeous." Bella blushed.
"I know, right!" Jessica agreed excitedly. "They're all dating each other, though. Jasper is with Alice, and Emmett is with Rosalie, but none of them are related except Rosalie and Jasper. I think they're brother and sister. The doctor and his wife are really young, but they only adopted Emmett, Alice, and Edward for some reason. Alice and Edward are the same age as us, and the other three are seniors."
"That's amazing for them to take in all those kids like that, especially when they are so young," Bella said. "Have they always lived in Forks?"
"Nope, they moved here two years ago from somewhere in Alaska." Jessica sounded like it should have been obvious.
"Who's the one with the black hair?" Bella asked as she took a peek at him. To her surprise, the boy was looking at her, too, with a rather frustrated expression. Bella looked away again.
"That's Edward. So fucking beautiful, but don't bother with him. No girl is good enough for him, like I give a damn," she snorted. She sounded extremely bitter, and it almost made Bella laugh.
Bella turned to him one final time, but he wasn't looking anymore. She swore she could see his cheek lift and his mouth open a little as if he were laughing. After a couple more minutes, the bell rung, ending lunch, and the four of them left together, looking just as graceful as the short girl.
Bella walked to Biology with someone she met at lunch-Angela Weber. She was shy, like Bella, and very nice.
In the classroom, Angela went to sit at a lab table that was already occupied by another. The only available seat was next to Edward Cullen. As she was walking over to the teacher to get her paper signed, she met Edward's eyes, and his expression was completely furious and hostile.
Bella turned away so quickly it almost gave her a whiplash. She stumbled on her feet but was able to catch herself on a table. Before she turned away, she noticed his eyes were completely black with no hint of color in them.
When Mr. Banner signed her slip, he sent her over to Edward since he was the only partner left. Bella made sure to keep her head down going to her seat, shocked by this person's sudden anger toward her.
She didn't look at him as she took her seat, but she could see him move to the edge of his seat from the corner of her eye. She didn't understand. She sniffed her hair to make sure she didn't have a bad odor, but it smelled like strawberries.
As she was taking notes on Mr. Banner's lecture on cellular anatomy, which she had already studied, she occasionally took a peek at Edward. Since the class started, his position never changed, and she saw his hand clutched into a fist on his left leg.
Why was this guy so pissed at her? She has never done anything to him to deserve his nasty attitude. Bella wasn't a violent person, but it took all of her willpower to not slap him across the face with her textbook. She regretted looking at him again, this time because he was glaring, like he wanted to rip her head off her body. It made her flinch away from him and sink into her seat.
The moment the bell rung, he was out of his seat and out the door before anyone.
Bella just stood there staring after him, completely in disbelief about what had just happened. She gathered up her things, holding in how pissed she was, with tears almost welling up. This dude was an asshole, and she refused to shed a tear over him.
"Are you Isabella Swan?" a male voice asked.
She turned to see a white boy, who was baby-faced, has blue eyes and curly blond hair.
"Bella," she told him with a smile.
"It's nice to meet you. I'm Mike Newton."
"It's nice to meet you too, Mike."
"What's your next class? Mine is gym."
"That's where I'm headed too."
"Sweet. We can walk together if you want too?"
She accepted his offer and headed to gym. Mike was really sweet and a good person to talk too. Probably one of the nicest people she'd met today.
"So, what did you do to piss off Edward Cullen?" he asked as they walked into the gym.
She just shrugged her shoulders and played dumb. "I don't know-didn't really pay attention to him."
She waved Mike goodbye and went into the girl's locker room to change. Coach Clapp, the gym teacher, made Bella participate in four volleyball games, even though she tried to stand out. Thank god she only had one more year of this.
When the final bell rang, Bella went back to the office to return her papers. The wind had picked up, which made her wrap her arms around herself.
The office was warm when she arrived, but seeing Edward Cullen there made her tremble and hug herself tighter; his presence sucked all the warmth out of the room. He was arguing with the receptionist in a soft, persuasive voice about changing his biology class to another time. She couldn't believe this. Why did he hate her so much?
Someone came through the door and a gust of wind swirled Bella's hair across her face. Edward stiffened and turned slowly to her, eyes filled with anger.
He turned back to the receptionist. "I guess it's impossible. Thank you for your time," he said in that smooth, velvet voice. He turned and left without a second glance at her.
Bella went up to the desk and handed the woman her slip.
"How was your day, dear?" the woman asked.
"It was fine," she lied, putting on a fake smile.
Bella headed out to her car, ready to go home, and ready to forget Edward Cullen ever existed.
Alexandrhaella, xbluebell_x, pastalover57, Sincerely5087, Nb_lex, Strawberries_and_Stars, ChyDev23, IAmFire, Arryesia, MeganMcgav, Krystalwinds_FanficAddiction, and dinopoodle as well as 8 guests left kudos on this work! (collapse)
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TV show info TOP
「Narcos」 TV show Synopsis Introduce The Highlight
What is Narcos All About?
Some people are called narcissists.
This applies to people that are infatuated with themselves.
In the TV shows, there are people called “narcosts”.
This applies to people that are fans of the TV show Narcos.
After watching Narcos, I became a “narcost” as well.
As the name of the show suggests, the hit series is about drugs: lots of them.
The show is about a notorious drug lord and his drug cartel.
The sensational Netflix original series is based on true events.
It’s the kind of gripping show that will keep you on your toes.
The show may shock you at times, but overall, the unpredictable twists will keep you glued to the screen.
The story is set in the 80’s when drugs were starting to run all over the world.
There was a drug lord that sensationalized the world.
His name was Pablo Escobar. The moment he started dealing Cocaine, things started to open up for him.
As his organization grew larger, the drug war becomes more fierce.
Is there an end to the hunt for Pablo Escobar?
・You’re a sucker when it comes to series that are based on real-life events
・You’re drawn to the 80’s
・You like series that are realistic
・You like series that are all chaotic and about surviving
・You secretly want to become a “narcost”( a huge fan of Narcos)
Business has never been better. #Narcos pic.twitter.com/sO8O2b6R4h
— Narcos (@NarcosNetflix) 2017年9月4日
What Makes Narcos So Good
The show revolves a drug war set in South America.
In the world of Narcos, drugs are more valuable than people.
If you’re going to watch the show, brace yourself for a lot of blood.
What makes the show interesting is that at times, the show can seem like it’s built up to be a documentary, but at other times, it has the essence of a thriller.
Once you start watching Narcos, there won’t be a single moment you’ll get bored.
The show creates a sense of tense, scary unpredictability.
Not only does the show focus on Escobar as a drug lord, it also recounts him as a husband and a father.
Drugs, cocaine in particular, also play an important part of the show.
A lot of shows include drug scenes, but as Escobar was one of the world’s biggest drug traffickers, you’ll be seeing drug scenes like you never have before.
Everything about this show is absolutely sensational.
The big-budget production is not scared at all to shock its viewers, which is why this show won’t be for everyone.
You’ll either love it and get completely hooked or hate it.
Pablo the genius
Pablo Escobar is one smart guy, which is obviously why he was able to make it as a drug lord.
You can really tell from his lines and plotting abilities how street smart he was.
As his drug cartel grows larger, more problems start to arise.
There will be a lot of betrayal and conspiracy.
While Narcos may seem more like an action/thriller show, it does focus heavily on the psychological aspects of Escobar as a person.
Nothing is ever black or white, there is so much more to a person below the surface.
Everybody has their own battles, even if you’re Pablo Escobar.
I heard somewhere that the definition of a gangster is a charismatic member belonging to a violent group.
Even though he looks like a middle-aged man with a beer belly, Pablo Escobar is definitely a hardcore gangster.
Narcos Fierce drama
Narcos will blow your mind in every way possible.
What can I say, the show has a riveting plot, portrayal of violence, and great actors.
Making a show about a sensitive topic like drugs must have been very risky for Netflix, but I think they made the right call by creating high content catered for people that are into thrilling stories.
I think it was a wise business decision and I bet if Pablo Escobar was here, he’d be saying “Well, if you asked a different production company to create the show that would’ve been a loss of money.”
If you have some time on your hands, why not watch the violent battles between the Medellin cartel and the DEA from the comfort of your peaceful house.
Narcos Trailer
Narcos | Season 1 Official Trailer
https://youtu.be/U7elNhHwgBU
https://youtu.be/nkOKkS7mKfY
https://youtu.be/Ory6b2EJ3Bk
Copyright (C) 2019 TV show info All Rights Reserved.
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info@americasucceeds.org
EDventure Summit
Age of Agility
America Succeeds Annual Report
Take a look back at 2018 with America Succeeds Annual Report – we had a big year. From adding a new affiliate to engaging new partners to kicking off a national conversation about what it means for our education system to be more agile, we grew in every way imaginable and we deepened our impact across our entire network. We hope you share our excitement for what’s to come and the momentum that is carrying us forward in reading America Succeeds Annual Report 2018.
News & Media 2018
America Succeeds: Year in Review
Increased Impact
America Succeeds network now includes 6 affiliates partners who represent in 7 states across the country. Collectively in 2018, the network advocated for more than 5.34 million K-12 students and engaged 724 business organizations in improving public education.
New Affiliate Partner
Welcome to Aligned, our newest affiliate partner representing Kansas and Missouri! Aligned partnered with America Succeeds on membership development and engagement, staff hiring, organizational policy, communications, and board development.
Expanded Products & Services
This year, we revamped the products and services offered to affiliates, introducing a broad range of guides, templates, and professional services in the areas of advocacy, membership expansion and engagement, communications, and organizational viability.
America Succeeds’ 5th Annual EDventure Summit kicked off in Boise, Idaho on September 12th, 2018. More than 100 advocacy partners joined us for two days of inspiring speakers, recess adventures, and our signature ED Shark Tank event.
Age of Agility Tour
America Succeeds followed up the release of the Age of Agility report with a national tour of events in partnership with the U.S. Chamber of Commerce Foundation. The Age of Agility Tour stopped in 9 states before wrapping up with an event in Washington, D.C.
America Succeeds is a national network of non-profit, non-partisan, business-led, policy and advocacy organizations committed to improving public education.
VISIT OUR BLOG: Grateful Ed by America Succeeds
Telluride Bluegrass Festival | Emilee Ramseur
On Tour with Andy: Six Concert Reviews by Andy Rotherham
© America Succeeds 2018
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Facebook lady ,Akosua Sika beaten after being accused of trying to snatch a ‘Slay queen’s’ boyfriend (Video+Pictures)
By Attractive Mustapha in Politics December 11, 2017
A video which started making rounds on Facebook at 11:30 PM on the evening of Sunday, December 10 has sparked a lot of controversy on social media with tempers flaring up over the issue.
A Facebook user who goes by the name, Akosua Sika was seen in a video being abused by some ladies in a part of Accra for allegedly trying to ‘snatch’ the boyfriend of another Facebook lady.
According to Akosua Sika, she accepted the friend request from one Asaawa Gh and they exchanged contacts and immediately started chatting.
Akosua Sika went on to reveal that Asaawa Gh told her unpleasant stuff about his girlfriend and from all indications, made her (Akosua Sika) believe that he wanted to quit the relationship.
Akosua Sika, who had indicated that Asaawa Gh had already taken a liking for her decided to ask him for money to sort out some stuff. It is believed that Asaawa Gh asked Akosua Sika to come for the money at his residence.
Akosua who did not sense any foul play took it upon herself to visit her friend at his residence for the money.
After she was welcome by Asaawa Gh and made to feel comfortable, a gang of ladies marched into the room being led by Sharon Gh, who is believed to be the girlfriend Asaawa Gh had spoken about.
After some interrogation, Sharon Gh and her friends started attacking Akosua Sika. They locked her up in the room and beat her mercilessly. Afterwards, they requested for her phone and deleted the chat between her (Akosua Sika) and Asaawa Gh.
The later sent her out of the room and out of the house with slaps and heckling. The video is believed to have been recorded by Asaawa Gh and posted on social media just to prove to his girlfriend that he was not cheating.
Since the video went viral on social media, many people have taken offense in the behavior of both Asaawa Gh, Sharon Gh and her gang of friends. The matter is believed to have been reported to the police and investigations have started.
As it stands now, Asaawa Gh, Sharon Gh and all those involved in the assault case have skipped town and the police are currently trying to locate them.
Some irate people who saw the video on Facebook have already ‘stormed’ the residence of Asaawa Gh and have laid waste to some of his belongings after they broke into his room.
Sharon Gh has deleted her Facebook account.
Popular Facebook Girl Receives Dirty Slaps From “Crazy” Girlfriend For Trying To Steal Her Boyfriend (VIDEO)
Melcom Donates To Media (Pictures +Video)
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Gene Kelly does Summer Stock
The blogosphere is all abuzz this week in celebration of the life and work of Gene Kelly. Today would have been his 100th birthday. I just had to do something to honor him. By way of a simple tribute to him and my (sentimental) favorite of his films, I jump on the Gene Kelly love bandwagon.
The story of Summer Stock.
Metro Goldwyn Mayer (MGM), the studio that boasted “more stars than there are in the heavens” served up gem after gem with astounding talents and memorable performances for years. I eat all of it up with extra servings whenever possible. It’s an impossibility to choose one favorite number or scene from the rich MGM legacy. But Gene Kelly was special among a sea of unforgettables. With never before seen athleticism and style he brought dance to everyman, made it “cool” and masculine to dance. That’s quite a feat. But it’s not all he did. He also consistently pushed the envelope to portray dance as art on film.
As if his unique dancing talents weren’t enough, by 1950 Kelly had broken the movie musical mold behind the scenes through his choreography and direction aweing audiences and setting the bar far beyond what anyone else had ever done. In 1945’s Anchors Aweigh, directed by George Sidney, he dances with Jerry Mouse of Tom and Jerry fame in what would become that film’s most popular sequence. The marriage of live-action and animation the likes of which no one had seen before.
In 1949 he took the musical On The Town in the first-ever feature film in the genre to be shot on location. Gene Kelly co-directed On the Town with friend and partner, Stanley Donen.
This post, however, isn’t about the films where Gene Kelly broke the mold but about the one he didn’t want to do, which happens to be my sentimental favorite, Charles Walters’, Summer Stock (1950). He didn’t want to do it but he did it for Judy. Reason one why I love this film so much.
Gene Kelly was a smash hit on Broadway as the star of Pal Joey, the Rodgers and Hart musical that opened at the Ethel Barrymore theater on the great white way in December 1940. By that year, Judy Garland was a seasoned veteran of film musicals and one of MGM’s biggest stars. Due to Kelly’s success in Pal Joey he would get a contract with MGM Studios and make his screen debut in Busby Berkeley’s, For Me and My Gal (1942), starring none other than Judy Garland – incidentally, this was the first film where Garland’s name appeared before the title, her star had reached the top at the studio at the top, while Kelly’s started its climb. And by all accounts he never forgot how supportive she was, taking him under her wing and showing him the ropes. It is said that it was Judy Garland who actually got Kelly the job on For Me and My Gal after having seen him on stage in Pal Joey.
For Me and My Gal turned out to be the first of three films Gene Kelly and Judy Garland would star in together. The second, Vincente Minnelli’s, The Pirate in 1948 was a highly anticipated reunion, which both stars and director loved but it turned out to be a flop at the box-office despite both Kelly and Garland being at the top of their game and hugely popular with audiences. But within the span of just a couple of years, Gene Kelly’s talent and drive both in front and behind the camera would catapult him into the position of key player of the Hollywood movie musical while America’s sweetheart began to have troubles that would irrevocably affect her career. By 1950 Judy Garland needed a hit movie. She called on MGM’s biggest star and friend, Gene Kelly.
Summer Stock was originally intended as a reunion for Judy Garland and Mickey Rooney and the script reflects it by the similarities between this film and the several Garland and Rooney did more than a decade earlier. But by 1949, Mickey Rooney’s star power had diminished and MGM decided to star the popular, Gene Kelly. When presented with the idea and script for Summer Stock, Gene Kelly resisted. His goals, ideas and scope were leaps and bounds beyond a musical that went back to the barn, both figuratively and literally. But Judy needed his support and because she’d been there for him, he was now there for her. In a sense, things had come full circle. She’d been released from Annie Get Your Gun, her previous film, unable to finish it due to health issues. So they made Summer Stock.
In Summer Stock, Judy Garland stars as Jane Falbury, a small-time farmer trying to make ends meet who soon finds her homestead invaded by a theatrical troupe. Jane’s sister, Abigail (played by Gloria deHaven), who’s not cut out for farm life aspires to be an actress and got mixed up with “show-biz” types and fell in love with Joe Ross, the actor in charge of the troupe. Joe and the troupe are broke and need a stage where they can preview their show. Star-struck Abigail offers up the farm. What ensues is both fun and funny helped along by a wonderful cast, which includes Marjorie Main, Eddie Bracken and Phil Silvers.
I can’t pretend this film is unique in any way and perhaps the story’s not memorable to anyone other than me. As is the case with so many MGM musicals before it, Summer Stock is made up of fanciful moments where song and dance break out at a moment’s notice – a standard musical plot. It is an old-fashioned, let’s put on a show musical. But for this viewer, oodles of fun. Yes, all the players are disposed in the direction of song or dance but when they do joy reigns. From early on in the film when Judy as Jane sings, “If You Feel Like Singing, Sing” and then “Happy Harvest” on a tractor, I am enchanted. I might add, Judy Garland is in outstanding musical form here – extraordinary voice.
Then Mr. Kelly and his troupe arrive and by Jane’s insistence, pitch in to do their share of the farm chores. Hilarity! I can picture myself, a city girl afraid of the smallest bug trying to feed chickens and hogs. I’d never be as funny as Phil Silvers though. “Whatta ya think they got ME doing? Picking eggs. EGGS! E-G-Z!” Of course, this convergence of thespians on a farm also lends toward other wonderful numbers, including the fun, “Dig, Dig, Dig for Your Dinner” and a duet by Kelly and Silvers of “Heavenly Music” late in the film, which I love. I call it a duet but the two share the stage with a variety of very vocal dogs.
Some of the funny scenes in Summer Stock are provided by Eddie Bracken who plays Orville Wingait, Jane’s rustic and very conservative fiance and veteran character actress, Marjorie Main as the Falbury farm maid.
As I mentioned, Judy Garland came off of somewhat of a sabbatical to do this film. She was well-rested when shooting began but she was still battling demons and the shoot was not easy for her to get through. Absent from the production for days at a time, MGM was growing leery of Judy Garland. Summer Stock was to be her last with the studio that made her a star and for which she’d let her extraordinary talent shine countless times. The ones who stayed patient and loyal – the film’s producer, Joe Pasternak who’d worked with Judy several times before and said, “everyone who worked with Judy knew her magical genius and respected it,” the cast which was made up of long-time Judy Garland friends who served as a great support system for her. And then there was Gene Kelly who shared a mutual admiration and affection for Judy, which clearly comes through in the film.
If I were to mention all the songs I love from this film it would be all of them. I’ll spare you that. But the dance routine in the barn between Gene and Judy is especially worthy of note. First of all, it’s one her best dance routines in any film and although it doesn’t stack up to the great Gene Kelly numbers we’ve come to be accustomed to, I think they still look fabulous dancing together. Judy’s no slouch!
Joe Ross’ show and love both bloom in Summer Stock.
Jane is forced to step in as the show’s leading lady when her spoiled sister runs off with the star. We see Joe teaching her all the steps, the fumbles and aches as time elapses. Then it’s opening night. Joe and Jane have fallen in love and the farmer girl has to star opposite the dashing director. The barn is transformed to rival the Ziegfeld Theater. Number after number Jane and Joe hit it out of the park. It’s almost as though he were the greatest song and dance man in film history and she, the greatest entertainer of the 20th Century. No doubt there’s something about grease paint and love that makes this happen!
The delay-ridden production of Summer Stock wrapped in February 1950. After close scrutiny, it was decided the film still needed a powerhouse finale. A month later Judy was called in to film what would be one of her most iconic numbers in film and her last ever for MGM. Judy returned looking svelte and sounding sensational in a signature performance.
Judy left audiences in awe at the end of Summer Stock with that number, one that’s inspiring no matter how many times one sees it. But it wasn’t the only moment of awe in the film. While Judy missed days during production, Gene Kelly took advantage and worked on a solo routine that is the other highlight in the film. To say that a Gene Kelly routine is a highlight in what many perceive as one of his mediocre films means little in the scope of his brilliant career. But to me, this is a gem among all of his genius. My favorite of all his routines – ever.
A reprise of the beautiful, “You Wonderful You” number, a dusty barn, a squeaky board, a newspaper and Gene Kelly. Pure magic.
I’m completely transfixed by his using the squeaky board in a soft shoe to start the number, the music swells to feature the usual Kelly athleticism, sensational music, the newspaper-across-the-barn-floor sandy sound but when he splits that newspaper – my goodness! C’MON! It’s fantastic!
In Summer Stock you get a film where each member of a premier cast is given their moment to shine and every time you turn around you get to hear Judy Garland sing and watch Gene Kelly dance. I was awe-struck the first time I saw On the Town as a child. I was newly enchanted just weeks ago when I had the privilege of watching Singin’ in the Rain on the big screen for the first time. But I can watch Judy and Gene dance and sing in a barn every day of my life. Summer Stock is a special joy.
After Summer Stock, Gene Kelly continued on his track to make movie history. He followed Summer Stock with An American in Paris and had Singin’ in the Rain still to come. The first is an Academy Award winning Best Picture, the other considered one of the best films ever made. Neither would have been without him.
For 72 years now Gene Kelly has been wowing audiences and I can’t imagine that he will cease to do so as long as we have his work to watch and enjoy. His contribution to film entertainment is immeasurable. A director, a producer, a choreographer and a star. On the 100th anniversary of his birth, here’s to the one without whom the Golden Age of musicals would not have been Golden.
To Gene Kelly.
I‘m glad I met you
You wonderful you
I can’t forget you
You’re like a breath of spring
A whole new thing that’s happened
And without much adue
I look at you and
There stands love
In honor of the 100th anniversary of his birth, today is Gene Kelly day on Turner Classic Movies‘ (TCM) Summer Under the Stars (SUTS). TCM will feature 24 hours of his films. Summer Stock is not on the schedule but it’s the one I chose to honor in his memory. I am submitting this entry as part of the SUTS blogathon hosted by Michael of Scribehard on Film and Jill of Sittin’ On a Backyard Fence. This event will last all month to coincide with the TCM schedule. For details on the schedule, participants and submissions, go to either of the host sites and prepare to be enchanted and informed.
Posted in Classic MoviesTagged Classic, Eddie Bracken, Gene Kely, Get Happy, Gloria deHaven, Judy Garland, Marjorie Main, MGM, Phil Silvers, Summer Stock
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Lucy Brown (@CharmedLassie) says:
I also adore the fact that Gene made this film for Judy so you’re not alone. ‘You, Wonderful You’ is one of my favourite songs, just for the interaction between the two. They had a chemistry that is really difficult to ignore. Equally, Judy’s rendition of ‘Friendly Star’ may only include a few seconds of Gene on camera but, my, those few seconds… Just excellent.
Hi Lucy! Thanks for stopping in. “Friendly Star” is brilliant! I left it out because I mentioned it in another post I did about Judy’s greatest performance so didn’t want to be redundant. When most of what I post here are gush-fests, it’s easy to get repetitive. I love Gene and Judy together in this film especially. Just warms my heart.
silverscreenings says:
Thanks for posting the “Get Happy” clip and the Gene Kelly solo. I could watch those two things all day.
For some a picture just won’t do. Magic!
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Sean Gallagher says:
Somehow, despite being a fan of both Kelly and Garland, I’ve managed to miss this one, and your write-up makes me all the more eager now to check it out. The only scene I’ve seen is the “Get Happy” number (because it’s used in THAT’S ENTERTAINMENT), which I liked.
Oh, Sean – watch it and let me know what you think. A definite charmer!
Aurora, great in depth review of Summer Stock! Thanks again for hosting the Lemmon-rific #TCMParty last night!
Had fun too, Joel! Always great with passionate classic fans like you! Thanks for your comment.
tonyarice says:
Hi Aurora! I just adore this movie! Isn’t that newspaper scene just the most? 🙂 I could always sense good chemistry between them here, which I think why I fell in love with it the first time I saw it, and now I understand. Thanks for the backstory. It makes the movie even more special!
I haven’t watched Summer Stock yet, but I’m familiar with both the Get Happy and the newspaper routines. Nice to see the show they make together (barn dances are always great). nobody can imagine that Judy was going through tough moments during the making of the film.
SO true! I can barely think if I have troubles and she was still in astounding voice – what an amazing talent she was!
Thanks, Le for visiting!
I love Garland’s performance so much in SUMMER STOCK, especially her “Get Happy” number, that I forgot Gene Kelly was in it! My favorite films are the ones they made together. I also cannot get enough of Marjorie Main. And i really like the first picture you have here of Kelly – he looks like a modern movie star. Here’s my breakdown of Kelly’s films on TCM – hope you enjoy!
http://thegreatkh.blogspot.co.uk/2012/08/happy-100th-birthday-gene-kelly.html
Thanks, Margaret! I actually favorited your post on twitter so I can read it tonight! Thanks for stopping in. I absolutely love Summer Stock (obviously) so couldn’t choose another one to honor today. LOVE Marjorie Main too!
Oh, how I love this movie! I understand that it’s formulaic and breaks no new cinematic ground but it’s so beautifully made. From when Judy seems to stumble on “… everyone can’t be a …. Bing” in “If You Feel Like Singing, Sing!” because she’s reaching for the shower towel, we know we’re in the hands of craftspeople at the top of their games. Imagine the care that went into looping that moment. And the scene where Kelly tapdances in the spotlight with the newspaper on the creaky floor is genius! Thanks for including the “magical” clip. I like this movie more than An American in Paris — even though I appreciate An American in Paris is a “better” film — because Gene and Judy have so much heart. You did a wonderful post on a dear, sweet movie.
😀 I LOVE IT! So glad you do as well. Agree! Two wonderful talents and they are a joy to see and hear. I also like this one more than An American in Paris! It is my absolute sentimental favorite. I’m blown away by so many of each of the two stars on screen in many other films but this one is special. Thanks so much for your comments. I was unable to choose another to write about.
kelleepratt says:
Reblogged this on Outspoken and Freckled.
Aurora~ another amazing write-up! You constantly out-do yourself with every post. It’s positively magical to see Gene Kelly and Judy Garland on the same screen. What a duo of talent!!
Thank you, Kellee! They are magic.
John Wing says:
Great article. TMC not including Summer Stock in the 24 hour Gene-a-thon was a mistake. I miss the revival theaters. Getting more difficult to find. I spent many wonderful weekends at them, particularly when they featured Gene Kelly. So much fun watching on the big screen and watching with others who appreciated his talent.
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angelamermaid says:
Thanks for this love letter to this film, which was recently shown with a slate of other Judy movies. I hadn’t seen it in years and was glad to see it again.
It’s sweet and like you, I love that Gene did it for Judy. And his numbers are superb. The “You Wonderful You” scene with the newspaper and squeaky board still captivates me.
Me too as I noted! It’s one of my favorites and the fact Judy returned after the difficulties to tape that iconic number is wonderful. Thanks so much for stopping in!
Reblogged this on goosepimply all over and commented:
Sigh… Gene Kelly (His birthday’s a-comin’ and this tribute is just right at any time!). Thanks to my pal, Aurora, at Once Upon A Screen for this ‘smarvelous (nope, couldn’t resist that) post.
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Sweet Sue says:
Gene Kelly is perfection.
TRUTH!
Pingback: 5 Favorite Movies of the 1950s – Once upon a screen…
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Guides’s Room
Art Of Black
Museums & Cult Movies
Little River/Little Haiti
Wynwood Arts District
Brickell City Centre
Little River / Little Haiti
ART STARS
Rembrandt Erotic Secrets: 20 Etchings
Ms. Naomi Wilzig
and World Erotic Art Museum
cordially invites you to
the opening reception of
Curated by The Baron of Fulwood & Dirleton
and Naomi Wilzig, assisted by David Tamargo
Tuesday November 29, 7 PM.Â
Rembrandt, Adam and Eve, 1638, Bartsch B-028, 162 x 117 mm
Rembrandt, Joseph and Potiphar’s Wife, 1634, Bartsch B-39, 94 x 116 mm
Rembrandt, Jupiter and Antiope, ca. 1631, Bartsch B-204, 82 x 111 mm
Rembrandt van Rijn 1606 -1669
Rembrandt van Rijn is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. Rembrandt is best known for his self-portraits and biblical scenes, working intensely with light and shade, achieving a realism that other artists avoided. Breaking convention of his time his honesty of the human form led to these works being hidden for centuries, that is until now.
The Baron of Fulwood Collection of 20 etchings is perhaps the most controversial of his etchings. Even to this day many of his erotic etchings remain hidden in storage rooms of museums and collections, away from public view. This is the first time ever that all of his erotica etchings are being shown at one single venue.
In an extraordinary exhibit that will showcase what historians, curators and collectors have for centuries declared the iconic Dutch artist’s “dirty little secrets,†will be unveiled all together for the first time at Naomi Wilzig’s World Erotic Art Museum in Miami Beach.
On View until March 31, 2012
Curated by The Baron of Fulwood & Dirleton and Naomi Wilzig, assisted by David Tamargo, the etchings will be on view at the museum’s new Rembrandt Gallery through Saturday, March 3. An assemblage of the only existing erotic etchings illustrating Rembrandt’s masterful technique, the exhibit will offer a provocative new perspective on the artist deemed by many as “one of the greatest prophets of civilization.â€
Titles of the etchings such as “Adam and Eve,†“A Man Making Water†(1631) and “Woman Sitting Half Dressed Besides a Stove†(1658), meld the earthly with the spiritual, and are among the nudes, biblical, and Greek mythological studies which will be on display in an exhibit anticipated to be among the most hard sought museum tickets of the season.
World Erotic Art Museum in Miami Beach, home of the largest private collection of erotic art in America open to the public. The priceless private collection of Ms. Naomi Wilzig dates from antiquities to contemporary times, from Pompeii to Picasso, and shows all cultures, art mediums and lifestyles in a tasteful historic time line. The collection includes paintings, tapestries, sculptures and art objects, mostly one of a kind. With over 20 rooms and 12,000 square feet, the WEAM has more than you can even imagine.
www.weam.com
Hours: Mon -Thu, 11 am – 10 pm
Fri and Sat,11 am – Midnight.
Admission: Tickets are $15.
No one under 18 admitted.Â
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MLA clarifies on encroachment charge
YACHULI, Aug 20: Two former ASMs and a public leader of Pistana circle in an FIR lodged at the police station here on 16 August levelled the charge that local MLA Likha Saaya encroached on government land – a charge which the MLA categorically rejected on Monday as “politically motivated,” “contemptuous,” and an attempt to tarnish his hard-earned political image.
The plot of land in question falls under the circle officer’s campus in Saaya’s hometown, Pistana.
The complainants, identified as ASMs Likha Tali and Toko Teti and public leader Debia Tara in the FIR sought action against Saaya for dismantling a PHED water tank, occupying the circle officer’s official residence, and encroaching on its premises.
Saaya has strongly denied his involvement in the alleged land-grabbing case, saying the law would take its own course if he has erred, and that he is ready to fight legally in court to prove his innocence.
“The trio can approach the courts instead of making allegations against me in public, that too without any proof to substantiate their claims, and there I will give them a befitting reply,” said Saaya.
He claimed that the local panchayat, in exchange of a plot of land that he voluntarily donated for construction of the model school and further expansion of the secondary school in Pistana, recommended a plot of land elsewhere in the hills.
Saaya, however, denied sending any man or machine for earth-cutting in the land in question, as alleged in the FIR.
“It is wrongly mentioned in the FIR that I resorted to land-cutting as I never sent anything there to clear the jungle or whatsoever,” he said.
Saaya said the circle officer of Pistana “is a living example to explain whether any unauthorized trespassing took place on the grounds of his official residence or not.”
On the accusation of dismantling the PHED tank, Saaya said he has “no idea who demolished it and when,” as he himself “recently learnt (through the FIR) that there was a small abandoned tank lying in the forest.”
Saying such allegations “are expected, as election time is nearing,” Saaya said he would not succumb to false charges but continue his efforts to develop his constituency.
The MLA appealed to all “not to believe in rumours driven by people with vested interests and political vendetta.”
When contacted, Pistana Circle Officer D Gara said, “Taking cognizance of the FIR, the Lower Subansiri DC has issued a prohibitory order to stop the ongoing land-cutting in the area in question.”
According to Gara, local sources informed that the now demolished SPT building was constructed back in 1999 by then gaon burah (and current Pistana HGB) Tarak Tulo for residential purposes.
“It was then allotted it to a peon, Likha Yala (a relative of the GB), after a few years to accommodate her on humanitarian ground, and was wrongly mentioned as a government structure in the FIR,” Gara said.
Referring to available government records, the CO said the identity of the SPT building demolished earlier as a government property “is yet to be established as there is no record available specifying that the immovable property is that of the government.”
Asked if the allegation of damaging his official residence and thereafter occupying its premises were true, Gara, who still lives in the allotted quarters, said there has been no damage or encroachment within its known boundaries.
“An FIR has also been registered against unknown persons for carrying out the construction work,” the CO informed.
The CO said that in the absence of proper government record, and the preliminary investigation underway, it would be too early to comment further on the issue “as everything is unclear as of now.”
The complainants who lodged the FIR could not be contacted for a statement.
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The Walking Dead: Because Season Ate Nine (Comic Spoiler Thread)
By A True Kaniggit, October 23, 2017 in Entertainment
red snow
Prince of Procrastination
Location:Bristol, UK
1 hour ago, Lady Olenna said:
I had heard the rumors about Carl but thought no way, he has so much more to do. The actor really grew on me through the seasons and I’m sad to see him go. I stopped reading the comics at the introduction of the whisperers. I just couldn’t handle another “war” and just gave up. I’ve seen that it’s worth the read - is it?
The Whisperer material was the best the comic has been in a long while. Still not sure such a culture could arise within a few years but I guess apocalypse's can create sudden changes.
The problem is that the whisperer story has been put on the back-burner/fizzled out - at least from what I can gather from the last two graphic novels.
1 hour ago, Dr. Pepper said:
There doesn't seem to be any confirmation that Riggs was fired. Obviously Carl will be around for at least part of the second half of the season
Given the way this show can make a "day's worth" of time in show last 6 episodes Carl could remain on the show for a couple of seasons. Look how long they dragged out Glenn's "death" a few seasons ago. Next episode could be following another storyline/side character. Then another, then drop in on Carl who's looking a bit grey. Followed by 3 episodes about what was happening during that time from the POV of Morgan's stick, henchman number 6 etc.
They could easily string out his death until the end of the season. And then there's still the possibility it's all a fake out.
Lady Olenna
Lady O
Location:The Lands of Summer
On 12/10/2017 at 1:38 PM, Martini Sigil said:
We just got back from the "Walker Stalker" con in NJ.... I'll tell ya, if the show losing its popularity, you couldn;t tell by the amount of people there... the place was mobbed... But as far as who dies in the mid-season finale...
Chandler Riggs cut off all of his hair.... so my money is on Carl kicking the bucket
I missed this earlier.
I bet that it felt damned good to be rid of all that mess.
Martini Sigil
20 minutes ago, Lady Olenna said:
Ha!.... Lying Cat avatar = awesome.
Free Northman Reborn
6 hours ago, red snow said:
I think it was only today that I realised I was done with this show. I tried watching the first 3 episodes and it just fell off my "to watch list". Not in a "this is so shit I can't face it" just a "I'm no longer invested in the show". That was cemented when I found myself happily reading spoilers for the traditional "mid/season finale death" and I didn't care when the show's second longest serving character appears to be dead. And it's pretty much for some of the reasons mentioned here, it's lazy to do deaths as events every 7 episodes as a way of justifying not much happening in between. But far worse is the fact that many of us don't even trust death in the show anymore - thanks to all the fake-outs they've used before this. I'm not sure what the show can do when we have so little faith in their storytelling tricks.
While I can't rule out it all being BS it seems from the interview with Chandler Riggs that the guy wants to study a degree. So while they may make it out to be "brave" storytelling it could be like what happens with many of the other character deaths in the show - an actor gets a gig elsewhere and so they kill them off.
In the latest interview Riggs now says he is taking a gap year rather than going to college...Again, nice ploy to make it easier to slot back into the Show after his non-death.
Pithy Witticism
I kind of love all the skepticism here on whether Carl will actually die, but I have to disagree. As I said, Gimple was as explicit as he'll get when talking about it last night, and Riggs has been even more explicit:
"Yes, Carl is going to die," Riggs tells The Hollywood Reporter in an exclusive interview. "There's no way he can get back from that. His story is definitely coming to an end."
I get that after the Glenn bullshit Gimple has earned the skepticism, but I think that's why they're being as clear as they are here - they recognize that pissed off a lot of of their viewers. Moreover, it makes sense in the "narrative" of this season. We saw in the premiere Carl try to befriend Siddiq (which was revisited in the midseason finale) and the teary-eyed Rick repeating the Quran quote Siddiq tells Carl. I strongly suspect this is Rick choosing to spare Negan - motivated by Carl imploring him to have more hope and mercy which has been emphasized in almost all his scenes this season.
1 hour ago, dmc515 said:
But it doesn't even make sense, if that is what they are aiming for. Rick was proven right. It was BECAUSE Carl helped Siddiq that he died. So this should only strengthen Rick's resolve as far as safety first is concerned. Rick was proven right and Carl was proven wrong.
The writers can't even do this properly.
Jace, Basilissa
Eh, Could Be Worse
Went to AMC to watch the last two episodes, but accidentally closed my tab while attempting to silence a commercial. Unfortunately I could not be bothered to reopen said tab and was forced to move on with my life.
5 hours ago, Free Northman Reborn said:
Well, I really don't want to be in a position of defending the writers, but I think what Gimple would say is you're looking at it from a perspective that relies far too much on logic and far too little on humanity. Retaining the latter in the vision for the future is kind of the whole point - as it's the point of Rick sparing Negan in the comics.
2 hours ago, dmc515 said:
Does Rick ever break Negan in the comics? As in, does Negan realize the magnitude of his sins and weep at Rick's feet for forgiveness? Or does he continue to taunt Rick from his cage, all through the comics? Because the latter would be immensely unsatisfying, I must be honest.
8 minutes ago, Free Northman Reborn said:
Because the latter would be immensely unsatisfying, I must be honest.
No, certainly not the latter. While I wouldn't say Rick "breaks" Negan, the latter goes to great lengths to earn Rick's respect/acceptance only for Rick to eventually banish him. In the most recent issue, Maggie basically "broke" Negan though, or at least he begged her to kill him.
4 minutes ago, dmc515 said:
Is the Negan we see in the Show fairly similar to the Negan in the comics? Because I must be honest, anything less than a Damascus type of "rebirth" experience makes it extremely unrealistic to imagine how the obvious psychopath Negan can gradually and genuinely transform into a better person.
It would appear highly contrived for such a transformation to happen, short of him having some type of near death experience, seeing a bright light and essentially having a 180 degree personality change, becoming some type of monk or something. Negan just sorting of mellowing out by virtue of Rick's "good influence" seems utterly unrealistic.
Slurktan
Hideous C.H.U.D. #4
Location:Downtown Canada
41 minutes ago, Free Northman Reborn said:
You mean his jail time should not work as jailtime is intended across the world? You are right, very unrealistic.
Everyone knows prisoners come out reformed and better than new, lol.
I would imagine Lincoln, as seriously as he takes this role, must be struggling with how Rick proceeds if Carl in fact dies. I kind of think it hits michonne just as hard.
I guess if I hadn’t read the comics and spoilers and didn’t know how big of a role Carl played from here, I could kind of understand Carl dying. But honestly, I didn’t see much logic or point to him and Siddiq walking through the woods on a mission to kill walkers and “set them free” - like what? That’s your bonding moment?
I completely missed what happened to the heapsters. Did they just leave?
1 hour ago, Free Northman Reborn said:
Is the Negan we see in the Show fairly similar to the Negan in the comics?
That obviously depends on everyone's individual interpretation. My take is show Negan is much more of a dick and much more ruthless. Someone can correct me if I'm wrong, but I don't believe there's anything like the Show Oceanside backstory of the Saviors killing all the men of a group they subjugated. Another important departure is in the All Out War comic storyline Negan refuses to kill Rick throughout - he wants to keep him alive at all costs because his aim is to get him (and subsequently Alexandria) under his thumb.
As for the rest, there isn't really a 180 change or even "redemption" for Negan. Rick still rejects him even after Negan saves his life (and does him a big solid by killing the leader of the whisperers), and Maggie in the last issue leaves him exiled alone with his regret. Basically, the change in Negan post-All Out War is he wants to prove he can be a positive contributor to society, is rejected and exiled, then wants Maggie to kill him due to his guilt, but is again rejected and remains exiled.
1 minute ago, Lady Olenna said:
I kind of think it hits michonne just as hard.
I almost think it'll hit her harder. And at least they've kept Judith alive to give Rick an anchor.
2 minutes ago, Lady Olenna said:
Yep. Their inclusion continues to be completely pointless.
too pretty for that
Location:Plague house
Yeah, I wondered about that. Rick spends so much time trying to win them over and then just dumps them in the heat of the moment and that's it?
My first thought was that Carl's 'bite' looked more like the kind of wound you get from hard impact with a pole. But I suppose it's ambiguous. Anyway, I liked the final scene in the tunnel. Everyone looks super bleak and they're exuding these 'fuck you, Rick' vibes, like nobody even gives a fuck that he's back again.
Urgh. I guess I'd better go back and pick up with the GNs. I read book 12 but then realised afterwards that I'd missed out book 11. So I guess I should get book 11, re-read 12 and take it from there.
That's not how they transform began in the comics. It's never about whether Rick is a better person morally, it's about who can run the most effective post apocalyptic society. Negan thought his way was the best but was proven wrong. Now he realises ricks way is more effective and do supports that. But he is still very much an utter bastard just with a better direction eg upholding Rick's rule.
But I agree it makes no sense other than plot armour that he was never summarily executed.
1 minute ago, red snow said:
Yeah. Like why does that random Savior prisoner Maggie shot in the last episode deserve to die, but Negan deserves to live? There is no way Negan lives in a realistic setting in such a world. His supporters, sure, that shows mercy and humanity. Negan? It just makes no sense.
I do have to admit that a post-post-apocalyptic society wherein a reformed Neegan works for Preisdent Qwarrll Grimes keeping the peace in the New Virginia (?) Republic would make for an excellent show.
That'd be fun.
grozeng
So does it look now like Carl was bit in the woods with that guy last episode and the whole "kill me" thing to Negan was because he was bit already and if Negan actually did it, he was dead anyway and it would buy some more time.
I think the "I carried him here" comment kind of leads to this but the editing is so choppy I could be totally wrong.
Anyone else get that sense?
Go To Topic Listing Entertainment
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Gear, Gear / Gear News and Events
Helvetica Now: The World’s Most Popular Font Gets a Facelift
“Helvetica is like water,” says a recent video about the most popular typeface in the world. The 62-year-old font family, with its sans-serif shapes and clean corners, is ubiquitous. It is used on the signage in New York’s subway system. It is the brand identity of American Airlines, and American Apparel. It is on those unfortunate t-shirts that say things like “John & Paul & Ringo & George.”
“When something is constructed as well as Helvetica, it should last for a couple of hundred years, just like great architecture,” designer Danny van den Dungen told the New York Times in 2007, when the Museum of Modern Art held a retrospective in honor of the typeface.
The new version updates each of Helvetica’s 40,000 characters to reflect the demands of the 21st century.
But Charles Nix is not a fan. Nix is the director of Monotype, the world’s largest type company, which currently owns the licensing rights to Helvetica. He doesn’t like that the letters scrunch together at small sizes, that the kerning isn’t even across the board. Designers have gotten used to all sorts of magic tricks to make Helvetica look more legible, like changing the size of punctuation marks to balance the letters. “We jokingly refer to it as Helvetica Stockholm Syndrome,” says Nix.
A few years ago, Nix and others at Monotype decided a change was due. The whiff of Helvetica had begun to stink. Major companies, which had used Helvetica for years in branding materials, had begun to eschew the typeface. Google stopped using it in 2011, in lieu of a custom font that looks a lot like Helvetica, but better. Apple followed suit in 2013 with its own font. So did IBM. So did Netflix.
Now, Monotype has given Helvetica a facelift, in the hopes that it can restore some of the magic to the iconic typeface. The new version, Helvetica Now, updates each of Helvetica’s 40,000 characters to reflect the demands of the 21st century. It’s designed to be more legible in miniature, like on the tiny screen of an Apple Watch, and hold its own in large-scale applications like gigantic billboards. Nix, who has spent two years reengineering the letters, hopes it will let designers see Helvetica in an entirely new way. To him, it’s like looking at “someone you love, when the light hits them the perfect way on a Saturday morning, and you suddenly see them like you’ve never seen them before. It’s like falling in love all over again.”
Helvetica Then, Helvetica Now
Before there was Helvetica, there was Neue Haas Grotesk. Created in 1957, the typeface sprung from the mind of Swiss designers Max Miedinger and Edouard Hoffman. Emblematic of Swiss design and mid-century modernism, it was meant to be simple and clean—a set of letters that would disappear to let the words speak for themselves. In 1961, typeface maker Haas rebranded it as Helvetica and introduced to the wider world.
As Helvetica became more popular, Haas began issuing new weights and sizes to meet growing demand. A bold weight here, a hairline version there. But some of those additions to the Helvetica family introduced inconsistencies. Peculiar characters began to emerge. In 1982, the type company Linotype issued a new version of Helvetica, called Neue Helvetica, which sought to to resolve some of those issues and make the typeface available to the blossoming desktop computer market.
“Neue Helvetica was the first digitization of Helvetica,” says Nix. “That was a long time ago, and so much has happened in our world since then.” For one thing, the type on the internet was not a factor in 1982. Neue Helvetica was made with a single master—one drawing, cut at one size—which lost the nuance of optical sizing. Punctuation looked off-balance next to display-sized text. Currencies, like the pound sterling, crumpled in small sizes.
Helvetica Now seeks to remedy some of these issues. The family includes three versions: Helvetica Now Micro, designed for use on small screens, recasts the font with more open forms, open spacing, and larger accents. Helvetica Now Display evens out the kerning for larger type sizes. Helvetica Now Text, the workhorse of the three, is intended for visually crowded environments, so it incorporates more white space into the design to keep it more legible.
Helvetica Now also restores some of the original characteristics of the font that have been lost along the way—a single-story lowercase “a,” a capital “R” with straight legs. Those details gave Helvetica its original charm, and Nix says Monotype’s designers paid extra attention to bringing these back into Helvetica Now. “It is kind of like visiting the Metropolitan Museum of Art with an easel and canvas and painting a Rembrandt,” he says. “You’re following clearly what the master has done before you, and the big difference in our case is that we’re looking to make the type, the artwork, more suitable to the age in which we live.”
As for the Helvetica you already know, it will remain on t-shirts and websites for now. Companies and their designers will have to buy the rights to license Helvetica Now, which means it won’t replace everything you see right away. But Nix thinks that, like a software upgrade on a phone, eventually everyone will upgrade.
“You will see it everywhere, for everyone, for everything,” he says. “It’s going to be everywhere.”
Gear, Gear / Deals, Gear / Products
Amazon Prime Day 2019: 11 Things WIRED’s Gear Team Wants
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19 Best Prime Day Deals on Amazon Devices: Kindle, Echo, Fire
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Gear, Gear / Gear News and Events, Products / Gaming
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Gear, Gear / How To and Advice, Products / Apps
5 Best Slow-Motion Video Apps: How to Shoot Slo-Mo on Phones
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The New App Gem Takes a Unique Approach to News Recommendations
thirteen − twelve =
artificial intelligence, China, China technology, Iflytek, Investments, News, SCMP, Speech Recognition, technology, us-china tech war
Chinese voice recognition firm iFlytek gets $407m from state investors
Experts: No need to worry about Europe’s GPS satellites going dark for days. Also: What the hell is going on with those satellites?!
Boost Infrastructure Immunity Against the Ransomware Epidemic
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Tag / SQL
February 24, 2019 by anthonysmoak
Free SQL Data Profiling Tool: Idera SQL Data Profiler
Data Quality, SQL, Video
Data Profiling, Data Quality, SQL
In this tip I will provide an overview of a completely free data profiling tool (at least as of the time of this post) that is easy to use if you are in the Microsoft database stack. You can download the IDERA SQL Profiling tool and immediately put it to work to perform basic column profiling and analyses. The tool will display a summary of the data contained in a selected table and each of its columns.
Use this tool on the following systems:
Microsoft SQL Server: 2008 R2, 2012, 2014, 2016; 2017 Windows & Linux (provisional); Express, Standard, Enterprise editions
Microsoft Azure SQL Database
Amazon Relational Database Service (RDS)
IDERA SQL Data Profiler has some minor quirks but you can’t beat the price. Check out my review in the video above.
Just remember that data profiling should always be done initially before you start analyzing a new dataset or designing a new visualization. Always start with the basics.
If you find this type of instruction valuable make sure to subscribe to my Youtube channel.
August 5, 2018 August 5, 2018 by anthonysmoak
Database Management, SQL, Video
Database, SQL, SQL Server, TSQL, Video
SQL is the lifeblood of any data professional. If you can’t leverage SQL and you work with data, your life will be more difficult than it needs to be.
In this video I am using SQL Server Express to turn a simple normalized dataset into a pivoted dataset. This is not a beginner video as I assume you are familiar with basic SQL concepts.
T-SQL is Microsoft’s SQL language that contains additional functions and capabilities over and above ANSI standards. We’ll use some of these functions to turn the following data set that displays average rents in major American cities into a pivoted denormalized dataset.
The City values in the City column will become individual columns in a new pivoted dataset with their respective Average Rent values appearing underneath.
We’re going to transform this:
Into this:
Notice how the city values are now column heads and the respective Average Rent values are underneath.
Make sure you watch the video but here is the code used in the example.
IF OBJECT_ID('tempdb..##TBL_TEMP') IS NOT NULL
DROP TABLE ##TBL_TEMP
--This parameter will hold the dynamically created SQL script
DECLARE @SQLQuery AS NVARCHAR(MAX)
--This parameter will hold the Pivoted Column values
DECLARE @PivotColumns AS NVARCHAR(MAX)
SELECT @PivotColumns= COALESCE(@PivotColumns + ',','') + QUOTENAME([City])
FROM [dbo].[tbl_Rent]
/* UNCOMMENT TO SEE THE NEW COLUMN NAMES THAT WILL BE CREATED */
--SELECT @PivotColumns
--Create the dynamic query with all the values for
--pivot column at runtime
--LIST ALL FILEDS EXCEPT PIVOT COLUMN
SET @SQLQuery =
N'SELECT [City Code],[Metro],[County],[State],[Population Rank],' + @PivotColumns + '
INTO ##TBL_TEMP
PIVOT( MAX([Average Rent])
FOR [City] IN (' + @PivotColumns + ')) AS Q'
/* UNCOMMENT TO SEE THE DYNAMICALLY CREATED SQL STATEMENT */
--SELECT @SQLQuery
--Execute dynamic query
EXEC sp_executesql @SQLQuery
/* VIEW PIVOTED TABLE RESULTS */
Select * from ##TBL_TEMP
Big shoutout to StackOverflow for help with this example.
October 18, 2017 August 6, 2018 by anthonysmoak
Return Unmatched Records with SQL and Microsoft Access
Database, SQL, SQL Server
Over the course of many years of building SQL scripts, I’ve tended to help SQL novices perform the set difference operation on their data. This post will not provide in-depth coverage on SQL run plans and tuning minutiae, but I do want to provide a high level overview for the novice.
If we define set A as the three numbers {1, 2, 3} and set B as the numbers {2, 3, 4} then the set difference, denoted as A \ B, is {1}. Notice that the element 1 is only a member of set A.
A picture is worth a thousand words as they say. A Venn diagram will be effective at illustrating what we’re trying to accomplish in this post.
This blog post will cover using SQL and Microsoft Access to address capturing the shaded records in set A. If you have a database table named A and wanted to determine all of the rows in this table that DO NOT reside in another table named B, then you would apply the set difference principle.
LEFT OUTER JOIN & IS NULL SYNTAX
There are multiple ways to implement the set difference principle. It helps if there is a common join key between both sets of data when performing this analysis.
If I were working with two tables, one containing inventory data and one containing order data. I could write the following SQL script to return all the inventory rows that do not reside in the orders table.
SELECT table_inventories.*
FROM table_inventories
LEFT OUTER JOIN table_orders
ON table_inventories.id = table_orders.id
WHERE table_orders.id IS NULL
MICROSOFT ACCESS EXAMPLE
Consider the following tables in Microsoft Access. Observe that table_orders has fewer records than table_inventories.
We can construct a set difference select query using these tables to return all of the products in table_inventories that have not been ordered. Create a query in Microsoft Access in a similar fashion as shown below.
The result of this query would produce the following two products that are not in table_orders.
The Microsoft Access Query & View Designer would automatically generate the following SQL if you cared to open the Access SQL editor.
LEFT JOIN table_orders
WHERE (( ( table_orders.id ) IS NULL ));
Notice that LEFT JOIN is automatically created instead of LEFT OUTER JOIN. In Microsoft Access, the OUTER operation is optional. Also notice that Access loves to add additional parentheses for reasons known only to Microsoft.
Per Microsoft Access SQL Reference:
“Use a LEFT JOIN operation to create a left outer join. Left outer joins include all of the records from the first (left) of two tables, even if there are no matching values for records in the second (right) table [1].”
NOT EXISTS SYNTAX
Let’s step away from Microsoft Access for the remainder of this post. The NOT EXISTS approach provides similar functionality in a more performance friendly manner as compared to the LEFT OUTER JOIN & IS NULL syntax.
WHERE table_inventories.id NOT EXISTS (SELECT table_orders.id
FROM table_orders);
EXCEPT SYNTAX (T-SQL)
Alternatively, we could use the SQL EXCEPT operator which would also accomplish the task of returning inventory ids that do not reside in the orders table (i.e. inventory items that were never ordered). This syntax would be appropriate when using SQL Server.
SELECT table_inventories.id
SELECT table_orders.id
FROM table_orders
Per Microsoft:
Returns any distinct values from the query to the left of the EXCEPT operator that are not also returned from the right query [2].”
MINUS SYNTAX (ORACLE)
The following script will yield the same result as the T-SQL syntax. When using Oracle, make sure to incorporate the MINUS operator.
FROM inventories
Now take this tip and get out there and do some good things with your data.
Anthony Smoak
[1] Access 2007 Developer Reference. https://msdn.microsoft.com/en-us/library/bb208894(v=office.12).aspx
[2] Microsoft T-SQL Docs. Set Operators – EXCEPT and INTERSECT (Transact-SQL). https://docs.microsoft.com/en-us/sql/t-sql/language-elements/set-operators-except-and-intersect-transact-sql
[3] Oracle Help Center. The UNION [ALL], INTERSECT, MINUS Operators. http://docs.oracle.com/cd/B19306_01/server.102/b14200/queries004.htm
Venn diagram courtesy of http://math.cmu.edu/~bkell/21110-2010s/sets.html
April 3, 2016 November 13, 2016 by anthonysmoak
The Need For Speed: Improve SQL Query Performance with Indexing
Database, iSchool, SQL
This article is also published on LinkedIn.
How many times have you executed a SQL query against a million plus row table and then engaged in a protracted waiting game for your results? Unfortunately, a poor database table indexing strategy can counteract the gains of the best hardware and server architectures. The positive impact that strategically applied indexes can provide to query performance should not be ignored just because one isn’t wearing a DBA hat. “You can obtain the greatest improvement in database application performance by looking first at the area of data access, including logical/physical database design, query design, and index design” (Fritchey, 2014). Understanding the basics of index application should not be eschewed and treated as an esoteric art best left to DBAs.
Make use of the Covering Index
It is important that regularly used, resource intensive queries be subjected to “covering indexes”. The aim of a covering index is to “cover” the query by including all of the fields that are referenced in WHERE or SELECT statements. Babbar, Bjeletich, Mackman, Meier and Vasireddy (2004) state, “The index ‘covers’ the query, and can completely service the query without going to the base data. This is in effect a materialized view of the query. The covering index performs well because the data is in one place and in the required order.” The benefit of a properly constructed covering index is clear; the RDBMS can find all the data columns it needs in the index without the need to refer back to the base table which drastically improves performance. Kriegel (2011) asserts, “Not all indices are created equal — If the column for which you’ve created an index is not part of your search criteria, the index will be useless at best and detrimental at worst.”
Apply a Clustered Index
More often than not, a table should have a clustered index applied so as to avoid expensive table scans by the query optimizer. It is advisable to create one clustered index per table preferably on the PRIMARY KEY column. In theory, since the primary key is the unique identifier for a row, query writers will employ the primary key in order to aid with record search performance.
“When no clustered index is present to establish a storage order for the data, the storage engine will simply read through the entire table to find what it needs. A table without a clustered index is called a heap table. A heap is just an unordered stack of data with a row identifier as a pointer to the storage location. This data is not ordered or searchable except by walking through the data, row by row, in a process called a scan” (Fritchey, 2014).
However, the caveat to applying clustered indexes on a transactional table is that the index must be reordered after every INSERT or UPDATE to the key which can add substantial overhead to those processes. Dimensional or static tables which are only accessed for join purposes are optimal for this indexing strategy.
Apply a Non-Clustered Index
Another consideration in regard to SQL performance tuning is to apply non-clustered indexes on foreign keys within frequently accessed tables. Babbar et al. (2004) advise, “Be sure to create an index on any foreign key. Because foreign keys are used in joins, foreign keys almost always benefit from having an index.”
Indexing is an Art not a Science
Always remember that indexing is considered an art and not a science. Diverse real world scenarios often call for different indexing strategies. In some instances, indexing a table may not be required. If a table is small (on a per data page basis), then a full table scan will be more efficient than processing an index and then subsequently accessing the base table to locate the rest of the row data.
One of the biggest detriments to SQL query performance is an insufficient indexing strategy. On one hand, under-indexing can potentially cause queries to run longer than necessary due to the costly nature of table scans against unordered heaps. This scenario must be counterbalanced by the tendency to over-index, which will negatively impact insert and update performance.
When possible, SQL practitioners and DBAs should collaborate to understand query performance as a whole; especially in a production environment. DBAs left to their own devices have the potential to create indexes without any knowledge of the queries that will utilize those indexes. This uncoordinated approach has the potential to render indexes inefficient on arrival. Conversely, it is equally important that SQL practitioners have a basic understanding of indexing as well. Placing “SELECT *” in every SQL query will negate the effectiveness of covering indexes and add additional processing overhead as compared to specifically listing the subset of fields desired.
Even if you do not have administrative access to the tables that constitute your queries, approaching your DBA with a basic understanding of indexing strategies will lead to a more effective conversation.
Babbar, A., Bjeletich, S., Mackman, A., Meier, J., & Vasireddy, S. (May, 2004). Improving .NET Application Performance and Scalability. Retrieved from https://msdn.microsoft.com/en-us/library/ff647793.aspx
Fritchey, Grant. ( © 2014). Sql server query performance tuning (4th ed.).
Kriegel, Alex. ( © 2011). Discovering sql: a hands-on guide for beginners.
March 17, 2016 March 18, 2016 by anthonysmoak
Protection Against Injection: The SQL Injection Attack
Hacker, iSchool, SQL
As we are all well aware, data is everywhere. Every organization generates and stores data and unfortunately too many bad apples are willing to exploit application weaknesses. A very popular technique used by hackers of all hats to compromise data confidentiality and integrity is the SQL injection attack. “In terms of the attack methods used by hackers, SQL injection remains the number one exploit, accounting for nearly one-fifth of all vulnerabilities used by hackers” (Howarth, 2010). Don’t believe the hype? Visit the SQL Injection Hall of Fame.
Not everyone is a DBA or a security expert but if you care about data, you need to have a basic understanding of how this attack can be used to potentially compromise your web exposed data. In 2009 infamous hacker Albert Gonzalez was indicted by grand juries in Massachusetts and New York for stealing data from companies such as Dave & Buster’s Holdings, TJ Maxx, BJ’s Wholesale Club, OfficeMax, Barnes & Noble and The Sports Authority by using SQL injection attacks. All of these attacks were enabled due to poorly coded web application software (Vijayan, 2009). He masterminded “the combined credit card theft and subsequent reselling of more than 170 million card and ATM numbers from 2005 through 2007—the biggest such fraud in history” (Wikipedia, Albert Gonzalez). As an aside, Mr. Gonzalez is serving 20 years in prison for his crimes.
In short, a SQL injection is a malicious hacking method used to compromise the security of a SQL database. Invalid parameters are entered into a user input field on a website and that user input is submitted to a web application database server for execution. A successful exploit will allow the hacker to remotely shell into the server and take control or simply obtain sensitive information from a hacked SQL SELECT statement. The exploiter may be able to further exploit SQL commands and escalate privileges to read, modify or even delete information at will.
A popular method to test the vulnerability of a site is to place a single quote character, ‘, into the query string of a URL (Krutz, R. L. & Vines, R. D., 2008). The desired response is to see an error message that contains an ODBC (Open Database Connectivity) reference. ODBC is a standard database access protocol used to interact with applications regardless of the underlying database management system. Krutz et. al (2008) offer the example of typical ODBC error message:
Microsoft OLE DB Provider for ODBC Drivers error ‘80040e14’
[Microsoft][ODBC SQL Server Driver][SQL Server]Incorrect syntax near the
keyword ‘and’. /wasc.asp, line 68
An error message like this contains a wealth of information that an ill-intentioned hacker can use to exploit an insecure system. It would be in the best interests of a secure application to return a custom generic error response. Furthermore, it is not necessary to be an experienced hacker to take advantage of this exploit; there are automated SQL injection tools available that can make carrying out this attack fairly simple for someone with a script kiddie level of understanding.
There are ways to protect against SQL injection attacks; the most obvious way is to apply input validation. Rejecting unreasonably long inputs may prevent exploitation of a buffer overflow scenario. Programmers due to the extra work involved, sometimes skip validation steps, however the extra safety margin may be worth the cost. Encrypting the database contents and limiting privileges on those accounts which execute user input queries is also ideal (Daswani, N., Kern, C., & Kesavan, A., 2007)
From a SQL Server perspective, here are a few best practice tips shared from Microsoft TechNet to consider for input validation:
You should review all code that calls EXECUTE, EXEC, or sp_executesql
Test the size and data type of input and enforce appropriate limits. This can help prevent deliberate buffer overruns.
Test the content of string variables and accept only expected values. Reject entries that contain binary data, escape sequences, and comment characters. This can help prevent script injection and can protect against some buffer overrun exploits.
Never build Transact-SQL statements directly from user input.
Use stored procedures to validate user input.
In multitiered environments, all data should be validated before admission to the trusted zone. Data that does not pass the validation process should be rejected and an error should be returned to the previous tier.
Implement multiple layers of validation. Validate input in the user interface and at all subsequent points where it crosses a trust boundary. For example, data validation in a client-side application can prevent simple script injection. However, if the next tier assumes that its input has already been validated, any malicious user who can bypass a client can have unrestricted access to a system.
Never concatenate user input that is not validated. String concatenation is the primary point of entry for script injection.
Albert Gonzalez. In Wikipedia. http://en.wikipedia.org/wiki/Albert_Gonzalez
Howarth.F. (2010). Emerging Hacker Attacks. Faulkner Information Services.
Krutz, R. L. & Vines, R. D., ( © 2008). The CEH Prep Guide: The Comprehensive Guide to Certified Ethical Hacking.
Microsoft TechNet. SQL Injection. https://technet.microsoft.com/en-us/library/ms161953%28v=sql.105%29.aspx
Vijayan, J. (2009). “U.S. says SQL injection caused major breaches.” Computerworld, 43(26), 4-4.
March 5, 2016 November 16, 2016 by anthonysmoak
SQL: Think in Sets not Rows
This article is also posted on LinkedIn.
Structured Query Language, better known as SQL, is regarded as the working language of relational database management systems (RDBMS). As was the case with the relational model and the concepts of normalization, the language developed as result of IBM research in the nineteen seventies.
“Left to their own devices, the early RDBMSs (sic) implemented a number of languages, including SEQUEL, developed by Donald D. Chamberlin and Raymond F. Boyce in the early 1970s while working at IBM; and QUEL, the original language of Ingres. Eventually these efforts converged into a workable SQL, the Structured Query Language” (Kriegel, 2001).
For information professionals and database practitioners, SQL is regarded as a foundational skill that enables raw data to be manipulated within a RDBMS. “This is a declarative type of language. It instructs the database about what you want to do, and leaves details of implementation (how to do it) to the RDBMS itself” (Kriegel, 2001).
Before the advent of commercially accessible databases, data was typically stored in a proprietary file format manner. Each vendor had detailed specific access mechanisms, which could not be easily configured and customized for access by alternate applications. As databases began to adopt the relational model, the arrival and eventual standardization of SQL by ANSI (American National Standards Institute) and ISO (International Standards Institute) helped foster access, manipulation and retrieval consistency across many products.
Think in Sets not Rows!
SQL provides users the ability to query and manipulate data within the RDBMS without having to solely rely on a graphical user interface. There are powerful extensions in the many variant structured query languages (e.g. T-SQL, DB2, PL/SQL, etc.) that provide functionality above and beyond ISO and ANSI standards. However, SQL practitioners must first and foremost remember that SQL is a SET BASED construct. The most efficient SQL code regards table data as a whole and refrains from manipulating individual row elements one at a time unless absolutely necessary.
“Thinking in sets, or more precisely, in relational terms, is probably the most important best practice when writing T-SQL code. Many people start coding in T-SQL after having some background in procedural programming. Often, at least at the early stages of coding in this new environment, you don’t really think in relational terms, but rather in procedural terms. That’s because it’s easier to think of a new language as an extension to what you already know as opposed to thinking of it as a different thing, which requires adopting the correct mindset” (Ben-Gan, 2012).
Working with a relational language based upon the relational data model demands a set based mindset. Iterative cursor based processing, if used, should be used sparingly.
“By preferring a cursor-based (row-at-a-time) result set—or as Jeff Moden has so aptly termed it, Row By Agonizing Row (RBAR; pronounced ‘ree-bar’)—instead of a regular set-based SQL query, you add a large amount of overhead to SQL Server” (Fritchey, 2014).
If all other set based options have been exhausted and a row-by-row cursor must be employed, then make sure to use an “efficient” (relatively speaking) cursor type. The fast-forward only cursor type provides some performance advantages with respect to other cursor types in a SQL server environment. Fast forward cursors are read only and they only move forward within a data set (i.e. they do not support multi-direction iteration). Furthermore, according to Microsoft Technet (2015), fast forward only cursors automatically close when they reach the end of the data. The application driver does not have to send a close request to the server, which saves a roundtrip across the network.
Ben-Gan, I. (Apr, 2012). T-SQL Foundations: Thinking in Sets. Why this line of thought is important when addressing querying tasks. Retrieved from http://sqlmag.com/t-sql/t-sql-foundations-thinking-sets
Microsoft Technet. Fast Forward-Only Cursors (ODBC). Retrieved April 23, 2015, from https://technet.microsoft.com/en-us/library/aa177106(v=sql.80).aspx
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Twitter earnings show that advertisers like a less toxic social network
From CNET: Twitter can be filled with harassment, bullying, misinformation and hate speech. Not exactly the warm, fuzzy place that invites users or advertisers hoping to get their messages seen.
On Thursday, Twitter showed it's making strides against its toxic user base. The company reported that the number of monthly active users fell slightly to 321 million in the fourth quarter from 326 million the third quarter, attributing the lower numbers to its effort to purge fake accounts, trolls and bullies from its network.
"Our efforts to improve health have delivered important results," said Jack Dorsey, Twitter's CEO, in a statement. "We enter this year confident that we will continue to deliver strong performance by focusing on making Twitter a healthier and more conversational service."
The company had warned investors in October that it expected to see another dip in users in the fourth quarter, partly because of its crackdown on fake accounts. That effort is critical to Twitter, which has to show advertisers it can attract new people to the platform while competing against tech giants like Facebook and Google for their ad dollars.
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Athleta Invades NYC
Gap announced the grand opening of two Athleta retail locations opening this week in Manhattan’s Upper East and Upper West side neighborhoods. These openings mark the brand’s entry into the east coast market, and support Athleta’s plan to open up to 50 stores by 2013.
“Entering New York is a significant milestone for us as we aim to grow our share of the $31 billion women’s active wear market,” says Scott Key, senior vice president and general manager of Athleta. “Thanks to our successful catalog business, we already know there’s a highly concentrated customer base in the New York metropolitan area and we’re excited to bring our loyal and new customers two beautiful stores where they can build strong, inspiring communities around the athletic pursuits they love.”
The new stores will offer shoppers Athleta’s collection of women’s active lifestyle apparel for yoga, running, swim, gym, hiking and skiing – designed by and for female athletes – as well as other products for both athletic and everyday pursuits.
Key added, “Whether she’s an elite athlete or training for her first organized event, Athleta offers high quality apparel made to stand up to every female athlete’s highest standards. And because our clothing is designed to take our customers through her workouts and beyond, she can easily transition from working out to going out and still feel confident she looks great.”
Located at 216 Columbus Avenue on the Upper West Side and 1517 3rd Avenue on the Upper East Side, the stores sit equal distance from Central Park, the ultimate mecca for athletes in the New York area. Both stores boast modern, clean designs in keeping with the NYC aesthetic and compliment Athleta’s inspirational catalog imagery with sleek steel and warm wood trim at the cash wraps and in the dressing room seating areas.
Additional unique-to-Athleta features include free alterations in store, kiosks that link directly to the website offering customers access to additional product and sizes, and free fitness classes.
To mark the opening of our New York City stores, Athleta has partnered with Bent on Learning, a non-profit organization that offers instruction in yoga and meditation to students in grades K through 12 in New York City public schools and youth centers as a means of reducing stress and improving concentration, self-esteem and overall health.
From Around the Store to Around the World: The CX Journey
Luxury Fabric Mill Launches First U.S. Retail Experience
Cole Haan Gets in on the Athleisure Trend With StudiØGrand Collection
Performance Fibers & Fabric
Reebok Spurs Innovation in Flexweave Footwear Tech with Designer Collaborations
New Film Shows Oiselle's Polartec-Powered Apparel in Action
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Flick Trip for Chief Chick!
05 Wednesday Sep 2012
Posted by Mrs Moore in Hen party, Weddings
When, many months ago, MoH first asked about organising a hen night to celebrate my forthcoming nuptials I was less than enthusiastic. I am, you see, an old-fashioned girl who wasn’t into clubbing and big nights out even in my prime (whenever that was) so I certainly couldn’t see myself ‘having it large’ now. Not a chance.
But then MoH started talking about an elegant affair centred around afternoon tea. And as I mulled this possibility over, the spectre of a stripper, baby oil and chocolate male genitalia were replaced by the chink of tea cups, the scent of Earl Grey tea and the image of a plate piled high with freshly baked scones. Suddenly a hen party didn’t seem like such a bad idea after all.
Over the following weeks, I found myself drawing up a list of invitees and considering potential venues which would be easy for everyone to reach. A hotel in the centre of Birmingham seemed like the obvious choice, especially as hotels such as The Hyatt, Hotel Du Vin and Mal Maison all offer afternoon tea. But my instinct told me to hold fire before asking MoH to start putting any plans into action. Like Bono, I knew that I still hadn’t found what I was looking for. And then inspiration struck.
At the back of Birmingham’s New Street Station, behind a fairly unprepossessing facade, hides an absolute gem: The Electric Cinema. Built in 1909 and subject to major modifications in the 1930s, The Electric is the oldest working cinema in the UK.
Fig.1. The Electric Cinema in Birmingham
Copyright:framescourer.blogspot.com
Full of character and style, The Electric provides a welcome antidote from all the big modern multiscreen complexes. In addition to the usual cinema-style seating arrangements, it boasts lovely big comfy sofas, just perfect for a romantic date, and if you’re feeling peckish during the screening of a film, you can just text the box office staff who will hand deliver tea and cake or wine and nibbles to your seat.
Fig.2. Interior shot of the Electric Cinema in Birmingham
Copyright:visitbirmingham.com
But what really excited me about The Electric with regard to the hen night was that it is possible, for a very reasonable sum, to arrange for a private screening of a film of your choice. Once I discovered that, my enthusiasm for a hen party just snowballed and by last Saturday I was so excited I thought I was going to pop!
Next time, I’ll tell you all about the wonderful celebration which MoH so skilfully organised. But in the meantime, I wonder if anyone (hens excluded) can guess which film an old-fashioned chief chick like Mrs Moore-to-be might have chosen? I’ll give you a clue: the 1950s style of my Karen Millen dress was particularly appropriate given the period of the film.
Fig.3. Mrs Moore-to-be enjoying her hen celebrations but which film did she choose?
2 thoughts on “Flick Trip for Chief Chick!”
Claire Gould said:
I can\’t guess. But I loved \”like Bono…\”
You look so gorgeous in that dress!
Amy said:
For a change, I haven’t a clue! I’m reckoning something with Audrey Hepburn in… but my knowledge of ’50s movie elegance begins and ends with that female icon! So glad you found what you were looking for in the end 🙂
(My bridesmaids have just begun organising my hen do, via the wonders of facebook. I’m leaving them to it. The only instructions they have are no strippers or over-drinking! Other than that, pretty much anything goes. Curious? Me? Just a bit!)
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KNP authority plans two more additions
By Naturenomics Team on September 24, 2016
Aiming to make Kaziranga the safest zone for wildlife, the Kaziranga National Park Authority (KNPA) is planning to create two new additions – 7th and 8th – to the park and has taken up this issue with the State Revenue department.
The two new additions will include Bandardubi, Palkhowa and Deuchurchang where eviction drive was conducted recently, and few other areas adjacent to the park. The core area of KNP covers 430 sq km. Six additions have been made to the park along its boundary, adding to its original area.
Till now, the 1st and 4th additions falling in Nagaon district have been handed over to KNP by the State Revenue department, but the remaining 2nd, 3rd, 5th and 6th additions are yet to be handed over. Last year, some illegal settlers were evicted from the 6th addition.
For the 7th edition, the KNPA has asked to include Deuchurchang and few parts of Burapahar and for the 8th addition, places like Bandardubi, Kothari Beel and Harmuti have been sought by the KNPA.
On this issue, a meeting was held at Nagaon DC office in July this year. It was decided that a joint survey will be conducted by the Nagaon district administration and KNP authority. According to official sources, the joint survey has not been held due to recent floods and eviction drive carried out near the park last Monday.
In that eviction drive, 2,244 bighas of land at Bandardubi, 42 bighas at Palkhowa and 126 bighas at Deuchurchang were made free of encroachers, according to Kaliabor subdivision administration.
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Evening Degrees
Live Like a Narnian
October 2, 2013 // by Communications
Professor Joe Rigney, Assistant Professor of Theology and Christian Worldview at BCS, recently released his book, Live Like a Narnian: Christian Discipleship in Lewis’s Chronicles during the 2013 Desiring God National Conference.
Careful readers of the Chronicles of Narnia know that there is more to the stories than meets the eye. There are layers of meaning in these fairy tales, spiritual gold beneath these Narnian hills. Those who delight in Lewis’s magical world love to journey further up and further in, returning to Narnia again and again so that the same old stories can awaken our minds afresh to the wonder and glory all around us. But just how are these stories meant to change us? When we tumble back out of the wardrobe, in what ways should we be different?
Drawing upon Lewis’s other writings and the Chronicles themselves, Joe Rigney shows the intricate and sometimes subtle ways that Lewis intended his beloved fairy stories to shape our hearts and minds. In doing so, he commends Lewis’s Chronicles as a fruitful part of Christian discipleship, so that in reading the Narnian stories, breathing Narnian air, and seeking to live like Narnians, we are wonderfully transformed into the image of Jesus Christ—the Great Lion and High King Above All Kings.
Joe’s book is available on amazon, as well as at the Bethlehem College & Seminary bookstore.
“Joe Rigney is a writer who really knows how to love something. I am glad that he loves Narnia.”
—Douglas Wilson, author, What I Learned in Narnia and Father Hunger
“It’s evident that Joe Rigney has deeply breathed the air of Narnia for a long time, and he creatively applies Lewis’s masterpiece to Christian living with wit and wisdom.”
—Andy Naselli, Assistant Professor of New Testament and Biblical Theology, Bethlehem College & Seminary; Administrator of Themelios; author, Let Go and Let God? A Survey and Analysis of Keswick Theology
“The immediate effect of Live Like a Narnian: I want to. Written with a fun, lively, muscular style, it succeeds both as a work of popular literary criticism and as a readable call to follow Aslan all the way to the end. If you want to recover the wisdom and beauty of the original Narnia, that vision that captivated so many of us in our youth and that continues to work its edifying magic, dive into Joe Rigney’s stirring introduction.”
—Owen Strachan, Assistant Professor of Christian Theology, Boyce College; author, Risky Gospel: Abandon Fear and Build Something Awesome
Spreading a passion for the supremacy of God in all things for the joy of all peoples through Jesus Christ
Send questions and comments.
Seek admission to the college or seminary.
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Refer someone to the college or seminary.
©2019 BETHLEHEM COLLEGE & SEMINARY
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Dr Helen E Berry
Position: University Academic Fellow
Areas of expertise: Regenerative medical devices; tissue engineering; decellularised biological scaffolds; Cardiovascular medical engineering; tissue heart valves
Email: H.E.Berry@leeds.ac.uk
Location: 6.59 Garstang
I joined the University pf Leeds as the University Academic Fellow in Cardiovascular Regenerative Therapies & Devices within the School of Biomedical Sciences in 2015.
I obtained my PhD from the University of Leeds in 2000 (thesis title: Cell mediated immunity to microbial heat shock proteins and propionibacterium acnes in acne vulgaris) before undertaking postdoctoral appointments at the University of Leeds (2000-2006), working on the "Tissue Engineering a Living Heart Valve" and “Tissue Engineering Pericardial Patches for Cardiovascular Repair” projects.
I then spent a significant period of time (2007-2015) within the medical technology industry, leading the Research and Development team integral to gaining regulatory approval for the first decellularised product launched by the University Spin-Out Company, Tissue Regenix Ltd.
HTA Person Designated
Bioprocessing, Sterilisation and Elucidating the Mechanisms Underpinning the Immunomodulation and Regenerative Properties of Acellular Scaffolds
The research at the University of Leeds on the "Tissue Engineering a Living Heart Valve" and “Tissue Engineering Pericardial Patches for Cardiovascular Repair” projects led to the development of a decellularisation process for porcine heart valves and pericardium. The regenerative potential of these acellular scaffolds was demonstrated in vivo, and insight was gained on the role of macrophages in the regenerative process. Successful commercialisation of the decellularisation technology and continued collaborative research generated new acellular scaffolds, and insight into cell signalling mechanisms occurring at the acellular scaffold-tissue interface was gained. Although, clinical use has been achieved for these acellular technologies; questions remain over the key drivers behind their regeneration into functional tissue.
My research focus is therefore on elucidating the mechanisms of immunomodulation and tissue regeneration in acellular scaffolds for cardiovascular repair and replacement, in conjunction with investigating translational issues such as bioprocessing and sterilisation methods. Clinical success can be built upon by defining the mechanisms of action, and functional tolerances for natural matrix modification, to provide insight for new scaffold development; whilst targeted bioprocessing methods and integrated sterilisation strategies will increase the opportunity for the applied research to be translated into clinical practice.
PhD (Division of Microbiology, University of Leeds)
BSc (Hons) Microbiology (University of Leeds
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Müller to invest an extra £100m in UK dairy operations
Muller has announced it will commit an extra £100m to grow the dairy industry by £700m by 2020.
The company said dairy has the potential to be the grocery sector’s ‘engine for growth’ and Muller is ahead of Coca Cola and Cadbury’s Dairy Milk in the top 10 most purchased fast moving consumer goods brands.
The money will be invested above normal planned expenditure in its operational, innovation and marketing capabilities over the next 18 months and would focus on adding value to their products.
It estimated it could grow the fresh milk, cream and milk drinks category by £470m by 2020. The sector is currently in a decline of around 2 per cent per year but Dan Howell, Commercial director, said Muller is determined to reinvigorate it.
“Milk plays the central role in the dairy category. It’s the core driver of both penetration and frequency, bringing shoppers into the aisle to select the rest of their dairy produce.
“It’s also of huge importance to the UK diet and is rightly viewed as a beacon of healthy, refreshing, enjoyable nutrition.”
The company also said there were opportunities across the yoghurt sector ’from health to indulgence’ where it currently has 21 per cent of the market share.
Muller said the investment would benefit consumers, customers and farmers.
The NFU welcomed the news of the investment in the dairy sector.
NFU chief dairy adviser Sian Davies said: “Earlier this year the NFU called for better, fairer supply chain relationships.
“While Müller has made no secret that it wants to be the biggest and best milk buyer in the UK, it is vitally important that the company takes its farmer suppliers with them on this journey.”
The announcement also signals a commitment to Muller’s business in the UK following the Brexit decision.
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blockbustercinemaa.com
Breaking box-office news, hindi movie updates and incisive Bollywood trade analysis
October: Varun Dhawan starrer to be released by topmost distribution house in India
BOX-OFFICE NEWS
March 28, 2018 Manishaa R
By Manishaa R
He is the new superstar on the horizon, says Shreyans Hirawat of NH Studioz, which is releasing October in India
While films starring the three Khans are considered a hot bet in the distribution market, it is Varun Dhawan’s immense box-office potential that has now drawn the attention of distribution houses. In what appears to be an index of Varun’s immense box-office appeal, one of the most distinguished distribution offices in Bollywood NH Studioz, spearheaded by the father-son team of Narendra and Shreyans Hirawat, is all set to release the Varun Dhawan starrer October all over India, “This is the first time we have acquired a Varun Dhawan film. He is already a superstar in his own right. He is versatile and has always delivered in all his films but this film will even make the few non-Varun fans follow and love him,” Shreyans Hirawat reveals.
“This is the first time we have acquired a Varun Dhawan film. He is already a superstar in his own right”- Shreyans Hirawat
However he adds that the film is backed by substance and a promising director who has never let down his audiences, “Let’s not forget that October is directed by Shoojit Sircar, who has to his credit films like Piku and Pink. Our previous association with him in Pink was a great success and Shoojit and his team have become more like family to us. We have a lot of faith in his work,” Shreyans avers, adding that they are confident about the prospects of the film at the box-office, “The film has been made with a lot of heart and loyalty and I am sure it will reflect in its box-office success” he says.
There is also a perception that the Hirawats have become wary of investing in heavily priced films starring the Khans, after the huge investment and subsequent losses they incurred in Tubelight and Harry Met Sejal, though both Salman and Shah Rukh Khan were generous to partially compensate them for the losses. Shreyans confirms that they are in no mood to take the risk despite the fact that stars like Shah Rukh and Salman share an indomitable following among the masses, “Obviously two bad experiences cannot tarnish the decade long built star values but yes we have definitely become more cautious in terms of what and where we are investing. Having said that, we are definitely open to proposals with good substance,” he avers.
The new change of perception is also an indicator that the Hirawats are now looking at substance more than star value when it comes to investing in films, “We have looked for substance in our earlier acquisitions too but now we are doubly sure about the films we are acquiring. I guess distributors are realising it too,” Shreyans argues.
He cites the example of the recently released Luv Ranjan directed film, Sonu Ke Titu Ki Sweety, which got a phenomenal response at the box-office and crossed the Rs 100 cr mark, despite the absence of top rung stars, “It has proved that the success and appeal for any film has a lot to do with its plot and story-line, besides the cast. I hope the industry makes more such films to revive the interest of the audiences in great story-telling,” he quips.
#Box-office #superstar October Piku Sonu Ke Titu Ki Sweety Varun Dhawan
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Watery Magic Onstage
Lothar Odinius and Olga Peretyatko in The Nightingale and Other Short Fables. Photo: Jack Vartoogian
By David Hsieh
L’Amour de Loin, the first opera by a female composer presented on the Metropolitan Opera stage in over a century, will be shown at BAM Rose Cinemas this Saturday (Dec 10) as part of the Met: Live in HD series. The Finnish composer Kaija Saariaho, with librettist Amin Maalouf, drew from a 14th-century troubadour legend as a source. It tells of two lovers pining for each other across the vast ocean, which in this Robert Lepage production is embodied by 28,000 LED lights.
In a New York Times interview, Lepage explained why he went for the illusion of water: “Water is like doing a show with young children and animals and insects. It will do what it wants, and you don’t have any control over it.”
We at BAM know that Lepage speaks from experience, because this recognized theater wizard and BAM Iconic Artist (coming back this Spring!) has put real water on our stage before. That was The Nightingale and Other Short Fables (2011 Winer/Spring Season), an opera production consisting of several short Stravinsky music theater pieces. For The Nightingale, a fairy tale set in ancient China, Lepage adopted a Vietnamese water puppetry tradition with performers immersed in a pool of 12,000 gallons of water. The custom-made water tank was sunk in the orchestra pit. What the audience saw was a luminescent surface where small boats glided by, a puppet fisherman hauled in his nets, and birds darted above it—an experience that The Wall Street Journal called “spell-binding.”
Other directors have also harnessed the power of water. In Woyzeck (2008 Next Wave) by Iceland’s Vesturport Theatre directed by Gísli Örn Gardarsson, seven interconnected plexiglass water tanks lined the apron of the Opera House stage. Scantily-clad actors frequently swam through the water tanks in plain view of the audience—human beings being gawked at like zoo animals.
Onstage water has taken other forms. The Chichester Festival Theater presentation of King Lear (2014 Winter/Spring) starring Frank Langella had a spectacular rain storm effect. For the three minutes of “rain,” 55 gallons of water were stored backstage. It was heated to 94º and cooled for 30 minutes. Seven different “channels” were fitted above the stage to create the varying rain patterns. A specially designed waterproof pit hidden under the floor was lifted right before the rain began to allow for drainage. It took a great actor like Langella to be not upstaged by this special effect!
Harry Melling, Frank Langella, and Steven Pacey in King Lear. Photo: Richard Termine.
Choreographers are even better at making water a spectacle. In Eiko & Koma’s River (1997 Next Wave), there was a shallow stream of water in which the duo slithered with their trademark slow movement, while Kronos Quartet played Somei Satoh’s haunting music upstage. In Cloud Gate’s Moon Water (2003 Next Wave), the curtain rose on a lone dancer standing on stage looking at a water pattern drawn on the black Marley floor. As the dance proceeded, water slowly accumulated on the stage, until at the end, every step the dancers made splashed water, its ripples reflected on the giant mirrors hanging above. Choreographer Lin Hwai-min illustrated the Buddhist philosophy that reality and illusion co-exist with this stunning staging.
But when it comes to creating magical water effect, no one can beat the high priestess of tanztheater, Pina Bausch. One of the legendary performances in BAM history was when her “stage as a swimming pool with a giant Hippo”—Arien—came to the Next Wave in 1985. It had never been performed outside West Germany and the technical side was touch-and-go. To allow proper preparation of the 5,000 gallon of water needed, BAM stagehands built a “backyard swimming pool” underneath the Opera House stage, recalled Jimmy D’Adamo, now the head electrician at BAM. “It was the summer of New York City drought and we couldn’t just turn on the fire hydrant like we had planned,” said D’Adamo. So they bought water from a New Jersey supplier.
Harvey Lichtenstein and Pina Bausch inspect plumbing for Arien in the Opera House basement in 1985. Photo: Johan Elbers
But that water turned out to be contaminated. (D’Adamo found out when the thermometer he sank down the pool to monitor the temperature dissolved!) So a second load (clean!) was brought in. But by then there was not enough time to electrically heat the water and the Brooklyn Union Gas and Con Edison (now National Grid) had to be persuaded to run a special gas line to the backstage. Still, the opening had to be delayed for 90 minutes. Then President Harvey Lichtenstein sent the full-house audience to the lobby to wait with complimentary drinks. By the time the show started, half of the audience was in very jovial spirits and ready for anything!
And that "anything" indeed presented itself. Because the dancers constantly ran through the three-inch deep water on stage and splashed it all over, the front row audience was given giant plastic sheeting to hold up whenever water flew their way! Talk about immersive theater!
Bausch would create another water spectacle with Vollmond (2010 Next Wave). The staging required a five-inch-deep “river” across the stage. And it needed to circulate. A separate overhead rain effect was also called for. If it sounds more complicated than Arien, D’Adamo said “Don’t worry!” because by that time, the know-how was greatly improved. The company knew how to create that effect, using what equipment, how to pump it, how to design costumes to allow maximum flexibility and durability. The company even knew that because every stage has a different height, they had to adjust the water pressure for it to come down to the dancers at the same velocity. All D’Adamo needed was to find the right way to power up the European equipment with its 220 volts and 50Hz cycles.
Rosas in Rain. Photo: Stephanie Berger
This seasoned practicality is similar for most recent shows with water elements. For instance, the Canadian Opera Company (The Nightingale) had it in writing how many people and how long it would take to fit together the water tank, how many hours were needed to fill it up at what volume per minute, and how long it would take to heat it up to 78 degrees for the performers' comfort and safety.
Theater artists continue to create water effects, with or without real water. In Belgian choreographer Anne Teresa De Keersmaeker/Rosas‘ Rain (2003 Next Wave), she simply hung a bunch of strings from the fly space, and with the clever use of lighting, created a shimmering effect. It was no less bewitching or effective. Same goes for the snowflake scene in Mark Morris' The Hard Nut, which starts its one-week run this Saturday. The snow may be fake, but the smiles and applause it elicits from the audience is every bit genuine. After all, theater is a world of illusion, where “make-believe”—dry or wet—happens!
David Hsieh is a Publicity Manager at BAM.
Labels: Pina Bausch, Robert Lepage, water
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Bible > Numbers > Chapter 14 > Verse 10
◄ Numbers 14:10 ►
But the whole assembly talked about stoning them. Then the glory of the LORD appeared at the tent of meeting to all the Israelites.
But the whole community began to talk about stoning Joshua and Caleb. Then the glorious presence of the LORD appeared to all the Israelites at the Tabernacle.
Then all the congregation said to stone them with stones. But the glory of the LORD appeared at the tent of meeting to all the people of Israel.
But the entire congregation threatened to stone Joshua and Caleb. Then the glory of the LORD appeared to all the Israelites at the Tent of Meeting.
But all the congregation said to stone them with stones. Then the glory of the LORD appeared in the tent of meeting to all the sons of Israel.
But all the congregation bade stone them with stones. And the glory of the LORD appeared in the tabernacle of the congregation before all the children of Israel.
While the whole community threatened to stone them, the glory of the LORD appeared to all the Israelites at the tent of meeting.
The crowd threatened to stone Moses and Aaron to death. But just then, the LORD appeared in a cloud at the sacred tent.
The whole community was threatening to stone them to death, but suddenly the people saw the dazzling light of the LORD's presence appear over the Tent.
But the entire congregation was talking about stoning them to death. Suddenly, the glory of the LORD appeared at the Tent of Meeting to all of the Israelis.
However, the whole community threatened to stone them. But the glory of the LORD appeared to all the Israelites at the tent of meeting.
But all the congregation threatened to stone them with stones. Then the glory of the LORD appeared at the Tent of Meeting to all the children of Israel.
But when the whole community of Israel talked about stoning Moses and Aaron to death, they all saw the glory of the LORD [shining] at the tent of meeting.
But all the congregation bade stone them with stones, when the glory of the LORD appeared in the tent of meeting unto all the children of Israel.
Then all the multitude spoke of stoning them with stones. But the glory of the LORD appeared in the tabernacle of the testimony before all the sons of Israel.
But all the congregation said to stone them with stones. And the glory of the LORD appeared in the tabernacle of meeting before all the children of Israel.
But all the congregation bade stone them with stones. And the glory of Jehovah appeared in the tent of meeting unto all the children of Israel.
And all the congregation bade stone them with stones; and the glory of the Lord appeared in the cloud on the tabernacle of witness to all the children of Israel.
And when all the multitude cried out, and would have stoned them, the glory of the Lord appeared over the tabernacle of the covenant to all the children of Israel.
And the whole assembly said that they should be stoned with stones. And the glory of Jehovah appeared in the tent of meeting to all the children of Israel.
But all the congregation bade stone them with stones. And the glory of the LORD appeared in the tent of meeting unto all the children of Israel.
But all the congregation required to stone them with stones: and the glory of the LORD appeared in the tabernacle of the congregation before all the children of Israel.
But all the congregation threatened to stone them with stones. The glory of Yahweh appeared in the Tent of Meeting to all the children of Israel.
And all the company say to stone them with stones, and the honour of Jehovah hath appeared in the tent of meeting unto all the sons of Israel.
The People Rebel
…9Only do not rebel against the LORD, and do not be afraid of the people of the land, for they will be like bread for us. Their protection has been removed, and the LORD is with us. Do not be afraid of them!” 10But the entire congregation threatened to stone Joshua and Caleb. Then the glory of the LORD appeared to all the Israelites at the Tent of Meeting. 11And the LORD said to Moses, “How long will this people treat Me with contempt? How long will they refuse to believe in Me, despite all the signs I have performed among them?…
And as soon as Aaron spoke to the whole congregation of Israel, they looked toward the desert, and there in a cloud the glory of the LORD appeared.
Then Moses cried out to the LORD, "What should I do with these people? A little more and they will stone me!"
and the glory of the LORD settled on Mount Sinai. For six days the cloud covered it, and on the seventh day the LORD called to Moses from within the cloud.
Leviticus 9:23
Moses and Aaron then entered the Tent of Meeting. When they came out, they blessed the people, and the glory of the LORD appeared to all the people.
When Korah had gathered his whole assembly against them at the entrance to the Tent of Meeting, the glory of the LORD appeared to the whole congregation.
but all
And Moses cried unto the LORD, saying, What shall I do unto this people? they be almost ready to stone me.
And David was greatly distressed; for the people spake of stoning him, because the soul of all the people was grieved, every man for his sons and for his daughters: but David encouraged himself in the LORD his God.
O Jerusalem, Jerusalem, thou that killest the prophets, and stonest them which are sent unto thee, how often would I have gathered thy children together, even as a hen gathereth her chickens under her wings, and ye would not!
Numbers 16:19,42
And Korah gathered all the congregation against them unto the door of the tabernacle of the congregation: and the glory of the LORD appeared unto all the congregation…
And Moses and Aaron went from the presence of the assembly unto the door of the tabernacle of the congregation, and they fell upon their faces: and the glory of the LORD appeared unto them.
Exodus 16:7,10
And in the morning, then ye shall see the glory of the LORD; for that he heareth your murmurings against the LORD: and what are we, that ye murmur against us? …
But the entire
כָּל־ (kāl-)
Noun - masculine singular construct
Strong's Hebrew 3605: The whole, all, any, every
הָ֣עֵדָ֔ה (hā·‘ê·ḏāh)
Article | Noun - feminine singular
Strong's Hebrew 5712: A stated assemblage
וַיֹּֽאמְרוּ֙ (way·yō·mə·rū)
Conjunctive waw | Verb - Qal - Consecutive imperfect - third person masculine plural
Strong's Hebrew 559: To utter, say
to stone
לִרְגּ֥וֹם (lir·gō·wm)
Preposition-l | Verb - Qal - Infinitive construct
Strong's Hebrew 7275: To cast together, to lapidate
[Joshua and Caleb].
בָּאֲבָנִ֑ים (bā·’ă·ḇā·nîm)
Preposition-b, Article | Noun - feminine plural
Strong's Hebrew 68: A stone
Then the glory
וּכְב֣וֹד (ū·ḵə·ḇō·wḏ)
Conjunctive waw | Noun - masculine singular construct
Strong's Hebrew 3519: Weight, splendor, copiousness
of the LORD
יְהוָ֗ה (Yah·weh)
appeared
נִרְאָה֙ (nir·’āh)
Verb - Nifal - Perfect - third person masculine singular
Strong's Hebrew 7200: To see
אֶֽל־ (’el-)
the Israelites
בְּנֵ֖י (bə·nê)
Noun - masculine plural construct
Strong's Hebrew 1121: A son
at the Tent
בְּאֹ֣הֶל (bə·’ō·hel)
Strong's Hebrew 168: A tent
of Meeting.
מוֹעֵ֔ד (mō·w·‘êḏ)
Strong's Hebrew 4150: Appointed time, place, or meeting
(10) But all the congregation bade stone them with stones.--All the congregation here, as elsewhere, seems to denote the princes or chief men of the congregation; otherwise it is difficult to understand to whom the order was addressed to stone Joshua and Caleb. Stoning appears to have been a mode of death commonly adopted in Egypt (Exodus 8:26). Under the Jewish law stoning was the ordinary, and, as some think, the only prescribed mode of death, and was inflicted as the punishment for crimes such as adultery (Deuteronomy 22:22; Deuteronomy 22:24), idolatry (Deuteronomy 13:10), witchcraft (Leviticus 20:27), sabbath-breaking (Numbers 15:35), and blasphemy (Leviticus 24:16). Moses had apprehended the same outbreak of popular violence on a former occasion (Exodus 17:4), and, at a later period, David was threatened in a similar manner (1Samuel 30:6).
And the glory of the Lord appeared in the tabernacle of the congregation.--The meaning probably is in the court of the Tabernacle, or, as some think, above the Tabernacle. (See the Targum of Jonathan and the Vulgate and Septuagint Versions.) The children of Israel could not have seen the glory of the Lord had it been manifested within the Tabernacle.
Verse 10. - Bade stone them with stones. Angry people cannot endure the counsels of calm reason, and perhaps the hostility which they felt against Moses they were very ready to vent upon his "minister." The glory of the Lord appeared., before all the children of Israel. At the moment when they were about to proceed to violence, the Divine glory filled the tabernacle, and flashed forth with a brilliancy which compelled their awe. struck attention.
14:5-10 Moses and Aaron were astonished to see a people throw away their own mercies. Caleb and Joshua assured the people of the goodness of the land. They made nothing of the difficulties in the way of their gaining it. If men were convinced of the desirableness of the gains of religion, they would not stick at the services of it. Though the Canaanites dwell in walled cities, their defence was departed from them. The other spies took notice of their strength, but these of their wickedness. No people can be safe, when they have provoked God to leave them. Though Israel dwell in tents, they are fortified. While we have the presence of God with us, we need not fear the most powerful force against us. Sinners are ruined by their own rebellion. But those who, like Caleb and Joshua, faithfully expose themselves for God, are sure to be taken under his special protection, and shall be hid from the rage of men, either under heaven or in heaven.
Numbers 14:10 Commentaries
Appeared Assembly Bade Children Company Congregation Eyes Honour Israel Required Stone Stoned Stones Stoning Tabernacle Talked Tent Whole
Numbers 14:10 NIV
Numbers 14:10 NLT
Numbers 14:10 ESV
Numbers 14:10 NASB
Numbers 14:10 KJV
Numbers 14:10 Bible Apps
Numbers 14:10 Biblia Paralela
Numbers 14:10 Chinese Bible
Numbers 14:10 French Bible
Numbers 14:10 German Bible
Alphabetical: about all appeared assembly at But congregation glory in Israel Israelites LORD Meeting of said sons stone stones stoning talked Tent the them Then to whole with
OT Law: Numbers 14:10 But all the congregation bade stone them (Nu Num.) Christian Bible Study Resources, Dictionary, Concordance and Search Tools
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Learn More About the Sacrifices of Our Military Veterans From These 3 Sources
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A few years back, Army veteran and political science professor Scott Althaus published an interesting study looking at how The New York Times covered wars.
The study took a random sampling of the newspaper's coverage from both world wars, the Korean and Vietnam Wars, and the first three years of the Iraq war in order to compare news about military casualties and other human costs. Althaus was curious to understand whether people were more engaged and informed in recent conflicts than during the two world wars, but unfortunately, he found that the American public was no more engaged now than then. What he did find surprising was how news concerning casualties downplayed the human costs of war. There left much to be desired of how much the American public needs to learn about the sacrifices made by military veterans.
One of the big trends Althaus gleaned from his study was that rarely did The New York Times give attention to the wounded and those who made it home after their tour was finished. For example, during the period of the war of Iraq he studied, 4,800 American soldiers died while an additional 32,000 were injured -- yet, the Times mentioned casualties twice as much as the wounded. In previous wars, the same publication gave equal attention to both the dead and injured.
Of course, this study only covered one, albeit very prominent, American publication. But what it does illustrate is that in recent years many people have forgotten about the sacrifices outside of death that military veterans make for us. If you are interested in learning more about military veterans, whether for yourself or to share with family members and friends, we recommend including the following three great resources to expand your knowledge base:
3 Sources to Use to Learn More About the Sacrifices of Military Veterans
PBS Learning Media Stories of Service - While this collection of historical pieces and personal stories from recent veterans is marketed more towards classroom use, there is value in this collection for people of all ages. Particularly notable is the PBS video The Way We Get By: Welcome Home which follows the story of a group of volunteers who have welcomed home more than 900,000 troops in one Bangor, Maine airport. In doing so, it nicely compares and contrasts those coming home experiences of soldiers who served across American wars.
VALOR: Unsung Heroes from Iraq, Afghanistan, & the Home Front - Looking for stories of the selfless and life-changing sacrifices military members have made during their service for the country? Consider purchasing or borrowing this book from your local library. VALOR highlights nine distinct stories of personal sacrifice made in order to save other peoples' lives or to accomplish a necessary mission. This is a gripping book and a must-read for any interested in getting a more inside view of what some soldiers have experienced on the frontline.
Veterans History Project of the American Folklife Center - If you enjoy researching and learning about things at your own pace and discretion, then consider browsing the fantastic Veterans History Project made possible by the American Folklife Center and the LIbrary of Congress. In these archives, you'll find the personal stories of veterans from every conflict the United States has engaged in. Browse, read, and gain an understanding at your pace.
Know a Struggling Veteran? Crowdfund with dreamOway
It's a sad fact that many veterans continue to struggle due to their military sacrifices. Whether they're in need of emergency services, transportation needs, or something similar in order to better integrate here at home, dreamOway is here to help. Learn how you can start a crowdfunding campaign and raise money for veterans at our website today.
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1 December 2017 / team
Welcoming Man Nguyen to NuID
This week we celebrated the addition of Man Nguyen, who will be taking on the role of Principal Security Architect. Man is a graduate of the University of Waterloo and a veteran information security professional with over 20 years of experience and leadership in the field—we consider ourselves profoundly lucky to have him on board!
Man joins the team as our third Microsoft alumni, having spent nearly 15 years there, most recently as a Principal Security Architect on the MSIT team. He has broad experience leading the development and implementation of strategies to protect large-scale critical IT infrastructure. Some of Man’s previous work includes managing red team and penetration testing efforts to combat Advanced Persistent Threats and other vulnerabilities, spearheading a threat automation initiative, leading security audits for internal and external organizations, and developing best practices and policies. Man has also worked with NATO and the United States Air Force and holds two software patents in automated network compliance detection and remediation.
Security isn’t just an end goal, but a process. As our Principal Security Architect, Man is responsible for upholding sound information security principles and best practices company-wide. From the software and products we use to the solutions we build and deploy, Man kicks the tires—and then replaces the car with a continuously-threat-modeled rocketship. His contributions are key to building software that keeps our clients and their data secure.
Like the rest of us at NuID, Man’s professional passions are also his personal ones. He is a frequent participant in events and competitions in the security space such as the SANS NetWars tournaments. We are particularly excited that, like Robert, Man builds custom drones for WiFi hacking (and of course we plan to instigate a drone hacking battle—YouTube link forthcoming). You can also find Man out on the water on his JetSurf or DIY electric hydrofoil.
Man told us a bit about his background and interest in NuID:
"I got into security when I was working at the University of Waterloo newspaper in 1992 as a system administrator. In those early years of my career, I learned to manage the security for various platforms including Sun Solaris, Novell Netware, IBM OS/2 and Windows for Workgroups. Over 20 years in the industry, I have evolved with each new challenge in my career from security program management, auditing, security architecture, and pen testing.
I see identity as the linchpin issue for information security and the ultimate goal of advanced threats. With NuID, I am excited to have the opportunity to work on what is truly a global challenge. Just as important for me, I am honored to join a team of intelligent and driven individuals."
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Islamic Calendar 1437 Hijri
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Top 10 Amazing Facts About Greece
By Asma On Jul 3, 2016
Greece is famous in history of world. It is famous for its ancient history and most of the interesting places to visit. Every year, tourists come to visit Greece and enjoy their foods, monuments and islands, but nobody knows the interesting facts of Greece which make it popular in the history of world. Here in this post I am sharing the top 10 amazing facts about Greece.
These all facts will definitely shock you that the Greece has more interesting reasons instead of foods, islands and monument stories. So, let’s check out this post and know about the interesting and amazing facts about your favorite holiday destination Greece below.
10, Modern Greece Is The Small Part of Greece:
Greece is famous for its beauty. The modern Greece is the main and the center part of Ancient Greek Civilization. It covers southern Italy and the coastal areas of Turkey. It also covers Black Sea and different colonies of Spain, Africa and France. In fact, Modern Greece is same as the size of Alabama of Unites States.
9, The Ancient Olympics Has Changed Now:
As we all know that the Olympic has started in Greece in 776 BC. It was played in only one event but now it has totally changes. The Olympics in Greece, now a day include multitude. Almost Thousands of people come to watch the game and the main stadium of Greece has a capacity of 45,000 people.
8, Mount Olympus Is The Home Of Gods and Goddesses:
The highest point of Greece named mount Olympus is known to be as the home of Gods and Goddesses. It is the highest mountain with height of 9,750 feet. People who visit Greece must climbing the mountain and reach the height of Mytikas peak.
7, Greece Has Largest Wildlife Varieties In Whole Europe:
The world has many island and coastlines but the Greece has mountains and hills. Greece is famous for its varieties of wildlife. The plenty of species like fox, bear, white goat, deer and elk live in Greece. You will also see the mammals and amphibians. There are many reptiles are also living and few snakes are also the part of Greece.
6, Greece Has 100 Archeological Museums:
Greece is the historical country that gives you a learning experience. Greece has more than 100 archeological museums in which you will find the compete history of ancient of Greece. You will find many museums dedicated to specific themes of painting and theatrical arts. You can visit the museum dedicated to Byzantine Empire and also science and technology.
5, Greece Has Countless Islands:
Greece is the country having countless islands. The recent research says that it has about 1200 to 6000 islands but166 to 277 islands are only inhabited. The most popular and largest island of Greece is Crete which is located at the Aegean Sea. Each and every island is slightly different to another with full of unique and appealing views.
4, Greece Has Numbers of Olive Trees:
Greece is famous as the third largest producer of olive trees in the whole world. They have been planted olive trees since their ancient times and still planting as a big business. There are around 120,000,000 olive trees in the Greece and even some are still producing olives since 13th century.
3, Why Athens Named Based On Athena:
According to the mythology of Greeks, the first king Cecrops wanted the patron deity for the Athens and the two gods of Greek Poseidon and Athena were interested for this. Poseidon offered the water for Athens but the water was salty and not eligible for population. Athens offers the olive trees for a symbol of peace which impressed the king very much. So, the king gave her name to the city after her as an honor.
2, Parthenon Was Built For Giving Honor To Athena:
Parthenon is the greatest monument in the world. This was built to give honor to Goddess Athena. This temple is very old and you also read about it in high school. It was a temple but converted into a church in 5th century.
1, Capital Of Greece Is The Oldest City In The World:
The capital of Greece, Athens is the world’s most famous and oldest city in the world. It was the first inhabitant city also. IT is a mixture of old and new history which attract the tourists very much.
These were the top 10 amazing facts about Greece. You have learned about Greece and may be visited Greece but you didn’t know these amazing and interesting facts about before.
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The Sleep Blog
Snoozester's blog about all things sleep related
What Do Your Dreams Mean? Do Dreams Matter?
Are dreams just drivel?
How often have you woken up from a strange dream and thought “what was that trying to tell me”?
You might head to Google and look for advice on what your night-time visions meant, where you’ll probably find that dreaming about teeth is telling you that you’re anxious and lack confidence, while a forest suggests that you’re lost. Falling supposedly means you have no self-control, and being chased signifies cowardice.
Reading this, you’d be forgiven for thinking that the brain is something of a bully, sending us disturbing, cryptic messages to remind us of personality shortcomings of which we’re no doubt already aware. Bizarrely, one of the more positive things to dream about appears to be death, which many analysts say is a sign of change, fresh starts and newfound independence.
Are our subconscious minds really this unkind, though? Do they need to traumatise us with visions of passing away just to tell us that we’re on to something new?
The majority of people do believe that dreams are “portals to the unconscious”, at least in the U.S. In 2009, a study published in the Journal of Personality and Social Psychology revealed that more than half of Americans are of this opinion. The research was also carried out among Indians and South Koreans, with an even greater proportion (74% and 65% respectively) believing that dreams are trying to tell us something.
Of course, Sigmund Freud is largely responsible for this. His 1900 book ‘The Interpretation of Dreams’ remains a go-to publication for scholars of psychology, and Freud’s work has crept into many art and literature degrees too. His idea of ‘wish fulfilment’ drew a useful comparison between visions during sleep and what’s on the mind, moving on from earlier ideas of dreams being messages from deities or a result of the soul leaving the body.
Today, however, Freud’s dream theory is often thought of as crude, contradictory and somewhat phallocentric, with fellow German psychologist Hans Eysenck being one of its fiercest critics. Indeed, research shows that the subconscious mind is not as mystical as many people think, and that dreams are more likely to be a case of your brain simply repeating some of the thoughts and experiences it had the day before. In short, the mind knows what it’s doing and perhaps we should give it a little more credit.
From personal experience, I believe dreams can also be heavily influenced by what’s going on around you while you sleep. As an example of this, I once fell asleep on the floor after a party at university (something that’s more forgiving on the body in the late teens than the early thirties) and had all sorts of peculiar dreams about cows and meat during the night. It would have been odd and unexplainable were it not for the fact that the first thing I saw when I woke up was a half-eaten burger. While your sight is lost during sleep, your other four senses remain intact. In this case, smell and perhaps taste (since it was probably me who eat half of the burger) affected my dreams.
In other cases, dreams could be affected by what you hear while asleep. At about the same age, I thought I might have a knack for predicting news and world events, often dreaming about news the night before it was announced. I wasn’t really a psychic though, just someone who often fell asleep with the TV on and took in whatever they were talking about on BBC News overnight.
Basically, this suggests that the worse you sleep, the weirder you dream. The most strange and nightmarish visions are usually the result of an overly active mind and a disturbed sleep. By sticking to a schedule, getting a sensible amount of sleep, having a quality bed, and keeping technology to a minimum in the bedroom, your mind is less likely to rebel as your body recharges.
John Murray has a keen interest in both psychology and sleep, for reasons varying between intrigue and downright laziness. He writes articles for HappyBeds.co.uk, one of the fastest growing online retailers of beds and mattresses.
The Sleep Blog does not provide medical advice, diagnosis, or treatment. Instead, this website provides general information for educational purposes only. Always seek the advice of a qualified health care provider if you have questions or concerns regarding any medical condition or treatment.
Author snoozesterPosted on February 20, 2015 June 20, 2016 Categories Dreams22 Comments on What Do Your Dreams Mean? Do Dreams Matter?
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Coniston Holidays, Coniston, Cumbria, The Lake District
Coniston Holidays, Coniston, Cumbria, The Lake District (Sleeps 1 - 4)
https://www.theholidaycottages.co.uk/Cumbria/2110
Coniston Holidays offers self catering accommodation in the pretty Cumbrian village of Coniston. Our holiday cottages are located in the heart The Lake District National Park. The cottages offer an ideal base to explore the nearby areas of the Lake District such as Windermere, Ambleside, Grasmere and Hawkshead.
Coniston has quite a history including copper mining & slate quarries all of which can still be seen on the fells which surround the village. Perhaps best known for the lake, Coniston Water, where Donald Campbell lost his life and is now buried in the village graveyard. On the east side of the lake with stunning views towards Coniston Old Man is Brantwood, the former home of John Ruskin. Alternatively, visit the Ruskin Museum which lies in the village centre.
Take a leisurely trip on the lake aboard the gondola or one of the launches. For the more energetic there are water sports, cycling in nearby Grizedale Forest or walking the Coniston Fells. Tarn Hows, another beauty spot is close by as is the attractive village of Hawkshead.
Labels: Book Direct, Coniston, Coniston Holidays, Cumbria, Holiday Cottage, https://www.theholidaycottages.co.uk, National Trust National Park, The Lake District
Location: Yewdale Rd, Coniston LA21 8DU, UK
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2019 Herbalife24 Triathlon – Drew's Story
2019 Herbalife24 Triathlon – Dirk’s Story
Dirk Aschmoneit
One man’s remarkable return to the startling line.
Our story begins at an orphanage in Germany, where nine-year-old Dirk Aschmoneit, determined to climb a tree, has broken his leg.
Doctors quickly fixed his leg, and after a reluctant convalescence, young Dirk was back outside seeking new challenges to overcome.
At 14, he began an impressive competitive swimming career, and seven years later, he participated in his first triathlon in Koblenz, Germany.
In 1984, Dirk won his first major race, the European Championships Long Course (Cologne Triathlon), and throughout the 1980s, his outstanding performance helped popularize the sport in Germany.
After competing in four consecutive Ironman races, placing second in Germany and Australia, Dirk lined up to represent his country at the 1991 Ironman New Zealand. Eight hours, 30 minutes and 15 seconds later, he set a new course record and became the first German citizen to win an Ironman competition.
Dirk continued to compete internationally until his unexpected retirement in 1994. Throughout his career, he had complained of back pain, but it wasn’t until a doctor identified an undiagnosed spinal fracture that Dirk realized his childhood fall from the tree had hurt more than just his leg.
Undergoing a series of back surgeries in 2003, Dirk once again found himself convalescing and day-dreaming of being outside the same way he did when he was nine years old.
Dirk challenged himself to return to the world of endurance racing, and through hard work and determination, lined up to start at the 2008 Ironman Arizona. Later that day, he won his age group and qualified for the Ironman World Championships. Since then, he’s competed in triathlons around the world.
On June 2, Dirk will participate in the first annual Herbalife24 Triathlon Los Angeles as a guide for Drew Hunthausen, a blind and partially deaf triathlete.
Many miles lie between Germany and that starting line in Venice Beach, but Dirk’s story is just another example of how an ordinary person can outrun adversity to accomplish something extraordinary.
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Google Stadia, is it the Future?
Hi, my name is who? My name is, what? My name is… Stadia.
A little over a week ago, Google officially announced their new entry into the game industry. Holding an hour long press conference, and while we finally learned about what Google has been working on, getting all that information raises many more questions. The presentation plants the Stadia on a very thin line between success and major failure.
Credit: Tech Insider
When the new console was announced, all of our major questions leading up to it were answered for the most part, it is indeed a streaming dedicated platform. While there is no official box that comes with the package, a wireless controller set to connect to different devices around the house is an intriguing idea to say the least. Random connections and accidentally connecting to a new device is a genuine concern some people have had, but if the sensitivity is right then surely we will see that in only the most extreme cases. The idea of having a spotify-like competitor where any game a player desired is available at a moment’s notice would mean huge things for the industry and really help level the playing field between major first party developers and indie developers, creating an avenue for any game to be noticed at any time rather than the big marketed games being the big sellers. Games like Okami and Shadow of the Colossus could have performed much better and had a much deeper impact on their respective communities if this technology had been available previously.
Credit: Game Spot
One of the biggest highlights of the presentation was the Youtube integration built in. Not only will Youtube help Stadia, but Satida could potentially help Youtube if the technology does indeed work as intended. Being able to que up in a streamer’s game individually, at a moment’s notice, would vastly help Youtube catch up to Twitch in the streaming department. The mainlined interaction between influencer and viewer makes things so much easier for the one streaming. If the Stadia has the games and functionality to support this, then it could absolutely draw Twitch streamers away to Youtube.
Credit: GamersPrey
However, the games lineup is one of the biggest questions coming away from the press conference. There were only three official games confirmed, with only two being officially announced. Both Assassin’s Creed Odyssey and Doom Eternal have been confirmed. With a game from Q2 Studios confirmed for the platform but it is unknown what exactly that game is yet. It is worth noting that NBA 2K has been soft confirmed through the presentation even though they said nothing official on whether or not the game is confirmed to come to the platform. Those are really the only games we really know about though. After that, we don’t have anything, which in a world of a growing exclusivity arms race, Google is arriving extremely late to the game. What may be more concerning though, is how demanding the system is. Requiring a very strong connection to play, and downgrading the graphics on the game to guarantee as smooth of a play session as possible. That is a question that can’t be answered until it releases and by then it is too late to fix something that big.
Credit: Ubisoft
Coming back to games one last time, one growing industry problem inadvertently highlighted by this press conference is the topic of game ownership. When a physical copy is purchased it is that person’s to play forever. However, with the growth of digital sales, ownership is being retained by the developer, meaning that a natural fear that a person may not own their game forever. Much like Netflix, video games can enter or leave a service at any time in the direction that the industry is going. And that causes a bigger problem for video games than other sources of media. With major deals across the board for music and movies, not to mention illegal pirates, some form of any song or movie or television show will be available at various prices. But with video games, often times a game is either on one console or all of them. Trending towards more exclusivity due to the most major publishers signing exclusivity contracts for sometimes a year at least, leaving fans of different consoles waiting and hoping for a version to come to the console that they bought.
Credit: Mojoplays
The point is video game contracts are tricky, more than other mediums and video games can disappear due to legal reason’s at a moment’s notice, never to be played again. Look at P.T. or even the Iphone game Flappy Bird, both games taken down from their respective stores for different reasons, but now completely unavailable to those who want to play it legally unless they buy a heavily overpriced device than never uninstalled the games. It’s an unfortunate situation that isn’t going to solve itself soon. For now the decision is left to the consumer, going digital means risking your library on one bad accident, or decision out of the player’s control, all in the sake of convenience and the ease of downloading games on a whim. That being said, the majority of games purchased are digital, and that trend doesn’t look like it will be reversing any time soon.
Credit: Bethesda
The Stadia is a very risky bet from Google, if it succeeds and does what players hope, it could very well revolutionize the entire industry and make Google one of the top names in gaming. If it fails though, it will go down as another big name to flop in entering the industry along with the likes of Steam box and Ouya. Without a solid release date other than 2019, we can expect to hear a lot more about Stadia in the upcoming months. E3 could be a good time with a reduced presence for many of the biggest names in the industry confirmed to be taking a step back this year. Google definitely has a shot at becoming a major competitor in the industry, but it is for sure a long shot.
Credit: Google
Are you excited for the Stadia? What do you want us to cover next? Let us know in the comments down below and make sure to Like and Subscribe for more Bring Your Own Games.
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Concrete vs. CoBrA
In October 1948, Arne Bruun Rasmussen's hammer came down for the very first time. October 1st we launched our 60th anniversary sale.
Constant: Fantasy animals. Signed Constant 48. Gouache and water-colour on paper. Sheet size 42,5 x 32,5 cm. Hammer price: DKK 170,000.
Carl-Henning Pedersen: "Hvor gamle mennesker levede" (Where the old people lived), 1989. Signed, titled and dated on the reverse. Oil on canvas. 260 x 180 cm. Hammer price: DKK 1,000,000.
1948 was a decisive year in the history of Danish art, because it marked the inception of two later very dominant and internationally competing schools of art each with a radical view on the nature of art: the CoBrA movement and concrete art. In 1948, the waters were truly divided between abstract expressionism and geometrical abstraction. Free emotions vs. tight intellectual control. The painterly vs. the linear.
November 8th 1948 a small group of Danish, Belgian and Dutch artists met at Café Notre Dame in Paris where they founded the artist group with the now famous name CoBrA – a contraction of the three nations' capitals: Copenhagen, Brussels and Amsterdam. The movement was not least based on Asger Jorn's, Ejler Bille's and Carl-Henning-Pedersen's experiences throughout the 1940's as members of an association of artists called Høst. In CoBrA, the Danes were accompanied by like-minded artists from “The Dutch Experimental Group” – including Appel, Corneille and Constant. From Belgium, Christian Dotremont participated from the beginning, and Pierre Alechinsky joined him a little later.
Asger Jorn and Christian Dotremont were clearly the movement's great whips and its leading men as far as the articulation and propagation of CoBrA's values was concerned – values such as artistic freedom, life-affirming spontaneity, imagination and unassuming approaches. Significant inspiration was derived from children's free and spontaneous drawings and from elements of the subconscious that was so studied so fiercely in the psychoanalysis of the age. Another striking expression of the CoBrA group's way of thinking can be found in the Dutch artist Constant's manifesto from September-October 1948 which contains the following words: “If we observe forms of expression that include every stage of human life, for example that of a child (who has yet to be socially integrated), then we no longer find this distinction [between beautiful and ugly]. The child knows of no law other than its spontaneous sensation of life and feels no need to express anything else. The same is true of primitive cultures, which is why they are so attractive to today’s human beings, forced to live in a morbid atmosphere of unreality, lies and infertility. A new freedom is coming into being which will enable human beings to express themselves in accordance with their instincts”.
Concurrently, in the period from 1947 to 1950, a grouping within Danish art rallied round a geometrically abstract idiom – also stimulated by cross-border contacts and the establishment of an international circle of artists. As early as the summer of 1947, the sculptor Robert Jacobsen and the painter Richard Mortensen had travelled to Paris in order to live and work in a house for Danish artists in Suresnes. In the 1950's, this gave them a crucial position for one of this period's most important gallery owners and advocates of concrete art: Denise Rene in Paris.
Back home within the Copenhagen art scene, the exhibition community Linien II was established centred on artists such as Ib Geertsen, Richard Winther, Bamse Kragh-Jacobsen and Albert Mertz. Guest artists at the first exhibitions included Richard Mortensen and Robert Jacobsen as well as international artists from the circle associated with Galerie Denise Rene: Jean Dewasne, Jean Deyrolle and Serge Poliakoff.
It is quite interesting to note how much the concrete artists defined themselves as a counter reaction. With ill-concealed reference to CoBrA, the preface to Linien II’s exhibition catalogue from 1948 states that “Danish abstract art is caught in the death convulsions of an emotionally drivelling impressionism groping around in the confused wilderness of its own spontaneity” and that Linien II’s exhibition was “necessary in order to annihilate this mistake”.
Concrete or CoBrA? Foresight or mistake? There is no accounting for tastes, they say. This auction presents significant works by artists from both movements, side by side, as a testimony to the great artistic conflicts of this period.
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Financial Aid for Graduate Students
The Office of Financial Aid is available to help you make decisions about financing your education. We provide valuable information about opportunities that might be available to you through private endowments, federal programs, and the Graziadio Business School.
We encourage you to review the options below and to contact us with any questions.
Graziadio Business School Scholarships
The Financial Aid Office looks beyond each applicant's cumulative GPA, GRE, and GMAT score to take into account your academic achievements, work experience, leadership skills, and other factors that can inform us of your strengths.
Awards are given at the time of admittance to the program. To see if you qualify, contact us at PGBSFinancialAid@pepperdine.edu or call us at 310.568.5530.
The Graziadio Business School offers a number of special scholarships for students meeting specific scholarship criteria. These awards are made available by gifts from University supporters and alumni as well as from endowed funds. Awards are made annually according to established requirements and amounts may vary based on the availability of funds. Scholarships include:
Thomas E. Burnett, Jr., Memorial Scholarship
This memorial scholarship was established in honor of Thomas E. Burnett, Jr., a 1995 graduate of the Graziadio School's Presidents and Key Executives MBA program, who passed away on September 11, 2001, on United Flight 93. It is designated for Graziadio School students who have demonstrated leadership skills.
John Nicks Memorial Scholarship
Established to honor the memory of administrator and long-time Pepperdine professor John D. Nicks, Jr., funds are designated for Graziadio School students who show their past and future commitment to serving others and have demonstrated financial need.
Reva Graziadio Endowed Scholarship
Established by Reva Graziadio, widow of the school's benefactor George Graziadio and a longtime supporter of the school, the funds are designated for incoming Full-time MBA students who have proven themselves as aspiring leaders and active community members.
J. McDonald and Judy Williams Scholarship
Established by J. McDonald and Judy Williams, the funds are designated for active members of the Church of Christ attending the Graziadio School.
GSBM Berryman Endowed Scholarship
Established by Mr. Berryman, the funds are designated for African American students with financial need and merit who are pursuing a Graduate degree at the Graziadio Business School.
For further information about the scholarships listed above, please contact Mr. Murzi Kay in the Financial Aid Office at Murzi.Kay@Pepperdine.edu
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An Illustrated Encyclopedia of Battleships From 1860 to the First World War
More Than 200 Archive and Museum Photographs
Hore, Peter
Examines the origins and evolution of early battleships, from the Gloire and Warrior through to the Erzherzog class. This title includes a country-by-country guide to over 60 of the major vessels and classes of the pre-Dreadnought era, with information about the construction, appearance, function and history of each.
Publisher: London : Southwater, 2012
Branch Call Number: 623.8252 HOR
Characteristics: 96 p. : ill. ; 29 cm
Read more reviews of An Illustrated Encyclopedia of Battleships From 1860 to the First World War at iDreamBooks.com
Battleships — History — 19th Century
Battleships — History — 19th Century — Pictorial Works
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Posted by: calloftheandes | October 19, 2010
Taxi Ride Ends with a Fare and a Prayer
by Marian Douce and Ralph Kurtenbach
As a taxi carried Dick and Marian Douce across town to visit a friend, their driver revealed to them his sadness and the hope he’d found recently via the radio.
The Douces serve as missionaries with HCJB Global in Quito, Ecuador. The driver, Pablo, opened the conversation with “Do you work at HCJB?” Then he told them about the life-changing turn he experienced while listening to the program, Al Oído (A Listening Ear), on Radio Station HCJB.
Pablo is caring for his four children after his wife (his second) left the family. A friend told him that if he listened for a while to Al Oído, he’d hear of somebody else’s life unraveling in the same way. “So he started listening, and sure enough he heard good advice for his situation,” wrote Marian in the Douces’ web log.
Al Oído’s hosts, Marco and Martha Claudia Mosquera, field many calls. People’s choices—or the choices of those near them—have brought pain and confusion. While on the air, the Mosqueras offer biblically based advice and then pray with callers.
The Al Oìdo Team (left to right): Martha Claudia, Tatiana, Marco.
These distinctives set the one-hour daily program apart from other stations’ advice and counseling programs, according to Taty de la Torre who directs radio programming at the ministry’s AM and FM stations in Quito and Guayaquil. In addition, the stations offer pastoral counseling.
Martha Claudia Mosquera
Al Oído was launched in 2002 when staff members “saw the need for a voice that would provide orientation centered on the Word of God,” said de la Torre. “We thought of Marco and Martha Claudia, and they agreed to do it. They didn’t have radio experience, but a lot of experience in counseling. God was using them in Ecuador already as missionaries from Mexico.” (Marco is Ecuadorian and Martha Claudia is Mexican.)
Text messages to the program range from 50 to 120 per day. “As to calls, each one takes time,” de la Torre added. “But calls are always coming in. If I were to say 10 calls, it’s because that’s how many could be handled on that program.” The callers still waiting at the program’s end are referred to one of two staff pastors.
Marco Mosquera
Cruising the streets of Quito one day, Pablo keyed in to the Mosqueras’ suggestion to a caller—attending church is important for finding friendship and support of Christians. So he sought out and attended a worship service at a neighborhood church.
“People were so caring that he decided he would continue attending and bring his children,” Marian recounted. “He proudly told us that he and his oldest daughter will be getting baptized this month.”
“It was a real pleasure to talk with him,” Marian said. “We prayed with him, too.” Hymns and uplifting choruses now waft from his car windows as Pablo plays compact disks that encourage him.
And when he’s not playing CDs, the radio is set to HCJB.
Posted in Uncategorized | Tags: Al Oído, Christian radio, Ecuador, HCJB Global, Radio Station HCJB
« Missionaries Tell How Faith Blossoms Amid Clean Water Project
Missions Coalition in Ecuador Encounters Triumphs, Trials in First Year »
[…] lot of taxi drivers and some of the bus drivers listen to our station,” Graham noted. As one listener to the […]
By: Thousands of Ecuadorians Make Pledges, Attend Open Houses at Local FM Stations | Calloftheandes Weblog on January 13, 2017
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Office of Research & Scholarship
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Seminars at Calvin
Visiting Scholars Program
At Calvin, we want renewing God’s good earth to be a way of life, so we make sustainability a priority—as an educational goal and an institutional value. The Provost's Sustainability Initiative is a major research initiative that began in 2015.
The goal of this initiative is to build on the grassroots, broadly based sustainability efforts at Calvin that have been ongoing for more than three decades. The breadth of the proposed output is exhilarating, consisting in advances in teaching and scholarship through books, articles, teaching modules, faculty workshops, new and expanded courses, and much more. The proposal has included funding for sabbaticals, student researchers, summer stipends and other miscellaneous funding.
Calvin recognized as Tree Campus USA
For the seventh straight year, Calvin earns Tree Campus USA recognition from the Arbor Day Foundation for its commitment to effective urban forest management. News & Stories, April 22, 2019
Leading Climate Action with The Gospel
Kyle Meyaard-Schaap is the national organizer and spokesperson for the Young Evangelicals for Climate Action, an organization that includes more than 10,000 young people. News & Stories, November 20, 2018
Calvin among Sierra Magazine's 2018 Coolest Schools
The recognition reflects Calvin's many student organizations, programs, and initiatives which seek to care for creation. News & Stories, October 1, 2018
New software enhances the study of animal ecology
Recognizing a need for freely available, easy-to-use tools for bio-logging, Calvin professor Stacy DeRuiter led a collaborative project to develop new software to enhance the study of animal ecology. News & Stories, March 6, 2018
Calvin earns Tree Campus USA distinction
For the sixth consecutive year, Calvin College is honored with Tree Campus USA® recognition by the Arbor Day Foundation for its commitment to effective urban forest management. News & Stories, March 5, 2018
Calvin College advances its commitment to environmental sustainability
On Thursday, December 7, 2017 at 4 p.m., Calvin College President Michael Le Roy signed Second Nature’s Presidents’ Climate Commitment. News & Stories, December 6, 2017
Ecosystem Preserve expands, adds a new avenue for adventure
Calvin added four more acres to the public portion of its Ecosystem Preserve. The added land includes interesting ecological features and a new trail which will be open to visitors in fall 2017. News & Stories, October 23, 2017
Maroon, gold and green
In 2017, Calvin College received national recognition for its sustainability efforts from the Arbor Day Foundation, Princeton Review, Sierra Club and STARS. News & Stories, September 22, 2017
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e.CAN 210 - The email bulletin of Cycling Advocates' Network, NZ
Finalists announced for 2014 Cycle Friendly Awards
Love cycling- vote for the bike
$100 million for urban cycleways
Bigger investments in cycling pay off, says study
How to inspire millions more people to bike
People living near biking and walking paths get more exercise
How protected bike lanes helped Denmark win its war on inequality
8 August 2014- The finalists for this year's Cycle Friendly Awards have been announced:
http://can.org.nz/article/nzta-cycle-friendly-awards-2014-finalists
The winners in each of the four categories will be announced at the award ceremony, held in conjunction with the "2WALKandCYCLE" conference in Nelson, 29-31 October:
http://www.2walkandcycle.org.nz/
Don't forget, the NZ general election is coming up on 20 September- your chance to exercise your democratic rights and send a signal to the government that you want NZ to be a cycle-friendly place. Vote for cycling!
A quick summary of political party policies related to walking and cycling can be found here:
http://can.org.nz/lovecycling
The folks at Transport Blog also ran an election transport debate on 28 August, with speakers from National, Labour, Greens, NZ First, United Future and Act- a summary of it, including some video, can be found here:
http://transportblog.co.nz/2014/08/28/election-transport-debate/
18 August 2014- Prime Minister John Key has today announced $100 million in new funding will be made available over the next four years to accelerate cycleways in urban centres.
Transport Minister Gerry Brownlee says an Urban Cycleway Investment Panel will investigate opportunities to invest in urban cycleways that would expand and improve the cycling network.
Mr Brownlee says National recognises that commuting by bike has health benefits and takes pressure off other transport networks, but says cycleways in our largest centres are fragmented and offer varied levels of service.
"This funding builds on significant investments the government is already making, with projects in Hastings and New Plymouth showcasing how cycling can be a safer, more reliable and realistic transport option.
"Many people cite safety concerns and a lack of infrastructure as reasons for not cycling, so we're going to begin building cycleways to a standard that delivers real incentives for commuters to make a change."
http://www.scoop.co.nz/stories/PA1408/S00273/100-million-for-urban-cycleways.htm
And an editorial on this from the Dominion Post:
http://www.stuff.co.nz/dominion-post/comment/editorials/10405094/Editorial-Safe-cycleways-an-achievable-goal
Bigger investments in cycling pay off, says NZ study
18 August 2014- You get what you pay for, goes the old saying, and a new study out of New Zealand makes the case that when it comes investing in bike infrastructure, it's best to invest in quality.
For every dollar spent to build new separated bike lanes, cities could save as much as $24 thanks to lower health care costs and less pollution and traffic, according to a new study from researchers in New Zealand," according to Adele Peters.
However, small investments in bike infrastructure can actually be a setback for biking's mode share. According to Peters, "[in] cities dominated by cars, a small increase in cycling tends to lead to more biking injuries and deaths, making other people more afraid to ride. The way to overcome that problem, the researchers found, is to make a bigger commitment to better bike lanes."
http://www.planetizen.com/node/70846
9 July 2014- You can see big changes happening across North America as communities from Fairbanks to St. Petersburg transform their streets into appealing places for people, not just cars and trucks.
"Over the past five years we're seeing an infrastructure revolution, a rethinking of our streets to accommodate more users- busways, public plazas, space for pedestrians and, of course, bike lanes," says David Vega-Barachowitz of the National Association of City Transportation Officials. "More protected bike lanes is one of the most important parts of this."
Protected bike lanes are standard practice in the Netherlands, where 27 percent of all trips throughout the country are made on bicycles. That's because more women, kids and seniors along with out-of-shape, inexperienced riders feel comfortable biking on the streets. Dutch bike ridership has doubled since the 1980s, when protected bike lanes began to be built in large numbers.
http://onthecommons.org/magazine/how-inspire-millions-more-people-bike
21 July 2014- People who live near safe, high-quality biking and walking infrastructure tend to get more exercise than people who don't, according to a study published last week in the American Journal of Public Health.
Researchers surveyed randomly selected adults before and after new bike/ped infrastructure was built in three communities in the U.K. Two of the selected communities opened bike and pedestrian bridges with well-connected "feeder" infrastructure. The other community upgraded "an informal riverside footpath" into a boardwalk during the study period.
Researchers found that people living within 0.6 miles of a protected bikeway got about 45 minutes more exercise biking and walking per week than people living 2.5 miles away. For every kilometre closer respondents lived to the infrastructure improvement, they exercised roughly 15 minutes more per week. People without access to a car were most likely to exercise more in response to the infrastructure improvements.
http://usa.streetsblog.org/2014/07/21/study-people-living-near-biking-and-walking-paths-get-more-exercise/
7 August 2014- We don't have to dream of a country where protected bike lanes and other quality bike infrastructure have dramatically improved life for people in poverty. We can visit it.
It's called Denmark, and it's arguably the most egalitarian country in the world.
Data published online for the first time suggests that bicycle transportation has been part of that triumph. Not the biggest part, but a very real one.
Ask Danes what sort of Danish people bike and they will probably say: "everyone." In a sense, that's true. But it also obscures something you'll almost never hear a Dane mention: the massive benefit biking provides to the country's poorest.
http://www.peopleforbikes.org/blog/entry/does-better-biking-help-poor-people-denmark-shows-the-slow-huge-payoff
Pictures of stunt bikers from 100 years ago:
http://www.vintag.es/2014/07/pictures-of-stunt-bikers-from-100-years.html
Denmark gets its first bicycle hearse:
http://www.pri.org/stories/2014-07-15/how-get-one-final-bicycle-powered-ride-copenhagen
Bike share's impact on car use: new research looking at the degree to which car trips are replaced by bike share schemes, in cities that have them:
http://eprints.qut.edu.au/67026/
Moving flats by bike: in Wellington, using cargo bikes, in the rain:
http://www.stuff.co.nz/dominion-post/10291579/Cargo-bikes-move-entire-flat
Cycling advocacy in Australia: a minority movement or much more?
http://theconversation.com/cycling-advocacy-in-australia-a-minority-movement-or-much-more-29554
A day in the life of a London Boris bike:
http://www.theguardian.com/lifeandstyle/2014/jul/26/day-in-life-boris-bike
About e.CAN
e.CAN is distributed approximately every 1-2 months to CAN members, Friends of CAN and other interested people. CAN members also get our bi-monthly magazine, ChainLinks.
To check back issues of e.CAN, go to http://www.can.org.nz/ecan .
Cycling Advocates' Network (CAN) is New Zealand's voice for cyclists. We want to see cycling become an everyday activity in NZ. CAN's membership includes experienced cyclists, advocates, engineers, planners, local and regional councils, bike shops, and local advocacy groups throughout the country.
To find out more about CAN, go to our website, http://www.can.org.nz.
Sign up to CAN online via credit card at http://www.can.org.nz/join-can/. Join us!
We also welcome donations to support our work. You can donate online at: http://can.org.nz/donate
address: PO Box 25-424, Wellington 6146
email: secretary@can.org.nz
website: http://www.can.org.nz
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Three Years of the Safer Cities Initiative
overview_-_year_3 _3_
click on link above to read entire report
Allocation of Officers Not Supported by Crime Statistics
“It’s not abnormal for the DA to have a policy. But this policy is about targeting the homeless in that area because the city is redeveloping that area. It’s a policy to get people off the streets and into state prison, jumping right over rehab and jail.” Public Defender—Daily Journal, January 29, 2007
Outgoing LAPD Chief William Bratton has touted his use of Compstats and other crime data as a way to ensure that officers in Los Angeles are deployed to areas most in need. However, an examination of crime data versus officer deployment rates in Skid Row illustrates a markedly different reality. The data does not support the three-year allocation of 50 additional uniformed officers and dozens of undercover officers in the Skid Row area.
For example, the number of violent crimes per officer in Newton and 77th Divisions are 240 percent higher than in Central Division. Newton and 77th Divisions, in South Central Los Angeles, are low-income neighborhoods home to predominately Latino and African American residents. Central Division has been rapidly gentrifying over the past 5 to 10 years and, outside of the Skid Row community, is largely home to wealthy white people. The number of officers assigned to these divisions is clearly not based on the levels of violent crime, as promised by Bratton, but instead on the needs and demands of wealthier residents and developers.
Sign up for LA CAN Updates
Subscribe to our eNewsletter to receive regular updates, campaign news and action alerts
LA CAN website
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2014 February/March
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Our funders include:
21st Century Foundation
California Department of Public Health
Diane Middleton Foundation
Kaiser Permanente/Kaiser Foundation Hospitals
Liberty Hill Foundation
Marguerite Casey Foundation
Mazon: A Jewish Response to Hunger
U.S. Human Rights Fund
We are a United Way Partner Organization
Weingart Foundation
Categories Select Category #blacklivesmatter #cantkillafrica AEG anti-violence art & culture Call to Action civic participation civil rights community connection community gardens DTLA DWAC & Women’s Issues education Event Farmers Field food access grassroots policy health access Homeless Bill of Rights housing victories human & civil rights LAPD legal Media Advisory organizing photos politics press coverage press release Skid Row Stop LAPD Spying Uncategorized united nations URGENT ACTION video Western Regional Advocacy Project women’s issues
Archives Select Month February 2016 January 2016 December 2015 November 2015 October 2015 September 2015 July 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 May 2013 April 2013 March 2013 February 2013 January 2013 December 2012 November 2012 October 2012 September 2012 August 2012 July 2012 June 2012 May 2012 April 2012 March 2012 February 2012 January 2012 December 2011 November 2011 October 2011 September 2011 August 2011 July 2011 June 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010 May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009 August 2009 July 2009 June 2009 May 2009 March 2009 February 2009 December 2008 November 2008 October 2008 September 2008 August 2008 July 2008 June 2008
About LA CAN
S. Mark Taper Acknowledgement
Safer Cities Initiative: 2nd Year Anniversary
Video: “Why we love LA CAN”
Video: International Human Rights Day in LA
Video: Safer Cities Policing
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Interview with JoJo Harder, author of “How To Become A Top Dog Model”
Aug 17, 2013 | Interviews, Profiles | 0
As one of the producers of the Canadian series PET FASHION Television, I know about dogs and their “Hollywood moms and dads.” Stepping into the professional world of canine modeling for print or television is not the same as putting your pooch on a runway stage just for fun. Meet Jo Jo Harder, creator of the very popular online America’s Top Dog Model contest and author of Diva Dogs: A Style Guide to living the Fabulous life and her latest How to Become A Top Dog Model. She tells Canine Culture® why she wrote the book.
JoJo: I am a dog lover with a passion for style and fashion. Growing up in Minneapolis set the stage for my lifestyle today. I was introduced to the fashion industry as a teen model. After graduating from the University of Minnesota and traveling the world as a flight attendant, I moved to New York City and launched a fashion design firm. My line of women’s clothing under the Jo Jo label was sold nationally in Nordstrom, Marshall Fields, Henri Bendel, Fred Segal, and other fine stores. I began free-lance writing while residing in New York, and became a full time writer after moving to Boca Raton, Florida.
The fashionable canines of South Florida got my attention and inspired me to write my first book Diva Dogs: A Style Guide For Living the Fabulous Life published in 2008 by BowTie Press. While writing Diva Dogs, I thought it would be fun to have a contest along with the book. This way people everywhere can celebrate this incredible union we share with our canine companions. Thus, I created Americas Top Dog Model ® Contest (now in its ninth year) at www.americastopdogmodel.com. America’s Top Dog Models ® are featured in my books along with my Miniature Greyhound, Romeo who definitely leads the fabulous life!
Describe the “it” factor you look for America’s Top Dog?
JoJo: The selection of America’s Top Dog Models ® involve much more than an “it” factorCertainly appearance is important. “Top dogs” must be well groomed, photogenic, and obedient. Additionally, America’s Top Dog Models ® are dogs that make a difference™ which is our contest mission. In addition to possessing “star” quality, selection is based on the contestant’s story about how their dog makes a difference in people’s lives.
What compelled you to write your latest book on How To Become A Top Dog Model ?
JoJo: During the many years of organizing America’s Top Dog Model ® contest, I received numerous emails from around the globe! A majority of the inquiries consisted of this question: How can I get my dog into modelling? Due to this popular question, I decided it was time and certainly fitting to write this book. Combining my experience as a fashion designer, stylist, and former model, I created How to Become a Top Dog Model, the “first” complete canine modelling guide
How trained does a pooch have to be?
JoJo: Both basic and advanced training is required. For modeling, dogs must respond to basic commands like come, sit, and stay. Film and television require advanced training, as dogs must respond to direction and verbal commands.
How important is the temperament of the dog?
JoJo: Temperament is very important. Canine models are expected to be obedient, friendly, sociable, patient, and good-natured.
What do the clients prefer to work with female or male dogs?
JoJo: It depends on the modeling job. If the job is a runway show, a female dog most likely would be preferred because there are more fashion options. For all other types of jobs, it may be easier to work with male dogs. They tend to be more accepting of attention, affectionate, and focused on human beings. Female dogs can be very loving too, but after awhile they may prefer to go off on their own, whereas male dogs are likely to accept as much attention as people are willing to give them.
What are the difficulties in becoming a top dog model, do you think it’s a dog eat dog business? JoJo: Yes, this business is definitely competitive. It requires a lot of time, perseverance and serious connections!
What advice would you give someone who wants to get his or her fur-baby in the modelling business? JoJo: Read my book How to Become a Top Dog Model.
Fore more information please visit: www.americastopmodel.com
PreviousPurina, Paws for the Planet program brings nature home to Toronto Humane Society – and offers free pet-friendly backyard makeovers to the public!
NextOn Oct. 19 – as part of their Obsession series lineup of documentaries – Global Television, Shaw Media unleashes For The Love of Dog, an intimate look at a culture-wide obsession that some call crazy.
The ROM turns 100 …Paws to Reflect
Meet Ninoksa Viggiano, a Pet Fashion designer with substance.
Working dogs on the job at Little Seed Farms
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Crusader by Joel Galloway @SmithPublicity #CrimeThriller #Review #KindleUnlimited
October 9, 2018 October 9, 2018 booksfromdusktilldawn
Firstly I wish to thank Andrea Kiliany Thatcher of Smith Publicity for inviting me to read and review CRUSADER by Joel Galloway
The United States’ crackdown on cocaine trafficking in Florida has forced the Colombian drug cartels to turn to Mexico. The original, monolithic Mexican drug cartel has splintered into several warring factions, exhibiting a type of ruthlessness and barbarism that has not been seen before. Military and law enforcement personnel are actively recruited by the new deadly Mexican cartels, as well as all manner of criminals and U.S. gangsters. An ancient evil religion fuels the ambitions of the most powerful cartel leaders, hell-bent on utter destruction.
As it fights its decent into darkness the country desperately searches for heroes…
The book is unique. It is violent. It attempts to portray the so-called Mexican drug wars in a realistic fashion as to capture the brutality and devastation of the appropriate time periods. The antagonists, cartel leaders devoted to the ancient Aztec gods, perform evil acts in shocking mannerisms. Yet, at the same time, it tells the tale of a man and his spiritual quest to find peace. The main protagonist is a former DEA agent who is captured, tortured, and left for dead in the Mexican wilderness. He is discovered and brought to a monastery where he is healed by a polymath Catholic priest. Eventually, the protagonist becomes devoted to the priest’s cause. He is transformed into a holy warrior, reminiscent of the Knights Templars, and will stop at nothing in his fight against the cartels to protect the innocent.
This is one action packed and realistic read. The opening scene is a pretty wicked one where a severely beaten and tortured American DEA agent is literally up to his neck in it, sand that is. One of his eyes a few feet away tempting the Mexican desert creatures to an appetizer while the rest of him bakes in a tomb of sand in the sun. Tormenting memories haunting his mind of his wife and child in the hands of the Mexican drug cartel, then bouts of unconsciousness.
As America has forced the drug barons back over the Mexican borders the place has become more like something from the biblical times of Sodom and Gomorrah where vile and money driven men run corrupt police forces and courts. Anything goes, from beatings to murder, drug dealing to rape. Drug cartels openly run the towns and cities, battling openly with each other for pole position.
When a priest finds an almost dead man in the desert he nurses him back to health with the help of nuns. A man who has lost everything becomes their only hope, the Crusader, he has nothing left to lose and ready for revenge.
The story is very realistically told with no holds bared, when hands and knees are battered with sledge hammers you feel like you hear the bones splinter you cringe and take in sharp breaths and you feel terrified for the people who once had no hope. The Crusader is a warrior of the people, someone who does impossible feats against impossible odds to become a sort of myth, a holy warrior to save the people. A Robin Hood for the poor and a protector against the violence.
I really didn’t know where to stop reading this as the stories wove with each other, each harbouring its own horrors. History, religion and myths mixed to give the reader a kaleidoscope of unpredictable action that you really had no clue how it would come together on each page. It is a terrific story and outstanding debut. Brilliant research with the author who shares even more knowledge in the back of the book when the story is finished. You really couldn’t ask for anymore. A real gem!
AUTHOR LINK:
https://www.facebook.com/JoelGallowayAuthor
Previous postPrevious Post
Next postA House of Ghosts by W. C. Ryan @WilliamRyan_ @BonnierZaffre #ThrillerMystery #Ghosts #BookReview #NewRelease #AHouseofGhosts
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Ebooks by Gillian Polack
Gillian Polack writes fiction that others have trouble defining. Her novels range from kinda-sorta urban fantasy in The Wizardry of Jewish Women (a Ditmar finalist) to kinda-sorta time travel but probably alternate history in Langue[dot]doc 1305. She is a historian (mainly a Medievalist) and narrative specialist, which means she has written much non-fiction, the larger part of which has appeared as articles. Alas for the world, she is addicted to chocolate, sarcasm and bad jokes. Fortunately, she lives in Canberra, Australia (where she teaches, edits, writes, and cooks), which is too far from most of the world for these things to matter.
Langue [dot] doc 1305
by Gillian Polack
Time travel with a twist. A group of scientists travel to 14th century France… and the novel is written by a Medievalist.
In March 1305, a group of Australians and Americans arrive in medieval France. To be precise, they arrive in the Languedoc, near a village called Saint-Guilhem-le-Desert.
The Time of the Ghosts
Ghosts trail after us. They are our fears and the shape of our hates. We bring them into our lives and into our homes.
Some years our fears and hates are so strong our ghosts turn tangible and fracture our landscape.
Poltergeists and the spirits of drowned girls; malicious presences and portents; cat vampires and roaming bushrangers.
Wizardry of Jewish Women
Pink tutus, sarcasm, amulets and bushfires: that is suburban fantasy in Australian cities. It is magic.
Life is never quite what it seems, even without the lost family heritage delivered to Judith and Belinda in boxes.
Judith (who owns the haunted lemon tree and half the boxes) wants an ordinary life. Mostly.
It Happened at the Ball
Edited by Sherwood Smith
The pleasure of your company is requested.
Graceful feet tracing courtly steps.
Eyes in jeweled masks meeting across a room of twirling dancers.
Gloved hands touching fleetingly–or gripping swords…
Anything can happen at a ball.
You are invited to enjoy stories of fancy and fantasy from thirteen authors, framed in the splendor and elegance of a ballroom. Be it at a house party for diplomats and thieves, or Almacks in a side-universe in which the Patronesses have magic, or a medieval festival just after the plague years …
Prepare to be swept into the enchantment of the dance!
from Amazon.com (USA)
A Book View Café Anthology
Edited by Mindy Klasky
Nineteen stories of triumph in the past, present, future, and other worlds.
“She was warned. She was given an explanation. Nevertheless, she persisted.”
Those were the words of Mitch McConnell after he banned Senator Elizabeth Warren from speaking on the floor of the United States Senate.
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This Is BHA
Reimbursement & Market Access
Health Economics & Outcomes Research
Pricing & Market Analytics
Business Development & Portfolio Management
China set to relax regulations for medical device and IVD products
Kylie Ullmann2019-06-18T13:56:35-04:00November 12th, 2018|Categories: Uncategorized|Tags: China, Medical Device|
BHA_China Medical Device_IVD Policy Update – Proposed Regulations_6.28.2018 FINAL
Regulatory Approvals of LDTs
Kylie Ullmann2018-11-28T17:31:46-04:00October 1st, 2018|Categories: Uncategorized|Tags: Diagnostics|
Regulatory Approvals of LDTs: The Diagnostic Accuracy and Innovation Act (DAIA)
The team at Boston Healthcare have heard from diagnostic innovators seeking information on the Diagnostics Accuracy and Innovation Act (“DAIA”), with specific regard to recent advice provided by the US Food and Drug Administration (FDA). In August, the FDA responded to the draft legislation with formal comments, which included the addition of a precertification program that would exempt certain diagnostics from the premarket approval pathway.
The DAIA would eliminate the distinction between FDA-approved or cleared tests and laboratory developed tests. Instead, all tests would be designated as vitro clinical tests (IVCT), which will include both finished products (e.g., test kits and platforms) and laboratory test protocols (i.e., LDTs). IVCTs will be a new category and regulatory structure under the Food, Drug, and Cosmetic Act, and will not be regulated as devices, drugs, or biologics. Under the DAIA, laboratory operations will be regulated exclusively by the Centers for Medicare & Medicaid Services (CMS) and Clinical Laboratory Improvement Amendments (CLIA), while the FDA will evaluate tests for market entry.
The potential changes could allow existing tests to be grandfathered, avoiding additional regulatory hurdles for LDTs that are already on the market. Under the draft bill, IVCTs will require a report stating the test was developed and first introduced 90 days prior to enactment of the legislation and has not been reviewed by the FDA. However, if the test is modified in such a way that it becomes a new test, it will not be eligible for ‘grandfathering’ and will need to be reviewed according to the new regulatory processes that will be established.
The risk-level of each assay will drive the approval pathway for that test: each assay will be designated as low, medium, or high risk, based on its potential impact on patient care. Lower risk assays could be exempt from approval or be eligible for a precertification pathway, whereas higher-risk assays will likely need to move through the premarket approval pathway.
The draft bill also outlines specific criteria for tests for rare diseases, and custom and low volume tests.
Even though the legislation is still in draft form, the likelihood that the current regulatory regime will change is high, given the heightened FDA coordination with Congress.
Diagnostics innovators should consider the bill and its implications on commercialization strategies for products that are currently available and those that are in development.
Sam Barnum2019-06-26T10:37:27-04:00
First Meeting of the Italian Regional Purchasing Centers
Kylie Ullmann2019-06-17T12:01:23-04:00
New Independent Medical Review Board for Germany
Winter Has Come – Aggressive National Programs To Drive Down Drug Costs
Digital Health Expands in Germany
Kylie Ullmann2018-10-31T15:56:11-04:00October 1st, 2018|Categories: Uncategorized|Tags: Digital Health, Germany|
Digital health expands in Germany, providing new opportunities for global medical device and diagnostics innovators
Health information systems have the potential to not only improve access to health care but also improve quality, with Electronic Health Records (EHR) playing a pivotal role in the development of digital health services. Germany has introduced two different approaches to increase digital health access for patients, providers, and health insurance companies – the Electronic Health Card Network and the Patient Accessible Electronic Health Records.
Electronic Health Card network
Germany has been developing the national digital health care network since the early 2000s. Even with the project subject to controversies and delays, the system will be operating in 2019. The Electronic Health Card network (elektronische Gesundheitskarte or eGK) will connect all public health stakeholders, including patients, doctors, pharmacists, therapists, health insurance companies, and hospitals. The network will improve efficiency in the delivery of health care services, enhance patient safety, increase access to health care services and reduce medical expenditure.
Unfortunately, the development and implementation of the eGK has not kept pace with technical developments and rising patient expectations to manage their health data through smartphone applications, and connecting medical with further health-related information, for example, activity trackers and other health apps. With patients responsible for their data through the eGK, decisions on the types of data saved and who has access to it should also be managed by the patient.
The telematics infrastructure and data protection requirements will initially affect accessibility to the eGK for patients, requiring some modifications in the future.
Patient Accessible Electronic Health Records
Some German health insurance funds have developed and implemented Patient Accessible Electronic Health Records (PAEHR), with the largest PAEHR (Vivy) employed in mid-September by 13 Statutory Health Insurance (SHI) funds.
These funds have partnered with two private health insurance companies to provide PAEHR, enabling 13.5 million patients to manage their health data via a smartphone application.
The PAEHR provides an opportunity for private health insurers to become more involved in patient healthcare management. When all systems are operational, 70 percent of patients will be able to manage health-related data on their own through smartphone applications.
It is important to note that this is not a stand-alone solution to patient data management and interfaces for data transfer between physicians and labs, along with the integration of data with medical office software is agreed. With rising acceptance by patients and providers, the need for integration in the eGK system will emerge.
Opportunities for the medical device and diagnostic industry
With the increased availability of PAEHR in Germany, the management and communication of health data is changing towards a more patient-related approach. Manufacturers should consider these developments by capturing patient-friendly outcome data, which can be transferred into PAEHR and empower patients’ involvement in decision-making.
In addition, health care services and apps, which utilize the new infrastructure, improve efficiency and increase cost saving, are favored by both SHI and the private health insurance system, providing exciting business opportunities for the industry.
Learn more about our capabilities in Europe here.
Health Policy Insights: Germany
Kylie Ullmann2018-10-17T15:40:57-04:00August 30th, 2018|Categories: Uncategorized|Tags: Diagnostics, Germany, Global, Medical Device|
Digital Health in Germany
Earlier this year, the German Medical Assembly removed restrictions on the use of telemedicine, paving the way for greater innovation in the provision of health services in Germany. This move, along with new calls by Germany’s Health Minister, Jens Spahn to increase access to digital health infrastructure, including the reimbursement of health apps through statutory health insurance (SHI), present growth opportunities for the German healthcare market.
Health Ministry Rejects Results of NUB HTAs
Since the beginning of 2017, notably invasive or active implants in risk classes IIb or III must undergo a benefit assessment by the G-BA before being granted a New Methods for Treatment and Screening (NUB) add-on payment.
During the first year of this new requirement, none of the eight products assessed provided sufficient evidence for reimbursement through the NUB process. Two of the eight products were assigned a “potential” benefit, resulting in the government co-sponsoring studies to evaluate the benefit. The other six products were excluded primarily due to lack of clinical evidence. However, the Federal Ministry of Health filed an office action against this decision and contested the assessment criteria, indicating that the evidence requirements for being a “potential alternative” were too high.
The court’s decision will affect the entire benefit assessment for medical devices and diagnostics in Germany, creating uncertainty of coverage for innovative therapies. A decision of the office action is expected in early 2020.
Laboratory Reimbursement Reform
Although Germany has the lowest prices for laboratory tests and a competitive laboratory landscape, cost-containment practices continue.
With a rise in spending on diagnostics tests (5% annual increase), the regional association of SHI accredited physicians (KV) agreed to a reform to keep test costs within budget. The reform has enhanced options available to the KV to control the costs of medical diagnostic tests, including:
The ability to set individual laboratory budgets and reduce reimbursement amounts, and
Incentives for physicians to order fewer tests than other comparable medical practices.
Pathology lab services are not currently affected by the reform.
New developments across Germany’s healthcare industry provide significant opportunities for global digital health, medical device, and diagnostics innovators, however many hurdles and barriers to entry still exist. If you are interested in learning more about gaining access to Germany’s healthcare market, please contact us.
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Request Our Presentations from Next Generation Dx Summit 2018!
Kylie Ullmann2018-11-28T17:32:30-04:00July 30th, 2018|Categories: Uncategorized|Tags: Diagnostics, thought leadership|
Boston Healthcare Associates President and CEO, Joseph Ferrara and Director, Shivang Doshi led sessions in the Business Program at the Next Generation Dx Summit in Washington, D.C. in August 2018.
Focusing on key industry trends and challenges, Ferrara and Doshi discussed approaches that pharmaceutical and diagnostic partners can employ to achieve commercial success for a companion diagnostic, and strategies to achieve coverage for diagnostics under new PLA codes.
Request a copy of the presentations here!
Policy Update: China
Kylie Ullmann2018-10-29T11:08:01-04:00July 30th, 2018|Categories: Uncategorized|
China’s new policy to speed up international drug approvals by accepting overseas data
On 10 July 2018, the China Drug Administration (CFDA) released a new guiding principle to allow companies to use overseas clinical trial data in their applications for new drug approvals. Read more here.
Policy Update: Brazil
Kylie Ullmann2018-10-17T15:38:15-04:00July 30th, 2018|Categories: Uncategorized|Tags: LATAM, Medical Device|
Brazil: Health System Update
Both the public and private sectors deliver healthcare in Brazil, with over 70 percent of the population accessing care through the government led National Healthcare System, known as the Universal Health System. The private system covers approximately 23 percent of the population and is usually funded by employers. Currently, both systems are facing financial difficulties creating challenges for innovators seeking to introduce new health technologies into the market.
Health Technology Assessments
Led by the federal Commission for Incorporation of Technologies (CONITEC), the public health system uses Health Technology Assessments to incorporate new technologies and drugs. In the private sector, the Permanent Committee for Regulation of Health Attention evaluates new procedures for incorporation in the list of mandatory coverage for private payers and has recently released an update on the incorporation process – currently under public consultation.
Clinical and economic data of the new technologies are mandatory for incorporation requests. Additionally, if new incorporated procedures demand the use of a specific medical device, its coverage is granted. COSAUDE does not define the reimbursement price for specific procedures, device, or brand. This is negotiated between payers and providers.
Medical device pricing and purchasing
Medical device manufacturers are continuing to face criticisms over prices and use of devices following a 2015 investigation that uncovered widespread misconduct amongst stakeholders, including financial incentives for uptake of specific products. These activities left stakeholders questioning the optimal purchasing method for medical devices, leading to a shift from fee for service models to a Diagnosis-Related Group (DRG). More recently, a police investigation in Rio de Janeiro has uncovered a number of fraudulent tenders for public sales of medical equipment since 1996, leading to estimated losses to the public system of R$ 600 million. The image of medical devices and equipment manufacturers compromised due to these recent scandals.
Changes in purchasing practices for medical devices have also disrupted the supply chain. Group purchasing for medical devices in the public sector is being flagged as a way to centralize the process and combat malpractice.
Introducing a new health technology or drug into Brazil’s healthcare system is a complex and interactive process involving many stakeholders, demanding in-country expertise. Contact us for more information.
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Archive for the ‘G&S Newsletters’ Category
Gaslight – November 2013
Posted in G&S Newsletters on 24 November, 2013| 2 Comments »
GASLIGHT NEWSLETTER OF THE CAPE TOWN GILBERT AND SULLIVAN SOCIETY VOLUME 20, ISSUE 6 – NOVEMBER 2013
This will be the last time you see this logo as the final curtain has come down on what was, without question, a brilliant show. The critics were unanimous in their praise. A couple visiting from Jo’burg wanted to know when the show was moving there so they could take their friends. And how’s this for a comment, sent to our website: My wife and I just loved your production of Guys and Dolls….the best musical we have ever seen…bar none…and yes we did see the London production. Congratulations to one and all.
Congratulations indeed. Everything came together so well: those on stage outdid themselves night after night; those backstage worked tirelessly managing the huge, but magnificent set; those in the pit were outstanding and contributed so much to the vibrancy of the production. The singing was great under Bill’s direction (not forgetting Garth’s contribution in the early weeks of rehearsal). And ultimately Kyla could feel very proud of her baby. Thanks to everyone involved!
The great sadness was that the show was not better supported by the Cape Town public. It certainly deserved support, but from a financial point of view, the Society is facing another significant loss. Taking into account the loss on last year’s production, we are going to have to be very cautious going into next year’s show.
Another sadness was that Michelle Galloway, who was to have shared the role of Adelaide with Laura Bosman, had an accident on stage two days before opening night and broke some bones in her foot. The usual encouragement to “Break a leg” was taboo for the rest of the show! Laura soldiered on for all 28 performances and did a wonderful job. But we feel for Michelle, and trust that her foot heals quickly and leaves no lingering effects.
Once the accounts for the show have been finalised, we will need to have a Production Account meeting at which we review and analyse all aspects of the show. You will be advised of date and place in due course.
And so, as we put one show to bed, another is in the process of stirring.
By the time you get this, auditions will be under way. If you still want a chance to audition, contact Issy immediately on 021 433 0923 after 3.00 pm weekdays, and any (reasonable) time over weekends. You can download the audition form from our website. Go to http://www.gands.co.za, click on ‘About Us’, then click on ‘Downloads’ and the ‘Oklahoma Audition Form’.
The tentative dates for this show are 19 July to 3 August 2014. Preliminary rehearsal information will be available at the auditions.
You’re invited – OPSKOP 2013!
Our end-of-year OPSKOP will be held this year on MONDAY 16 DECEMBER at the home of Laura Bosman in Pinelands (thanks so much Laura!). See details below. For the uninitiated, this is our closing social event of the year. Bring your meat and drink – we’ll supply the rest. If you can help with a half drum for braaiing, please let David Bolton know (0845880133). And so that we know how much salad and rolls to prepare, please RSVP to David by Friday 13th – or earlier if you’re wary of that date! (email address below.)
A NEW CONSTITUTION
A new constitution for the Society was approved at a Special General Meeting of members on Monday 18 November. It will be available soon for viewing on our website (go the same route as for the Audition Form, but click on ‘Our constitution’.) It is hoped that this new constitution will give us a form of governance more appropriate to the Society we have become, and enable us also to seek registration as an NPO, with some of the attendant benefits. Though that new constitution becomes effective immediately, the existing Exco has been mandated to continue steering the affairs of the Society until the AGM next year.
ANNUAL INTER-SOCIETY QUIZ
Our Society entered two teams in this year’s quiz, hosted by last year’s winners, Constantiaberg Theatre Players. We came very close to top and tailing the scoreboard, as our A team (consisting of Teddy, Lorna, Gwen and Cindy) triumphed gloriously, while our B team (Alastair, Adrian K, Irene Forbes and your scribe) rather ingloriously just managed to avoid last place. So well done to the A Team! Only trouble is that as this year’s winners, we have to host and organise next year’s quiz.
FROM SISTER SOCIETIES
Still time to catch the Ray Cooney farce “It Runs in the Family” from Milnerton Players at the Milnerton Playhouse. The play features a couple of our members in Cindy Nixon, Nigel Sweet and Sheila McCormick.
29 November-7 December, “Rope”, presented by Muizenberg Dramatic Society at the Masque. Loosely based on the Leopold-Loeb case, where two young, privileged men murdered another young man just for the thrill of it, this riveting play is filled with typical Hitchcockian moments. Has a murder been committed? If so, where is the body? What was the motive? Don’t miss this thriller which will have you on the edge of your seat! Book through The Masque on 021 7881898 or bookings@masquetheatre.co.za
Something different from Pinelands Players.….FLASHMOB THEATRE! On Saturday, 30 November 2013, at the First Pinelands Scout Hall, Lieske Bester and Debbie Gildenhuys will be directing a production in just one day! Between 08h00 and 17h00, with a break for lunch, they will cast, script, rehearse, costume, set-up, perform and strike a theatre performance. Participants will receive snacks and drinks during the day. A huge challenge for the directors and great fun for the participants. Prizes will be awarded at the end of the performance. More info at http://pinelandsplayers.wordpress.com/2013/10/14/theatre-in-a-day/ .
Don’t forget to check out our website from time to time. Some great photos of Guys and Dolls. http://www.gands.co.za
That’s it. Try and get some rest during the holiday season and come back fresh for another year of theatrical enjoyment. And for those engaging in special religious celebrations during the next few weeks, be richly blessed.
Audition – Oklahoma!
Posted in Auditions, G&S Newsletters on 14 November, 2013| Leave a Comment »
GASLIGHT SPECIAL
NEWSLETTER OF THE CAPE TOWN GILBERT AND SULLIVAN SOCIETY
SPECIAL AUDITION EDITION
As previously announced, for our 2014 musical production, the Cape Town Gilbert & Sullivan Society will be staging a new lavish production of Oklahoma! in the Artscape Opera House from 19 July to 3 August 2014 accompanied by the Cape Philharmonic Orchestra.
Rodgers and Hammerstein’s first collaboration remains, in many ways, their most innovative, having set the standards and established the rules of musical theatre still being followed today. Here the evergreen songs including Oh, What a Beautiful Mornin’; People Will Say We’re in Love; The Surrey With the Fringe on Top; Many a New Day; Out of My Dreams, as well as vibrant dance numbers and a charming story have been triumphantly blended into one of the masterpieces of musical theatre.
The show will be staged and directed by Teddy Davies with musical direction by Alastair Cockburn and choreography by Kyla Thorburn – all musical theatre multi-award winners.
And now – all you need to know about the forthcoming auditions:
AUDITION DATES AND TIMES
All auditions will take place at Artscape as follows:
Saturday, 23rd November: All auditions for the Chorus. Prospective chorus members are required to sing a song of their own choice from a classical musical in similar style to “Oklahoma!” Please refer to the attached cast list to identify the various categories/types of characters required for the chorus.
Saturday, 30th November: All auditions for Principal Characters. Prospective Principals are required to sing a song from Oklahoma! if possible, or alternatively, any other classical musical in similar style. It will be advantageous to choose a song which matches the character that you are auditioning for. Please refer to the attached cast list for a complete breakdown of all the characters in the show.
Sunday, 8th December (morning): Auditions for all prospective specialist dancers.
Further recall auditions etc. will be held in addition to the above. Please refer to the table below for a complete overview of all the auditions times:
Saturday, 23rd November 10h00 to 13h00
14h00 to 17h00 Chorus Singing Audition
Chorus Singing Audition cont. RR 308
Saturday, 30th November 10h00 to 13h00
14h00 to 17h00 Principals Singing / Dialogue Audition
Principals Singing / Dialogue Audition cont. Music Room 306
Sunday 1st December 12h00 to 17h00 Principals Recall Workshop Music Room 306
Saturday 7th December 14h00 to 17h00 Principals Recall Audition Music Room 306
Sunday 8th December 10h00 to 13h00
14h00 to 17h00 Dancers Audition
Chorus Recall Audition RR 301
Important notes for Auditionees:
1. When attending your audition, all auditionees should arrive with a prepared song and, if the song is not from “Oklahoma!”, the full sheet music accompaniment must be provided to the accompanist.
2. With regard to Chorus auditions, it is likely that the audition panel will only listen to a portion of the prepared song in initially assessing voices.
3. Please complete the audition form which can be downloaded from the G&S Society’s website, www.gilbertandsullivan.co.za/aboutus/downloads and bring it with you to your audition.
PROCEDURE FOR BOOKING YOUR AUDITION SLOT
Telephone the audition administrator, Issy Silbowitz, on 021 433 0923 from 3pm onwards on weekdays, and anytime on weekends.
Please furnish him with your full name and contact details (telephone numbers and email address);
Inform him what you wish to audition for and if you have a personal preference, the sort of time frame (morning or afternoon) in which you could be available. Please bear in mind that any request for a personal time is subject to available slots.
CAST FOR OKLAHOMA!
Role Type
Voice Range
Aunt Eller Murphy A middle-aged down-to-earth ‘mother to everyone’. She is Laurey’s aunt and confidante. She is a respected community leader. 40 – 60 Comedy Mezzo
Laurey Williams Her niece. An independent young lady who is confused about her feelings for Curly and too innocent to realise that her “involvement” with Jud could lead to serious trouble. 18 – 25 Romantic female lead Soprano
Curly McLain A handsome young cowboy madly in love with Laurey. His heart is in the right place and he is strong in facing up to Jud. 22 – 32 Romantic male lead Light Baritone
Jud Fry The hired hand on Aunt Eller’s farm. Sullen, mysterious and sinister. He lives a depressive existence in the smoke-house – a dangerous loner disliked by everyone. 27 – 38 Dramatic Baritone
Will Parker A young cowboy who is determined to win Ado Annie. He has a pleasant happy-go-lucky disposition. 25 – 35 Comedy Tenor A song and dance man
Ado Annie Carnes A flirtatious and gullible girl who cannot resist any man, particularly if a wedding ring is in prospect. 18 – 25 Comedy Soprano / Soubrette
Andrew Carnes Her father and the local judge. Very quick to brandish his shotgun! 50 – 65 Comedy / Dramatic Tenor A mature, older man.
Gertie Cummings A local ditzy girl – another flirt whose presence is always announced by her ear-piercing laugh. Like Annie, she just wants to get married to someone. 18 – 25 Comedy Cameo Non-singing
Ali Hakim A Persian peddler and shrewd salesman. A great one for the girls but not too adept at avoiding shotguns! 28 – 45 Comedy Baritone Sprechtgesang –
(Speak-singing)
Ike Skidmore A ranch-house cowman. 40 – 65 Cameo Baritone A mature, older man
Cord Elam A farmer and Federal Marshall 45 – 65 Cameo Baritone A mature, older man
Slim and Fred Cowboy friends of Curly’s 20 – 35 Cameo Baritones
Vivian, Ellen, Faye and Virginia Laurey’s special girlfriends 18 – 25 Cameo Sopranos
Younger Ladies Laurey’s friends, farmer’s daughters and the ranchers’ gals 18 – 30 Sopranos and Altos Dance training or experience in stage movement would be a recommendation.
Farmers and Cowmen’s wives / gals Mature ladies Sopranos and Altos No age restriction.
Cowboys Younger men – friends of Curly’s 20 – 35 Tenors and Basses Dance training or experience in stage movement would be a recommendation.
Farmers and Cowmen Mature men Tenors and Basses No age restriction
Children 2 boys and 2 girls 8 – 12 The girls must be dancers
DREAM BALLET CAST:
Laurey, Curly
and Jud If “real principal characters” have formal dance training, they may be used for the “ballet characters” as well.
Dancers 6 x Girlfriends of Laurey’s /
6 x Cowboys /
6 x Female Music Hall Girls /
3 x “Poscard” Girls /
1 x Little Girl Any “real chorus members” with formal dance training or experience will be considered for the “ballet characters” as well.
Trained dancers who audition for the principal roles of Laurey, Curly and Jud and the chorus parts of Laurey’s Girlfriends and the Cowboys, are requested to attend the Dance Audition as well;
Dancers with good singing voices will generally also be required to be part of the Chorus;
The cameo roles of Ike Skidmore, Cord Elam, Slim, Fred, Vivian, Ellen, Faye and Virginia also form part of the Chorus;
The full company except for Ali Hakim, Gertie Cummings and Jud Fry will sing the major “Oklahoma!” number in Act 2.
The Encyclopedia of the Musical Theatre by Kurt Ganzl is an excellent source of reference for all aspects of Musical Theatre. It is published in two volumes, beautifully bound, as a “boxed set”.
Several brand new copies of this work are available for sale at the very low price of R400 per set. A new set advertised on Amazon.com would cost upwards of R1000.
If anyone is interested in purchasing a set of these encyclopedias, please contact Alastair Cockburn via email to alastairc@artscape.co.za Alastair is acting on behalf of an independent elderly gentleman who has a small stock of this publication.
Gaslight – August 2013
Posted in G&S Newsletters on 7 August, 2013| Leave a Comment »
VOLUME 20, ISSUE 4 .
Your Exco, together with a few of our Honorary Life Members, has been engaged over the better part of a year now in a process of evaluating where we are as a Society, and where we want to be in, say, 20 years time. The fact is that we are not the Society we were 20 years ago and we recognise that our existing structures may need some tweaking to keep up with the changes. Already some fruits of this endeavour are to be seen: the new website, workshops and concerts (see later in this newsletter), some longer term production planning, and possible organisational restructuring. Some of this may require amendments to our constitution, in which case a Special General Meeting will be called. In the meantime, we continue with Guys and Dolls.
I attended a rehearsal recently, just to see how things are going. Kyla greeted me by saying, quite shamelessly, ”I want your body”. Er, yes, Kyla, I do understand, but a little more discretion would be nice. . But then it turned out that all she wanted was for me to stand in for an absent cast member. Oh well …
Cast news: Wesley Figaji is taking on the role of Nathan Detroit in the ‘Dolls’ cast, and Renco Griesel, aka ’Cheesecake Ike’h is joining the gangsters. Welcome to you both.
Tickets: These are now available from Computicket and as Prefs from cast members. Prices are (Pref prices in brackets): Evenings: R250 (R225); R225 (R200); R175 (R160) Matinees: R240 (R215); R215 (R190); R165 (R160).
And by now, we should be flying! Look out for our banner on the Artscape building as you drive past on the Foreshore. I was hoping to have a picture to prove it, but I haven’ft yet received it, and since this Newsletter is already overdue, I can’t wait any longer. So check it out for yourself.
And how have rehearsals been going? Well, apart from benches threatening to break at crucial moments, and at least one instance of the showstopping number becoming a case of ‘Fall down, you’re rocking the boat’h . rather well, I thought. But here’s a more detailed insight from one of the cast members herself.
Rehearsals for our upcoming production are well underway with plenty of exclamations of surprise being emitted recently at the news that we’ll be moving into the Artscape Theatre in just under EIGHT WEEKS! It seems like a fairly long time away still, but everyone on the team knows how quickly that will pass when everything that’s been accomplished over the last two months is pieced together into the very awesome whole.
Garth Tavares spent a few weeks putting everyone through their vocal paces and painstakingly drilling harmonies into their heads. Once that process was completed, the focus was placed on the blocking, the dance steps, the production numbers… Which, of course, means that Garth will have to go over all those harmonies againc As most of us know, multi-tasking doesn’t always work so well during movement rehearsals!
But while those harmonies may sound a little ‘interesting’ right now, Kyla, Mandy and Keenan are getting the company sitting, standing, touch-stepping, and skidding across the stage in 4 beats while trying not to crash into those skidding in the opposite direction. This sometimes involves a cast member falling off a bench and landing unceremoniously on the floor in a heap… No names shall be mentioned.
At the same time William is yelling out ‘tendu’, ‘releve’, ’echappe’ at the Waterfront Theatre School dancers. Some of us find this confusing and think he’s ordering really special coffee, but we won’t admit it. Whatever it all means, the routines already have showstopping potential!
Anyone who has chosen to pop into a rehearsal over the last many weeks hasn’t been offered the option of just relaxing and observing. A number of cast members have been involved in other productions so stand-in bodies are regularly required. No one is safe so be warned!
We’re hoping to have the full cast at rehearsals from now on as all the individual scenes start being strung together and much memorizing and polishing takes place. Tickets are on sale already so make sure you book yours soon . you do NOT want to miss this production!
With thanks to Melissa.
A special request from Stage Manager Guilma . if anyone out there has some experience in make-up, and would be willing to assist during the run of the show, please contact her at guilmastander@gmail.com
And another request: Kyla is looking for someone to act as Prompt during rehearsals, once they reach ‘Books down’ in a couple of weeks. Any takers? Contact Kyla at kboxall@truworths.co.za
Now here is a chance for all those not involved in Guys and Dolls to learn something, and then immediately put it into practice …
PROJECT ’TRIAL BY JURY’
Some exciting news for our members and other interested parties! Your Society has decided to run a workshop project around the G&S one-act opera, ‘Trial by Jury’. The idea is that members and other interested participants will have the opportunity of dissecting and learning this witty and fun work through a series of workshop sessions. Sessions will include character development and analysis; understanding and exploring the subtleties of meaning and subtext of the libretto; voice projection techniques; audition
techniques; basic rudiments of music literacy to enable easier reading and learning of G&S and Musical scores; and music and production rehearsals for ’Trial by Jury’. These sessions are sure to be great fun and very informative, and some of the sessions will be facilitated by guest experts in their specific fields.
The idea is that we will present the piece in a semi-staged production for performances in various venues around the Western Cape from the end of this year and early next year. There are currently definite performances planned for 16th December 2013 and 23rd January 2014 with others to be announced shortly. Workshop and Rehearsal sessions will be held once a week on Monday evenings starting at 19h30 on 19th August. (That’s less than two weeks away!) Workshop/rehearsal venues will be announced shortly to those participating, along with a full schedule of all the sessions.
The aim of this project is to give an opportunity to those not involved in the current major production of ‘Guys and Dolls’, to take part in an alternative production. Also, it is a great learning opportunity for those who will be auditioning for future productions . the workshop sessions generally will teach and hone skills required prior to going onto stage and on the stage itself. Over the past few years, the G&S Society has been running a series of concerts of G&S repertoire at old age homes and for other organisations and these concerts have always proved to be a popular, enjoyable and entertaining experience for all those taking part, as well as for the various audiences. This ’Project Trial by Jury Workshop’ will be similar in concept with the added dimension of being a ‘staged production’.
All those who are interested in participating are requested to urgently contact Issy Silbowitz who has kindly agreed to facilitate the initial administration of this project. Please use his email address: justbooks@telkomsa.net to indicate your willingness to participate. Include your full name, your contact details (landline and cell phone numbers, and your email address), as well as your voice type (Soprano, Alto, Tenor, Baritone, Bass) if you know it. However, don’t worry if you don’t because we will help you to identify your true vocal range. Participants will be given the opportunity (their choice) to audition for various roles in the production during the course of the initial workshop sessions. And we can promise some surprises for those who know the show. Although it is our intention that the production will be sung traditionally, some characters may just evolve a little differently from the usual!
We’re looking forward to hearing from many of you and promise a fun and rewarding experience.
Alastair Cockburn and Teddy Davies
(Project ’Trial by Jury’ Facilitators)
Jack Matthee
Jack passed away a few weeks ago. He built or part built numerous sets and props for us . and for various other amdram societies . over the years. He was one of those creative people who could create something from nothing, and take great delight in doing so. We honour his memory. He will be missed by the amdram community of Cape Town. Our loving greetings go to Karen.
Buxton/Harrogate
For those interested, it has been announced that after this year, the International Gilbert and Sullivan Festival will be moving from Buxton to Harrogate in the UK. For those of us who have taken our shows to Buxton in the past, that’s a little sad, as we’ve become quite fond of Buxton, but Harrogate also sounds good, and who knows, maybe we’ll get there some time in the future.
Hottentots Holland Dramatic Society presents DANCE AFTER DARK at the Playhouse in Somerset West from Tuesday 6th to Saturday 17th August (there are matinees over the weekends). Tickets will be available at ticketnet.co.za or booking office: 072 097 5802.
Pinelands Players present MARVELLOUS MUSIC . a tribute to and benefit for Victor Tichardt, on August 23rd at the Pinelands Town Hall. An all music programme, featuring many artists and songs, some by people known to us who have been in our shows. A cheese and wine welcome before the show, with various raffles and prizes. Tickets R130. To book: 021-5318683, 072-4467532, or email cjwells@mweb.co.za
AUDITIONS: Pinelands Players are calling for auditions for two original plays written by Graham Leverton (now where have I heard that name before?!) and to be directed by him. Saturday 10th August from 10:00. ‘The Game of Cards’ is a drama involving a deadly game of poker. Required are 5 men (ages 20-45) & 1 woman (age 20-35). ’The Interview’ is a comedy about two bosses searching for the right candidate. Required are 4 men (20-30) & 1 woman (20-30). Performances 24-26 October.Contact Graham on 082 5509164.
And that will do it for now. If you’re not in G&D, donft forget to contact Issy soon!
Gaslight – June 2013
Posted in G&S Newsletters on 4 June, 2013| Leave a Comment »
VOLUME 20, ISSUE 3 – JUNE 2013
Winter has finally arrived with a vengeance. “How beautifully blue the sky” – no, that’s not right. “And yet it rained but yesterday” seems more like it (and the day before, for that matter). “Tomorrow it may pour again …” – probably. “Continue fine I hope it may” seems unlikely. And I’m certainly not too optimistic about having “a warm July”! – And for the uninitiated, that’s all from The Pirates of Penzance. However, rather more current is …GUYS AND DOLLS
There have been a couple of withdrawals and additions to the cast since the last GASLIGHT. Welcome to Kevin Abbott (Skye Masterson – Dolls cast); Clifford Graham (Lt Brannigan – both casts); Natalie Moodley and Andrea Jensen (Dolls chorus); Luke Brown (Gangster). The Dancing Dolls are: Thalia Burt, Monique van Wyk, Claire Boswell, Ambre-Chanel Fulton, Brittane van Loggerenberg, Rushney Ferguson and Skye Weiss. Additional Dancing Guys are Sonwa Sakuba, Evan Livesey, Kyle Jardine, Dirk Joubert and Sonwabo Vagi.
Our MD, Bill Holland, wound up in hospital for a double heart-bypass operation recently. I’m glad to report that he is making excellent progress and is raring to go with G&D. In fact he even put in an unexpected – but welcome – appearance at the Getting to Know You Party.
Stage Manager Guilma Stander has indicated that some backstage help will be needed. Here’s an opportunity to learn the ropes and receive training on the Artscape stage. If you’re interested, please contact Guilma on 084 5891812
Performance dates are from 18 October to 10 November, in the Artscape Theatre. Preferential ticket sales from cast members will be available from mid-July, and from Computicket from the beginning of August. Prices are (Pref prices in brackets): Evenings: R250 (R225); R225 (R200); R175 (R160) Matinees: R240 (R200); R215 (R190); R165 (R160).
G&D GETTING TO KNOW YOU PARTY
Last Saturday at the Claremont Dramatic Society clubhouse, known as The Hok, the G&D cast assembled for the first time, to meet each other, to be introduced to the production team and the principals, and to hear what was expected of them – and of course to consume vast quantities of cupcakes and various other goodies. It was good to see the high percentage of faces new to the Society. I think it would be fair to say that a fairly convivial atmosphere prevailed
The AGM took place at the Pinelands Club on 15 April. First item of business was the Society Awards for 2012.
Congratulations to all the following recipients:
DOWNEY CUP FOR THE BEST PERFORMANCE IN A GILBERT AND SULLIVAN
OPERA: To Graham Boxall for his superb portrayal of Jack Point in Yeomen
of the Guard.
HONORARY LIFE MEMBERS CUP FOR AN EXCELLENT PERFORMANCE IN A
GILBERT AND SULLIVAN OPERA OR A MUSICAL: To David Bolton, for his
fine portrayal of Wilfred Shadbolt.
THE EUNICE WILLIAMS CUP FOR AN EXCELLENT TECHNICAL OR ARTISTIC CONTRIBUTION IN A GILBERT AND SULLIVAN OPERA OR A MUSICAL: To Bronwyn Scott for her calm and outstandingly effective role as stage manager for Yeomen.
THE ALASTAIR COCKBURN TROPHY FOR OUTSTANDING MUSICALITY: A new award went to Ferdi Oosthuizen.
THE RICHARD SHARLAND TROPHY FOR THE BEST MUSICAL ITEM: Another new award was presented to Sian Atterbury, Adri Louw, Ferdi Oosthuizen and Stephan Le Roux for their superb singing of “Strange Adventure”.
CERTIFICATES OF MERIT were presented to: Linda Gawronsky for her sterling work in taking over the preferential bookings at a late stage, and doing it so well; Morag Tyson for her excellent service as Assistant Stage Manager; Alison King for her effective and appropriate props; Liesl Hartje, a newcomer, for her wonderful portrayal of Elsie Maynard; Lara Milne, another newcomer, for her wonderful portrayal of Phoebe Meryll; Stephan Le Roux for his consistently high standard of performance as Sergeant Meryll; Guilma Stander for her many contributions to the success of the production.
The PATRON’S PLAQUE for assistance from someone who is not a member of the Society, to Eugene October and his Artscape Technical Crew, for their huge contribution to the success of Yeomen.
A PETER DONALDSON AWARD for service above the usual call of duty to Lorna Hansen, for her work in connection with the Society’s three trips to Buxton, in 2005, 2007 and 2012, as well as her work in organising concerts which showcase the G&S genre and the Society’s talents.
HONORARY LIFE MEMBERSHIP to Adrian van Stolk for his dedicated and successful business management of several productions over many years.
HONORARY LIFE MEMBERSHIP toRichard Whittaker for his many contributions to the success of our productions since 2004.
HONORARY VICE PRESIDENCY for the year 2013: Helen Houghton.
The Financial Report made rather gloomy reading. The loss on Yeomen, plus costs incurred in the trip to Buxton, made a significant dent in the Society’s financial reserves. It is our policy that the Musicals will help to subsidise the losses on the Gilbert and Sullivan operas, so we trust that Guys and Dolls will do fantastically well and replenish our finances. We need your support for this show!
Your Exco for 2013 (with the portfolios which were subsequently allocated at the first meeting):
Ken Leverton – Chairperson (and Newsletter) Waldo Buckle – Hon. Secretary Graham Ellis – Hon. Treasurer Ian Kirkwood – Vice chair and membership Guilma Stander – Social and membership Glenda Carmichael – Wardrobe Steve Broekmann – Assets and Insurance Alastair Cockburn – Productions David Bolton – Website and marketing Anthony Storr Lister – Library and archives.
The only member of the previous Exco to retire is long-serving secretary, Niel Roux, to whom we extend our thanks.
Have you had a look at our new website yet? If not, do yourself a favour and have a browse. Find it at http://www.gands.co.za Or http://www.gilbertandsullivan.co.za If anyone out there is interested in advertising on the rolling scroll bar at the bottom of each page, the fee is R800 per annum. Contact David Bolton on 084 5880133.
CATA AWARDS – An apology
In mentioning our CATA award winners in the last edition, I somehow overlooked making mention of one rather special award made on the night. It was made to one Adrian Kettle, our oldest (no, I’m not thinking of age, but duration) member. He was awarded the CODS Little Theatre cup for Outstanding Achievement in service to Amateur Theatre. Well done Adrian. You’re an institution – and I can’t help thinking that part of the service rendered is the wonderful way your inimitable laugh can get an entire audience chuckling!
NEWS FROM SISTER SOCIETIES
Festival Productions presents BOY MEETS BOY …….. and boy marries boy in this topical smash hit musical at the Artscape Arena from 29 June to 20 July 2013 (including Saturday matinees) with low price previews on 27 and 28 June. Booking at Computicket or Dial-a-Seat 021 421 7695. The musical had a five star West End revival last year. Direction by Teddy Davies.
Hottentots Holland Dramatic Society present Bram Stoker’s Dracula! at the Playhouse in Somerset West on 18, 19, 20, 25, 26 and 27 July. Directed by Philippe Pringiers.
Constantiaberg Players invites you to audition for A HANDFUL OF FRIENDS, by David Williamson, to be directed by Sue Bolton. Date: 9th June. Venue: Bergvliet Guide Hall( Off Ladies Mile ) Time: 14.30. Production Dates: 20th-28th September. The play needs five characters – 2 couples and a sister to one of the men. Enquiries to Sue Bolton 021 7822506, orl 076 6703629.
The last few weeks have been a sad time for the Society.
First, Richard Whittaker’s wife, Renee, died on 17 April after a long illness.
A few days later we heard of the passing of Hon Life Member, Erika Mitchell. I thought Adrian Kettle’s brief tribute summed up beautifully her contribution to the Society: She had a very interesting career in G&S; she sang, painted scenery and was a very good allround portraitist, and a wonderful helpmeet to Ken (her late husband), as he climbed ladders under her eagle eye to install lighting. She finally said ‘enough’ when he was in his eighties, remarking to me that she prayed hard (all the while knitting furiously!). May she rest in peace.
And then just a couple of weeks later, we heard that Keith Anderson had died. Keith had a colourful career (including as a trapeze artist and trainer), but for G&S he was a set designer and builder of note.
Finally those with longer memories may remember Mervyn McCullagh who was a member of the Society in the 1970s. He died in Ireland on 11th April where he had taken Holy Orders in the Church of Ireland.
Our loving sympathy to all those affected.
CALLING ALL ALTOS
An a cappella quartet that sings mainly arrangements of 60s and 70s music is looking for a committed, confident individual with some training, between the ages of 25 and 45. If you’re interested, call Meredith Keegan (083 328 9097 or 021 462 7623) or email: advertising@womanonline.co.za
And that’s it for now. Keep warm.
EXCO: Ken Leverton – Chair/Gaslight Waldo Buckle – Hon. Secretary Graham Ellis – Hon. Treasurer Ian Kirkwood – Vice chair and Membership Steve Broekmann – Assets and Insurance David Bolton – Website/Marketing Guilma Stander – Membership/Social Glenda Carmichael – Wardrobe Alastair Cockburn – Productions Anthony Storr Lister – Archives
Gaslight – April 2013
Posted in G&S Newsletters on 13 April, 2013| Leave a Comment »
GASLIGHT NEWSLETTER OF THE CAPE TOWN GILBERT AND SULLIVAN SOCIETY
VOLUME 20, ISSUE 2 – APRIL 2013
To those who are receiving this newsletter for the first time, especially the new Guys and Dolls on the block, a very warm welcome. Those of us who have been around a bit longer look forward to meeting you in due course. And that seems to be as good an introduction as any to news of the show.
After much soul searching and not a little agonising, the cast for Guys and Dolls is taking shape. So far, this is what we have:
GUYS CAST DOLLS CAST PRINCIPALS & SUPPORTS
Sarah Browne – Sian Atterbury, Jen Moss
Skye Masterson, Werner Viln
Adelaide – Michelle Galloway, Laura Bosman
Nathan Detroit – Andrew Weiss, Trevor Joubert
Nicely Nicely Johnson – Graham Boxall, Keenan Oliphant
Benny Southstreet – Matthew de Klerk, Keenan Oliphant
Arvide Abenathy – Dennis Benneyworth
General Matilda B. Cartwright – Fiona Carling
Lt. Brannigan Not Cast Yet
Big Julie – Graham Ellis
The following cast members are in all performances:
CHORUS OF CHARACTERS Allana Aldrige, Linda Gawronsky,Tennessee Barbar, Kimberley Stuart, Angelika Heald, Lee De Andrade, Jamie Kawalsky, Andrea Benkenstein, Carley Dowling, Phillippa Van Ryneveld, Yolanda Maholwane, Nawaal Howa, Melissa Sanderson, Michelle Hough, Luella Holland, Tersia Harley
Dudonne Diergaardt – Harry the Horse, James Maritz, Robert Viljoen, Simon Speck – Rusty Charlie, Justin de Vries, Waldo Buckle – MC, Chris King, Keenan Oliphant, Adrian Kettle, Marcel Engelbrecht, Werner Van Coller, Niel Koekemoer, Grant Tattersall, Sibusiso Mpanza, Johan Roos
Congratulations to you all. We look forward to seeing you all in sparkling form on stage at Artscape in a few months time. Rehearsals begin on 3 June, with the ‘Getting to Know You’ party the previous Saturday, when I gather the cast will be learning to “Shoot craps”. Should be interesting!
Performance dates are from 18 October to 10 November, in the Artscape Theatre. We’ll keep you posted about ticket sales in due course.
DID SOMEONE SAY AUDITIONS WERE FUN?
The nail-biting wait for the Guys and Dolls cast announcement is over! After three weekends spent putting the bold, the brave, and the exceedingly nervous through their paces, the casting committee knuckled down to much debate, contention, and cups of coffee. Followed by wine at an acceptable hour, of course.
The initial auditions took place over two full weekends. Those 77 shaking-kneed individuals weren’t only required to get the vocal cords in order, but were also expected to dance and show off their acting prowess.
From there the list was narrowed down to 19 possible principals and 35 chorus members. The casting committee spent another Saturday increasing their caffeine intake to a dangerous level, grabbing the odd and rather brief nicotine fix, and hearing Adelaide’s Lament far too many times while the panicking hopefuls sweated through the process.
Keenan Oliphant survived teaching, rehearsing and performing two versions of the dance routine approximately 178 times over those weekends. He is recovering well and has finally stopped swaying his hips whenever he walks between lectures.
Helen Broekmann played Luck Be A Lady 33 times, Take Back Your Mink 57 times, and has been heard to warn that she will not be held responsible for her actions if anyone ever asks to sing Follow The Fold again.
But the choices were finally made and the cast of 46 congratulated on their success.
And it’s not over yet! The dancer auditions are still to take place….
(Thanks Melissa)
The Society AGM will be held on Monday 15 April at the Pinelands Recreation Club in Lonsdale Way, beginning with registration at 19.00. There will be the presentation of the accounts for 2012, the Chairperson will give his report, the annual Society awards will be presented, and your Exco for the year will be elected. We also hope to be introduced to our bright and shiny new website. You should have received the formal Notice of Meeting by now.
Although you are all invited to attend, a reminder that only paid up members are entitled to vote at the AGM. Subs may be paid at the door on the night. Subs remain unchanged for 2013, viz. Single R90, Couple R120, Students and Pensioners R60.
CATA AWARDS
The awards evening took place at the Masque Theatre on 18 March. We are delighted to say that our Society garnered various awards for performances in Yeomen of the Guard.
The Stars in our firmament are:
Best Supporting Actress in Play or Musical – Sian Atterbury
Downey Cup for Best Actor in a Musical – Graham Boxall
Best Musical Director – Alastair Cockburn
Then there were numerous Certificates of Excellence:
The Chorus, for their ensemble work.
Ferdi Oosthuizen for his solo “Is life a boon?”
Graham Boxall for his solo “Oh, a private buffoon”.
Graham Boxall and David Bolton for the duet “Hereupon we’re both agreed”.
Sian Atterbury, Adri Louw, Ferdi Oosthuizen and Stephan Le Roux for the Quartet “Strange Adventure”.
Liesl Hartje, Lara Milne, Ferdi Oosthuizen and Graham Boxall for the Quartet “When a wooer goes a-wooing”.
Liesl Hartje for her solo “Tis done! I am a bride”.
The Chorus (again!!) for the ensemble “The Prisoner comes”.
Warmest congratulations to all. We’re very proud of you!
And congratulations too to the many other award winners who have featured at some stage in the past in one of our shows. We’re pleased and happy for you all.
Pinelands Players present an evening of Melodramas directed by Roché Haupt from 21 May to 1 June in the Pinelands Town Hall.
Milnerton Players present CHILDREN OF THE WOLF, a gripping psychological thriller by John Peacock at the Milnerton Playhouse from 24 May to 01 June. Direction by Bruce Sanderson.
Hottentots Holland Dramatic Society present Bram Stoker’s Dracula! at the Playhouse in Somerset West on 18, 19, 20 , 25, 26 and 27 July. Directed by Philippe Pringiers.
GOOD WISHES TO…
We hear that some folk, current members or associated with our Society, are struggling with health that is a long way from being what they would wish. Our love and best wishes go to Heather Earp-Jones, Lynn Moss, Jack Matthee, Renee Whittaker, and their loved ones.
We were also sad to hear of the very recent tragic death of Brenda Gray’s daughter Vivienne. Our love and condolences to you, Brenda.
That’s all folks. Hope to see you at the AGM.
EXCO: Steve Broekmann – chair Niel Roux – Hon. Secretary Graham Ellis – Hon. Treasurer Ken Leverton – Vice chair, Gaslight David Bolton – Marketing Guilma Stander – Membership and Social Ian Kirkwood – Membership Alastair Cockburn – Productions Glenda Carmichael – Social/Wardrobe Anthony Storr Lister – Archives Waldo Buckle – Website, Marketing
Audition – Guys and Dolls
Posted in Auditions, G&S Newsletters on 7 February, 2013| 1 Comment »
You are invited to audition for the G&S 2013 musical production of “Guys and Dolls”
Director: Kyla Thorburn
Musical Director: Bill Holland
Production dates: 18th October to 10th November 2013
at the Artscape Theatre
The company will include +/- 70 performers, including 10 principals and supporting roles, 16 dancers and a chorus of +/- 24 who will need to perform a multitude of cameo roles. This includes a performing supporting cast for most of the principal and supporting roles.
v All auditions will be held at the Artscape Theatre Complex.
v Auditions are to be held on:
– Saturday and Sunday, 2nd and 3rd March: Chorus
– Saturday and Sunday, 9th and 10th March: Principals and Supporting Roles
– Saturday morning, 16th March: Chorus Call Backs
– Saturday afternoon, 16th March: Principal and Supporting Cast Call Backs
v To book an audition slot and for further information, please email gsguysanddolls@gmail.com
v Please refer to the Cast Table below with regards to the details of roles available and what to prepare for the audition. All songs are from the musical “Guys and Dolls”. A pianist will be available for accompaniment, but if you wish to bring your own, you are most welcome.
v Auditionees will be told at their first audition or soon afterwards via e-mail/telephone if they will be required to attend call-back auditions. At this time they will be informed as to what to specifically prepare for these call-back auditions.
v You are free to audition for more than one role. If we consider you have the potential to fill another role we may ask you to prepare an additional song from the show as part of the call-back audition. This does not mean you are eliminated from the primary role for which you originally auditioned.
v Please note that this is an amateur production and there will therefore be no remuneration.
VOICE RANGE & TYPE ROLE
AUDITION PIECE
Sarah Brown (F) A Beautiful and innocent missionary
(B to High A) Principal
Singer / Actress
If I Were a Bell / I’ll Know
Skye Masterson (M) A handsome, wealthy gambler
Light Baritone (B to Eb) Principal
Singer / Actor
Luck be a Lady / I’ll Know
Adelaide (F) A simple minded singer/dancer at the ‘Hot Box’ club with a perpetual psychosomatic cold. She’s been engaged to Nathan Detroit for 14 years and desperately wants to get married
(A to D) Principal
Singer / Actress / Mover
Adelaide’s Lament / Take Back Your Mink
Nathan Detroit (M) Charming, but financially strapped manager of the floating crap game.
Mainly Spoken – sings part of two songs Baritone (D to High F) Principal
Actor / Mover / Singer
Dialogue (Bronx accent) / Sue Me
Nicely Nicely Johnson (M) Gangster – Gambler and Nathan’s closest associate. Larger than life character
Any age over 25
Tenor (Db to High Bb) Support
Singer / Actor / Mover
Benny Southstreet (M) Gangster – Gambler is Nicely Nicely’s side kick and foil
Baritone Support
Big Jule (M) Intimidating Hustler – Gambler from Chicago
Spoken Support
Dialogue (Rough Chicago growl)
Lt. Brannigan (M) Local NYPD who is desperate to catch Nathan & illegal crap game red handed.
Dialogue (Bronx or Irish accent)
Arvide Abenathy (M) Sarah’s kind, warm hearted Grandfather and member of the mission.
Baritone (D to High F)
Actor / Singer
More I Cannot Wish You
General Matilda B. Cartwright (F) Regional Director of the missionary. Very serious, strict and authoritive.
Mainly Spoken – sings in some chorus numbers Support
Actress / Singer
Dialogue / Guys and Dolls
MENS CHORUS (10)
Guys and Dolls / Luck be a Lady
Rusty Charlie Gangster – Gambler is Benny Southstreet’s side kick
Harry the Horse Gangster
Any male range
Angie the Ox Gangster
Liver Lips Louis Gangster
Society Max Gangster
Master of Ceremonies MC of the Hot Box Night Club
Singing Chorus (x4) Crapshooter Gangsters / Street Personalities / Mission Band / Hot Box Patrons / Havana Patrons
All ages over 16
WOMENS CHORUS (14)
Guys and Dolls / Follow the Fold
Agatha A missionary in the Mission Band
Singing Chorus (x13) Street Personalities / Mission Band / Hot Box Patrons / Havana Patrons
Any female range
WOMENS DANCING SINGING CHORUS (8)
Take Back Your Mink / Guys and Dolls
Dancing Singing Chorus Street Personalities / Hot Box Dancers (2 Scenes) / Havana Dancing Chorus
Dancer / Singer / Actress
MENS DANCING SINGING CHORUS (8)
Luck be a Lady / Guys and Dolls
Dancing Singing Chorus Crapshooters / Street Personalities / Dancing Chorus for Crapshooter Dance / Dancing Chorus for Havana Patrons
Dancer / Singer / Actor
As you can see, there are a lot of opportunities for acting roles, superb principal and supporting singing roles, and lots of lovely little cameo acting, plus a large chorus of many characters.
You will certainly be busy and will never be bored!
Hope to see you at auditions.
Kyla & The Auditioning Panel
Gaslight – February 2013
Posted in G&S Newsletters on 6 February, 2013| Leave a Comment »
VOLUME 20, ISSUE 1 – FEBRUARY 2013
The new year moves on apace, and we’re already well into the second month. This edition of GASLIGHT is a little later than it should be, but that’s because I really wanted to be able to give you the latest news about our next production. Director is Kyla Thorburn with Musical Direction by Bill Holland. Kyla supplies the following:
The official audition notice for “Guys and Dolls” will be out very shortly, but until then you can whet your appetite with a few bits of tasty information, along with the dates you need to diarise.
Auditions will be held at Artscape on the following dates:
Saturday and Sunday, 2 and 3 March: Chorus
Saturday and Sunday, 9 and 10 March: Principals and Supporting Cast
Saturday morning, 16 March: Chorus Call Backs
Saturday afternoon, 16 March: Principal and Supporting Cast Call Backs
Every character in the cast – leading roles, chorus members, and dancers – is larger than life and of all ages. Musical numbers from the show will be used for the audition pieces and a very good pianist will be there as an accompanist, so no backing tracks are required.
Along with the regular chorus there will be another group who not only need to be able to sing, but also need to be top quality dancers. Auditions will be held for this male and female “Dancing & Singing” chorus at a later date.
Some leading and supporting roles will have an additional Supporting Cast who will have 8 performances spread throughout the run.
Rehearsals will commence on 29th April 2013 and will initially be held 3 times a week with more being added on a Saturday afternoon from July onwards. The production will move into the theatre on 7th October and the last performance will be on Sunday, 10th November 2013.
The Audition notice will have detailed information on the roles and audition requirements. The official audition notice will explain how to go about booking your audition slot. Once your time is confirmed you will receive an audition number and the music score for the relevant song.
We are looking forward to seeing all of you in March!
Tentative date for the Society AGM is Tuesday 19 March at 19.30, at the Pinelands Club in Lonsdale Way, Pinelands. The date is “tentative” because there is a potential delay with the preparation of the annual accounts, and audited accounts must be available at the AGM. So diarise that date for now, but do look out for the official Notice of Meeting which will confirm the date a little nearer the time.
Apart from the presentation of the accounts, the Chairperson will give his report, the annual Society awards will be presented, and your Exco for the year will be elected. Only paid up members are entitled to vote at the AGM. Subs may be paid at the door on the night. Subs remain unchanged for 2013, viz. Single R90, Couple R120, Student and Senior Citizens R60. Please be aware that our website (which will shortly be replaced by a bright and shiny new one) still reflects the out of date subscription levels. The correct subs are as mentioned above.
It’s award season, and while the Cape Amateur Theatre Awards may not generate the international hype of the little fellow on the right, they represent important recognition for amateur theatre in Cape Town. We’re happy to note that the list of nominees for this year’s awards includes many names familiar to us from previous participation in our shows. Congratulations to you all. But of course we extend particular congratulations to the nominees from our own production of Yeomen of the Guard:
BEST SUPPORTING ACTRESS IN A PLAY OR MUSICAL – Sian Atterbury
BEST ACTRESS IN A PLAY OR MUSICAL – Liesl Hartje
BEST ACTOR IN A PLAY OR MUSICAL – Graham Boxall and David Bolton
BEST PLAY, BEST MUSICAL, MOST ADVENTUROUS PRODUCTION, BEST MUSICAL DIRECTOR, BEST DIRECTOR OF A PLAY, BEST DIRECTOR OF A MUSICAL – Teddy Davies and Alastair Cockburn.
We wish you well at the awards evening on 18 March at the Masque Theatre. The full list of nominees is rather long, and has already appeared in the press, so I won’t reproduce it here. If you missed it and want a copy, let me know.
Hottentots Holland presents A SLICE OF SATURDAY NIGHT, running until 9th February at the Playhouse Somerset West. Direction by Giles Scott; Musical Direction: Shiraz. Bookings through Computicket
Claremont Dramatic Society presents THE OWL AND THE PUSSY CAT by Bill Manhof at the Masque Theatre from 26 February to 02 March. Direction is by Clifford Graham. Bookings: 021 788 1898
Festival Productions will hold auditions for the very topical musical comedy Boy Meets Boy (Music and Lyrics by Bill Solly, Book by Bill Solly and Donald Ward) on Saturday 9 February at the Artscape Rehearsal Room 308. The production will be directed by Teddy Davies with musical direction by Victor Tichart and choreography by Roxy Levy and will be staged in June 2013. It requires 4 men and 1 woman – you need to phone Issy on 021 433 0923 after 14:00 to book an audition slot.
Milnerton Players will be holding auditions for Children of the Wolf at the Milnerton Playhouse on Saturday 16 February at 13.45 for 14.00. This is a psychological drama by John Peacock, to be directed by Bruce Sanderson. The play will be staged at Milnerton Playhouse from 24 May to 01 June 2013. For further information please contact the director Bruce Sanderson: Phone: 083 501 0887; Bruce.Sanderso1@gmail.com
WHY, OH WHY? RESPONSES: I GOT MAIL!!
You may remember that in the last edition of GASLIGHT I referred to an item on Savoynet (the internet discussion forum for G&S buffs) where people responded to the question “Why do you love Gilbert and Sullivan?” I invited any of you who were interested to let me know why you like Gilbert and Sullivan. I wasn’t exactly inundated with responses, but two people took the trouble to share their reasons, one a long time member, and the other a very new member. Here are their (slightly edited) responses:
If I think back to when I joined Cape Town G & S Society in the early ‘70’s, I had no specific love of G & S at all – indeed, I knew very little about the genre. All I knew was that I enjoyed singing and that it was an outlet to do just that. Moreover given the fact that I was “a man!” and men were in very short supply (sometimes prior to my joining, the society had women dressed as men) and that I thus never had to audition – merely appear!! However, the average age of the people in the shows at that time was about 22 so the social life was hectic and the various society gatherings just became another excuse to have a party – and party we did at full pace! We made posters, we put up posters on poles, we built sets, we sewed costumes, we moved scenery between scenes on stage, we moved the piano on the back of a bakkie to the various venues, we did everything ourselves. We all grew to love G & S music, the nuances of Gilbert’s language, the traditions of how certain situations in shows were to be acted out – it bound us together in an orgy of friendship! I think the love of G & S and the love of the Society’s characters and people are all bound together. There was much hard work but it was exhilarating stuff and all fun with magic memories. Rogan Earp-Jones
I’m 26 years old and a huge fan of Gilbert and Sullivan. I saw the Yeomen of the Guard production twice – what an amazing performance! I only wish I could see it again. I love Gilbert and Sullivan most of all for Gilbert’s genius. He used comedy to poke fun at the very core of British society at the time, and occasionally he hid nuggets of deep truth between. There is a belief that only “old people” can enjoy Gilbert and Sullivan, but I disagree. Over a century later, Gilbert and Sullivan remains relevant, and I’ve introduced it to many of my 20 something friends. Admittedly it’ll never be entertaining to frat boys or similar, but satire as brilliant as this never really goes out of style. In the Victorian era, Sullivan was believed to be the genius. Now, I think, we can see who the true genius was. Sullivan’s music fits, but Gilbert is the reason these operettas have lasted and will continue to last. Laura Shortridge
(Laura asks if anyone still has recordings of the old BBC radio version of the Gilbert and Sullivan story. She has a few episodes but is missing quite a lot of it. If you can help, let me know and I’ll put you in touch with Laura.)
G&S ON DVD
Peter Kramer, known to many of us through his participation in a number of our shows, has a wide range of the Gilbert and Sullivan operas available on DVD, from multi-opera boxed sets, to Opera Australia productions, and even a Mikado with Groucho Marx as Ko-Ko. Contact him on dynamite@sybaweb.co.za
Welcome to Johan Stapelberg, Luke Brown, Laura Shortridge and Julie Reznekov who have recently become members of the Society. We hope to meet you at the AGM and/or the auditions.
That will do it for this edition. Do look out for the audition notice and the official notice for the AGM.
EXCO: Steve Broekmann – chair Niel Roux – Hon. Secretary Graham Ellis – Hon. Treasurer Ken Leverton – Vice chair, Gaslight David Bolton – Marketing Guilma Stander – Membership and Social Ian Kirkwood – Membership Alastair Cockburn – Productions Glenda Carmichael – Social Anthony Storr Lister – Archives Waldo Buckle – Website, Marketing
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Deansgate–Castlefield tram stop is 10 minutes’ walk away.
Visit the Transport for Greater Manchester website for more information about the Metrolink tram service.
You can lock up your bicycle on Lower Byrom Street just outside the main entrance.
The museum is also a preferred pick-up/drop-off location for Mobikes.
Visit the Transport for Greater Manchester website for more information about city centre cycle routes.
The nearest railway station is Deansgate, which is 10 minutes’ walk away.
We are 15 minutes’ walk away from Manchester Oxford Road station, 25 minutes’ walk away from Manchester Victoria station, and 30 minutes’ walk away from Manchester Piccadilly station.
You can travel to Deansgate station on the train from Manchester Piccadilly and Manchester Oxford Road railway stations.
The free Metroshuttle bus service stops at all city centre railway stations. All 3 Metroshuttle services will bring you within 5 minutes’ walk of the museum.
Visit the Transport for Greater Manchester website for more information about travelling by train to Manchester.
If you’re travelling into the city from the motorway, head towards the M60 ring road around Manchester, and look out for the brown tourist signs directing you to the Museum of Science and Industry. The postcode for your GPS satnav is M3 4FP.
Park all day for £7 at the Park Avenue RCP car park (8 Albion Street M1 5LN) when you validate your ticket at the information desk.
There are 3 accessible (disabled) parking spaces on Lower Byrom Street next to the main entrance, provided by Manchester City Council.
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/Marvel
Falcon & The Winter Soldier
Marvel Ultimate Alliance 3
Avengers Project
Marvel: Future Fight
Marvel: Contest Of Champions
Fan Made Quake vs Thanos Poster Makes Us Want an 'Agents of SHIELD' Crossover
By JK Schmidt - October 13, 2018 03:11 pm EDT
When it comes to the Marvel Cinematic Universe, it's all connected. Unless we're talking about the TV shows and the Netflix series, which tend to exist in their own little bubble.
But Avengers: Infinity War did manage to affect the events of Marvel's Agents of S.H.I.E.L.D., with Thanos' invasion causing a group of aliens to interact with Phil Coulson and his team on Earth. But the agents never faced off against the Mad Titan himself.
A new piece of fan art from Neonxblaze imagines an epic showdown between Thanos and the most powerful member of the team, Daisy Johnson AKA Quake. Check it out below:
I made this Quake vs Thanos poster a little while ago from r/shield
Of course, fans will have to wait a while before we get to see the next season of Agents of SHIELD and how it will deal with the events of Avengers: Infinity War and its untitled sequel. While the last episodes of the fifth season all took place in the same timeframe as Infinity War, Season 6 of Agents of SHIELD will not premiere on ABC until after the next movie hits theaters.
It remains to be seen how the series will deal with these cataclysmic events, and if they will cover the Snappening, but chances are we'll get a good idea of how the story will play out based on the events of Avengers: Infinity War.
But if you need your Coulson fix, you don't have to wait until the show's summer premiere to see Clark Gregg's character. The actor will be reprising his role in Captain Marvel, which will take place in the '90s and use de-aging technology to make Gregg look younger.
"There was something really special about going back to the early days when he was just kind of coming up the ranks," Gregg told EW. "I had to take innocence workshops and go back to when he was a little less crusty and jaded!"
Unfortunately, we shouldn't expect to see any other SHIELD characters appear in the next Avengers movie, but Marvel Studios President Kevin Feige won't squash people's hopes entirely. Instead, Marvel TV boss Jeph Loeb explains how the SHIELD characters can remain separate from these universe-shaking events.
"For the most part our stories will take place BEFORE Thanos clicked his fingers." Loeb wrote. "A lot of that has to do with production and when we are telling our stories vs. when the movies come out. So hang in there. I remember in the comics, one of my favorite stories was the KREE-SKRULL war... which was universal, but in X-Men, no mention. Huh. And it all worked out in the end!"
Agents of SHIELD returns in July 2019.
Marvel's Comic-Con Merch Includes an Amazing Tribute to America's Ass
Spider-Man: Far From Home Tops Spider-Verse Total Box Office in Just 8 Days
Marvel Announces Contagion Event
Marvel Makes Major Change to Jane Foster
Avengers: Endgame Directors Tease San Diego Comic-Con Announcement
Black Widow Trailer Hinted at for San Diego Comic-Con
Marvel Ties Venom, Luke Cage's Origins to Wolverine, Captain America
Spider-Man: Far From Home Star Jake Gyllenhaal Says He’s Proud to be Mysterio in New Premiere Video
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Multiscreen – TV Everywhere
Linear TV and VOD on any device
Reach your connected users
Reach your connected users and monetize your content with TV Everywhere offerings. Our multiscreen solution provides a unified viewing experience across multiple devices and networks, helping you unlock new business opportunities with on-the-go content.
The set-top box is still an extremely powerful device for any service provider to have at the end user’s living room. No other device grants similar influence concerning user’s content choices. WeCast’s APIs can be used on any box with basic OTT video support, enabling service providers to pick the box that best suits their strategy.
The browser-based app is not just another screen to watch content on, but one where users can access the user Self-care in order to easily add devices to their account, adjust account preferences and control supplementary household accounts. WeCast’s web app is highly customizable and can run on both PC and macOS, as well as on all major browsers, including Chrome, Explorer, Firefox, Opera, and Safari.
The TV is the primary screen in a household, therefore the ideal place to gather the family. We’ve designed the user interface to provide easy navigation using a remote control and fast access to the content you’re looking for. WeCast offers customizable Smart TV apps on all major TV brands, including Samsung, Panasonic, LG and others.
TV on the go? Sure! Users can watch content directly on their smartphone. Our customizable app for iOS and Android boasts a user interface specially designed to make the best use of the limited space on the device’s screen.
Tablets are great devices for users to interact with the content they are watching on their primary screen. Communicate with friends watching the same content, browse through content offerings with zero disturbance to others watching the TV screen. All this and much more.
More business opportunities
Take advantage of the multiple monetization possibilities that multiscreen delivery has to offer. Allow your users to enjoy a rich out-of-home TV experience and explore business models focused on Ad Insertion, TVOD, SVOD, and more.
Your brand, your frontend
Choose a template from our UI catalog and we’ll adapt it to your brand. Our design team is prepared to deliver amazing UI experiences that look consistent across multiple devices while retaining the very essence of your brand.
Monetization everywhere
Deliver and monetize your video content on any device from set-top boxes, to smart TVs, tablets, smartphones, computers, and video game consoles. Monetize your video content by selling ad space to open new revenue streams and achieve ROI on your IPTV/OTT investment.
WeCast is a complete IPTV/OTT online video platform
Discover all the features making it easier for you to manage, distribute and monetize your video content.
CRM – Custom Relations
DRM & CAS Integration
Media Assets Management
Multi-ad Insertion
Packages & Subscriptions
We’re ready to lead you into the future of television
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Home Tech Future Beemer and Daimler join forces to explore driverless options, ride-hailing and pay-per-use
Beemer and Daimler join forces to explore driverless options, ride-hailing and pay-per-use
LUXURY German vehicle manufacturers BMW and Daimler have announced they will join forces to invest in next-generation services, including driverless vehicles.
(Click here to see stock prices for the companies mentioned in the article)
BMW’s all-electric i8
The firms have pledged to invest €1bn (£880m) in the project looking at pay-per-use car schemes, ride-hailing and parking services.
Ride-hailing firms are expanding, with Uber particularly noticeable in the US market. This is seen by industry experts as part of the reason for the new venture. But BMW and Daimler have also been working on the development of autonomous — driverless — cars. Tech, in the 21st Century, is becoming bigger than the traditional motor industry.
The development may be seen as bad news for old-school motoring enthusiasts who still like to hold a steering wheel, but it could be good news for tech start-ups: the new partners are keen to snap up suitable tech firms as the first part of the co-operative process.
The joint venture has five elements. Reach Now (a smartphone-based route management and booking service), Charge Now (electric car-charging), Free Now (ride-hailing), Park Now (parking services) and Share Now (car-sharing).
Online sources report that Daimler’s Car2Go car-sharing brand will join with BMW’s DriveNow, ParkNow and ChargeNow initiatives, with an even 50-50 split in the projects.
BMW says five services will form a “single mobility service portfolio with an all-electric, self-driving fleet of vehicles that charge and park autonomously”.
A company spokesman described the moved as “the perfect way to maximise our chances in a growing market”.
Publicly traded companies in this story:
BMW BMW 66.85 +0.19 +0.29%
Daimler DAI 46.24 -0.28 -0.60%
Previous articleAnalytics key to African countries’ ability to share in services trade
Next articleBe wise and digitalise, report urges UK SMEs
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If you are interested in our downloads of high quality live recordings from the venue and exclusive digital releases from some of our favourite labels, it might be worth considering becoming a Digital Member. Members can choose 3 digital downloads a month from any label we stock, as well as receiving a discount on records, books and more from our website.
Jazz / Free Jazz
Non-Western Music
Drone / Ambient
Outsider / Art Brut
Sound Art / Spoken Word
Music Concrete
Indie / Rock
Folk / Song
OTOROKU Digital
Weighter
Fonograf Editions
Okka Disk
Edition Wandelweiser
Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN.
HAINO KEIJI / JOHN BUTCHER - LIGHT NEVER BRIGHT ENOUGH
LP SOLD OUT
One of the final Incus releases and one that was written up in The Penguin Guide to Jazz as ‘an essential document of modern music’. Otoroku is proud to release the first ever vinyl re-issue of Evan Parker’s legendary recording The Snake Decides. Featuring 4 solos recorded in 1986 in St. Paul's Church, Oxford by the late Michael Gerzon. The Snake Decides is a groundbreaking example how far the language of a particular instrument can be taken. From Brian Morton’s liner new notes: “The Snake Decides attracts a certain array of adjectives - intense, radical, fearsome, hypnotic, virtuosic – and occasionally allows a more ambitious reviewer to avoid platitude by talking more specifically about 32nd harmonics, circular breathing, multiphonics and Gerson's exact choice and placement of microphones. But this misses a point, too. Listening to this record, either for the first or the fortieth time, is an arousing experience.” Remastered by Giuseppe Ielasi and housed in a reverse board sleeve with new liner notes by Brian Morton this is the ultimate document of one of the most important recordings in all of Parker’s extensive and exploratory catalogue. Edition of 500 copies.
Evan Parker - The Snake Decides
Dedicated to the memory of Tony Marsh The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012 and his first time playing with drummer Tony Marsh and double bassist John Edwards. It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities. Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist. Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the 1960s as a bandleader, mentor, collaborator and teacher. Mitchell was a founding member of Chicago's Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique (check the lengthy stretch of sustained circular breathing on SIDE C) and an arresting, fractured melodic sensibility. On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts. John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role. No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed (no kick or hi-hats) he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass. You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later.
"Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward – that's why Tony was hip in the most meaningful sense … And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." - Evan Parker (Quoted in John Fordham's Obituary for Marsh)
Roscoe Mitchell / Tony Marsh / John Edwards - Improvisations
We're very pleased to announce Pat Thomas's ‘The Elephant Clock of Al Jazari’ on our in-house OTOROKU label. Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. In Pat's own words: The title for this Album, was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven metres high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this muslim genius is found in his remarkable water raising devices, particularly water raising device number 4 where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by 3 centuries. 'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well known standard. - Pat Thomas 26TH May 2017 Pat Thomas began playing piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979). Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake. Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014. --- Pat Thomas / piano --- Recorded live at Cafe OTO on the 4th May 2015 b Mark Jasper. Mastered by Giuseppe Ielasi. Photo by fabio Lugaro. Design by Maja Larsson.
Pat Thomas - The Elephant Clock of Al Jazari
"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi
Kan Mikami / John Edwards / Alex Neilson - Live at Cafe OTO
Recorded live at Cafe OTO in March 2009 during Otomo Yoshihide's first residency here. This was one of only a handful of solo piano performances Otomo has given where he uses the instrument as a control matrix for harmonically rich feedback tones and devastating clusters of complex noise. Vinyl sold out long ago, so pleased to share this as a download finally! "For Otomo, the piano is a big box of potential sound. But since he’s an obsessive sort, he really digs into certain of its corners, and dig he does; when this record doesn’t sound like a gonzo feedback extravaganza, it sounds like he’s cutting through the side of the instrument with a hand-held saw. Whatever the means he used to make the piano sound like that, he’s laid utter waste to the instrument’s conventional sonic associations. There are plenty of people out there making pianos sound like something other than pianos, but I can’t think of anyone else doing it with so much punk spirit and so little reference to any familiar piano vocabulary." - Bill Meyer, Still Single --- Otomo Yoshihide / piano --- Recorded at Cafe OTO by Shane Brown. Mixed by John Chantler. Mastered by LUPO at Calyx Mastering.
Otomo Yoshihide – Piano Solo
Six months on and finally into summer we're buzzed to share the recording of Chicago footwork originator and pioneer RP Boo alongside ever-radical, longstanding collaborators Seymour Wright and Paul Abbott in a special New Years Eve trio. RP Boo, Seymour and Paul share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While RP Boo’s footwork takes from the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM. Expect spurred soul cut with condensed, triggered kit drums and sax. Samples from The Fog, Gerald Levert, Tweet and Evanescence (!) --- RB boo / cdjs Seymour Wright / alto saxophone (actual and potential) Paul Abbott / drums (real and imaginary) --- Recorded live at Cafe OTO on Tuesday 31st December 2018 by Shaun Crook. Mixed and mastered by Paul Abbott. Photo by Dawid Laskowski.
XT and RP Boo – 31.12.18
After touring together in 2016, Paul Dunmall's joyous Quintet returned to OTO last winter. Known for his past collaborations with saxophonist Elton Dean and drummer Tony Bianco, and his work with improvising quartet Mujician (with pianist Keith Tippett, bassist Paul Rogers, and percussionist Tony Levin), Paul's work as a writer really shines brightest with this Quintet. The first set showcases totally new material - The Soultime Suite - and the second an emphatic rendition of 2016's Dreamtime Suite. Pure melody switches through pennywhistle, trumpet, tenor and alto with an elated rhythm section keeping things high energy. "When I listen to Paul, which is a great pleasure, and when I play with him, I hear the whole history of everything. You hear the history of the saxophone. You hear what Yusef Lateef called 'The Great Tradition'. That's the type of artist I want to be, one that reflects, as Paul does, the great tradition." Hamid Drake in conversation with Soweto, BBC. “Ever since I heard UK sax colossus Paul Dunmall with Keith Tippett’s Mujician quartet, I knew that there was something special, spiritual about his (tenor) sax playing. Nobody has a sound like him, he is in a class of his own!” – Bruce Lee Gallanter, Free Jazz Collective --- Paul Dunmall / tenor & alto saxophone, pennywhistle Hamid Drake / drums & framedrum Percy Pursglove / trumpet Steve Tromans / piano Dave Kane / bass --- Recorded live at Cafe OTO on Thursday 8th November 2018 by Shaun Crook. Mixed and mastered by James Dunn. Artwork by Paul Dunmall.
Paul Dunmall Quintet ft Hamid Drake – 8.11.18
Members of psychedelic Russian / Israeli collective Staraya Derevnya rarely get to perform live together, so it's with huge pleasure that we are uploading this one. After spending a week holed out in our Project Space, the group emerged to present 45 minutes of curious, home-brewed folk psych wonk made with objects, percussion, vocals and homemade instruments. Live animated projection makes a large impact on each of their improvisations so be sure to check out the video of the night too."They play a kind of psychedelic folk with wind-up toys, shouting, buzzy sounds and with live animated drawings – out of some foggy scribble emerges a head, then a bug thing grows tentacles and sucks ectoplasm out of the head, then stuff starts spinning around and then a phoenix rises." - Lee Fisher, NARC magazine "Staraya Derevnya make bewitching music that seems impossible to place in terms of direction and intention, like climbing into a cab only to realise its not a cab at all." - TUSK --- Amos Ungar / dulcimer, sampler Danil Gertman / digital drawing Gosha Hniu / percussion, toys, cries and whispers Grundik Kasyansky / feedback synthesizer, objects Maya Pik / synthesizer, rocking chair, melodica Ran Nahmias / silent cello, theremin --- Lyrics by Arthur Molev. Mixed and mastered by Gosha Hniu from the original recording made by Shaun Crook. Filmed by Heliana Trovato, Sam Way, Filippo Mira and Patrick Farrell. Video edited by Heliana Trovato. Huge thanks to Tsip Nahmias and to the wonderful people at Cafe OTO and Tusk Festival - this wouldn't have happened without you! http://www.starayaderevnya.co.uk
Staraya Derevnya – 13.10.17
This week we’re pleased to be sharing a solo set from composer, improviser, performer and creative polymath, Alex Ward. Predominantly a guitar and clarinet player, Ward is regarded as one of the most technically accomplished performers of both free and composed music, and has recently played shows in the UK and US as part of the phenomenal This is Not This Heat. Having had his debut record put out on Derek Bailey's Incus, Ward has continued to play at an astonishing level ever since. His current work ranges from his formidably knotty guitar playing in avant-rock two piece Dead Days Beyond Help to his compositions-for-improvisers including Forebrace, the Alex Ward Quintet/Sextet, and his new ITEM series which returns to OTO in September. After releasing his solo clarinet album in 2017 on the Weekertoft label, Ward's solo performances strive to bring acoustic and amplified playing into closer integration. '15.2.18' is a reminder of what a singular player he is, pulling open the full range of the instrument - from warm trills and woody overtones to overblown, amped up blowouts. --- Alex Ward / clarinet, guitar --- Tracklisting:1. 21:04 2. 5:08 --- Recorded live at Cafe OTO on 15.2.2018 by Martyn Larcombe. Mixed by Alex Ward and mastered by James Dunn.
Alex Ward – 15.2.18
Nearly an hour of rhythmic explorations from tonbak player Mohammad Reza Mortazavi. His first vinyl release on Padre Himalaya was stocked by Hardwax - the comparisons between his technique and techno are evident. Live in a hot room, his playing barely ceases, and the organic polyrhythmic patterns he creates command a hypnotic force. --- Mohammed Reza Mortazavi / tonbak, daf --- Recorded live at Cafe OTO on Friday the 8th of June by Shaun Crook.
Mohammed Reza Mortazavi – 8.6.18
Subterranean saxophones and self made instruments from the first time collaboration between Takahiro Kawakuchi and Seymour Wright. Using everyday horns powered by homemade airpumps, Kawaguchi generates swelling peals and perforates them with pinches of his tabletop valve box. Having laid three saxophones on the floor, Wright live mixed their feedback from the back of the room, producing undulating gargles which bubble under Kawaguchi and surface in the gaps. Neither artist simply 'investigates the specifics of space' but instead fully regurgitages the innards of their dreamt up instrument with devilish humour. --- Takahiro Kawaguchi / self-made instruments, self-made objects Seymour Wright / 3 alto saxophones and their feedback --- Recorded live at Cafe OTO on Tuesday 7th August by Shaun Crook. Mixed and mastered by James Dunn. Photo by Seymour Wright. Artwork by Oli Barratt.
Takahiro Kawaguchi & Seymour Wright – 7.8.18
"Tim Feeney seeks to explore and examine the timbral possibilities inherent in everyday found and built objects. He treats his percussion setup as a friction instrument, using bows, scrapers, and rosined drumheads to capture and amplify frequencies that go unheard when an object is struck with a traditional mallet. He supplements this acoustic console with an electronic instrument, arranged from mixers, contact microphones, and effects pedals, that synthesizes and alters the spectral characteristics of low-fidelity tones, feedback, and noise. Tim worked for years within Boston’s timbral improvising community, a group of musicians interested in unstable sounds and silences, exploring austere#combinations of sound and the otherworldly ripple effects that pulse through#a silent space and alert ears. He has performed with musicians including thereminist James Coleman, cellist/electronic musician Vic Rawlings, pianist Annie Lewandowski, tape-deck manipulator Howard Stelzer, trumpeter Nate Wooley, sound artists Jed Speare and Ernst Karel, saxophonist Jack Wright, the trio Meridian (with percussionists Nick Hennies and Greg Stuart), and#the trio ONDA (with vocalist Ken Ueno and violinist Hillary Zipper. His concerts have been held at experimental spaces such as the Red Room in#Baltimore, Boston’s Institute of Contemporary Art, Firehouse 12 in New Haven, Connecticut, the Knitting Factory New York, and the Stone, as well as the Center for New Music and Audio Technology at UC-Berkeley, the Stanford#Art Museum, Princeton University, and Dartmouth College." --- Performed and recorded by Tim Feeney in Berkshire, NY, and Tuscaloosa, AL, 2010-2013.
Tim Feeney – Caroline
“Fusées” isn’t the first collaboration between Thomas Bonvalet and Jean-Luc Guionnet, their first joint effort “Loges de Souffle” appearing on Be Coq last year. The same label also put out a vinyl edition of “Fusées”, but now Sarah Hennies’ label Weighter Recordings has thankfully stepped in with a CD and download release for the rest of us. Although the two artists are primarily known for their attachments to a particular instrument (guitar for Bonvalet, saxaphone for Guionnet), these instruments are only recognisably audible towards the end of the album, with the majority of sounds belonging to the percussive and analogue-electronic domains. In fact, so rhythmically driven is the album that I would’ve guessed that one of them was a percussionist. The album has a roughness and warmth to its timbres that is very appealing. Ideas unfold at a steady pace, not remaining static but not rushing anywhere either — a pleasure in sounds, but also in their organisation. The album title translates into English as ‘rockets’, and while there’s plenty of chemical energy and fire, there are also clear trajectories and flight plans. Whether these trajectories were planned out in advance or made up on the fly is, from the listener’s point of view, perhaps not so important. Developing structure can be clearly heard on tracks such as ‘2 mer D_v3’, where the interplay between synth stabs and pounding percussion twists and turns in an intricate dance. Even at its most off-kilter, such as in the broken ringtone melody of ‘1 mer B_v6_oct’, the music retains a sense of intention and direction; the transition through several shades of chaos is as detailed and as captivating as the harmonic micro-shifts of Hennies’ percussive rolls, just with much brasher colours. The guitar playing on ‘3 mar N_v3’ produces both percussive rhythm and modulating sinewave-like pitches, a synecdoche for the shapes of the album as a whole. Later in the piece, long single-note sax crescendos mould timbre and volume like clay on a potter’s wheel, inflected by stop-start percussion — a stunning effect. Only very rarely, such as on the last track, does the music slide into stock free improvisationish territory, competently done but already explored. “Fusées” is a propulsive album bursting with ideas, distilled into lucid and finely-balanced forms that dazzle and enthral." - Fluid Radio --- Thomas Bonvalet / audio ducker, microphones, amplificateurs, frappements de pieds et de mains, peau de tambour, banjo six cordes, componium, diapasons, plectre de pavot sec … Jean Luc Guionnet / deux vieux orgues électriques (Bontempi Tempest & Farfisa Matador), trois petits harmoniums, une table de mixage bouclée et quelques micros contacts et magnétiques, un petit trumpet speaker mobile, trompette de poche, saxophone soprano --- Recorded at Instants Chavirés, January 2014 by Adrian Riffo. Thanks to Instants Chavirés, Adrian Riffo, La Fonderie and François Tanguy.
Thomas Bonvalet & Jean-Luc Guionnet – Fuseés
"The three duets on the record (respectively written by John Cage, Peter Ablinger, and Hennies) all feature a “solo snare drum performer in duets with three non-performative musical elements.” All three of the elements presented here (silence, noise, and tone) in some way reflect a sonic component of the snare drum’s sound, and tonal differences between each track is striking. On Hennies’ own “Cast and Work,” the composer explores the tonal variations that can occur when the snare on her instrument is turned off and then mixed with other pitched elements. Like Cage’s and Albinger’s compositions, “Cast and Work” is mostly a subtle piece until a barrage of pitched noise from Vanessa Rossetto, Brent Fariss, and Henna Chou comes in near the end. When taken together, these compositions alter the listener’s perception of what a snare drum can do sonically and succeed in taking the instrument out of its often typecast role in music." - Tiny Mix Tapes --- A solo snare drum performer in duets with three non-performative musical elements: Cage - silence Ablinger - noise Hennies - tones --- "Cast and Work" includes contributions from Henna Chou, Brent, Fariss and Vanessa Rossetto. Performed and recorded by Sarah Hennies, 2012-2013.
Sarah Hennies – Duets for Solo Snare Drum
Audio version of the DVD release of ‘Clots’, which sits somewhere between performance documentary, artist’s film, audio-visual installation, and music video. “The music follows Hennies’ penchant for subtle affective states arising from extended repetition, while retaining the strong sense of performing agency heard in recent releases by him for Weighter, Consumer Waste, and Quakebasket. However, O’Neill’s contributions on electronics also come through strongly, particularly in later sections. This brings a sense of multiple discrete layers to the composition, with each section comprised of a number of interlocking parts — an orchestration that fits well with the audio-visual immersion conjured by the project as a whole.” - Fluid Radio --- Sarah Hennies / percussion, concept Clay Odom / design Sean O‘Neill / electronics, design Visual documentation / Raphael Umscheid --- Filmed during the Clots live performances in Austin, TX, March 23 & 30 2013.
Hennies / Odum / O'Neill – Clots
"The remarkable Boston violinist and composer Morgan Evans-Weiler doesn’t have a score for this record, but its focus is ultra-precise. The piece, dedicated to the stalwart experimentalist Jed Speare, a close friend of the musician and who died in 2016, is a rigorous exploration of pitch, specifically in the microtonal complexity of the simplest bowed gestures. Evans-Weiler relies on a handful of simple pitch variations from memory, but ultimately the results don’t rely on any sort of melodic movement. Rather, the violinist pulls his bow across the strings in richly striated tones both gentle and piercing, marbled by a bounty of sounds—high-pitched squeals, abraded drags, intensely ringing double stops—that eventually bypass the lack of compositional shape to create an enveloping experience all its own. Evans-Weiler explained that “the performance of the piece is specifically dictated by my experience of the repetitions and the fatigue that accompanies,” and that certainly can apply to the listener, whose level of engagement depends on a certain freshness of the ears, the volume of playback, and attention level. The performance draws heavily on psychoacoustics, where an immersion in the sounds creates an almost psychedelic experience—where the bowed violin seems to produce ever-fattening tones, both viscous and biting. Extended passages are interrupted by brief moments of silent repose, with the violinist changing his fingering before embracing a slightly different pitch—it also allows the listener to recalibrate and retrench for another study that builds in volume and attack. It’s probably not for everyone, but the degree of focus and the richness of Evans-Weiler’s sound-worlds are nothing short of astonishing." – Peter Margasak, Bandcamp Daily --- Morgan Evans-Weiler / violin--- released November 1, 2017
Morgan Evans-Weiler – Unfinished Variations (for Jed Speare)
Prune Becheau's 'Tone strains, guts and hair' is full of colorful, expressive and vivid melodies and fresh timbres, mixed with a sense of fun. Becheau's other work in Pancrace and Urs Graf Consort attest to her free sense of experimentation - it's super nice to hear where she takes it solo. --- Prune Bécheau / violon baroque --- Tracklisting: 1. introduction - 01:54 2. tlelel letl - 05:49 3. gegze tulilu - 08:04 4. hgjh hgjh - 02:31 5. fsiu fsiu fsiu - 01:03 6. lui tsk ui - 03:38 7. thschjre - 02:29 8. zzffk zzffk - 10:43 --- Enregistré au Tuquet en janvier 2018. Mastered by Thomas Pujols.
Prune Bécheau – Stries ton, tripe et poils
David Rosenboom's legendary Brainwave Music, originally released on A.R.C. Records in 1975. This is an expanded double-LP edition with over 40 minutes of additional contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley, and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems. Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long "Portable Gold and Philosophers' Stones", four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analyzed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses.
David Rosenboom – Brainwave Music
Since its debut on two releases from 2011 and 2012 (the live Hit & Run with Joe Talia and the studio Audience of One), the epic structured improvisational piece ‘Knots’ has formed a staple of Oren Ambarchi’s live performances. Like a jazz musician searching for ever-new ways to play a standard, the guitarist has repeatedly brought the piece to life in a variety of settings ranging from guitar/drums duets to a large ensemble replete with string section, with each iteration bringing with it new variations of tone, intensity and character. Knotting presents the entirety of a beautifully-recorded set performed by Ambarchi and the astonishing Australian- French drum virtuoso Will Guthrie in Geneva in February 2019. Beginning with a delicately played but rapid and insistent ride cymbal rhythm over which Ambarchi layers his signature shimmering Leslie cabinet guitar tones and eventually building, as the piece always does, to a peak of caterwauling harmonic fuzz and thundering drums, the recording also shows the pair taking risks and pushing the piece into new directions, especially in Guthrie’s willingness to let the central pulse momentarily die away or only barely be implied as his main focus of attention turns to instantaneous responses to the subtle rhythmic suggestions of Ambarchi’s shuddering guitar tones. Ambarchi’s performance also demonstrates the ever-evolving nature of his relationship with the guitar, making space for some of the more harmonically uneasy yet subtly lyrical playing (in a tone calling to mind the 80s guitar-synth work of Pat Metheny or Bill Frisell) that has emerged in his recent solo work. Ending with a remarkable coda where Guthrie’s bells and cymbals suddenly transforms the performance into something like Tibetan temple music, Knotting is an essential snapshot of the workof two musicians not content to repeat themselves.
Will Guthrie & Oren Ambarchi – Knotting
Black Truffle is thrilled to announce the reissue of legendary performance and sound artist John Duncan’s forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan’s earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory. Opening with ‘Delta’, which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding ‘The Immense Room’, where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt. A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan’s friends and collaborators Jim O’Rourke and Christoph Heemann and is a must for anyone interested in their work. - Francis Plagne
John Duncan – Klaar
“Patience Soup presents the entirety of a live performance from the trio of Oren Ambarchi, Jim O’Rourke, and Japanese underground legend Phew that took place at the Kitakyushu Performing Arts Center on November 4th, 2015. Known to many listeners outside Japan primarily for her early collaborations with members of Can, Phew has been undergoing something of a creative renaissance in the last few years, prolifically recording and releasing a body of work that strips away the band arrangements present on most of her past releases to focus solely on her raw DIY electronics and possessed vocal stylings. Forming a perfect companion to 2017’s well-received Voice Hardcore, a series of pieces composed of only her processed voice that saw Phew push her work into the most abstract terrain yet, Patience Soup finds the trio inhabiting an uneasy landscape of moans, howls, and smeared electronic sonorities. Presented in atmosphere-enhancing room fidelity, the set begins in crunching textural abstraction and Phew’s vocal asides, set against a backdrop of Ambarchi’s shimmering Leslie-cabinet guitar tones and O’Rourke’s synthetic slivers. A testament to the risk-taking prowess of these three master improvisers, the performance moves organically from ecstatic crescendos powered by Phew’s processed wails to moments of near-silence in which a translucent veil of lingering electronic tones is gently punctuated by O’Rourke’s chiming piano chords. Constantly shifting, both harmonically and dynamically, Patience Soup is suffused throughout with a haunted energy and shows these three established figures continuing to venture out into uncharted territory.”
Phew / Ambarchi / O'Rourke - Patience Soup
"First release from the duo of two important yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O’Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O’Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo’s Super Deluxe in March 2013, the set begins as a duet for Ishibashi’s flute and Gray’s upright bass. Calmly melodic yet harmonically inventive, with shades of ‘spiritual jazz’, the pair’s acoustic ruminations are gradually joined by Ishibashi’s lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray’s bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of 70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O’Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible."
Eiko Ishibashi & Darin Grey - Ichida
So You ... (Hermes, Orpheus, Eurydice) is a major new work by legendary experimental composer Alvin Lucier. It is an hour long epic that tracks the familiar Orpheus myth from a less familiar perspective: that of Eurydice as imagined by poet H.D.; a Eurydice who rails at Orpheus for his hubris in attempting to rescue her. Two key, and formerly distinct, aspects of Lucier's practice come together in this piece: the exploration of interference patterns in closely tuned intervals, and the exploration of resonant chambers. From speakers mounted inside amphorae a constantly turning braid of beating sine waves trace the descent into the depths of hell, and then the doomed attempt to climb back into life. Singer Jessika Kenney and long-time Lucier collaborators Anthony Burr and Charles Curtis embody the three title characters in deeply focused performances that assert themselves against the process of the sweep, or become enfolded in it. The electronics were mixed in real time by programmer and equipment designer Tom Erbe.
Alvin Lucier - So You ... (Hermes, Orpheus, Eurydice)
A collaborative release with the visual artist Shannon Ebner, STRAY: A GRAPHIC TONE features the poems of Susan Howe and Nathaniel Mackey. Produced and collated by Ebner, STRAY: A GRAPHIC TONE juxtaposes historic and recent material from Howe and Mackey between 1991 – 2018. The work brought together specifically examines the two writers’ lifelong preoccupation with subjects adrift in dispossessed narratives both real and imagined. According to Ebner, “STRAY: A GRAPHIC TONE is the full-length version of what I started in 2016 when I began seeking exchanges with these two poets. I was drawn to their works for their experiments with poetic form – for their politics of poetic form, to be exact – for their poems’ stray figures and stray errant marks.” --- Tracklisting: 1. Extract From A Letter - 1:512. Hope Atherton's Wanderings - 6:103. Loving Friends And Kindred - 0:444. Scattering As Behavior Toward Risk - 6:315. Abide - 1:086. Little Sir Echo - 0:457. An Excerpt From The Foreword To DEBTHS - 1:438. Intro - 3:509. Dogon Eclipse - 2:0110. Song Of The Andoumboulou: 1 - 1:5011. Song Of The Andoumboulou: 50 - 8:4812. An Excerpt From Lone Coast Anacrusis - 3:3813. Parlay Cheval Ou - 0:37
SUSAN HOWE & NATHANIEL MACKEY - STRAY: A GRAPHIC TONE
"Charles Mingus’s classic 1963 album The Black Saint and the Sinner Lady is swerved into Harmony Holiday’s classic 2018 album The Black Saint and the Sinnerman. The albums are not the same, not at all. But they speak to one and other across time and language, motion and sound. A man and a woman meet in the marketplace. She is selling her body and he is beating his drum. A man and woman meet in a concert hall. She is thinking the music he spins loose as tantrum. Ah Um and other standards of misused/freedom. A man and woman meet on the radio. He calls her a hoe and she calls him a prince. Jokes are science. She wears white lace and he wears no rubbers. What eagles, also shrugs. Slugs Tavern smells like burnt wheat and hussies. A man and a woman meet there to touch. A man and a woman meet at University. She is studying Frederick Douglass and he is learning to count the bones. Jesus was a geneticist and we are mapping our way home. A man and a woman meet on the way home. He tries to corrupt her as if the sins of the father are being visited in prison. Dial tone. Heart bone. Copper and carbon make electricity. Ringing and spinning into thought. The copper in your pineal gland and the carbon in your cerebral cortex. A man a woman meet in the mind. She is electric and he is legba, the trickster, sluggish under her lucky sun. Not every love story is a fairy tale. In fact the best ones simulate the process of waking up from a nightmare; a man and a woman meet in that glare, fuzzy-hearted almost despair of morning. This is a story about the body. Brown in white lace, disgraced and redeemed. There are no more sour grapes. My teeth glow like a railroad. A man and a woman meet on a train. Your brother and your sister don’t speak to you, and I don’t blame them. Do you blame them? Sin is not as simple as breaking a man made rule. Sainthood is not as simple as being good. This is a story about the body. Sweet grapes. Sweetback. Sweet race. Sweet runner. Sweet earth/rising." The Black Saint and the Sinnerman was recorded live at Machine Project in Los Angeles, CA on September 9, 2016. The album was mastered and engineered by Gus Elg at Sky Onion in Portland, OR in the Fall of 2017.
HARMONY HOLIDAY - THE BLACK SAINT AND THE SINNERMAN
Entirely comprised of poems contained in her latest collection, 2016’s Certain Magical Acts, Live in Seattle elucidates why Alice Notley is one of the world’s most revered poets, the recipient of the Los Angeles Times Book Award, the Griffin Prize, the Shelley Memorial Award, the Lenore Marshall Prize, and the Poetry Foundation’s Ruth Lilly Prize. “I am alive outside written memory” is how one of the speakers of Notley’s poem “Voices” puts it and listening to the poet read her work live, in front of an entranced audience, serves to detail the intangibility of sound vis-à-vis language. Live in Seattle also includes excerpts of the onstage conversation Notley had with Seattle poets John Marshall, Christine Deavel and Rebecca Hoogs. Among other topics, the talk revolves around concepts of success, what it means to write female poetry circa 2017, and the importance of always creating from a position of disobedience. As part of Seattle Arts & Lectures’ Poetry Series, 'Live in Seattle' was recorded at McCaw Hall in Seattle, Washington on Wednesday, April 5th, 2017 and mastered and engineered by Gus Elg at Sky Onion in Portland, Oregon in the Summer of 2017.
Alice Notley - Live in Seattle
Featuring poems written over the past 15 years, some of them from her recently published collection Partly: New and Selected Poems 2001-2015 (Wesleyan, 2016) and some of them previously unpublished, Rae Armantrout’s Conflation interrogates the difference between texture and tactile; thing unspoken versus thing unseen. The world largely exists in the interstices and Rae Armantrout’s poetry makes that clear. As she elucidates on “Scumble,” the 15th poem on Conflation: What if I were turned on by seemingly innocent words such as “scumble,” “pinky,” or “extrapolate?” What if I maneuvered conversation in the hope that others would pronounce these words? Perhaps the excitement would come from the way the other person touched them lightly and carelessly with his tongue. What if “of” were such a hot button? “Scumble of bushes.” What if there were a hidden pleasure in calling one thing by another’s name? A Rae Armantrout poem is a space where no word is safe from speculation. Winner of the Pulitzer Prize and National Book Critics Circle Award for her 2009 collection Versed, Armantrout is the poet for the Twitterified 21st century and Conflation allows its listener to lapse and bathe in her voice’s nuanced measure. --- Featuring poems written over the past 15 years, some of them from her recently published collection Partly: New and Selected Poems 2001-2015 (Wesleyan, 2016) and some of them previously unpublished, Rae Armantrout's Conflation interrogates the difference between texture and tactile; thing unspoken versus thing unseen. The world largely exists in the interstices and Rae Armantrout’s poetry -previously awarded the Pulitzer Prize and National Book Critics Circle Award - makes that clear.
RAE ARMANTROUT - CONFLATION
"Aloha/irish trees is a collection of new and old poems by Eileen Myles, many of which have never been featured in their previous print collections and all of which have never been featured on a record. Further, unlike the vast majority of poetry records, Aloha/irish trees was recorded live. Live meaning that it encapsulates an experience that every poet is familiar with—an occasional linguistic flub can be heard now and then, as can the sound of the poet clearing her throat, taking a sip of water. “Fuck, this is so hard” is uttered on the first track of Side A. The final sentence heard on the last track of Side B is “I’m gonna catch up, I have to pee.” Listening to Aloha/irish trees is listening to Eileen Myles read their work live, an aural experience easy to hear, hard to escape." --- All poems written by Eileen Myles. Recorded by Ambrose Bye and Max Davies at Harry’s House in Boulder, Colorado at The Jack Kerouac School of Disembodied Poetics/Naropa University in the Summer of 2015 and engineered and mastered by Gus Elg at Sky Onion in Portland, Oregon in the Fall of 2015.
Eileen Myles - Aloha / irish trees
"Reissue of Derek Bailey and Tristan Honsinger Duo, originally released by Incus in 1976. Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up. You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars -- and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes "The Shadow". Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.” --- Tristan Honsigner / cello, voice Derek Bailey / electric guitar, crackle box --- Recorded at Verity's Place 7th February 1976, except for A1 and B2 which were recorded at Tangent Studio 6th February 1976.
Derek Bailey & Tristan Honsinger - Duo
Originally released by Incus in 1974. Recorded at a private house in Catford, south-east London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist’s championing of ‘non-idiomatic improvisation’, the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey’s playing at this time: ‘mandolins & balalaikas strumming in the distance, George Formby’s banjo, Leadbelly’s steel 12-string, koto, lute, classical guitar… and others quite outside the field of the plucked string.’ The five pieces on side two were recorded back home in Hackney around the same time — with the exception of Improvisation 104(b), from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) — opening with ventriloquised guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann and Harry Bentink. Crucial. "In 1974, when Derek Bailey was planning his second solo LP on Incus, he decided to include a side-long solo using his stereo electro-acoustic set-up. Unfortunately, he never seemed to have a 20-minute stretch of time free of interruptions in his home, so he asked if he could record it at my place. After a fairly lengthy drive across London on the arranged date, he discovered that he had brought all his gear except the actual guitar. So he had a cup of tea and a chat, then drove home again. He came again about a week later, on May 13th, this time with everything. I set the level too high for the first two takes, not quite allowing for his enormous dynamic range (which really was not suitable for analogue recording and reproduction equipment). The result was too much distortion for his liking. The level was corrected for the third take which was the one used as the title track on the LP, even though he preferred the music on the earlier takes. All but one of the short pieces on the second side of the LP were recorded by Bob Woolford around the same time, probably at Derek's home. (The exception, 'Improvisation 104(b),' was recorded the previous year and originally released on one of the Incus TAPs -- mini reel-to-reel tapes that were an attempt to bypass the technical problems of going from tape to vinyl. They were reissued by Organ of Corti.) 'Pain In The Chest' and 'In Joke (Take 2)' feature the unamplified 19-string (approx) guitar, which was probably the only instrument that Derek modified -- he otherwise used standard guitars. There was a shortage of good vinyl at the time, making it difficult to get decent pressings. (The original pressing of the solo Steve Lacy Emanem LP sounded as though it had been recorded in a hail-storm.) We were recommended to go to a pressing plant that specialized in 'classical' music. (At the same time that Derek was trying to get Lot 74 pressed, I was also working on his duo album with Anthony Braxton.) The first test pressing of Lot 74 was very muffled, and we discovered that the cutting engineer had played the tape up-side-down, so that the music had been filtered through the tape backing (used on professional tapes to reduce print-through). The cutting was subsequently redone correctly, resulting in an acceptable test pressing. However, the plant manager was completely incredulous and perplexed, as he was used to checking pressings using his library of scores of Beethoven sonatas and the like. How could he tell if the vocal and feedback howls at the start of side two ('Together') were correct? Over thirty years later, advances in technology have eliminated most of the technical problems we had then, so that this magnificent music can be heard sounding better than ever. Every so often, I get someone asking me to issue things on vinyl -- my response is usually not very polite." Martin Davidson
Derek Bailey - Lot 74
Oxley's experimental electronics album. Anyone who has heard Pat Thomas do Black Top will hear Pat in this - high end keys, spoken word samples, worked with Matt Wand on drum machine and percussion, rather than Orphy Robinson. In fact, Derek and Tony sit out and let them record "Duo MP" - a sparse, alien affair with fantastic tape loops. The following "TD Duo" is Bailey and Bevan all skittering and brittle, just as you'd imagine. Overall it's the quartet that really works, and you can tell how much fun they're having. A natural foreground to Derek's exeriments on Limescale, and again, Pat Thomas's work on Re-rectangle's And (with Steve Noble and Derek Bailey) and later his duo Black Top. --- Matt Wand / drum machine, electronics, tapesDerek Bailey / electric guitarPat Thomas / electronics, keyboardTony Oxley / percussion --- Recorded on 8th April 1992 at WDR, Cologne, by Werner Srasser & Peter Eichenseher. Edited by Ulrich Kurth. Design by Karen Brookman. Painting ‘The Singer’ by Tony Oxley. Photography by Max Lautenschlager. Post Production by John Haddon.
The Tony Oxley Quartet - s/t
"Oxley and Bailey first played together in 1963. Although they come from the same city and share the same kind of background their meeting was, in a way, coincidental. Bailey - 10 years older than Oxley - after some years working away from their hometown, returned for what was initially intended to be a brief family visit. The musical situation he found there persuaded him to stay. Oxley and Bailey then worked together, continuously and intensively, for the next three years and developed, with Gavin Bryars who was then a bass player, their own particular approach to free improvisation. Since 1966, their working relationship, although intermittent, has continued in a multitude of different playing situations. Initially, during the late 60's and early 70's, much of it was in the context of Tony Oxley's small groups - quartet, quintet and sextet. From the late 70's on, it would sometimes be within Derek Bailey's improvisor's ensemble, Company. Throughout, and increasingly in the 1990's, they have played in duo. These recordings, a London studio recording made in 1977, and a concert recorded in New York 1995, are testament to the remarkable richness and sustained variety of their musical relationship." - Simon Kelly --- Derek Bailey / electric & acoustic guitars Tony Oxley / acoustic & electric percussion, violin --- Tracks 1-4: Recorded in Soho, London in February 1977 by Kevin Spencer. Tracks 5-10: Recorded at the Knitting Factory, NYC in September 1995 by James Mclean. PPhotographs of Derek Bailey & Tony Oxley in concert (France, May, 1997) by Franz-Heinrich Busch. Post Production & design by Karen Brookman.
Derek Bailey & Tony Oxley - Soho Suites
"Quite simply, Company produced some of the most stimulating improvised music you will ever hear." - John Eyles 1982 line-up of Company. Keith Tippett, Fred Frith and George Lewis are joined by concert pianist Ursula Oppens and composer & harpist Anne LeBaron. After playing more frrequently in Japan in the late seventies, Bailey had also invited Motoharu Yoshizawa on bass and Akio Suzuki on assorted instruments like glass harmonica. --- Derek Bailey / guitarJulie Tippetts / guitar, voice, fluteMoto Yoshizawa / bassFred Frith / electric guitar, electronics, percussionAkio Suzuki / glass harmonica, spring gong, kikkokiririkiAnne LeBaron / harpKeith Tippett / pianoUrsula Opens / pianoGeorge Lewis / trombonePhil Wachsmann / violin, electronics --- Recorded by Jean-Marc Foussat. Produced by Derek Bailey & Evan Parker. Design by Karen Brookman. Financial assistance by The Arts Council.
Company - Epiphanies
Kicking off a series of collaborations between Honest Jon's Records and Incus: Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Recorded in 1971, this was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, remastered by Rashad Becker, and available for download exclusively here. --- Derek Bailey / guitar, synthesizer — Tracks 1-13 recorded by Bob Woolford and Hugh Davies. Photographs by Roberto Masotti. Mastered by Rashad Becker.
Derek Bailey - Solo Guitar Volume 1
Two concerts of experimental improvisation from Eddie Prevost and Christian Wolff, two giants of conceptual improvisation and composition, recorded at Ikletick in London in 2015 and at Dartmouth College, in Hanover, New Hampshire in 2016; with superb pacing and brilliant execution, these dialogs between keyboard and percussive instruments explore unique sound worlds with depth, inquisitiveness, and a sense of wonder. "The set documents two concerts - 1, recorded at Iklectik in London in September 2015, is in two parts, 37 and 18 minutes in length; 2, recorded at Dartmouth College in New Hampshire, in July 2016 is a singular 50-minute piece. Each musician restricts himself to a relative narrow palate. Prévost uses a bass drum as both drum and resonator and explores bowing and scraping cymbals for sustained metallic sounds, with very rare eruptions of multiple sounds. Wolff plays piano with even greater delicacy, from isolated sustained tones, alternated intervals, subtle use of plucked strings and minimal preparation and an occasional brief melodic figure. A keyboard wind instrument, perhaps a melodica, arises brieflyin both concerts." - Free Jazz Collective --- Eddie Prévost / percussion Christian Wollf /piano --- Artwork by Myah Chun Grierson. Edited and mastered by Giovani La Rovere and Rupert Clervaux. Recorded by Giovani La Rovere and Sangwook Nam.
Christian Wolff & Eddie Prévost - Uncertain Outcomes
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Recorded at a concert given at The Band on the Wall Manchester, England on 26th May 1994. --- Marilyn Crispell / piano Eddie Prévost / drums --- Tracklisting: 1. Opening Time - 6:49 2. Slow Chaser - 3:59 3. Fragments - 2:48 4. Dogbolter - 2:05 5. Apart (I) - 2:33 6. As Our Tongues Lap Up The Burning Air - 6:29 7. Old Thumper - 1:08 8. Night Moves - 12:11 9. Bishop's Finger - 1:11 10. Irons - 3:47 11. Quiet Now - 3:37 12. Spitfire - 3:42 13. Last Orders - 8:20
Marilyn Crispell / Eddie Prévost - Band on the Wall
Complete audio recordings of Evan Parker, John Edwards and Eddie Prévost's May 2013 residency at Cafe OTO. --- Evan Parker / tenor saxophone John Edwards / double bass Edwin (Eddie) Prévost / drums Alexander von Schlippenbach / piano Christof Thewes / trombone --- "Given the different line-ups and the inclusion of both sets from each of three nights, the listener is presented with the chance to hear the music exposed and developing in many dimensions. Not only can each player be heard by himself and in shifting combinations - duet, trio or quartet - with the others, but the progression in mood and approach across an entire evening can be clearly appreciated. This is particularly marked on the second disc, where the careful exploration of the first set is succeded by the all-in surge of the second, which begins as if the four are resuming an interruped conversation. From the first night to the last, the music played over these three nights is of the highest quality. What can't be captured in the discs, but should never be underestimated, is the presence of listeners whose attentiveness cleared and charged the space in which the performers could do their work of creating a music as delicate in its inner workings as it is robust in its insistance on building for itself, night after night, a world without walls." - Richard Williams. --- Audio recorded by Giovanni LaRovere. Mastered by Rupert Clervaux.
3 Nights at Cafe OTO
"Crux" is an Organum track, featuring Andrew Chalk on bowed gong, David Jackman on drone flute & bowed piano, Dinah Jane Rowe on drone flute and Stephen Stapleton on chair. "Flayed" features mainly AMM's Prévost on drums, general percussion and acme thunderer whistle, while Jackman added some bowed gongs and electronic sounds. "If you like the dronescapes of traditional Far Eastern musics, you'll love 'Crux'; if you wigged out to La Monte Young at his most conceptual, you'll do much the same with this. Better still, you may love 'Crux' having previously heard none of these supposed influences; you're simply wired for sound." - David Ilic. --- Andrew Chalk / bowed gong David Jackman / drone flute, bowed piano, bowed cymbal and electronics Dinah Jane Rowe / drone flute Eddie Prévost / percussion, acme thunderer Steven Stapleton / chair --- Flayed and Crux were produced by David Jackman and first featured on an LP released on Silent Records (SR8704A/B). Artwork by David Jackman.
Eddie Prévost & Organum - FLAYED / CRUX
"Alan Wilkinson’s best known for his work with the high-energy Hession-Wilkinson-Fell trio. His discography includes just two duets, both with guitar players, but anyone who can stand up to both Derek Bailey and Stefan Jaworzyn comes out of a large and resource-rich bag. He is by far the most energy-oriented player to join Prévost in this particular ring, but the latter’s overriding determination to play exactly what the music of the moment requires serves him well here. Despite what I said a moment, ago, don’t get the idea that there’s any sparring going on here; while Wilkinson hits hard on both alto and baritone sax, this is a record where the two men work together, not against each other. Each is respectful of the other’s individuality and ability. Wilkinson does contribute some feral blowing; his unbridled snorts and whinnies on the title track are positively Ayleresque in their dimensions. But Prévost’s contributions take the music to a different place, unstable yet completely assured. His work in AMM has labeled him a percussionist, and rightly so, but listen to “Supa, Supa;” with its shuffling high-hat and dancing brushes – this is idiomatically aware jazz drumming of a very high order. Some of the best music occurs when they bring things down. On the lengthy and languorous “For Marlene,” baritone first sings quietly and then bubbles while toms rumble; a melody winds and twists whilst discovering itself in empty space. Exquisite." - Bill Meyer, Dusted Magazine --- Eddie Prévost / drums Alan Wilkinson / alto & baritone saxophones --- Recorded at Barefoot Studios, London, on 10th January 2006, by Mark Richie. Front cover by Gina Southgate.
Eddie Prévost / Alan Wilkinson - So Are We, So Are We
"These pieces create a coherent and cohesive statement of Cardew's approach to interdeterminacy. They set in motion his dual attention to extreme pragmatism and philosophical, even utopian ideals. They are subtle essays in how one might initiate a skeletal framework to be fleshed out, to be made corporeal, by future generations. Cardew referred to this as 'growth mechanisms' : ie, how changing performance practice and musical outlooks can be accommodated by compositional activity. It is a balance between 'cogent explicitness' and 'sufficient flexibility' rather than a fully notated, self contained piece." - David Ryan, 2001. --- Anton Lukoszevieze / celloSimon Allen / vibraphone & marimbaBridget Carey / viola Rhodri Davies / harpAndrew Sparling / clarinetDavid Ryan / bass clarinet & pianoSarah Walker / piano & prepared pianoDave Smith / prepared piano & melodicaTania Chen /pianoRobert Coleridge / organMichael Parsons / electronic keyboard --- Recorded by Apartment House, directed by Anton Lukoszevieze. First commercially released recordings of many of Cardew's early compositions.Recorded at Gateway Studio, Kingston-upon-Thames on the 6th and 7th of April, 2001. Front cover artwork: detail from 'Solo with Accompaniment'
Cornelius Cardew - Chamber Music 1955 - 64 performed by Apartment House
"Their 5th album finds the band in a studio again, in their label Trost Records hometown Vienna, with time and the desire to try something new. Seven compositions in the disctinctive strong FULL BLAST nature get an exciting electronic treatment by Michael Wertmüller (sounds/electronics by Gerd Rische- head of Berlin Acadamy of Electro-acoustic Music 1995-2014) during and after the recording. For mixing the band decided to work with Gareth Jones (well-known for his work with Einstürzende Neubauten and Depeche Mode), whom they have used with Pliakas‘ Band Steamboat Switzerland before. FULL BLAST created an album that in his nonconformism and richness in variety stands on his own in contemporary jazz." --- Peter Brötzmann / reeds Marino Pliakas / e-bass Michael Wertmüller / drums Gerd Rische / electronics --- CREDITS:Recording: Martin SiewertProduction: Konstantin DrobilMix: Martin SiewertMastering: Martin SiewertArtwork: Peter Brötzmann
Full Blast – Risc
"Wild free jazz grooves, another monster of an album from the trio of reedist Mats Gustafsson, bassist Ingebrigt Haker Flaten and drummer Paal Nilssen-Love with guests Anna Hogberg on alto sax and Goran Kajfes on cornet; intense, passionate, and precise." --- Mats Gustafsson / tenor & baritone saxophones Ingebrigt Håker Flaten / electric & double bass Paal Nilssen-Love / drums, percussion Additional guests on Aim: Anna Högberg / alto saxophone Goran Kajfes / cornet --- Recorded June 1st and 2nd 2015 by Jørgen Træen at Duper studio, Bergen Norway. Mixed June-July 2015 by Johan Berthling and Andreas Werlin, Stockholm Sweden. Mastered by Lupo at Calyx Mastering, Cover by Lasse Marhaug.
The Thing – Shake
"Consisting of Mats Gustafsson (sax), Ingebrigt Haker Flaten (bass), and Paul Nilssen-Love (drums), this trio plows through nearly 40 minutes of improv across three tracks." "The Thing is still archetypal free jazz/rock of the 21st century - it’s a group you might recommend to someone who wants to explore a more adventurous genre, although they work for experienced listeners as well. I’m surprised how this band wins me over again …. and again." Free Jazz Blog --- Mats Gustafsson / tenor & baritone saxophone Ingebrigt Håker Flaten / electric & double bass Paal Nilssen-Love / drums, percussion --- Recorded July 2nd and 3rd, 2017 by Øyvind Gundersen at Studio Paradiso, Oslo Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm Mastered by Lupo at Calyx mastering, Berlin Liner notes by Brian Morto.
The Thing – Again
French guitar player Boni teamed up with legendary US jazz-musician McPhee in the early 80s for some intense cooperations and albums (as a duo and as a trio with Andre Jaume). The complete concert inspired by the words of Eric Dolphy: "When you hear music, After it's over, It's gone, In the air, You can never capture it again." --- Joe McPhee / soprano saxophone, electronics and voice Raymond Boni / Electric guitar and electronics --- Recorded at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus. April 20,1985
Joe McPhee & Raymond Boni – Live From The Magic City
"A giant two day meeting of three outstanding musicians German legend Peter Brötzmann is one of the leading saxophone players in the current international free jazz scene, continuing to tour and release with various musicians. Keiji Haino – japanese avantgarde wizard, mesmerizing with voice and guitar. Jim O’Rourke –outstanding composer, from ambient to free jazz to rock." --- Peter Brötzmann / alto/tenor-saxophone, tarogato, clarinet Jim O‘Rourke / guitar Keiji Haino / guitar, voice, shamisen --- Recorded At Shinjuku Pit Inn, Tokyo, on November 23, 2010 In memoriam: Yasuo Fujimura. Thanks to Kanji Suzuki & The Pit Inn Staff, and Mark Rappaport.
Peter Brötzmann, Jim O'Rourke, Keiji Haino – Two City Blues 2
"Hermann Nitsch playing the church organ in the Jesuit church of Vienna, November 20th, 2013. Four heavy drone pieces, mastered by Martin Siewert. These four tracks of Nitsch performing solo on organ are made of sustained drones that are soothing and intense. Music is beautiful and meditative, as it slowly evolves and transforms, full trills that shimmer with celestial light and glide slowly into one another in a harmony that's at the opposite of Nitsch's jarring and disturbing Aktion pieces, though with a similar droning minimalism aesthetic." --- Tracklisting: 1. Satz 1 - 16:04 2. Satz 2 - 13:16 3. Satz 3 - 11:54 4. Satz 4 - 13:00
Hermann Nitsch – Orgelkonzert Jesuitenkirche 20.11.2013
Brotzmann's mighty Tentet with Joe McPhee, Mats Gustafsson, Ken Vandermark, Paal Nilssen-Love, &c. live at Molde, Norway in 2007. "Three compositions showing all the expressive force and spontaneity of these free improvisers. At Molde 2007 is a recording that could narrate all the accumulated experience and the communicative capability of this ensemble; a decade of genuine artistic effort by the Tentet from Chicago." --- Peter Brötzmann / reedsJohannes Bauer / tromboneMats Gustafsson / saxophonesPer-Ake Holmlander / tubaKent Kessler / bassFred Lonberg-Holm / celloJoe McPhee / trumpetPaal Nilssen-Love / drumsKen Vandermark / reedsMichael Zerang / drums
Chicago Tentet - At Molde 2007
"Chicago-based multi-instrumentalist, composer and bandleader Ken Vandermark is widely known for paying homage to artists of various disciplines, regularly including dedications in his song titles to those who have inspired him. On 35mm, the studio debut of his newest ensemble, The Frame Quartet, Vandermark reveals his longstanding debt to cinema, not only in name, but in approach. Filmmaking is an intensely collaborative medium, and The Frame Quartet embraces this concept implicitly; Vandermark is the sole writer, yet each of the album's five compositions is conducted by a different member of the quartet, except for "M.E.S. (for Merce Cunningham)." Though only "Lens (for Ennio Morricone)" is dedicated to an artist directly involved in film, all of the pieces embrace the art form's predilection for linear development. Eschewing conventional forms, these labyrinthine structures transition suddenly between modes, emulating cinema's narrative flow with dramatic shifts in tone that parallel the sudden splice cuts found in celluloid editing. Bringing these episodic works to life are some of Chicago's most resourceful improvisers, including cellist Fred Lonberg-Holm, bassist Nate McBride, and drummer Tim Daisy—all veterans of Vandermark's numerous ensembles. Utilizing an array of raw, electronic EFX, Longberg-Holm veers from austere acoustic cadenzas to amplified torrents of coruscating feedback. McBride alternates between upright and electric bass, while Vandermark reserves his clarinet for introspective moments, unfurling burly, pneumatic cadences on tenor saxophone elsewhere." - All About Jazz Recorded on 29 July 2009 at Strobe Recording, Chicago
The Frame Quartet – 35mm
"Inspired and relaxed duo compositions between Chicago's Ken Vandermark on reeds and Pandelis Karayorgis on piano performing original compositions. Vandermark dedicates one work to Derek Bailey, and one to Misha Mengelberg. Beautifully balanced work that alternately relaxes and incites the listener." "The pair had recorded once before in a 1999 trio with bassist Nate McBride. On Foreground Music they are found in the intimacy of a duo, sharing song-writing responsibilities. Vandermark wrote all new music for the collaboration and sticks to tenor saxophone and clarinet. The opportunity to hear him in subtle dialogue with a pianist is intriguing. None of the usual bombast is here and even Vandermark's pieces seem geared towards the understated." - All About Jazz.
KEN VANDERMARK and PANDELIS KARAYORGIS - FOREGROUND MUSIC
"The first recording between Swedish dynamo Mats Gustafsson (tenor/baritone saxes & French glageolett) and Chicago's reigning tenor giant, Ken Vandermark (also on bass clarinet). The rhythm section consists of perennial Vandermark bassist collaborator Kent Kessler and Steve Hunt on drums." --- Mats Gustafsson / tenor and baritone sax, french flageolett Steve Hunt / drums Kent Kessler / bass Ken Vandermark / tenor sax and bass clarinet --- Recorded on October 15, 1995 at Überstudio, Chicago.
FJF - Blow Horn
"Trio featuring Peter Broetzmann (A-clarinet/tarogato-alto/tenor & bass saxophone), Mats Gustafsson (tenor & baritone saxophone), Ken Vandermark (B-flat-clarinet - tenor & baritone Saxophone). Recorded live at the LOFT in Köln Oct. '03. 7 improvised pieces." "No One Ever Works Alone has 24 possible saxophone combinations multiplied by Peter Brötzmann's indefatigability, Mats Gustafsson's percussive brilliance and Ken Vandermark's synthesis of the entire saxophone tradition. These three form the core of Brötzmann's Chicago Tentet, a marvelous large ensemble, and that vigor has been compacted here. Sonore is an example of how "free jazz", music that has no repertoire, no standards, relies on the head-on collision of different musical perspectives. Vandermark and Gustafsson here are quite different than on two projects released on the Oslo-based Smalltown Superjazz label." - All About Jazz
Sonore - No One Ever Works Alone
"Talk about powerhouse trios! Take the fastest rising saxophone star in improvised music, put him together with the most innovative bassist in Europe and the most inventive percussionist in the world, and what do you get? ...a magnificent meeting of minds recorded in the studio during a broadcast on Swedish radio in 1992. The distinct elements: Gustafsson's lightning-quick soprano, tenor, baritone and fluteophone (his own invention), Guy's gonzo technique and unreal preparations (scrub brushes, sticks, mallets, slides and multiple bows) and Lovens' precision timing, volcanic energy and brilliant use of timbre and texture...a trio more exciting and combustible (if that's possible) than the sum of its parts."
Mats Gustafsson / Barry Guy / Paul Lovens - Mouth Eating Trees and Related Activities
Edition Wandelweiser co-founder Jürg Frey presents the starkly beautiful minimalism of ’24 Wörter’, a song cycle based around the album’s evocative song titles, and performed by the trio of Regula Konrad (soprano), Andrew Nathaniel McIntosh (violin), and Dante Boon (piano). They’re mostly very succinct works with no detectable fat to trim, forming a gorgeous, dreamlike archipelago of experimental contemporary classical compositions... “Jürg Frey in conversation with Thomas Adank: JF: The 24 words are the titles of the individual pieces, and they are at the same time the entire text. They are also a list that shows how the piece gets from a beginning to an end. It is, in a sense, a cycle not simply a collection of pieces - a cycle which begins, makes a journey and ends at a different place. TA: If I had to categorize this list of words, it seems to me they are addressed to quite different areas. Herzeleid (Heartbreak) for example, sounds old-fashioned, Einsamkeitsmangel (Lack of Loneliness) almost sounds like a neologism, as do Halbschlafphantasie, (Half-Sleep Fantasy) Sehnsuchtslandschaft (Landscape of Longing), Vergessenheitsvogel (Bird of Oblivion). Others, such as Tod (Death), Schlaf (Sleep), Glück (Happiness), Wind (Wind), are very often used in everyday life. Did you, as you compiled this list, consider these categories? Or did you tell yourself a story that made these words necessary? JF: I was thinking in categories. At first I really wanted to make an even more rigid sequence. As it now stands, with the long words at the end and the short words in the middle, you can still feel a little of this structure; also at the beginning, which has many words with "e" and "ei". However, now it is not so strict. The words developed lives of their own, and this displaced some of the original structure. Some are everyday words, others are made by combining words, and some words found individual paths into the piece, including some very personal things. L'oiseau d'oubli ("Vergessenheitsvogel",Bird of Oblivion) comes from Edmond Jabès and is a tribute to this author I adore. But I also think that here Jabès has given me the perfect word. --- Dante Boon / pianoRegula Konrad / vocalsAndrew Nathaniel Mcintosh / violin --- Recorded 16.17 September 2013, Aarau, Schweiz.
Jürg Frey - 24 Wörter
Composer Eva-Maria Houben in a collaborative work with bass flutist Rebecca Lane and bass clarinetist Samuel Dunscomb, the composer performing on piano and orgran, for two renderings of "Observing Objects", a patient work of long notes and tones interspersed with silence, lower registers in the winds balanced by the piano or organ's upper register. --- Samuel Dunscombe / bass clarinetRebecca Lane / bass fluteEva-Maria Houben / organ, piano --- Tracklisting: 1. Observing Objects - 28:18 2. Observing Objects - 28:18
Eva-Maria Houben. Rebecca Lane. Samuel Dunscombe - observing objects
The piece originated from a field recording at Mentryville Park in Southern California; alone, in the same location, and as the sun was rising, which was transcribed by Martin and Amy Golden, Ben Levinson, Davy Sumner, and Ryan Gaston using Martin's system of notating silence. All slightly different, these five transcriptions were then combined into a score in which performers could wander while reading at their own pace(s) left to right. Tracklisting: 1. so softly that it came, a wild dim chatter, meaningless - 72:00
LUKE MARTIN - so softly that it came, a wild dim chatter, meaningless
"'Air" is yet another utterly impressive offering from, in my opinion, one of the most consistently extraordinary composers at work today, one who continues to unveil new facets of her persona. Hear it." - Brian Olewnick "And if you would ask me for a statement to composing, to my composing – I would answer: listening becomes the awareness of fading sound. Fading sound is the link between life and art; between perception in daily life and perception while performing, while composing. And the awareness of fading sound may become the awareness of presence.I am pianist and – in addition – organist. As organist I never forget that the organ is a wind-instrument. My pieces for organ and my “installations” for organ (the installations last many hours) ask: Am I realizing a piece? There is hardly anything you may hear in the church. The organ releases as a jewel each single sound; each stream of air; each noise: disappearing into the space of the hall. The listener will find the way to listening: in this particular room with this particular organ and its streams of sound/ air/ wind. All sound, all streams of air and noises are quiet; sometimes hardly recognizable. The sound of music; the noise of music; the sound and noise of everyday life: they cut into each other. Both sound and noise of music do not depend on silence as with a piece of music. Both sound and noise do not need any silent location: they are quiet themselves; their quietness creates silent rooms, which welcome all sounds. It is organ the machine and human beings working together. Man cannot breathe sounds of almost eternal duration; but the organ must not be considered a machine. My pieces for organ require the player: moving the keys; make the winds stream. Sounds, wind, noises of the organ as a wind-instrument and the silence at sacred spaces: not a coincidence. Churches’ sacred spaces turn into locations for people to nothing more than just be there and breathe; where people can listen – unhindered by any possible meaning of sounds and streams of air. In spite of the fact that the organ may have an endless breath – I composed one of my first organ pieces dazwischen (between) (2000) with two drones – you can hear “nearly nothing” by listening to the streams of air." - Eva-Maria Houben --- Recorded 2014, ref. church Elgg, Switzerland (ein schlummer), Hardstudios Winterthur, Switzerland (aufhören; atmen V: flutes), St Margareta, Dortmund-Eichlinghofen (atmen 5, organ)
Eva Maria Houben - Air - works for flutes and organ
"Madrid born composer, painter and sculptor Maria De Alvear wrote Besando El Tiempo in 1995. Public awareness of her music had grown a few years earlier with pianist Hildegard Kleeb’s excellent, intense and flinty interpretation of her spartan score En Amor Duro (hatART CD). Revisiting that encounter with tough love might be good preparation for the testing experience of listening to flautist Antoine Beuger on this stark and protracted new release. De Alvear’s refusal to dress instrumental sound in anything more than rudimentary musical trappings is disarming. The flute player often seems to have become absorbed by some private ritual, meandering in quiet introspection, picking over simple phrases at considerable length, all the while grappling with the task of kissing time set out in the title." - The Wire --- Tracklisting: 1. Besando El Tiempo (7./8.2.1995) 46:032. Besando El Tiempo (9./10.2.1995) 47:19 --- Recorded: Haan (2015/2016)
Maria de alvear - besando el tiempo
"Issued under Bondi's name, he's joined by his Diatribes partner D'Incise on this composition, the former playing Indian harmonium, melodica, harmonica and pitch pipes, the latter Indian harmonium, electric organ and melodica. From the instrumentation alone, you get the idea that you're going to be experiencing, among other things, some rich drone-oriented music and yes, that's one aspect of 'euhesma, 2017'. Euhesma, incidentally, is a genus of bee and one wonders whether at least part of the piece is a meditation on that species' apparent decline in the world." - Brian Olewnick --- Tracklisting: 1. Euhesma, 2017 - 40:18 --- Cyril Bondi / harmonium, melodica, harmonica, pitch pipesd'incise / harmonium, organ, melodica ---
Cyril Bondi - Euhesma, 2017
“Not since the early days of MC5 at the Grande Ballroom in Detroit, circa 1968, had there been such an organic melding of sheer metalesque maelstrom and free jazz. These archival recordings from the legendary punk club CBGB capture a moment in time when open-minded musicians from the ‘downtown scene’ were exploring the possibility of bringing Lou Reed’s feedback-infested Metal Machine Music together with Albert Ayler’s Love Cry. Dissipated Face guitarist Kurt “Hologram” Ralske and special guest saxophonist Daniel Carter provided that implausible link between punk rock and avant garde jazz on these 1986 live recordings. Fueled by the throbbing rhythms of Steve “X Dream” Popkin and Ben “Face” Munves, who alternated on bass and drums, Ralske’s twisted, thrashing power chords and shrieking licks blend with Carter’s cathartic alto sax wailing to make the perfect union of disparate worlds." “Ralske would go on to attain a certain level of indie rock fame with Ultra Vivid Scene and subsequently make an impact as a London-based producer-conceptualist-avant-popmeister and visual artist. Carter would become one of the most ubiquitous figures on New York’s free jazz scene, recording with William Parker, David S. Ware, Billy Bang, Alan Silva and Matthew Shipp and the cooperative bands Test and Other Dimensions in Music. But for this one moment back in 1986, their paths crossed with bandmates Popkin and Munves, and the results were frighteningly intense.” – Bill Milkowski. “Don’t let the Raymond Pettibon cover fool you—this ain’t exactly some SST discard that cluttered up the amerindie record collections of the late-eighties! Dissipated Face, although they could have made it as a fringe signing to that infamous label, are a tad different’n the reams of collegeboy experimental bleats that were getting a whole lotta hosannas from cloistered clods like myself. As if you actually knew, Dissipated Face were a hot trio that was romping through the post-fun era of NYC rock back when they laid these sides down at CBGB on July 31st of 1986, and their mix of everything from free jazz and late-seventies avant-prog to punk rock made for some of the wildest mergings of the form since Red Transistor. Nothing as out-there as that group, but better’n many a similar-minded excursion into freedom aesthetics. What’s best is that none other’n noted avant saxist himself Daniel Carter sat in giving a particularly Albert Ayler-ish air to these excursions, so if you were a fan of this guy’s various endeavors on the stage of the CBGB Lounge during the final days of Hilly you’ll be glad to know that he was in on the punk jazz game for a longer time’n you could’ve dreamed!” – Christopher Stigliano, Black To Comm “Oddball discovery of a live meeting of an early group led by Ultra Vivid Scene’s Kurt Raiske with the always amazing Daniel Carter guesting. Carter’s on sax here, and the blend – right near the end of New York City’s post-SIN Club trajectory – is a very cool collision between free jazz and lateperiod scum-rock readymades. Why was this not known of before?” – Byron Coley, The Wire “If you’re like me, and you got into standard rock music that had choruses and verses and bridges as a child, but always longed for something more extreme, you probably remember the moment you first heard Septic Death or Albert Ayler or Wolf Eyes or Mr. Bungle or whatever it was that destroyed the musical parameters previously established by your brain. I bet if I stumbled into CBGB’s in 1986, everyone probably would’ve been like “who the hell let a five year-old in here, where are his parents?”, but supposing I was a teenager or something, Dissipated Face probably would’ve cracked my skull open with their flailing, post-no-wave free-rock assault. They sound like one of those early ’80s downtown NY groups like Lounge Lizards or Material or Golden Palominos, had they crashed into Reagan Youth on the cab ride over with the few surviving members improvising live.” - Yellow Green Red “Frantic free punk, that reminds me of Easter Monkeys, then Flipper, then Pere Ubu… it’s wound up post VU sounds from the streets of NYC when that still meant something, inflections of no wave spurting saxophone and weirdly HC-esque guitars, but the swagger and fuck-you take over and overpower the skronk…It’s reminiscent of MC5′s incursions into jazz, not jam Ginn band shit, but fucked up on PCP Les Dirtbags out for blood, armed with Sun Ra and the Dead Boys. Sick Pettibon cover art too. Eat it or beat it!” – Layla Gibbon, MaximumRockNRoll “In the mid-1980s, Dissipated Face were one of a number of groups weaned on New Music Distribution Service catalogs, cut-out bins, and ready to occupy something of a vacuum. Punk rock, prog, free jazz, funk, modern composition and Downtown art scum were all part of the landscape and exactly what went into their melting pot. Consisting of guitarist Kurt “Hologram” Ralske and Stephen “X. Dream” Popkin and Ben “Face” Munves trading off bass, vocals and drums, their approach ranged from cut-throat punk slop to unhinged bluesy sleaze (the wonderfully bizarre “Streets Of New York” with its hardcore breakdowns). The guest appearance of alto saxophonist Daniel Carter on these four archival cuts recorded live at CBGB in 1986 adds an extra dose of fire to the proceedings. A regular in the groups of bassist-composer William Parker and a fixture in the New York free jazz environment since the mid-70s, his jubilant squall nudges Ralske’s wiry, feedback-drenched statements to unbridled heights. Given more room to stretch it would be interesting to hear what these players could accomplish, but the seven-inch format gives these tracks an extreme urgency, as though if one blinked the music’s gifts would be lost. Thanks are due to Minneapolis’ Roaratorio Records for releasing this snapshot (replete with Raymond Pettibon artwork) of an ecstatic DIY moment.” – Clifford Allen, Tiny Mix Tapes
Dissipated Face With Daniel Carter - Live At CBGB 1986
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A revelatory debut album by a 64 year old pianist/composer may beg the question: where has Carei Thomas been all this time? Born in a culturally diverse neighborhood of Pittsburgh, Thomas cut his musical teeth in Chicago during a particularly fertile period for that city: gigging with Sun Ra as an improvising vocalist in 1959-60, joining up with the AACM for one hot minute in 1966, co-founding a group called The Light with Kalaparusha Maurice McIntyre (which also included Jerome Cooper and Wadada Leo Smith), and forming the compositional concepts that would provide a springboard for tireless exploration in the ensuing decades. Thomas moved to Minneapolis in 1972, where, in the mode of Horace Tapscott, he eschewed the industry-driven career path, choosing instead to work within the Twin Cities’ community. Recorded live with a group that features, most notably, the unfettered talents of Curlew saxophonist George Cartwright, Mining Our Bid’ness represents the range of Thomas’ no-boundaries Feel Free Ensemble, running the gamut from gorgeous Ellingtonian ballads to combustible free jazz testifying. Packaged in a mini-LP gatefold sleeve, with cover artwork by Judith Lindbloom, and liner notes by, among other contributors, Douglas Ewart and Anthony Cox. Until now, Thomas’ name has been known mostly to fellow musicians (David Murray, Sunny Murray and James Newton are counted among his admirers); this recording serves as the first opportunity for the general public to hear this important figure in the world of creative improvised music. “Thomas displays an intuitive element for inspiring action from the musicians who surround him….on this series of mostly quintet performances, he works wonders as a stimulating wellspring of ideas.” – Frank Rubolino, One Final Note “Like Duke Ellington, Thomas conducts via the piano, using it to cue and cajole the ensemble… while his approach is considerably more freewheeling than Ellington’s, the end result is equally appealing.” – Rod Smith, Minneapolis Star Tribune “His compositions, in true AACM style, are harmonically complex and allow for numerous changes of tempo and instrumentation… ‘Tippy/One Ahead’ says more in nine minutes than most musicians do in a whole album…” – Dan Warburton, The Wire “[Thomas'] user-friendly compositions lighten the theoretical rigor of avant-jazz with playful humor and friendly tunefulness.” – Cecile Cloutier, City Pages “It seems that every few years, some unknown treasure of American improvised music pops up after decades of toil in relative obscurity… this is fine, passionate music… a pleasant surprise, and [it] will surely please listeners as it did me.” – Jason Bivins,Cadence “…[Thomas'] phrasing caresses the ear and his melodies have a yearning quality that makes Cartwright and Sandberg’s in-out-and-back-in solos sound right at home…well worth hearing.” – Francois Couture, All Music Guide
Carei Thomas Feel Free Ensemble - Mining Our Bid'Ness
"Second album by the dream pairing of Joe McPhee and Chris Corsano. A follow up to Under A Double Moon, which featured McPhee’s alto saxophone, Scraps And Shadows finds him largely on tenor. Recorded live in Milwaukee in 2011, the album consists of seven dedicatory pieces, from the delicate balladry of “For Adrienne P” to the appropriately combustible “For Han Bennink.” Corsano’s stupendously detailed drumming and McPhee’s free-soul love cries weave a master latticework together. Cover art by Judith Lindbloom." “Multi-instrumentalist Joe McPhee is 72 years old, far enough along that he could be forgiven for kicking back and letting people put laurels upon his brown. But as Fred Anderson, one of the seven dedicatees on this LP of dedications, was reminded every night that he walked off the stage of his club and went right back to stocking the bar, the free-jazz receiving line is a short one.
McPhee knows this, too. Like Anderson, he’s carrying on as he always has, pushing himself to evolve and proving his mettle anew each time he plays. And he makes a special point of celebrating not just the people who’ve come before him, but the people who are making things happen now. Two of the people honored on Scraps and Shadows are no longer with us, but the other five still have earthly hands to receive the bouquets that McPhee and his much younger partner Chris Corsano have picked for them.
But for these two men, paying tribute does not mean making nice; there are plenty of thorns in these bunches of flowers. Sticking mostly to tenor saxophone, McPhee pushes his horn beyond the bounds of convention; he sings through it, or along with it, obtaining otherworldly polytonal effects that’ll put the hairs right up on the back of your neck. He also plumbs his sax for vibrato-laden lines that arc out from whatever cloud the Ayler brothers smile down from these days and gnarled utterances so compacted it’ll take a dozen listens to decode them. He’s more frankly lyrical on his other instruments, using a patiently expressed pocket trumpet melody to set up a fractious tenor-drums duel on “For Paul Flaherty,” and honoring artist/musician/bartender Adrienne Pierlusi with a brief, tender clarinet air.
Corsano is scrupulously attuned to McPhee’s wavelength, using a light rain of cymbal tones to ratchet up haunted anguish of McPhee’s cries on “For Jim Pepper” and powering the saxophonist with gale-force bursts on the unfettered closer “For Han Bennink” before pulling back, way back, to erect the transparent but sturdy scaffold of stick-work for him to ascend at the tune’s end.” – Bill Meyer, Dusted “Scraps And Shadows is a new duo LP with Joe McPhee [and Chris Corsano]. This time, Mr. McPhee plays mostly tenor sax, and his deep, gurgling tone hits tons of places — from pure R&B honk to ripping fiery gusts of sheer overblown freedom. The pieces are dedicated to different saxophonists and drummers, and the results are a lush, grounded and highly jazzic LP.” – Thurston Moore & Byron Coley, Arthur “…a lyrical and tough expansion on the art of McPhee and Corsano.” – Clifford Allen, Ni Kantu
Joe McPhee & Chris Corsano - Scraps and Shadows
Both the 1970 Hope College premiere, performed by a 14-piece ensemble, and a 1977 recording from Wesleyan University, performed by a 43-piece orchestra. The first commercially available release of this eerie, beautiful, and important Oliveros work. “Shortly after it was published in 1968 the SCUM Manifesto by Valerie Solanas fell into my hands. Intrigued by the egalitarian feminist principles set forth in the Manifesto, I wanted to incorporate them in the structure of a new piece that I was composing. The women’s movement was surfacing and I felt the need to express my resonance with this energy. Marilyn Monroe had taken her own life. Valerie Solanas had attempted to take the life of Andy Warhol. Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress. Solanas wished to be supported for her own creative work. Commissioned by the Music Department of Hope College, Holland Michigan, To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation had its premiere in 1970. Though everyone knew Marilyn Monroe hardly anyone recognized Valerie Solanas or took her Manifesto seriously. I brought the names of these two women together in the title of the piece to draw attention to their inequality and to dedicate the piece.” – Pauline Oliveros. “Much of Oliveros’s aesthetic is best understood as environment, areas of aural doldrums providing momentary and slightly queasy resting points, like the requisite standing back from a massive architectural work to take in the whole before venturing back in. In To Valerie Solanas and Marilyn Monroe, the hallmarks of Oliveros’s later philosophy and aesthetic are brought into direct play with politically-charged expressionism. Kudos to Minneapolis-based Roaratorio Records for uncovering such a significant work, a piece of music that will probably scare the living shit out of you. Valerie Solanas would be proud.” – Clifford Allen, Paris Transatlantic “…it’s beautiful and strange, emotionally articulate, and I also believe it succeeds as a much less stilted approach to open composition than Cardew, Cage or Stockhausen. It is truly natural and unforced organic music, semi-scored and collaborative, making efficient use of the energy of the musicians she works with.” – Ed Pinsent, The Sound Projector **** 4 stars : “Oliveros’ magnum feminist opus has a protracted tonal structure comparable to the work of Giacinto Scelsi. Its tenebrous expressivity is beautifully matched by the cover art…” - All Music Guide --- To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation: for any group or groups of instrumentalists (6 to large orchestra), Smith Publications, c1977. 1970 Performance: at Wichers Hall, Hope College, Hope, Michigan; 6 October 1970. 1977 Performance: at Crowell Concert Hall, Wesleyan University, Middletown, Connecticut; 7 April 1977.
Pauline Oliveros - To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation
Since 2003, NYC’s Talibam! have been charting a course through the improv waters in a way that few other groups can pull off. Rock, jazz, noise and all stops in between collide in an aggressive mix that defines free music in the best sense of the term: nothing is deemed out of bounds. Too much fun to be a po-faced postmodern exercise, and too expertly played to be sunk in a morass of good intentions, The New Nixon Tapes hurtles through two side-long pieces in an agile cascade of rhythmic and melodic ideas. Kevin Shea (drums) and Matt Mottel (synthesizer) have worked with Cooper-Moore and Rhys Chatham, among others; here they’re joined by master saxophonist / trumpeter / flautist Daniel Carter. Recorded live in the WFMU studios. Digital download coupon included.“…Mottel and Shea move so effortlessly across the musical map, from ESP / BYG brainfry to psychedelic drone to truly evil boogie (try side two), there’s no point in trying to pigeonhole what they do anymore… exciting stuff.” – Dan Warburton, Paris Transatlantic “The synth and percussion duet of Talibam! is well-served by the addition of reedsman Daniel Carter, a fixture of the NYC free jazz scene… Melodies shoot in every direction but for as free as it is, it’s expertly guided and adheres to a vicscous vision.” – Justin Wunsch, Dusted “[Shea] appropriates the spare detail of John Stevens and distracted antics of a young Han Bennink in a churning, ornate approach to free time. The ensemble is quite well-integrated; Carter’s language, while hard-bitten, is equally that of a slightly differential colorist, so his keening exhortations are textural flits rather than blustery overblowing. To a degree, Mottel and Shea appear to soften their playing, foregoing a penchant for raucousness and knitting together an intensively active instrumental landscape… The New Nixon Tapes offers another equally curious side to Talibam’s art, all of which confounds image and expectation to a truly musical point.” – Clifford Allen, The Austinist “All in all this is really rather enjoyable and will appeal to those who don’t mind some electricity and the invasion of Rock-punk elements into an out soup.” – Grego Applegate Edwards, Cadence
Talibam! With Daniel Carter - The New Nixon Tapes
Rag captures the best from a series of freely improvised meetings between saxophonist George Cartwright and percussionist Davu Seru, recorded at various Minneapolis venues over the course of 2009. Cartwright – longtime leader of Curlew, and owner of a musical c.v. which includes Ornette Coleman, Half Japanese, Alex Chilton and Loren Mazzacane – can be restlessly melodic or jaggedly guttural on the reeds, although his bedrock lyricism is never far from the surface. Seru’s playing is atrompe l’oreille marriage of forward motion and suspended stasis; over the past decade, he’s performed with Milo Fine, Paul Metzger and Evan Parker, among others. From the anthemic opening of “Titus” to the miniature coda of “I Think Eudora Knows,” Rag is a lively dialogue between two masters of their craft. “Cartwright is a protean reed player. On tenor he is capable of reminding the listener of Rollins one minute and Ayler the next. On alto, the Dolphy tinge is evident one minute but there’s also the impassioned melodic streak of Julius Hemphill. But these are all reference points. Cartwright ultimately sounds like himself, obviously a multi-faceted player. He’s well matched by Seru. I suspect if Seru were based in New York instead of Minneapolis, he’d be on everybody’s first call list. He’s a remarkable free player, imbuing the music with a constant motion: ebbing and flowing, responding to and instigating Cartwright to go into different areas with subtle shifts in texture and tempo. These two respond to each other like they’ve been playing together for years. The duets are varied and Cartwright’s shifting of saxophones assures diversity. The only disappointment is that this wasn’t a 2-LP set.” – Robert Iannapollo, Cadence “Across five improvisations, Cartwright is heard on soprano in addition to his usual alto and tenor saxophones. Seru is an interesting foil for Cartwright, start-stop jitters and sound-rhythm cut with an extremely broad stroke, he surges, piles and disappears against hard-bitten, heel-digging tenor on “Titus,” as reedy lines bunch, billow and shout, flaming out and recharging. “Saint Joe to Himself” lopes and wanders at the outset, Cartwright’s soprano hanging behind Seru’s startling rumble and thrash before sending spikes through the mass.The centerpiece of the album is the 18 minute “Troubles like Old Dirt,” which takes up most of the second side, Cartwright’s alto in bubbly, flywheel-charged cycles that recall Oliver Lake at his fiercest. Seru drops out to allow the reedman a space to explore the clicks of his pads and spin out soft, breathy tendrils and terse patter. That patter becomes a bevy of bitter screams as the drummer’s taiko-like jabs and ceremonial weight return to encircle and shove off Cartwright’s volleys, which shift from coiled multiphonics to a sinewy blues processional before reveling in jaunty hops. Rag is an excellent duo, finding two musicians engaged in an epic conversation and tug of wits, breath and rhythm.” – Clifford Allen, All About Jazz
George Cartwright And Davu Seru – Rag
“Orienting Response was written specifically for Cristian Alvear at his request. In writing the piece I wanted to see if I could create the same kind of focus and intensity I have created with percussion instruments using an instrument (the nylon stringed guitar) that is naturally not well-equipped to produce the type of timbres or high dynamic levels that I have worked with up to this point.” ... The score Orienting Response (2015-16), written by Sarah Hennies specifically for Chilean guitarist Cristian Alvear, is composed of six parts with short instructions describing some unusual techniques, such as: Play as accurately and consistently as possible but with the assumption that “mistakes” are inevitable. Allow “mistakes” to occur, do not attempt to correct them. All sounds should ring freely (as long as is possible) unless otherwise indicated. All timings and tempi are approximate and flexible.
Sarah Hennies: Orienting Response by Cristián Alvear
“The recordings were made over a period of a couple of years. The windmill is located about a mile north of the town where i live, on what i assume is ranch land used for raising cattle. It was once used to pull water from underground to fill a couple of large tanks nearby. It's in a bad state and no longer in use. There are two large crows nests at the top, and the inner workings are laying on the ground next to it.” The recordings were made using a mini-disc recorder and hand made contact microphone. They are monaural recordings. Jeph Jerman is appearing in a variety of musical groups and collaborative projects across different genres for more than three decades. From the nineties, we can see in his extensive work a great interest in the sole act of listening. Rather than a classical musician, he is more suggestive of a sound wanderer who sets off daily from his home to the surrounding Arizona desert (characteristically named Sonoran desert), where he records sound fragments or collects found objects which he uses in his improvisations and performances. As a contemplative walker without a set destination, he is interested in the pure sound without references. To what we listen is not so important, what matters most is the time, place and the way we listen. Unlike other field recording artists, Jerman is not interested in the aesthetic richness or sonic variety, but simplicity, gentle differences, vibrations, moderation, and the primordial animalism on the quiet edge of organic and inorganic nature. The 34° 111' 3" N 111° 95' 4" W named field recording is a collection of three pieces, in which Jerman maps a specific place and which carefully reflect his life philosophy. It’s a recording of an abandoned windmill in different times, stages of decomposition and weather conditions. The symbol of the circle and rotation and the moaning material shaped by nature elements subtly fit in the comprehensive sound diary and environment where Jerman moves and lives. "These days I don't try to evoke anything. I make sound that'll hopefully be listened to.“ Jeph Jerman has already collaborated with artists like Jon Mueller, Ben Owen, Taku Sugimoto, Tony Whitehead, John Hudak, Bernhard Günter, Greg Davis, Tim Barnes, Aaron Dilloway, and others.
Jeph Jerman - 34°111'3"N 111°95'4"W
"In the two compositions for vibraphone she wrote for mappa editions, Sarah Hennies analyses the psychoacoustic dimensions of space. Sisters is a sonic exploration which opens the space between the rough walls of the church, an infinite pulse penetrating into every crinkle, hole and fold. In the sense of her quote "When you pulse one note on a vibraphone for 20 minutes, why do you need to do anything else?", we witness the fullness of one single tone, disappearing resonances and gentle changes, which reveal various performative, spatial, psychic and listening situations. Sisters was a challenge for Lenka Novosedlíková, who is slovak composer, performer and organizer. Novosedlíková is well known distinctive figure of the youngest composers generation in Slovakia. She moves across contemporary composition and interpretation (percussion instruments), improv or electronic music projects. She is member of Cluster Ensemble which is renowned Slovak ensemble with many international achievements. We discovered the church in Kyjatice three years ago during our irregular wanderings across southern Slovakia. We were completely enchanted by this well hidden medieval building standing over the village, surrounded by sunny fields and dense forests. We asked ourselves how we could bring life again to the church, how we could fill it with sound which would not interrupt the contemplative character of that specific environment. The result should have been the sound intervention which would awaken and reveal every corner inside of the church. Just for a moment, we wanted to caress all the monumental fresco paintings, creaking wooden benches, pipes of howling organ, hand painted ceiling and carved saints by sound which could release them from the long guarded and abandoned silence. The church in Kyjatice is a sacred place of mappa editions. It blesses all our activities. It's a place of inevitable distance from our everyday life. Here we find distance from our everyday lives. By buying a recording you contribute to better accessibility and maintenance of this significant Roman-gothic monument with valuable fresco decorations. --- composed by Sarah Hennies performed by Lenka Novosedlíková ---Recorded by Jonáš Gruska. Mixed and mastered by Giuseppe Ielasi. Design by Jakub Juhás and Zoltán Czakó. Cover photography by Zoltán Czakó. Liner notes by Jennie Gottschalk. Special thanks to Janka Miháliková, Nina Pacherová and Lukáš Ďurian. Released by mappa as MAP011 in 2018 Supported using public funding by Slovak Arts Council
Sarah Hennies - Sisters
"IQ+1’s third album, titled Conversaphone Plus, as the result of several séances recorded at the end of 2017. Every submersion in its depths is an unrepeatable experience. The organic sonic material is constantly contracting and expanding, adapting itself to the listener’s context, escaping beyond the horizon, creating mimicries, and enticing us to bubbling, popping, and jingling polyrhythms to then release its protective toxins. All six pieces boil on the narrow edge of chaotic decomposition and celestial order in which every sonic detail has its precisely determined position. Field recordings permeate the instruments on an equal footing, making it difficult to identify the sound, instrument, or player, so that each time the record is turned over, a new adventure begins. Federsel (B4, Handa Gote, Gurun Gurun) took care of the connective tissue between the pieces and the balanced post-production architecture. Avoiding irritating instrumental exhibitionism, and egocentric deafness, Conversaphone Plus is nothing less than an uncompromising electro-acoustic testimony to the vitality of the Czech improvising scene. And it is nothing more than an attempt to connect sonic geology with astral listening. Open the window a little – a messenger from the spacecraft known as IQ+1 is descending through the opening." --- George Bagdasarov / vintage turntable, FX, baritone sax Veronika Hladká / violin Jana Kneschke / violin Jaroslav Tarnovski / synths, electronics, percussion, field recordingsPetr Vrba / clarinet, trumpet, electronics Michal Zbořil / analog synths, electronics, Indian harmonium Kateřina Bilejová / body weather --- Recorded by Federsel @ Divadlo Ponec, Prague (1-5) Školská 28, Prague (6) Mixed & mastered by Federsel @ CSN, Prague Artwork by Christian Orlock & design by Kella Translated by Ian Mikyska Thanks to Lukáš Jiřička, Divadlo Ponec, Jakub Juhás, Josef Jindrák Special thanks to Federsel
IQ+1 - Conversaphone Plus
“This recording is based on a particular geographic area of Sydney: the industrial zone around Sydenham Train station. As with many inner city industrial areas in large cities all over the western world, this place is ripe for redevelopment. However, in this case, due to the zone being directly underneath the flight path to Sydney airport, as well as being flood prone due to environmental factors, unscrupulous property developers are not able to completely gut the place and erect hideous apartments. What is interesting to me, and what this recording aims to capture, is that these factors – the aeroplanes and the puddles – act as a form of resistance to the development.” (MP Hopkins) MP Hopkins is a hidden treasure from Australia, a sound artist known for his varied music projects and strange mix of lo-fi urban field recordings and intimate bedroom experiments. Sonic details of empty streets from close neighbourhood, subtle intervention and fragments of lonely voice comments are reminding distinctive forms of sound journalism or a diary for night adventurers. Aeroplanes & Puddles follows the previous Traipse - Marrickville (2015) album which is Hopkins's starting point for his walks along the Sydney suburb. Mappa presents the sonic evidence of this opposition; the non-human voices of resistance that the aeroplanes and water speak with in this acoustic environment. The work features field recordings of the area garnished with a text narrated by Hopkins which combines fragments of the 2017 Australian Federal Budget speech and parts of ‘The Powerhouse’ – a radio play by Richard Packer (Gargoyle Poets series, 1972).”Feel free floating in the holy sound voyeurism and thorough collection of evidence from the other world at the same time." --- Recorded, mixed and mastered by MP Hopkins. Artwork and design by Jakub Juhás, Richard Čecho. Photos by Nina Pacherová. Released by mappa as MAP09 in 2018
MP Hopkins - Aeroplanes & Puddles
"Mappa editions presents special project of Bruno Duplant and Pedro Chambel duo which connects field recordings (2 CD) and Duplant's photographic project emerging from the same concept. “All my new pieces with field recordings are "autofictions/self-fictions". Field recordings, like always with me came from lot of places. I don't care about where were recorded the sound, but much more how to create new entities, territories (the self-fictions/autofictions), which are both fictive, intimate and personal. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.” Bruno Duplant is sound enthusiast, composer, improviser and multi-instrumentalist living in the north of France. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. First one is listening and collecting of surrounding sounds, not especially “natural” ones, but more “cultural” ones. Second one is shaping the sound and the composition itself. “Recording and editing are two different states, one more passive for me (the recording) and the other more active (the work on the sounds, the composition itself). The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt.” In this case the role of active listening is shifted from recording in certain time and space towards studio work and to finding new sound elements, relations and spaces. “I see and name my compositional process (whether for instruments or for field recordings) as an "attempt at organizing chance". The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way. I try to create something new, a new fictional entity that I have named “autofiction”, "self-fiction".” The result is discreet witness of everyday life, where the listening ear is trying to decode and create an imaginative model of well-known place. It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. “The use of discreet electronic sounds came from the idea about to ask oneself the question: where does those sounds came from? Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.” Duplant is autodidact who following and renewing concepts of John Cage, Luc Ferrari, Rolf Julius or Toshiya Tsunoda. In his work we can also find parallels to literary techniques and space or to forms of reading. “First of all, I am teacher, a librarian teacher. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. This is the case for all the poetry of Francis Ponge, the texts of Georges Perec, the philosophy of Gaston Bachelard. So, my life, my practices are not compartmentalized. Besides collaborative sound projects duo Duplant/Chambel is also known for their curatorial work in delicious label Rhizome.s. In past they collaborated with Ilia Belorukov, Lance Austin Olsen, Barry Chabala, Nate Wooley, Ryoko Akama, Manfred Werder. Quotes are taken from interview between Bruno Duplant and Tobias Fischer for 15 Questions. www.15questions.net/interview/fifteen-questions-interview-bruno-duplant/page-1/ --- Bruno Duplant / composition, field recordings & discreet electronics Pedro Chambel / discreet electronics --- Dedicated to Georges Perec. Assembled in Waziers during 2016/2017. Mixed & mastered by Bruno Duplant. Photos from self-fictions/autofictions series by Bruno Duplant. Design by Jakub Juhás. Thanks to Alžbeta Halušková.
Bruno Duplant, Pedro Chambel - Autofictions
"The Blue Horse is a beautiful strange journey through a landscape where little is familiar but all are welcome. Made from predominantly acoustic sources, The Blue Horse gracefully hisses, puffs, wheezes, whirls, and clunks it’s way through a series of distinct musical and non musical environments. Sounding both at times like a dark and stormy night… and “an elephant trying to get laid”, the ambiguous style of The Blue Horse conceals the artists’ unsettling, fantastical and quietly humorous sensibility. Whilst The Blue Horse lacks any obvious precursors, it’s elemental and environmental leanings potentially tread a path initially mapped out by Moniek Darge and Godfried-Willem Raes in the works coming out of the Logos Foundation in Ghent, Belgium in the mid 80’s. The Blue Horse is the debut recording from Sholto Dobie and Mark Harwood and features a guest appearance from cellist Judith Hamann. Sholto Dobie is an artist and performer born in Edinburgh and living in London. His solo output is marked by live performances that are characteristically delicate, evocative and absurd. He uses his own instruments, crudely assembled from materials such as reeds, whistles, bin bags, fans and air compressors, alongside loose performative structures, to respond to places and situations. He plays in Al Fresco (with Lia Mazzari & Tom White) and regularly collaborates with Ben Pritchard. He has also worked with Ashley Paul. He continues to run the event series Muckle Mouth which he founded in 2014. Mark Harwood is a musician and performer born in Ferntree Gully and living in London. His output veers towards uncanny audio both delicate and unsettling whilst his performances rely on teasing out and playing with the mood embedded within any given environment and audience situation. He has collaborated with Graham Lambkin, Aine O’Dwyer, Timo Van Luijk and MP Hopkins and runs the Penultimate Press label which brings forth this very release." --- “People say he looks blue under the moon”, is what Mhairi told me when I asked her about it. I was walking along the roadside with my partner in the Cabrach, one of the most remote areas in northern Scotland. At a bend in the road, something directed my attention towards the hill and when I looked up I could make out a silvery-blue creature, moving slowly and gracefully, obscured by the trees. It wasn’t clear at first, but I soon clocked that it was a horse and I took a picture of it. Earlier in the day I came across a fairy ring of field blewits, mushrooms otherwise known as blue-legs, so I knew something was up. By the time it was dark (around 4pm in November) we were the only customers in the Grouse Inn, a long-standing middle-of-nowhere tea room and whisky bar, beautifully cared for by Wilma McBain and her daughter Mhairi. Noticing the leather harnesses on display I asked Mhairi about the horse we’d seen earlier in the woods. I was somewhat enchanted just talking about it, and she wasn’t surprised. Later in the evening, we ended up behind the bar in the refrigeration room (where Mhairi paints), she showed us her painting of the blue horse. I didn’t sleep much that night.” – Sholto Dobie, 2019 ---
Mark Harwood & Sholto Dobie – The Blue Horse
DL / CD
'Who will listen to aches that Everyone has’ is a telaesthetic document of disquiet, distance, and disintegrating memory. Careful mantels, rumours of summer, a nocturne, the black inside; Septembers wither, sentiments wane, the chamber-band plays. ---MB / violin, piano, spokes, hotel bell, lighthouse bell LR / cello ML – pianette LF / cutlery SM / silhouette ---
Parlours - Who will listen to aches that Everyone has
Exceptional first release from much talked about trio, Triple Negative: Madame Tlank & Clinical Wasteman & others. Bayern Tāmaki Makaurau/northsouth London, since 1989/2003/2016. "Nether neither either ether [C.B.]. Bad bad grace back for a death-affirming day. Hard-to-Reach claimants born in the wrong place (Bayern Tāmaki Makaurau, Arkhangel district), put out too tender & possessed by spite.3 x negation = 15 years Philosophie Queen, 18 Meanstricken, meaning totgeschlagen! No end to the keratodermic bouzouki, knock-off Glock, plastic reed, Tascam Spiel. There’s nothing not superficial about it. An animus nursed with bad bad grace."
Triple Negative - TOWERS, OPEN, FIRE / Looking For Business
First in a series of two releases unveiling the previously unissued soundtracks made for the films of Ursula Reuter Christiansen by her partner and collaborator Henning Christiansen. The Executioner (Skarpretteren) is Ursula’s first film from 1971 and is now considered one of the most important works of early Danish feminist art. A highly praised recent show at the Statens Museum for Kunst in Copenhagen highlighted the pertinent themes and ongoing urgency which lies within this bold symbolic work. The exquisite score is one of the key neo-romantic works in Henning’s far reaching output. A deeply melancholic set of vocal based works which place the listener deep within the tension and despair of Ursula’s themes. This unique vinyl presentation also features nature sounds recorded for the film on the island of Moen along with surprising works that defy anything else in Henning’s output.
Henning Christiansen - The Executioner
Kreuzmusik was commissioned by the Bonner Kunstverein Gallery, Kunstfond, Germany in August 1989, for inclusion in their 'Taking Fluxus Around for a Drive' happening, (also featuring performances by Dieter Daniels, George Maciunas, Allan Kaprow, Al Hansen, Joe Jones and others) and originally issued on cassette in 1990 by Neue Bildende Kunst in an edition of 100 copies. "in 1967 Joseph Beuys and i travelled to darmstadt for a performance of hauptstrom fluxus from 1:00 -11:00pm (10 hours) on the 20th march. hauptstrom was basically a new ritual, which is how a lot of people saw it at the time, and later on too. beuys used his own body as a deeply primal human language, and i made 10 hours of ritual music using a number of tape recorders. and obviously we wanted to make a completely new space for hauptstrom. the space at franz dahlem's at 7 aha street was small and there was even less space for the rather large audience because beuys made a roughly 7cm high rampart of margarine around his own performance space; and my main motif was a knocking sound, like the sound of a heart beating, which i used to create peace in the space, separate from the other more energetic sound-music passages. when i got the invitation for 'taking fluxus around for a drive' i immediately remembered that darmstadt exhibition in 1967. it's not all that far from denmark, 150 km to bonn-darmstadt, but a timespan of 22 years. i thought of jörg immendorf's lidl-bundestag, which you could say landed in the roses outside the real bundestag. this poetic, political act impressed me at the time, because it showed that our world could basically be quite different. i decided straight away that i wanted to make kreuzmusik, and i was also sure that no other fluxus people would come up with the same idea. most of my fluxus friends go for homo ludens and that's fine, but i wanted to feel the intimacy again in a small space, i wanted to make a scandinavian ritual in fluxid behandlung. i took my stone age gramophone (which really does play stones) called my friend ernst ludwig kretzer from hamburg and arranged with him that he would operate a time delay on my tapes and voice so that i could ritualise freely.
in kunstfond i didn't make a mound of margarine - of course not - instead i made one from flour (bread), in the middle of this was the stone age gramophone and hanging on the wall there were strange crosses, made out of socks and clothes hangers; as well as this there was a headless figure of christ and a toy cessna plane in a little canary cage.
i began with my piece io am en vogel as a 'starter' (about 20 minutes), then i performed zum preis des fluxus, which had been my contribution to the wiesbaden fluxus 82 catalogue, then i threw green stones into a bucket of water, then to the accompaniment of the eurasienstab -fluxorum organum music i played a green cutting sheet that was hanging on my chest, then to european zen i played 3 glass bowls with red sticks, the bells and knocking für das alte russland (for old russia). then everything went dark and i lit candles while my deep groundnote played. after 5 minutes played the lights came on again and my groundnote led into the sheep composition (sheep instead of fiddles); i used my green fat-fiddle to make little twittering sounds; for me, sheep mean peace and insight. this soundworld then lead into the composition with 180 hammer blows against war monkeys. i hammered very sharply and powerfully. beuys once wrote a piece with the title: der dumme hammer tritt auf (the stupid hammer performs), that's how it should be - against the war monkeys, logical. this sequence then finally lead into peaceful bird twitterings in a piece that i call die freiheit ist um die ecke (freedom is around the corner). during this i slowly immersed the cesna plane inside the canary cage in a tub of water , after i had flown around in my own space for a while. and that was the end of the whole seance. it lasted over an hour. - Henning Christiansen, 1990.” Thanks to The Henning Christiansen Estate and Ursula Block.
Henning Christiansen – Kreuzmusik
Two previously unreleased works from the late Danish composer, musician, publisher, artist and performer. Rødhætte (1985) is a rendition of Little Red Riding Hood featuring Ursula Reuter Christiansen as narrator. All the hallmarks of Henning’s unique approach to music/sound appear as the tale goes deeper into the depths of animalistic frenzy. Ruinmusic (1984) inhabits the last breath off the piano housed within the former Marienborg Manor, an estate once on the Danish island of Møn. Prior to the destruction of the estate Henning Christiansen played a final haunting melody before the instrument was dumped down in the dirt. Artwork by Ursula Reuter Christiansen.
Henning Christiansen – Rødhætte / Ruinmusik
Written in Woodstock between August 1979 and September 1980 and dedicated to Stockhausen, Composition 96 is a piece for orchestra and four slide projectors intended, says Braxton, "to celebrate the composite inter-relationship between dynamic symbolism and positive world change." Composition 96 is, says Anthony Braxton, a key work in his music's evolution. This is true both on the structural level, where 96 is "a point of definition" in his development of "multiple line musics"; and on the spiritual or "vibrational" (to use Braxton's term) level where it is the second in his series of "ritual and ceremonial" pieces in which he employs "correspondance logics" to explore music's links with colour, shape, symbol, gesture, astrology and numerology. The visual components of Composition 96 are based on "12 symbols from various world culture religions and/or mystical teachings" (the remaining 4 symbols being created by various combinations of the original 12). --- The Composers and Improvisors Orchestra are: Denny Goodhew / alto saxDeborah De Loria / bassScott Weaver / bassRay Downey / bass clarinetMarlene Weaver / bassoonMarjorie Parbington / celloPage Smith-Weaver / celloScott Threlkold / celloPaul Pearse / clarinetBill Smith / clarinetBob Davis / english hornDenise Pool / fluteRebecca Morgan / fluteNancy Hargerud / fluteRichard Reed / french hornMotter Dean / harpAileen Munger / oboeLauurri Uhlig / oboeEd Hartman / percussionMatt Kocmieroski / percussionJulian Priester / tromboneScott Reeves / tromboneDave Scott / trumpetJames Knapp / trumpetRick Bynes / tubaBeatrice Dolf, Betty Agent, Jean Word, Sam Williams / violaJeannine Davis, Julian Smedley, Libby Poole, Mathew Pederson, Becky Liverzey, Jeroen Van Tyn, Mary Jacobson, Sandra Guy / violin --- Written for 37-piece orchestra and four slide projectors by Anthony Braxton. Recorded by the Composers and Improvisors Orchestra at the Cornish Institute, Seattle, Washington, May 30, 1981 and dedicated to the master composer Karlheinz Stockhausen. Conducted by Anthony Braxton. Published by Synthesis Music. Produced by Leo Feigin. Remastered by Alan Mosley.
Anthony Braxton – Composition 96
"Saved from oblivion by Anthony Braxton himself this recording can't be more welcome, for at the time of the release other Braxton's solo CDs are mostly unavailable. But make no mistake: the thing that will strike your ears is how absolutely contemporary this music sounds. Recorded twenty four years ago it sounds as if it has been recorded today. It was a long concert, but we managed to save every sound by editiong out bursts of applause after each piece. Yet it happened to be the longest recording in the entire Leo Records catalogue: 78'02." "Not released until 24 years after it was recorded, this classic solo album by one of the giants of the saxophone is a welcome addition to Anthony Braxton's discography. Performing solely on alto sax, there is a searing lyricism and a surprisingly jazz-oriented underpinning to even the most abstract of Braxton's improvisations. While most of the compositions are originals, the two that are not -- "You Go to My Head" and "Impressions" -- reveal Braxton's remarkable ability to delve deeply inside a song's structure and make it his own. In later years, Braxton often revealed a mellow tinge to his playing, even in solo performances. The instant release, though, reveals him in an energetic mood, and should satisfy those who appreciate his more radical side within the "mainstream" of the jazz avant-garde. He barks, screeches (though only occasionally and in characteristically good taste), and shows some outstanding technical skills, including incredible speed. While he has recorded some of these compositions elsewhere (for example, as Steve Day writes in the liner notes, four of the compositions appear on the impressive Alto Saxophone Improvisations 1979), Braxton is in peak form on this one and the results are uniformly excellent. Braxton enthusiasts (and others, too) will want this in their collections." - Surfing the Odyssey
Anthony Braxton – Solo (Koln) 1978
Sold out as a CD, we're pleased to add this classic duo's second release to the shop. Dada-da follows the debut vinyl release (also on Leo) Ammo, and was recorded in London by Emanem's Martin Davidson. --- Phil Minton / vocals Roger Turner / percussion --- Tracklisting: 1. Ah Ha - 2:192. Wa Wa - 3:503. Lala La La La - 5:184. Car - 4:475. Za Za - 10:386. Chacha Cha - 13:197. Ba Ba - 3:588. La Du Da - 5:369 . Dee Da - 4:3310. Da Da - 0:35 --- Recorded at the Singapore Pedang, London, 18 January, 1993 by Martin Davidson. Artwork by L. Denis. Remastered by D. Bernez.
Phil Minton and Roger Turner - Dada da
"This recording was released in 1984 as an LP with the same title and was unavailable for fifteen odd years. In artistic terms, it was a shocking statement from Phil Minton and Roger Turner which scared a lot of people. Now, years later, the recording sounds as if it has been recorded today. It has not lost any of its artistic qualities and stood the test of time. The work of great originality and integrity." "Upon its initial LP release, this 1984 improvising session turned more than a few heads. And it would take a fertile imagination for one to reconcile the duo's rendition of Monk's "'Round About Midnight with the original, for example. Armed with boyish enthusiasm, the artists pursue a wanton spirit through their surrealistic game plan. Of course, British freestyle vocalist Phil Minton is a well-known improviser since the advent of this date with his fellow countryman, percussionist Roger Turner. But this recording still resides as an attention-grabbing document." - All About Jazz
Phil Minton + Roger Turner - Ammo
"Solo performance by the brilliant pianist paying tribute to John Coltrane. Recorded in London, Logan Hall, 1987. Seven pieces, four of them by Coltrane. This dedication has been inspired by the mystical experience where the pianist felt the presence and guiding of Coltrane's spirit. A new romantic side of Marilyn's talent. Outstanding reviews." "Hearing Marilyn Crispell play solo piano is like monitoring an active volcano,” wrote Jon Pareles in the New York Times. “She is one of a very few pianists who rise to the challenge of free jazz." Crispell, who was born in Philadelphia in 1947, is a graduate of the New England Conservatory of Music where she studied classical piano and composition, and has been a resident of Woodstock, New York since 1977, when she came to study and teach at the Creative Music Studio.Crispell discovered jazz through the music of John Coltrane and Cecil Taylor among others. For ten years she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble and has been a member of the Barry Guy New Orchestra and guest with his London Jazz Composers Orchestra, as well as a member of the Henry Grimes Trio, Quartet Noir and Anders Jormin's Bortom Quintet. Crispell has described how, through playing with the Braxton Quartet, she “began to think more compositionally and pay more attention to space and silence”. Besides working as a soloist and leader of her own groups, Crispell has performed and recorded extensively with well-known players on the American and international.
Marilyn Crispell - For Coltrane
"Kuryokhin's reputation as the enfant terrible of the Russian avantgarde may have deterred some listeners from checking his work. This release should change that. Behind its ungainly title lurks his most accessible music to date, a frothy concoction of wit, whimsy and flashing virtuoso power delivered at time with madcap elan." Graham Lock. --- Recorded 4 June, 1991 in London
Sergey Kuryokhin - Some Combinations Of Fingers And Passion
"Gorgeously psychedelic debut by this new guitar/violin duo, created by two of the form's great maestros. Samara Lubelski and Bill Nace are both veterans of the American sub-underground. Between them they have many projects under many names on many labels. Most recently, however, the two have been focused on string-based duo aktion, Samara in cahoots with Marcia Bassett, and Bill with Kim Gordon in Body/Head. These two ensembles explore different expanses of the genre. The Lubelski/Bassett Duo focus on the powerful beauty of drone rainbow landscapes, while Body/Head venture into dialogues dealing with subconscious dream language. On this album Bill and Samara create a hybrid between these approaches, offering textual interactions that blaze like fire. On the five tracks of their eponymous LP, Samara's violin creates a base of long form string distention, against which Bill's amp-shudder creates event surges that fill your brain with frozen images of walls caught in mid-collapse, and continents sinking into a sea. Their motion has tectonic implications. About all I can compare it to is momentary flashes of A Handful of Dust (the Bruce Russell/Alastair Galbraith unit), but the intent here seems quite different, and as mentioned before, the results feel bracingly psychedelic. Have not had a chance to spin this after an acid drop yet. Will wait for the actual LP to do that, but I'm thinking it will make for a most excellent pairing. I suggest you consider the same. Tout de suite." - Byron Coley --- Samara Lubelski / violin Bill Nace / guitar --- Cover art Spencer HerbstScreened on Stoughton Tip On Covers by Alan Sherry
Samara Lubelski / Bill Nace – Samara Lubelski / Bill Nace
After years of collaboration in various configurations, the trio of guitarist Bill Nace, drummer Chris Corsano and tenor saxophonist Paul Flaherty met in the studio in 2015 to create these three extended tracks of gut-wrenching and fierce free improvisations. Wherein we come upon three visceralists who have been collaborating for years - innumerable instances in a roulette wheel of settings - finally shacking up in a studio and fashioning a proper trio record. Glory be. Let's listen in... "These." It's a phrase that never gets started, and an apt title for this record, which right off bolts from the barn and burns so brightly it nearly gets away from you by the time you're done twisting your head around looking for whoever it was that left the door open. He asked me when I planned to come back. Always, I said. Nace's guitar mines savage depths, egging on the propulsive swing of Flaherty and Corsano. The results are as beastly as the heart itself. Swing. Bounce. Joust. Jab. Uppercut. Flutter. Wink. Sneer. They all play with anguish and ecstatic rupture - the frustrating joy of pushing an instrument to its limits, fashioning a necessary and brutal needlepoint. They move with all the otherworldly elegance and mania of moths at a lamp show.The music asks no specific questions, but wrenches open a space for all manner of questions - this is one of art's most vital functions! It deals in shades, no matter how sharp the apparent angle. Check out "Blue Water": the solemn bells of Bill's guitar signal not so much a funeral, but a new dawn after a tragedy. Flaherty's saxophone sounds innocent, almost tentative at first, but as Chris' drums chime in, Paul starts to wrench the fabric loose. The track builds into a fierce and alien vista, charting a territory all its own - a simmering judgement. It becomes hard to talk about. Didn't you ever try to eat your own tail in the midday sun? No? These three, whose veins are coursing straight through with a nuanced emotional lexicon and the smarts to harness it, have given us a record that expands potential with each listen."- Matt Krefting, Holyoke, MA 2017
Chris Corsano / Bill Nace / Paul Flaherty - These
First in Open Mouths Solo Guitar Series. Excellent debut solo from Sightings guitarist Mark Morgan. "The thing is though is that Mark has always had this really great guitar sound, only partly courtesy of all those shitty pedals he insists on using. He's not coming at this from a Pharoah Sanders-worshipping, free jazz-loving, sensibility. Rather, I hear his home town, Detroit. The record is scuzzy, and raw-sounding, punctuated with moments of utter desolation. Moments build, only to collapse again. There are even funky grooves but, of course, they fall apart. It's fucking great. Dude, you should check it out!' - Julie Cafritz, August 2018" "It's probably the best solo ‘noise’ guitar album I've heard since Alan Licht's 2013 masterpiece Four Years Older(IMO, of course). And yet to call this noise guitar feels like a bit of a misrepresentation as it implies (at least technically I suppose it does) a certain underlying haphazardness. That definitely doesn't feel like the base force at work here. While harshness undeniably plays a big part in the proceedings, this is an infinitely listenable record for fans of inventive textures, extreme processing, and dark industrial implications." - Free Jazz Collective --- 1. Jinx Hack - 4:54 2. Gentleman's C - 4:103. Supercomplication - 10:554. Doctor Detroit - 10:125. A Guy Named Reggae - 2:246. Mikki - 4:22
Mark Morgan - Department of Heraldry
"Charley recites Apocalypse Rose on one side. Theother side is Bill NACE doing a piece of music inspired by the poem" Charles Plymell's “Apocalypse Rose” was published in 1966 by the City Lights Journal and later that year in his first book of poetry with an introduction by Ginsberg. Charles recited the free-associative poem here, alongside Nace's 16-minutes instrumental guitar abstraction. "Nace mirrors beautifully its dense, hallucinogenic images. Nace arranged a slow, hypnotic drone, first played on a distant, Far Eastern-tinged acoustic guitar, that later morphs into a quiet, and even quieter claustrophobic-electric rustle, that fits the closing lines of the poem: The blood that fell on each new tomorrow And you saw this as I was watching you. Under the influence of all your stars, In mirrors of your galaxies of blue, The hero and his love became your scars But this rose picked could not be picked anew. To measure you and me in full disguise I lay beside our rose of paradise." - The Free Jazz Collective
Charles Plymell, Bill Nace – Apocalypse Rose
X04 is Nace, Jake Meginsky, and John Truscinski. Their third LP, after previous releases on Ultra Eczema, Ecstatic Peace, Joshua Burketts Spirit of Orr, etc. --- Bill Nace / guitar Jake Meginsky / electronics John Truscinski / drums --- Recorded in July, 2008 VT.
X04 - Exile
"This trio of Chris Corsano on drums, Bill Nace on electric guitar and Steve Baczkowski on saxophones was one of the most powerful albums of the drums-guitar-sax statement in 2018. Unfortunately the vinyl is already sold out." My first listen to these four extraordinary pieces by Chris Corsano, Bill Nace, and Steve Baczkowski was over a very rough ferry crossing from Cairnryan to Belfast. It's hard not to think of the ghosts of impossible crossings, victories, loses, harbors in such rough waters. Why would anyone venture out here? Finding something new or an overdue visit? Ending all of the wars? For me, for my first listen to Mystic Beings instantly cured all motion sickness. It was probably just the very welcome adrenalin shots from their performance, but all the crashing and pitching over the waves became a joy. I was braver from listening in. Sometimes they hovered like a three-headed beacon -- a soaring vision to follow out on the horizon. Sometimes they seemed pulled into action and attack. Detonations and radio calls. Sometimes the spines of their own instruments cried out on the power of their own cores, their bodies having been left elsewhere. They drifted apart like a search party, skies clouded over, a spreading landscape streaked with transparent layers over layers. Or they joined together in quiet and unsparing ceremony, the kind usually reserved passing back through the place by which you've entered. All the while there was no scratching or banging at hard enclosed corners. These three players created a world of open space and flexible membrane, where any violence would only come from an outside imposition. Each of the songs read like movements in a larger work. As an eavesdropper, I added my own abstract, personal story over the whole album. I could repopulate new stories over and over again over this framework. The arc is that strong, and the conversation is that good. And even if just overheard, Mystic Beings generously called me out to where I needed to be. The shallows and the shores are where the worst dangers can find us, and our best chance of survival is sometimes out in the rolling depths. Deafen out the sirens and stay onward in the deep waters. Thank you, Bill and Chris and Steve, for sharing this kind of wild captain's safety with us.' --Meg Baird, Cairnryan and San Francisco, Nov 2018"
Chris Corsano / Bill Nace / Steve Baczkowski – Mystic Beings
"First commissioned by the French Government in 1981, the LP Rose Des Vents Action Musicale evolved out of a six year project by Swiss composer Pierre Mariétan to document and musicalise the sound environment of urban landscapes within France, creating an inter-geographical auditory map of cities and townships located in the suburban reaches of Paris, including Bezons, Herblay, Montmagny and l’Isle Adam. Through a mix of field recording, interviews, vegetable market catcalls, braying animals and urban hubbub, Mariétan paints a broad, psycho-acoustically vivid and decentralised profile of metropolitan life from the period; carried to the ear through a coupling with musical studio performance and serialist compositional technique. Over an hour and forty minutes, the recording provides an intersectional and ambient passage through environmental and urban narratives, the radiophonic voice of Ana de Carvalho offering fleeting, poetic orientation with announcements of each titled scene, divining and evoking the sonorous qualities of each landscape as it comes into focus. Each scene tangible yet non-specific, the artist arranging and signalling the possibility of civic and pastoral space as a musical container for spontaneous, sonorous interactions. Mariétan’s profile is of a rigorous yet open and exploratory composer, utilising principles of chance and curiosity in organising found sound and often negotiating or encouraging encounters with improvisatory gesture or incidental and occurring sound. In 1966 he established the outfit GERM, grouping composers and musicians dedicated to developing new meeting points between composition and improvisation. Members assist in contributing recordings and performances throughout Rose Des Vents, including musical passages on piano, synthesizer, horn and saxophone. These studio pieces, played on saxophone by Daniel Kientzy or piano by Gerard Fremy, recall and redeploy techniques developed over the lifespan of the project, where site- specific actions and concerts were performed within each of the towns. In many ways, the album is a folding of each facet of the author’s life and work into a single representative culmination. A sympathy towards radiophonic or documentary production values is recognisable—Mariétan produced two iterations of Rose Des Vents. Action Musicale for Alain Trutat and Jean Tardieu’s ground-breaking Atelier De Création Radiophonique on Radio France Culture ahead of this LP release—alongside the influence of his work in urban acoustics and research into forms of sound ecology. So too is the obvious pleasure taken in introducing the sweetness of music to children, with notable samples from his educational workshops and sound installations helping to internalise and evoke a sense of inquisitive delight. It’s these components, combined with themes and concerns about the acoustic environment that resonate 30 years later and establish Rose Des Vents as such an approachable, listenable and lovely piece of experimental sound art. The conjuration of an emotional or psychological plane through musical and metaphorical synthesis allows the listener to situate themselves within the montage in a near cinematic manner, discovering an underlying sonority embedded in the psychic atmospheres of communal life."
Pierre Mariétan - Rose des vents
"Gamelan and capoeira in dub. The collective behind this doesn’t like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years. They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism. These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space. A number of tracks first appeared on De Leon's set for Blowing Up The Workshop in February 2016."
De Leon - De Leon
Rie Nakajima and Keiko Yamamoto are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, engaging debut album. Rie’s baby orchestra of rice bowls, toys, clock workings, balloons and motors is by turns haunted, teased, adorned and laid waste by Keiko’s chanting, rumbling, whispering and stamping on the floor. The production by David ‘Flying Lizards’ Cunningham deepens and spooks the mix, which brims over with energy and wit, intimacy and presence, grace and mystery. "Suddenly we are closer to music being made than we have been for many years or longer even, so alarmingly close as to feel warmth and discomfort, as if studying the sole of a foot from a few centimetres away or holding a private whisper within an enclosed hand and feeling its trembling desire to be free; but also so far away distant as to feel each vibrant, pungent ingredient within its box or jar or bowl or packet or bottle or air-tight translucent container or brown paper bag painstakingly stirred, shaken, scattered, poured into the heated cauldron of what we call recording, its imaginary rooms and its production, though my better self prefers not to speak about or analyse the notion of ‘the studio’, this being a working up of spaces that are social, a vision of something beyond us but not quite beyond us because its existence as a listening object is real enough to make us pause and question how it was lost or never found." - David Toop --- Keiko Yamamoto / voice, melodica, flute, recorder, floor percussion, toy dog (1-7, 9-12) Rie Nakajima / objects, whistles, flute, cards, taisho koto, xylophone, piano, abacus, drain horn (1-12) Billy Steiger / violin (2,4,7-9,11,12) Marie Roux / percussion, thumb piano (2,4,7,9,11,12) --- All composition by Nakajima/Roux/Steiger/Yamamoto apart from Yobu, Hebi, Iroha, Kitsune and Are Kore (Nakajima/Yamamoto) and Futari (Nakajima/Steiger). Words by Yamamoto except 5 and 11. Iroha is a Japanese classical alphabet. Sojarobai is a working song from Miyazaki, Japan. Produced by David Cunningham. Cover image by Marie Roux. Sleeve design by Ayako Fukuuchi.
O Yama O - O Yama O
"Alternatively banging and evasive, exhausted and unglued. Stepping along the rim of the silver screen. Diptera takes a near electro-acoustic approach to the DNA, texture and pressure of UK Garage with a debut release on Mana. Its four tracks teeming with material detail, the duo's musical collaboration operates like a relay. Initial tracks made by Activist DJ — short sharp affairs focused on swung drums and darkside — are passed on to Wesley to be broken apart, tinkered with, and slowly refigured into more anxious and impressionistic musical forms, etched with intricacies and mixed fidelity. The result is a distinctive and resourceful excavation of hardcore at its most agile. A fly on the wall may face some adversity, so if you imagine a human hand in basic swatting motion, maybe you will also couple the image with an evasive manoeuvre of some sort; usually there is a moment of hesitation where the human is unsure whether their aim was true. "Did I catch it?""
Diptera - 001 [Antenna]
"Wild soundscapes from Benedict Drew, an artist splitting his time between installation art and music that hums and spills over with vivid material encounters; sounds are slurpy, runny, fizzy, spongy, hard as rock. Following digital releases, a tape for patten’s Kaleidoscope label, a musical score to accompany his De Re Touch video art project commissioned by Transport for London’s Art on the Underground, and many active years in London’s experimental music scene through work with the London Musicians’ Collective, as a solo performer, and via live collaborations with artists including Rhodri Davies, Chris Watson and Sachiko M; ‘Crawling Through Tory Slime’ is Drew’s debut long-playing record. Music on each of the record’s faces bleeds together continuously, recalling long improvisational sets, floor-sucking dub-wise, psychedelia, plunderphonics, and tight GRM-era electronic sound design pieced together with drum machines, cloudy synthesiser, bits n’ bobs. There’s a certain English charm, humour and taste for cheap science fiction and cobbled-together escape routes out of reality that follows a lineage set out by artists like Jeff Keen or Bruce Lacey, reset for the exciting horrors and delights of contemporary life. Benedict Drew’s solo exhibition The Trickle Down Syndrome runs from June to September at the Whitechapel Gallery, designed over the same period as the LP and "drawing on wide-ranging references, from the stage sets of classic Hollywood cinematographer Busby Berkeley to the Surrealist worlds of artist Max Ernst"."
Benedict Drew - Crawling Through Tory Slime
"Pickelhaube is the solo album of one of the most active improvisers and music activists of today. This is the result of an unique and completely analogue recording and reproduction, and brings to you the very full body of a wooden battle ship of an instrument, the contrabass, and the breath of a musical mind." “This is a solo in duet with the current era of silent repression of every mind that’s not in line for the mental pawnshop. In these times, most shallow behaviors are presented as if the deepest of engagements and beliefs. We are dressed up in a fictional all-in-one hat, the helmet and the warhead: Die Pickelhaube. Blow yourself out of your own mind or simply step out of your helmet. And listen.”
Joel Grip – Pickelhaube
The project “Lifework: A Unity” is an overview of Philip Corner’s music, performed by Ensemble Hodos, and covering the five periods of Mr. Corner’s music over five CDs to be released successively in 2014. This is the 2nd volume – and first to be released – of the recorded documentation of Philip Corner’s music by Ensemble Hodos. The disc covers the years 1960-75, when Corner, just back from Europe, took an extensive part in the New York Fluxus scene, and started to experiment with graphic notations, indeterminacy, performance pieces and happenings. The pieces in this volume are all in their own way challenging the notions of traditional music theory : Crash Actions and its companion piece In Intimacy – Pulsation are both dealing in a great variety of ways with the concept of pulsation ; Punkt as the title implies is only points, isolated sounds ; whereas Compare with “Exquisitely Sloppy Om” is one the many developments of Corner’s explorations of one sound. --- Recorded on Friday, March 1, 2013 by Etienne Graindorge. Mixed and mastered by Pierre-Antoine Badaroux & Sébastien Beliah. Artwork by Raffalëlle Bloch
Ensemble Hodos plays Philip Corner - Life Work: A Unity 2. The World (Graphic Innovations & Indeterminacy) 1960-75
"This unique repertoire is the result of a thorough work of transcriptions and rearrangements from recordings and scores, including some unpublished material found in New York. Under the direction of Pierre-Antoine Badaroux, the fourteen musicians from the French jazz new avantgarde, pursue their work of highlighting forgotten figures of the jazz history, with a generous and communicative enthusiasm. From the Harlem Public Library basement to the wooden floor of the Lavoir Moderne Parisien theater in Paris, it is a special invitation to enjoy together here and now an ageless music." --- Pierre-Antoine Badaroux / direction, sax altoAntonin-Tri Hoang / alto saxophone, clarinetGeoffroy Gesser, Pierre Borel / tenor sax, clarinetBenjamin Dousteyssier / alto, barytone, bass saxophonesBrice Pichard, Louis Laurain, Emil Strandberg / trumpetFidel Fourneyron, Michaël Ballue / tromboneRomain Vuillemin / guitar, banjoBruno Ruder / pianoSebastien Beliah / double bassAntonin Gerbal / drums --- Recorded live at Lavoir Moderne Parisien on April 19-21, 2018, in Paris, FranceRecorded, mixed and mastered by Augustin MüllerTexts by Pierre-Antoine BadarouxArtwork by Sven-Åke JohanssonDesign by Dominique Hamot
Umlaut Big Band - The King Of Bungle Bar
Grip, Denzler and Johansson, respectively in their early thirties, early fifties and early seventies, found each other through the intertwining scenes between Paris and Berlin. When taking a look at their previous musical activities you will get an exquisite account of the contemporary history of experimental improvised musics (yes, plural!) in Europe. It is a dense heritage in service of forming a new model for a creative process. Emerged through the questioning of methods, Neuköllner Modelle combine bipolar procedures in creating something which could be likened with a retarding ballad of the insistent up-tempo murmur accelerating in the backdrop-world of today. "Neuköllner Modelle is a gathering of musical ideas which function really good together. Our instruments and unique way of handling them formed the model serving the creation of Neuköllner Modelle. First there was an idea of the music, then there was the band. Our language is individually different and slowly changing, therefore we have something to say when we play. We are common in being different. A common thought is sometimes more reducing than a dissident. Anyway, without tension or friction, no music. In my music these opposing elements are of great importance. "Sektion 1-2" is an ambitious production in the sense that we have made (and make) our best to make it reflect the first idea we had. The questions of our age-differencies are not so interesting for me. It is more of an obvious and natural fact. What is more sad, maybe, is that not so many musicians today work across the invisible generational borders.'' Joel Grip, interviewed on the Free Jazz Blog "Pairing Denzler, a musician with an astute approach to minimalist saxophone (check out Tenor (Potlatch, 2012)), with Grip, a collocating musician who ties many disparate European improvisational forms together, and Johansson, the Swiss army knife (although he is Swedish) of drummers, is a genius amalgam of musicians." - All About Jazz --- Bertrand Denzler / saxophone Joel Grip / double bassSven-Åke Johansson / drums --- Recorded by Andrew Levine at Sowieso, Berlin, November 2015. Mastered by Werner Dafeldecker. Cover design by Teresa Iten. Notes by Bastian Zimmermann. Produced with the support from The Swedish Art Council.
Neuköllner Modelle - Sektion 1 - 2
Following up from Sektion 1-2, Neuköllner Modelle are joined by pianist Alexander von Schlippenbach. Their music evokes questions on swing: how it is heard today and fed back to us historically. “Neuköllner Modelle is perhaps the first serious attempt to swing once again without playing standards. The musicians develop jazz as a form of instant composition, with the energy of not only the blues but also bebop, and in the classical hierarchy of a rhythm section consisting of double bass and drums. However, all four musicians come from the areas of Free Jazz, of improvised music, or even, in Johansson’s case, of performance and conceptual music.” The excitement, and here lays perhaps the keys of swing, is connected to the way Neuköllner Modelle voices out the positioning of strong independent and co-existing ideas. Their music is striving towards a common somewhere asserting their differing assumptions and expectations. --- Bertrand Denzler / saxophoneJoel Grip / double bassSven-Åke Johansson / drums Alexander von Schlippenbach / piano --- Recorded by Andrew Levine at Sowieso, Berlin, November 2015. Mastered by Werner Dafeldecker. Cover design by Teresa Iten. Liner notes (in german and english) by Bastian Zimmermann. Produced with the support from The Swedish Art Council.
اسم is a name written in ink. A dash through European creative music. A round trip, Berlin – Oxford, via Paris. اسم is Pat, Joel and Antonin in a dotted silence without name. Acoustically, the trio creates abstract forms close of written contemporary music with sounds reminding us of traditional jazz trios. The groove which appears in this music is dense, extreme but always quiet. Music in a continuous flow of high voltage charges. In Arabic, اسم is a way to connect between different cultural and imaginary worlds. --- Joel Grip / bass Antonin Gerbal / drums Pat Thomas / piano --- Recorded at Eglise Saint-Merry, Paris on June 2, 2014.
اسم ism – Nature In Its Inscrutability Strikes Back
"'Lost In Shadows' is American composer/performer Ashley Paul's bewitching Slip debut: an expansive, deeply personal excavation of recent motherhood, told through songs dissolving and re-crystallising at the threshold of free improvisation. At the LP's heart is Paul's mercurial multi-instrumental style, which renders the primal wails, clunks, and twangs of clarinet, saxophone, percussion, and guitar uncannily melodic, alchemised by frank, vulnerable vocals. The deft negotiation of the fragile and the coruscating evidenced on Paul's ‘Line The Clouds’ (2013) and ‘Heat Source’ (2014) has now reached a kind of hesitant sublime. Recorded over 3 weeks at a FUGA residency in Zaragoza, Spain in December 2016, 'Lost In Shadows' documents a cathartic outpouring; the first time Paul had been able to write since the birth of her daughter 11 months earlier. The record is completely influenced by "many hours spent awake at night in a dream like state of half consciousness, darkness and solitude; an overwhelming feeling of loneliness and exhaustion made light by a profound new love", with Paul's solo playing bolstered by additional baritone saxophone, cello, tuba, and percussion. This ensemble set-up, which premiered much of this work at 2017's Counterflows festival, gives the LP a fresh sense of luxuriousness, bounce, and rich possibility.'" — Artwork by Gayle Paul. Mastered by Giuseppe Ielasi.
Ashley Paul - Lost in Shadows
"'111 angelic MIDI cascade' is Ralph Cumbers' exquisite Slip debut: a finely forged collection of joyous electronic music built to surge and heal. This is Cumbers' first deliberate Bass Clef album since 2012's 'Reeling Skullways' on Bristol institution Punch Drunk, and a forceful departure from the bubbling, rogue club 12"s since issued on The Trilogy Tapes, PAN, and Idle Hands. Drums are almost entirely absent, making way for a braiding of soaring machine melodies, and taut harmonic threads. To be clear: this is no ambient record. No drifty clouds, no cocoons, no sonic platitudes.Recorded in Rotterdam in August 2018, amidst an immersion in the history of clairaudience, scrying, and natural philosophy, '111' is a leap into pinpoint mysticism, with Bass Clef as happy alchemist." --- Written and Recorded by Bass Clef. Mastered by Stephen Bishop.
Bass Clef - 111 angelic MIDI cascade
"'brace, brace' is Julia Reidy’s soaring Slip return: a dread-tinged incantation unfurling from breath-down-the-neck field recordings, auto-murmured voice, synthetic hum, and irrepressible guitar kinetics. Reidy’s signature 12-string playing - precise, burrowing, rhapsodic - dominates the LP's outer cuts, framing a plaintive electric centre. Blooms of arpeggiations and desolate strums re-inflect slow-moving pitch sequences; the music feels at once on fire and graceful, inevitable.Perhaps most surprising is how organic 'brace, brace'’s expanded palette feels. Reidy’s electronics are subtly eerie extensions, alien resonances of her playing, both embedding her instrument and making it somehow unreal. This strange smear of body and apparition is neatly nailed in Reidy’s sung-to-herself vocals, coaxed out and encroached upon by autotune Succeeding recent issues of her work by Feeding Tube and Room 40’s A Guide To Saints, 'brace, brace' is a definitive statement from a blazing, restless talent.The LP tours with visuals from Suze Whaites. Whaites’projection environment is built from the coruscant light sources and surface reflections with which her video footage is made, creating mutable vistas at once microscopic and panoramic, domestic and sublime." --- Mixed and recorded by Sam Slater. Mastered by Joe Talia. Artwork by Suze Whaites.
Julia Reidy - brace, brace
Dawning On is Australian, Berlin-based guitarist Julia Reidy’s Slip debut: a razor-sharp précis of pent-up, blazing melancholy on a lone 12-string guitar. Reidy’s playing is lucid and poised, teasing out elegant inflections from half-melodies, rugged strums, and curious tunings. Her compositions are lingering streams: barely-shackled attacks give way to introspective arpeggiations before resurging again, all spurred on by a yearning, nervous energy. With the album’s single-track A-side clocking in at just under half-an-hour, this is by some measure Julia’s most comprehensive solo statement to date, and a luxurious listen which revels in the 12-string’s generous resonance. For our money, it’s up there with the finest work of her fellow Aussies The Necks, Anthony Pateras, and Jon Rose.
Julia Reidy - Dawning On
'Solo' [SLP016] is the Slip debut of Berlin-based composer Andreas Dzialocha: a collection of lilting electric bass melodies refracted through a tangled network of live computer processing. 'Solo'‘s ruptured nocturnes are intimate duets between instrument and machine, with Dzialocha eloquently responding to randomised pulsing reverbs, filters, and compressors, which snatch his delicate motifs into virtual space in real time. Andreas studied art history, musicology, and computer science, and is founder and director of Berlin-based Serenus Zeitblom Oktett, and upstart publishing platform BLATT 3000. 'Solo' interactive website: solo.andreasdzialocha.com ---Mastered by Hannes Fritsch. Artwork by Rian Treanor
Andreas Dzialocha - Solo
“’Got Gills?' [SLP015] is the exigent Slip debut of Manchester-based Otto Willberg, and a commanding introduction to the double bassist’s assertive, heady style. This unhinged collection of live acoustic takes (no amps, no overdubs) marries rasping grit and mesmeric repetition, and announces the arrival of a precocious instrumental talent. Otto is a double bass player living in Manchester, interested in improvisation, experimental and contemporary music. He is a core component of caustic psych outfit Desmadrados Soldados De Ventura, and of Manchester's ever-blooming underground.”
Otto Willberg - Got Gills?
Soft streams of air.aeolina 1, aeolina 2 and aeolina 3. "There is hardly anything you may hear. The organ – its windness being rediscovered over and over again – releases as a jewel each single sound; each stream of air; each noise: disappearing into the space of the hall." --- Tracklisting: 1. Aeolina 1 -25:372. Aeolina 2 - 26:373. Aeolina 3 - 7:00 --- Eva-Maria Houben / organ Recorded by Bileam Kümper in Magdalena, Dortmund-Eichlinghofen (Germany).
Eva-Maria Houben - Aeolina
Bruno Duplant: là où nos rêves… two organ pieces:
là où nos rêves se forment (to eva-maria houben)
là où nos rêves s’éffacent (to jakob ullmann) Le rêve de la nuit est un rêve sans rêveur. (Gaston Bachelard, La poétique de la rêverie, 1960). Der Traum der Nacht ist ein Traum ohne Träumer. The dream of the night is a dream without dreamer. --- Bruno Duplant / organ ---
Bruno Duplant - La Ou Nos Reves
drei choräle für klavier (penser à satie) (2007) (arr. for organ by Eva-Maria Houben) Eva-Maria Houben / organ Recorded by Milo, Christianskirche, Hamburg-Ottensen (Germany), 2011. Intalniri fugitive (flüchtige begegnungen) (casual meetings) 12 short sketches Eva-Maria Houben / organ Recorded by Bileam Kümper, St. Marien, Witten (Germany) 2010 Twelve-tone chords – single tones – silence. There is a very long silence at the end of the piece. You listen to the space of the hall. Eva-Maria Houben / organ. Recorded by Bileam Kümper, St. Marien, Witten (Germany). Five mouvements: 1. maestoso, un poco pomposo; 2. andante cantabile; 3. scherzo. giocoso; 4. andante amoroso; 5. grave. un poco misterioso.For Milo.Eva-Maria Houben, organ.Christianskirche, Hamburg-Ottensen (Germany).Recorded by Milo (live, concert in 2011).
Eva-Maria Houben - Organ Works
A long drone of the organ: overtones singing melodies.The organ: endless breath. Finished – unfinished. One hour fifteen. --- Eva-Maria Houben / organ. --- Recorded by Bileam Kümper in 2013, St. Marien, Witten (Germany).
Eva-Maria Houben - Unda Maris
Recorded ocean sounds, a walk through different soundscapes on the seashore. One hour fifteen minutes. Recorded by Eva-Maria Houben.
Eva-Maria Houben - Seascape
Eva-Maria Houben und Bileam Kümper : landscapes 1-4 for one or two players (2012) Recordings of soundscapes and instruments. "Houben’s ear for how sounds, both instrumental and environmental can be put together has always driven her work. She has spoken and written about hearing music in everyday life and the silences between events in our lives and how she uses this in her work. Landscapes is then a very simple, and yet stunningly beautiful set of studies that extend these ideas. In Kümper she seems to have found a like mind and a valuable collaborator. Combining acoustic instruments with field recordings in this way isn’t a new idea, but the pair’s touch here, the ear for fragile beauty and the way sounds come together to form new sounds again make this a truly lovely release." - Richard Pinnell, The Watchful Ear landscape 1 (organ and train) 11:39landscape 2 (tuba and wind) 6:06landscape 3 (viola d’amore and steps) 4:02landscape 4 (bar chimes and balcony) 6:00 --- Eva-Maria Houben / organ and bar chimes.Bileam Kümper / tuba and viola d’amore. --- Recorded by Eva-Maria Houben and Bileam Kümper at Thomas Morus, Krefeld (Germany).
Eva-Maria Houben & Bileam Kümper - Landscapes
Confront Recordings
Exclusively released through OTO, 'Priest's House' documents The Seen's Dorset outing, with a line up including Dominic Lash and Seth Cooke alongside local improvisers. Mark Wastell has been organising larger formations of musicians, collectively known as THE SEEN, for over 10 years, and thanks to Stuart Riddle the group were able to travel to Wimbourne Minster to form a new South West iteration. Using predominantly improvised material with occasional instructions or themes distributed to individual musicians just prior to performance. No formation has ever been repeated, THE SEEN never stays static. Register of previous participants include Tetuzi Akiyama, Mattin, Michael Duch, Graham Halliwell, Andrea Neumann, Rhodri Davies, Paul Hood, Takehiro Nishide, Annette Krebs, Lee Gamble, Matt Davis, Joe Williamson, Wolfgang Fuchs, Burkhard Beins, Tomas Korber, Paul Abbott, Ben Owen, Jonathan McHugh, Jane Dickson, Olie Brice, Dimitra Lazaridou-Chatzigoga, Bertrand Denzler, Angharad Davies, David Toop, Chris Burn, Richard Sanderson, Dominic Lash, Yoni Silver, Graham MacKeachan, John Butcher and Jason Kahn. “With The Seen, everything is up for grabs. Even the act of listening – so sacrosanct in the world of improvisation – becomes problematized, for in such a tapestry of sound and silence how can one process what’s happening at any one moment? Yet this impossibility of total response provides opportunities to form clusters within the whole, that break apart and reform in different configurations as things develop. For listeners, too, there are possibilities for moments of both detailed focus and wider-scale immersion.” (Paul Margree) --- Adrian Newton / electronicsTom Cleverly / guitar, trumpetPaul Allen / drums, percussionStuart Riddle / soprano saxophone, electronicsSeth Cooke / resonatorDominic Lash / double bassMark Wastell / tam tam --- Recorded at the Priest's House, Wimbourne Minster, 21.09,2018 by Adrian Newton. Mixed by Adrian Newton. Thanks to volunteers at The Priest’s House Museum.
The SEEN - Priest's House
IST went to New York in April 2001 to participate in Derek Bailey's Company Week at Tonic. Before Company proper started however, the two UK groups (the other being the Derek Bailey / Will Gaines duo) took part in a preview concert playing in their habitual groupings. The resulting trio recordings have never been previously released; as a special bonus the album also includes an unreleased quartet of IST + John Zorn, which took place during the Company event itself. --- Rhodri Davies / harp Mark Wastell / violoncello Simon H. Fell / double bass John Zorn / alto sax [track 6] --- Recorded at Tonic, Norfolk St., New York, 17 & 19 April 2001
Ist Featuring John Zorn – New York
"The Sealed Knot are one of the great free improvisation groups, comparable to the classic 1980s SME line-up of John Stevens, Nigel Coombes and Roger Smith for edge-of-your-seat attentiveness and sheer inter-group telepathy. Rhodri Davies, Mark Wastell and Burkhard Beins have been a unit since 2000, a melding of London and Berlin. Recent sightings have been rare, but they played in Berlin this May, and now Wastell's revived Confront label is releasing this live album from January 2009. The purpose of the 2009 show was to celebrate Another Timbre's release of And We Disappear, recorded live in Switzerland at a 2007 festival titled Ear We Are. That album was about the yawning gulf between Davies's high, piercing ebow work and Wastell's glacial double bass. Whereas the new record has Wastell switching to tam tam, and all three musicians employing electronics - but lo-fi mechanical electronics, rather than digital processing. So there's a pleasing, subdued industrial fury lurking beneath the music. Filigrees of rapid clicking make way for subterranean pulsing, and Beins adds the super-pure tones of bowed cymbals, to blur the electric/acoustic distinction further. Around 18 minutes the group contemplate silence, before launching into a further 13 minutes of patient exploration and metallic mystery. Wastell has grumbled that critics are "always 12 months behind the flow" when it comes to describing what musicians are up to, and here he is, helping us along by releasing a four year old recording. Never mind that the trend-buzz around Lower Case Improv, New London Silence & co has worn off; with music of this quality we're dealing with simple excellence, and any opportunity to see this group at work should be seized." (Clive Bell, The Wire) --- Burkhard Beins / percussion, electronicsRhodri Davies / harp, electronicsMark Wastell / tam-tam, electronics --- Recorded live at the 'Another Timbre' Festival, Cafe OTO, London on January 21st, 2009.
The Sealed Knot - Live at Cafe OTO
Originally released in a tiny edition of 50 copies in 2000, this recording officially marks the beginning of The Sealed Knot as a regular group. Interestingly, the liner notes that accompanied that release make mention, for the first time in print, of the terms 'the new silence' and 'Berlin reductionism' ......... although listening now, all these years later, the music sounds far from silent and/or little reduced."The music on this cd was recorded live at All Angels, West London and documents the exciting ongoing collaboration between young musicians working in London and Berlin. Although all three performers have travelled between the two capital cities since the early 1990's playing in various combinations, this is their first concerts as a trio. Beins co-runs the 2.13 Berlin improvisation club, with guitarist Michael Renkel, in conjunction with it's sister organisations in London and Athens. All three clubs are named after a stopped clock at the original London venue. Critics have dubbed Wastell and Davies' music 'the new silence' and Beins' German counterpart 'new Berlin reductionism'. Categories aside, this is improvised music concerned with space, texture and time, emphasised by the gently ticking clock at the back of All Angels as sounds fade into silence." (Original liner notes) --- Burkhard Beins / percussionRhodri Davies / harp Mark Wastell / violoncello ---Recorded live in concert by Tim Fletcher at St. Michael & All Angels Church, West London on 14 April 2000.
The Sealed Knot - All Angels
"...Overall, they give the impression of a gradual ebb and flow of layered soundfields over a bedrock of silence. Confronted with the trio's intricately plaited tones, sometimes it's hard to tell the provenance of a particular sound - like many musicians exploring extended techniques, they're at war with their instruments...Gradual shifts and the kind of communication that develops within longstanding musical relationships are central to the group aesthetic. The slow, deliberate movement of The Sealed Knot's music often sounds semi-composed, a testament to the close bond that they have developed over the years..." - The Wire --- Burkhard Beins / percussionRhodri Davies / harpMark Wastell / double bass --- Recorded live in concert at the Red Hedgehog, Archway, London, 29 October 2006.
The Sealed Knot - Live at The Red Hedgehog
Berlin is truly the spiritual home of The Sealed Knot - with the trio having played there numerous times since it's debut in the city at Ramschift Zitrone in 2002. In more recent times we've been lucky enough to have had the opportunity to perform at regular yearly intervals, the most recent of which is the concert captured on this recording from Exploratorium in March 2015. Many thanks to Matthias Schwabe for the invitation. --- Burkhard Beins / percussionRhodri Davies / harpMark Wastell / double bass --- Recorded live at Exploratorium, Berlin on 19 March 2015 by Johannes von Wrochem.
The Sealed Knot - Trembling Shade
Having first played together here in 2010, it was immediately evident to everyone in the room that something had clicked between Ikue Mori and Steve Noble and a very special combination had emerged. Apparently operating according to some sort of shared dream logic, Mori and Noble’s music is always unpredictable but never incoherent, switching suddenly between ominous abstract soundscapes and exuberant rhythmic interplay, peppered with strange recurrences, idiomatic fragments and vertiginous changes of perspective, and characterized by a strong sense of forward momentum. From her beginnings drumming with the seminal no wave unit DNA, Mori has always had a distinctively percussive sensibility, and her deft electronic manipulations merge perfectly with Noble’s fiercely physical handiwork. Drums and their digital double: the similarities and differences overlap and interrupt, crystallize and dissolve, split and converge into a fast-flowing torrent of compelling musical activity. "This is not an arid exercise in sonic exploration, however, and Mori extends her electronics beyond the merely imitative. She conjures up some wonderfully rich colours, such as the thick, smeared chords in Combustion, heard over Noble’s totemic drumming." - Free Jazz Collective --- Ikue Mori/ electronics Steve Noble / drums, percussion --- Recorded on 16 November 2011 at Eastcote Studios, London. Mixed and mastered by Rupert Clervaux at Gray’s Inn Road. Music by Ikue Mori (Tohban Djan Publishing BMI) & Steve Noble (PRS).
Ikue Mori & Steve Noble – Prediction & Warning
Working both inside and outside the instrument's body, Pat Thomas presents a compelling vision of what the piano can do in the 21st century. At times playing with recognisable musical material and at others going deep into sonic abstraction, Pat's playing encompasses massive extremes: solidity and flow; seriousness and laughter; uproar and imperturbability. A major solo statement, Al-Khwarizmi Variations traverses the history and the physicality of the piano. Pat rules. "Thomas runs the gamut of techniques, splashing clusters, weaving contrapuntal lines and building elaborate structures from the inside out. Despite their variety, they share a fundamental quality – they truly sound like spur of the moment creations, not the final draft of ideas mulled over for weeks, if not months on end. Their impact is enhanced by one of the more effectively engineered piano sounds in recent memory, one that puts the piano right in your lap. The value of this is felt immediately, as the first variation is brimming with above-the-staves clusters that are wincingly bright. Conversely, Thomas creates china-rattling thunder when he plunges into the bass register." - Bill Shoemaker, Point of Departure --- Pat Thomas/ piano --- Recorded and mixed by Rick Campion at City University Music Studios on 19 June 2011. Mastered by Rupert Clervaux at Gray's Inn Road. Artwork from a 15th century Mamluk tile, adapted for print by Paul Abbott. With thanks to Trevor Brent ---
Pat Thomas - Al-Khwarizmi Variations
Fascinating combination of two uncompromising saxophonists. Seymour Wright grew up listening to Evan Parker's radical reshaping of the saxophone and both develops and deconstructs it in his own playing. Together, the two interrupt and augment each other incessantly, creating tight spirals of difference and similarity that crackle with ideas and energy. "Wright’s penetrating attack stands out throughout, providing an effective foil for Parker’s more serpentine phrasing. One thinks here of Parker’s duo outings with reed players like Steve Lacy, Anthony Braxton, Wolfgang Fuchs, or Lol Coxhill and Wright certainly holds his own." - Michael Rosenstein, Point of Departure --- Evan Parker / soprano and tenor saxophones Seymour Wright / alto saxophone --- The title comes from the writing of Daniil Kharms. Thank you Ute, Evin, the Kernel Brewery, Geoff and Derby Jazz. Recorded by Sebastian Lexer on 5 October 2014 at the Kernel Brewery, London (1-2) and by David Reid on 12 October 2014 at The Studio, Derby (3-5). Mixed and mastered by Rupert Clervaux at Gray’s Inn Road. Artwork/Design by James Vickery. Music by Evan Parker and Seymour Wright. Produced by Trevor Brent
Evan Parker & Seymour Wright - Tie The Stone To The Wheel
Sebastian Lexer (piano+) and Steve Noble (drums and percussion) first played together in the winter of 2011 and what seemed like an unlikely, even oppositional, pairing quickly proved itself to be an extremely well-matched one. Noble's sharp vertical hits and Lexer's sustained horizontal textures echo, disrupt and enrich each other, producing music full of complex slants and intricate resonances. "They sync together immediately, entwining natural resonances of strings and cymbals, percussive attack of keys and drums, and the variegated textures of electronic processing and shuddering, abraded percussion. The two leave behind any notion of conversational give-and-take, instead diving in to the development of a constantly morphing collective voice." - Michael Rosenstein, Point of Departure "a dialect nourished by sequential superimposition and counteraction of alien, nigh impossible noises, they spawn incongruous yet mesmerizing musical patterns" - Antonio Poscic, The Free Jazz Collective "the descriptions 'drummer' and 'pianist' are barely adequate, only scratching the surface of what each of them does" - John Eyles, All About Jazz "It’s incredible what strange and beguiling music they make. As well as the tinks, plinks, taps and crashes that you might expect, here are planar whorls and laminal tones closer to electronic music than anything in orthodox pianism; and amid the stacked metal clatter, percussive emphases and taut skin and rim shots of Noble’s playing sit shimmering tones and plaintively vocal-like sounds, either scraped-up or bowed from sympathetically resonating materials. These sonics out-strange anything most percussionists ever dream of. And better yet, this is all done with as much restraint and sensitivity as animation." - Tim Owen, Dalston Sound --- Sebastian Lexer / piano+ Steve Noble / drums and percussion --- Recorded by Giovanni La Rovere at Cafe Oto, London on 25 October 2011 (1) and 18 June 2014. Mixed by Sebastian Lexer. Mastered by Rupert Clervaux at Gray’s Inn Road. Artwork/Design by James Vickery. Music by Sebastian Lexer and Steve Noble. Produced by Trevor Brent
Sebastian Lexer & Steve Noble - Muddy Ditch
About Trumpet and Saxophone brings together New York based trumpeter Nate Wooley and London based saxophonist Seymour Wright for a series of intensely material duo improvisations that inhabit the tricky overlap between these two instruments. Recorded on their second encounter, there's an intriguing balance of freshness and reflection in the music here, one that matches their deep knowledge of improvised music's various pasts as well as their commitment to experiment and discovery. "a spiky, raw collection of brief improvisations that see them pushing at each other rather than slipping into comfort zones . . . full of a palpable tension but somehow also very simple and unadorned . . . a fine set of recordings that showcase the act of improvisation in its bared boned glory." - Richard Pinnell, The Wire "Wooley and Wright have both made extraordinary solo recordings: these duets might represent their sum and difference or their square root. About Trumpet and Saxophone is eminently worthy of close listening. It might enrich or impoverish a listener in a new way." - Stuart Broomer, Point of Departure "if the history of jazz can be told via great trumpet/saxophone pairings (Bix/Tram, Diz/Bird, Chet/Gerry, Miles/Trane, Don/Ornette, Kenny/Evan...add your own favourites) separated by stylistic quantum leaps, then the pairing of Nate/Seymour might just represent the latest such leap." - John Eyles, All About Jazz — Nate Wooley / trumpet Seymour Wright / alto saxophone — Recorded by Rick Campion at City University Music Studios on 4 July 2012. Mixed and mastered by Rupert Clervaux at Gray’s Inn Road. Edited by Trevor Brent. Cover painting by Geoff Wright (Svetlana, 1968). Music by Nate Wooley & Seymour Wright
Nate Wooley & Seymour Wright - About Trumpet and Saxophone
At times barely more than breathing, at others breaking into full-throated song, A Doughnut's End is a highly concentrated sequence of solo improvisations that captures the full range of Minton's vocal powers. As he says in the accompanying notes, while there is continuity between this record and previous "doughnut" albums, this latest offering is "less optimistic than forty years ago" when he still "thought stuff would get better", an optimism diminished by the continued political dominance of "slush-spraying doughnut-scoffers". A Doughnut's End is a stark and affecting testament to one man's ongoing exploration of the potential of the human voice. "Minton has forged an alternative lexicon, one that seemingly forgoes the constraints of tradition and language. The result is a perverse, evocative set, the kind of performance that forces a reaction and demands attention be paid to it — music that has the power to cause unrest and revulsion in the listener. . . . An air of fragility lingers throughout, a reminder that even Minton’s finely honed, idiosyncratic delivery is all too susceptible to the inevitable pitfalls of existence. . . . The primal outpouring of A Doughnut’s End is all-consuming, and without language to dirty the proceedings, it is as much a personal meditation as it is a display of pure virtuosity." - Soe Jherwood, Tiny Mix Tapes "Many of the sounds on the album’s 15 short tracks are unpleasant, but they’re all the more powerful for it. This work is in no way deprived of wonder, and you have to marvel at the breadth of what Minton can do. “Breaking News” bleeds from high pitched warbling to multiphonic density, the throat pushed to the weirdest limits of its potential. “There’s A Reason” reprises this sonic field, almost electronic in texture, while “Set In Stone” takes these techniques and flirts with the operatic. “Grandish”, the album’s final track, works through a series of high pitched peeps that could come from an as yet unidentified beast." - Matt Krefting, The Wire "Things flap and billow a bit more than they used to, which Minton accentuates in the formation of starker, more striking vocal shapes – unstable vibratos, phlegmy belching baritones. What if it isn’t volume and clear articulation that renders a voice audible amongst the masses, but visceral wordless eccentricity?" - Jack Chuter, ATTN Magazine --- Phil Minton / voice --- Recorded (April & June 2013) and mixed by Rick Campion at City University Music Studios. Mastered by Rupert Clervaux at Gray’s Inn Road. Photography by Jocelyn Low. Music by Phil Minton (PRS) Produced by Trevor Brent
Phil Minton - A Doughnut's End
Hot Cars Warp
Third solo record from Corsano. One drum set augmented by various re-purposed metal objects, modified reed instruments and bowed strings stretched across drums. 19 tracks--9 of which are interwoven throughout the record in a very loose retelling of the Calon Arang story portrayed in Balinese gamelan music. --- Chris Corsano / percussion --- Tracklisting: 1. Twice Removed - 4:062. The Widow - 0:383. Shank And Spindle - 3:414. The Four Apprentices - 1:165. Scalpels - 1:446. The Attendant - 0:357. Famously Short Arms - 4:208. The Widow's Daughter - 0:269. These Things Are Not Fancy - 6:5410. Two Leyaks And A Minister - 1:3711. Not Now Not Later Not Ever - 4:3212. The Disciple - 1:0813. Fed Ex'd Gorilla - 3:4614. The Irate Prime Minister - 0:5715. My Face, Spited - 2:3016. The Sacred Beast - 0:1117. Regrets, I've Had A Few - 2:0518. Warrior With Dagger Pointed Inward - 0:3319. Suppli E Domanda - 1:58 --- Recorded January-March 2012 except #1 (December 2009), #5 (March 2008), #13 (December 2011) and #15 (May 2010). All acoustics, no overdubs, some edits here, some fades there.
Chris Corsano - Cut
First meeting of Mette Rasmussen and Paul Flaherty, with Corsano providing connective tissue behind the drums. "There's plenty of all-out, high energy playing on Star-Spangled Voltage, but there's also an underlying sensitivity to musicality and collective sound, so the proceedings never turn into a battle of egos. And the group has freely improvised/spontaneously composed architecture, breaking down at times into solos and duos. 'Salt', a duet between Rasmussen's prepared-sax and Corsano's bowed metal, builds an alien inner-ear landscape of difference tones, unisons and near-unisons to end side A. The album closes with a sax duet, 'In the Light of Things,' with Rasmussen and Flaherty already sounding like old friends." - SoundOhm. --- Mette Rasmussen / alto saxophone Paul Flaherty / alto & tenor saxophone Chris Corsano / drums --- Recorded June 14, 2014, at Never Ending Books, New Haven, CT, USA by Chris Corsano. Mixed by Chris Corsano. Mastered by Patrick Klem.
Rasmussen / Flaherty / Corsano - Star Spangled Voltage
Chris' no drum solo record. "It wasn’t an exercise in constraint necessarily; it was just what I was feeling. I made that record because those were the sounds I was hearing in my head. The first solo record [Young Cricketer]...it wasn’t like it changed the world, but it did change my little world. It was a first statement, and that’s a powerful thing—it gives context to everything that comes after it. Since there's no point in saying the same thing twice, I felt like the second solo record should be as far away from the first as possible, while still feeling honest to me." Chris Corsano - Bomb Magazine --- Chris Corsano / keyboards, electronics, microphone --- Recorded April 10 & 15th, 2006.
Chris Corsano - Blood Pressure
"The Young Cricketer plays out like a showreel for Corsano’s miraculous dexterity and virtuosity as a drummer. It’s a set of recordings made during Corsano’s time living in Manchester back in 2006 utilising all manner of objects and apparatus to offset and treat his drumkit, often morphing its sound into something unrecognisable. The Young Cricketer is a beautifully recorded album, with Corsano’s expanded kit occupying a vast stereo field, and every percussive gesture allotted its own distinct place in the mix. Consequently, this is probably the most thorough representation of Corsano’s near peerless drumming yet committed to record and stands as a pretty indispensable document for all lovers of free music and percussive invention. Stunning.” - Julien Héraud --- Chris Corsano / percussion --- Recorded in Manchester England Feb 1-3, '06 (Except for side a track 2, recorded Jan. 6). Using drums, cymbals, baritone & alto saxophone mouthpieces with plastic tube and/or funnel, and/or shower attachment apparatus, pot lids, lamp base, scotch tape, violin-string-snare-drum contraption, bows, sticks, butter knives, and a superball on a stick, some distortion used on side B when mixing tracks 7 and especially 8, but other than that, no electronics either.
Chris Corsano - The Young Cricketer
Fantastic trio made up of three of the best London free improvisors. Lol's lyricism combined with the depth of skill and restraint in the Noble / Edwards rhythm section is as good as it gets. --- Lol Coxhill / soprano sax John Edwards / double bass Steve Noble / drums --- Tracklisting: 1. Tijuana Rendezvous - 5:482. Episode No.1 - 6:303. Coming Through - 5:074. Hook Point - 7:475. The Set Up - 5:596. Stray Dog - 3:337. Out Of The Past - 10:108. 3 Tales - 5:279. Endgame - 6:25 --- Recorded by Mick Ritchie at Barefoot Studios on 11th January 2004. Post production by Noble & Ritchie. Sleeve design by Noble & Denning.
Coxhill / Edwards / Noble - The Early Years
Noble's duo with Bailey, 'Out of the Past' documents the two in duel modes - that sensitive drumming we've come to know so well with Noble with the more percussive aspects of Bailey's playing style, alongside thick, distorted guitar and fuzzed out drums on the aptly named, 'Time Regained'. --- Steve Noble / drums, cymbals Derek Bailey / electric guitar --- Tracklisting: 1. The Long Wait - 3:302. Four For 4 - 2:463. Breakaway - 4:154. Raw - 5:075. Unfiltered - 3:306. Motion - 5:417. Out Of Sight - 2:288. Bright Moments - 4:349. Pick Up - 4:2110. Decoy - 1:4611. Time Regained - 2:3712. 7 Shades - 7:13 --- Recorded by Tony Robinson at Moat Studios, London, February 1999. Produced by Steve Noble. Post production by Mick Ritchie & Steve Noble. Thanks to Karen Brookman Bailey & Tony Robinson. Design by Noble & Denning. Original photo by Amalia Pistilli.
Bailey / Noble - Out of the Past
First release on Steve Noble's Ping Pong Productions. Having recorded Say What! and Transmutating with together a few years earlier, the trio was reunited in London for more hard hitting free improvisation. A truly unique trio - Davey Williams' history in rock music pushes this further into Noble's 'Rip, Rag and Panic' days, yet Oren Marshall's unique FX laden tuba techinique brings compelling experimentation to their sound. --- Steve Noble / drums, turntables Davey Williams / guitar Oren Marshall / tuba --- Tracklisting: 1. Can It All Be So Simple?... - 0:502. Flathead Reunion - 3:013. Early Days - 4:034. Episode No 7 - 4:105. I Could Presume - 0:296. Out Of Any Gain - 5:027. Shadows - 1:518. 59 Farewells - 2:559. All Too Soon - 9:0910. Forever & 4th - 0:5911. Say What? - 5:2512. Coming Through - 1:5113. Just Another - 3:3014. Double Play - 0:3315. Hog Stomp - 4:2516. …Some Final Thoughts - 4:17 --- Recorded in London, September 1995. Post production by Dave Hunt and Steve Noble. Thanks to the LMC.
Noble / Williams / Marshall - Flathead Reunion
Second release on Steve Noble's Ping Pong Productions. Noble on percussion, Oren Marshall on tuba and Steve Buckley on reeds. Having made three records for Incus already, and produced his first Ping Pong record 'Flathead Reunion' with Oren Marshall, Noble invited Buckley to the studio. --- Steve Buckley / alto saxophone, bass clarinet, tin whistle Steve Noble / drums, turntables Oren Marshall / tuba --- Tracklisting: 1. Bud Moon - 10:032. The Cane Pilling Dance -7:503. Xantung - 7:134. Big Juice - 3:065. Episode 58 - 2:216. T Blower - 6:277. Spoon Tongue - 2:048. Tails With Tales - 2:099. Drunken Intimacy - 2:4110. Shimmy Shally - 4:3211. The Declining Use Of Reckless Grooves (Part II) - 7:20 --- Recorded by Dave Hunt in London, February 1996.
Noble / Marshall / Buckley - Bud Moon
Fresh output from John Chantler's 1703 Skivbolaget - the new duo from two masters of very different string instruments. ‘The Air Around Her’ beguiled its audience when recorded live in a bakery at Edition Festival in 2016, and carries beautifully through to this release. Microtonal timbres meet gnarled defiance - the result is surprisingly symbiotic. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres. ‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room. --- Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016. Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace. Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council. © 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP) Released by 1703 Skivbolaget in cooperation with Ideell Edition
Ellen Fullman & Okkyung Lee - The Air Around Her
Still Light, Outside is the fourth album by John Chantler, and one which marks his departure from London and his relocation to Sweden. Over the four month period leading up to his departure, Chantler made several hours of raw recordings of the pipe organ at London’s St John-at-Hackney church. These were then subject to extended processing at Stockholm’s Elektronmusikstudion EMS and combined with additional electronic parts created there. Still Light, Outside is an extended suite in four parts that combines passages of stark minimalism centred at the bodily invasive extremes of the organ’s register with striking explosions of colour; massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. --- Recorded August–November 2014 at St John-at-Hackney, London & Elektronmusikstudion EMS, Stockholm. Additional recording/mixing January–March 2015. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Design: John Chantler / Photography: Fabio Lugaro --- John Chantler / pipe organ, processing --- Recorded August–November 2014 at St John-at-Hackney, London & Elektronmusikstudion EMS, Stockholm. Additional recording/mixing January–March 2015. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Design: John Chantler / Photography: Fabio Lugaro. Thanks to Bradford Bailey, Lawrence English, James Hammond, Mike Harding, Carina Thorén & Kate Walters. This work was made possible with support from the Australia Council for the Arts, the Australian Government’s arts funding and advisory body.
John Chantler - Still Light, Outside
This recording shares music from the first time public concert of a new trio formed by John Chantler — best known for his solo synthesizer recordings and work with pipe organs — and two instantly recognisable voices in improv — drummer Steve Noble and saxophonist Seymour Wright. --- John Chantler / synthesizerSteve Noble / drumsSeymour Wright / alto saxophone --- Tracklisting: Front 1 - 5:45Front 2 - 3:20Front 3 - 6:00Above 1 - 12:20Above 2 - 5:07Above 3 - 5:38 --- Recorded 7 May 2017 at Cafe OTO by Shaun Crook. Mix/edit by John Chantler. Mastered by Stephan Mathieu.
JOHN CHANTLER / STEVE NOBLE / SEYMOUR WRIGHT - FRONT AND ABOVE
This is a recording of the ten minute piece kindly commissioned by Alan F Jones for the Organ for the Senses festival held annually at the Spreckels Pavilion in San Diego using their open air organ. The music was performed by Justin Murphy-Mancini and recorded by Alan Jones. This audio is from a rehearsal performance a few days before the public premiere on 27 May 2017. --- Justin Murphy-Mancini / organ --- Tracklisting: 1. Move Along, Nothing To See Here - 10:14 --- Recorded by alan jones/laminal audio at spreckels pavilion organ, san diego, may 2017
John Chantler - Move Along, Nothing to See Here
Selected works from John Chantler's time at Stockholm’s Elektronmusikstudion EMS. --- John Chantler / reed organ, serge synthesizer --- Tracklisting: 1. ( part I ) 13:02 2. ( part II ) 08:44 3. ( part III ) 14:47 --- Recorded and arranged March 2016—November 2017 at EMS, Stockholm; ZKM, Karlsruhe; NOTAM, Oslo and 1703, Stockholm. Thanks to staff EMS, ZKM and NOTAM for their help and support. KM residency was supported by The Australia Council for The Arts. Elements of '( part III )' originally commissioned by Audiorama, Stockholm.
John Chantler - Logic Being The Lowest Form of Magic
A duo for saxophone and synthesizer. Johns/John lock into a series of cycles and frequency systems that while loosely in the tradition of the patterned saxophony and accompanying string drone of La Monte Young and the Theatre of Eternal Dream Music’s B Flat Dorian Blues. The pair obliterate the instrumental hierarchy that Young espouses for an altogether more unknowable intensity of experience. -- John Chantler / synthesizer Johannes Lunds / alto saxophone --- Liner notes: Two Dreams For Endless Skies Music makes my mind drift uncontrollably. When I saw John Chantler and Johs Lunds perform at Copenhagen’s Mayhem venue I had a vision: I awake suddenly to discover that I have been sleeping on a beach. It’s a rainy early morning and I’m laying on my back in the open on the sand, the hood of my jacket blinding my peripheral vision. I have no idea how I got there and only see grey clouds above and hear the waves and wind. I stare into the sky blinking from light speckles of falling rain, my mind reeling from two dreams. I try to stem the rapid decay that dreams inherently suffer from: 01 Static I’m a child living on a west coast Canadian island and the nights I hate most are the silent ones. To fall asleep to anything other than silence is preferable – rain the best, howling wind reassuring, a violent storm just fine – it’s an emptiness broken sporadically by a creaking tree, a snapping branch and other terrifying small sounds that emanate from the encroaching forest. It’s the terrifying absence of background sounds that makes me aware of how far away from everything I am here. It makes me claustrophobic – the dark edges of the forest encroach, the only thing keeping them from closing in is the light outside the front door washing the dark green trees, ferns and rocks with a creepy dim light. Around this time, while I start to understand my fear of silence, I am given a portable radio. I spend nights slowly panning the tuning dial through the shimmering static noise of the radio spectrum, picking up the odd AM channel that somehow has made itself audible all the way out here where I am. Faint songs blend into speech into rich hisses into warbling glissandi and squeaks and pops – engrossing noises that I imagine come from orbiting satellites, distant planets and other worlds. 02 Waves In the next dream I travel with my father to the northern tip of Vancouver Island. We hike through the forests of Cape Scott Park towards the sea. It takes us all day to get there. Along the trail I listen to the relentless roar of the wind and crashing waves coming off the ocean. The coast persistently seems just over the next hill but doesn't appear – the white noise grows more wearing and the hike turns to a slog. The park we are in contains a series of overgrown fields and dilapidated farm houses. Built by late 19th century Danish colonists, they were abandoned just over a decade later when the roads and utilities the government had promised didn't materialise. The settlements have a spooky peacefulness, beautiful but mournful in the subsuming nature. Through ghost farms and fields, then some low bushes, we finally arrive at the shore. Here the white noise of wind and waves takes full hold. The white-capped sea churns out to the horizon and the pale bright sandy beach stretches to either side of us for kilometres. Far down the beach we see a number of large dark lumpen shapes plonked upon the sand. As we walk towards them the shapes slowly reveal themselves to be a colony of recently deceased sea lions. In the heat of the blaring sun some of the giant cadavers have become bloated enough to cause their boiled and steaming guts to explode out onto the beach. Dotted in constellations around the carcasses and across the shore are hundreds of brightly coloured size 10 Nike running shoes, all for the left foot. A shipping container must have fallen off a freighter during a heavy storm, breaking apart and dumping the left footed shoes into the sea, where they drifted to the shore and washed up on this beach. They look so peculiar and fake against the guts and endless nature – vibrant running shoes, floating through infinite space, bobbing across the swelling grey sea, in the brilliant rays of sunshine, or the luminous light of the moon, blown on by howling wind through the slow motion murk of my memory. A large black bear emerges from behind one of the giant sea lion carcasses and raises itself up onto its hind legs. I jump up but instead of the beach I am back in the venue and my ears are ringing. Finish There’s an idea that the essential human use of music is as a mask – that at its core music is a way to drown out all the external noises that our most inner primordial self automatically processes as a warning, setting our nerves alight. What this understanding of music might mean for, say, love songs, dance or noise music is hard to fathom, and the idea becomes too reductive to be interesting. But it is useful sometimes, inasmuch as the idea connects music directly to animals, landscape and endless cosmos – dumping us humans and our machines and activities into what was once called nature. Sound and silence drift uncontrollably, endlessly, until they find music. Music makes our minds drift uncontrollably but gives us an interface with the world. Nathaniel Budzinski
John Chantler & Johannes Lundes - Endless Sky
Long out of press mighty gamelan collab from members of US drone collective Pelt, the UK's Part Wild Horses Mane on Both Sides and New Zealand guitarist Michael Morley aka Gate. Recorded at 2012's TUSK festival in Newcastle-upon-Tyne, the huge ensemble folded up into a mid-size room in a little corner of England and tapped into the music that has long transfixed the world - but with as much raga and hillbilly influence as Indonesian. Be warned, this is not 100% holy. Soon, avain hymns give way to drones akin to those of Vibracathedral Orchestra, and low, slow tones eat at your redeeming thoughts. A one time super-group and damn were they super. Official MIE press release: "In October 2012, at the Tusk Festival at Newcastle-upon-Tyne, noise emissaries from three continents came together on a Sunday to make music for an hour or so. From the United States came Mike Gangloff, Nathan Bowles, and Patrick Best of the mighty Virginia drone collective Pelt. Representing the United Kingdom were sonic pilgrims Pascal Nichols and Kelly Jayne Jones of Part Wild Horses Mane on Both Sides. And from Oceania came the transcendent New Zealand guitarist Michael Morley of Gate and, of course, the legendary Dead C. This summit proceeded without words. Their chosen means of deliberation was the gamelan: an array of gangsa and saron metallaphones and singing bowls sprawled out on the patchwork oriental rugs; a rig of gongs; the flurry of hammers and mallets; a few dozen onlookers seated cross-legged or just laying prostrate on the floor. And everyone and everything was transported. - Brent S. Sirota --- Recorded at TUSK Festival 2012 at Star & Shadow Cinema, Newcastle upon Tyne, UK. Live sound by Steve Nicholson and Stosh. Recording by Sam Grant. With thanks to Henry MIE. www.tuskfestival.com
Pelt Part Wild Gate - Hung on Sunday
Effigy is Pelt's first new batch of new recordings since 2007, and their first album since Jack Rose's death in 2009. Simultaneously frenetic and meditative, it's a raga seared in pulsating low-end piano, scorned and mournful strings and swarming harmonium. “What separates Pelt … is the willful sonic escalation from monk chant and Appalachian bowed sitar to Blue Ridge mountain grinding ear-death. … They’ve not become giants; they’ve become the mountain.” - The Washington Post From the original MIE press release: MIE Records are unbelievably honoured to be releasing, the first album recorded since 2007 by the acoustic-only droners Pelt. Recorded live in June 2011 in an old yoga studio in Mount Horeb, Wisconsin and a decommissioned synagogue called the Gates of Heaven in nearby Madison, the band have laid down their most accomplished and fully realised work to date. Epic in every sense of the word, Effigy is a sprawling journey through their singular plan on the musical map. Layer upon layer of droning strings melt over never-ending harmoniums which threaten to engulf you whilst peals of gongs ring out to mesmerising effect. Effigy sees Pelt reaching their blissful sonic enlightenment. Effigy is a testament to the ancient animal shaped mounds called ‘effigy mounds’ which dot the landscape in and around Madison, Wisconsin. No one has yet managed to work out who built these creations. Over the centuries they have greatly reduced in size but still the largest can measure up to 400ft in length, and the outlines of birds, lizards, deers and bears are all clearly visible to the observer. Soil would have been carried from afar to construct these huge monuments with only crude implements to hand. The erection of the monuments would have surely have to have been carried out by practically an army of workers or inhabitants and taken a very long time to build indeed. --- Recorded by Pelt. Mixed by Jason Meagher. Mastered by James Plotkin. Artwork by Jake Blanchard. With thanks to Henry MIE. 'Ecstatically dedicated and indebted to eternal spirit of Jack Rose.'
Pelt - Effigy
Blood n guts folk from the Anglo-American duo. Searing harmonies and sparse, vital instrumentation breath new life into timeless tales of love, loss and death. Originally released to critical acclaim by No-Fi Recordings and then reissued by MIE Music in 2011, Dumb Supper is by all means one of the most interesting and exciting revivalist recording of traditional songs we've heard in years. Cath and Phil believe in folk retaining its original storytelling function, so all the songs on the album are adaptations of songs they have unearthed or which have been passed on to them through family members, musical collaborators, and their own love of the original information highway - folk music. If you missed the physical, snap this up and get yourselves down to see them here this Thursday. “Dumb Supper is one of those rare modern folk albums that will find a home in both the longstanding ‘traditional’ music community and among those attracted to the form’s more experimental and lo-fi possibilities….It’s a weird looking-glass effect many folk fans will be familiar with: the straighter you play it, the stranger it gets…Shirley Collins always understood this and so do Cath & Phil Tyler.” – Frances Morgan, Plan B Magazine --- All songs traditional except: Farewell My Friends & Morning - adapted from Sacred Harp. Death of Queen Jane - Words trad. Music Tyler Yellowhammer - Tyler Dewdrop - Words trad. Music Tyler Wild Stormy Deep - by Homer Cornett Slumber Boats - by Alice Riley/Jessie Gaynor --- Recorded at Summerhill Square, Newcastle Upon Tyne in the first half of 2007. Arranged by Cath and Phil Tyler. Artwork by Jim Oss. Produced by Andrew Hodson.
Cath & Phil Tyler - Dumb Supper
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Home Darren Bloggie Giveaway
Break Out – The Most Popular and Dynamic K-Dance Extreme Comedy from Korea is Back!
in Darren Bloggie Giveaway, Entertainment, Events, Featured, NEWS, What's Happening in Singapore
Sold out in 2009 and 2010, the popular K-dance extreme comedy, BREAK OUT is back with a brand new production, performing at the MES Theatre at Mediacorp from 27 – 28 April 2018. It guarantees an even more pulsating, side splitting, exhilarating performance with Korea’s top notch B-boy dancers. Beside new extreme break-dancing moves, the new show will feature more powerful trendy dance moves from urban dance to K-pop idol dance, and of course peppered with hilarious comedic moments!
The story revolves around five prisoners who are clumsy but lovely. They live a night-in-the-life of daily routines under watch, but they rarely lose their sense of humour to find a chance to play tricks on their guard. Their boring days totally changed when a sacred text drops into the prison. The mysterious arrival inspires them and they begin to yearn for their freedom and plot a big escape plan.
Since its 2007 opening run in Korea, BREAK OUT has performed to an array of International audiences in London, New York, Mumbai, Shanghai, Bangkok and many more. All of which had been well-received. Apart from registering a sell-out box office appearance at the Edinburgh Fringe Festival in 2007, BREAK OUT was an instant success when it first premiered at West End in 2008.
BREAK OUT was one of the first non-verbal shows to feature in Singapore and that helped steamroll a new brand new trend of Korean non-verbal show. Incidentally, the new production of BREAK OUT will debut during the Winter Olympics Festival as part of the Pyeongchang Winter Olympics 2018. After that, they will kick start their Asia Tour with Singapore as the first stop!
Breakout 2018 – K-Dance Extreme Comedy
27 – 28 April 2018
Friday – 8:00pm
Saturday – 2:00pm & 8:00pm
MES Theatre at Mediacorp
1 Stars Avenue, Singapore 138507
Ticket Prices (exclude booking fee)
$98, $88, $68, $48
Tickets are available through all SISTIC channels
GIVEAWAY ON DARRENBLOGGIE’S FACEBOOK PAGE!
We are giving away 2 Pairs of tickets to the Opening Night of Breakout 2018 – K-Dance Extreme Comedy on 27 April at 8:00pm to 2 lucky winners on Darren Bloggie Facebook Page! Refer below for more information:
Tags: APRIL 2018breakoutentertainmentk-dance extreme comedymediacorp vizprothings to do in singaporewhats happening in Singapore
Things to do in Singapore this April 2018
ROAST - Hipster Cafe at The Commons in Bangkok
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You are browsing the documentation for Mendix 8, which is currently a beta release. For more information, see Mendix Beta Features.
Offline-first applications work regardless of the connection in order to provide a continuous experience. Pages and logic interact with an offline database on the device itself, and data is synchronized with the server. This results in a snappier UI, increased reliability, and improved device battery life.
It is important to understand that offline-first is an architectural concept and not an approach based on the network state of the device. Offline-first apps do not rely on a connection, but they can use connections (for example, you can use a Google Maps widget or push notifications).
Mendix supports building offline-first applications for native mobile and hybrid mobile apps. Both native and hybrid apps share the same core, and this gives them the same offline-first capabilities. Native mobile apps are always offline-first, but for hybrid mobile apps, it depends on the navigation profile that is configured. The data is stored on the device in a local database, and the files are stored on the file storage of the device.
Mendix Studio Pro performs validations to make sure your app follows an offline-first approach and works even when there is no connection.
During development, the Make It Native mobile app (for native mobile apps) or Mendix mobile app (for hybrid mobile apps) can be used to preview and test your Mendix app on a device. The first time your Mendix app is loaded, an internet connection will be required to create a session on the server and download the necessary data and resources. After this initial synchronization, data will remain available in the app even without an internet connection. Subsequent synchronizations will be performed when requested by the user, through application logic or after a model change.
2 Synchronization
Mendix automatically analyzes your app’s data model to determine which entities should be synchronized based on the pages and nanoflows used within your offline navigation profile. In addition, the platform takes entity access into account so that only the data the user is allowed to access is synchronized.
Synchronization is automatically triggered during the following scenarios:
The initial startup of your mobile app
The first startup of your mobile app after your Mendix app is redeployed (if there is a network connection)
Synchronization can also be configured via different places in your Mendix app, for example:
As an action on a button
As an action in a nanoflow
As a pull-down action on a list view (for native mobile only)
The synchronization process consists of two phases. In the upload phase, your app updates the server database with the new or changed objects that are committed. In the download phase, your app updates its local database using data from the server database.
2.1 Upload Phase
The upload phase begins with a referential integrity validation of the new or changed objects that should be committed to the server. This validation checks for references to other objects that are not yet committed to the local database.
For example, when a committed City object refers to an uncommitted Country object, synchronizing the City object will yield an invalid Country object reference, which will break the app’s data integrity. If a sync is triggered while data integrity is broken, the following error message will appear (indicating an error in the model to fix): “Sync has failed due to a modeling error. Your database contains objects that reference uncommitted objects: object of type City (reference City_Country).” To fix this, such objects must also be committed before synchronizing (in this example, Countryshould be committed before synchronizing).
The upload phase executes the following operations after validation:
It detects all the changes made to the local database. The local database can be modified only by committing an object. Such an object can be a new object created (while offline), or it can be an existing object previously sychronized from the server.
If there are changed or new file objects, their contents are uploaded to the server and stored temporarily. Each file is uploaded in a separate network request.
All the changed and new objects are committed to the server, and the content of the files are linked to the objects. This step is performed in a single network request. Any configured before- or after-commit event handlers on these objects will run as usual.
2.2 Download Phase
If the upload phase was succesful, the download phase starts in which the local database is updated with the newest data from the server database. A network request is made to the server per entity.
You can manage which entities are synchronized to the local database by customizing your app’s synchronization behavior. For more details on this procedure, see the Customizable Synchronization section below.
The download process also downloads the file entities’ contents and saves that to your device storage. This process is incremental. The app only downloads the contents of a file object if the file has not been downloaded before, or if the file has been changed since it was last downloaded. The changed date attribute of the file entity is used to determine if the contents of a file object have changed.
After the download process (and thus synchronization) is completed, the widgets on your app’s current page will be refreshed to reflect the latest data.
2.3 Customizable Synchronization
By default Mendix automatically determines which objects need to be synchronized as mentioned in Synchronization.
Depending on the use-case, more fine-grained synchronization controls might be required. Therefore, an app’s synchronization configuration can be customized to override the default configuration. It is possible to limit what is downloaded by using XPath Constraints, which is applied in addition to the security constraints.
Furthermore, it is possible to disable downloads for an entity. This can be very useful in cases where the objects should only be uploaded, for example a Feedback entity.
If you have custom widgets or JavaScript actions which use an entity that cannot be detected by Studio Pro in your offline-first profile (because its only used in the code), you can use customizable synchronization to include such entities.
2.4 Error Handling
During synchronization, errors might occur. This section describes how Mendix handles these errors and how you can prevent them.
2.4.1 Network-Related Errors
Synchronization requires a connection to the server, so during synchronization, errors may occur due to failing or poor network connections. Network errors may involve a dropped connection or a timeout. By default, the timeout for synchronization is 30 seconds per network request.
The synchronization is atomic, which means that either everything or nothing is synchronized. Exceptions are described in the Model- or Data-Related Errors section below.
If a network error happens during the file upload (via step 2 in the upload phase), Mendix retries to upload the failed files. If there is an error for the second time, the synchronization is aborted. The changes at that moment are kept on the local device, so it can be retried later.
If a network error occurs while uploading the data (via step 3 in the upload phase), the data is kept on the local device and no changes are made on the server. Any files uploaded in step 2 will be uploaded again during the next synchronization.
If a network error occurs during the download phase, no data is updated on the device, so the user can keep working or retry. The effects of the upload phase are not rolled back on the server.
If the synchronization is called from a nanoflow, the error can be handled using nanoflow error handling. In other cases (for example, synchronization called from a button or at startup), a message will be displayed to the user that the data could not be synchronized.
2.4.2 Model- or Data-Related Errors
During the synchronization, changed and new objects are committed. An object’s synchronization might encounter problems due to the following reasons:
The object is no longer available on the server (either from deletion or inaccessibility due to access rules)
A member of the object has become inaccessible due to access rules
An error occurs during the execution of a before- or after-commit event microflow
The object is not valid according to domain-level validation rules
When a synchronization error occurs because of one the reasons above, an object’s commit is skipped, its changes are ignored, and references from other objects to it become invalid. Objects referencing such a skipped object (which are not triggering errors) will be synchronized normally. Such a situation is likely to be a modeling error and is logged on the server.
2.4.3 Preventing Synchronization Issues
To avoid the problems mentioned above, we suggest following these best practices:
Do not remove, rename, or change the type of entities or their attributes in offline apps after your initial release. This may cause objects or values to be no longer accessible to offline users. If needed, you can do an “in-between” release that is still backwards-compatible, and then make the changes in the next release after all the apps are synchronized.
Do not delete objects which can be synced to offline users. This will result in lost changes on those objects when attempted to synchronize them.
Avoid using domain-level validation for offline entities – use nanoflows or input validation instead. It is also a good practice to validate again on the server using microflows.
When committing objects that are being referenced by other objects, make sure the other objects are also committed.
If synchronization is triggered using a synchronize action in a nanoflow and an error occurs, it is possible to handle the error gracefully using the nanoflow error handling.
2.4.4 Conflict Resolution
It can happen that multiple users synchronize the same state of an object on their device, change it, and then synchronize this object back to the server. In this case, the last synchronization overwrites the entire content of the object on the server. This is also called a “last wins” approach.
If another approach is needed, conflicts can be detected in a before-commit microflow (for example, by using a revision ID attribute on the entity). Based on that, custom conflict resolution can be performed.
3 Best Practices
To ensure the best user experience for your Mendix application, follow these best practices:
Limit the amount of data that will be synchronized by customizing the synchronization configuration or security access rules
Because network connections can be slow and unreliable and mobile devices often have limited storage, avoid synchronizing large files or images (for example, by limiting the size of photos)
Use an isDeleted Boolean attribute for delete functionality so that conflicts can be handled correctly on the server
Use before- and after-commit microflows to pre- or post-process data, or perform additional server-side logic using microflows
4 Ensuring Your App Is Offline-First
Mendix helps developers in building rich offline-first apps. However, there are some limitations.
4.1 Microflows
Microflows cannot be called directly from offline apps. However, before- and after-commit microflows still run during synchronization, which can be used for application logic on the server.
4.2 Autonumbers & Calculated Attributes
Both autonumbers and calculated attributes require input from the server; therefore, they are not allowed. Objects with these attribute types can still be viewed and created offline, but the attributes themselves cannot be displayed.
4.3 Default Attribute Values
Default attribute values for entities in the domain model do not have any effect on objects created offline. Boolean attributes will always default to false, numeric attributes to 0, and other attributes to empty.
4.4 Many-to-Many Associations
Many-to-many associations are not supported. A common alternative is to introduce a third entity that has one-to-many associations with the other entities.
4.5 Inheritance
It is not possible to use more than one entity from a generalization or specialization relation. For example if you have an Animal entity and a Dog specialization, you can use either use Animal or Dog, but not both from your offline profile. An alternative pattern is to use composition (for example, object associations).
4.6 System Members
System members (createdDate, changedDate, owner, changedBy) are not supported.
4.7 Excel and CSV Export
Excel and CSV export are not available in offline applications.
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Publishing this week: POLITICAL JUSTICE by Dennis Carstens
October 1, 2017 September 24, 2017 / drbethnolan
Political Justice
by Dennis Carstens
POWER, MONEY AND CORRUPTION COLLIDE IN TIMELY MUST-READ POLITICAL THRILLER
A politically-driven couple — he a charming governor and she the brains behind their meteoric rise — is poised to blow any preconceived notions you have about politics and power out of the water. Tom and Darla Carver certainly have revolutionary ideas on how to improve America. But improving their own political position and influence is always the underlying objective.
Forget the headlines, but have fun guessing who’s who while devouring this delectable thriller.
Political Justice: A Marc Kadella Legal Mystery by Dennis Carstens [October 3, 2017] is
the seventh outing for the charismatic defense lawyer burning up Amazon best-seller lists. When one of now-president Tom Carver’s dalliances gets more than a polite brush off (she gets a death certificate!) the spin machine grinds into action as Darla resorts to bribes and leaks to preserve her own political legacy. She will even go so far as to frame an innocent, honorable soldier for treason to get what she craves. Kadella defends the man and as a legal defense is crafted, the lawyer is pulled further and further into the trial’s twists and turns.
“I try to create a story that is entertaining, interesting and, most importantly, thought provoking,” Carstens says. “I want to create something that gives the reader a legal, moral or ethical dilemma to think about. In doing so, as in real life, every little detail may not be wrapped up in a nice, neat bow at the end. But the reading experience is well worth the ride.”
A compelling mystery that readers can’t help but compare to political controversies current and historical, Political Justice is poised to be the most celebrated Marc Kadella mystery yet.
Dennis Carstens was born in Worthington, MN, and has lived most of his life in the Twin
Cities of Minneapolis and St. Paul. He received a BA from the University of Minnesota and his J.D. from a highly respected private law school, William Mitchell, in St. Paul. A veteran of the U.S. Air Force and a retired trial lawyer, Carstens brings these life experiences to his fiction for a dose of realism and accuracy sadly missing from much of the legal thriller genre today.
Connect with Carstens at http://www.denniscarstensauthor.com and on http://www.facebook.com/
TheKeyToJustice.
I haven’t read it, but it sounds intriguing. You can read the whole series or an individual one as a stand alone.
I’m always happy to shout out for a Pub Day and thank my friends at Smith Publicity for sending me this book info!
Mystery, Updates, Info, and Other Stuff
murder, politics, series, suspense
← WAIT FOR THE RAIN by Maria Murnane
THE NAMES OF DEAD GIRLS by Eric Rickstad with GIVEAWAY! →
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ECL site switcher
Taxation and Customs Union
Areas where the Commission is currently working
The Commission is working to address the tax obstacles facing EU citizens who are active across borders within the EU. To explore how these issues can be addressed, the Commission published a Communication in which it identified these obstacles and outlined plans for tackling them.
In this Communication, The Commission listed some suggestions made by stakeholders about how cross-border tax problems could be tackled. These included:
Setting up central one-stop-shops in tax administrations where cross border workers and investors could seek reliable tax information, as well as directly pay taxes and receive all tax certificates necessary for claiming relief;
Promoting better interaction between the different pension taxation regimes;
Translating information into other EU official languages and making greater use of IT;
Encouraging EU countries to adopt special rules for frontier workers and cross-border workers that take account of the interaction of tax and social security systems in different EU countries .
Following this Communication, the Commission:
Proposes to pursue complaints actively and ensure greater availability of information for citizens on the results of complaints about EU countries’ tax laws and infringement cases in the tax field;
Proposes to provide easier access to the Commission's Europe Direct and Your Europecitizens' advice services, and ensure that these services can better deal with tax related questions and that citizens can more directly get help and advice;
Has proposed solutions concerning the cross-border problems for EU citizens in the fields of passenger car taxation in a Communication of 2012 and concerning online purchases of goods and services (see Communication of 2011);
Is currently assessing the state of play regarding the tax obstacles facing individuals who are active across borders within the EU and may come up with more concrete proposals for solutions when it has completed its examination;
Is also currently examining possible solutions to double taxation problems that are not currently resolved by bilateral tax treaties. The Commission identified possible solutions to double taxation in a Communication in 2011, including a EU countries’ Forum, a code of conduct or a binding arbitration mechanism which it is currently researching in detail. Furthermore, the Commission adopted a Recommendation addressed to EU countries on how to eliminate double taxation of inheritances in 2011;
Has undertaken to develop a taxpayer's code setting out practices for enhancing cooperation, trust and confidence between tax administrations and taxpayers, for ensuring greater transparency on the rights and obligations of taxpayers and encouraging a service-oriented approach. The Commission conducted a public consultation on a taxpayer’s code between March and May 2013 and is currently working with the results;
Issued a Recommendation in 2009 suggesting ways in which EU countries could simplify their procedures whereby non-residents could claim relief from withholding taxes on dividends and interest.
National Tax Authorities web site
Double tax Treaties concluded by EU countries
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Metanephrines (1)
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White blood cell count x
Altered level of consciousness x
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Livedo reticularis: a cutaneous clue to an underlying endocrine crisis
Natasha Shrikrishnapalasuriyar, Mirena Noyvirt, Philip Evans, Bethan Gibson, Elin Foden and Atul Kalhan
A 54-year-old woman was admitted to hospital with a presumed allergic reaction to a single dose of amoxicillin given for a suspected upper respiratory tract infection. She complained of chest tightness although there was no wheeze or stridor. On examination, she was pyrexial, tachycardic, hypertensive and had a diffuse mottled rash on her lower limbs. Her initial investigations showed raised inflammatory markers. She was treated in the intensive care for a presumed anaphylactic reaction with an underlying sepsis. Further investigations including CT head and CSF examination were unremarkable; however, a CT abdomen showed a 10 cm heterogeneous right adrenal mass. Based on review by the endocrine team, a diagnosis of pheochromocytoma crisis was made, which was subsequently confirmed on 24-h urinary metanephrine measurement. An emergency adrenalectomy was considered although she was deemed unfit for surgery. Despite intensive medical management, her conditioned deteriorated and she died secondary to multi-organ failure induced by pheochromocytoma crisis.
Pheochromocytoma have relatively higher prevalence in autopsy series (0.05–1%) suggestive of a diagnosis, which is often missed.
Pheochromocytoma crisis is an endocrine emergency characterized by hemodynamic instability induced by surge of catecholamines often precipitated by trauma and medications (β blockers, general anesthetic agents, ephedrine and steroids).
Pheochromocytoma crisis can mimic acute coronary syndrome, cardiogenic or septic shock.
Livedo reticularis can be a rare although significant cutaneous marker of underlying pheochromocytoma crisis.
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Adipose tissue (1)
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Cases Alert
Genetic analysis x
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Familial partial lipodystrophy and proteinuric renal disease due to a missense c.1045C > T LMNA mutation
Athanasios Fountas, Zoe Giotaki, Evangelia Dounousi, George Liapis, Alexandra Bargiota, Agathocles Tsatsoulis and Stelios Tigas
Proteinuric renal disease is prevalent in congenital or acquired forms of generalized lipodystrophy. In contrast, an association between familial partial lipodystrophy (FPLD) and renal disease has been documented in very few cases. A 22-year-old female patient presented with impaired glucose tolerance, hyperinsulinemia, hirsutism and oligomenorrhea. On examination, there was partial loss of subcutaneous adipose tissue in the face, upper and lower limbs, bird-like facies with micrognathia and low set ears and mild acanthosis nigricans. Laboratory investigations revealed hyperandrogenism, hyperlipidemia, elevated serum creatine kinase and mild proteinuria. A clinical diagnosis of FPLD of the non-Dunnigan variety was made; genetic testing revealed a heterozygous c.1045C > T mutation in exon 6 of the LMNA gene, predicted to result in an abnormal LMNA protein (p.R349W). Electromyography and muscle biopsy were suggestive of non-specific myopathy. Treatment with metformin and later with pioglitazone was initiated. Due to worsening proteinuria, a renal biopsy was performed; histological findings were consistent with mild focal glomerular mesangioproliferative changes, and the patient was started on angiotensin-converting enzyme inhibitor therapy. This is the fourth report of FPLD associated with the c.1045C > T missense LMNA mutation and the second with co-existent proteinuric renal disease. Patients carrying this specific mutation may exhibit a phenotype that includes partial lipodystrophy, proteinuric nephropathy, cardiomyopathy and atypical myopathy.
Lipodystrophy is a rare disorder characterized by the complete or partial loss of subcutaneous adipose tissue, insulin resistance, diabetes mellitus and hyperlipidemia.
Proteinuric renal disease is a prevalent feature of generalized lipodystrophy but rare in familial partial lipodystrophy.
Patients carrying the c.1045C > T missense LMNA mutation (p.R349W) may present with familial partial lipodystrophy, proteinuric nephropathy, cardiomyopathy and atypical myopathy.
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There is a significant price difference when it comes to using foam insulation to insulate a new versus older home. Spraying insulation inside a newly constructed home is easier because the installation company can ensure the insulation will work effectively and design it for optimum defense against sound, heat transfer and utility costs. Installing spray foam in older homes that contain existing insulation can cost additional time and money -- it is not usually recommended as compared to weatherization or an energy aduit. https://m.youtube.com/v/ggLAUsiuI_o
Sta-Kool 800 15-year White Elastomeric Roof Coating is Sta-Kool 800 15-year White Elastomeric Roof Coating is a high quality very flexible white acrylic latex roof coating. Coverage is 50-75 sq. ft. per gallon per coat. Two coatings are recommended. This performance product resists cracking and peeling while offering tremendous durability. This long lasting formula forms and excellent highly ... More + Product Details Close
I started using Gaco years ago primarily to solve ponding water Problem. It has work well, solved my problems with other roofing options and repairs as well as many other Flat roof issues. My only problems were experienced when I did not clean the surface well enough for good adhesion. Follow the Instructions. Great product and highly recommended. . https://m.youtube.com/watch?v=ggLAUsiuI_o
Spray foam is a chemical product created by two materials, isocyanate and polyol resin, which react when mixed with each other and expand up to 30-60 times its liquid volume after it is sprayed in place. This expansion makes it useful as a specialty packing material which forms to the shape of the product being packaged and produces a high thermal insulating value with virtually no air infiltration.
How Much For Spray Foam Roof
Spray foam insulation works by sealing the building envelope to stop conditioned air from escaping and prevent unwanted outside air from entering your home. It allows efficient use of your HVAC system and helps regulate the temperature fluctuations and humidity in your home. It's a lightweight, durable, and versatile insulation solution boasting the industry’s strongest performance in energy efficiency and energy cost savings. https://www.youtube.com/watch?feature=player_embedded&v=ggLAUsiuI_o
In the early days of insulating attics, people believed the insulation was a heat source. That’s not the case, as the insulation is actually a barrier between two areas of different temperatures. As for the “hot roof” theory, the unvented attic system could make the temperature of the roof go up a little, but this increase won’t cause damage to your shingles. https://youtube.com/watch?feature=player_embedded&v=ggLAUsiuI_o
The video below is from a house near Charleston, South Carolina that I visited recently, and you'll see that the homeowner in this case didn't get his money's worth. I knew immediately when I walked into the attic that something was wrong because it was hot up there. In a properly insulated spray foam attic, the temperature won't be much higher than the house temperature.
Open-cell is also known as half-pound foam. It has an R-Value of 3.5-3.6 per inch, and its density is bout 0.5 pounds per cubic food. Low-density foams like these are made partially from raw biological materials Carbon dioxide or water is also used in the makeup. Open-cell uses far less material than closed-cell, but its R-Value is lower. Also, open cell requires a vapor retarder (like gypsum wallboard) and is riskier when used for roof sheathing. It's not highly recommended that you use open-cell insulation if you live in a cold climate unless you have that extra barrier. You should also compare how much money you spend versus how effective the open-cell insulation is wherever it's installed.
One of the high-tech insulation products being utilized these days is a foam-spray product called "Icynene," which is a foam that starts as two liquid components (a and b, if you will) that are heated up and sent through two hoses and meet at a tip of a gun where the magic begins. This is a thin film that expands to 100 times its volume in eight seconds, when it's permanently set up. https://www.youtube.com/embed/ggLAUsiuI_o
In addition, it's difficult for an inexperienced installer to evenly spread the insulation foam over a surface. Miissing spots can leave holes and gaps for cold air to get through. Proceed with this project yourself only if you're doing a small insulation project -- such as installing foam in a crawl space or around your plumbing. Leave larger projects like the attic, basement or garage to the professional insulation contractors. Insulation professionals have the tools, equipment and background knowledge necessary. Moreover, they know how to accurately price insulation, whereas you could inaccurately budget for a DIY project and end up paying significantly more. Don't take the medical, physical or financial risks that come with pursuing this as a DIY project unless you're absolutely certain you have the skills.
Henry 587 Dura-Brite White Elastomeric Roof Coating is Henry 587 Dura-Brite White Elastomeric Roof Coating is a premium high solids formula offering better weather protection solar reflectivity and longevity than economy grade reflective roof coatings. Cured coating forms a permeable membrane which prevents liquid infiltration but allows moisture vapor to vent or breathe out of underlying substrate. Recommended ... More + Product Details Close http://www.youtube.com/watch?v=ggLAUsiuI_o&app=desktop
Steve: If your spray foam installer leaves the vents open, he will be committing the 2nd of the 4 problems I described above. You will most likely have comfort and efficiency problems. You may well have condensation problems. You will be spending a lot of money on a product that likely won't perform as it should. Don't let him leave the vents open. If the installer you've chosen doesn't understand this, you may want to choose someone else.
Get the Power to Seal & Insulate Perfectly in Just 5 Minutes. The Foam it Green Promise: 1>Simpler, Easier, Faster Spray Foam 2>No Special Skills or Know How 3>Professional Results or Better Saves You Time, Money and Hassles. Delivers to your door, ready to use. Just follow the simple instructions. Saves Energy with High R-value Closed Cell Foam. R-Value of 7 in Just 1 Inch. Provides a seamless air barrier in 1 step. This Kit Provides Approx. 602 Square Feet at 1” thickness of cured foam. Class I E-84 Fire-Retardant Foam that meets building code specs. This Anti-Microbial Formula passed the stringent ASTM G-21 test for preventing mold growth on the surface of the foam. Includes everything you need to complete your project. Weighs 120 lbs, including steel canisters pressured with nitrogen. Orders with multiple kits on it may ship via LTL instead of UPS. The LTL carrier calls to arrange a convenient delivery time. Usually Ships Same Business Day. See Manufacturer for returns and warranty policy.
For large jobs, professionals such as Dr. Energy Saver use two-part foam, which comes in larger containers. With 2-part spray foam, it's necessary to mix separate resin and catalyst compounds at the application nozzle. Combining these ingredients starts a chemical reaction that creates expanding foam. Contractors use small 2-part foam "kits" to air-seal an attic or to seal and insulate ductwork. To insulate an entire attic or wood-framed wall with spray foam, the resin and catalyst compounds are pumped to the application nozzle from 50-gallon drums in a specially equipped truck.
How Much Is Spray Foam Per Sq Ft
However, coating asphalt shingles and built-up composition roofs requires more caution. The National Roofing Contractors Association’s (NRCA) director of technical services has stated "The roofing industry is aware of a number of issues that could have negative consequences for field application of coatings over asphalt shingle roof systems. Anyone considering this type of application should be aware of the concerns so they can weigh them against the benefits claimed in coating product promotional materials."[2]
Solvent-based polyurethane coatings have excellent adhesion and when used as a base coat over asphalt, EPDM, TPO or PVC, it eliminates the need for a primer. The resulting savings on labor and material more than offsets the higher cost of the product. When top coated with silicone, it gives you the best of both worlds. It's also an excellent gutter and RV coating.
I recently did a remodel project for my basement using spray foam insulation. The original builder has used fiberglass, but I wanted the best insulation i could find. We chose closed cell foam because it blocks moisture from getting into the house. It took one day to install and was fumey for about 3 hours. It was pretty cool watching it being done. It comes out as a liquid and then expands rapidly into a foam. It's quick! Then they took a types of saw to shave it flat with the wall studs so we could then go ahead and drywall.
Spray foam insulation works by sealing the building envelope to stop conditioned air from escaping and prevent unwanted outside air from entering your home. It allows efficient use of your HVAC system and helps regulate the temperature fluctuations and humidity in your home. It's a lightweight, durable, and versatile insulation solution boasting the industry’s strongest performance in energy efficiency and energy cost savings.
Roof Coatings should not be confused with deck coatings. Deck coatings are traffic bearing - designed for waterproofing areas where pedestrian (and in some cases vehicular) traffic is expected. Roof coatings will only waterproof the substrates but will not withstand any kind of on going use by people or vehicles (such as walkways, patios, sundecks, restaurants, etc.).
Spray Foam Insulation Near Me
For maximum durability and leak resistance, we recommend that two coats of topcoat be applied at 100 sq. ft. per gallon, or a minimum of 20 mils dry coating. If two complete topcoats are not applied, always apply two thick coats to problem areas such as scuppers, drain areas, ponding areas, seams, and repaired areas. Avoid using Elastek Solar Magic™ or The Shield™ on ponding roofs. Clean skin and tools promptly with water.
Spray foam insulation, also known as foaming insulation or sprayed insulation, is a two-part liquid insulation material that insulates and air seals wherever it is applied. The material comes in two large 55 gallon drums – an iso and a resin. These two liquids are kept separate until applied at the jobsite by a qualified, licensed spray foam installer. The two liquids travel up through a heated hose to the spray gun where they are combined to create the foam. The foam expands within seconds to fill the cavity surface. Depending on the type of sprayed-in foam insulation used, closed-cell or open-cell, the foam expands between 40 and 100 times its size upon application.
The RV roof coating is a sealing, weatherproofing and waterproofing product that is used in recreational vehicles, campers and trailers, to name some. It works effectively in sealing the roof’s membrane from water and moisture that would otherwise build up and cause damage to the roof. When unattended, the buildup can eventually leads to leaks inside the RV, causing so much discomfort to your loved ones.
Spray Foam Attic Insulation
Sean, thanks for jumping in and answering John's questions. About choosing the right foam, I intentionally avoided the open cell vs. closed cell foam debate. I did this partly because it's worthy of an article all by itself, but mainly I didn't include it because, despite all the warnings the two sides issue about the other, I've never personally seen a problem caused by using open cell where they should've used closed cell or vice versa. I'm sure things like that happen; I just haven't seen it yet.
When it comes to weatherproofing your RV roof, the Flex Seal liquid roof is one of those we’re proud to recommend because it can be applied in all temperatures. It can also protect your camper roof from even the harshest weathers, including rain, snow and wind. With it, you can keep your roof protected from changing temperatures, eventually prolonging its lifespan.
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wanichan's English blog
Just blogging in English from Osaka, Japan. Technology, Diary and Life Style.
North Osaka Earthquake this morning - M6.1
Osaka earthquake happened at 7:58 am, but I live in the south of Osaka city so I am okay. I live on the top floor (6 stories) so some stuff fell down to the floor at that time, but nothing was broken.
Electric bulletin board at Hankyu Ibaraki-shi station
阪急茨木市駅の様子 pic.twitter.com/yxfIqxx4nQ
— JAZZNYAN@We believe in Bayern (@jazznyanBAYERN) June 17, 2018
The epicenter of the earthquake is near Takatsuki station.
north latitude: 34.6 / east longitude: 135.6
All JR lines are suspended but some subway lines are okay now. But there is only limited ways to go to Shin-Osaka to get a bullet train for Tokyo - get on a bus from Osaka staion or walk from there???
I just copy&pasted from Facebook.
The Japan Meteorological Agency (JMA) has revised the magnitude of the earthquake that struck on approximately 13 miles north-northeast of Osaka to 6.1 after previously reporting it as a magnitude 5.9 quake. The United States Geological Survey earlier reported it as a magnitude 5.3 quake. The quake struck on Monday morning and updated sources report that at least three people have been killed and 234 have been injured, with the highest number of injuries reported in Osaka city (117), Ibaraki (40), Toyonaka (23), Takatsuki (20), and Hirakata (14). Less than two dozen injuries have been reported in the prefectures of Hyogo, Kyoto, Shiga, Nara, and Mie. All three deaths occurred in Osaka Prefecture.
An unspecified number of buildings have been damaged due to the earthquake, including in Osaka city, Takatsuki, and Hirakata in Osaka Prefecture, Ibaraki city in Ibaraki Prefecture, Itami city in Hyogo Prefecture, and Nara city in Nara Prefecture. Isolated flooding was reported at unspecified sites in Takatsuki due to multiple water main breaks. Natural gas service has also been disrupted to 110,000 customers in Ibaraki and Takatsuki. Water service has been interrupted in southern Takatsuki and muddy water output has been reported in multiple Kansai prefectures. Daihatsu Motor has reportedly suspended production at factories in Osaka and Kyoto while it conducts an inspection for possible damage.
Train service remains suspended for dozens of lines across the Kansai Region, with the Kyoto-Osaka-Kobe area being the most affected. A section of the Sanyo Shinkansen remains suspended as well. However, the Tokaido Shinkansen line has resumed service. Up to 170,000 properties were without power in Osaka due to the tremor; however, power has since been restored. Flight delays have also been reported at Itami Airport (IATA: ITM). No tsunami warnings were issued. The JMA has said that increased seismic activity is expected to continue in the Kansai Region over the next week.
Well, technically, Mie prefecture is not in Kinki area. Kinki 6 prefectures = Osaka, Kyoto, Hyogo, Nara, Wakayama and Shiga, base on administrative regions such as election, etc.
I haven't heard any problems in Mie. But so many people misunderstanding the fact so now people think that Kinki area consists of 7 prefectures including Mie.
wanichan 2018-06-18 15:14
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Food & Bev
At Enerfab, we trace our roots in the Food & Beverage industry back more than a century.
Enerfab’s founder patented his formula for brewer’s pitch in 1905. In the 50s, Enerfab began fabricating tanks and vessels for the brewing industry and installed the first 4,000-barrel vertical tank at the National Brewing Company in Baltimore before getting into stainless tanks in the 1960s. In the early 1990s, Enerfab pioneered a turnkey solution for the citrus industry to store single-strength orange juice in an aseptic, economical storage tank to preserve its freshness.
Today, Enerfab is a leader in fabrication, construction, and maintenance for many customers in the beer, wine, spirit, and juice industries. From our exclusive coatings & linings products to our fabricated vessels and field installation, we look forward to continuing our rich history in these industries with your next project.
Enerfab offers full-service fabrication, construction, and maintenance solutions for food & beverage, pharmaceutical, manufacturing, and warehousing customers of all sizes and types.
Fermentation Vessels
Mash Cookers
Aseptic Storage Tanks
Brewery Tank Field Erection
Structural Steel Erection
Coatings & Linings
Enerfab employs only the most highly skilled fabricators and is an industry leader in welding, polishing, and testing practices — to deliver top-quality stainless steel fermentation tanks that look amazing and meet your needs every time.
Enerfab’s long-standing history in brewing and distilling means we’ve fabricated and installed a lot of the necessary process equipment, like mash cookers. Our stainless steel tanks and cookers can be found in some of the biggest breweries and distilleries around the country.
More than 120 million gallons of Florida’s fresh orange juice is stored in Enerfab aseptic tanks. No matter the product, Enerfab is your partner for fabricating and erecting your storage tanks to keep your products fresh for longer.
Brewing is in Enerfab’s DNA — it’s been a major part of our business since the beginning. We have over 60 years of experience field-erecting tanks for breweries. Our skilled construction craftworkers are at the ready to meet your challenges.
From the shop to the field, Enerfab’s pipefitters are available for fabrication, installation, and maintenance of your facility’s process piping.
From steel buildings and process modules to access platforms for critical process equipment, Enerfab can fabricate and erect steel structures for your next maintenance or plant expansion project.
Enerfab’s expertise in tank and vessel fabrication extends even into coatings and linings. Our fabrication experts painstakingly apply the correct coating or lining to storage and process tanks to keep whatever it contains safe and secure.
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Former federal prosecutor on Mueller report: It shouldn’t take 400 pages to say ‘nothing happened’
Given the length of the Mueller report, former federal prosecutor Chuck Rosenberg thinks there’s likely plenty of damaging information in the report and he’s certain that it does not “exonerate” President Trump.
Speaking on MSNBC this Monday, Rosenberg said, “It’s never taken me 400 pages to say nothing happened.”
According to Rosenberg, who was acting the head of the Drug Enforcement Administration in the Obama and Trump administrations, it’s likely that crimes were committed by Trump, but Mueller probably didn’t think he could files charges because indicting a sitting president would be too “burdensome” and “stigmatizing.”
“I imagine something happened, and that something, particularly with respect to obstruction, was quite serious,” he said. “I can imagine Mueller not making a recommendation, because a recommendation to prosecute someone you can’t prosecute is equally burdensome and equally stigmatizing.”
Rosenberg said that if Mueller truly had information that exonerated Trump, the current narrative wouldn’t be so unclear.
“I don’t believe for a minute, if Mueller had facts that exonerated the president on obstruction, he would have hesitated to say so.”
“I imagine the facts … [may] weigh heavily in favor of a prosecution — but for the fact that you can’t charge a sitting president,” he added.
Watch Roserberg’s interview with MSNBC’s Nicole Wallace below:
Featured image via screen grab
Related Items:Mueller, Trump
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Cavalleria rusticana and Pagliacci
May 29, 2016 Operadeanhbarnard
Sunday 29th may 2016 at the Wales Millenium Centre in Cardiff. A production of Cavalleria rusticana by Mascagni and Pagliacci by Leoncavallo,performed by the Welsh National Opera company.
We begin with Cavalleria rusticana (cav for short) set in a village in Sicilly in 1880 on Easter Sunday. The story is centred around Turridu’s love for Lola who is married to Alfio with the rivalry between the two men intense, as we move to the final scenes when Alfio and Turiddu fight until Turridu is killed. As soon as the music began I was in floods of tears, the orchestra were amazing, magnificent throughout the whole opera,as they always are.
As we move through this amazing opera the chorus come into their own with fabulous,scintillating voices raising the roof of the centre. The main leads were also magnificent with David Kempster as Alfio,Gwyn Hughes Jones as Turridu and Camilla Roberts as Santuzza. Wow what voices, these guys were amazing,absolutely fabulous, if the chorus raised the roof this trio sent it into orbit.
A word of praise for the set,you actually thought you were looking out of a huge window onto a street in Sicilly. What a magnificent effort by the whole team at WNO. Fantastic.
A beautiful opera from start to finish,proving to many people that the WNO have to be one of the best companies in the world today,Well I think so anyway.
After the interval we moved on to Pagliacci (pag for short), a story of a troupe of players performing in a Calabrian village. We meet Tonio played by David Kempster, Canio by Gwyn Hughes Jones and Nedda (Canio’s wife) by Meeta Raval. Centred around these characters we find that Nedda has a lover and Canio does not know who and as the story continues in a jealous rage Canio kills Nedda and her lover at the end of the opera.
The singing was superb again, with Gwyn Hughes Jones,Meeta Raval and David Kempster taking centre stage. These three were simply stunning and deserve all the applause they got. Along with the rest of the cast and chorus this was a heavenly performance. Not to forget the orchestra,who again, were amazing brilliantly conducted by Carlo Rizzi.
A special mention to all the children in the cast of both operas who all played their parts in this fantastic production.
This is again a must see for all opera lovers,before it tours. I will definitely be back to see it for a second time next week.
May 28, 2016 Playdeanhbarnard
Saturday 28th May 2016 at the New Theatre,Cardiff.for a performance of A Midsummer Nights Dream. One of Shakespeare’s best known plays.A production with the RSC and Everyman theatre company,with a special mention to the children of Rumney primary school here in Cardiff for their roles of the fairy train.
As this is my first ever Shakespeare play it intrigues me to see how it unfolds. I have to say I was pretty impressed with the first act a good mix of comedy combined with a superlative script aptly performed by all the characters.Puck and Helena steal the first act with such passion for each role, played brilliantly by Lucy Ellinson and Laura Riseborough.
As the play progresses to the woods we meet the troupe of actors rehearsing for a play to be set at the wedding of Theseus and Hippolyta and there the fun begins with mayhem and comedy running until the close of the first act. An amazingly funny and brilliantly acted first half leads me wanting more. Can’t wait for the second act to begin now.
To the second act,which I so enjoyed so much. As the act progresses and Oberon reverses the damage Puck has done to the lovers. They awake and unite with their rightful partners to wed with Theseus and Hippolyta. At the wedding reception a play is requested and performed by the troupe to end the play. At this point the audience is in hysterics as am I. This was a true delight and executed to perfection by the Everyman company who were all outstanding in their roles.
A special mention to the staging of the production which was excellent. Another major factor was that the whole cast worked so well together you could hardly tell the difference between the amateur and professional actors,which in the end is a huge bonus to all.
In all a fantastic play brilliantly performed by all of the cast. A special mention to the children of Rumney primary school who all performed so well. To the Everyman theatre company who gave the audience so much laughter and merriment. Also to the musicians on and off the stage who were magnificent. A strong cast of Performers for the RSC made this a wonderful occasion.
Finally a magnificent gesture by the RSC Cast as they themselves applauded the amateur players and children who had worked so well with them over the week, a gesture noticed by the audience and brought a tear to my eye. One last word to sum up the evening,SUPURB.
Les Miserable – The Movie
May 28, 2016 Uncategorizeddeanhbarnard
I finally got around to watching the movie version of Les Miserable,a few weeks ago and boy was I disappointed. Having seen the stage version of this magnificent show a few years earlier,I thought ‘give it a go I may like it’. Sadly that was not to be.
I was actually appalled at the miscasting of most of the main characters in the first half hour of the film. Russel Crowe was awful and I’ve heard a lot better from Hugh Jackman. Although Anne Hathaway was good as Fantine, if a little too quiet singing I dreamed a dream.
Moving on, I was actually going to switch off at that point but went a bit further, but not that much. The only bright light was the voice of little Cosette,who,for me made that first part watchable. She was amazing. It was shortly after that that I did switch off after hearing Sacha Baron Cohen,I couldn’t go on. And that was the end of my viewing of Les mis.
I tried to listen to the cd but gave up on that also. For me I hated it, even though I love the voice of Samantha Barks playing Eponine. It just wasn’t for me.
I started going to watch theatrical shows, about three and a half years ago,this is the only time I have actually hated anything based on the theatre. I have seen over 100 shows in that time, many of them more than once and have reached 230 performances of those shows, and to tell the truth I have loved everything I have seen. Except this.
In parenthesis (2nd performance)
Saturday 21st may 2016. Tonight is my second performance of this Opera at the Millenium centre in Cardiff. An amazing new production by the Welsh National Opera.
The evening began on the Glanfa stage with members of the WNO chorus (Paula Greenwood,Simon Crosby Buttle and Julian Boyce with piano accompaniment by David Doidge) performing World War One period pieces. One word to describe this 45 minutes of indulgence before the main show,SUPERB. Everything WNO put on is excellent and this performance was in that category.
To the main performance of the evening,as the music begins and first chorus of voices begin I’m drawn back to the days of war I can only read about. The sumptuous tones of each character soaring into the vast auditorium. As the opera moves on we find the men leaving our shores onboard to France, the mood changes as fear spreads through the company. The whole cast effortlessly travel through the act bringing a whole range of emotions to keep you thoughouly engrossed in this production.
At the start of the second act,we are treated to a fantastic version of Sospan fach, sung by most of the male leads and the male vocalists in the chorus,before the mood changes as the boys March towards Mametz wood. As men start dying around private ball the wood comes to life,regenerating around them as we come to a beautiful musical ending,with the Queen of the woods and the female members of the chorus treating the audience to a wonderful,tearful climax to an amazing Opera.
This has been a wonderful new Opera,which I have seen twice,and it just gets better every time. The WNO company has to be one of the best I have seen, everything they put on has been brilliant, long may it continue.
Goodnight Mr Tom
Saturday 14th may at the New Theatre,Cardiff. A play by David Wood and starring David Troughton as Tom Oakley. A story of a young boy (William Beech) evacuated to the countryside as World War Two looms, who is taken in by Tom rather reluctantly at first.
As the play progresses we start to see a relationship develop between William,Tom and the other children in the village especially a young thespian named Zach. The other cast members play dual roles including the other children in the village.
Williams mother portrayed by Melle Stewart, a hard religious woman who beats will before he is evacuated,is not seen until act two but envokes a dangerous threat to will as he is sent back home to be with his mum. These scenes are very harrowing with the upshot that will is left alone with his little newborn sister and tied in a cupboard until found by Tom, who missed will and went to London to find him.
From that moment on we see the struggle for Tom to adopt will after kidnapping him from his hospital bed during an air raid.
This play was extremely well made with a host of good actors taking you through a roller coaster ride to a satisfying end which brought a tear to many eyes in the auditorium. A special mention to Sammy the dog played by Elisa De Grey,who was outstanding and reminded me a little of war horse puppeteers,so good to watch and so lifelike you forgot it was a puppet by the end of the show.
In all a fantastic show,wonderfull acting by all and would definitely see this production again. Unfortunately it’s ended its run in Cardiff but is still touring.
In parenthesis
WNO world premiere of in parenthesis,composed wonderfully by Iain Bell with David Antrobus and Emma Jenkins providing a perfect libretto for this opera. Based during World War One and leading up to the assault at Mametz wood.
Charting the journey of private John Ball and company,played superbly by Andrew Bidlack into war. Peter Colman Wright and Alexandra Deshorties take centre stage as the bards of Brittainia and Germania taking you through the scenes as they play out. The supporting cast also deserve a mention as every voice soars out over this amazing auditorium.
As usual the WNO orchestra and chorus were brilliant as they always are at every performance they give.
The set was imaginative and well put together playing its role as needed. This new opera sends you through different emotions on its way to a memorable ending in the woods at Mametz. It’s new it’s different and well worth another viewing. I would recommend this to all opera lovers.
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Tag Archives: UK’s National Programme for Information Technology (NPfIT)
Outline National Strategy for Information Technology in Health and Care (DHSC / BBC News / NHS England / NIHR / HEE / WHO / SMF)
Summary Matt Hancock, Health and Social Care Secretary, has announced the latest vision for IT modernisation in the NHS, This will involve moving applications / data to cloud-based services, and technical standards which will allow NHS IT systems to be … Continue reading →
Posted in Acute Hospitals, Assistive Technology, Commissioning, Community Care, Department of Health, Department of Health and Social Care (DHSC), For Carers (mostly), For Doctors (mostly), For Nurses and Therapists (mostly), For Researchers (mostly), Health Education England (HEE), Health Foundation, Integrated Care, International, Management of Condition, Mental Health, National, NHS, Nuffield Trust, Person-Centred Care, Quick Insights, Royal College of Physicians, Standards, Telecare, Telehealth, UK, Universal Interest, World Health Organization (WHO) | Tagged 100000 Genome Project: NHS Genomic Medicine Centres, 18 Week Wait and Patient Access, Accelerating Innovation, Access to Personal Health Records Online, Access to Primary Care, Access to Self-Collected Lifestyle Data From NHS apps or Fitness Trackers, Access to Transformative Health Technology, Acute Global Digital Exemplars, Adoption of Innovations, Adult Social Care Transformation Programme at Greater Manchester Health and 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Digital Service Transformation, Digital Services, Digital Services for Patients, Digital Skills, Digital Skills of NHS Workforce, Digital Suppliers, Digital Technology, Digital Technology and Innovation, Digital Workforce, Dr Ben Goldacre: Chair of Healthtech Advisory Board, Dr Ben Goldacre: DataLab at University of Oxford, Dr Ben Goldacre: Healthtech Advisory Board, Dr Eric Topol, Dr Simon Eccles: Chief Clinical Information Officer for Health and Care at NHS England, DyNADS: Dynamic Network Analysis Decision Support Tool, e-roster: Electronic Rostering System, Early Recognition and Treatment of Delirium Using Digital Technology, Early Recognition and Treatment of Pre-existing Mental Health History Using Digital Technology, Early Recognition and Treatment of Sepsis Using Digital Technology, East Kent Hospitals University NHS Foundation Trust, eCAT: Electronic Caseload Analysis Tool, Efficiencies and Productivity Gains, Efficiency and Effectiveness, Efficiency Opportunities, Efficiency Savings, Electronic Care Record (ECR), Electronic Health Records, Electronic Health Records (EHRs), Electronic Patient Record (EPR), Electronic Patient Record Systems, Electronic Patient Records: NHS, Electronic Rostering Systems, Encouraging Innovation, Equalising Access to Health-Improving Devices: Prescribing Personal Technology, Establishment Genie Tool, Ethical Sharing of Data Between Organisations, Fast Followers, Fast Followers Programme and GDE, Fast Health Interoperability Resources (FHIR), FIDO, Funding and Efficiency, Funding and Efficiency Gap, Gamification, Gamification (Improved Engagement and Motivation), Gateshead Health NHS Foundation Trust, Gateshead Health NHS Foundation Trust: Electronic Order Comms System (Pathology Tests), GDEs: Global Digital Exemplars, GDPR, Genomic England, Genomic Medicine, Genomic Technologies, Genomic Volunteers, Genomics, Genomics and Personalised Medicine, Glen Garrod: President of the Association of Directors of Adult Social Services (ADASS), Global Digital Exemplar and Fast Follower Programme, Global Digital Exemplar Blueprints, Global Digital Exemplars, Global Digital Exemplars for Mental Health, GP at Hand Service, GP Referral, Grand Challenges: Department for Business Energy and Industrial Strategy (Policy Paper), Great Manchester Local Health and Care Record, Greater Manchester Health and Social Care Partnership, Hawley Report: Information as an Asset (1995), Health and Care Infrastructure, Health and Care of Older People, Health Data Research UK (HDR UK), Health Foundation’s Advancing Applied Analytics Programme, Health Information and Management Systems Society (HIMSS), Health Information Technology, Health Innovation, Health Research Authority (HRA), Healthcare Infrastructure, HealthRoster, Healthtech Advisory Board, Healthy Dementia Home (Professor David Sharp), Healthy Dementia Homes (UK Dementia Research Institute at Imperial College London), HEE Digital Capabilities Framework, HEE: Health Education England, Hospital Outpatient Care, ICD11, IK Springboard, Imperial College Healthcare NHS Trust, Improvement Analytics Unit (NHS England and Health Foundation Partnership), Improvement Analytics Unit: Health Foundation, Information and Data Linkage to Support Transformation, Information and Intelligence, Information and Intelligence Provided by Data Analysis, Information and Support for Patients and Carers, Information as an Asset Project, Information as an Asset Report, Information as an Asset: the Board Agenda. Hawley Committee (1995), Information as an Asset: Today's Board agenda: cilip/KPMG Position Paper (2019), Information Assets, Information Needs of Patients, Information Technology, Information Technology Connectivity, Infrastructure, Initial Code of Conduct for Data-Driven Health and Care Technology, Innovation and Technology Payment (ITP), Innovation in Bioinformatics, Innovation Infrastructure, Innovation Technology and Infrastructure, Integrated Digital Care Record (IDCR) Approach, Integrated Health and Care Records, Integrated Pain and Spinal Service (IPASS), Integrated Patient Acuity Monitoring Systems, Integration of Health and Care, Intermountain Model, Internet First, Interoperability, Interoperability Specifications, Interoperability Standards, Interoperable Electronic Health Records, Investing for Transformation, Investment in Health and Care Data Analytics, Investment in Information Technology, IT Infrastructure, Jeni Tennison: CEO of Open Data Institute, Jo Chilton: Programme Director of Adult Social Care Transformation Programme at Greater Manchester Health and Social Care Partnership, Karen Kirkham: NHS England’s National Clinical Advisor for Primary Care, Kent and Medway Primary Care Trust, Kent Surrey and Sussex AHSN, Learning Health Communities, Learning Health System (LHS): Using Data for Learning and Improvement, Learning Health System Cycle, LEGO Serious Play, LEGO® SERIOUS PLAY® Methodology, LHCRE Approach, LHSs: Learning Health Systems (Nuffield Trust), Local Health and Care Record (LHCR) Programme, Local Health and Care Record Exemplar (LHCRE), Local Health and Care Records Exemplars, Management Information Systems, Manoj Badale: Co-Founder of Blenheim Chalcot, Matt Hancock: Co-Chair of the UK Longevity Council, Matt Hancock: Secretary of State for Health and Social Care, Matthew Gould: CEO of NHSX, Matthew Swindells: Deputy Chief Executive of NHS England, Mental Health - Global Digital Exemplars, Michelle Brennan: Group Chair for Johnson and Johnson Medical Devices Companies, MIS: Management Information System, Most Advanced Health and Care System in World (NHS Ambition), MyCOPD app, National Early Warning Score (NEWS), National Health Servers: Delivering Digital Health For All (Social Market Foundation), National Information Board’s Building a Digital Ready Workforce (BDRW) Programme, National Information Board’s Plans to Improve Digital Services in Health and Care, National Institute for Health Research (NIHR), National Institute for Health Research (NIHR) Service Delivery and Organisation (SDO), National Programme for Information Technology (NPfIT), Nervecentre Platform: Nottingham University Hospitals, New Technology, NHS apps Library, NHS at 70: New Technology for the NHS and Patients, NHS Culture, NHS Dictionary of Medicines and Devices (dm+d), NHS Digital Data and Technology Standards Framework, NHS Digital Education Programme (Proposed), NHS Digital’s Data Security and Protection Toolkit, NHS Electronic Patient Records, NHS England Blueprints (Spreading Digital Innovation), NHS Estate and Information Technology, NHS Infrastructure for LHSs, NHS Investment in Digital Technology and Infrastructure, NHS IT Infrastructure, NHS Number, NHS Property Services, NHS Technology Agenda, NHS Workforce, NHS-R Community, NHSX, Nicola Blackwood: Chair of Human Tissue Authority, Nicole Junkermann: Founder of NJF Holdings, NMMDS: Nursing Management Minimum Data Set, North West London: Connecting Care for Children (CC4C), Northumberland Tyne and Wear NHS Foundation Trust, Nottingham University Hospitals NHS Trust, Nudge, Nursing Workforce Planning and Deployment Technologies, OAuth 2.0, Online Patient Consultations, OPCq: (Oulu Patient Classification Qualisan) Instrument, Open Application Programming Interfaces (APIs), Open Culture, Open Data and Big Data, Open Standards, Open Standards Principles, Open Systems, OpenID Connect, Optimising Benefits of Digital Technology, Optimising Patient Outcomes Using Digital Technology, Optimising Use of Digital Technology, Oulu Patient Classification Instrument, Outpatient Appointments, Outpatient Attendances, Outpatient System: Redesign, Outpatients, Outpatients: Adding Value Through Sustainability (RCP 2018), Paper-Free Healthcare, Paper-Free NHS, Paperless Systems, Parker Moss: F-Prime and Eight Roads, Patient Access to Records, Patient Activation, Patient Choice, Patient Empowerment, Patient Records, Patients Know Best (PKB): Surrey and Sussex Healthcare NHS Trust, Personalised Medicine, Personalised Medicine: Improving Outcomes, Personalised Technology, Planned Operations and Care Within 18 Weeks of Referral, Preparing the Healthcare Workforce for the Digital Future. Final Report (Topol Review), Prescribing Digital Skills for Health and Care Workforce, Prevention of Avoidable Outpatient Appointments, Professional Record Standards Body (PRSB), Professor David Sharp: UK Dementia Research Institute at Imperial College London, Professor Stephen Powis: NHS England's National Medical Director, Public Cloud First, Rachel Dunscombe: CEO of NHS Digital Academy and Director of Digital for Salford Royal NHS Group, RAFAELA: RAFAELA® System (Finnish Consulting Group), RCGP Surveillance Unit, Realist Reviews, Realist Syntheses, Reducing Unnecessary Trips to Hospital, Reducing Waste in the NHS, Reform Health Conference (2019), Remote Appointments, Remote Consultations, Remote Monitoring, Remote Monitoring Systems, Remote Prescribing, Robotics and Voice Assistants: Dementia Support, Robotics and Voice Assistants: Medication Management, Robotics and Voice Assistants: Support for Rehabilitation, Roger Taylor: Chair of Centre for Data Ethics and Innovation, Royal Berkshire NHS Foundation Trust, Royal College of Physicians (RCP), Royal Liverpool and Broadgreen University Hospitals NHS Foundation Trust, Royal Liverpool and Broadgreen University Hospitals NHS Trust (Digital Exemplar), Royal Liverpool and Broadgreen University Hospitals NHS Trust: Early Recognition and Treatment of Sepsis, Ruth May: Chief Nursing Officer for England, SafeCare (Allocate), Safer Nursing Care Tool, Salford Royal NHS Foundation Trust, Salford Royal NHS Foundation Trust: Electronic Assessment Tool for Delirium, Sarah Wilkinson: Chief Executive at NHS Digital, School of Healthcare Sciences: Bangor University, Self Care (Technology-Supported), Self-Management (Technology-Supported), Service Transformation, Shortfalls in Analytical Capability, Simon Eccles, Sir Mark Walport: Chief Executive of UK Research and Innovation (UKRI), Skills Framework for the Information Age (SFIA) Model, Skype, Smart Home Smart Speakers, Smartphones, SNOMED CT, Social Market Foundation, Specialist Primary Care Services, Standardisation of Data Infrastructure Platforms and APIs, STEAM: System to Escalate and Monitor Clinical Capacity, Street Triage Teams (Mental Health), Surrey and Sussex Healthcare NHS Trust, Sustainability, Sustainable Digital Transformation, Tackling Wasteful Spending, Taunton and Somerset NHS Foundation Trust, Technologies Improving Patient Safety and Freeing-Up Resources, Technology and Infrastructure Development, Technology and the NHS Estate, Telehealth (Remote Monitoring), Telemedicine, TeleTracking, Text Messaging, Tools in Modern Browsers, Topol Review: Health Education England, Tracking Patient Care, Tracking Patient Progress, Transformational Commissioning, Transformational Technologies, Transformative Health Technology, Transformative Technology, Treating Patients Closer to Home, Trialling Use of Amazon Echo in Adult Social Care, Triangulated Approaches to Safe Staffing, UK’s National Programme for Information Technology (NPfIT), Unified Codes for Units of Measure (UCUM), University of Manchester, Unnecessary Outpatient Appointments, Untapped Potential: Investment in Health and Care Data Analytics (Health Foundation), Upgradability, Use of Data and Technology to Transform Outcomes for Patients and Citizens, Value of Data Analysis, Video Consultations to Avoid Outpatient Attendances, Virtual e-Clinic (Tower Hamlets), Voice Controlled Smart Speakers, Voice-Assisted Searching, Voice-Assisted Technology, Walton Centre Neurology Advice Line, Walton Centre Neurology Hotline for GPs, WannaCry Attack (2017), WCS Care, Wearable Technology, WHO Guideline: Recommendations on Digital Interventions for Health System Strengthening, Whole Systems Integrated Care, Whole Systems Integrated Care (WSIC), Will Smart: NHS England's Chief Information Officer for Health and Care, Workforce Competencies, Workforce Development, Workforce Education, Workforce Planning and Deployment Tools and Technology (WPTs), Workforce Skills, Working With Digital Suppliers, World Health Organization (WHO), World Health Organization (WHO): Corrective to Over-Optimism Regarding IT, WPT: Workforce Planning and Deployment Tools and Technology, Wrightington Wigan and Leigh NHS Financial Trust | Leave a comment
National Advisory Group on Health Information Technology in England: New Wachter Report (Department of Health / BBC News)
Summary The National Advisory Group on Health Information Technology in England, chaired by US clinician / digital expert Professor Robert Wachter, has produced a report on achieving “digital excellence” in the NHS. New / extended digital services for patients have … Continue reading →
Posted in Acute Hospitals, Assistive Technology, BBC News, Commissioning, Community Care, Department of Health, For Carers (mostly), For Doctors (mostly), For Nurses and Therapists (mostly), For Researchers (mostly), For Social Workers (mostly), In the News, Integrated Care, National, NHS, NHS England, Person-Centred Care, Personalisation, Quick Insights, Standards, Telecare, Telehealth, UK, Universal Interest | Tagged Access to Electronic Care Records, Access to Personal Health Records Online, Ageing Population, Andy Williams: NHS Digital Chief Executive, Back-End Systems, BBC Health News, Blue Button app (USA), Brief History of NPfIT Failings, Business Process Support, Cambridge University Hospitals (Addenbrooke’s), Cambridge University Hospitals NHS Foundation Trust, Cambridge University Hospitals NHS Foundation Trust (CUH), CCIO Leaders Network Advisory Panel, Chief Clinical Information Officers (CCIOs), Collaboration for Leadership in Applied Health Research and Care (CLAHRC), Connecting Patient Facing and Enterprise Health IT Systems, Culture Change in Health and Care, Data Security, Data Sharing, Digital Awareness, Digital by Default, Digital Capability, Digital Care Records, Digital Data Capture, Digital Diagnostics, Digital Excellence, Digital Exemplars, Digital Health, Digital Innovation, Digital Innovations in Health, Digital Maturity, Digital Maturity Assessments, Digital Maturity Index, Digital Maturity Self-Assessment by Secondary Care Providers, Digital NHS, Digital Roadmaps, Digital Service Transformation, Digital Services for Patients, Digital Skills, Digital Skills of NHS Workforce, Digital Skills Training, Digital Technology, Digital Technology and Innovation, Efficiencies and Productivity Gains, Efficiency and Effectiveness, Efficiency Opportunities, Efficiency Savings, Electronic Booking, Electronic Care Planning, Electronic Care Record (ECR), Electronic Health Records, Electronic Health Records (EHRs), Electronic Medical Record Adoption Model (EMRAM), Electronic Medicines Management, Electronic Palliative Care Coordinating Systems (EPaCCS), Electronic Patient Record (EPR), Electronic Patient Record Systems, Electronic Patient Records: NHS, Electronic Prescription Service (EPS), EMRAM Ratings, EPIC IT System for Clinical Records (Addenbrooke’s), Epic's eHospital System, Eric Brynjolfsson's Productivity Paradox, Faculty of Clinical Informatics, Five Year Forward View (NHS England), Former Health Secretary Jeremy Hunt, Future NHS Digital Landscape, Global Digital Excellence, Go Paperless by 2020, GP Computer Systems, GP Systems of Choice (GPSoC), Guy's and St Thomas' NHS Foundation Trust, Health and Care of Older People, Health and Care Technology, Health Apps, Health Information Exchange (HIE), Health Information Technology for Economic and Clinical Health Act (HITECH), Improving Access to Diagnostics, Improving Access to Healthcare, Increasing the Value of Information, Information and Data Linkage to Support Transformation, Information and Intelligence, Information and Support for Patients and Carers, Information Exchange, Information Needs of Patients, Information Pathways, Information Revolution, Information Sharing, Information Sharing: Care Plans, Integrated Digital Care Records (IDCRs), Integrated Digital Care: An Information Revolution, Integrated Health and Care Records, Integration of Health and Care, Interoperability, Interoperability Standards, Interoperable Electronic Health Records, Library of NHS Assessed apps, Local Digital Roadmaps, Local Health and Care Services, Local Service Providers (LSPs), Luton ad Dunstable University Hospital NHS Trust (Digital Exemplar), Making IT Work: Harnessing the Power of Health Information Technology to Improve Care in England (2016), Managing Patient Flow, Meaningful Use (aka Meaningless Abuse in USA), Meaningful Use Criteria, Medical apps, Milestones in Digitising the NHS, MyNHS, MyNHS: Information on Performance of Health Services, National Advisory Group on Health Information Technology in England, National Chief Clinical Information Officer (CCIO), National Information Board (NIB), National Information Board’s Plans to Improve Digital Services in Health and Care, National IT Network (N3), National Programme for Information Technology, National Programme for Information Technology (NPfIT), National Reporting and Learning System (NRLS), NHS as Digital Pioneer, NHS Centres of Global Digital Excellence, NHS Choices Re-Named as NHS.UK, NHS Choices Relaunched as NHS.UK, NHS Connecting for Health (NHS CfH), NHS Digital Academy, NHS Digital Ecosystem, NHS Digital Excellence, NHS Electronic Patient Records, NHS Endorsement Model for apps, NHS Endorsement of Third Party Apps and Digital Services, NHS England's Digital Technology Team, NHS Five Year Forward View, NHS Health and Care Innovation Expo (2016), NHS Investment in Digital Technology and Infrastructure, NHS Workforce, NHS-Approved Health apps, NHS.UK: Formerly NHS Choices, NHS’s Chaotic IT Systems, Office of the National Coordinator for Healthcare Information Technology (ONC), Online Triage Service (NHS 111 Non-Emergency Service), Optimising Benefits of Digital Technology, Optimising Patient Outcomes Using Digital Technology, Optimising Use of Digital Technology, Overall Failure of NPfIT, Oxford University Hospitals NHS Foundation Trust (Digital Exemplar), Oxford University Hospitals NHS Trust, Paper-Free NHS, Paperless Systems, Patient Access to Records, Patient Choice, Patient Choice Framework, Patient Facing Portals, Patient Portals, Phased Digitisation, Picture Archiving and Communications System (PACS), Productivity Improvements, Productivity in NHS Hospitals, Productivity Paradox (Eric Brynjolfsson), Professional Record Standards Body (PRSB), Professor Bob Wachter: IT Exoert, Professor Keith McNeil: Chief Clinical Information Officer at NHS England, Professor Robert Wachter: University of California San Francisco (UCSF), Real Time Locating Software (RTLS), Reducing Digital Illiteracy, Reducing Drains on the NHS, Reducing Expenditure, Reducing Harm, Reducing Health Inequalities, Reducing Waste in the NHS, Royal College of General Practitioners – British Medical Association Joint Computer Group (RCGP-BMA JCG), Royal Free London NHS Foundation Trust (Digital Exemplar), Royal Liverpool and Broadgreen University Hospitals NHS Trust (Digital Exemplar), Rt Hon Jeremy Hunt MP: Former Secretary of State for Health, Salford Royal Hospitals NHS Trust, Salford Royal Hospitals NHS Trust (Digital Exemplar), Service Redesign for Productivity, Services Maximising Reducing Use of Hospitals, Smartphone and Tablet Apps, Smartphone apps, Summary Care Records (SCRs), Supporting Patient Choice, Sustainability and Transformation Plan (STP), Sustainable Health and Care Services, Taunton and Somerset NHS Foundation Trust, Taunton and Somerset NHS Foundation Trust (Digital Exemplar), TeleTracking, Trafford Clinical Commissioning Group (CCG), Transformational Technologies, Transformative Technology, Transforming Participation in Health and Care, UK’s National Programme for Information Technology (NPfIT), University Hospitals Birmingham NHS Foundation Trust, University Hospitals Birmingham NHS Foundation Trust (Digital Exemplar), University Hospitals Bristol NHS Foundation Trust, University Hospitals Bristol NHS Foundation Trust (Digital Exemplar), University Hospitals Southampton NHS Foundation Trust, University Hospitals Southampton NHS Foundation Trust (Digital Exemplar), User-Centered Design, Vital Signs Monitoring, West Suffolk NHS Foundation Trust, West Suffolk NHS Foundation Trust (Digital Exemplar), Wirral University Teaching Hospital NHS Foundation Trust, Wirral University Teaching Hospital NHS Foundation Trust (Digital Exemplar), Workforce Competencies, Workforce Development, Workforce of Trained Clinician-Informaticists, Workforce of Trained Clinician-Informaticists at Trust Level, Workforce Training, Working Across Boundaries | Leave a comment
Funding Available to NHS Hospitals for Digital Excellence (NHS England / Nuffield Trust)
Posted on August 6, 2016 by Dementia and Elderly Care News
Summary NHS England is offering NHS hospital Trusts over £100 million funding to create centres of global digital excellence and explore better use of digital technology in health. Twenty-six selected trusts are invited to bid for up to £10 million … Continue reading →
Posted in Acute Hospitals, Commissioning, Community Care, Diagnosis, For Nurses and Therapists (mostly), For Researchers (mostly), For Social Workers (mostly), In the News, Integrated Care, Local Interest, Management of Condition, National, NHS, NHS England, Non-Pharmacological Treatments, Nuffield Trust, Person-Centred Care, Quick Insights, Royal Wolverhampton NHS Trust, Telehealth, UK, Universal Interest, Wolverhampton | Tagged Access to Electronic Care Records, Accessible Information Standard, Airedale NHS Trust, Alder Hey Children’s NHS Foundation Trust, Back-End Systems, Barriers in Access to Transformative Health Technology (AAR): Capacity and Capability, Barriers in Access to Transformative Health Technology (AAR): Finance and Budgeting, Business Process Support, Cambridge University Hospitals NHS Foundation Trust, Chelsea and Westminster Hospital NHS Foundation Trust, Chief Clinical Information Officers, City Hospitals Sunderland NHS Foundation Trust, City Hospitals Sunderland NHS Foundation Trust (Digital Exemplar), Cross-Sector Partnerships, Culture Change in Health and Care, Data Security, Delivering the Benefits of Digital Healthcare (Nuffield Trust), Derby Hospitals NHS Foundation Trust, Digital Awareness, Digital by Default, Digital Capability, Digital Care Records, Digital Data Capture, Digital Diagnostics, Digital Excellence, Digital Exemplars, Digital Health, Digital Innovation, Digital Innovations in Health, Digital Maturity, Digital Maturity Assessments, Digital Maturity Index, Digital Maturity of NHS Providers Summarised on MyNHS, Digital Maturity Self-Assessment by Secondary Care Providers, Digital NHS, Digital Service Transformation, Digital Skills, Digital Skills of NHS Workforce, Digital Skills Training, Digital Technology, Digital Technology and Innovation, Dr Keith McNeil: Former Chief Executive of Cambridge University Hospitals Trust (Addenbrooke’s), Efficiencies and Productivity Gains, Efficiency and Effectiveness, Efficiency Opportunities, Efficiency Savings, Electronic Booking, Electronic Care Planning, Electronic Care Record (ECR), Electronic Health Records, Electronic Medicines Management, Electronic Palliative Care Coordinating Systems (EPaCCS), Electronic Patient Record (EPR), Electronic Patient Record Systems, Electronic Patient Records: NHS, Electronic Patient Records: Recording and Sharing of End of Life Care Choices, Electronic Prescribing and Medicines Administration (EPMA), Free Wi-fi in Every NHS Building, Future NHS Digital Landscape, Global Digital Excellence, Go Paperless by 2020, Guy's and St Thomas' NHS Foundation Trust, Health and Care of Older People, Health and Care Technology, Homerton University Hospital NHS Foundation Trust, Hospital Productivity, ICT Thoughtflow and Workflow, Imperial College Healthcare NHS Trust, Improving Access to Diagnostics, Improving Access to Healthcare, Increasing the Value of Information, Information and Data Linkage to Support Transformation, Information and Intelligence, Information and Support for Patients and Carers, Information Exchange, Information Needs of Patients, Information Pathways, Information Revolution, Information Sharing, Information Sharing: Care Plans, Information Sharing: Current Medicines, Information Sharing: Preferred Places of Care, Integrated Digital Care Records (IDCRs), Integrated Digital Care: An Information Revolution, Integrated Health and Care Records, Integration of Health and Care, Interoperable Electronic Health Records, Local Health and Care Services, Luton ad Dunstable University Hospital NHS Trust (Digital Exemplar), Managing Patient Flow, Martha Lane Fox, Martha Lane Fox: Founder of Doteveryone.org.uk, Medicines Management, Mobile Working, National Information Board (NIB), National Information Board’s Plans to Improve Digital Services in Health and Care, National Programme for Information Technology, National Programme for Information Technology (NPfIT), Newcastle upon Tyne Hospitals NHS Foundation Trust, NHS as Digital Pioneer, NHS Centres of Global Digital Excellence, NHS Electronic Patient Records, NHS England's Digital Technology Team, NHS Health and Care Innovation Expo (2016), North Tees and Hartlepool NHS Foundation Trust, Northern Lincolnshire and Goole NHS Foundation Trust, Nottingham University Hospitals NHS Trust, Optimising Benefits of Digital Technology, Optimising Patient Outcomes Using Digital Technology, Optimising Use of Digital Technology, Oxford University Hospitals NHS Foundation Trust (Digital Exemplar), Oxford University Hospitals NHS Trust, Paper-Free NHS, Paperless Systems, Patient Access to Records, Paul Rice: Head of Technology Strategy at NHS England, Predictive Analytics, Productivity Improvements, Productivity in NHS Hospitals, Professor Bob Wachter: IT Exoert, Professor Keith McNeil: Chief Clinical Information Officer at NHS England, Real Time Locating Software (RTLS), Real-Time Capacity Management™ Solutions, Real-Time Locating Software (RTLS) to Improve Patient Safety, Reducing Digital Illiteracy, Reducing Drains on the NHS, Reducing Expenditure, Reducing Harm, Reducing Health Inequalities, Reducing Waste in the NHS, Risk Stratification, Royal Free London NHS Foundation Trust, Royal Free London NHS Foundation Trust (Digital Exemplar), Royal Liverpool and Broadgreen University Hospitals NHS Trust, Royal Liverpool and Broadgreen University Hospitals NHS Trust (Digital Exemplar), Salford Royal Hospitals NHS Trust, Salford Royal Hospitals NHS Trust (Digital Exemplar), Service Redesign for Productivity, Services Maximising Reducing Use of Hospitals, Stockport NHS Foundation Trust, Sustainable Health and Care Services, Taunton and Somerset NHS Foundation Trust, Taunton and Somerset NHS Foundation Trust (Digital Exemplar), TeleTracking, TeleTracking Technologies Inc, Thinking Like a Patient and Acting Like a Taxpayer, Tim Kelsey: NHS England’s National Director for Patients and Information, Transforming Participation in Health and Care, UK’s National Programme for Information Technology (NPfIT), University Hospitals Birmingham NHS Foundation Trust, University Hospitals Birmingham NHS Foundation Trust (Digital Exemplar), University Hospitals Bristol NHS Foundation Trust, University Hospitals Bristol NHS Foundation Trust (Digital Exemplar), University Hospitals Southampton NHS Foundation Trust, University Hospitals Southampton NHS Foundation Trust (Digital Exemplar), Vital Signs Monitoring, West Suffolk NHS Foundation Trust, West Suffolk NHS Foundation Trust (Digital Exemplar), Western Sussex Hospitals NHS Trust, Wirral University Teaching Hospital NHS Foundation Trust, Wirral University Teaching Hospital NHS Foundation Trust (Digital Exemplar), Working Across Boundaries | Leave a comment
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The Unexpected Shape
The Blog of Esmé Wang
thoughts on legacy
On what’s coming next in 2015.
2015 is, for me, about bringing forth conversations about building a creative legacy sustainably, and with resilience.
Listen to me read the below here:
http://www.esmewang.com/wp-content/uploads/2014/12/12-22-14.mp3
For the Solstice yesterday — which was also the New Moon, and also Yule — I burrowed beneath the covers with a perfectly smooth stone, a pen, and a pile of notebooks. I have a green Filofax for personal endeavors and a hot pink Filofax for business matters. I use one spiral-bound notebook as a planner and another as a notebook for business ideas and brainstorming. My small glass jar with a wide lip holds thin colored pens, gel highlighters, and a few Pilot V5s. I journaled. I switched back and forth between audiobooks and podcasts. I felt the weight of an unarmed sky sink quietly around everything.
When the big, hurricane-caliber storm hit us a bit over a week ago, Chris and I spent the day assembling emergency supplies, sandbagging the area around the house, and waiting for the rain and wind to come. The storm — which Twitter had already named #deathstorm2014 and #stormpocalypse — was predicted to hit at 10 PM. The worst of it, the meteorologists said, would be over by noon the next day.
While Chris and I sat in my office, I mentioned that it seemed very quiet. And we listened — it did seem quiet, and especially quiet given that downtown had been bumper-to-bumper with traffic all afternoon and evening, and quiet given that my PTSD symptoms were aggravated not only by the anxiety of the approaching storm but also by the sirens, which seemed to come and come and come without end.
He said, “It is very quiet, isn’t it.”
We realized, simultaneously, that this was what people mean when they say, “The calm before the storm.” I’d never experienced it before. It was a silence that reminded me of the silence of the year’s first snow when I lived in Michigan, when the white coming down slowly blanketed everything with itself, and briefly muffled all human concerns.
With the approach of 2015, I’ve done a few things. I’ve reviewed the year with Susannah Conway’s yearly, free-of-charge Unravelling the Year Ahead 2015, which I’ve done since she began it five or six years ago, and which I still find to be a helpful review and a helpful gauge of my hopes for the new year; I’ve enrolled in Cornerstone, Laura Simms’ simple and affordable business-planning program, and for which I am a proud affiliate; I’ve chosen a Word of the Year. I have a year-long calendar — a giant, poster-sized calendar that continuously depicts 2015 in one go — taped to my wall with launch dates and Mercury Retrogrades.
The new year is always full of promise for me. I plant dream-seeds and hope they sprout. I mourn over what didn’t work, but I look ahead.
Though I’m not yet ready to explain everything that I’d like to share with you next year, I will say that the site is undergoing a conversational shift. I’ve been interested in the idea of legacy for a good long while (and I did have a giggle when the aforementioned Laura shared this piece, which is in part about someone being damn sick of the word “legacy”), but where I want to go next is to talk about creative legacy in particular.
When I speak to my creative friends, peers, and colleagues, I know that they are working, working, working. I see them struggle with both extrinsic forces, such as professional rejection and the need to pay off student loans, as well as intrinsic forces, including anxiety about security (why write? why paint? why do this at all?) and — yes — even legacy.
Legacy, I will clarify, is less about leaving work that will be discovered millennia from now by extraterrestrials, and pored over as an example of the extraordinary, extinct human mind, and more about creating work that has an impact of some kind. What kind of impact we try to have will vary.
This also has to do with resilience, about which I’ve been consistently speaking in my writing here. I discuss resilience in terms of mental illness and trauma, but such lessons are essential for everyone. Without resilience, we cannot do our work. Our lives suffer.
More concretely, February will mark the arrival of a free workbook and audio called Where’s the Electricity?, which is about using obsessions and themes in order to fuel one’s work. I’ll also be co-teaching a workshop on a similar subject here in San Francisco that month, with details to come for those of you who might want to mosey on over (do subscribe to my e-letter to be kept in the loop!). The e-course that I taught in late 2013, Rawness of Remembering: Restorative Journaling Through Difficult Times, will finally be returning as a gorgeous multimedia program to be consulted at any time, and with more substance and resources than its predecessor had. I’m excited about these things; I’m excited about the things that will be coming in the months after that.
And with that, I leave you till the new year. I’m so proud of you, and so grateful for everything that you’ve given me this year. Be well. Be safe. Thank you.
Hey Esme,
Your workbook sounds like something to look forward to 🙂
Just interested in what kind of camera you use? Your photography is beautiful.
Esme says:
Camille — I think the workbook is really going to be helpful for people; keep an eye out! And I use two film cameras, these days: a Contax G1 and a Polaroid SX-70. Pretty much all of the photographs I use on this site are film… and there’s something else coming in 2015 that’s photo-related. Thanks for asking, and have a gorgeous New Year’s.
Thank you so much for introducing me to Susannah Conway’s Unravelling the Year Ahead and Word of the Year! I have found working through both to be so fulfilling and inspiring. It’s a good mindset with which to begin the year.
esmewwang says:
Oh, I’m so glad! I love that workbook, and it’s helped me for many years with envisioning the year to come. xE
About Esmé
Esmé Weijun Wang is an award-winning writer and advocate. At The Unexpected Shape, she provides resources that assist ambitious people who live with limitations, allowing them to develop both resilience and mastery on the path to building a legacy. Her debut novel, The Border of Paradise, is now available for purchase.
If you’ve enjoyed and find value in the free work that I do, whether it’s through the Encouragement Notes, the ad-free Journal, my social media presence, or something else, and would like to help ensure that the work continues, please consider making a donation.
I'd love to stay in touch with you
For from-the-heart letters about life, resilience, and creativity, sign up for With Love & Squalor.
Each letter also contains links to terrific writing from around the web, a collection of Five [Extraordinary] Words, and occasional discounts and previews of upcoming works and creations. Signing up will also nab you the Productivity Journaling with Limitations e-book, a powerful tool to help you dive into analogue planning while living with limitations.
"It feels as lovely as getting a letter in the mailbox to receive a With Love & Squalor email; they are notes of quiet, honest, reflective encouragement that always end on a slant of sunshine.”
@esmewwang
© 2019 Esmé Weijun Wang
Design by Chelsey Dyer Studio
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Solopreneurs
Aryn Kalson Sperandio: helping entrepreneurs and executives tell their story
With a background in dance, theatre and public relations, Aryn Kalson Sperandio always liked creating stories. But, it wasn’t until she became an executive ghostwriter that she discovered her superpower.
“I make professionals sound like the leaders they already are.”
Her company,True Story Consulting, provides writing and communications support for business leaders, who are either too busy or don’t have the talent to do it themselves. Most of the time, it’s a combination of both.
“I interview people without it feeling like they’re being interviewed,’ says Aryn. “I hear their story, get to know them, get a sense of what’s important to them and then I start to extract the storyline from that.”
She’s had the chance to work with business leaders from a variety of sectors – including marketing and advertising, financial advising and a well-known retired sports figure.
Behind-the-scenes writing allows executives to shine
Sometimes they’re looking for her to write a speech, blog posts, contributed articles and presentations.
As a person who loves research, she enjoys crafting the story to make it newsworthy and meaningful to others.
“When they’re so close to their business and so passionate about what they do they can’t see the forest for the trees. Or, they can no longer see what is actually interesting to people anymore, because they think it’s all awesome!”
One of her newest services is a program she calls Blogs to Books, which is a step-by-step program to help break down the intimidating task of writing a book.
“We write about eight to ten really purposeful blogs or articles. They are all geared towards an end goal. Then we have all this battery of content at the end and parlay that into an e-book, a printed book or something more substantial – a product that people will want to buy.”
Aryn loves running her own business and she’s proud to be an executive ghostwriter, using her love of research and writing talent to help others shine.
Communo membership provides valuable connections and new business
With three kids at home, she knew her career needed to have flexibility. She worked short-term contracts and freelance jobs when her children were young, but gradually started to change the language she used to describe her business.
“It’s a huge learning curve every day,” she says. “We all have imposter syndrome…some days you ask yourself, ‘Am I really old enough to do this?’ ” she laughs.
Through Communo, Aryn has made some valuable connections across the country that have translated into new leads and business. She’s still learning how to find and hire others in the community to complement her services.
What about you might surprise us? I grew up just outside New York City, but I’ve been in Canada since 2006. I have dual citizenship.
What do you like to do in your spare time? I love to work out; I’m a ‘gym rat.’ I also love to go for walks and hang out with friends.
Advice for Communo members? You need to network the hell out of it. No one is hiring you unless they think they know you already.
December 4, 2018 | Michelle Schurman
#blogs #books #communications #entrepreneur #executive #ghostwriter #thought leader
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Artist News Business News Labels & Publishers Legal
Final legal wranglings shouldn’t stop ‘Stairway To Heaven’ song theft case getting underway
By Chris Cooke | Published on Tuesday 14 June 2016
So, the big Led Zeppelin song-theft case gets underway today, though for a moment it looked like some last minute legal wrangling behind the scenes could cause a delay.
As previously reported, the Zeppelin are accused of ripping off a song written by the late Randy California, aka Randy Craig Wolfe, with their famous work ‘Stairway To Heaven’. Led Zep toured with Wolfe’s band Spirit in the late 1960s which – the lawsuit filed against them claims – is when they were exposed to his song ‘Taurus’. The litigation, filed by a lawyer called Francis Malofiy on behalf of the Wolfe Trust, claims that the band then lifted elements of ‘Taurus’ when writing their hit.
Led Zeppers Robert Plant and Jimmy Page deny the allegations, and are set to say so in court. Similar to the key defence argument in last year’s ‘Blurred Lines’ plagiarism case, the two men argue that any similarities between the two songs are simply common musical structures that can be found in countless works. Not that that worked for Robin Thicke and Pharrell Williams.
As is always the case in song theft disputes, Led Zeppelin will present one of those musicologists who will use all of his skills to back up their claims that no plagiarism took place. Though over the weekend the Wolfe Trust’s lawyer tried to have that expert banned from the proceedings over allegations there was a conflict of interest.
In his new court filing, Malofiy said that it transpired that musicologist Lawrence Ferrara had previously been hired by Wolfe’s publisher – which is not backing the litigation – to evaluate the similarities between the two songs. This fact had not been declared by the defence, which has been colluding with the publisher, the filing added, before alleging that the defence counsel wanted Ferrara on their side because he is known to always provide the opinions that any paymaster wants.
Legal reps for Led Zep said those allegations were baseless, before adding, according to Billboard, that the motion was a “desperate attempt to interfere with their defence”. He added that: “Defendants’ counsel did exactly what was appropriate when they learned that Dr Ferrara had been consulted by Universal and Rondor: They obtained Universal and Rondor’s consent to defendants’ retention of Dr Ferrara”.
For his part, the judge overseeing the case, R Gary Klausner, sided with Led Zep, basically saying that the new allegations had been submitted too late. He also refused to reconsider a previous summary judgement to the effect that the plaintiff’s can only claim 50% of any damages awarded, because of a condition in Wolfe’s publishing contract. Malofiy argued that the publisher had violated its fiduciary duties by conspiring with the defence, and therefore that clause should no longer stand. Klausner did not concur.
And, with all that settled, we can now settle down and enjoy 2016’s big plagiarism trial. We’re not expecting the comedy value delivered by Thicke and Pharrell in the ‘Blurred Lines’ case, though it should be a decent second instalment in this Song-Theft Trilogy, due to finale with part three year next, starring none other than Mr Ed Sheeran.
READ MORE ABOUT: Lawrence Ferrara | Led Zeppelin | Randy California | Spirit
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Johnny Doxx
Singer, Guitarist, Drummer, Keyboardist in Bruner, Missouri
Johnny Doxx - Vocals, Guitar, Drums, Keyboards
My version of a real pretty country song by Ricky Van Shelton 1986
been playing drums since age 6, added the others along the way.
Taylor acoustic guitar, Epiphone Casino electric guitar, Casio keyboard, Slingerland Drums, Marshall Amp, Crate Amp, Shure mike, MXL mikes, TASCAM DP-02 recording studio hardware
Mr. Jimmy Brown, my drum teacher
I have been in many bands, from concert orchestras through 'old standards' thru 70's rock, thru country, and also have done a single act singing and playing guitar. I don't play in public anymore.
!000+ people at dances at a lake that had a public beach and a dance on Sunday afternoons.
Most memorable was going back home for the first time in 40+ years last summer and playing for old friends and relatives.
Johnny Doxx hasn't uploaded any pics yet.
Young Love - my version Sonny James 1957.
Johnny Doxx - Vocals/ drums/ guitar/ keyboards
Bruner, Missouri
Rambling Rose - my version Nat King Cole 1962
Johnny Doxx - Drums
American Music - my version The Blasters 1980
Johnny Doxx - Guitar/ drums/ keyboards/ vocals
Those Stereotypical Wheelchair Blues - original collab Here's another collab with my high school friend Ed Hooper. In our collabs, Ed writes the lyrics, I figure out chords and melody, and we both determine the arrangement. In this case, ed also suggested the lead guitar locations in the song. Ed was in an auto accident years ago, so uses a wheelchair. He wrote a book on it (pictured), available on Amazon. This is a song about that situation.
When A Man Loves A Woman - My Version Percy Sledge 1966
Johnny Doxx - Vocals/ drums/ keyboards
Love Her Madly - my version The Doors 1971
Johnny Doxx - Vocals/ guitar/ keyboards
Tequila Sunrise - my version Eagles 1973 leg is getting better, but had to play keyboard for drums, couldn't sit at drum set.
Sixteen Candles - my version The Crests 1958
The Twist - My version
Boot Scootin' Boogie - my version Brooks and Dunn 1991
Sway - my version originally from 1953 by Mexican composer Luis Demetrio, later recorded by Dean Martin and Michael Buble (pictured)
Lonesome On'ry and Mean - Waylon 1973
End Of The Line - my version The Traveling Wilburys 1989. I added some harmonies and lead guitar parts.
The Sensitive Kind - My version JJ Cale and Santana, 1981
Johnny Doxx - Vocals/ guitar/ keyboards/ drums
So Happy Together The turtles 1967
Johnny Doxx - Vocals guitar/ drums/ keyboards
Gimme Little Sign - my version 1967 by Brenton Wood Have been working a lot lately, not much time for listening nor recording. Will catch up with your songs when I get a break.
Looking Old - original song Here's one I wrote about getting old Lyrics at YT
Red Rubber Ball - my version The Cyrkle 1966. Thanks for listening Fandals!
Johnny Doxx - Vocals/ drums/ guitar/ keyboard
Hi De Ho - my version Blood Seat and Tears 1970.
My version of the hit for the band 'America' 1972
Tell It Like It Is - My Version Aaron Neville 1966
Midnight Confessions - My version of the song by The Grass Roots 1968
California Blue - my version Roy Orbison 1989
Play With Fire - My version Rolling Stones, 1965
Heartbreak Hotel My version of a hit for Elvis 1956
Lollipop My version of a song by The Chordettes (pictured) 1958
Johnny Doxx - Vocals/ drums guitar/ keyboards
Hurt So Good My version of a song by John Cougar Mellencamp 1982
Crocodile Rock My version of a song by Elton John 1972.
Soul Man Here's one for Erwin D! My version of a hit for Sam and Dave 1967, later the Blues Brothers
Slipping And Sliding My version of a song by Little Richard 1957. Pic is my truck after slipping and sliding in one of our ice storms.
Old Man Down The Road My version of a song by John Fogerty, 1984
Blue Suede Shoes I heard AJ Planas perform this Elvis song recently, thought I'd give it a try.
The Long Run My version of the 1979 song by The Eagles
Sea Cruise My version of a 1959 song by Frankie Ford (pictured)
I'm Sorry My version of a hit for Brenda Lee 1960
Johnny Doxx - Vocals/ guitar/ drums/ keyboard
Sweet Impossible You My version of a song by Brenda Lee 1963. Here's the reason I found this one: I buy things at auctions, to sell in booths (that's a wall in one of my booths in the pic). Well there's an auction soon in near the town of Tin Town, MO. I looked it up, and the only famous person from there was a songwriter named Ronnie Self, he wrote this. He also wrote 'I'm Sorry' and 'Sweet Nothings' for Brenda Lee.
A Matter Of Trust My version of a song by Billy Joel 1986. I was not too familiar with this, my wife suggested it, I memorized it (pretty much, I guess)
Walk A Mile in My Shoes My version of a hit for Joe South, 1970.
You Got It My version of Roy Orbison's song, 1989
Adios Amigo My version of a pretty song by country singer Jim Reeves
Johnny Doxx - Vocals/ guitar/ keyboard/ drums
All The Gold In California My version of the hit for The Statler Brothers 1979
Little Old Lady From Pasadena Jan and Dean, and Beach Boys, 1964
Teenager In Love Dion and the Belmonts, 1959
When My Blue Moon Turns To Gold Again An old country song from 1940
I Just Called To Say I Love You My version of a 1984 hit for Stevie Wonder.
Groovin my version of a hit for The Young Rascals 1967 Been real busy with 'real life' , but will get to your videos when I get time!
Moody Blue My version of Elvis 1977.
Teardrop (original collab) Here's another collab with my old friend Ed Hooper. Ed wrote the lyrics, and sang a prototype melody that he sent to me. I added chords, tweaked the melody, etc. and played and sang as usual. I found there were many bands named 'Teardrops', so I selected this one as the pic. Some people will claim they are better-looking than Ed and myself....... thanks Ed!
Groovy Kind Of Love My version of a song by The Mindbenders 1965.
Norwegian Wood My version of a Beatles song from 1965. I used a 'Norwegian Samba' rhythm...... Pic is from our deck a few days ago.
Ain't She Sweet Here's an oldie from 1927. But the Beatles recorded a single of this one, with Pete Best as the drummer, in 1964. The oldie version has a 'swing' beat, the Beatles used a 'rock' beat, I used a 'swinging rock' beat.... Pics are the early scenes of some of our fall colors here in the Ozarks
Stray Cat Strut Here's another collab with Philippe Salmon from France Youtube: https://www.youtube.com/user/salmonfi... We both sing parts, I play drums and keybass, and Phil plays fantastic rhythm and lead guitar. Merci Philippe! The original song was by the group 'The Stray Cats' in 1981
Johnny Doxx - Drums/ keybass/ vocals
Happy Is On Me Here's another collab with my high school classmate Ed Hooper, who is very creative. Ed wrote the lyrics, and then I created the chord pattern, rhythm, and melody. Then I played and sang.
I Thought I Heard You Calling My Name My version of a country song written by Lee Emerson (pictured) and covered by many artists. Lee Emerson was shot and killed in 1978 in Nashville, by the guy who did the song 'Green Berets' - Barry Sadler was sentenced to 21 days for that killing.....
All Shook Up My version of Elvis's 1956 classic
You'll Never Walk Alone My version of a song from the musical Carousel, but a famous version was recorded by Gerry And The PaceMakers (pictured)
Tammy My version of a hit for Debbie Reynolds (pictured) in 1957
Scarborough Fair My version of a hit for Simon and Garfunkel 1965.
Johnny Doxx - Vocals and keyboard
Again And Again (original song collab) My high school classmate Ed Hooper wrote the lyrics and wondered if I would create music for them. So here's what I came up with. Ed is pictured with his book, available on Amazon.
Lost Highway My version of a country song, best known for the version by Hank Williams Sr. But it was actually written by a guy named Leon Payne in 1948. I added electronic bongos and key changes to the usual instruments. I don't think Hank done it that way (as a song by Waylon Jennings says)
Let Me Go, Lover My version of an oldie by Patti Page (pictured) and others in 1954
A rockin' collab with mon ami Philippe Salmon from France. (YT: PhilippeSalmonMusic) Phil plays all the guitar parts, and harmonica. I do the vocals, drums, and keybass. Phil also did all the mixing work, not a minor part! Merci smokin' Phil!
Johnny Doxx - Vocals/ drums/ keybass
Keep On Dancing My version of a hit for a band named 'The Gentrys' (pictured) in 1965
Johnny Doxx - Vocals/ keyboard/ drums
Catch Us If You Can My version of a hit for The Dave Clark Five (pictured) 1865. I added an intro and outro
Highway Patrol My version of a 1993 song by country artist Junior Brown (pictured)
Here's one I wrote about the 'gig economy'. Young people can't find a 'real job', so have several part-time jobs with no benefits, etc. This is not just 'bad luck', the rich people paid the politicians to set up the system to favor the employers.
My version of a 1970 hit for CCR
Bread And Butter My version of a hit for 'The Newbeats' (pictured) 1964. Thanks for listening!
Slip Slidin' Away My version of a hit for Paul Simon. I used more steady rhythm and a slower tempo than his version.
Some Days Are Diamonds My version of a hit for John Denver (pictured) 1981.
new orleans My version of a song by Gary U.S. Bonds, in the 60's. Bet ya can't help but to sing along......
The Key's In The Mailbox My version of an old country song by Tony Booth (pictured) 1972.
BOP My version of a hit for Dan Seals (pictured) 1985
midnight blue My version of a very pretty song by Melissa Manchester (pictured) 1973.
it never rains in southern California My version of a song by Albert Hammond 1973. Been working a lot, not much recording time. thanks for listening.
With A Girl Like You My version of a hit for the band 'The Troggs' (pictured) in 1966.
Lay Lady Lay My version of a hit for Bob Dylan in 1969
Both Sides Now My version of a song by Judy Collins (pictured) and also Joni Mitchell from 1968.
When I Call Your Name My version of a song by Vince Gill 1989
Lay Down Sally My version of a hit by Eric Clapton
Superstar My version of a song by The Carpenters in 1971
Changes in Latitudes My version of a song by Jimmy Buffett (pictured) in 1977 thanks for listening!
Peaceful Easy Feeling My version of the big hit for the Eagles in 1972.
Desperado My version of a 1973 hit by the Eagles (pictured), but Linda Ronstadt had several fine versions, mine is more like hers.
No Getting Over Me My version of a 1981 song by Ronnie Milsap, (pictured)
Ooh Baby Baby My version of a hit for Smokey Robinson (pictured) in 1965, and Linda Ronstadt, in 1978 Thanks for listening!
Sister Golden Hair My version of a song by the band 'America' from 1975.
Brother Jukebox My version of a song first recorded by Don Everly 1977, but a ig hit for Mark Chesnutt in 1990. Haven't been getting notifications from Fandalism, so I have some catching up to do. thanks for listening
Soul Deep My version of a song by the Box Tops (pictured) but it was recorded by other artists earlier.
She's Just My Style My version of a song by Gary Lewis and The Playboys (pictured) 1965. Not much room to take a breath in this one.....
Location Bruner, Missouri
Instruments Guitar, Drums, Keyboard, Vocals, Lyrics, Songwriter
Genres Oldies, Country, Classic Rock
Influences and many 50's artists, many country artists, and some blues artists
Private message to Johnny Doxx
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This Blizzard Could Rewrite The Storm Record Books
By Matt Lanza
Filed under Weather
Heavy snow Friday in Nashville, Tennessee, closed state and city government offices.
Erik Schelzig / AP
The Great Blizzard of 2016 (or whatever name you want to give it) is now underway, whitening parts of the Southeast and beginning to crawl up the Eastern Seaboard. This one will challenge records and cause major travel problems from New York through the Carolinas and beyond. Here are a few things to watch for.
Could D.C.’s all-time snow record be topped?
Washington’s top five snowstorms are in the chart below. Depending on which model or forecast you believe, the city could see 18 to 30 inches. That gives the storm a legitimate chance of rivaling or exceeding the great Knickerbocker Snowstorm of 1922, which delivered 28 inches to Washington.
Washington’s top 5 snowstorms
1 Jan. 27-29, 1922 28.0in
2 Feb. 12-14, 1899 20.0
4 Feb. 5-6, 2010 17.8
5 Jan. 7-9, 1996 17.3
Source: the national weather service
Washington’s final snow tally will depend on measurements taken at Reagan National Airport across the Potomac in Virginia. That’s not always ideal to represent Washington’s snowfall, because it’s lower and often a bit warmer than the District.
How about Philly? And New York City?
Much of the focus has been on Washington. But for Philadelphia, this will be close to a top-five snowstorm too. Recent model data suggests that although it’s unlikely to break the record of 30.7 inches set during the blizzard of 1996, there’s a chance it will make a run for the top two or three.
NWS in Philly just significantly boosted totals. I expect NYC to do same. (best guess on left, worst case on right) pic.twitter.com/slLpcYKuug
— Eric Holthaus (@EricHolthaus) January 22, 2016
New York City, meanwhile, has been a weather forecaster’s worst nightmare. Remember last winter’s forecasting debacle, when the edge of heavy snow largely missed the city? Well, this storm has had similar characteristics (albeit is geographically different) since it became apparent that it was heading east. It now appears that the “edge” has shifted a little farther north, placing most of the New York metro area within the band of heavier snow.
Current forecasts call for 8 to 12 inches. [Update: As of 4:30 p.m. Friday, the National Weather Service said the city’s total would probably be from 12 to 18 inches.] There will likely be a range across the metro area, with northern sections (Westchester, Connecticut, parts of northern New Jersey) seeing less and southern areas (Central New Jersey, Staten Island) seeing more. For the official measuring station in Central Park, this probably won’t be a top-end snowstorm.
What about Boston?
Counter to last winter, New England will be largely spared the impacts of this storm. The region has earned it, I guess. Drier air and a different storm track (probably fueled in part by our good friend El Niño, adding some oomph to the southern branch of the jet stream) will conspire to mostly shut Boston out of this one and bring more of a “conversational” type snow to New England (though areas close to the coast could deal with strong winds).
The National Weather Service snow forecast as of 11 a.m. EST Friday.
Ryan Maue / WeatherBell
Will coastal flooding rival that of Hurricane Sandy?
Not exactly. You have to remember, Sandy was a massive hurricane pushing a ton of water toward the East Coast. Although this storm will churn up plenty of water and coastal flooding will be significant (particularly in southern New Jersey and the Delmarva Peninsula), this should not be another Sandy. There’s no real comparison between a massive hurricane making landfall and a departing nor’easter.
Nonetheless, this storm has some similarities to storms of the ’90s that produced significant coastal flooding. Cape May, New Jersey, is projected to see water levels hit about 8.5 feet, which would rank in the top 10 on record there.
Meteorologists love technical definitions
One last point. The term “blizzard” comes with a specific definition, and sometimes those of us in the meteorological community are fiercely defensive of it. Three factors are required for a storm to be classified as a blizzard at a particular place, besides falling or blowing snow:
1. Sustained winds or frequent wind gusts of 35 mph or greater.
2. Visibility under a quarter-mile.
3. These conditions must persist for three hours.
This definition is the same whether you have 1 inch or 40 on the ground. This storm will probably meet the criteria in several spots. Regardless, it’s going to snow, and it’s going to be windy, and you’re probably better off enjoying this from your living room if you can.
Matt Lanza is an operational forecast meteorologist in the energy industry in Houston. @mattlanza
Weather (64 posts) Snow (12) Blizzards (5) Hurricane Sandy (5) Winter (3)
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Wed, 29 May 19
Today's issue Yesterday Monday Sunday Sunday Saturday Friday Thursday
thehansindia.com is a news portal which strives to keep you hooked on to news-as it happens. Our team aims to keep you abreast with whatever is making headlines across the world including politics, business, sports, lifestyle and entertainment. thehansindia.com is a part of The Hans India, an English Daily published across Telangana and Andhra Pradesh. The newspaper was launched in 2011 and publishes editions from Hyderabad, Visakhapatnam, Amaravati, Rajahmundry, Khammam, Kurnool, Nizamabad, Tirupati and Warangal simultaneously, the newspaper is on its way to becoming the leading English Newspaper in Telangana and Andhra Pradesh. We are soon going national too. The Newspaper is owned and operated by Hyderabad Media House Ltd, which also runs the Telugu-language news channel, HMTV. In a nutshell, we closely highlight socio-economic development of India in general and the two Telugu states in particular.
HYDERABAD MAIN KHAMMAM AMARAVATI WARANGAL TIRUPATI VIZAG HYDERABAD ZONE 1 AMARAVATI CITY TAB YOUNG HANS RAJAHMUNDRY HYDERABAD ZONE 3 SUNDAY HANS KHAMMAM CITY TAB WARANGAL CITY TAB NIZAMABAD CITY TAB NIZAMABAD KURNOOL HYDERABAD ZONE 2 NEW DELHI
By The Hans India
About TIRUPATI The Hans India is a daily newspaper published from Hyderabad with bureaus across the Telangana and Andhra Pradesh States
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Billions recap: Wendy sees her allegiances shifting before hearing
By Kyle Fowle
Jeff Neumann/SHOWTIME
I’m a sucker for episodes contained to a single, specific period of time, which means I’m a sucker for this week’s episode of Billions.
“New Year’s Day” takes place on, you guessed it, New Year’s Day. It’s supposed to be a quiet time, a holiday for most, but that’s not the case with the characters on this show. Over at Axe Capital, Wendy is about to go through a mock trial in order to prepare her for her session with the medical board. Chuck, meanwhile, is supposed to meet with Krakow because the bank financing Chuck Sr.’s development is back on the bad list. Taylor is having their own meetings about the medical board review, and Bryan is all up on the wiretaps. There’s a lot to ring in the new year.
Let’s start with Wendy’s prep work. Bach insists that she take this very seriously in order to best prepare for what’s going to be thrown at her, but she’s clearly in her own head. She’s overwhelmed and frustrated and angry, and on top of that there’s this little voice in her brain telling her that she did do something wrong and that she should be punished. She can’t square the circle, and that means she does terribly during the mock session. She lashes out at Chuck, fumbles questions, gets angry at the interviewers — including Spyros, who’s more than happy to role play being a doctor, white coat and all — and leaves everyone thinking that she looks and sounds guilty.
Again, it’s because she kind of is. She used Taylor’s personal information to win a business battle. Even Wags knows Wendy is guilty, and he’s rather maudlin about it. It turns out he’s feeling that way because he had a moral reckoning while on vacation, where he slept with a 22-year-old who promptly stole his father’s watch, which meant the world to him. Now Wags is seeking help through professional cuddling, at the urging of Wendy, and he finds his inner zen…if only for this episode.
Anyways, with Wendy losing it on Chuck, he decides to leave her with the Axe Cap team and instead focus on his own issues. He and his father meet with Krakow to talk about the bank, and the meeting quickly turns into Krakow shaking down the Rhoades boys for more money. He says he can bury the bank financing deep in government bureaucracy, but that such a move changes their deal. He wants a cut of the development. Chuck Sr. has no choice but to agree to the “finder’s fee,” but that’s hardly the important part here.
What’s important is that Bryan is listening to all of this. He hears everything that sounds like corruption and fraud and a number of other charges, but the recording stops before “the good parts” because of Ira’s attorney-client privilege with the Rhoades. Bryan’s been ordered to be very careful with these wires, and Kate is playing the role of keeping him in check and working for the office and not against Chuck specifically. But Bryan is getting closer to going off the deep end, and putting himself in danger of going to prison, just to screw Chuck over.
To be honest, there isn’t much else in terms of plot in this episode. Axe deals with some paintings that’d cost him a fortune in taxes if Victor didn’t know a guy who could store them, and there’s some slight movement on the Saler’s front, with Taylor trying to lock down the business’s appliance supplier — oh, and Bryan seemingly hires his brother to crack Chuck Sr.’s safe, which is a great moment to end on — but it doesn’t even matter that there’s not a lot of action. That’s because this episode is all about shifting relationships. There’s monumental movement on that front, as the season’s endgame comes a little more into focus.
Axe and Wendy grow a lot closer when Axe reminds her of the moment he knew that she was the only person he wanted to work with, the only one he truly needed at Axe Capital. It was after 9/11, when she stayed loyal to him in public but held him to account privately, making sure he worked to get money to the families of victims like he promised. This story, coupled with Wendy’s circumstances with Chuck, make it seem like there’s a genuine romantic connection growing there, or at least something more intimate than before. The show doesn’t lean on that dynamic too heavily or anything — there’s no real sense of that affection from Axe — but it does portray Wendy as rather taken with Axe’s appreciation of her. Of course, that doesn’t have to be sexual, but there’s hints of that here, enough that it makes me wonder where this relationship will go in the final two episodes of the season.
In essence, this season really is all about Wendy. It’s her struggle that defines the season. Everyone else has decided who they are, for better or worse, but Wendy is in limbo. Her marriage is crumbling, she crossed a personal and professional ethical line, and yet she’s found acceptance and purpose at Axe Capital. She makes a last ditch but seemingly honest effort to apologize to Taylor, who clearly suggests to Wendy that she should be punished, and that what they tell the board will define her as a person for the rest of her life. Wendy then goes home to Chuck and asks him to describe the single moment where he knew he had to marry her. He pauses, ponders, and can’t come up with anything. “I don’t remember,” he says before getting the kids for dinner. Maybe that’s not a big deal in a lengthy marriage, because there are moments built on moments that begin to create a life. To pinpoint one could be difficult, but in this moment, it’s devastating to Wendy. With the board review coming up, and her loyalty to Chuck wavering, Wendy is about to find out who she really is.
Paul Giamatti,
Damian Lewis,
Maggie Siff,
Billions finale recap: The great ones have to suffer
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Billions recap: Vengeance comes in many forms
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Billions recap: 'The Overton Window'
Billions recap: Chicken farms and political charm
Billions recap: Chuck and Axe make their next move to get back to the top
Billions premiere recap: It's a fresh start, and the same old enemies, for Chuck and Axe
Billions finale recap: Everything falls apart for Axe and Chuck
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Billions recap: Axe and Chuck make necessary, difficult sacrifices
Billions recap: Axe invites the devil into his house
Billions recap: Axe and Chuck are back on top...for now
Billions recap: The moral rot finally reaches Wendy
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<em>Billions</em> recap: Wendy sees her allegiances shifting before hearing
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Ben Forta
ORM – Rethinking ColdFusion Database Integration
by BenForta
Database integration is a hallmark of ColdFusion applications. Indeed, the tag was one of the first added to the language, and to this day remains ones of the most used. There is an inherent simplicity and flexibility to being able to create database queries on the fly, so as to be able to refer to column names to work with results.
There’s also a real downside to this type of database integration. After all, consider what would happen to your code if a table name changed, or if columns were refactored and split, or if whole schemas were updated. Scary, huh? The downside of how most of us integrate databases into our ColdFusion apps is that we tend to write database specific code even at the client level, the code generating output or working with form fields, for example. In addition, we inevitably must write DBMS specific SQL, and that DBMS specific code needs to be managed by our applications.
Before I go any further, I must point out that is not going away, and it remains a very simple and powerful database integration option. For many of us, and for many apps, is, and remains, highly appropriate. But, having said that, in ColdFusion Centaur we’re adding support for a newer way to think about database integration, leveraging Object Relational Mapping (ORM). ColdFusion’s ORM support is built on Hibernate, the premier ORM implementation in Java development, and in fact, Hibernate is built right into the next version of ColdFusion, and exposed via ColdFusion Components and language elements.
ColdFusion’s ORM support requires extensive coverage, which is way beyond the scope of this post, but here are the basics. In ORM, you never write SQL statements, and never really consider tables of rows and columns, at least not when writing client code. Instead, developers using ORM work with objects. For example, a table containing books with columns named title and author and ISBN, would have a corresponding object with the same properties. When using ORM, instead of retrieving a row from a table, you’d retrieve a book object (which is automatically populated by the contents of the table row). To retrieve all rows you’d not use a SELECT * FROM Books, instead you’d use Entity functions to request an array of book objects, populated and ready to use. And then instead of referring to column names in your code, you’d use Get methods in the returned objects.
This is actually far less confusing than it sounds, so let’s look at an example. First the Application.cfc:
this.datasource is used to define the datasource to be used, and then this.ormenabled is set to TRUE to turn on ORM support.
Next we’ll need an object that represents the table to be used, and in ColdFusion objects are implemented as ColdFusion Components (if you are working with multiple tables you’d have multiple CFCs, one for each table). Here’s Books.cfc which maps to the Books table in the specified datasource:
Notice that there are no methods (functions) in this CFC, there are only tags that correspond to the table columns. And actually, the tags are optional, and if omitted ColdFusion will read the database table to implicitly define the properties for you! Also, note that the CFC is named Books.cfc, so it maps to the Books table. If the table name changed, or if you needed to use a different CFC name, you could use the optional table attribute to specify the table name to use.
Oh, and it’s worth noting that the new ColdFusion IDE (the subject of a future post) comes with wizards to generate these table CFCs for you.
And finally, here’s how to retrieve the Books data. First we’ll retrieve all books (this is equivalent to a SELECT *, but instead of returning a query, an array of Books objects is returned):
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Russ S. says:
If ORM is going to be embedded in CF9, why is it so much uglier to loop over ORM data than it is to loop over a query with cfoutput? Why not offer <cfoutput array="data"> ?
Better yet would be an option in EntityLoad() to return data as a query, so we don’t have to use the getters if we don’t want to and Adobe wouldn’t have to make any changes to cfoutput.
While ORM may be more object-oriented, the example you’ve provided is just not elegant.
Writing "#data[i].GetColumnName()#" to output table data in a loop is just not as smooth as how it looks with cfquery + cfoutput: simply "#ColumnName#".
Ben Forta says:
Russ, you will indeed be able to do a <cfoutput query="#EntityToQuery(data)#"> … </cfoutput>. But yes, I agree with you, this still needs some tweaking, and is definitely a work in progress.
— Ben
Mark Mandel says:
Actually, it’s not that ugly to loop over ORM based objects at all, it’s just that Ben didn’t use the best <cfloop> construct (Sorry Ben!) ;o)
He could have done it like this:
<cfset data=EntityLoad("Books")>
<!— Display titles —>
<cfoutput>
<cfloop array="#data#" index="book">
#book.GetTitle()#<br>
</cfloop>
</cfoutput>
And it is not that much different from <cfoutput query="#data#">, but with some extra ()’s, and an outside <cfoutput>.
See! Much neater 😀
Mark, duh, thanks for pointing that out! I’ve updated the example to use your far superior code snippet, thanks! 🙂
Phew! I’m so glad there will be a way to handle it elegantly.
I’ll probably be using <cfoutput query="#EntityToQuery(data)#"> a lot in the future.
So Ben, I’m guessing that we’ll be able to explicitly define the getters within our ORM CFCs? Seems like thats how you’d handle changes in DB schema?
Also, how would one use ORM for two different databases in a single application?
Sam Farmer says:
And how about remote access of ORM objects? Will that be possible, or is that just a bad idea?
Joshua Curtiss says:
The real power of that example loop is when you start using your custom methods in the object that do more than just pull a field from the record. This is going to be fun; so far it looks like you’re putting ORM in ColdFusion with the simplicity that ColdFusion is known for. I’m lovin’ it. 😀
Akbarsait says:
ORM Integration is really awesome feature and looking forward to learn more stuff on that. On CF 9 UG tour at Chennai CFUG last month Manju Kiran from ColdFusion Team gave us a great in-depth coverage on ORM features and it was really helpful for us to understand many advance features which are coming with Centaur and ORM integration.
Neil Moncur says:
New to Hibernate, so please excuse the rookie question. Would joins be possible? For instance, say I wanted to grab the "Books" from the example above, left-joined against a hypothetical "authors" table? Would I need to do "get" operation to get the author for every book? Is there some way to say, "get the books, and while you are at it, left join against the authors table", or the equivalent?
Barny says:
@Neil Moncur
yes, it certainly is possible in Hibernate! In Ben’s example above, all the properties of the object are simple values, but Hibernate supports linking to other objects. You tell it what the keys or join tables are that link objects togathe
JD says:
How’s the overhead(cpu/memory) when dealing with databases with a large number of tables(more than 50)? or a large number of records? I realize Hibernate is where it’s @ in terms of ORM, but I’m curious how CF will handle the potentially monsterous CFC loads.
Matthew Lesko says:
In light of getting back arrays of CFCs from the ORM, is CF9 improving object creation performance? This was a bottleneck in some scenarios for me to the point I actually stopped using CFCs and rewrote the functionality using structures or Java objects instead.
Josh Nathanson says:
The big question is, will the object instantiation speed be sufficient to allow for numbers of objects (say 2000 or more)? Ben, any word on that? Otherwise, very exciting stuff.
@Barny
Thanks, Barny. Great to know. Lack of the feature you described would have made this a non-starter. Or at least would have made it much less useful.
Matthew Williams says:
Call me uneducated… but, this stuff looks quite a bit like what the FarCry framework already does and has done for a long time. Or am I wrong? Yes, I sound like a broken record on the FarCry stuff ;). The same concept of obfuscation and database manipulation by cfproperties in a CFC is one of the main reasons I really enjoy working with it.
Michiel Bakker says:
The "lazy loading" feature still has me puzzled. The way I understand it (after having done a little research on hibernate.org and google) is that the CFC’s created are loaded when they are requested by the code, and not at the start of each request. Is that true?
Furthermore, in database development and usage it’s generally a very bad idea to use "SELECT *", as this will give you quite some overhead most of the time. Smart indexes and carefully created SELECT-statements give for better stability and less serverload, which is a must especially in applications using a large number of tables (say, 25+) and data (say, 500.000+ records).
So, my question is: what happens in the background when I only need one or two columns from a table with, say, twenty columns? Will it load all columns into the array and return the appropriate columns after calling their Get…() methods (1) or will it only load the columns I really ask for (2)?
If statement 1 is true then I’m wondering where the real advantage is. Ofcourse it takes down development time, but it then also produces overhead in applications using large tables. (This doesn’t go if you only have a handfull of tables with a couple of rows ofcourse.)
If statement 2 is true then I’m sure my colleagues and I will start using and loving it!
On Coder’s Revolution (http://www.codersrevolution.com/index.cfm/2008/11/21/New-Centuar-Features-Demoed-ORM-Bolt-IDE-Code-Generation-CFScript) I read that the columns required are only fetched. I like that, but it has me wondering.
If you need columns two and four, it only returns these columns. But what happens in the background? Are two queries being executed (one for each column) or only one (containing both columns)? If the latter is the case, CF would have to know in advance which columns are being requested in the code that follows.
Quite interesting stuff!
Brian Kotek says:
@Matt – FarCry might do some of this, but what Hibernate offers is mindbogglingly vast and highly refined.
@Michiel – Lazy-loading is a way to minimize database traffic by only populating the associations you need. So if a User has a collection of
Quick question, are we be able to update Hibernate framework?
BTW, ORM feature look promising.
"The downside of how most of us integrate databases into our ColdFusion apps is that we tend to write database specific code…"
The above sample still looks pretty specific so I’m not sure where the benefit is in doing this. I understand this is a basic example, but if your column name changes won’t you update the "column" attribute to match the new schema?
The only example I can see this ORM being relevant is if we changed DB software from, say MS outlook to MYSQL. Can someone please explain to me why I’d want to make CF hard to use? Thanks.
John Baker says:
How does the ORM work with stored procedures and SQL injection? Our database has 900 hundred tables, a thousand procs, multiple schemas and tables with hundreds of millions of records. From a security standpoint, our company will only use stored procs for database access and I am wondering if CF’s ORM can make my life easier by integrating with stored procedures to do CRUD operations?
Does it handle optional input parameters, multiple result sets, return codes, xml input datatypes, etc…
It supports stored procedures through named queries (see http://docs.jboss.org/hibernate/stable/core/reference/en/html_single/#sp_query), but if you already have all of your logic in stored procs I’m not sure you’d gain a lot by using Hibernate in place of a standard stored procedure call.
Raghuram Reddy says:
I am a java coldfusion guy. The ORM concept implement in coldfusion really a good idea and its appreciated.
The sessionFactory object is expensive,heavy weight.
(sessionFactory is a heavyweight object that should ideally be created only once(since it is an expensive and slow operation) and made available to the application code that needs to perfor persistence operations.)
And also suggested not to use when u use for simple db operations(db with less records).
so Ben!
what exactly the sessionFactory object in your example and any recommendations to use with respect to performance.
pls suggest for the better usage of it.
Viral says:
Is there a way to create a 3 way joining relationship with ORM.
e.g. Contacts Table(ID, Name, Age)
Videos Table(ID, VideoName, URL)
videoContact(ID, ContactID, videoID, TimeStamp)
here the 3rd table have 2 foreign keys both from 1st and 2nd table.
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My Friend Dahmer by Derf Backderf
The best books elicit emotions from its readers. Truly great books give rise to conflicted feelings. My Friend Dahmer, the graphic novel by Derf Backderf, falls firmly within that second category.
Backderf grew up in Richfield, Ohio, attending Eastview Junior High and Revere High School in the 70s, which would all seem innocuous enough had it not been for a certain classmate, convicted serial killer Jeffrey Dahmer.
Dahmer went largely unnoticed — even when he was drinking heavily throughout the school, reeking of alcohol — but Backderf and his group befriended the odd character, laughing at his impressions of a physically challenged interior decorator and egging him on for public disturbances. Throughout this time, Backderf drew sketches of Dahmer, recording his antics, both humorous and disturbing — all of which aided his memory when recalling details for the book.
From time to time the group was privy to the darker side of Dahmer’s antisocial behavior — his taxidermy experiments with roadkill (he liked to dissolve already dead animals in acid) and his aforementioned drinking problem (pounding a six pack in the back of a car in under 10 minutes). Once, while picking him up at home, they met his mentally ill mother (who ultimately left Dahmer alone in his childhood home when his life was in the most danger of going off the rails).
Most people will remember, if not the details, the horror they felt when they learned of Dahmer’s arrest — a young serial killer who not only murdered his victims but ate them as well. It was the first time I’d heard of an actual cannibal living among us — not just some desperate exploratory group in a history book.
The copy of My Friend Dahmer that we see on shelves today grew out of Backderf’s self-published comic, first drawn and written after Dahmer’s death in 1994. With his R. Crumb-like stylings, detailed and at times grotesque, Backderf went back and fleshed out his story using not only his memory and interviews with former classmates, but also interviews Dahmer conducted after his arrest, legal documents, news accounts, and Dahmer’s father’s memoir; all of which is well documented in the back of the book.
Backderf makes it very clear that he loses all sympathy for Dahmer as soon as he kills his first human but, at the same time, he does a great job of showing what a tragedy this was, not just for Dahmer’s victims but for Dahmer as well. At times in the book it seems as if Dahmer knew he was deeply troubled and had few resources to cope with his urges. The reader, now having seen the teenage life of a future serial killer, is left wondering, like Backderf, if all of this could have turned out differently. Had the school acknowledged his alcoholism, had his parents not been dysfunctional, had his taxidermy experiments been brought to light, would Dahmer’s murderous tendencies have manifested or could they have been controlled? This is where the inner conflict kicks into overdrive.
My Friend Dahmer is an engrossing read, one that lingers in your bones, and will make you think twice about talking to strangers.
Buy My Friend Dahmer from your local bookstore
Listen to Derf on Boing Boing’s Gweek podcast
Read an interview with Backderf on Comics Reporter
Visit Derf’s website
Tagged with books, comics, graphic novel, memoir
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This sounds and looks great. The graphic novel is a good form for this kind of memoir. I’ve just finished The Seven Days of Peter Crumb and it made me sympathetic towards a psychopathic killer. It’s no mean feat.
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My Friend Dahmer by Derf Backderf | ugiridharaprasad
I read this graphic novel last summer and also had conflicted feelings about it, but for different reasons. While I did enjoy this book – and I think it’s pretty common to get some sort of twisted enjoyment out of a personal look into a serial killer’s life -otherwise why would there be so many books and movies about it? – I did feel that Backderf himself was exploiting the kind of cult popularity that comes with this subject matter. From the book itself it is very plain that Backderf had little to no intimacy with Dahmner, especially in the later years, so he really didn’t have that much concrete insight either. As you said, this book grew out of comics Backderf started publishing in 1994, so the book itself seems like a potentially redundant money grab. Never the less, I would still recommend borrowing a library copy but probably not buying a book that hold little re-read interest and possible ulterior authorial motives.
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