What do you need to make Slow Good Green Beans?
If you have these two things, you can make the best slow cooked green beans you've ever had. No crockpot required.
They are SO good, I have made them three times in the past week. So good, we ate half a pound of the last batch before I could even photograph them for the recipe. "But they're just green beans" you say. Big Deal.
What makes these green beans SO GOOD?
Once you have made them with the magical compliments, fresh tomatoes and roasted garlic (from a jar), you won't want to make them any other way. Promise.
You'll fall in love too with these tender beans flavored with bits of tomato and roasted garlic jam. Let them cook slowly until they look limp and are about to fall apart.
They are not beautiful to LOOK AT, but win first prize in TASTE.
Lay out ingredients and then cook s l o w l y.
Last month I had a cooking play date with my niece. We decided to make some family friendly recipes to expand her dinner rotation, and green beans are one of the few vegetables her husband likes. This easy but intensely flavorful recipe won him over.
Blanche the green beans and refresh them in cold water.
In a cold pot with a lid, place oil, roasted garlic, green beans, then tomatoes. Don't stir!
Let cook on lowest heat, covered, an hour or more until tomatoes begin to melt and beans are very soft.
Season to taste at the end with salt, pepper and cayenne.
If you are short on time, try making these in the evening after dinner, then reheat them the next day. They are great hot OR cold.
Serve slow good green beans with quinoa or your favorite grain. For extra color and flavor, garnish with fresh chopped herbs like parsley, cilantro or dill.
Recipe adapted from Bean by Bean, A Cookbook By Crescent Dragonwagon. Assemble in minutes and then cook slowly for intensely flavorful green beans speckled with tomato and roasted garlic jam.
Bring a large pot of water to a boil, add green beans and cook for two minutes. While green beans cook, fill another bowl with ice water.
Remove green beans from the heat and drain in a mesh strainer or colander.
Plunge beans into the ice bath for a minute to cool them completely, then drain.
Set a large pot or heavy-duty skillet with a tight fitting lid on the stove.
Spray the inside of the pot with cooking spray. Pour in olive oil and garlic.
Add green beans and then the tomatoes on top. Don't stir the mixture.
Turn the burner to the lowest heat possible. Cover the beans and let cook without stirring for an hour. It's going to be difficult not to stir, but don't stir!
Check beans after an hour. If they are not very soft, let them cook another 15- 20 minutes. They should look tender and slightly browned, with sweet bits of tomato garlicky goodness sticking to them.
When beans are very soft, remove lid and stir gently.
If there's a lot of liquid at the bottom of the pot, turn up the heat to medium high and stir gently without pausing until most of the excess liquid evaporates.
Add salt and pepper to taste and a pinch or two of cayenne. Stir, taste again and serve.
Dana keep up the good work. Wonderful ideas.
I made these this week–so delicious!


text:
Airports – the changing composition of Australia's international passenger mix
International passenger growth is a key driver of profits for Australian airports. This article outlines the substantial changes in the composition of international passenger travel through Australia's major airports.
International passengers are more profitable and, hence, more important for airports. In particular, international passenger landing charges are typically substantially higher than those for domestic passengers. For example, at Sydney airport international passengers are only 38% of total passenger movements but 70% of aeronautical revenues. On top of this, international passengers also spend significantly more while at the airport – providing a substantial proportion of the retail portion of an airport's revenue streams.
Over the last decade, the greatest contributor to international passenger growth in Australia has come from China. Since Deng's reforms in 1979, Australia has ridden the coat tails of the Chinese boom. While sales of coal and iron ore are probably what people think of first, there has also been a significant surge on international travel built on an emerging middle class in China. This has seen China/Hong Kong passenger numbers surge from 2.6 million to 6.4 million over the past decade. This growth is all the more extraordinary when you think that the baseline passenger numbers were dominated by Hong Kong and that airport's role as part of the "Kangaroo" route to Europe.
There are signs that the break neck economic growth in China is slowing, there are also rising geopolitical tensions as China asserts its increasing sway on the global stage. For example, in 2019 we have seen the Chinese Government implement import restrictions on Australian coal as well as turning back an Air New Zealand flight to Shanghai.
We are not geopolitical experts at Infradebt, however we can see that China's rise is unsettling the existing world order. Australia's tourism and overseas education sectors – both of which are big drivers of airline travel between Australia and China – could be caught in the cross fire of broader geopolitical tensions.
Across all Australian airports, New Zealand continues to be the highest international country pair but will soon be overtaken by China in the coming years growth remains on trend. China currently is the second largest source and destination of international passengers and is the main driver behind Australia's international passenger growth numbers. Other major contributors are Singapore and the UAE which act has hubs for passengers travelling from Europe and the broader Asian/Indian region.
How disruptive would it be for Australian airports if Chinese passenger numbers were to fall sharply due to some geopolitical manoeuvring or perhaps due to a sharp slowdown in growth or Yuan devaluation?
One of the great things about airports – from an investor's perspective – is that history is littered with crises and catastrophes of all sorts. These can be used to understand the potential aggregate impact of an event as well as to provide a sense of how quickly it may take to recover to the underlying trend.
In this context, the SARs epidemic (2002/2003) provides a useful comparator. As can be seen in the chart below, this saw very substantial falls on individual routes (blue bars) – but as you can see (orange bars) the impact of aggregate passenger numbers was pretty modest and recovered quickly.
A further mitigant is the changing nature of international passengers from China to Australia. Overtime we expect that visiting family, friends and relatives (VFFR in industry parlance) will become an increasing share of international travel between the two countries. VFFR travellers are less price sensitive and less volatile than tourist travel. Many Chinese immigrants return to China every year for the Lunar New Year, where an estimated 3 billion people journey to their home towns.
Overall, while the share of passengers to/from China has grown substantially (to 15%), it is still relatively modest and so even a substantial shock to these passengers would be more likely to result in a slowing/flat-lining of aggregate passenger growth rather than anything more substantial. Of greater importance to airport investors is probably the potential for sharply higher interest rates (which doesn't seem to be a problem in the short-term given the massive rally in bond yields over the past few months) given their high valuation multiples.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tiger Woods News
Will Tiger Woods retire soon? Don't expect Woods to give up on comeback
With Tiger Woods withdrawing from two scheduled starts at the Genesis Open and The Honda Classic, then twice being unable to make news conferences at Riviera Country Club, then reporting that said Woods' doctors have advised him to remain "horizontal," there's been mounting reasons for golf fans to speculate if Tiger Woods is going to retire.
If Woods' back is unable to deal with the basic rigors of tournament golf, the thought goes, then why wouldn't Woods retire, spend time with his kids and walk away with one of the best -- if not the best -- career in golf history?
Tiger Woods isn't going to retire if he isn't medically forced to do so. And that's clear because Woods would have already retired if he didn't want to make the arduous journey back to even sniffing competitive golf after two back surgeries in the fall of 2015. Instead, Woods fought his instincts and took his time, eased into training and working on his golf game, day by day. There were likely setbacks. There were dark moments, as Woods has described. But he endured all of those for the hope of getting back inside the ropes and competing again.
And he did that, at the Hero World Challenge. He did finish 15th out of 17 players who finished the event. However, there were encouraging signs, leading the field in birdies. He chipped pretty well. He putted pretty well. His biggest mistakes were in course and round management. He also didn't appear to be in pain, although he was walking a flat, resort course. Woods felt encouraged and certainly had to hope he could clean up some things and have some modest success on more difficult courses he would routinely play.
The question was if his back could hold up in cross-country and transcontinental jaunts, playing on difficult golf courses, all the while knowing that his playing partners weren't dogging it like many were in the Bahamas. Woods set out to play four times in five weeks, logging well over 10,000 miles to fly from Florida to San Diego to Los Angeles to Dubai to Florida to Los Angeles back to Florida. He hoped to play 16 rounds. He got in three before what's described as lower back spasms sidelined him. Now he has trouble sitting down.
So where does Woods go from here? Can he possibly play in the Masters? Could he manage to play before then? Frankly, those questions are completely unimportant until Woods can answer in the affirmative that he can sit.
Woods knew this was going to be his future. Maybe not this lousy this quickly, but Woods was aware that his back could flare up at any time for no obvious reason and debilitate his minute-to-minute life, much less his comeback.
The 14-time major winner seems willing to be patient, even after this latest setback. But, if these back problems persist, Woods' focus should be on his quality of life now and for as long as he's alive. Forget golf.
So, will Tiger Woods retire? Only as a last resort.
Tags2017 Genesis Open 2017 Honda Classic 2017 Masters Genesis Open is Tiger Woods retiring Tiger Woods Tiger Woods retirement will Tiger Woods retire


This gorgeous and handy Little Kid Backpack in the Purple Icecream design is made with a water-resistant and easy clean coated linen exterior. These Little Kid Backpacks come in cool designs and will be just right for your growing child.
The Purple Icecream backpack is a great bag for your child to take to day care, to carry snacks to the park, a sleep-over bag or even a great nappy bag.


Intermapper provides a complete set of tools to the user for investigating, understanding and troubleshooting unexpected results.
Log files, detailed logging and debugging, helper applications, and documentation in the User Guide and Forumall provide additional information about the operation of Intermapper. The Support page has links to these and other resources.
If the user isn't able to determine the problem, Intermapper makes it easy to pass information needed to diagnose problems to technical support, including logs, screenshots, and other files using the Send Feedback tool.
This training session will describe how to collect information for troubleshooting, and the type of information that helps the support engineers to efficiently provide assistance in case of problems.
Certain information is very useful in analyzing problems.
My local Intermapper Server requires me to log in instead of just opening the Map List.
If the problem is being sent to the reseller or tech support for assistance, a specific description of the problem makes finding the solution faster and prevents misunderstanding.
I checked the User Guide and couldn't find how to change this behavior.
When reporting a problem, send a description of what steps were taken to produce the problem and what was done to investigate it. If troubleshooting produced additional data, send that also (see the section about the Send Feedback tool below).
Intermapper logs information about monitoring and about the operation of Intermapper. These are provided for user understanding and as troubleshooting tools.
Logs for Intermapper are found in the folder Intermapper Settings/Intermapper Logs on disk. The location of Intermapper Settings varies by host Operating System and is given here.
Using the menu option Help > Diagnostics > Client Debug Log will open a window showing the client debug log, and allow the log to be saved to file. The client debug log shows changes to the map and communication between the GUI and the Intermapper server. The client log is useful if the response from the GUI is the problem, and for diagnosing communication problems with the server, among other uses.
Using Window > Logs > Event Log will open a log showing polling results, changes in device status (a device state change to up, down, warning, critical, etc.), notifier launch, SNMP traps received, and other information about changes to monitored devices.
Certain types of operational errors will be logged in the event log, such as problems executing notifiers.
03/25 10:50:44 **** No response from DNS 10.0.0.1 when resolving '10.168.1.45' to a name.
To open the server debug log, use Window > Logs > Debug.
The server debug log is filled with messages showing operation of the Intermapper server. It may also be used to show detailed debugging, when the Help > Diagnostics > Detailed Logs options are selected.
This log contains debug information, and is not intended for monitoring normal operation. Many of the messages in this log will be confusing to the user if used as a monitoring tool. It is recommended that the server debug log be used as a debugging aid instead.
The system profile is a special-purpose log generated only by the Send Feedback tool. It is not available for viewing unless this tool is being used to send a report to technical support. It contains information about the Intermapper installation, the Intermapper host, version data for Java, and a history of GUI functions accessed, to help in debugging.
The components of Intermapper DataCenter each log information about their operation. Access to these logs is available through links in the Intermapper DataCenter web interface. The logs themselves are available in the location described here.
The top-level log for Intermapper DataCenter, this log gives information for debugging the IMDC server and checking its operation.
2012-03-25 12:23:49    CONN Connection from 127.0.0.1 was automatically authenticated.
2012-03-25 12:23:49    CONN IMDC server authentication succeeded.
2012-03-25 12:28:01    INFO WEB: An admin user has logged into the web admin interface.
This log gives information about the actions involving the authentication server in Intermapper DataCenter. This server may also be used to control user access in Intermapper and Intermapper DataCenter, if this has been configured in Intermapper.
The database log shows operation of the built-in database in Intermapper, if in use. It is most often used as a status check if the status line on the IMDC interface indicates that the expected transactions have been suspended.
When local investigation and troubleshooting has not provided the required solution to the issue, technical support is available. The user may either email their reseller (if applicable) or Dartware technical support. The email address for technical support for Intermapper is support@intermapper.com .
The most direct and easiest method is to use the Send Feedback tool in the Help menu. Entering contact information at the top of the Send Feedback screen is important because it allows tech support to respond to the problem. Unless the user includes an email address, the tech support engineer will not know who to contact to help with the problem. The subject line should mention something about the problem, in a few words.
The Send Feedback tool opens on the Summary tab, which contains a box labeled "Steps to Reproduce" for listing the problem and how to recreate it, if known. This box is also useful for including information about troubleshooting steps which have been taken. Also included is a check box for sending a screenshot.
The logs tab in the send feedback tool allows the user to send log information to help with troubleshooting. The log files contain useful data which may identify the issue without the need for further questions or investigation. The Client log is sent by default.
The System tab in Send Feedback shows the contents of the System Profile mentioned previously in the Logs section.
The Files tab in Send Feedback allows the user to send additional files (exported maps, notifiers, or data files).
When the contact information and problem description have been entered, and data to be sent has been selected, press the Submit button to send the Feedback to Dartware Technical Support (this only requires Web access – the data is sent using HTTP).
The Send Feedback mechanism is for reporting user problems, bugs, and for requesting enhancements to Intermapper. User problems are addressed immediately. Bug fixes are incorporated as soon as possible in the release cycle (the following release if possible).
Enhancement requests are compiled, reviewed by design and development, prioritized and then designed, coded, tested, and released. Some minor enhancements appear fairly quickly. Major enhancements may be planned for implementation in future versions and logically grouped with related design changes to maintain product stability and logical product evolution.
Exporting data can be useful for many reasons, including providing resellers with data and using Dartware technical support. The following sections discuss exporting various data and files.
A screenshot of the map will often provide the information needed to understand the problem, if the issue requiring assistance concerns maps.
In other cases, it may be better to also send a copy of the map itself. The File > Export > Map menu option allows the user to save a copy of the map. This file will include the devices, probes, notifiers, and other information for the selected map.
The File > Export > Data menu option allows the user to save data in a format which can be used in a spreadsheet, or imported into other tools.
Exporting device data is useful for showing specific information about devices on a map. It is usually used for exporting data to another map. For technical support purposes, it is usually better to send the map by exporting it.
The data export option allows the user to export data about rules for launching notifications. This is helpful if the problem is that notifications are not received, or if they are received unexpectedly.


Peel the eggs, cut in halfs and place them in a large bowl. I removed one egg yolk to make it healthier.
Add the juice of 1/4 of a lemon, this will prevent the avocado from browning.
Add the scallions & watercress.
Run a knife through the eggs and avocado several times – to mix and create a chunky texture.
Take 2 slices of bread and trim off the edges.
Take a small amount of Dijon Mustard ( I urge you to pick up the brand I purchased from Whole Foods ) and just glaze it on each slice of bread.
Top with 2 to 3 spoonful's of the avocado-egg mixture.
Top with the other slice of bread and slice in half.
Recipe courtesy "Honey, What's Cooking",where food blogger Nisha's primarily focus is healthy cooking. She also includes restaurant reviews for the greater New York City region.


PRESENCE, noun. The fact or condition of being present, or of being within sight or call, or at hand.
PRESENCE, noun. The part of space within one's immediate vicinity.
PRESENCE, noun. A quality of poise and effectiveness that enables a performer to achieve a close relationship with his audience.
PRESENCE, noun. Something (as a spirit) felt or believed to be present.
PRESENCE, noun. A company's business activity in a particular market.
PRESENCE, verb. (philosophy) To make or become present.
PRESENCE OF MIND, noun. Focused alertness, quick-thinking resourcefulness, stability of thought and feeling, or good sense, especially in spite of circumstances which are distracting, stressful, or otherwise challenging.
PRESENCE, noun. The state of being present; current existence; "he tested for the presence of radon".
PRESENCE, noun. The immediate proximity of someone or something; "she blushed in his presence"; "he sensed the presence of danger"; "he was well behaved in front of company".
PRESENCE, noun. An invisible spiritual being felt to be nearby.
PRESENCE, noun. The impression that something is present; "he felt the presence of an evil force".
PRESENCE, noun. Dignified manner or conduct.
PRESENCE, noun. The act of being present.


text:
It's on: Goodell takes questions on negotiations, expects Indy Super Bowl to go as planned
ANDERSON, Ind. – Colts players liked what Roger Goodell told them about the 2012 Super Bowl.
The NFL commissioner expects it to be played as planned in Indianapolis.
As for other discussion topics, well, let's just say there's plenty of time to work things out.
Goodell wrapped up his training camp tour Saturday by visiting the Colts at their new site, Anderson University, and was promptly peppered with questions from players about the uncertain labor situation.
"There were lots of questions and I was really happy with what the players asked," Colts player rep Jeff Saturday said. "We (the NFLPA) tried to get as much information to them as possible, and these guys asked a lot of good tough questions."
Saturday, a four-time Pro Bowler, did not say how players responded to Goodell, but the commissioner stayed long enough that his scheduled news conference was delayed by about 40 minutes.
A possible work stoppage has become a hot topic around Indianapolis lately. With owners opting out of the collective bargaining agreement, NFL Players Association executive director DeMaurice Smith fears owners intend to lock out players before the start of next season.
One reason for Smith's concern is that the television networks will continue to pay the owners next season regardless of whether games are played. Goodell explained that's not the whole story.
"I hear that, but nobody finishes the sentence," he said. "The money is obligated by the networks, but if the games are not played, they want the money back."
Still, concern over a potential lockout could force postponement or cancellation of the league's championship as has happened in Major League Baseball and the NHL.
And Indy officials, who are preparing for their first Super Bowl, are making contingency plans.
On Monday, team owner Jim Irsay told reporters the city has "some flexibility" to change dates if needed. Super Bowl host committee CEO and president Allison Melangton said NFL officials asked the city to block out all Super Bowl venues and hotel rooms for the weekend of Feb. 5, 2012, the scheduled date, and the following weekend.
Goodell explained earlier this week that the league wanted a second date in case it went to an 18-game schedule, and reiterated Saturday nothing more should be read into it.
"I do believe there will be a Super Bowl in Indianapolis in 2012," Goodell said as the Colts prepared for Saturday's mock game. "If not, we'll work on that. But right now, we're working toward the game with that idea (being played as scheduled)."
Saturday liked that part.
"I sure do, it's something obviously huge for the place that I live," he said. "So I want it to happen."
But players remain worried about a work stoppage.
Saturday, who has been on the NFLPA's executive committee since 2006, said owners needed to open their financial records so players can negotiate in good faith.
And some, such as defensive captain Gary Brackett, acknowledged they've already made plans for a lockout by saving extra money.
"We started talking about this about two years ago, and you want to make sure you take care of yourself," he said. "But when you look at the bankruptcy rate of NFL players, you should be taking care of yourself anyway. Financial awareness and having some type of plan is something you can carry on for a long time."
Will it be enough to force owners and players into a new deal before next season?
Nobody knows.
Among the issues Goodell said he would embrace were an 18-game schedule, which could lead to expanded rosters; blood tests for human growth hormone; and a rookie wage scale.
"I think there has to be changes with the system and the core of it is that you have money going to an individual that has not demonstrated what he can do on an NFL field," Goodell said. "I think that money should be going to guys who have demonstrated that on the field."
But one thing is clear: It won't be easy.
"I think there's a lot of work that has to be done," Saturday said. "Hopefully, the closer we get to it, I know the players are willing to get something accomplished. We just have to know what are we really compromising, what are we really negotiating. I don't think any player knows yet."


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Ride to Hell: Retribution is bad. It might be the worst video game of all time. So let's find the positives!
Want to suggest a game? Send your tweets to @RerezTV and tell me what game you think couldn't possibly have a single positive or negatives!
Thank you to our special guests!
Special thanks to Epic Game Music for making the Intro theme!
Positives & Negatives is a series that is all about finding good and bad qualities of the most notorious and popular games ever made. Every episode Shane must list four positive or negatives features of remarkably terrible and fantastic titles. Covering every system and every possible genre!
Rerez is a YouTube channel presented by Shane Luis, focusing on video games. Presenting you the newest and strangest gaming and game hardware reviews, previews, and looking back at classic and retro games!
Like this video? Check out and subscribe for other cool Rerez episodes about classic and hard to find games!


text:
Well Worth The Waite Ken Sharp
Copyright ©2013 PopEntertainment.com. All rights reserved. Posted: July 24, 2013.
Written by : Ken Sharp
The music scene is littered with loads of good rock and roll singers, but singularly distinctive, world class vocalists are few and far between. John Waite is one of those singers. With over three decades of music making, Waite has carved up massive hits with The Babys, Bad English and as a solo artist. Waite's spectacular voice – versatile and vulnerable, gritty and refined – has served as his passport to global success. It's almost supernatural, as if the Lancaster, England native met at the famous crossroads in the deep South where legendary bluesman Robert Johnson made his fateful pact with the devil and brokered the same deal – because this guy sings as well, if not better, than ever. Still not convinced? Spin Waite's terrific new CD,Live All Access, from the balls-out rockers "Saturday Night" and The Babys' classic "Head First" to the exquisite vocal dynamics that underpin "If You Ever Get Lonely" and "In Dreams," this guy's got "it." Ken Sharp sat down with the gifted singer/songwriter who regaled us with stories of his adventures on the rock and roll highway.
You've done ten solo albums, what made this the right time to release a live record?
I did actually do a live album previously, but it disappeared. I made one that got signed away to Sony and they deleted it. I'm trying to find that and get it back. But this one, Live All Access, is about the band suddenly becoming a great three-piece band with a singer like some of those bands in the '70s.
Like Free.
Yeah, exactly, like Free and all those great bands back then, when there were no synthesizers. Back then, if somebody was going to play keyboards it was a Hammond organ. That's what I was looking for. About eight months ago we got Keri Kelli on guitar. He just showed up, I don't know quite how he came into the picture. We needed a guitar player and he'd been a fan for a while and was checking us out. He fit and he was great. It took him about two months before he could find his way being in a three-piece band. He'd played in Slash's Snake Pit with more than one guitar player and he also played with Alice Cooper who had Damon Johnson with him as well. So in those bands he was always playing with another guitar player. But as the sole guitarist in a three-piece, Keri has to carry everything. You've got to have the chops. I saw the change in his playing over time. It just became progressively more confident, defined and spontaneous, all the things that I love so much about great guitar players. I thought I've got to get this band on tape. It doesn't matter how we do it. We might just give it to the radio or put it on as bonus tracks for albums to come. But it turned out to be so great that I felt I'd like the world to have it. I did it through my own label, put it up on iTunes. It's not a greatest hits; there's "Head First" on there and there's "Change" and then the rest of it is what I thought was the best stuff that we played.
Does playing live with a three-piece band who tackle the material in a more stripped down fashion make it more exciting for you?
Yeah. You've got to be on a different level. You can't coast. Nobody can take their eyes off the ball for a second. You're playing to each other; it's a musical conversation or a musical argument on stage and that doesn't exist with most classic rock bands because while a lot of them play live, quite a few play to tapes. But there's that thing about the audience making each night different and we play slightly different each night. That's the whole point. The freshness comes from being so stripped down. Everybody plays in a more concentrated way. You can't miss anything. If you miss a beat or I sing a different lyric or hit a bum note, it shows so you have to go out there with complete concentration. It's like Zen. You go out there and then you forget it and you just perform the songs and that's the magic.
Playing live you're channeling into the energy of the crowd.
Yeah, channeling is a good word. We just recently played a headlining gig in Dayton, Ohio to four thousand people and it was the best gig we've played. The last couple of years we were playing much smaller places trying to get radio to promote the Rough & Tumble CD. We wound up with a number one single at classic rock radio by playing smaller places, getting up at six o'clock in the morning, going to radio stations, playing live on the air and then doing TV. So naturally we got to every station in America and it was reflected in having the number one record but it put us in the clubs. Then we'd occasionally do a really big gig somewhere and that would feel right. Doing the clubs was great and it's kind of a one-on-one experience. But like the Dayton show, something kicks in when you're playing to thousands of people. It's like somebody throws you the keys to a sports car that you haven't driven and says, "Try this" and away you go and the band just takes off. I think maybe it's the collective energy of all those people in one room. We're looking at playing bigger gigs from this point on; we don't want to go back to doing the clubs.
Some people stand staunchly behind The Who's Live at Leeds, other cite The Rolling Stones Get Yer Ya Ya's Out while other point to Humble Pie's Rockin' the Fillmore, what's the ultimate live album for you?
Well, the one I spent the most time with was Get Yer Ya's Ya's Out by The Stones and also Free Live. Then the Free live stuff from the box set: there's a version of "Mr. Big" that's just off the hook. Obviously, Rockin' the Fillmore was seminal and it had an unbelievable influence on me. There's a live Humble Pie record on iTunes, I think it's called Live at Winterland, and that is unbelievably good. I also listen to a live album by Bill Evans, the jazz keyboard player, called Live at the Village Vanguard, which I really like. Ike & Tina Turner's What You Hear is What You Get is a great live album. I like live albums. The whole thing is the interaction and once you take that away into the studio and rebuild it you take the music out of it. So being a musician at my age, I'm into the primitiveness of music 'cause that's what music is to me.
More than any other position in a band, putting yourself out there as lead singer requires some big time moxie, where did that confidence come from?
I think it comes down to a belief in the music and the passion of it. If you didn't write the songs you wouldn't have anything to say. And once you get in front of all those people you're trying to communicate; it's like sharing something. You're trying to tell people what you're feeling and share that emotion and that's what singing is. It's like liquid art. It's like something that's invisible but everybody gets it. Painters paint, actors act, but the singer, if he's written the song, that's like Walt Whitman's "I Sing the Body Electric." It's something that's indescribable.
Having seen you in concert many times and listening to the new CD,	Live All Access, your voice is better than ever. What do you ascribe that to?
I quit smoking last year and I smoke the occasional cigar. I don't live hard which I used to in The Babys and Bad English. Right now, it's ten o'clock in the morning, if there was a show I could go on stage and sing for 90 minutes and I have no idea where it comes from.
Most rock and roll singers couldn't do that. They'd certainly have to drop the keys of the songs.
I think that if I had to drop the keys for my songs I'd stop singing. The original songs were written to be sung in that key and that's what I want to do. If you drop the key to a song the tonality goes immediately. I'm a better singer than I was and I don't know why. I would like to think that philosophically it's because you're grown up and you've got all this wisdom. But it is like a physical thing too. But when I sing, I get out there in front of people and I mean it and it's just there.
Right now the country band Love & Theft's version of "If You Ever Get Lonely" is rocketing up the country charts.Going back to The Babys, there's been a distinct country thread in some of your work. The Babys performed your country tinged song "Restless Heart" live but did not record it; you'd later record it for 1984's No Brakes album. What is it about your writing and artistic sensibilities that lends itself to country music?
I don't think I really belong in classic rock and I'm not really country either but country's got more rock so it's probably moving more towards where I am. As a kid, Marty Robbins was a huge influence because he was singing about cowboys. The album cover for	Gunfighter Ballads & Trail Songs was a huge album for me. It spelled America for me. I've always played and listened to country music. It wasn't like one of those things where I suddenly went country. I was playing it to The Babys. They didn't want to record "Restless Heart" because they felt it wasn't rock and roll so it's not hip. That was the difference between me and The Babys. I was very hip to black music and country and they were more involved with contemporary rock and it was a meeting of those two worlds that made The Babys what it was. I probably wouldn't have gone anywhere without them because I wouldn't have been as rock and roll as I needed to be. Tony (Brock) and Wally (Stocker) were throwing down and driving it. I would be writing these lyrics and melodies that were unusual; it was blues driven. That's what made The Babys what they were. I knew about all this American stuff and they didn't but what they brought to the table was substantial. It was big.
With changes occurring in the music industry at hyper speed, artists like yourself have bypassed labels and are in control of their destiny. How has that freed you up artistically?
I haven't been in the same room with an A&R guy for 20 years. I just won't do it. Some brilliant person once said that A&R stands for "always wrong" and that's basically how I see it. I make better records left to my own devices and I haven't got the time to listen to somebody who can't play an instrument tell me what I'm doing wrong. It just doesn't work for me. I produce my own stuff and I'm good at it. Not having a label or A&R guy to answer to gives you a lot more freedom because you're not looking to write pop singles or trying to please anybody or be number one. The fact that "If You Ever Get Lonely" is doing so well is an affirmation of that. Whatever time that I've got left to sing the way I've been singing I want to do work that stretches myself as much as I can and go somewhere that I haven't been before.
"Missing You" is one of your signature solo songs. The new book,	VJ: The Unplugged Adventures of MTV's First Wave, written by the first MTV VJs, was recently published. In the book, VJ Nina Blackwood states she was the inspiration behind that smash hit.
My marriage was falling apart so I wasn't seeing my wife and I was living in New York. I was very good friends with Nina and I met another girl who I wound up getting engaged to. "Missing You" is an amalgam of three different people. In his book, Remembrance of Things Past, Marcel Proust says that when he imagines a country girl he also imagines the country. You can't separate the girl from the river and the trees and the grass because everything is the same experience. I was writing about these women, I was writing about New York, and I was also writing about distance. Each girl played a very large part in that song. As for Nina, we were very close. What she wrote about us in that book was very touching. In fact, she described the Eighties better than I ever could. The Eighties were great. In New York it was rock and roll, it wasn't blue hair and spandex. New York was still guitar driven, Johnny Thunders and the East Village.
Some artists I've spoken to who've gone solo after fronting popular band fess up that they ultimately didn't like it. In a band you could share responsibilities and workload but as a solo artist all the weight is on you.
I never felt like that. I've always played with people that I respected so I was always open to their input as well. For instance, on my first solo album I played with people like Frankie La Rocka on drums, Ivan Kral on guitar and Donnie Nossov on bass and they were people that I really loved and I listened to them. If they were playing something the way it wasn't meant to be played then it meant that the band shouldn't be playing it. I'm pretty democratic and I always play with people that I think a lot of. Autonomy is something you can have and make it work if you're generous and I think if you're uptight and narrow minded you'll make yourself unpleasant to people. I don't like that kind of thing. I like everybody to have a real ball when they're playing with me.
You're had your songs covered by the likes of Rod Stewart to Tina Turner ("Missing You"). Is there one artist who'd you like to see cover one of your tunes?
I'd like to see Willie Nelson do "Bluebird Cafe." I think that it was meant to be sung by an older guy to a young girl about what country music means. If Willie Nelson did that, I'd kiss his feet. (laughs) He's one of the few people on the planet that could do that song justice. I think "Bluebird Café" is in the top three of the best songs I've ever written and that's a country song. Lyrically, that hit the nail on the head.
The Babys have reunited 33 years after the band dissolved with founding members Tony Brock and Wally Stocker. Why didn't you take part?
When The Babys split up 33 years ago, I remember saying to the band while we were making our last album (On the Edge), "If we split up it's for good." I think they should have gotten together ten or fifteen years ago; I don't know what took them so long. But I was never going to go backwards and rejoin The Babys, same reason I wouldn't want to go back to Bad English. It's not the point. I just think there's a time for everything. I just watched a video of The Babys performing "Money" on The Chuck Barris Show and it's just off the hook! You can tell by the way I was dressed and the way I kind of acted that it was my moment in that time and I don't want to go backwards. It's like getting divorced, after thirty years you don't say, "Hey baby, I was wrong, let's get back together." I gave them my blessing and I meant it. I think Wally and Tony were made to play with each other. The real magic of that band instrumentally was Wally and Tony; there was never any doubt about it. The moment we got Wally into the band, Tony dug in on a whole different level. We became more blues based and it worked and it worked for me. The reason The Babys stayed together was Wally. He just understood the blues thing that I was going for, his big chord shifts, the voicing's on the guitar and then staying away when I was singing and then stepping in when I stopped singing. It was an instinctual thing between me and Wally. So I'm very pleased that Tony's working with Wally again; I truly think it's great and I think they've got some very capable new guys in the band.
Their new lead singer John Bisaha is a huge fan of yours. I understand you heard their new single, "Not Ready", what were your impressions?
I thought it was good, they did a good job. I haven't really sat down and listened to it with a critic's eye; I was just checking out the singer. I'm sending the band my best wishes and I want them to do well.
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1. Tends almond-blanching machine that removes skins from almonds: Turns valves to fill kettle of machine with water and to admit steam into heating chamber of kettle. 2. Observes steam pressure and water temperature gauges, and turns valves to regulate steam pressure and water temperature, according to specifications. 3. Actuates machine to start flow of almonds into kettle. 4. Turns handwheel to adjust rollers that squeeze skins from almonds. 5. Observes blanched almonds as they emerge from blanching machine and makes necessary adjustments to machine to ensure that skins are removed.


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Evidence for the involvement of infectious agents in the pathogenesis of Crohn's disease
World J Gastroenterol. 2008 Feb 14;14(6):845-52. doi: 10.3748/wjg.14.845.
Gert De Hertogh 1 , Jeroen Aerssens, Karen P Geboes, Karel Geboes
1 Department of Pathology, University Hospitals KULeuven, Minderbroedersstraat 12, Leuven 3000, Belgium.
DOI: 10.3748/wjg.14.845
Many advances have been made in the understanding of Crohn's disease (CD) pathogenesis during the last decade. CD is currently seen as a predominantly T-lymphocyte-driven disease characterized by the presence of a complex cocktail of interacting cytokines, chemokines and other mediators produced by a variety of cell types. Prevailing theories of CD pathogenesis suggest that patients' T-lymphocytes are inappropriately activated in the setting of an immune imbalance, which is itself caused by an unfortunate confluence of genetic and environmental factors. The T-cell response then leads to the chronic inflammation characteristic for the disease. Various environmental factors may play a role in the development of CD, but microbes are most consistently implied. This theory is based on epidemiological, clinicopathological, genetic and experimental evidence. Despite the abundance of arguments for the implication of bacteria in the aetiopathogenesis of CD, the precise role of bacteria in this disease still remains elusive. Three not necessarily mutually exclusive theories have been proposed: (1) an unidentified persistent pathogen; (2) an abnormally permeable mucosal barrier leading to excessive bacterial translocation; and (3) a breakdown in the balance between putative "protective" versus "harmful" intestinal bacteria ("dysbiosis"). At present, one cannot exclude with certainty any of these three proposed hypotheses; they may all apply to CD to a certain extent.
Anti-Bacterial Agents / therapeutic use
Bacteria* / immunology
Bacteria* / pathogenicity
Crohn Disease* / drug therapy
Crohn Disease* / epidemiology
Crohn Disease* / immunology
Crohn Disease* / microbiology
Probiotics / therapeutic use
T-Lymphocytes / immunology


New York City hired design firm Pentagram to create new parking signs. That seems appropriate, as the pentagram is the sign of the devil, and parking in Manhattan can be sheer hell. The 6,300 new signs deliver information in 140 characters or less, roughly half the verbiage of the old signs. Good idea, because squinting at signs longer than a tweet can get you rear-ended in midtown. Using the Interstate typeface, information is displayed in green and red sections, for passenger vehicles and commercial transport, respectively. Each section begins with a large numeral indicating the number of hours parking is allowed in that particular zone. Predictably, reaction has been mixed. Some applaud the signs' simplicity, while others say the wording is now too vague—or bemoan the fact that NYC's parking rules weren't overhauled instead. Richard Paris, a WWE executive, grouses in the Observer's comments section: "The typography weighting and layout feels strangely uncomfortable." Baby. Overall, the new signs do seem easier to read, but why go through all this trouble when most folks will just ignore them anyway? Personally, I'd show a car with a slash through it and the single word "Fuggedaboudit!" Why am I not consulted on these things? More images, including a before-and-after comparison, below.
First two photos via. Third photo via.


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February 5, 2013 by jason nahrung
New year, new home, new books!
When I've told people we're moving to Ballarat, there are two comments that usually follow: 'Why?' and, 'It's cold, y'know. Like, freezing.'
To the latter, the simple answer is, y'know, coats. But the former is a bit more long winded, to do with property prices in Melbourne, and how Ballarat is as close as we could get to spitting distance of the big smoke, and how it's got a uni and a writers' centre and a literature festival (hey, it's Victoria: what town doesn't have a literature festival? or a market…), and so on. I liken it to being on the Sunshine Coast and working in Brissie, without the coast. Or the ranges, for that matter. Okay, so it's got a train and it's got two lanes of divided road with a respectable stretch of 110kmh in between, and it takes about same amount of time, traffic (an hour and a bit) and rail gods (90 minutes and a bit) allowing.
Ballarat's a tidy town, brimming with neat cottages and such, and history oozing out its mine shafts. No river to speak of, but lots of culverts, and a very fine lake with swans. I'm told it has a very good Irish pub, obviously that friend's first memory of a previous visit, and a very fine bakery, too — my friends have broad tastes, clearly. Plus — OMG — an absinthe bar!
Kirstyn and I are looking forward to exploring the place, and the surrounds — for instance, the Pyrenees wine district, which I'm told does a very drinkable shiraz, which is what I want in a wine region. Oh yes. AND we've spotted a cafe with a view of the cemetery from the al freso dining area — w00t!
By the end of February, we'll be Ballaratians. Some might pronounce the former Ballah-ratt-e-ans, but I'm thinking of going for Bal-ah-ray-shuns. I guess Rats could also come up. B-Rat is just far too street. I'm stopping now.
So, a new address, our own patch of suburban dirt with a line already dotted out for a future chook pen, I believe. Excitements!
To go with the new house, new books (though the books came first, to be honest), one apiece: my outback vampire road-trippin' blood-lettin' romp, Blood and Dust, and Kirstyn's dark tale of family secrets, an amazing game of make believe and how what you wish for can be a tad detrimental, Perfections. Both are available now in digital formats (all of 'em) thanks to the small but passionate team at Xoum.
There will be some kind of ceremony to mark the arrival of these two yarns into the wilds, but it's been delayed by the move. One thing to be said for e-books — no packing!
A Hills hoist of our own
This entry was posted in gothic, horror, musings, travel and tagged australian vampires, ballarat, blood and dust, kirstyn mcdermott, perfections, pyrenees, vampires. Bookmark the permalink.
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18 thoughts on "New year, new home, new books!"
Paula Ellery | February 5, 2013 at 11:02 am
How exciting, Jason! Ballarat is lovely. Best of luck to you both. And congratulations on the books — I'll be buying both ASAP xx
CheryseDurrantAuthor (@CheryseDurrant) | February 5, 2013 at 12:35 pm
Hope it's a perfect haven for you and K to create many more wonderful novels, J!
millisynth | February 5, 2013 at 1:29 pm
Good luck with the move! And a definite 'thumbs up' for the intended chickens!
jason nahrung | February 5, 2013 at 1:47 pm
a plucky move 😉
Cheers, Cher; we hope to live a little quieter and be more productive on the wordage side of things … let's see how that goes!
Bless, Paula! All funds gratefully received … by the movers etc!
seantheblogonaut | February 5, 2013 at 2:05 pm
Balarayshuns sounds like Belorussians. And those bloody swans, nasty buggers – had a run in with them when I was 10.
Jen White | February 5, 2013 at 6:10 pm
Having lived in Ballarat for the past 4 years, I'd say it has been a good move. It's a very liveable town, great architecture, great regional art gallery, bookshops, very affordable and close enough to the big smoke. Welcome.
Thanks, Jen. We're looking forward to making contact with the local writing community!
Mark | February 5, 2013 at 9:30 pm
Congratulations on the move Jason – sounds like you've found a lovely part of the world.
Cheers, Mark; we're looking forward to exploring it, for sure. A lot of bases are definitely covered!
Pingback: A Couple of Things Before We Move « Kirstyn McDermott
Karen C | February 8, 2013 at 2:38 pm
Errr – that there Pyrenees Wine District you mentioned…. well that's right where we are so if you two are in the area – we could catch up for a glass or three (another one who grew up in Ballarat and ran screaming to the big smoke many many years ago 🙂 🙂 🙂
Ellen Gregory | February 8, 2013 at 9:13 pm
Balarayshuns – yeah. Love it.
jason nahrung | February 9, 2013 at 12:01 am
Might just have to take you up on that, Karen!
Paula Ellery | February 13, 2013 at 1:55 pm
I've just ordered a copy of yours and Kirstyn's new novels — anything to support great Australian writers (even if they do both sound horrifying!). I hope you've survived the move. Good luck with it all xx
jason nahrung | February 14, 2013 at 10:22 pm
Thanks heaps, Paula. So sweet to face the horror! xx
Hahaha — can't promise I'll read them, but I've bought them nonetheless 🙂


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Dublin's 'Happy,' melancholy Guggenheim…
Dublin's 'Happy,' melancholy Guggenheim Grotto delights
By Jim Sullivan |
When is music down, but not all the way down?
When it's created and played by Kevin May and Mick Lynch, the Guggenheim Grotto.
Guggenheim Grotto is an acoustic guitar and keyboards duo from Dublin, Ireland, on its fourth U.S. tour in three years – the first without drummer/sampler Shane Power. This act thrives in a zone where melodicism and melancholia square off, do a little dance and shake hands.
Thursday's hourlong set at the Lizard Lounge – where the Grotto will return for early shows Thursday and Jan. 29 – began with "Lost Forever" and closed with "Her Beautiful Ideas," a key track from the Grotto's upcoming second CD, "Happy the Man," out Jan. 27 and one that recalls Peter Gabriel's "Solsbury Hill."
The Grotto uses spare instrumentation – only one guitar at a time, sometimes harmony vocals, sometimes not – but has a richness in depth and tone. The world May and Lynch conjure is one where reality may bite, but reality is your only choice. "Just Not Just" makes that clear in the title, and in "Heaven Has a Heart," the heart they sing of is made of stone. Yet they advise living life with compassion and humility and rejecting defeatism while acknowledging the likelihood of failure. It's no small trick to maintain this balancing act, and the Grotto does so neatly.
The show closed with the Beatles shoot-'em-up country romp "Rocky Raccoon." There was a bounce in May and Lynch's steps, a breeze in their melodies, and a hard-bitten look at life in their lyrics. Cynicism hovered, but was transcended.
GUGGENHEIM GROTTO
At the Lizard Lounge, Cambridge, Thursday night.


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Q: Create an electromagnetic wave How do I generate a system of equations that describe an electromagnetic wave? Maxwell's equations are very generalized, which is good, but I want to create a concrete example (with specific numbers and functions and vector fields) of a mathematical system of an electromagnetic wave in free space from scratch.
From digging around in Wikipedia I think I could somehow use electromagnetic potentials and the Lorenz gauge condition to satisfy Maxwell's equations, but I'm not really sure where to begin. Admittedly, the math is a little over my head, but I'm pretty sure I can pick up most of it, and it's the reason I'd like to learn, anyhow.
Here's what I've found.
Maxwell's equations in free space
$$\nabla \cdot \mathbf{E} = 0$$
$$\nabla \cdot \mathbf{B} = 0$$
$$\nabla \times \mathbf{E} = - \frac{\partial \mathbf{B}}{\partial t}$$
$$\nabla \times \mathbf{B} = \frac{1}{c^{2}} \frac{\partial \mathbf{E}}{\partial t}$$
Electric and magnetic potentials (Lorenz gauge)
$$\mathbf{B} = \nabla \times \mathbf{A}$$
$$\mathbf{E} = - \nabla \phi - \frac{\partial \mathbf{A}}{\partial t}$$
$$\nabla \cdot \mathbf{A} + \frac{1}{c^{2}} \frac{\partial \phi}{\partial t} = 0$$
If $\phi_{1}$ and $\mathbf{A}_{1}$ are another solution of the same electromagnetic wave, then there should exist a scalar function $\lambda$ of position and time such that
$$\phi_{1} = \phi - \frac{\partial \lambda}{\partial t}$$
and
$$\mathbf{A}_{1} = \mathbf{A} + \nabla \lambda$$
Using the Lorenz gauge condition means that $\lambda$ must satisfy
$$\nabla^{2} \lambda - \frac{1}{c^{2}} \frac{\partial^{2} \lambda}{\partial t} = 0$$
which is the wave equation.
Quantum electrodynamics
If $\psi = \lambda, \phi, \mathbf{A}, \mathbf{E}$ or $ \mathbf{B}$, then $\psi$ satisfies the wave equation.
$$\nabla^{2} \psi - \frac{1}{c^{2}} \frac{\partial \psi}{\partial t} = 0$$
The solutions to $\psi$ in one dimension are arbitrary functions $f$ and $g$, such that
$$\psi = f( x - ct) + g( x + ct)$$
In three dimensions, $\psi$ would be the superimposition of the one-dimensional solution such that
$$\psi = f( x - ct) + g( x + ct) + f( y - ct) + g( y + ct) + f( z - ct) + g( z + ct)$$
(not sure about this)
In conclusion,
Any directions on how I should proceed? Do I just pick arbitrary functions $f$ and $g$ as solutions to $\lambda$ and then work up from there? Are there restrictions/conditions I should be aware of? Any more information I would need?

A: Uh, I'm not sure I understood you correctly. If you want an example of how you get the wave equation from electromagnetic equations, it's pretty simple. LEt's choose vacuum, or any linear isotropic homogeneous medium, but vacuum is the easiest one.
You ONLY need Maxwell's equations, so forget about the rest.
Then, the key is recalling this vector identity:
$$\vec{\nabla}\times(\vec{\nabla}\times\vec{v})=\vec{\nabla}\cdot(\vec{\nabla}\cdot\vec{v})-\vec{\nabla}^2\vec{v}, \qquad\forall\vec{v}$$
In particular, for the electric field:
$$\vec{\nabla}\times(\vec{\nabla}\times\vec{E})=\vec{\nabla}\cdot(\vec{\nabla}\cdot\vec{E})-\vec{\nabla}^2\vec{E}$$
But now, you plug MAxwell's equatiosn inside. You see that the divergence of $\vec{E}$ would be 0 in absence of charges (vaccuum)
$$\vec{\nabla}\times(\vec{\nabla}\times\vec{E})=-\vec{\nabla}^2\vec{E}$$
But, on the other Hand, replacing another Maxwell equation yields:
$$\vec{\nabla}\times(\vec{\nabla}\times\vec{E})=\vec{\nabla}\times\left(-\mu \frac{\partial}{\partial t}\vec{H}\right)=-\mu \frac{\partial}{\partial t} (\vec{\nabla}\times\vec{H})$$
$$ =-\mu\frac{\partial}{\partial t} \left(\epsilon \frac{\partial\vec{E}}{\partial t}\right)=-\mu\epsilon \frac{\partial^2 \vec{E}}{\partial t}$$
So, you get that
$$\nabla^2 \vec{E}=\mu\epsilon \frac{\partial^2 \vec{E}}{\partial t}$$
The wave equation with velocity $\dfrac{1}{\sqrt{\epsilon\mu}}$, which is $c$ in case of vacuum.

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HomeCelebritiesMan arrested for killing his girlfriend and their 9-month old daughter in South Africa
Man arrested for killing his girlfriend and their 9-month old daughter in South Africa
A 29-year- old man, Naseem Ahmed, who allegedly killed his girlfried and their child in South Africa was arrested on Thursday, January 21.
Chantelle Ester Ash and their 9-month-old daughter, Tasneem Isha Ash were found strangled at a lodge in R518 road between Mokopane and Marken road in Masodi village, on the 14th of January. Their hands were tied from the back and their bodies in a state of decomposition.
Provincial police spokesperson, Lieutenant Colonel Moatshe Ngoepe, who confirmed the incident said that on Tuesday, 12 January 2021 at about 19:00, "a man and woman with their nine-month-old baby were dropped off at the gate of the lodge by a grey unknown motor vehicle."
Apparently, the trio rented a room for overnight accommodation without providing their personal information and promised the receptionist that they will check out the next day, on Wednesday 13 January 2021 at 09:00.
The following day, the receptionist decided to go and check on them and made the gruesome discovery. Furthermore, there was no presence of the male person who came to the lodge with them.
The Police were immediately notified. The 72-hour activation plan which included the Crime Intelligence, Tracking Team, Detectives and other supporting units were mobilised.
A massive manhunt was launched which resulted in the arrest of this suspect at Brixton, in the Gauteng Province.
Ngoepe said the motive behind this incident is still not clear at this stage but domestic violence may not be ruled out.
The suspect, said to be a Pakistani national, appeared in the Mokerong Magistrate's Court on Friday, January 22.
Meanwhile, the Provincial Commissioner of the South African Police Service in Limpopo, Lieutenant General Nneke Ledwaba has welcomed the arrest of the suspect.
The Provincial Commissioner has applauded the Police for the speedy arrest and highlighted the swift action should send a clear message to those involved in heinous crimes especially against women and children that they will be tracked down and brought to book.
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Bobrisky reportedly leaves Benin following an outrage he ignited by asking Oba of Benin to marry him (video)
It's no big deal If my wife, Toyin Abraham, is richer than I am – Actor Kolawole Ajeyemi


counting my own graduation, this was the fourth belmont high school graduation i've attended. i've probably gone to more of these graduations (at the same school) than anyone i know. it was my godmother's younger son jack's graduation ceremony. i went very jaded and bored, wanted to have the whole thing be over as quickly as possible. graduates file into the gymnasium dressed in bhs maroon. the national anthem plays. class president andrew sullivan (deerfield academy) gives his welcoming remarks. he used the mastercard commercial metaphor, about certain things being priceless. yawn. enter madrigal singers. what's with all these chorus singing? for once, i'd love to see a school band perform a cover of a graduation related song. who knows, maybe the alice cooper classic "school's out." if only it was a rock and roll high school! that'd be so cool, and i wouldn't be bored and i'd have a great time and i'd come back again and again ever year! anyway, madrigal singers sing "one moment in time." valedictorian inna livitz (harvard university) gives an address to the graduates. if nothing else, inna has the most beautiful storybook voice i have ever heard. her words are mellifluous, even when she uses the cliché "threads in a tapestry" metaphor or when she quotes emerson. i was just really impressed by her voice. later i discover that she's also a student of the chinese language (she's russian herself), which makes me even more impressed. superstar in the making! address over, enter more singers! while they're singing their "tribute", in my head pink floyd's "another brick in the wall - part 2" is playing at a high volume. salutatorian claire valentin (city year/university of chicago) gives the next address. she quotes from snow falling on cedar hill and starts talking about how "martin luther king jr. is dead. jfk is dead. where can we look for new leaders?" her speech is not as polished as inna's, nor as trying-hard-to-be-funny as andrew's. maybe she's just kind of angry she wasn't valedictorian. honey, if you just worked a little harder, maybe you could've beaten that other girl and gone to harvard! her address finished, guess what? bring in more singers! i am slowly rocking in my bleacher seat to calm my frayed nerves. the song, ironically enough, is titled "it's time to go." at least i haven't lost my sense of humor! exit singers, enter principal foster e. wright. foster gives a little speech, and in it he said he's worried about the many students who weren't singled out for excellence, that they might go through life not knowing their own self-worth. for once i get serious and i sort of agree. right after this speech, he starts with the achievement awards presentation. what happened to not singling out individual students but rather celebrating the worthiness of everyone? award ceremony ends, a new batch of singers take center stage. by now i've already looked at the program a million times, charting the progress of the ceremony, counting down to the actual diploma presentation. after the singing, it's finally time for what everyone's waiting for: some sweet diploma action! how many students, 220? oh my dear lord it's going to take forever! i start rocking in my seat again. that's when i have another epiphany. diploma presentations are so stale. going back to my rock and roll high school idea, what if there's a band playing during the whole presentation? like a drummer would be lighting tapping the cymbals, but as soon as a name gets read, the drummer would give a drum roll. or maybe if something funny happens on stage, a rim shot. or maybe -- picture this in your mind -- cowbells! i'm getting goosebumps! background music is a crucial missing element in these situations! it would totally spice up the ceremony, and like i said before, i'd be so captivated and entertained that i'd come back every year! diplomas having been all presented, foster says a little something else which i wasn't paying much attention to because -- guess what? -- in case you didn't get enough madrigal singers (i *heart* madrigals!) here they come again, bringing down the house with their rendition of "an irish blessing"! people, keep your arms and legs inside the car because we don't want anybody getting hurt! and please, curb your enthusiasm! once the singing is done, the band starts playing the recessional march as the graduates start filing out of the gymnasium, friends and family swarming behind them in a frenzy to get that extra special graduation money shot of the much beloved son or daughter transfixed in post-graduation bliss. i secretly sneak out the back way (this *was* my high school, i know all the secret passage ways) and wait outside for the mass of people to disperse. once everyone reconvenes outside, some photos are taken and thus concludes another high school graduation experience.


This isn't a really a new cooking appliance as we already had an electric pressure cooker. But this particular model adds a few more features. It has a "saute" mode so it can be used kind of like an electric sauce pan. It will also work as a rice cooker and a slow cooker. If you watch a lot of YouTube videos of full time RVers, they all mention the Instant Pot. I suspect that the Zojirushi rice cooker will make better rice but it is a uni-tasker.
On our road trip, a slow cooker and a pressure cooker would have been nice to have along but I didn't want to take two additional appliances. The pressure cooker would use less power than simply cooking on the induction burner as would pressure cooking rice. It does draw up to 1000 watts but that is about the same as the rice cooker.
I hadn't planned on picking one of these up but Bridget had ordered it as a wedding present but the couple already had one. So now I have one as well.
As a quick test, I boiled up some eggs. It took about 15 minutes total. 5 minutes to heat up, 5 minutes to cook and 5 minutes to cool down. And the shells practically fell off when they were done. This model has a program for making yogurt. Maybe I'll try that one of these days.
As another quick "test", I made up some steel cut oats. In the past, I had to pre soak them overnight. The recipe just said to saute them in oil or butter, then add 3x water and pressure cook them for 13 minutes. They came out great. Add some raisins and maple syrup and I had breakfast. I think that this will be a great gadget and addition to the kitchen. Both at home and in the RV.
People have been raving about these Instant Pots but I didn't know anyone that has really used one. I am glad to hear they really do cook that much faster.
It has a bunch of preprogrammed options and two pressure settings so it has a shorter learning curve than a regular pressure cooker. Most things do cook pretty fast e.g. white rice - 4 min, brown rice - 22 min, most beans - 7-10 min (after soaking overnight). So for things that need a long simmer, it really is faster. No faster than a pressure cooker but being electric, it doesn't need to be watched like one on the stove.


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Guitar Hero III: Legends of Rock - Wii
Nintendo Wii	PS3 Xbox 360 PC
Guitar Hero III: Legends of Rock features all kinds of killer new options, such as the new multiplayer action-inspired battle mode, grueling boss battles, a bevy of exclusive unlockable content and authentic rock venues. The expanded online multiplayer game modes will also allow axe-shredders worldwide to compete head-to-head for true legendary rock status. Best of all, check out the new songs! Fresh downloadable content will be offered on multiple platforms, and players can now shred to a set list from many of the greatest rock songs ever recorded.
Guitar Hero: Smash Hits - Wii
Guitar Hero: Smash Hits includes playable songs originally featured in the first four games in the series: Guitar Hero III: Legends of Rock, Guitar Hero Encore: Rocks the 80s, Guitar Hero II, and t...
by Activision
Freakyjoe
Lowly Worm
Guitar Hero III is as solid as ever. Basic tweaks were made in the game, but the core has not changed so much that fan will still love it. Any issues that might arise during game play is that the addition of new modes and designs can get in the way of fun; and the extreme difficulty of some of the game's songs might turn off rookies. These aside, Guitar Hero III offers solid content that is hard to argue with.
Your controller is in the form of a guitar, with 5 fret buttons and a strummer. Notes fall down across the screen, hit the matching buttons, and voila! ROCK! Guitar hero III offers a song list that spans across multiples eras and genres. There's something for everyone to be satisfied; from the metal heads to the modern rockers.
There are 4 levels of difficulties in the game, with easy and medium offering a good starting point for beginners. The game heats up in the hard and expert levels. The jump is just too much for anyone, some songs are so intense it is unlikely that anyone will have a clue what to do and how to do these songs.
Throwing these things to the side, the game is still tons of fun. Hammer – ons and pull – off, techniques used to hit crazy streaks of tightly packed single notes rae now easier than ever, and the notes that can be played on now glow brightly in order for you to notice them. A counter keeps track of the note streaks you perform, with periodic phrases that announces you have just passed a certain streak milestone. Changes in the power meter displayed is evident, as well as in the score tracker.
Guitar Hero III Legends of Rock offers the best tracklist so far for any Guitar Hero game. there are a lot of master tracks from the original bands and artists themselves. Higher difficulty levels both ensure higher experienced players won't get bored quickly but run the danger of intimidating people. These are all the factors that matter for this game.
9aah Cheat Codes.
Nintendo Wii PS3 Xbox 360 PC
RedOctane


Ants are major predators of termites but I would not go out and source a colony of ants to get rid of your termites just yet. Termites are able to keep track of the ants location by simply listening to its footsteps and avoiding its path and moving when the ants get too close.
Scientific research has shown that termites have evolved super-soft footsteps and sharp hearing skills to evade their noisy and heavy-footed enemy. This finding will eventually be put towards improving pest control. One possibility is to manipulate the sound of ant footsteps to flush termites out.
Until the day it happens - the best way to combat your termite infestation is through latest technology involving safe and secure chemical treatments that are being deployed here at AMAC. We use TermX, Sentricon II and Termidor Termite Pest Control Treatment that have been proven to give you the best results.
Worry not, we service all area of North Brisbane for termite inspection.
Call us at 07 3863 0036 or get your free quote now!


CIBA Climbing is Sierra Vista's first and only bouldering gym.
CIBA is a full-service bouldering gym offering open climbing, exercise equipment, youth programs, group rates and birthday parties, private sessions, gear rentals, guided hikes, and guided climbing tours.
Our mission is to provide patrons of all ages a fun, controlled environment in which to exercise, socialize, and gain new climbing skills. We focus on sharing the joy of climbing with individuals of all skill levels. Whether you're a beginner or advanced climber, you are welcome here!
Learn more about our story, day rates, gym memberships, and our friendly staff!
Check out our hours and location or drop us a line if you have questions or you'd like to schedule a private session or party!
We offer groups rates, birthday parties, climbing teams, and guided climbing trips in the great outdoors!
Follow us on Facebook to stay tuned with what's going on the gym and in our community!


Description: One look will do! One owner 2 story on oak studded lot! Gorgeous wood laminate floors in both living areas & dining rooms plus kitchen! Very open floor plan w/island kitchen that opens to family room w/handsome corner fireplace! Awesome master retreat w/sitting area, his & her separate vanities & walk in closets plus fabulous jetted garden tub w/beautiful decorative tile! Huge bedrooms! Pretty fans & light fixtures. Very private backyard w/majestic oaks & nice landscaping! New roof! Gorgeous!


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Il samba (in portoghese al maschile) è uno stile musicale e di danza originario del Brasile legato alle tradizioni afroamericane. Il nome "samba" proviene probabilmente da semba, che nel dialetto angolano kimbundu significa "panciata", per il modo in cui si ballava.

Dopo la seconda guerra mondiale è diventata molto diffusa in Europa.

Il termine

La parola "samba" appare per la prima volta il 3 febbraio del 1838 nel giornale O Carapuceiro in un articolo in cui venivano messi a confronto i gusti musicali dell'élite e del popolo. Nell'articolo Gusti stravaganti, scritto da frate Miguel do Sacramento Lopes Gama, si leggeva che la classe elitaria preferiva artisti come Rossini, con opere come Tancredi, La gazza ladra e Semiramide mentre il popolo era propenso ad ascoltare e ammirare la samba, musica più grossolana ma rappresentativa della popolazione nera.

Storia

Il samba si sviluppò come genere alternativo di musica all'inizio del XX secolo a Rio de Janeiro (allora capitale del Brasile) sotto la forte influenza degli afrobrasiliani immigrati dallo stato brasiliano di Bahia. La vera "scuola di samba" (escola de samba), Mine, è stata adottata dai più grandi gruppi di musica samba nel tentativo di prestare l'attenzione verso le prestazioni del samba; le città universitarie locali erano spesso luoghi di pratica e performance per questi musicisti.

L'origine del samba
Il samba (o la samba) trova la sua origine a Salvador di Bahia, il porto dove venivano sbarcati gli schiavi rapiti nell'Africa occidentale. Alla sua formazione contribuirono le tradizioni musicali di varie etnie africane, soprattutto yoruba e nagò; nel samba originario (baiano) troviamo miscelati i ritmi delle liturgie di varie divinità appartenenti alle religioni di vari popoli africani: jongo, catereté, batuque, baião e altri. L'origine del samba è legato alla formazione del candomblé, la religione sincretica afro-brasiliana che si formò in Bahia dall'incontro delle varie etnie che, sottoposte alla cristianizzazione forzata, furono costrette a nascondere le loro credenze nei simboli del cattolicesimo.

Significativamente nei testi del samba si ritrovano tali divinità e il poeta Vinícius de Moraes con il chitarrista Baden Powell rivendicarono tale origine scrivendo afro-samba dedicati agli dei del candomblé. Il termine samba sembra derivi da due parole africane: sam ("paga!") e ba ("ricevi!") . Il samba fu coltivato sui morros ("colli") dove gli emarginati costruivano le favelas in cui vivevano, ma divenne termine ufficiale per definire questo tipo di musica (con i suoi vari generi) nel 1917, quando venne inciso il primo disco.

Pelo Telefone (1917), di Donga (Ernesto dos Santos) e di Mauro Almeida (detto Peru dos pés frios cioè "Tacchino dai piedi freddi"), è considerato la prima registrazione samba. Il relativo successo ha trasportato il nuovo genere fuori dai ghetti neri. Il testo di Pelo Telefone parla del capo della polizia che manda a chiamare il sambista per calmare la confusione e l'agitazione del gioco d'azzardo bicho; ciò fa comprendere l'origine del samba come espressione umile, emarginata, accomunato alla delinquenza comune e comunque elemento di disturbo sociale. È singolare il fatto che allora la polizia, quando arrestava qualcuno per vagabondaggio o aspetto poco raccomandabile, controllasse se avesse callosità sui polpastrelli della mano sinistra; queste erano considerate sicuro indizio di reato poiché si trattava di suonatore di violão, dunque malandro o sambista.

A Rio il samba fu coltivato nella casa di Tia Ciata (Hilária Batista de Almeida) a Praça Onze; Tia Ciata era una baiana trasferitasi a Rio, sacerdotessa del Candomblé, e la sua casa era il punto di incontro dei più famosi sambisti (Sinhô, Donga, Heitor dos Prazeres, Pixinguinha, Caninha, João da Baiana e altri). Il samba si insediò sui morros (colli) di Rio, dando vita alle famose escolas di samba, di cui la più famosa e quella di Mangueira, frequentata anche da Antônio Carlos Jobim, Luiz Bonfá, Chico Buarque de Hollanda, che le hanno dedicato molte musiche. A Mangueira appartengono anche il più grande sambista popolare, Agenor de Oliveira (più famoso come Cartola perché, essendo muratore, portava un cappello di carta), Nelson Sargento, attualmente ancora attivo, Alcione, João Nogueira, Leci Brandão e molti altri grandi sambisti.

Il samba di Bahia ha trovato i suoi massimi interpreti in Dorival Caymmi, Wilson Simonal e Jorge Ben Jor, e poi in João Gilberto, che dal samba si spinge, insieme a Jobim, fino alla bossa nova, una forma di samba molto raffinata che, grazie a Jobim, utilizza armonizzazioni molto complesse ricavate dalle tecniche semitonali del jazz. Fu esportato con successo in Europa da Tati Casoni.

Sottogeneri
A partire dalla samba originale sono stati costruiti numerosi sottogeneri, più o meno recenti. Il samba ha egualmente influenzato molti generi a causa del suo ritmo particolare (ad esempio la bossa nova, a partire dal jazz). Gli stili principali sono:
 Il samba de roda, Partido Alto, Pagode;
 Il samba de coco;
 Il samba-canção, una samba più melodiosa della quale le musiche di Chico Buarque sono un buon esempio;
 la batucada, Batuque, Afoxé;
 Il samba do enredo, una forma particolare di samba a tema, con altri tempi, che si è sviluppata progressivamente nel quadro delle scuole di samba, particolarmente a Rio de Janeiro, dopo la fine degli anni 1920;
 la samba rock più funk nello spirito della fine degli anni 1960 e all'inizio degli anni 1970, come Jorge Ben accompagnato dal Trio Mócoto;
 Il jazz samba
 Il samba-reggae si è sviluppato nello stato brasiliano di Bahia a partire dal 1985 circa, sotto l'influenza del reggae giamaicano.

Note

Bibliografia
 Giancarlo Mei, Canto Latino. Origine, evoluzione e protagonisti della musica popolare del Brasile, Prefazione di Sergio Bardotti, Postfazione di Milton Nascimento, Nuovi Equilibri, 2004, ISBN 88-7226-801-X
 Gildo De Stefano, Il popolo del samba. La vicenda e i protagonisti della storia della musica popolare brasiliana, Prefazione di Chico Buarque de Hollanda, Introduzione di Gianni Minà, RAI-ERI, 2005, ISBN 8839713484
 Gildo De Stefano, Saudade Bossa Nova: musiche, contaminazioni e ritmi del Brasile, Prefazione di Chico Buarque, Introduzione di Gianni Minà, Logisma Editore, Firenze 2017, ISBN 978-88-97530-88-6
 Orestes Barbosa, Samba, sua història, seus poetas, seus mùsicos e seus cantores, Rio de Janeiro, Ed. Cara Nova, 1933

Voci correlate
 Scuola di samba
 Sambodromo di Rio de Janeiro

Altri progetti

Collegamenti esterni

Generi musicali di musica latina

redpajama_set_name: RedPajamaWikipedia


Click here to see other ECPW events.
perform while you're waiting for Santa's arrival!
Click here to get our coloring contest flyer!
Special Guest "Rainbow the Clown"
take a picture with Santa.
Print out the coloring contest flyer and enter to win a gift certificate to the Learning Express. All entries must be received by December 4.
To print the flyer as a full page, click on the flyer to the left, save the image to your computer and print.
11th Annual Fall Fest Antique & Classic Car Show.
enjoy good food at the Stirling Hotel while listening to music provided by DJ Mike.
Raffle prizes and a 50/50 will be available all day.
Two certified appraisers will be on hand to help determine if you have an undiscovered treasure or just a fun family heirloom!
Doors will open at 1:45.
Those with items to be appraised will receive a ticket in order of appearance.
Do you wonder if the painting you've had for years in the family is worth a hidden fortune? Would you like to know what Grandma's ring is really worth? Perhaps you would you like to sell some things from your attic for some extra cash? Join us and have a professional appraiser evaluate your treasures or just come to watch. Antique appraiser, Doug Reeder, is an established antiques dealer and appraiser in the New York metropolitan area. He is past President of the Associated Antiques Dealers of New Jersey, a member of the American Organization of Licensed Dealers and Appraisers and has performed appraisal work for the Morristown Antiques Center, the Somerville Center Antiques, and the Montclair Museum. Mr. Reeder has conducted over three hundred public appraisal sessions for a variety of historical associations, service clubs and charitable causes. Doug DeFreitas is also a certified appraiser in the state of New Jersey and a specialist in antique jewelry and Americana. Proceeds from the event will benefit the Long Hill Community Center. This event is not affiliated with the PBS television program.


SUAKA akan mengadakan peluncuran Laporan Penelitian "Hidup yang Terabaikan" tentang Nasib Pengungsi Rohingya di Indonesia .
Hotel Gren Alia Prapatan, Kwitang, Senen.
SUAKA will launch "Barely Living" the research report on the condition of Rohingya refugees in Indonesia.
We are very sorry for not being active for past weeks, because of technical issue.
Please be informed that SUAKA Legal Aid changed number to 085213508445.
Also, you can still contact us via email through suaka.legalaid@gmail.com.
We would like to ask everyone to inform all people who have contacted us or might need to contact us for help, especially for Asylum Seeker and Refugees in Indonesia since lots of contacts were lost.
We thank you in advance for sharing this simple message to those who might need it!


Although many people appear to finish up consuming our meals in entrance of the tv lately, it's nonetheless custom to have a proper eating room in our houses. So how can we make the normal very best meet modern tastes? This set of fabulous eating areas ought to present some meals for thought.
In this area twin peak home windows create a solar spot for eating that has been furnished with funky geometric chairs, which permit the pure mild to movement by way of them, and the angular shapes are echoed within the design of the desk prime. Bright yellow accent items draw on inspiration from the sunny environment.
This whimsical setup makes use of metallic chairs to convey the look bang updated, together with a trio of eye-catching pendant lights and ornamental wall decals.
The interval options on this house work nicely with modern items just like the Charles Eames chairs combined at this desk. The tangle of bulbs on shade coordinated black flex usher in a utilitarian edge.
Momentary pops of colour clashing give a room luggage of heat and curiosity, and mismatched chair finishes are a good way to introduce additional colours right into a eating area, together with cool wall artwork, brightly painted function partitions and patterned space rugs.


Located in the heart of the historic district, LaScala's is everyone's favorite Italian American Home-Style destination "just like Grandmom used to make", where 7 days a week locals and visitors alike just can't get enough of the delicious and plentiful lunch, dinner, or late night fare that works for all occasions, all pocket-books, all taste buds and all ages... so much so, that rarely a customer leaves without saying, "Now that was a good meal."
Enjoy the windowed openness of LaScala's corner property, the warmth of the exposed brick walls and cozy high-back booths. Choose to eat in the casual bistro dining area, the more formal dining room, at the over-sized bar or hi-top tables where folks can catch their favorite game on the big screen televisions, or when weather permits, sit outside cafe-style under the big awning. LaScala's also offers the convenience of takeout, catering for any occasion and a private dining room and Chef's Table room for virtually any type of social or business party or event.


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Viola, Antonio Stradivari, Cremona, 1696, the 'Spanish Court'
Antonio Stradivari, Cremona, 1696, the 'Spanish Court'
Viola: 40261
Contralto viola of the original quintet
Top: of very fine grain
Varnish: Golden
"The inlaid tenor, illustrations of which we give, exhibits a masterly combination of choice material, appropriate ornamentation, and refined style. The figure of the maple used for back, sides, and head is charming, and homogeneous throughout; the beauty of the slender and wavy curls being shown up by the delicate golden varnish of perfect transparency and lightness of texture. The freshness of this instrument's appearance and its state of preservation are extraordinary; the sound-holes and head convey the impression of their having been wrought but yesterday; even the black lines with which Stradivari out-lined the curves of the head are unworn, and the original neck still remains.
Hart gives the year 1687 as that in which Stradivari made the beautiful set of inlaid instruments for the Spanish Court; but, as we shall see hereafter, this statement is erroneous. If we again refer to Arisi, we learn that Stradivari made a concerto of instruments which he intended to present to Philip V of Spain on the occasion of the passage of that King through Cremona in 1702, for which event he had prepared a memorial; but he was dissuaded, adds Arisi, 'the instruments are still in his possession.' Now, it must be remembered that this interesting information was committed to paper by the worthy monk in 1720, showing that Stradivari had already retained them some years.
In the course of inquiries made both in Italy and Spain, we have been fortunate enough to obtain the subsequent history of the instruments which, we believe, formed this interesting concerto. It consisted of two violins, two violas (one a 'tenore'), and a violoncello. They were still in Stradivari's possession at his death in 1737, and then passed to his son Francesco, who, dying in 1742, left them to his brother Paolo, by whom they were sold in the year 1775 to a priest of the name of Padre Brambilla, for the sum of 125 giliati.
Padre Brambilla took them to Madrid, and there disposed of them to the Spanish Monarch, thus possibly (we say 'possibly' because we have no conclusive proof of the fact). We believe, however, that this concerto of instruments is the identical set that Stradivari wished to present to King Philip, fulfilling the maker's original intention with regard to their destination. The purchase was most probably due to the musical taste of the Infante Don Carlos, who played the violin. This Prince ascended the throne in 1788 as Charles IV. We learn furthermore that in 1776 Antonio, the son of Paolo Stradivari, at the instigation of Count Cozio de Salabue, tried to repurchase the instruments, but without success. We have ascertained these facts from the correspondence exchanged between Count Cozio, Paolo Stradivari, and his son Antonio."
"The quintet was allowed to rest, at least for a while, during Spain's long struggle with the French. But the instruments did not come through the hostilities unscathed. The French carried the two violas (contralto and tenor) off to Paris in 1819 where they were bought by a certain M. Rivaz (we know only his name), who took them to London. . . . The tenor viola was lost, probably forever."
The King of Spain Strads, Edward Sainati, The Strad, December, 1993, London
"A tenor of Stradiuarius was in the sale of Sir Win. Curtis, lot 6, which the auctioneer stated to be one of the most valuable specimens of the maker, and not to be surpassed; it was put up at 150 guineas, but no offer was made for it."
The musicians of the Quiroga Quartet from Spain have been named the first artists in residence of the Royal Palace of Madrid, allowing them access to the unique set of decorated Stradivari instruments on display as part of the Royal Collection exhibition.
The residency, instigated by the Patrimonio Nacional, which owns and manages the property and effects of the King of Spain including the Stradivari inlaid set, allows the quartet to give public performances on the instruments at the palace. Performances on the set have taken place for many years before invited guests, but this is the first time they will be heard in public.
Royal Palace of Madrid decorated Stradivari quartet receives first public performance
until 1772 Paolo Stradivari
in 1772 Padre Brambilla
1772 - 1812 Don Carlos (King Charles IV)
until 1819 Koliker
1819 - 1825 Alexander Rivaz
1825 - 1829 Sir William Curtis
1876 - 1881 John Adam
1881 - 1887 Duc de Camposelice
1887 - 1891 Isabella Eugenia, Duchess of Camposelice
in 1891 Sold by W. E. Hill & Sons
from 1891 Charles James Oldham
- Baron Johann Knoop
from 1913 Richard Bennett
in 2002 Royal Palace in Madrid
Antonio Stradivari and His Instruments, William Henley, Amati Publishing, Ltd., Sussex, 1961 (illustrated)
Antonio Stradivari: l'estetica sublime, Maurizio Villa, Consorzio Liutai Antonio Stradivari, Cremona (illustrated)
Antonio Stradivari: His Life & Work (1644-1737), W. Henry, Arthur F. & Alfred E. Hill, William E. Hill & Sons, London, 1902 (illustrated)
Antonius Stradivarius (Balfoort), Dirk J. Balfoort, The Continental Book Company, Stockholm (illustrated)
Luthier's Corner | Just another WordPress site
Royal Palace of Madrid decorated Stradivari quartet receives first public performance, Oct 2013
The Strad, June, 1951, London (illustrated)
The Strad, December, 1993, Edward Sainati, Orpheus, London (illustrated)
W. E. Hill & Sons Photographic Archive (illustrated)


Taste test: They taste just like a baked potato loaded with salt and pepper.
Mmmmmmm. And like most Terra chips, they're incredibly thick and extremely crunchy. They do leave you with a pepper aftertaste.
Trivia: "Best potato chips ever!" according to Dad.
This snack was discovered by Jeremy at Star Market, Stow, Massachusetts.


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Labor and Employment Alert: NLRB's Creation of New Standard for Employee Handbooks is a Present for Employers
Employment Policies and Manuals
12/22/2017 Labor and Employment Alert: Illinois Employers Face a Wave of Class Actions for Collecting Biometric Data
Michael C. Griffaton
Earlier this month, the National Labor Relations Board (NLRB) articulated a new standard for evaluating when a facially neutral workplace policy or rule would potentially interfere with rights protected by the National Labor Relations Act (NLRA). In doing so, the NLRB overruled its 2004 Lutheran Heritage Village-Livonia decision, which had held that employers violated the NLRA if their workplace rules could be "reasonably construed" by employees as prohibiting their exercise of protected rights.
In The Boeing Company, the NLRB (in a 3-2 decision under the new Republican majority) jettisoned the "reasonably construe" standard in favor of a new test. "When evaluating a facially neutral workplace policy, rule, or handbook provision, that when reasonably interpreted, would potentially interfere with the exercise of NLRA rights, the Board will evaluate two things: (i) the nature and extent of the potential impact on NLRA rights, and (ii) legitimate justifications associated with the rule." The NLRB emphasized that, in conducting this evaluation, it will strike "the proper balance" between employees' rights and business justifications.
To that end, the NLRB delineated three categories of employment policies, rules, and handbook provisions. These categories represent a classification of results from that new test:
Category 1: "Will include rules that the Board designates as lawful to maintain, either because (i) the rule, when reasonably interpreted, does not prohibit or interfere with the exercise of NLRA rights; or (ii) the potential adverse impact on protected rights is outweighed by justifications associated with the rule." The NLRB held that rules requiring that employees abide by basic standards of civility are lawful, as are rules like Boeing's which prohibited the use of cameras without a valid business need and permit.
Category 2: "Will include rules that warrant individualized scrutiny in each case as to whether the rule, when reasonably interpreted, would prohibit or interfere with the exercise of NLRA rights, and if so, whether any adverse impact on NLRA-protected conduct is outweighed by legitimate justifications."
Category 3: "Will include rules that the Board will designate as unlawful to maintain because they would prohibit or limit NLRA-protected conduct, and the adverse impact on NLRA rights is not outweighed by justifications associated with the rule." An example of such a rule would be one prohibiting employees from discussing wages or benefits with one another.
The NLRB emphasized that even if the maintenance of a particular rule is lawful, the application of that rule to employees engaged in NLRA-protected conduct may still be unlawful. This is determined on a case-by-case basis.
Boeing represents a significant departure from the prior rule that had been in place for 13 years. The NLRB believes that the new standard in Boeing will provide "far greater clarity and certainty to employees, employers and unions." Of course, it may be some time before Boeing's full impact is realized. Contact your Vorys lawyer if you have questions about NLRA-protected rights in your workplace and evaluating your workplace policies, rules, and handbook provisions in light of Boeing.