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Músicos de Blues abrange desde os músicos do Blues primitivo do Delta, de um só acorde, aos das big bands, passando pelos da música country, do rock and roll e até aos mais ligádos à música clássica europeia.

Country blues primitivo
 Alger "Texas" Alexander (1900-1954)
 Pink Anderson (1900-1974)
 Barbecue Bob (1902-1931)
 Scrapper Blackwell (1903-1962)
 Black Ace (1907-1972)
 Blind Blake (c. 1893-c. 1933)
 Big Bill Broonzy (1893/1898-1958)
 Richard "Rabbit" Brown (c. 1880-c. 1937)
 Bumble Bee Slim (1905-1968)
 Butterbeans & Susie
 Gus Cannon (1883-1979)
 Leroy Carr (1905-1935)
 Bo Carter (1893-1964)
 Sam Collins (1887-1949)
 Floyd Council (1911-1976)
 Ida Cox (1896-1967)
 Gary Davis (1896-1972)
 Sleepy John Estes (1904-1977)
 Blind Boy Fuller (1908-1941)
 Jesse Fuller (1896-1976)
 Billy Garland (1918-1960)
 Jazz Gillum (1904-1966)
 Shirley Griffith (1908-1974)
 Arvella GrayJEBA (1906-1980)
 Smokey Hogg (1914-1960)
 Lightnin' Hopkins (1912-1982)
 Son House (c. 1902-1988)
 Peg Leg Howell (1888-1966)
 Alberta Hunter (1895-1984)
 Mississippi John Hurt (c. 1893-1966)
 Jim Jackson (c. 1884-1937)
 Skip James (1902-1969)
 Blind Lemon Jefferson (1893-1929)
 Blind Willie Johnson (1897-1945)
 Lonnie Johnson (1894-1970)
 Robert Johnson (1911-1938)
 Tommy Johnson (1896-1956)
 Leadbelly(c. 1889-1949)
 Furry Lewis (1899-1981)
 Mance Lipscomb (1895-1976)
 Cripple Clarence Lofton (1887-1957)
 Robert Lockwood, Jr. (1915-2006)
 Mississippi Fred McDowell (1904-1972)
 Brownie McGhee (1915-1996)
 Blind Willie McTell (1901-1959)
 The Memphis Jug Band
 Big Maceo Merriweather (1905-1953)
 Memphis Minnie (1897-1973)
 Charley Patton (1891-1934)
 Douglas Damasceno  (1993-)
 Ma Rainey (1886-1939)
 Tampa Red (1904-1981)
 Bessie Smith (1894-1937)
 Victoria Spivey (1908-1976)
 Frank Stokes (c. 1888-1955)
 Sonny Terry (1911-1986)
 Henry Townsend (1909-2006)
 Sippie Wallace (1898-1986)
 Washboard Sam (1910-1966)
 Curley Weaver (1906-1962)
 Peetie Wheatstraw (1902-1941)
 Bukka White (1909-1977)
 Josh White (1914 or 1915-1969)
 Sonny Boy Williamson (1914-1948)

Blues Urbano Primitivo
 Gladys Bentley (1907-1960)
 Lucille Bogan (1897-1948)
 Georgia Tom Dorsey (1899-1993)
 Lil Green (1919-1954)
 Lucille Hegamin (1894-1970)
 Alberta Hunter (1895-1984)
 Papa Charlie Jackson (c.1890-1938)
 Ma Rainey (1886-1939)
 Clara Smith (c. 1894-1935)
 Mamie Smith (1883-1946)
 Bessie Smith (1894-1937)
 Sippie Wallace (1898-1986)
 Ethel Waters (1896-1977)

Jazz-blues pré-Segunda Guerra Mundial
 Albert Ammons (1907-1949)
 Pink Anderson (1900-1974)
 Louis Armstrong (1901-1971)
 Sidney Bechet (1897-1959)
 Leroy Carr (1905-1935)
 Pee Wee Crayton (1914-1985)
 Floyd Council (1911-1976)
 Walter Davis (1912-1963)
 Johnny Dodds (1892-1940)
 Champion Jack Dupree (c. 1909-1992)
 Ivory Joe Hunter (1914-1974)
 St. Louis Jimmy Oden (1903-1977)
 Meade Lux Lewis (1905-1964)
 Little Brother Montgomery (c. 1906-1985)
 Big Maceo Merriweather (1905-1953)
 Kansas Joe McCoy (1905-1950)
 Papa Charlie McCoy (1909-1950)
 Jay McShann (born c. 1916)
 Roy Milton (1907-1983)
 Jelly Roll Morton (1890-1941)
 Jimmy Rushing (1902-1972)
 Roosevelt Sykes (1906-1983)
 Big Joe Turner (1911-1985)
 Sam Taylor (1916- 2009)
 T-Bone Walker (1910-1975)
 Washboard Sam (1910-1966)

Jazz-blues no pós-Guerra
 Mose Allison (1927-  2016)
 Charles Brown (1922-1999)
 Roy Brown (1925-1981)
 Ray Charles (1930-2004)
 Pee Wee Crayton (1914-1985)
 Floyd Dixon (1929-2006)
 Champion Jack Dupree (c. 1909-1992)
 Wynonie Harris (1915-1969)
 Louis Jordan (1908-1975)
 Little Willie Littlefield (1931-)
 Percy Mayfield (1920-1984)
 Memphis Slim (1915-1988)
 Amos Milburn (1927-1980)
 Pinetop Perkins (1913-2011)
 Jimmy Witherspoon (1923-1997)

Blues do Kansas
 Walter Brown (1917-1956)
 Jay McShann (c.1916-2006)
 Arnold Moore (1914-2005)
 Jimmy Rushing (c. 1902-1972)
 Big Joe Turner (1911-1985)

Estilos tardios
 Little Hatch (1921-2003)
 Lee McBee (1951-2014)

Blues de Chicago/Detroit
 Luther Allison (1939-1997)
 Paul Butterfield (1942-1987)
 John Henry Barbee (1905-1964)
 Eddie Boyd (1914–1994)
 James Cotton (1935-2017)
 Bo Diddley (1928-2008)
 Willie Dixon (1915-1992)
 David Honeyboy Edwards (1915-)
 Buddy Guy (1936-)
 Earl Hooker (1929-1970)
 J. B. Hutto (1926-1983)
 Big Walter Horton (1918-1981)
 Elmore James (1918-1963)
 Albert King (1924-1992)
 Freddie King (1934-1976)
 John Lee Hooker (1917-2001)
 Charlie Musselwhite (1944-)
 Robert Nighthawk (1909-1967)
 Pinetop Perkins (1913-2011)
 Jimmy Reed (1925-1976)
 Soko Richardson (1939-2004)
 Jimmy Rogers (1924-1997)
 Otis Rush (1934-)
 Magic Sam (1937-1970)
 Johnny Shines (1915-1992)
 Magic Slim (1937-2013)
 Otis Spann (1930-1970)
 Hound Dog Taylor (1915-1975)
 Eddie Taylor (1923-1985)
 Little Walter (1930-1968)
 Muddy Waters (1915-1983)
 Carl Weathersby (1953-)
 Junior Wells (1934-1998)
 Howlin' Wolf (1910-1976)
 Sonny Boy Williamson II (Rice Miller) (c. 1899-1965)
 Jody Williams (1935-)

Blues (pós-anos 1950)
 James Anthony (Pecchia) (1955-)
 Etta Baker (1913-2006)
 Marcia Ball (1949-)
 Elvin Bishop (1942-)
 Bobby Blue Bland (1930-2013)
 Rory Block (1949-)
 Michael Bloomfield (1944-1981)
 Blues Brothers(1978-)
 Lonnie Brooks (born 1933-2017)
 Clarence "Gatemouth" Brown (1924-2005)
 Roy Buchanan (1939-1988)
 Eric Clapton (1945-)
 Albert Collins (1932-1993)
 Johnny Copeland (1937-1997)
 Al Copley (1952-)
 Robert Cray (1953-)
 Willie Dixon (1915-1992)
 Bob Dylan (1941-)
 Snooks Eaglin (1936-2009)
 The Fabulous Thunderbirds
 Robben Ford (1951-)
 Rory Gallagher (1948-1995)
 John P. Hammond (1942-)
 Alvin Youngblood Hart (1963-)
 Ted Hawkins (1936-1995)
 Z. Z. Hill (1935-1984)
 John Lee Hooker (1917-2001)
 Lightnin' Hopkins (1912-1982)
 Hot Tuna  (1969–)
 Colin James (1964-)
 Etta James (1938-2012)
 Jimmy Johnson (1928-)
 B. B. King (1925-2015)
 Freddie King (1934-1976)
 Taj Mahal (1942-)
 John Mayall (1933-)
 Keb' Mo' (1951-)
 Sam Myers (1936-2006)
 Odetta (1930-2008)
 Rod Piazza (1947-)
 Lonnie Pitchford (1955-1998)
 Fenton Robinson (1935-1997)
 Roomful of Blues
 Bobby Rush (1940-)
 Saffire - The Uppity Blues Women (1987-)
 Seasick Steve (1941-)
 Magic Slim (1937-2013)
 Son Seals (1942-2004)
 Arbee Stidham (1917-1988)
 Koko Taylor (1935-2009)
 Tabby Thomas (1929-2014)
 Rufus Thomas (1917-2001)
 Ali Farka Toure (1939-2006)
 Jimmie Vaughan (1951-)
 Stevie Ray Vaughan (1954-1990)
 Kazumi Watanabe (1953-)
 Johnny Winter (1944-2014)
 Jimmy Burns

Blues desde 1990
 Celine Dion (1982-)
 Ana Popovic (1976-)
 Gwyn Ashton (1961-)
 Tab Benoit (1967-)
 Deanna Bogart (1960-)
 Joe Bonamassa (1977-)
 Kenny Brown (1953-)
 R. L. Burnside (1926-2005)
 Tommy Castro (1959-)
 Claudia Carawan (1959-)
 Joanna Connor (1962-)
 Shemekia Copeland (1979-)
 Guy Davis (1952-)
 Darren Deicide
 Chris Duarte (1964-)
 Ronnie Earl (1953-)
 Tinsley Ellis (1957-)
 Sue Foley (1968-)
 Anson Funderburgh (1954-)
 Anthony Gomes (1975-)
 Alvin Youngblood Hart (1965-)
 Jeff Healey (1966-2008)
 Ron Holloway (1953-)
 Colin James (1964-)
 Gene Kelton (1953-2010)
 Junior Kimbrough (1930-1998)
 Chris Thomas King (1964-)
 Jonny Lang (1981-)
 Harry Manx (1955-)
 Keb Mo' (1951-)
 Coco Montoya (1951-)
 Kenny Neal (1957-)
 North Mississippi All Stars (1996-)
 Blind Mississippi Morris (1955-)
 Charlie Parr(1967-)
 Asie Payton (1937-1997)
 Kelly Joe Phelps (1959-)
 Todd Sharpville (1970-)
 Kenny Wayne Shepherd (1976-)
 Bobby Sowell (1947-)
 Susan Tedeschi (1970-)
 Jimmy Thackery (1953-)
 T-Model Ford (1924-2013)
 Joe Louis Walker (1949-)
 William Elliott Whitmore (1978-)
 Bob Cobb (1965-)

Blues na música country
 Johnny Cash (1932-2003)
 Merle Haggard (1937-2016)
 Jerry Lee Lewis (1937-)
 Jimmie Rodgers (1897-1933)
 Hank Williams (1923-1953)

Influências do blues na música clássica
 George Gershwin (1898-1937), "Rhapsody in Blue" e "Concerto in F"
 Honegger, "Pacific 231" e "train song".
 William Grant Still, "Afro-American Symphony"

Blues na música pop e no rock contemporâneo
 Ben Harper (1969-)
 Black Keys, The (2001-)
 Black Rebel Motorcycle Club (1988-)
 Bonnie Raitt (1949-)
 Chris Thomas King (1962-)
 G. Love & Special Sauce (1992-)
 Gun Club, The (1980-)
 Hugh Laurie (1959-)
 Jack White (1975-)
 John Mayer (1997-)
 Los Lonely Boys (1996-)
 Moby (1965-)
 Nick Cave (1957-)
 P.J. Harvey (1969-)
 Tom Waits (1949-)
 The White Stripes (1997-2011)

Blues europeu
 Alexis Korner (1928-1984)
 Ana Popovic (1976 -)
 Barrelhouse Chuck (1958-2016)
 Cuby and the Blizzards (1964 - 2011)
 Cyril Davies (1932-1964)
 Dr. Feelgood (1971-)
 Eric Clapton (1945-)
 Todd Sharpville (1970-)
 Hans Theessink (1948-)
 Herman Brood (1946-2001)
 John Mayall & the Bluesbreakers (1963-)
 Peter Green (1946-)
 Rory Gallagher (1948-1995)
 Steve Baker (1953-)
 Yavuz Çetin (1970-2001)

Blues no Brasil
 Blues Etílicos (1985-)
 Nuno Mindelis (1957-)
 Solon Fishbone (1975-)
 André Christovam (1959-)
Álvaro Assmar (1958-2017)
 Celso Blues Boy (1956-2012)
 Mister Jack
 RestGate Blues (2002)

Blues em Portugal
 Wraygunn
 The Ramblers (2007-)
 Minnemann Blues Band (1978-)

Ver também
 Blues
 Rockabilly

Ligações externas

Blues


A state legislator is again offering a proposal to create a veterans court treatment program for eligible veterans going through the state's court system.
The program would be like drug courts, that challenge eligible accused persons to complete drug treatment programs or go to jail, but it would utilize veterans treatment programs.
Representative Jay Barnes (R-Jefferson City) says many veterans who wind up in the court system are suffering from issues related to their service.
Barnes says some of the crimes committed by veterans could serve as warning signs of things that could happen later.
Barnes has re-filed a bill to create veterans courts that passed out of the House in the 2012 session but stalled in the Senate after being assigned to a committee.


This great Tedx Talk reminds us we have far more control over the destiny of our health than we realize. If you need encouragement to change your health habits – this is it.
In this talk Cyndi O'Meara discusses challenges with wheat.
Being a native Iowan myself, I found O'Meara's brief family history interesting. Spraying arsenic, lead & DDT on corn & wheat due to a locust plague was not too shocking considering I lived on the Mississippi River where Dupont and Clinton Corn were huge manufacturing plants employing many of the town folk. Today, all my old girlfriends have thyroid and endocrine disease and there is a lot of cancer.
The micro biome of the soil is just as important as the micro biome of the human body. When farmers use things that disrupt the soil – beware. It's just a matter of time before the human body micro biome gets trashed.
Being a Lyme/MSIDS patient myself and understanding the challenges, this talk will give you simple and practical steps you can actively take to help regain your health. If it's overwhelming, do 1 thing until you are able to take on more. Remember – no guilt. Just start somewhere and feel happy about it, knowing you are making life-long changes that will make a difference.
When able, get to know the farmers at the local market and develop a relationship with them. Raising crops in a healthy way is what these folks have devoted their lives to. They are springs of information and are quite willing to share it.
If you suspect wheat, go off it for 6 weeks and see if symptoms improve. Many have found this one step to be a turning point. My PT, after listening to my symptoms one day, asked, "Have you considered gluten? I have nearly every symptom you just mentioned and when my wife, who's a nutritionist, put me on a gluten-free diet, every symptom disappeared." Interestingly, he was so reactive that he had to use his own eating utensils and keep them separate from the family's as he reacted even to microscopic amounts of gluten remaining on washed utensils others used to eat gluten with. This shows that for many Lyme/MSIDS looks an awful lot like Lyme/MSIDS. It can cause joint pain, brain fog, and many other similar symptoms.
Be a label reader. Find out what's inside and what is being sprayed on your food.
When you shop, stay on the perimeter of the store where the real food is.
Get back in the kitchen and make your own food.
For another straight-forward talk on how to change your body and health with food: https://madisonarealymesupportgroup.com/2017/05/20/minding-your-mitochondria/ Diagnosed with MS, Dr. Terry Wahls received the best standard medicine had to offer. After declining to the point of being in a wheel chair, she took matters into her own hands and learned how to properly fuel her body. Using the lessons she learned at the subcellular level, she used diet to cure her MS and get out of her wheelchair.


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MAE — Markets and Exchanges
CSD — Clearing, Settlement and Depository
MIR Market Intermediaries and Representatives License
MIR-A Introduction
MIR-B Scope
MIR-1 Legal Basis and Regulated Activities
MIR-2 Licensing
MIR-3 Authorisation
MIR-4 Business Standards and Ongoing Obligations
MIR-5 Substantial Shareholding in a Licensed Member
MIR-5.1 Control of Substantial Shareholding in a Licensed Member
MIR-5.2 Application and Criteria for Approval to Acquire Substantial Shareholding
MIR-5.2.1
MIR-6 Control of a Licensed Member
MIR-7 Business Transfer
MIR-8 Listing of a Licensed Member
MIR-9 Emergency Powers of the CBB
CRA Crypto-Asset
Market Standards
Ongoing Obligations
Dispute Resolution and Investor Protection
Back Custom print Link Text Only Rich Text Print
MIR-5.2 MIR-5.2 Application and Criteria for Approval to Acquire Substantial Shareholding
Any person applying for approval under rule MIR-5.1.1 shall submit to the CBB a written application that sets out:
(a) The name of the applicant;
(b) In the case where the applicant is a company:
1. Its place of incorporation;
2. Its substantial shareholders;
3. Its directors and chief executive officer; and
4. Its principal business.
(c) In the case where the applicant is a natural person:
1. His nationality;
2. His principal occupation; and
3. His directorships;
(d) All the companies in Bahrain or elsewhere, which the applicant has a substantial shareholding;
(e) The percentage of shareholding and voting power that the applicant has in the licensed member and/or in any other licensed members;
(f) The percentage of shareholding and voting power the applicant is seeking to have in the licensed member;
(g) The reasons for making the application;
(h) The mode and structure, as appropriate, under which the increase in shareholding would be carried out;
(i) Whether the applicant will seek representation on the board of directors of the licensed member; and
(j) Any other information that may facilitate the determination of the CBB as to whether the applicant is a fit and proper person for the purposes of paragraph MIR-5.2.3 (a).
Amended: April 2013
Adopted January 2010
The CBB may require the applicant to furnish it with such information or documents as the CBB considers necessary in relation to the application and the applicant shall furnish such additional information or documents as required by the CBB.
The CBB may approve an application made under Paragraph MIR-5.2.1 if the CBB is satisfied that:
(a) The applicant is a fit and proper person to be a substantial shareholder;
(b) Having regard to the applicant's likely influence, the licensed member will or will continue to conduct its business prudently and in compliance with the provisions of the CBB Law, rules and regulations, and this Module; and
(c) It would not be contrary to the interests of the public and market integrity to do so.
The CBB may, for the purposes of securing compliance with rule MIR-5.1.1 or paragraph MIR-5.2.2, or any condition or restriction imposed under rule MIR-5.2.5, by notice in writing direct the transfer or disposal of all or any of the shares of a licensed member in which a substantial shareholder of the licensed member has an interest. The licensed exchange and/or licensed clearing house shall be notified of such extent.
Until a person to whom a direction has been issued under paragraph MIR-5.2.4 transfers or disposes of the shares which are subject to the direction and notwithstanding anything to the contrary in the Memorandum and Articles of Association or other constituent documents of the licensed member:
(a) No voting rights shall be exercisable in respect of the shares which are the subject of the direction;
(b) The licensed member shall not offer or issue any shares (whether by way of rights, bonus share, dividend or otherwise) in respect of the shares which are the subject of the direction; and
(c) Except in liquidation of the licensed member shall not make any payment (whether by way of cash dividend, dividend in kind or otherwise) in respect of the shares which are the subject of the direction.
Any issue of shares by a licensed member in contravention of rule MIR-5.2.5 (b) shall be deemed to be null and void, and a person to whom a direction has been issued under paragraph MIR-5.2.4 shall immediately return those shares to the licensed member, upon which the licensed member shall return to the person any payment received from him in respect of those shares.
Any payment made by a licensed member in contravention of rule MIR-5.2.5 (c) shall be deemed to be null and void, and a person to whom a direction has been issued under paragraph MIR-5.2.4 shall immediately return the payment he has received to the licensed member.
The CBB may exempt:
(a) Any person or class of persons; or
(b) Any class or description of shares or interests in shares;
from the requirement under paragraphs MIR-5.2.1 or MIR-5.2.2, subject to such conditions or restrictions as may be imposed by the CBB in general, and where shares of the licensed member are being listed in particular.

redpajama_set_name: RedPajamaCommonCrawl


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2009 Traverse City Prospects Tournament recap — Day 3
By HF Staff
Day 3 of the 2009 Traverse City Prospects Tournament determined the standing for the placement and championship games. The Carolina Hurricanes will play the Minnesota Wild in the championship game, while the NY Rangers will play St. Louis Blues in the third-place game. The Columbus Blue Jackets will play the Atlanta Thrashers in the last-place game.
Dallas Stars 4, Columbus Blue Jackets 3
The Stars won their first game of the tournament today. After getting lit up on Sunday, Richard Bachman came back with a solid effort, only surrendering three goals on 38 shots. This game also awakened Sergei Korostin's scoring prowess. He scored first in the contest, and then a critical goal in the third period. Looking much better tonight was Dallas' top forward prospect Jamie Benn. While he remains scoreless in this tournament, today he showed some of the offensive upside that made such a valuable draft pick. His vision and passing creativity were very much evident.
Matt Calvert continues to roll. His two goals this afternoon allowed Columbus to draw even with Dallas in the first minute of the third period. Calvert was all over the ice, however, his unnecessary holding penalty when the score was tied and there were only 3:12 seconds left in the third may just have cost Columbus the game. The penalty came as the result of being tired at the end of a long shift.
The game was peppered with a competitive ferocity not seen elsewhere in the tournament. There were 74 penalty minutes in the game, including four separate fights.
Other players who impressed us were Tomas Vincour, Mathieu Tousignant, and tryouts Kyle St. Denis and Scott Tanski. Not as impressive were Scott Glennie, and tryouts Jamie Tucker, and Zak Ray.
Atlanta Thrashers 7, Carolina Hurricanes 3
The story of this game was that after two stellar performances for Carolina, goaltender Mike Murphy proved that he's human and grows tired after two games on consecutive nights. The day off on Tuesday was not actually a day off since Murphy had a full practice.
From the first shot on goal against the Thrashers, it was clear that Murphy was not up to par. Carolina was expected to win this game handily, after having beaten the Rangers and Red Wings. But they had nothing to play for, because they had already clinched a spot in the finals. Murphy lasted two periods in net, and then Alain Valiquette took over for the third period. Murphy surrendered two goals in 32 shots and Valiquette surrendered four on 13 shots. While Murphy's save percentage doesn't look bad, his play was otherwise. There were several posts hit on shots that had beaten him.
One player on each team stood out today. The dynamic Zach Boychuk demonstrated why he is the top prospect in the organization. With an amazingly quick release, Boychuk has been surprising goaltenders all tournament. When combined with his vision, and his breakaway skating ability, Boychuk is one of the stars of this tournament, and perhaps the most NHL-ready.
Recent acquisition Eric O'Dell proved on the ice today that Atlanta made a good move trading for him earlier this year. With two late goals, one on the power play and one shorthanded, O'Dell put the topping on Atlanta's only win. He created a lot of the Thrashers' offense the entire game.
St. Louis Blues 4, Minnesota Wild 3 (shootout)
This game was the most exciting of the day. Minnesota tied the score at three goals apiece with three seconds left, and went on to lose in the shootout. Aaron Palushaj had three assists and scored the winner in the shootout. But Anthony Nigro, who eventually sacrificed his lower body for the game, had two goals and one assist and played in all situations to help St. Louis in its eventual victory. Most impressive was Nigro continuing to defend his own zone on the penalty kill late in the third period while writhing in pain. His character was obvious to all those in attendance.
Jake Allen faced 34 shots and surrendered just three goals, including one by Minnesota's Zach Torquato with just three seconds left in regulation with an extra attacker. Allen's coverage of the net and challenging of the shooter were impressive.
An unexpected steady performer today was St. Louis' 2009 second-round selection Brett Ponich. Poised along the blue line, Ponich's rapid adjustment also impressed Blues President John Davidson.
"Ponich has come in here and done well playing a difficult position," he said.
NY Rangers 4, Detroit Red Wings 3
The Rangers jumped out to a 4-0 lead in this mostly one-sided contest. After looking like the best-skating team in the tourney for two games, Detroit came out totally flat tonight. On the other hand, the Rangers came out shooting, putting 16 shots on net in the first period.
Having been scratched in the last game, Paul Crowder centered the Rangers top line and did an admirable job all night. Because of his good play, Evgeny Grachev and Dale Weise had chance after chance to put the puck in the Red Wings net. Neither was able to convert, but it was no reflection on Crowder's performance.
Defenseman Brian Lashoff continues to have an excellent tournament. Of particular note in this game was him saving a sure empty-net goal and then turning around and scoring the Wings' final goal with less than 30 seconds left.
Roman Horak continues to impress in his first year at the tournament. While he didn't put numbers up on the scoresheet, his solid work in both zones, in all situations, was very noticeable. Also noticeable was the work of Chad Johnson in net. The former Univ. of Alaska Fairbanks netminder saved 32 of 35 shots on the night, plus a penalty shot. Very strong down low and willing to go out to challenge the shooter on almost every shot, Johnson has been solid in both of his appearances here in Traverse City.
Leslie Treff and Holly Gunning contributed to this report.


Baby's First Doll is made from 100% natural materials. The toy is made from certified organic cotton, certified by IVN (International Association of Natural Textile Industry) on the outside and is stuffed with Bioland pure new (organic) wool.
My first grandchild was able to grasp this amazing little doll when she so wanted to grasp, but everything else was just not right, this gave her such delight!


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Ultrathin Solar Cells Reach Nearly 20% Efficiency – "Nature Energy" Publishes Paper by Centre de Nano-Sciences et de Nanotechnologies and Fraunhofer ISE
Researchers at the French Centre de Nanosciences et de Nanotechnologies (C2N) have succeeded, in collaboration with researchers at Fraunhofer ISE and others, to efficiently trap sunlight in a solar cell thanks to an ultrathin absorbing layer made of 205 nm-thick gallium arsenide (GaAs) on a nanostructured back mirror. With this new process of fabrication, an efficiency of nearly 20% was obtained.
© C2N / H-L Chen & al.
(left) Sketch of an ultrathin solar cell made of GaAs with a nanostructured back mirror. (right) Photograph of a sample showing the diffraction effect of a nanostructured mirror in air (colored shine) and the absorption enhancement effect in ultrathin solar cells (square black areas).
Up to now, the state-of-the-art 20%-efficient solar cells fabricated from GaAs required at least 1 micrometer-thick layers of semiconductor material, or even 40 µm or more in the case of silicon. Thinning the absorber automatically reduces absorption of sunlight and conversion efficiency. A flat mirror at the backside of the cell can help and lead to double-pass absorption, but no more. Yet, a stronger thickness reduction would enable material savings of scarce materials and industrial throughput improvements due to shorter deposition times. But previous attempts of light trapping have been greatly limited in performance by the optical and electrical losses.
Researchers of the team led by Stéphane Collin at the Centre for Nanoscience and Nanotechnology - C2N (CNRS/Université Paris-Saclay), in collaboration with Fraunhofer ISE in particular, have developed a new strategy to trap light in ultrathin layers made of only 205 nm-thick gallium arsenide, a semiconductor of the III-V family. The guiding idea was to conceive a nanostructured back mirror to create multiple overlapping resonances in the solar cell, identified as Fabry–Perot and guided-mode resonances. They constrain light to stay longer in the absorber, resulting in efficient optical absorption despite the low quantity of material. Thanks to numerous resonances, absorption is enhanced over a large spectral range that fits the solar spectrum from the visible to the infrared. Controlling the fabrication of patterned mirrors at the nanometer scale was a key in the project. The team used nanoimprint lithography to directly emboss a sol-gel derived film of titanium dioxide, an inexpensive, rapid and scalable technique.
"Together with our French partners we are very happy about this result and its publication in the renowned journal "Nature Energy", says Dr. Frank Dimroth, Head of the Department "III-V Photovoltaics and Concentrator Technology" at Fraunhofer ISE. And he adds: "We expect to be able to even further improve the efficiency of ultrathin solar cells". The work published in Nature Energy demonstrates that this architecture should enable 25% efficiency in the short term. Even if the limits are still unknown, researchers are convinced that the thickness could be further reduced without efficiency loss, at least by a factor of two. GaAs solar cells are still commercially limited to space application due to their cost. However, researchers are already working to extend this concept for large-scale photovoltaics made of e.g. CdTe, CIGS or silicon materials.
Article in Nature Energy
A 19.9%-efficient ultrathin solar cell based on a 205-nm-thick GaAs absorber and a silver nanostructured back mirror A 19.9%-efficient ultrathin solar cell based on a 205-nm-thick GaAs absorber and a silver nanostructured back mirror
Dr. Frank Dimroth
Karin Schneider
Online in Internet; URL: https://www.ise.fraunhofer.de/en/press-media/news/2019/paper-in-nature-energy-ultrathin-solar-cells-reach-nearly-20-percent-efficiency.html


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Posts Tagged 'Winston Churchill'
Support for ISIS in Europe – more people in France support them than in Gaza? What does it all mean? Is the world gone mad?
Posted: August 27, 2014 in Political musings, Popular Culture et al, Religion
Tags: America, American constitution, anti-democracy, anti-politics, civics, democracy, democracy in peril, democracy versus fascism, Entertainment, Europe, fascism, France, freedom of speech, Germany, Halford E. Luccock, Harrison Evans Salisbury, ISIS, James Waterman Wise Jr, leadership skills, nature of government, philosophy, politics, racism, radicalisation of youth, rise of fascism, role of the media in dumbing down society, Stalin, Ted Talks, the nature of democracy, usa, violence, Winston Churchill, Working Men's Institute
This very important article in Vox, based on Russian research, reveals an apparently staggering level of support for ISIS in Europe, and in France in particular, where one in six people report supporting the extreme terrorist Sunni group that has been slaughtering Christians, Shias, Sunnis who don't agree with them, and anyone else who gets in their way.
And the level of support rises as respondents get younger.
Very, very worrying.
We somewhat doubt the veracity of the research and wonder if people are confabulating "ISIS", "Gaza" and "Hamas" in their minds. In any event, it's a sad and sorry finding even if it's only partly accurate, and the radicalisation of Islamic youth is one of the most distressing and tragically predictable outcomes of the growth of so-called "identity politics", which is now playing out throughout the West, and increasingly in a new black-white divide in America, as well.
But despite this survey it would be wrong to see this phenomenon as something unique to young followers of Islam. Indeed, as one of the sources quoted in the article remarked:
The rise of identity politics has helped create a more fragmented, tribal society, and made sectarian hatred more acceptable generally. At the same time, the emergence of "anti-politics," the growing contempt for mainstream politics and politicians noticeable throughout Europe, has laid the groundwork for a melding of radicalism and bigotry. Many perceive a world out of control and driven by malign forces; conspiracy theories, once confined to the fringes of politics, have become mainstream.
It is so. This isn't a religious thing. It's all about contemptuous disenchantment and disempowerment.
That said, the fact that we actually find most interesting in the graph above is the much LOWER figure – virtually negligible, in fact, in polling terms – in Germany.
In our analysis, this can be explained by three simple factors.
Whilst there is racial tension within Germany – particularly where the Turkish immigrant population is concerned, it is less of a problem than elsewhere.
Even with the persistent (if small) growth in Neo-Nazi skinhead violence, the vast majority of Germans utterly reject the balkanisation of politics based on race. Given their recent history, and the efforts the State makes to prevent racial abuse or anything that smacks of it, this is laudable and not at all surprising.
Another differentiator, of course, is that much of the Islamo-fascism currently being exhibited in the world is explicitly anti-Israeli and by extention anti-Jewish, and expressing sentiments that could possibly be interpreted or misinterpreted as anti-Jewish in Germany is still well-nigh impossible, again for very obvious reasons.
The third reason, and this is very significant, is that the German economy is significantly wealthier and more successful than the British, or the French. There is plenty of education and work to be had, and both are the perfect balm for the vast majority of young people, of all racial backgrounds, who might otherwise be led into more extreme conclusions about society.
Recent riots in France were painted as "Islamic" by commentators, but in fact, as the placard being carried by one demonstrator says, it was more accurately an explosion of frustrated youth violence, like previous riots in the UK and elsewhere.
Unemployment – especially youth unemployment – is the perfectly fertilised and endlessly productive seed bed for extremism of all kinds, whether you look at 1789 France or France last year, 1917 Russia, 1933 Germany, 1970s Northern Ireland, the "Arab Spring" of 2011, or America, France and Britain today.
And where that unemployment falls most onerously on any particular racial or religious groupings, particularly a grouping that considers itself as a minority, then you have a recipe for immediate and predictable disaster.
But even when that miserable judgement is made, it is the generalised "anti politics" trend that concerns us most – even more than any passing fad for Islamic extremism that threatens us today.
The simple fact is that when people perceive their leaders as corrupt, when people perceive them as petty, when people perceive them as habitual liars, (with plenty of evidence), when people perceive them as lacking in required levels of intelligence or leadership skills, then they do not blame the individuals as much as they blame the system. And variously, they turn (and they can turn very quickly) to revolutionary creeds – Marxism, Fascism, religious extremism: whatever is around and easily grasped as a panacea, really.
Anti-democrats don't start out carrying a sign saying "crush democracy". They know it frightens the horses. And they can be superficially attractive – Josef Stalin was quite a hunk as a youngster, for example.
This is precisely why we have frequently labelled America a 'pre-Fascist" state* – not because we believe there are organised groups of people seeking to subvert the American constitution and replace it with some Hitler-style figure – there are such groups, but they are still largely fringe dwellers, and there are also big money groups that wield far too much malign financial power over the political system, such as the Koch brothers, but their influence is still basically visible and trackable – rather, it is because the fracturing of America into potentially warring tribes is so very palpably obvious when viewed from a distance, matched (equally obviously) by an increasingly careless disregard for civil rights and privacy from the authorities.
A frightening realisation that often comes later in life is that democracy, in all its expressions, contains within it the seeds of its own destruction. The very thing that makes democracy so worth preserving – freedom of opinion and the resulting freedom of speech – is the very weapon that can tear it down.
History teaches us, again and again, that there is a tipping point when a majority of people despair of the system and when they do they are prepared to consider a replacement – any replacement. Or it can be a highly motivated minority, with good organisational skills.
Shorn of the wonderful, soaring rhetoric of its core principles by the behaviour of its key players – our political leaders, and the media – democracy simply seems increasingly and hopelessly out of touch and irrelevant. All it needs is a half-credible populist to repeat the people's complaints alluringly, and the complaints are worldwide, and they are devastatingly simple and enticing:
"I don't trust them", "They're all just in it for themselves", "They don't know what to do", "They're just taking the piss out of the rest of us, and we're paying", "They don't care about us." "What can I do? They won't listen to me."
At one and the same time, powerful cabals in business and the military foolishly consider they can take advantage of such unrest to position themselves to take over as "a strong voice", to run things (skimming off the top, of course) while the hubbub of dissent dies down, until – inevitably – they realise they have seized a tiger by the tail, and they can't control it. "Temporary" restrictions on freedom become permanent, and apply to these fellow travellers as much as they do to the rest of us. They imagine themselves isolated from the crackdown by their money, except – as they invariably discover – they are not.
Anti-politics. It is louder in the West than we can remember at any time since we started paying attention in the 1960s.
"They don't care about little people." "Just a bunch of snouts in a trough." "They're all stupid." "There's no real difference between them, anyway. It's all a game." "I just don't trust 'em. Any of 'em."
Indeed, as we write these phrases, it is all we can do to stop from nodding in agreement. They are so seductive.
A son of the aristocracy, Churchill never lost his early passion for democracy that was often found in those days in the ranks of the independently wealthy.
Except if we are seduced by them, we will hate what comes after. As Winston Churchill supposedly famously remarked:
"Democracy is the worst form of government, it's just better than all the others."
Actually, and somewhat ironically, the most famous defender of modern democracy might not have actually generated those words, although in his lifetime he did say a lot about democracy, especially when its survival was threatened with the horrors of German and Austro-Hungarian Nazism, Italian and Spanish Fascism (amongst others), and Soviet-style "marxism".
Churchill did say something like this in the House of Commons on 11 November 1947) but it appears he was quoting an unknown predecessor. From Churchill by Himself, page 574:
Many forms of Government have been tried, and will be tried in this world of sin and woe. No one pretends that democracy is perfect or all-wise. Indeed it has been said that democracy is the worst form of Government except for all those other forms that have been tried from time to time.
So, although these are Churchill's words, it is an amusing historical footnote that he clearly did not originate the famous remark about democracy. We wonder who did. Anyhow, here are some original things that the great man did say about democracy over 70 years in public life:
If I had to sum up the immediate future of democratic politics in a single word I should say "insurance." That is the future — insurance against dangers from abroad, insurance against dangers scarcely less grave and much more near and constant which threaten us here at home in our own island.
Free Trade Hall, Manchester, 23 May 1909
At the bottom of all the tributes paid to democracy is the little man, walking into the little booth, with a little pencil, making a little cross on a little bit of paper—no amount of rhetoric or voluminous discussion can possibly diminish the overwhelming importance of that point.
House of Commons, 31 October 1944
How is that word "democracy" to be interpreted? My idea of it is that the plain, humble, common man, just the ordinary man who keeps a wife and family, who goes off to fight for his country when it is in trouble, goes to the poll at the appropriate time, and puts his cross on the ballot paper showing the candidate he wishes to be elected to Parliament—that he is the foundation of democracy. And it is also essential to this foundation that this man or woman should do this without fear, and without any form of intimidation or victimization. He marks his ballot paper in strict secrecy, and then elected representatives and together decide what government, or even in times of stress, what form of government they wish to have in their country. If that is democracy, I salute it. I espouse it. I would work for it."
House of Commons, 8 December 1944
Stirring stuff. And how unlike any modern politicians that come to mind, except, perhaps, the trio of dead American heroes, JFK, RFK, and MLK. Little wonder that they seized the imagination so thoroughly, and are still revered to this day, even though their feet of clay have been comprehensively documented. They talked about the principles of Government, not just the outcomes.
Democracy is more than a system, it is a concept that breeds a system.
In today's world, once again – and urgently, in our view – we need to make the argument for democracy itself. Not for nothing do the appalling leadership of extremist Islam, epitomised at its most horrible by ISIS, reject the very concept of democracy at the very same time as so-many of their co-religionists seek to acquire and embrace it. ISIS and others of their ilk know they are engaged in a death struggle for their narrow view of the universe against the very principles that democracy uniquely espouses: the principle of protection under the law whoever you are, whatever your creed, sex or colour, true justice that is separated from the government and which can hold the government itself to account, freedom to express oneself fearlessly, genuinely participatory government, the rights of women and minorities to be treated as equals, and much, much more.
For our own internal stability, and in defence of those who dream of democratic freedom everywhere, we need to make our passion for democracy loud and clear, recapturing why we believe it to be superior to the alternatives.
Even if we don't care about personal freedom, let us carol from the rooftops that it has been shown to be more economically successful – and more sustainably – than any other system.
Even Communist China, containing fully one-third of the world's
population, enjoying its hugely successful experiment in State-directed capitalism, is increasingly recognising that it cannot endlessly stifle the opinions and behaviour of the governed.
They have recognised that they can release a gale of innovation and improvement by asking the opinion of their own people (a truly alien view for the whole of Chinese history thus far) and thus they are taking faltering steps to introduce more freedom into their system without triggering a cataclysm of change.
As just one measurement, the level of openly critical comment in China today is measured in vast multiples compared to even ten years ago, as is the nationwide passion to tackle corruption, which has been endemic in China since time immemorial.
How ironic that the People's Republic of China – until recently a vile and periodically vicious autocracy – is cautiously embracing a belief set that we seem essentially content to see wither on the vine. Certainly when measured by the public behaviour of our elite.
If nothing else, our leaders and opinion formers should be arguing for the success of liberal democracy as an economic vehicle – not, please note, arguing in favour of unfettered capitalism – as the proven way forward for humankind.
The evidence is that democracy spreads wealth better than any other system, to the widest possible number of people, even while it grapples with the excesses of the runaway freight train of capitalism. Democracy actually restrains the worst features of capital's behaviour – environmental vandalism, for example. (And if you want to see the results of capitalism that is not fettered by democracy, both in terms of economic failure, cronyism, violence, and environmental vandalism, just have a look at Russia today.)
But more than mere words, more than argument, we need to make democracy work for the governed.
As a beginning, we need to act with utter ruthlessness when evidence of corruption or rorting the system is uncovered.
We need to be deeply suspicious of centralising power, and passionate and enthusiastic about devolving power to the lowest practical level concomitant with effective decision-making.
(For this reason, we are tentatively in favour of Scotland voting for its independence next month, despite acknowledging that it might not appear to be a sound decision economically, at least in the short term. Not that we think it will.)
We must watch our security services and police like hawks, ensuring that the work they do is effective, but that their understanding of the proper limits on their powers is thorough and genuine.
We must defend and encourage media diversity, because a plehtora of opinions expressed openly is the best possible way to generate the ideas we need to successfully navigate our new century and beyond. Anything that compresses media ownership into fewer and fewer hands, blithely covered up with promises of editorial independence that everyone knows are false – is actively dangerous. NewsCorp, and those like unto it, are bad for the health of democracy. "State-owned" news outlets – unless protected by the most rigorous legislation – are a contradiction in terms, wherever they are.
We must encourage bi-partisanship, not because we want our democracy reduced merely to fudge and lazy compromise, but because the public needs to see – to witness – people of good faith working together on their behalf or the social compact with the governed will collapse.
It follows that the role of Opposition is to oppose what it truly believes to be wrong, rather than simply "everything", and that Government should habitually respect and consider the opinions of those who disagree with it. The impasse between Obama and the Congress in recent years was an economic annoyance, to be sure. But it was a political catastrophe.
Where disagreement is genuine, then the debate should be conducted with civility. Even when one considers another person foolish in the extreme, misguided, or lacking perception, the skill is to make that point in such a manner that they will at least consider you may be wiser or in possesion of a better idea, and also so you may carry public opinion with you. And so that the public can see your good intentions, and not just your muscular antagonism.
We "dumb down" our debates at great cost and at our peril.
If something is "dumb", the people know they can do without it. When politicans dumb down their discourse, when they are relentlessly trite or scathingly negative, encouraged, aided and abetted by a media that has an increasingly – vanishingly – small attention span, they are not playing some clever stratagem.
In risking a backlash against democracy itself, they are lining themselves up to be thrown in a prison, or worse, by the tidal wave that replaces what they blindly thought was inexorable and irreplaceable. They are beating ploughshares into pikes, and putting them into the hands of those who – when they aren't even offered complex, thoughtful or educated opinion to consider – can see no reason why they shouldn't adopt simpler ideas expressed in slogans.
As democracy swept across Europe in the mid-late 19th century and into the 20th century, it was buttressed by wise souls who ensured that every village, every town, had facilities for the dis-semination of ideas and knowledge, for the edification of the working poor, (such as with the Working Men's Institutes of Britain), so that they would become participatory members of a new compact.
The privileged who led these conscious efforts to uprate the skills and learnings of the poor were driven by belief, not by an empirical calculation that they were providing a safety valve for the expectations of the people. They believed that a government of all cannot exist if the all is disenfranchised through ignorance or lack of opportunity. So they set about creating the knowledge that would let people fully participate.
Yet today the efforts of those great communicators have been hijacked. Today they are largely directed into providing an endless diet of sport, or reality TV, or mind-numbing time-consuming soap opera and unedifying "popular" drama. Modern media resembles nothing more than an electronically-delivered diet of "bread and circuses" – a tactic for mind control, remember, employed by the Roman dictatorship very successfully for 400 years. "Don't worry about how we are governing, or who for – here's a load of bread and a free ticket to watch the gladiators. Come back tomorrow for more of the same."
And today, devoid of any understanding of why democracy matters, the governed have essentially lost interest, and satiate themselves instead on a diet of moronic "entertainment".
Ask yourself: where are the civics classes in our schools and universities? Where are our unions, who taught people not just how but why they should defend their rights? Where are the rhetoricians, stirring our minds with ideas and concepts? (Answer, making a "Ted Talk" to their fellow intellectual and financial elite.) Why have our political parties shrunk to be miniscule mockeries of their former selves, with memberships so ludicrously small as to make them nothing more than stripped-down bureaucracies, homes for duelling apparatchicks?
Un-engaged and uncomprehending, the people are ripe to be captured by that simplest and most terrifying of ideas.
"It's all their fault. Let's go get 'em."
Who "they" are varies from theatre to theatre, of course. Alarmist? Look at that graph at the top of the page again.
Democracy is not the natural form of government for humanity. Violence is. Democracy has been hard won with the stout arms and often the lives of millions, for over 2,000 years.
Democracy will not persist if it is dysfunctional. Democracy will not persist if it is not protected. Democracy will not persist if we lose the argument.
Think about it. Discuss.
*For history buffs, there is a famous quotation, "When fascism comes to America, it will be wrapped in the flag and carrying a cross."
Many variants of this exist, but the earliest known incident of such a comment appears to be a partial quote from James Waterman Wise, Jr., reported in a 1936 issue of The Christian Century that in a recent address here before the liberal John Reed club said that Hearst and Coughlin were the two chief exponents of fascism in America. If fascism comes, he added, "it will not be identified with any "shirt" movement, nor with an "insignia," but it will probably be "wrapped up in the American flag and heralded as a plea for liberty and preservation of the constitution."
Another early quote is that of Halford E. Luccock, in Keeping Life Out of Confusion (1938): When and if fascism comes to America it will not be labeled "made in Germany"; it will not be marked with a swastika; it will not even be called fascism; it will be called, of course, "Americanism."
Harrison Evans Salisbury in 1971 remarked: "Sinclair Lewis aptly predicted in It Can't Happen Here that if fascism came to America it would come wrapped in the flag and whistling 'The Star Spangled Banner.'"
Even I take a photo occasionally
Posted: April 3, 2012 in Popular Culture et al
Tags: art, Australia, mystery photo, photo, photography, Victoria, Winston Churchill
OK, Dear Reader, of what is this a photo? (I actually wrote "what is this a photo of?" originally until I heard Winston Churchill bellowing in my ear "Never use a preposition to end your sentences with!" and rapidly corrected it.) OK, thinking caps on …
Hmmmm ..... *ponders*
Is it some strange marking or pattern on a South American plain, amazingly only visible from space?
Is it the latest brilliant work from a yet-to-be-discovered Aboriginal artist?
Is it a series of goatherder's paths high in the un-mapped wilderness of the Himalayan foothills?
What say you, D.R?
Actually, it's the tracks left in a rockpool at Point Leo in Victoria, Australia, from some sea worm or sea slug which has now left the building.
Camera: very old battered iPhone
Shutter setting: whatever, it only has one
Light: Australian autumn sunshine – glorious day
Copyright? Nah, bugger it, go for your life. It makes a great desktop wallpaper. Feel free to nick it.
Lots of love, Wellthisiswhatithink. xox
PS Yes, it's been a good day, thank you. Meetings should get cancelled more often.
These are real Australian sea slugs. Aren't they pretty? Was it this type of sea slug in the rock pool I photographed? Not a bloody clue. Does it matter? Top to bottom: sea slug species Hypselodoris bennetti, Chromodoris loringi and Chromodoris hunteri.
Say what? All about paraprosdokians.
Posted: January 30, 2012 in Humour, Popular Culture et al
Tags: Figure of speech, humor, humour, Paraprosdokian, Winston Churchill
Dear old Winnie: he loved a joke. Like convincing us all this meant "V for Victory" when in fact he was really telling us what he thought of the voters.
A paraprosdokian is a phrase or sentence that leads us down the garden path to an unexpected ending. Taking a seemingly unarguable or simple statement, and then making more of a point by adding a witty or apparently contradictory response at the end of it. It's a device much loved of both rhetoricians and stand up comedians.
"Where there's a will, I want to be in it," is a great example of a paraprosdokian.
Winston Churchill loved them, apparently. I provide below a list of some of the better ones I've found. Anyone else know any other goodies?
The last thing I want to do is hurt you. Mind you, it's still on my list.
Light travels faster than sound. This is why some people appear bright until you hear them speak.
If I agreed with you, we'd both be wrong.
Knowledge is knowing a tomato is a fruit. Wisdom is not putting it in a fruit salad.
The Evening news is where they begin with 'Good Evening,' and then proceed to tell you why it isn't.
To steal ideas from one person is plagiarism. To steal from many is research.
I thought I wanted a career. Turns out I just wanted paying.
Whenever I fill out an application, in the part that says, 'In case of emergency, notify:' I usually put 'Ambulance'.
I didn't say it was your fault. I said I was blaming you.
Women will never be equal to men. They can't walk down the street with a bald head and a beer gut, and still think they are sexy.
Behind every successful man is his woman. Behind the fall of a successful man is usually another woman.
You do not need a parachute to skydive. You only need a parachute to skydive twice.
Money can't buy you happiness. Then again, it sure makes misery easier to live with.
You're never too old to learn. Often something really stupid.
To be sure of hitting the target, shoot first and call whatever you hit the target.
Change is inevitable. Just not from vending machines.
Where there's a will, there are relatives.


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text:
30 Years Ago: Soundgarden Give Hard Rock a Face-Lift on 'Badmotorfinger'
Michael Christopher
Michael Christopher Published: October 8, 2021
A&M Records
Soundgarden were the first of a tight-knit circle of Seattle bands to make it to a major label when they signed with A&M Records in 1988, but it wasn't until they released their second album, Badmotorfinger, on Oct. 8, 1991, that the mainstream began to take notice.
Between the bludgeoning Black Sabbath-like riffs and singer Chris Cornell's otherworldly caterwaul, it was a hard record to ignore. The album's title is a play on the Montrose song "Bad Motor Scooter" that guitarist Kim Thayil found colorful and amusing.
Badmotorfinger opens with "Rusty Cage," one of three singles the album spawned. But it's the grinding, drop-D-tuned dirge "Outshined" that showcases Cornell's howl and helped distinguish the band from the metal acts that were considered contemporaries at the time. When the track breaks down, he lets out a series of jet-engine screams like a souped-up Robert Plant.
From that moment on, the album rarely lets up. The slow churn of "Slaves and Bulldozers" and "Searching With My Good Eye Closed," along with the unscrewed swirl of "Jesus Christ Pose," posited Soundgarden as something dark and sinister - more akin to what Alice in Chains were doing than anything else coming from the burgeoning Seattle scene.
It made for some interesting song structures and explorations: "Room a Thousand Years Wide" is led by Thayil's siren-like guitar but ends with a saxophone solo; the instrument, along with trumpet, is sprinkled throughout "Drawing Flies" and "Face Pollution," too. Few mainstream rock bands were incorporating brass on this level in the early '90s.
Watch Soundgarden's Video for 'Outshined'
Like with the album's predecessor, 1989's Louder Than Love, Terry Date produced, but there were some differences - like initial recording sessions in California's Bay Area and the addition of bassist Ben Shepherd, who had previously auditioned for the group and was now replacing Jason Everman. He also contributed to the songwriting process.
"[Badmotorfinger] was a lot darker sounding," drummer Matt Cameron said in the book Grunge Is Dead: The Oral History of Seattle Rock Music. "We got a heavier guitar sound, and we used Ron St. Germain to mix it. He did a lot of records we liked – I Against I by the Bad Brains. So, he mixed the drums dry, and the bass is really loud – it was a cool sound. It's certainly different than Louder Than Love."
The cover featured a spiky circle design with a triangle in the middle that included both the title of the record and a spark plug, a nod to "Bad Motor Scooter." Even though it became Soundgarden's logo, it was more profane than anyone could have imagined, as artist Mark Dancy recounted in Total F*cking Godhead: The Biography of Chris Cornell. "Their thing was a middle finger, and finally I managed to do it in this electrical, jaggedy way," he said. "The design, all it is, is 12 songs, 12 little flip-off hands going around in a circle."
Following a two-week delay from its scheduled Sept. 24 release date due to production issues, the LP was released at the tail end of a six-week period when the holy trinity of landmark grunge albums landed on shelves. Along with Pearl Jam's Ten, and Nirvana's Nevermind, Badmotorfinger spearheaded a new revolution, and was the heaviest of the bunch. That led to airplay on MTV's Headbangers Ball and being handpicked to open Guns N' Roses' North American tour that December.
Come February 1992, with the Seattle explosion in full swing, Badmotorfinger reached its peak position on the Billboard chart, making it to No. 39 and going gold the following month. Eventually, on the heels of relentless touring and successful follow-up records, the LP reached double-platinum status.
"That whole year of Badmotorfinger seemed like 'Whooom! Where did it go?'" Shepherd said in Grunge Is Dead. "It was like stepping into a fucking dragster and going for it."
Soundgarden Albums Ranked
Next: Top 100 '90s Rock Albums
Source: 30 Years Ago: Soundgarden Give Hard Rock a Face-Lift on 'Badmotorfinger'
Filed Under: soundgarden
Categories: Humor
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Logon screen arrow button updated.
Improved color scheme of start menu to match Windows 10.
Icon of Windows Explorer improved from anniversary edition of Windows 10.
Improved system folder icons, system tray icons, and changed theme engine to UltraUXThemePatcher.
Improved system icons, background of logon screen, and toolbar buttons.
The updated version 7.0 and previous versions of Windows 10 transformation pack which make your any version of Windows operating system look like Windows 10. This is simple and easy to follow the steps to transform and to restore your previous operating system.
Here, you can easily transform your Windows 7 into Windows 10 on using transformation pack by following below steps. The complete guidance of How to make your Windows 7 look like Windows 10 will definitely help to transform your Windows operating system.
Initially, you have to search for transformation pack and download it from a trustworthy website.
This is not having any virus or malicious stuff and when we tried it was totally clean. The size of the pack is almost 130+ MB and the downloaded files are of .rar extension.
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You have to follow the on-screen instructions to complete the installation process. There are options to choose system files transformation, system font configuration, and what are the features you require as Windows 10. After selecting, click on install button. If you follow the on screen instruction perfectly, installing transformation pack is a matter of 5 minutes.
After completion of installation, there will be no change in your screen. You have to follow below steps to transform your Windows 7 look like Windows 10.
You have to restart your system to apply the selected changes to it.
Once the system is restarted the explorer.exe file will be able to load Windows 10 UI start menu system, cortana and all the other features too.
Now, you enjoy using your transformed Windows 10 from Windows 7.
In case, if you need to get back to your Windows 7, the steps are pretty simple.Follow below given steps to restore Windows 7 from Windows 10 transformation pack. You have to follow the above same procedure of How To Make Your Windows 7 Look Like Windows 10 to reinstall transformation pack.
Go to control panel or settings option from the start menu.
After opening the settings window, navigate to programs and features or program option & double – click on it to open new window and you have to select uninstall a program or directly click on uninstall a program option under programs as shown in the figure to get the list of all the installed programs in your system.
Search and find the Windows 10 transformation pack.
Select it and click on uninstall option.
After completion of un – installation process, restart your computer.
On restart, you will get your previous Windows 7 version look back into form.
However, we hope that How To Make Your Windows 7 Look Like Windows 10 detailed steps helped to transform your Windows 7 into Windows 10. For any operating system of Windows, the process of installing and uninstalling Windows 10 transformation pack will be the same. You can follow the same procedure for your Windows XP, 8, 8.1 and Windows servers versions. If you still face any issues, having queries related to the same topic or any other issues you are facing in your system. We request you to kindly place detailed description about the issue in the comment section. We are always happy to help you.


A review of Poet-Critics and the Administration of Culture by Evan Kindley.
As Evan Kindley acknowledges near the beginning of his new book, Poet-Critics and the Administration of Culture, the history of the poet-critic in the West is as enduring as it is fraught with ambiguity.1 The tradition of poets not simply making cultural artifacts out of language, but also wielding some sort of intellectual control over the broader shape of culture itself, goes back to the very beginnings of Western thought. In Plato's Apology, after being accused by Socrates of not understanding their own poetry, the poets join the politicians and scholars in condemning the gadfly to death. From the very beginning, the poet's relationship to power was tenuous and complex. The poet, all too aware of his own precarious position within society, yearned for the ability to defend himself—and in some cases, was made a glutton for political power by those insecurities.
Kindley, a visiting assistant professor of Literature at Claremont McKenna College and an accomplished essayist and critic, explores in his book how this reciprocal relationship between power and precariousness played out among poet-critics in the first half of the twentieth century. It's an insightful history, composed with an elegance of thought that resists a lazy fatalistic acceptance that things had to turn out the way they did. Instead, Kindley fully inhabits the contingency of the past, using a handful of well-known poet-critic personas to tell the story of how contemporary poetry has become so wedded to the university.
The book begins, appropriately enough, at the beginning of the twentieth century with the example of T. S. Eliot, usually considered the architect of the persona of the modern poet-critic. Kindley writes, "From the early 1920s onward, even those poet-critics who opposed or disagreed with Eliot's views were performing a social role he exemplified and helped codify for the culture at large." Eliot's main contention is that poets, having already fulfilled their creative drive, are able to write more objectively, as they need not succumb to "the satisfaction of a suppressed creative wish" in their criticism. It's the old "every critic secretly wishes he were a poet" argument, which is as untrue as it is cliché (as it was even by the time Eliot made the argument, as Kindley shows us). Delivered in Eliot's powerfully authoritative voice, however, it's also a brilliant strategic maneuver which strengthens the case for the professionalization of poets.
Like Eliot, much of Marianne Moore's authority as poet-critic comes from her association with the small magazines so crucial to Anglo literary culture. Moore, however, assumes authority without engaging explicitly in the polemical agonism of her fellow modernists such as Eliot and Pound. Kindley classifies Moore as a poet-connoisseur as much as a critic, writing, "Critics not only have aesthetic experiences but must also work to prove that they've had them, whereas connoisseurs simply have, and cultivate having, such experiences, to no purposive end and with no desire for a posteriori justification or demonstration." Moore contributed to the professionalization of the poet-critic by exemplifying how an administrator of culture might dodge a fight.
Things changed significantly moving into the 1930s and 40s. The power of individual patrons and small magazines waned, and poets began to survive financially by associating with universities and the state. The same students who had read major modernist poets as undergrads, such as Auden, became administrators themselves. Of course, survival in a bureaucracy depends much less on strong poetry and incisive criticism than on the agenda of the organization being served. According to Kindley, "[Archibald] Macleish was perhaps the most acceptable face modernism could offer the U.S. establishment in the 1920s and 1930s," not because he was the most superb artist or critic, but because his political thought most closely adhered to Roosevelt's New Deal goals. What this meant was a truncation of the poetic imagination, a turn away from the deep metaphysical concerns of Eliot or the dangerously wild experimentation of Pound, and a focus solely on "human frailty and the individual experience." Macleish asked that poets give up "their lives as writers" to fight fascism. But is a civilization that demands the sacrifice of the arts in order to survive worth saving? It's a question that Macleish's thought, so preoccupied with fealty, lacks the perspective and depth to address.
Poet-Critics and the Administration of Culture is an inventive and fascinating history with a value beyond its relevance to our present intellectual situation. What's going on behind the scenes of the book is interesting as well. Kindley associates with writers like Mark Greif (whom Kindley quotes in the book), Marco Roth, and Nikil Saval. These essayists and critics are not only simultaneously wading through the cultural and literary effluvia of our new century, but also communicating with and through each other in subtly profound ways. Together their work forms an alternative to the Manichean dullness of so much online discourse, sending out signals to sympathetic minds while widening the horizon of inquiry and broadening the angle of pursuit. Kindley's book is a welcome addition to what can only be called a burgeoning canon of millennial critical thought.
Poet-Critics and the Administration of Culture, Evan Kindley; Harvard University Press, 176 pages, $35.00.
Scott Beauchamp's work has appeared in the Paris Review and The Dublin Review of Books. His book Did You Kill Anyone? is forthcoming from Zero Books.


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Félicien Courbet (* 25. Februar 1888 in Ixelles; † 1967) war ein belgischer Wasserballspieler und Schwimmer.

Als Mitglied der belgischen Wasserballnationalmannschaft gewann er bei den Olympischen Sommerspielen 1912 in Stockholm die Bronzemedaille.

Im Schwimmen nahm er 1908, 1912 und 1920 an den Brustwettbewerben teil, verfehlte aber – obwohl zeitweise Weltrekordhalter – stets das Finale.

Weblinks

Wasserballnationalspieler (Belgien)
Schwimmer (Belgien)
Olympiateilnehmer (Belgien)
Teilnehmer der Olympischen Sommerspiele 1908
Teilnehmer der Olympischen Sommerspiele 1912
Teilnehmer der Olympischen Sommerspiele 1920
Belgier
Geboren 1888
Gestorben 1967
Mann

redpajama_set_name: RedPajamaWikipedia


Claude Monet's Impressionist technique still inspires to this day. Whether it's his stunning Water Lilies series, or genre-defining Impression, Sunrise, discover what made Monet the master of French 19th-century art in this exuberant exploration of his life and work.
Along with Turner, no artist has sought more than Claude Monet (1840–1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cézanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object.
It could be said that Monet reinvented the possibilities of color, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of water lilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art.
This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.


CWA of Georgia will be joining other pro-life groups this Saturday, August 22, 2015, as we peacefully rally for life in front of Planned Parenthood clinics across the state and nation. Unless otherwise noted, the events will take place from 9:00 – 11:00 a.m. at the locations listed below. Come for 30 minutes, an hour or stay the whole time.
The atrocities happening within Planned Parenthood clinics were brought to light with the release of videos by The Center for Medical Progress. You can view the videos and read Concerned Women for America's written summary of the videos here.
Note: The event is from 9:00 a.m. – 1:00 p.m.
Dr. Alveda King will be speaking from 9:00-9:30 a.m.


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Ballet (USA & Canada)
Dance Theatre of Harlem: The Legacy of Black Ballerinas
Divertimento, When Love, Change, Coming Together
"Black Ballerina Tribute"
Jerry Hochman
Ingrid Silva and Dylan Santos, Chrystyn Fentroy and Da'Von Doane, and Lindsey Croop and Francis Lawrence
in "Divertimento" – Photo Rachel Neville
Change doesn't, and didn't, happen overnight. Before there was social media, before there were computers, and before public relations became as targeted and sophisticated as it is today, there were black ballerinas. In the final performance of its Spring 2016 season at City Center, Dance Theatre of Harlem recognized this history of accomplishment by honoring a stage full of African-American ballerinas who paved the way for those achieving success today.
This tribute was in addition to DTH's program, which featured four dances: Divertimento, created by Elena Kunikova; Helen Pickett's When Love; Change, by Dianne McIntyre; and Nacho Duato's Coming Together, which had its DTH premiere the previous night.
The 'Black Ballerina Tribute' consisted of Artistic Director Virginia Johnson and Ballet Master Kellye A. Saunders giving a general introduction (with Johnson stating that she used the word 'ballerina' loosely), and the curtain opening to some 40-50 dancers in lines of five or six dancers each. Johnson and Saunders alternatively identified the women in each line, they left the stage, and another line moved up.
Nearly every name was drowned out by the audience's hoots and cheers, and there were few I could discern – but it was much more important, and more impressive, that the audience knew them on sight despite the passage of time. (One I recognized was Debra Austin, who danced with New York City Ballet and the Pennsylvania Ballet, and whose performances I remember well). Receiving two of the strongest audience responses were Raven Wilkinson, who danced with the Ballet Russe de Monte Carlo, and who is acknowledged to have 'broken the color barrier' for black ballerinas; and dancer, actress, and choreographer Carmen de Lavallade, who danced with the Metropolitan Opera Ballet and also appeared with Alvin Ailey American Dance Theater and American Ballet Theatre. Most of the remaining dancers were DTH alumnae; listing them all would be prohibitive, but each (including of course, Johnson – whose performance in DTH's Giselle (also called Creole Giselle) I remember vividly – and Saunders) fit the definition of 'ballerina', loosely or otherwise.
Regrettably, the four pieces on the program didn't match the distinction of those dancers honored, despite fine performances by DTH's current artists. Although all had varying degrees of merit, the opening piece, Divertimento, was the most successful. Choreographed specifically for DTH (it premiered two months ago), Divertimento is intended to showcase, in a sugar-coated way, the company's facility dancing classical ballet, and to entertain the audience in the process. Ultimately it succeeds on both levels.
Dancers of Dance Theatre of Harlem
Photo Jeff Cravotta
Kunikova divides the cast's three pairs of dancers into stereotypical ballet 'types' – the 'ingenue', the 'sylph', and the 'aristocrat' although these types apply more to the women than the men, and the stylistic differences between them were often muddy. The first part of the ballet, choreographed to Mikhail Glinka's 1832 Divertimento Brillante, a chamber piece composed to arias from Bellini's opera La Sonnambula, has the three couples sharing the stage, and in the context of demonstrating classical ballet movement, developing their characters. The beginning comes across as overly academic, but as it weaves Romantic and Classical ballet allusions into the choreography, it increases in power and complexity (and, judging by the reaction, in audience interest). Kunikova then brings it together with a campy 'love conquers all' ending.
The three couples were danced by Ingrid Silva and Dylan Santos, Chrystyn Fentroy and Da'Von Doane, and Lindsey Croop and Francis Lawrence. All handled the classical ballet details with both aplomb and, where appropriate, understated humor. The ballet seemed to focus more on the second pair, and with her delicate and ethereal air, Fentroy was the model of the Romantic ballerina – but her innate elegance captured the essence of Classical nobility as well. In truth, she could have ably represented either stereotype. Her partner, Doane, always stalwart and reliably competent, carried the laboring oar for the men, and acquitted himself well. But Santos and Lawrence did particularly excellent work in their solos, both demonstrating superior elevation in their leaps and overall attack.
A pas de deux that Pickett choreographed in 2010 as part of "Harlem Dance Works 2.0," and which formally premiered in 2012, When Love is lovely to watch even though the choreography is not particularly complex. Stephanie Rae Williams and Doane did a wonderful job, both in their execution of the steps and by their acting proficiency (and Williams is a delightful presence), so that the ballet, in terms of what one sees on stage, was thoroughly enjoyable. It whet my appetite for a DTH small-scale (in terms of number of dancers) version of Romeo and Juliet.
But When Love was considerably less successful than it might have been. Pickett choreographed it to excerpts from Philip Glass's opera Einstein on the Beach, 'Knee 5' of which is the accompaniment for most, if not all, of the piece. One problem – and it's one I have with many dances that are choreographed to spoken lyrics – is that the lyrics often detract from the dance. Here, the mellifluous delivery of the words of 'Knee 5' (the speaker is not identified) made the choreography appear too literal.
Far more problematic were words I was unable to decipher that I began to hear soon after the duet began. At first, a tinny, monotonic male voice could be heard – but it was so indistinct that I (and others in the audience) thought someone had forgotten to turn off a cell phone. After what seemed a very long time, I heard from the opposite side of the orchestra the sound of woman – soft, but equally incomprehensible. Only at that point did it become obvious that this was part of the dance's accompaniment, presumably reflecting the 'thoughts' that ran through the characters' minds. That these words might have had some purpose, however, is far outweighed by their annoyance; and the struggle to tune them out, and then try to understand them, seriously interfered with the ability to appreciate the dance.
Following the tribute, the program continued with Change, which, like Divertimento, premiered two months ago. To 'traditional' African and African-American music performed by the Spelman College Glee Club, the program notes indicate that the piece was inspired by women of color "who have refashioned their neighborhood, the country, the world through their vision, courage, and endurance" and that they "could be called warriors for change." And that's the essence of the problem with it – it's less of a dance than a war cry.
Divided into four segments (Ceremony, Lay It Down, Action, and Resolve), the dancers appear angry – there are simulated karate chops and guttural shouts – and determined, but not much more.
The evening concluded with Duato's 1991 piece, Coming Together, which DTH premiered last year. Though it's filled with energy and the six women and six men handle the non-stop action and athleticism very well, it's not one of Duato's best efforts.
The 1971 score of the same name by Frederic Rzewski to which Duato choreographed the piece was inspired by the uprising at Attica Correctional Facility in New York earlier that year, and it utilizes an overlay of eight sentences, continually repeated, from a letter written in May, 1970 by Sam Melville, an inmate who was killed in the riots. The didactic music has a solid percussive rhythm of varying intensity throughout. But as with When Love, the words were something of an annoyance, and except for a phrase here and there, the music drowned them out. (I did catch two words said multiple times: "…incessant noise…"; words that made perfect sense in context.)
The piece is intensely energetic, and requires considerable stamina, as well as dancing ability, to get through. As it begins, a triangular shaped 'window' is seen upstage left, not so much shining light as letting some measure of light in. Men first appear in black costumes – with a single letter affixed to the chest – moving manically (lots of jumping; windmill arms). They're soon joined by women (as I recall, wearing similar black costumes but without letters), and dance briefly as pairs, then split and regroup. Three of the women change into dresses, and, among other dances, a woman in a red dress dances with a man while others shine lights on them. As the dance ends, the rear curtain is opened to reveal a factory-like bare wall with industrial pipes, and the women, who had assembled behind the men, push them over onto the stage floor. And during the bows, the men are assembled such that the letters on their chests spell the word 'THINK' (perhaps the sixth man's costume had an asterisk – I didn't notice).
Even assuming that Duato's intent here is to represent prison life and/or a riotous situation in a riotous manner, it's a dance non-sequitur beyond that unless one assumes that the women are, perhaps, stand-ins for prison guards (or, maybe, visions of the inmates' companions) – but that assumption too doesn't hold up internally (or make much sense). Be that as it may, the audience roared its approval.
Although it's an understandable scheduling decision, given the capabilities of its dancers and its artistic legacy it would be unfortunate if DTH limits itself primarily to dances like the final two on the program that give audiences what they want to see. In any event, and with respect to that tribute to the black ballerinas honored on stage, one who particularly caught my eye was Courtney Lavine, a highly promising dancer with ABT who I've recognized several times previously in performance reviews. As much as anything else, her presence as a contemporary representative (there may have been others I didn't catch), together with such current DTH dancers as Fentroy, demonstrates that there is no necessary incompatibility between being a woman of color and being a ballerina, without relying on a loose definition of the word.
Tags: Dance Theatre of Harlem, New York City Center
Categories: Ballet (USA & Canada), Reviews,
Jerry has been reviewing dance and dance-related performances for CriticalDance for more than ten years, and has also interviewed dancers and members of the dance community. He is a member of Dance Critics Association. A graduate of Rutgers University and Columbia University School of Law, he attended his first live ballet performance on a whim more than forty years ago, and has been hooked ever since. Writing from the point of view of a member of the audience rather than as a dance practitioner, his wealth of viewing experience not only provides an appreciation of the art form and the power of a choreographer and dancer to move an audience, but an ability to place what he sees in a context and make it accessible to the average reader.
American Repertory Ballet: Sound and Silence
Miami City Ballet at Lincoln Center (Opening Night): Let the Sunshine In
Dance Theatre of Harlem and Miami City Ballet: Ballet Across America
Book review: Brickbats and Tutus by John Plimmer
DESTINATION: DANCE – 2016.APRIL
Balanchine: The City Center Years – Choreographic and Performance Excellence
Pacific Northwest Ballet at New York City Center
The Bournonville Legacy at The Joyce
Dorrance Dance: So You Think You Know Tap?
Dance Theatre of Harlem: Mutual Admiration
Les Ballets de Monte-Carlo: Jean-Christophe Maillot's Adult 'Cinderella'
American Ballet Theatre: Three Beauties, Two Swans, and a Bell


Bart Sidney Posey sold worthless health insurance to thousands of elderly victims and used the money to buy a sports car and college football tickets.
A Springfield businessman who sold worthless health insurance to thousands of elderly victims and used the money to buy a sports car and college football tickets will spend the next 14 years in a federal prison.
Bart Sidney Posey, 51, was sentenced Tuesday by U.S. District Judge Aleta Trauger for leading a multi-million dollar health insurance fraud scheme that left over 17,000 victims in its wake, according to a news release.
Posey, former owner of American Trade Association and Smart Data Solutions, was also ordered to pay $6.5 million in restitution. He was sent immediately to prison.
A message seeking comment from Posey's Nashville-based attorney Peter Strianse was not immediately returned Tuesday.
"The massive fraud committed by this individual caused unimaginable turmoil and loss for thousands of our nation's vulnerable citizens who believed they had health insurance coverage only to discover at the most critical time that they had purchased a product that was essentially useless," said U.S. Attorney Don Cochran in the news release.
Posey pleaded guilty in January and admitted that from January 2008 through March 2010 he and his co-conspirators engaged in a widespread fraud targeting consumers looking for health insurance. Through ATA and SDS, Posey sold and caused others to sell bogus health insurance products to unsuspecting consumers.
Posey admitted that he duped consumers by denying legitimate health insurance claims, selling an insurance product that was not backed by a legitimate underwriter, and embezzling millions of dollars of insurance premiums paid to his company by victims.
He then used those premium payments to buy, among other things, a Harley Davidson motorcycle, a sports car and college football tickets, and to pay off a $500,000 personal mortgage.
Many of his victims were left financially devastated and unable to obtain health insurance to cover life-sustaining medical treatment, the release said.


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text:
Life after Bellerbys
Bellerbys students gain the skills necessary to progress to a range of universities - at Bellerbys, you will benefit from a well-rounded education and the confidence that you were supported to find the perfect university for you.
Where our students go next
Ali from Iran
Ali was an A Level student, progressing to Electrical and Electronic Engineering at the University of Sheffield.
Alireza from Iran
Alireza studied A Level and progressed to study Medicine at the University of Central Lancashire.
Ashviniy from Singapore
Ashviniy studied our Law Foundation and progressed on to study Law at the University of Nottingham.
Barbara from Portugal
Barbara studied Chemical Engineering Foundation, progressing to Engineering Business Management at the University of Warwick.
Chee Chow from Malaysia
Chee Chow studied A Levels and progressed to study Dentistry at the University of Manchester.
Chioma from Nigeria
Chioma studied our Science and Pharmacy Foundation, progressing to study Pharmacy at Aston University.
Elissa from China
Elissa studied A Levels, before progressing to study a degree in Chemistry at the University of Oxford.
Kateryna from Ukraine
Kateryna studied our Science and Pharmacy Foundation and progressed to study Biomedical Sciences at Queen Mary University of London.
Liliya from Ukraine
Liliya was an A Level student and progressed to study Marketing and Management at Durham University.
Maxim from Romania
Maxim studied A Levels, before progressing to Chemical Engineering at Imperial College London.
Olivia from Indonesia
Olivia studied A Levels and progressed to study Mathematics and Statistics at the University of Oxford.
Oranat from Thailand
Oranat was a Business, Finance and Management Foundation student, and progressed to Management with Marketing at the University of Leeds.
Pinky from Myanmar
Pinky studied A Levels and progressed to the University of Plymouth to study a degree in Medicine.
Vincent from South Africa
Vincent studied our Engineering Foundation programme and progressed to study Aerospace Engineering at the University of Surrey.
Warit from Thailand
Warit studied our Business with Marketing Foundation and progressed to study Business Management at the University of Surrey.
Zhiying from China
Zhiying studied the International Year 1 in Business and Management, before Accounting and Finance at the University of East Anglia.
Our students go on to follow their dreams at top universities and many of our students have gone on to work for some of the most successful companies in the world – including Google and Goldman Sachs. Whilst others are pursuing entrepreneurial success with their own companies. Discover their stories to find out how studying at Bellerbys prepared them for success at university and beyond. Hear what some of our alumni have to say about their time at Bellerbys.
dmitry askenov
Dmitry has been listed in Forbes 30 Under 30 2016 and named alongside 600 of the 'best of the best' young entrepreneurs for his business DigitalGenius, an artificial intelligence solutions company. Dmitry studied Bellerbys' Business Foundation programme, then a BA in Business at Bath University. "Bellerbys gave me the insight into the workings of business life in the UK inspired me to think big!"
Forbes magazine article on Dmitry
Om from Thailand
Diar from Iran
My Bellerbys experience
Preparation for university
Ahmed from Libya
Ahmed, from Libya, went on to study Medical Physiology at King's College London. "To anyone who wants to have a good future, to achieve their dreams, to have very good teaching, Bellerbys is the place to be. I'm telling you from experience."
Tom from China
Tom, from China, studied A Levels in Brighton and achieved A*A A B B. He went on to study Electronic and Electrical Engineering at University College London. "Teachers at Bellerbys offered me full support and help when I was applying to universities. They helped me get access to a famous university."
Enoch from China
Enoch, from China, studied A Levels in Brighton and achieved A*ABB. He went on to study Architecture at the University of Edinburgh. "Teachers at Bellerbys helped me realise that the key points of art should be placed in ideas, discovery and practice, which was very helpful when I was applying for university."


Tis the season for……warm sweaters and fuzzy blankets, kids with colds, parties galore, final exams, decorating cookies, making our lists, and finding the best gift for all of the loved ones….Man it's busy around here!
But this time of year is also so beautiful and magical, for the young as well as the old. It's a time to focus on giving, on spreading cheer and good will, and for being together with those that matter most to us. Speaking of those that matter most….
← It's November and Time for my Favorite Holiday!