text:
The Deathless interview with Joe Clements as interviewed by Roxan McDonald.
The Deathless interview.
The Deathless interview was conducted by Roxan McDonald with Joe Clements (both are from the incredible Spiritual A.F. Podcast) who is the singer, musician and punk rock dude behind this spiritually epic band. I had sent Joe the questions and he and Roxan kindly went through the questions live and they recorded this tremendous interview. (This may or may not appear on their fantastic podcast at a later date, regardless check their great podcast; links at end of this interview). The interview is inspiring and entertaining because apart from both of them being funny as fuck, Roxan gets great detail from Joe as they are also great friends who can take the piss out of each other whilst going deep on the finer points of music, life and reflection. It's a ripper of an interview and I thank both Joe and Roxan for making this such a striking event!!. It covers how the band began, the goals of this project, the importance of community and also its failings, is punk having scabies and many more gems of wisdom and low brow comedy. Enjoy!.
Enjoy the joys of The Deathless:
Roxan:
Okay, let's get these questions going. Mark from the zine starts with:
Congratulations on your band/projects second release Audio Sangha Vol.1, it 100% builds on of the solid intro/foundation we got when your initial 7 ïnch ep that dropped a while back.
It's a pretty flawless release, you must be stoked to release it and be proud of it? That's the first question. So okay, Joe, you are releasing an EP, and it's from your band called The Deathless? Is it a band or a project? What's the difference?
The Deathless is a Buddhist inspired punk band, with spiritual content. Spiritual punk band. I don't want to call it a Buddhist punk band. It's like spiritual.
Well, it's not necessarily a band because the band is me and I get people just to come in and play some songs. We don't really play out. We were a band for a little bit. But it started out as a project, just me writing the songs and recording them. And then some friends got together and started playing them with me and we went and played them live and it's recording. And now the band's not around and I'm still recording and writing music. So it's a project and it's EP that I'm super proud of it.
Oh, what's an EP?
An EP is the technical thing is extended play. So it went from a single to an EP, an EP is like six songs, around 15-20 minutes maybe of music. This one's more like 10 to 15 because they're really short and fast songs. So yeah, it's about six songs. And I'm super proud of it.
Why are you proud of it?
I'm proud of it for like, a bunch of reasons. One, I feel like it's merging two parts of me that I used to keep separate, like, my spiritual guy, or this punk guy, like I didn't know, I needed to be one way or the other. And that's just kind of like how I had been. And what I'm proud of is bringing my voice into it with spiritual teachings, some Buddhist teachings, but just like life experience, through my practice of meditation, through these insights, and just this personal development kind of piece. And so the content and I'm really proud of it because I'm really close to it, not just making up some shit. It's like, actually some personal experiences, and my understanding of different teachings. And I wrote the songs myself like I actually wrote the music, I've never done that in any bands that I've been in was, it was always others that wrote the music, and then I just find a melody over it. Because I was a singer, you know Fury 66 (Joe's previous and freaking awesome band!!). And most of the bands that I was a part of, there's a couple that I started writing music in. But that was always collab kind of shit. And I just wrote this shit. So it's really cool. And another thing I'm proud of is that it shows I didn't just stick with just straight up fast hardcore punk. I like all kinds of music. I like hardcore punk and post-punk.
Super eclectic joe……
I am way eclectic. But some of the songs I didn't just stick to one formula. I went to like some slower, heavier stuff as well- I love these songs. But like, would I put that on if it like it was Fury 66, no, you got to be one sound. I'm like, well it doesn't have to be one sound it can many. I even have some kind of ska/reggae kind of influenced kind of stuff on this new batch of stuff and I did a little bit of that on this last EP, too. So yeah, I'm proud of the content. I'm proud of the songs, the message, and even the distribution like it's on my own record label; Lorelai Records. And, you know, it's a record label that a friend of mine, Ross and I, and my wife Michaela, started a long time ago, and it really hasn't been doing anything. And I just, like, oh, I have this distributor and I just put in all the, you know, all that shit together. It's been cool marketing. It was cool.
Do you have anything to say about how the project started from the initial idea to playing live and then now dropping this EP?
Well, see, I never even, well I didn't even expect it to be a band that would play anything. I just wanted to write some songs. I just wanted to record them. And I just wrote a handful of songs. And I showed them to some friends and like, oh, we want to play some music like this. And then they got together. And I showed him some more. And then we recorded and then we started playing. Like, I took music super serious for a long time. And it took the fun out of it. And I'm like, I'm not gonna fucking do that. I'm just gonna write songs and if we have shows, cool. I just want to just have fun playing music. So the band just stopped playing. And I just kept writing and there wasn't like it was planned, it was just kind of a natural progression. And I'm like, Fuck, I want to put these songs out, you know, so. And I don't have a desire so much to play live, especially now in COVID. But I like playing live. But uh, I don't know. I just like playing music and just want to get this out. This kind of expressed myself this way.
I hope you play live again. You're so good on stage, Joe.
Thank you. Yeah. I always feel weird about playing live though. Because especially now. It's like, I either feel like, my band is opening up for some band that everybody's there just to see or I'm like, trying to get all my friends to come to the show and stuff and they're like, alright, we'll go to your fucking show like it feels like more work and more like an obligation than anything. Yeah, maybe that's just me.
Maybe once COVID is over, we could do something where it's like, meditation at a gig like everyone meditates. And then….
I have wanted to do that, I tried to do that but it doesn't totally go over, even though I've tried to do that a little bit. Alright, everybody feels like it just doesn't really work. And then just bam. Alright, now check-in. Where do you feel that energy? Wow!. I did light incense on stage though, so everybody who got bummed on that? Yeah, not really I just like a little bit, like a bunch of incense because that's what the Hari Krishna bands used to do that all the time and these hardcore bands that I used to like just lit incense and it's not so killer. I love their shows. I'm like, I'm burning incense. Well, a bit of Nag Champa to get all fucking hippy and spiritual with it.
How when you did play live, how well was the band received, Mark said that he saw footage of a gig via Youtube and that looked immense. And you have also supported some legendary acts. Do you want to talk about that? Were you opening for Shelter?
Yeah, we opened for Shelter. That was a milestone for me. Because that was was THE band. For me. It was like, that was the band that actually really like I'm like, oh, spirituality can be kind of cool. You know, talking about you know, it's Krishna consciousness. But it was like, the message was really cool. And I got into like, the Krishna consciousness message yeah, for a minute. chanted the holy name it was awesome. But that always stuck with me it was a transformative piece and that actually turned me towards like Eastern philosophy and really about something inside you know, even though they're you know they were worshipping Krishna and you know, deities and stuff but I don't know I really liked Eastern philosophy a lot the different kind of things so anyway our shows were met well I think it's such a fuckin weird time it's some of them were like small you know and I don't know, I never gauged it really. I just played, but yes the band got to open for some really cool bands. I think I think we might have open for a Sick of It All. I think Mark mentioned that. I'm not sure but Good Riddance and Shelter. So we had some really cool opportunities, but I really liked playing in a small coffee shop just really loud and fast kind of stuff. Those were my favourite shows that we had a few really fun shows like that.
When was that?
I would say 2015 maybe?
Okay, so the next question is The Deathless is clearly not a sideshow or an industry-created act with Buddhist trimmings for entertainment. We have all worshipped at the audio gems of Shelter, 108 and even Cro Mags with varying levels of spiritually inspired hardcore. Tell me how this band fits into this timeline. How does The Deathless fit into the timeline of spiritually inspired hardcore? I think Mark's saying it's not a sideshow or industry created. So is it punk? I mean, do you understand the question?
What timeline, the timeline from the 90s spirit?
I mean, 108, Shelter, Cro Mags, then The Deathless….lol.
What I would, I would say that, if anything, more like the Cro Mags like with The Deathless, the message isn't straight up Buddhism. It's like Buddhist inspired. It's my own experience through the practice of meditation and mindfulness and some of the Buddhist practices, but I'm not preaching Buddhism, well Shelter didn't but even their whole style was like yeah, we are Krishna consciousness. As a hardcore band, 108 was definitely they were like, militant. This is what our message is, but they did have songs of just you know, life through the lens of their spiritual practice. So I think where we fit in, The Deathless fits in a little bit more, is kind of not so militant and hardline in that so I would say like a little bit more like the Cro Mags, they never even really militant, it was just John Joseph and also Harley who was also into Hari Krishna, but John Joseph really was and his message was through the lens of his spiritual practice, but it was never like we are a Hari Krishna band, we're Krishna consciousness man, where 108 and Shelter and some other bands were. Prema was another band like that. Yeah, so I don't know where we fit in, I think on the spectrum of it.
Mark said he's noticing the similarity with your lyrics like these aforementioned bands are not preaching dogma, but more like rational philosophy and life advice like many straightedge bands did this as well. And that you don't need to convert to hardcore/militant stances reflected in the songs, but the words made you think and reflect. Mark also says that theme-wise, there is obviously Buddhist content, but also that also content about sobriety and relationship insight, how much of the project is Joe and how much is a combination of other subjects?
I would think it's it's all on me. All my experience, my experience with different subjects sobriety, the new EP has a song about grieving. My wife's dad passed away and it was really difficult, it was sudden and the song was inspired watching her grieve and how I can support that. Yeah, and in that there's another song that is about my sobriety, being sober and being pissed off and like not knowing what the fuck else to do and then turning to meditation and finding this new path, and it's all through my experience. I think every song is through my experience.
And it seems like more like your experience in the lyrics/project. but it's not storytelling though. It's like the subject matter, isn't it?
It's not storytelling, it's definitely more it's more subject matter. Yeah.
So you're taking like grieving and then through the lens of Joe looking at this, it's not narrative. You're not telling a story. You're more like, this is these are your reflections on grieving? Or this is your reflection on sobriety, or, I mean, there's the one that I just listened to about, like, show up and like be present. No, no, I can't remember what its name was.
It was that one song. Yes. That one, but yeah, that's my lens, like seeing my wife and what it looked like. And then and then how I felt holding her grieving and just seeing that and then, you know, how just kind of words of support towards her, that I'll be here kind of thing. As a support, you know, and allowing her to grieve, however, she needs to, that kind of thing. So it is, you know, there's no real storytelling. It's, all my lyrics have been, like, fucking right off the cuff and right up my sleeve. You know, it's like, I wear my emotions on my sleeve. You know, that's kind of how my songs have been, sometimes to a fault. Especially in the beginning. Back when I first started writing lyrics in the band, it was very matter of fact, and almost like yeah, hey you, hate me. I'm walking down the street. Look at me, etc and if I go back to some of those lyrics years ago, oh man!.
(shit-stirring Joes's youthful lyrics)
I hate hippies…etc etc.
Too funny Yeah, totally. Preaching hippies, blah blah blah!.
Next question: why are lyrics and song content really important? I would think for people I just want to clarify I think Mark might be writing for the punk community. But I think one thing that people outside of this music genre, like, besides fans, is that they don't even think that, like, they just, they don't hear words, they just hear screaming. But then when you're like a fan, you actually, there's something that you can hear, there are words and their lyrics are important, even if you have to go read the liner notes to get them and screamed at you. But in regard to the lyrics and song content; And why are they important?
They're important to me because every band has kind of been therapeutic to me, these words are, seeing and transforming and like seeing the whole path of this, whatever I'm going through. And, so for me, I think it's a therapeutic thing. Me being a listener, you know, especially aggressive music, you hear something you like in a chorus or something, and you're fucking singing to it. And everybody saw it, too, you want to know more about what that song is about. So even with my songwriting and these with The Deathless, I made a point. I didn't want to do a bunch of sing-along kind of stuff. But I wanted to do a formula you do, you do a fast part, a singalong part and a breakdown. And that's it because those are my favourite parts of a song, like really fast. And then the singalong part, and then it breaks down all heavy, the breakdown being like, it slows down, you kind of, you know, bounce or whatever. And those are my three things. So in the chorus, and in the breakdowns, you really hear this, the main message of the song. And then you can go into listening to the lyrics closely and really hear a message in there. That's, that's what from the listeners kind of view or me being the listener. It would always be like, oh that fucking line is so cool. But I'd go in as a listener and you hear the whole message.
So then along those lines, Mark asks like what songs and lyrics, like you gave you inspiration and, or that songs that still gives you shivers down your spine. What gives you shivers Joe?.
I would say, you know, the ones that I go back to all the time, like, his Shelter's Mantra, like that record for me, it was like, brilliant. Like a time when I was actually like, sober but just on this path of spirituality too. And it was just like, so magical. It felt pretty absolute to me. So there's songs like even the song mantra is really fucking cool. Letter to a Friend is really cool on that record. You know, but then it goes back to bands like Bad Religion. That whole record Against the Grain is just fucking super magical for me that record. There's this like, I can't remember what name it is. I'm gonna look it up just because I want to. But it's like always just like, fucking gets me every time it's on Against the Grain. Yes, Anesthesia is the track. I love it. And fucking Bad Brains. I against I. It's a magical song for me. Always gives me those chills and joy. Like new bands like now like there's this band called Senses Fail. They wrote a whole record where the lead singer, got into sobriety and he actually started practising Buddhism and mindfulness and there's a whole record that is kind of his whole process was with finding sobriety and the Buddhist path and some of those songs on it are like so amazing!. Take Refuge is a fucking amazing song.
Okay, the next question is, the COVID madness settles. What are your plans for this band in the future and is there a full-length album planned or any split releases?
The plans are just to keep writing music. I'm got no plans to really do much and just keep putting out music. What I have planned with this, is Audio Sangha, this is volume one I want to do four of these. So each one will have like, up to six songs. And by the fourth one, I want to do put it all into a full length LP and put it out on vinyl. So it actually will be vinyl and have liner notes. And it may be a book. It can be kind of cool to write at least a booklet, you know, my perspective on the band and spiritual punk or music, spirituality, Buddhism, it might be good to have like, yeah, like kind of what we're talking about maybe doing a little book with it or something.
And then any live shows?
Nothing planned. Yeah, I mean, if that happens. Cool. But if I can, like put it this way, if someone huge asked us, like, hey, can you come on tour with us? I'd put a band together. I have people that would love to do it. We do it. But I'm not. I'm not. I'm not trying to just go out there. I'm fucking 50 years old Roxan. I can't just go hustle out there for some live shows.
Roxan;
So you don't want to a stinky arse Van with a bunch of dude-bros?.
Been there, done that!. I wouldn't change that experience for anything back when I did it in the 90s. But it's not where I'm at today? No.
Okay, so the next question: times and values can change or be diluted. But obviously, you still have a deep love and enthusiasm when it comes to your love for making music. And Mark from the zine is asking why is punk and hardcore still a relevant community? And why is independent and underground music so integral to all of us misfits and society rejects? So I think he's saying do you believe that punk and hardcore is still a relevant community? Or was it ever a relevant community?
I think it gave a voice for people and you know, it changed in the 90s. In the beginning, I think it was like, people that were, against all of the American norm, you know, and kind of this subculture kind of thing. And during the 90s, it kind of got popular, you know, and it became pretty normal. And I feel like it's going back into like a subculture kind of thing. And I do think it's important, but I do think it's important. How do I say this? I think it's important for me. Because there's such a shadow side of like that, even in punk where we're at anti-establishment and all this, this stuff. And it's like, you know, where it's almost, and I was thinking about this today, it's almost like a spiritual feeling, like, we're all one here. We're all the same kind of thing. And ultimately, yes, we're all you know, the spiritual thing is, we're all stardust. And it's like, ultimately, we are. But we need to see the fucking construct, we need to see the relative reality that we live in. And how can we really bring that into radical inclusion, rather than just hiding behind this punk kind of ethic that is mostly white and male, you know? So it's like, yeah, anti-establishment, radical inclusion. But are we just saying those things, you know, how we still need to look at the relative, even the relative reality of that we're in, we're a part of a system no matter what if we're, like, smash the system or not, you know, it's like, how are we? How are we doing that? You know, by not just by saying it on stage. How are we actually doing it in our actions? You know, you know, yeah, I don't know. That was kind of a long-winded answer. But I've been thinking about that a lot. And I think it's a place where we can hide in this punk culture. And because we are, yeah, we're anti-establishment. I think it's against the norm. And yeah, we're all fucking one. We're on the dance floor. We're all one kind of thing. But that's my perspective. You know, I can say that. But is that everybody's experience? I don't think so, in that when we're saying that I think it dismisses other people's experience. That's kind of rant a little bit, but I was thinking about that today.
We were talking in another episode of this podcast about giving men a safe place to have emotions. And my reflection on punk is that it actually gives men a safe place to have emotions. It's just that it's wrapped up in an acceptable emotion of aggression. But then if you look deeper, especially within the lyrics and stuff, it's all like, My heart hurts, you know, I feel powerless by the system. I want belonging and I don't have it. What i think I mean is, if you think about how much is expressed within punk, you know, I mean, you love The Descendants song Clean Sheets, like the guys are like I feel betrayed. Like, you could, you could boil this down. And so I think it's, I love that you're talking about like actually bringing in and the idea of identifying that it hasn't been completely inclusive. But then also, is it retaining this ability? Do you believe that it's like, giving masculinity a place to express emotions? And did you do that on this album?
Yeah, I do. For sure. It's a safe way to be expressive. And I think in the music and the message that can be that way. And I'm kind of alluding to is the actual community of, you know, people that go to punk shows, I mean, there is women that, you know, are a part of it, but it's almost like, they got to fight to be a part of it. You know, it's like, I don't know, it's just it feels like it's such a boys thing, you know, and that's always been, you know, well not always been, but yeah, it has always been kind of like, you know, I wanted to do a compilation one time. Like, the band 7 Seconds wrote a song called, It's Not Just Boys Fun. I love that record. I love that record, actually. But I wanted to do a comp that showcased women in the punk scene, like, but that's such a token thing to do, you know? And it's like, why isn't it just a norm kind of thing? You know, I get excited and intrigued when I see women playing fast punk music. My wife was in a punk band called Here Kitty Kitty. And I'm like, God, this is so rad. So good. But just as far as, as far as participating to at a show, you know, and I don't know, they say God, it can get a little problematic. Get a little Broey you know, and I've seen that and the only reason why I know that is because I've been in circles where women have expressed that to me, people, women that were really a part of the punk scene, I want to have this conversation with you, you know about what your experience in the punk scene was, you know, it's like, I think, I think it's important for people to know that it's like when we go to a show, and we're hearing a band say, we're all fucking equal here or whatever. It's like, how do we really take that message to heart when you're out on the dance floor? You know? When you're at the show etc.
We'll save that for another episode. And so what bands and albums have jumped out at you over the last five years
I'd say Senses Fail. Their album Pull the Thorns From Your Heart was a big one. For me. You know, not much more than that. Yeah, there hasn't been a lot in the last five years that I've been like really like it's all just like go back to the older stuff. You know. There's been a few bands that I've been finding recently through social media through I've been following I've been following some some people that are like showcasing some really cool like a new bands. I like Turnstile heaps. Soft Coat is really, really fucking cool I think it's two women in it, it's punk. Kind of hardcore, almost metal kind of stuff. Super cool. Alice Crow really good band. Yeah, Rad Key was another cool band that I just came across is fuckin super cool. This band called Om that I really like. They are on the Doom metal tip. They have a little bit of a spiritual message, I really like really like their stuff. Yeah, there are probably some others, but I can't totally think of them right now. The Pull the Thorns from Your Heart record was like, Damn, this is fucking really like, like, I can scream that message in my car's fucking so cool. Because it's like, yeah, Three Marks of Existence is one of the songs and it's about the three marks of existence that Buddha talks about in his teachings and stuff.
Next question, Mark is going back to the creation of the album, or the EP, and it's an understanding that you wrote and recorded much of the music yourself, was this easy thing to do about to do by having overall creative control? or moving forward? Will you in the future share the task of making this important music? Like, are you wanting to continue to create solo? Or do you want to collaborate again?
With The Deathless, I think it's going to stay like, the songs that I write. But other projects, like I have another project called Crucial Unicorn that is collaborative. You know, it's a, it's a collaborative thing. And, but as far as The Deathless, I feel like it's this is my way of expressing all the songs I wrote. You know, when people would come in, I'd have people that I liked, like how they play and what they bring to a song and they would just they would add different parts and kind of their feel to it, like a lead here, whatever maybe a movement here, but the pretty much the structure was just like kind of something that you know, I have, you know, sometimes it will get inspired by other people that come in, but I think I have a song that I want to come in with and kind of have complete control over it like the last say, not total control over it. You know what, I feel it like, yes, this is it, even if they're coming in with some like yes or no, it needs to be that way, I think for The Deathless at least.
Why did you name it, The Deathless?
The deathless is the place within us all. That does not experience the suffering of life and death. And the Buddhists talk about that. The meditation, mindfulness, this path, the Buddhist path brings us to the gates, the gates to the deathless. And I always thought it was like this mystical kind of thing, like, Oh, this karmic thing where you're no longer in this realm of birth and death. And maybe I think it has some to do that with that. But what I've come to learn what I've come to really learn is what he's pointing to. The Buddha was pointing to is that place within us that experiences emotions and thoughts, more equanimous, like even when we're not experiencing the pain of the birth of a painful thought or emotion, we're not like suffering over it. We see it it's there. It's that part of us that sees pain. Like that hurts. Ouch. And, and also experiences pleasure but doesn't cling to it. Life and death that comes in pleasant emotion comes and goes, an unpleasant emotion comes and goes. So it's that place within us all called the consciousness, whatever. Okay, and that's why we called it The Deathless. I called it that and my homie can help me come up with that.
Are there any final messages or words of wisdom for punks out there? Can you tell us all how to be punk rock Gods Joe?
No, I cannot. The one thing I really say is, you know when I first got into like, even playing music and this punk thing is like, I was like, against, like, you know, the family, the two kids and the two-car garage. picket fence and this whole stereotype and I was like, really was like against it. And then when I wasn't in a band anymore, and I was like, Okay, well, maybe the married stuff and I kind of got it like, I was separating this kind of idea like I needed to do one or the other. And I don't think we need to do one or the other we can bring who we truly are, where there's a punk ethic or anti-establishment stuff, into everything we do, even into my family, even into raising my kids and, and having a house having nice things. And, but still, having that, that punk ethic where when we're saying on stage, that we're all equal here, what does that really mean? You know, in society within our own kind of our own life? You know? I think you can, you can, you don't have to have one or the other, you can be an old punk or 50-year-old punker and not think that you sold out because you have a nice house and a career and you don't have to be like, oh, I'm not a punk anymore, because I have all that kind of stuff.
So what makes you a punk?
I would think that, well I don't know. It's a good question. I think it's I think it would be like doing what you do, but against the norm not just doing it because normative society is doing it kind of thing. Doing it your own way. Being a father in your own way, and I see it happening in myself with how I raise my son is like all these messages like you can't do that or you need to be doing that. And deep down I don't believe all that kind of stuff. It's something that a message that society or past caregivers was telling me that I had to do, and I never felt like I could do and then that comes off on him. So instead is like, what, what do I truly want for that? for that person? I want them to be happy I want them to be free. I want them to feel loved and supported. You know? So I think is not getting caught up into this norm of society of what we need like this craving of like I need to be successful. I need all this kind of stuff. You know to be happy.
You know what I think being punk is?
I don't think you can be punk if you haven't had scabies.
That's true. That's true. I have had scabies.
And did you keep on like a little too long, because you just kind of couldn't be bothered to get it to get together to get it fixed
I forget I had that shit and I went and got that soap and shampoo.
You know how many times I had it, so Punk man!!!
I kept my scabies because I wanted to give them to somebody
That is superpunk!!!
Thank you Roxanne for taking time and doing this, it's cool. It feels comfortable.
......for all the punk people you know?
Yeah, that's cool. All right, thank you.
Mark also asked: Noah Levine through his punk rock style of modern Buddhism has made spirituality more appealing to the less conservative types of people i.e.us punk rockers, etc. Two questions. Hey, how well did you think his spoken word melded with your music on the first EP you dropped yeah, you had a different EP out?
Yes This was the first EP. The first side of the EP was just music. And the second one was a spoken word that he'd readout of his book, I think heart of the revolution, I believe. And I thought it was cool. I thought he wanted to have this aggressive kind of sounding to the point kind of thing and I just put some feedback on my guitar underneath it. So I thought I thought it was neat. And I thought it was like something that no one was doing. Knowing no one was doing that and I liked Noah's message. I do like Noah's message. I think he's a great teacher. And I think it was a good way a cool way to have maybe some, some another crowd kind of hear that and like kind of hear this distant dissonant kind of feedback in the background. That was a fun one to do.
And then the final part of his question was: is this the way forward to integrate spiritualism. With the underground community, you often are attracted to more starchy, conservative types peddling a spiritual revolution.
I don't know. I'm not a revolutionary, you know, I feel like I think it could be a good avenue to maybe if it can benefit anybody that is struggling, and they hear a message that maybe can help them. But as far as like a new revolution, I don't know, I don't think it's, I don't look too much into that. My, my, my hope is to keep evolving, evolving in my own spiritual practice, in my own personal development in anything that I'm doing. I'm hoping that I can inspire someone else that is maybe struggling with some of the same things that I struggle with, and find some find some relief, through music through spirituality, whatever.
Thanks Roxan for doing this and Mark for this interview.
Hope you enjoyed this fantastic interview and take the time to check out both The Deathless; both EP's are fucking incredible and also both of these scallywags appear on the rad Spiritual AF.... or Wotever which ticks all boxes be it humour, reflection, or buddhist insight into life. These podcasts are always informative, heartfelt and pure entertainment. Well worth your time folks!!!.
The Deathless:
https://www.facebook.com/TheDeathless/
https://orcd.co/audiosnaghavol1
Spiritual AF...or Whatever Podcast
Available in all quality podcasts sites
If you'd like to hear them speak on a certain topic, have questions for the show, or would like the information for the Wednesday night meditation group, email us at spiritualaforwhatever@gmail.com
Joe: @_joe.clements_
Roxan: @spiritual_af @writersresource
www.spiritual-af.com
www.JosephClements.com
www.RoxanMcDonald.com
Eight Count s/t EP review.
Teenage Fanclub-Endless Arcade album review.
Worst Doubt-Extinction Album review.
Luke Yeoward-Always in Your Heart single. (And an ...
Bushido Code-The Ronin album review and interview.
Interview with Nathaniel Shannon- Artist of many f...
DIN (Death Industrial Noise) Self-Titled Album rev...
Memoriam: To The End Album review.
The Deathless interview with Joe Clements as inter...
The Harvest Trail-Instinct album review.


text:
N'aharii è un singolo del gruppo musicale russo Dvar, pubblicato il 21 dicembre 2021.
Uscito a nove anni di distanza dal doppio album Deii del 2012, anticipa l'uscita di un nuovo album di inediti.

Tracce

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
"Rolling reviews" with cineSync
Director Shane Black's new take on The Predator was released into cinemas a little while ago and introduced a whole new chapter to the long-running Predator mythology.
The Art of VFX recently sat down with Overall VFX Supervisor Matt Sloan, to discuss the creation of the film's impressive VFX sequences, the various methods of collaboration with the various VFX vendors, and the approach to the film overall.
From the interview:
What was your feeling to work on such an iconic character?
It was a little daunting. We had to take a known and loved creature and then create a suitable nemesis for it in the form of the "Upgrade" Predator. Trying to make something like that fresh after numerous sequels and spin offs is always a challenge. But we loved it every step of the way.
How was the collaboration with director Shane Black?
Shane was great. He is super enthusiastic. Because of the tight post schedule (16 weeks) We would meet with him every other day for reviews, then every day as we went into the delivery stretch. He even travelled to Montreal to meet the crews at MPC and Atomic Fiction (now Method Studios). It was a great thing for him to do. He's got a good eye and amazing comic timing. It really was a pleasure to work with him.
What was his expectations and approaches about the visual effects?
The great thing with Shane is that he has a lot of trust. As far as shooting went, I could let him know the methodology for a shot with the passes needed etc. and he would say "Sure! If you need it, we'll get it". He trusted us that we knew what we were doing and he'd let us go weapons free. It helped speed up the post process a lot.
There are many graphics on the Predator ship and with his tools. How did you design these elements?
Again, for time reasons, we let the vendors do the development for the holograms. It's bit of a cheat knowing you will be designing stuff to suit what was shot instead of the other way around. We could tailor the holograms to interact at certain times and use any reactive light in the plate to help bed them in. Again, Atomic did the heavy lifting with the holograms in the ships and in Rory's basement.
Can you explain in detail about their creation and animation?
Sadly, from a technical standpoint, not really. Animation wise, I'd adjust the base animation to hit certain beats usually via cineSync with Atomic. The animations would be adjusted, then once approved, we'd start bedding them in in comp.
The VFX vendors are all around the world. How did you proceed to follow their work?
Endless cineSync sessions and reviews. In the last week we went even into rolling reviews because of the size of the comp teams. Notes we had given at the beginning of the session had been addressed before we managed to finish the hours long review, so they were loaded up and we reviewed them again. It was crazy.
The rest of the interview, which has some terrific details, is available at Art of VFX.

redpajama_set_name: RedPajamaCommonCrawl


text:
Selected Articles: 'Shaky Science', Ecological Meltdown and Nuclear Conflict.
By Global Research News
Venezuela Passes Law Banning GMOs, by Popular Demand
By William Camacaro, Frederick B. Mills, and Christina M. Schiavoni, January 02 2016
The National Assembly of Venezuela, in its final session before a neoliberal dominated opposition takes the helm of legislative power on January 5, passed one of the most progressive seed laws in the world on December 23, 2015…
Ecological Meltdown And Nuclear Conflict: The Relevance Of Gandhi In The Modern World
By Colin Todhunter, January 03 2016
A few months ago, entrepreneur Charles Devenish contacted me to tell me about his plans to develop various mining enterprises across India. He spoke about the massive amounts of untapped mineral resources lying beneath India that is just lying there and has been for a long time.
Genetic Manipulation of Organisms: Legal Victory in "Paris vs Monsanto GMO Cabal"
By F. William Engdahl, January 03 2016
There is a very positive news coming out of Paris, a city with more than her share of bad news lately.
The Health Impacts of Fluoridated Water. "Shaky Science"
By Washington's Blog, January 02 2016
One of our pet peeves is when erroneous groupthink persists even in the face of contradictory evidence.
The VW Emissions Scandal and Its Effect on the Global Auto Industry
By Helen Gallant, January 01 2016
(…) 500,000 diesel-powered cars in the U.S. were found to be effected when the scandal first broke in September. But this isn't the biggest controversy to emerge from the scandal: what it reveals about the global auto industry is much more illuminating.
Copyright © Global Research News, Global Research, 2016
Articles by: Global Research News


Home > Firm News > 2014 > June > Can a child testify in a family law suit?
It is most often discouraged to have children serve as witnesses in a family law suit between the child's parents. However, the Amarillo court of appeals recent decided a case that discusses the standards for securing pretrial testimony of a child for admission during a family law trial. There, the father filed a suit for modification and sought a court-order permitted him to take recorded testimony of the child for use at trial. The trial court permitted the recorded testimony. However, when the father sought to use and admit the recorded testimony, the trial court refused admission. Before a child's recorded statement may be admitted into evidence, there must be a showing of competence at the time the testimony is given and a showing that an oath was given or some discussion had with the child about the issue of truthfulness. Father's attorney failed to establish that the child knew to tell the truth and therefore the attorney failed to show the child is a competent witness. Thus, the court of appeals affirmed the trial court's denial of admission of the child's testimony.
Nichol v. Nichol, ___ S.W.3d ___, 2014 WL 199652 (Tex. App.—Amarillo 2014, no pet. h.) (mem. op.) (1/15/14).


In order to prepare a degree program for success online at Arizona State University it takes a team of faculty members, instructional designers and technologists working together to create a learning experience that is both engaging and scaleable. It's called collaborative course design and it's an essential part of developing every degree program that is part of the ASU Online campus.
Collaborative course design typically begins with a team of subject matter experts. These teachers and instructors contribute their knowledge, industry experience and practical knowhow to develop a curriculum that reflects their unique perspective on the course material. At ASU this educational content is directly developed from the existing campus based instance of the course.
Once the core curriculum is in place, a team of instructional designers goes to work adapting it and shaping it to work in the online learning environment. This process includes the creation of multimedia content such as video, audio, interactive presentations and imagery. The instructional design team also handles the ergonomics of delivering the course online – figuring out the best ways to structure and deliver the content so that students can get the most from it and interact naturally with it.
While the instructors and instructional design teams work to build the course content and structure, technologists are hard at work with the Learning Management System (LMS) and Content Management System (CMS) that drive all online learning programs. They make sure all systems are working correctly, can handle the total number of students in the program, and are integrated to create a seamless learning experience for every student.
Obviously this is a high level overview of collaborative course design. There's a lot more detail and hard work that goes into each step in the course design process.
Read our full article about collaborative course design.


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The 2015 Golden Icons Academy Movie Awards was the 4th edition of the ceremony. The event was held on October 17, 2015 in Houston, Texas. It was hosted by Nigerian comedian, Ayo Makun.

Awards

Best Motion Picture
Love Regardless
Stalker
Stigma
Black November
Trials of Igho
Matters Arising

Best Film (Drama)
Stigma
The Changer
Invasion 1897
Ojuju
Oge's Sister
After the "I Do's"
Stalker

Best Film (Comedy)
Jack and Jill
Headgone
Horn Free Day
My American Son
Broni Wawu
When Love Comes Around

Best Short Film
Verdict
Once
The Throne
Horn Free Day
Henna

Best Film (foreign language)
 Mr Bf
 Torera
Ojuju
Made in Agege
Iya Alalake

Best Actor
Frederick Leonard – Keeping Secrets
Hakeem Kae-Kazim - Black November
Majid Michel - Matters Arising
Jim Iyke - Stalker
Mike Omoregbe - Invasion 1897
Ken Erics - Trials of Igho
Clem Ohameze - My American SonBest Actress
Adesua Etomi - Falling (film)Uche Jombo - Oge's SisterIni Edo - While You SleptMbong Amata - Black NovemberJackie Appiah - StigmaNse Ikpe-Etim - Stalker
Ruth Kadiri - Matters ArisingBest Supporting male
Anthony Monjaro - StalkerDesmond Finney - ReflectionsSeun Akindele - The ChangerChigozie Atuanya - JafarMelvin Oduah - Trials of IghoOC Ukeje - Black November
James Gardiner - Happy DeathdayBest Supporting female
Kiki Omeili - Sting
Yvonne Jegede - Oge's SisterCaroline Danjuma - StalkerAyo Adesanya - The Good WifeVenita Akpofure - While You Slept Tana Adelana - The Kingdom Eku Edewor - When Love Comes AroundBest Comedic Act
Roselyn Ngissah - Jack and JillAkpororo - Headgone co-winners
Nkansah Kwadwo - Made in AgegeKelechi Udegbe - Horn-free Day
Fathia Balogun - Iya AlalakeLydia Forson - A Letter from Adam Eniola Badmus - Headgone co-winners

Best New Actor
Gbenga Titiloye - Love Regardless
Stoneboy - Happy DeathdayJeff Kumordzi - Letter from AdamAkpororo - HeadgoneKunle Oluremi - StingIso Paeley - Love RegardlessBest New Actress
Aisha Kamara - Reflections
Princess Okah - The ChangerYvonne Okyere - Love RegardlessRosemary Zimu - ChampagneEmem Inwang - StalkerComfort Idongesit - Trials of IghoNsikan Isaac - The BankerBest On-screen duo
Ruth Kadri and Majid Michel - Matters ArisingKen Erics and Kiki Omeili - Trials of IghoBlossom Chukwujekwu and Adesua Etomi - Falling (film)Gbenga Titiloye and Zynnel Lydia Zuh - Love RegardlessNse Ikpe-Etim and Jim Iyke - Stalker
Yvonne Jegede and Uche Jombo - Oge's Sister

 Best Editing
 Kpians by Stanlee Ohikhuare
 When Love Comes Around Matters Arising by Nwaogburu Nelson
 Verdict by Stanlee Ohikhuare
 Ojuju by CJ Obasi Love Regardless by Muyiwa Aluko
 Black November

Best Sound
 Kpians by Stanlee Ohikhuare Invasion 1897
 The Throne by Keneth Ononeze
 Black November
 The Antique by Cobhams Asuquo and Darasen Richards
 Ojuju by Dayo Thompson
 Made in Agege by Kenneth Yeboah

Best Makeup/Costume
 Jafar by Nwagboso and Elechenu
 Ojuju by Adefunke Olowo
 Made in Agege by Evans, Yeboah & Poku
 Stalker by Udonquak
 Kpians by Edwin-Okon
 When Love Comes Around
 Invasion 1897Best CinematographyBlack NovemberOjujuInvasion 1897VerdictHorn-Free DayShattered RomanceKpiansBest ScreenplayStigmaTrials of IghoShattered RomanceStingHeadgoneRequiteStalkerBest ProducerOjuju by Oge Obasi.Invasion 1897 by Lancelot ImaseunHeadgone by FasisiBlack November by Jeta AmataJafar by Ezugwu

Best Director
Trials of Igho by Chris Eneng Enaji
Invasion 1897 by Lancelot Imaseun
Stalker by Moses Inwang
Love Regardless by Muyiwa AlukoBlack November by Jeta AmataThe Changer by Ejim Fortune Kezi
Headgone by Dare Fasisi

Best Film (Diaspora)
Red Rose
The Portrait
Affairs of the HeartLAPD African CopsBest Screenplay (Diaspora)Red RoseThe PortraitRetaliationThe FlawsBloodline BattleAffairs of the HeartLAPD African CopsBest Director (Diaspora)Affairs of the Heart by Robert PetersThe Portrait by John Uche
Bloodline Battle by AB Sallu
Red Rose by Kingsley Ukaegbu
LAPD African Cops by Pascal Atumah

Best Actor (Diaspora)
Moses Efret - Red Rose
Carl Payne - The Flaws
Kyle Burgess - The PortraitPascal Atumah - LAPD African Cops co-winners
Joseph Benjamin (actor) - Affairs of the Heart co-winners

Best Actress (Diaspora)
Oge Okoye - Red RoseBerlinda Nahbila - The PortraitQueen Esther Imar - Bloodline BattleStella Damasus - Affairs of the Heart
Pridin B. Fru - Retaliation
Best Male (Viewers choice)
John Dumelo
Alexx Ekubo
Van Vicker
Uti Nwachukwu
Blossom Chukwujekwu
Majid Michel
OC Ukeje

Best Female (Viewers choice)
Adesua Etomi
Uche Jombo
Belinda Effah
Ruth Kadiri
Ini Edo
Yvonne Nelson

Best Comedic Act (Viewers choice)
Francis Odega co-winners
Julius Agwu co-winners
Funke Akindele
Lydia Forson
Eniola Badmus
Roseyln Ngissah
Akpororo

Foreign International Act (male)
Wyclef Jean - Black NovemberDorien Wilson - LAPD African CopsAkon - Black November
Mickey Rourke - Black NovemberForeign International Act (female)
Sarah Wayne Callies - Black NovemberLuenell - LAPD African Cops
Vanessa Bell Calloway - LAPD African CopsKim Basinger - Black November''

Lifetime Achievement Award
Clarion Chukwura

GIAMA Song of the Year
"Godwin" by Korede Bello

References

2015 in Nigerian cinema
Nollywood


In the context of North American and British actuarial practice, a mathematical model is used to study the evolution over time of the fund levels (F) and contributions (C). First, actuarial cost methods are examined in the traditional static framework. Three points are studied (1) comparison of the various methods, (2) inclusion of new entrants in the valuation basis, and (3) the rate at which F(t) reaches its ultimate level. Next, the model is modified to include varying rates of return and of inflation. Two methods of adjusting the normal cost are considered; (1) the adjustment is equal to the unfunded liability divided by the present value of an annuity for a term of "m" years (Spread method); (2) each intervaluation loss is liquidated by a fixed number of payments over the following years (Amortization of Losses method). The core of the thesis has to do with random rates of return. In discrete time, these rates are supposed independent and identically distributed. Recursive equations are derived for the first and second moments of F(t) and C(t), under methods (1) and (2). In the case of the Spread method, an optimal region is specified for "m" it is shown that for m>m* the variances of both F and C are increasing functions of m. The optimal region is thus 1 < m*. The Spread method assuming rates of return to be a white noise process . A proof is given of the convergence of the discrete processes Fn (representing the fund when "n" valuations are performed every year) to a diffusion process F, as n -+ -. Using the Ito calculus of diffusion processes, the first two moment s of F( t) and C(t) are then shown to satisfy some particular differential equations. The final chapter applies similar ideas to the calculation of the moments of annuities-certain, when rates of return are a white noise process.


NIT Trichy - B.Tech. / B.Arch.
Admissions are open for Foreign Nationals / Persons of Indian Origin (PIOs) / Non-Resident Indians (NRIs) under Direct Admission of Students Abroad (DASA) Scheme to National Institutes of Technology (NITs), IIITs and other premier Technical Institutions.


text:
Photo by Rick Vanderpool
TURNING YELLOW INTO GOLD
The color of the local creek bank soil and the saffron hue of area wildflowers were the most likely inspirations for naming this 1887 townsite for the Spanish word meaning yellow. Amarillo's first residents followed suit by painting their houses the color as well. A cattle boom followed, quickly elevating this Potter County seat to industrial holding ground for livestock driven across the Panhandle, the Plains, and eastern New Mexico on their way to market via the railroad. Shortly before the turn of the century, Amarillo's status as cattle shipping point outranked all others worldwide and the resulting prosperity enabled the city to thrive over the next three decades. Despite a setback during the Dust Bowl era, the city continued to grow, constructing a new courthouse and other buildings in the Art Deco style of the period. Amarillo's Potter County courthouse has since been renovated courtesy of the county and the Texas Historical Commission Courthouse Preservation Program. Today the Amarillo Museum of Art, the American Quarter Horse Hall of Fame and Museum, Cadillac Ranch, and Amarillo's Historic Route 66 district are among the cultural institutions representing the city's dynamic and historic legacy.
Amarillo's Wildcat Bluff Nature Center is the site of a giant arrow marker on the Quanah Parker Trail. Learn more about the arrow, and this area's Comanche history, here.
Amarillo also boasts a state cultural district designated by the Texas Commission on the Arts. Explore all they have to offer on your next visit!
Texas Historic Courthouse Preservation Program
Texas Main Street Cities
Contact: Amarillo Convention and Visitor Council
Amarillo Botanical Gardens
Amarillo College Natural History Museum
Amarillo Little Theatre
Amarillo Museum of Art
Amarillo Zoo
American Quarter Horse Museum
Bar Z Winery
Big Texan Steak Ranch
Don Harrington Discovery Center & Space Theater
Globe-News Center for the Performing Arts
Kwahadi Museum of the American Indian
Potter County Courthouse
River Breaks Ranch
Sunset Art Gallery
Texas Panhandle War Memorial
Texas Pharmacy Museum
U.S. Route 66–Sixth Street Historic District
Wildcat Bluff Nature Center
Wonderland Park
Read more about Amarillo in the Handbook of Texas Online.


text:
Diamondback sont des méga montagnes russes du parc Kings Island, situé à Mason, dans le Comté de Warren, en Ohio, aux États-Unis.

Parcours
En sortant de la gare, le train entame le lift. Arrivé en haut, first drop avec un virage léger à droite pour entamer le premier camelback.
Redescente sur un virage à gauche puis camelback et hammerhead. Nouveau camelback puis hélix pour arriver aux Breaks.
On redescend, puis deux cammelback pour une nouvelle hélix avant de tomber sur le splatchdown suivi des breaks.

Statistiques

 Trains : 3 trains de 8 wagons. Les passagers sont placés 4 de front par wagon pour un total de 32 passagers par train.

Galerie

Voir aussi

Notes et références

Liens internes
Méga montagnes russes
Hyper montagnes russes
Kings Island
Bolliger & Mabillard
Liste des montagnes russes de Bolliger & Mabillard

Liens externes
  Fiche de Diamondback (RollerCoaster DataBase)
  Diamondback sur le site de Kings Island

Montagnes russes en métal
Méga montagnes russes
Hypercoaster
Montagnes russes assises
Bolliger & Mabillard
Attraction d'un parc Cedar Fair
Kings Island
Montagnes russes dans l'Ohio


I know nothing about Westwood but this house looked cute, and then I saw the series of recent sales that are not inspiring. Selling for less and less since 2005, like some sort of recipe for losing money. I can't link the house but it is lovely and the neighborhood seems decent, it is on Ocosta street. What is happening here? Is there alot of crime? Or is this just a bottom of the market adjustment?
I don't know the street itself, but the area is one I would consider less than desirable. Nearby McHenry Ave. is pretty much a drug dealing and crime hotbed.
Notice that one side of the street is tree-lined, with attractive and well-kept homes. Meanwhile, the other side is taken up by a "stretch brick box" apartment building that appears to have vacancies (and likely is a place where Section 8 is accepted.) The poster of that video unintentionally states in its title that Cincinnatians are fleeing heavily from the west side - lol - in saying that he (perhaps "flea" misspelled) is "heavy" (well-established) in that part of town. Although the block filmed may be in Price Hill, the homes' architecture is more suggestive of Westwood.
Lest anyone have the race card ready to play, there are also quite a few White people on the west side who are in "the life" of existing off government assistance and idling away their days picking fights and pulling petty crimes. They get themselves into the news from time to time as well.
What once made Westwood - as well as other areas - appealing to folks at many economic levels is its Achilles' heel today. Streets such as Boudinot, Werk Rd, and LaFeuille (to name but three) were where someone starting out their adult life could find an affordable rental and then only had to look up the street or around a corner to buy up into a nice house. Now the brick box buildings and 1950's-to-70's complexes are shunned by young working persons and have been relegated to slumlorded S8 properties. For every individual who has a real need for public assistance and is striving to get ahead there are those like Flee/Flea who contribute nothing positive to themselves or their surroundings.
Ocosta Ave (thank you, Google Maps) is a short three blocks from Bracken Woods Lane, one of the worst streets for crime thereabouts, which in turn is just past McHenry. Although the nearby St Catherine of Siena church and its school are still well attended they felt the need to relocate their yearly festival because of all the problems that cropped up when things shut down at night. The local supermarket had declined into a "ghetto Kroger" and was closed a couple of years ago.
On the flip side - eastern Westwood, like many other urban communities, is a patchwork of "armpits" and idyllic blocks in close coexistence. There's a large group of local residents who keep pressure on the city to address quality-of-life issues, through various organizations including Westwood Concern. They've succeeded in getting drug houses put out of business, some nuisance buildings/complexes bulldozed, etc. Although it appears to have gone inactive of late, for a time there was also an informal outfit called Good Guy Loitering which for some years was - apologies to Flee/Flea - heavy on the west side. These folks brought lawn chairs to intersections, along with identifying signs, and socialized into the night with the effect of routing the criminal element at least for that evening. One of the corners they visited was Ravogli and Harrison, just down the way from Ocosta Ave, in addition to the intersection by St Catherine and many others throughout the neighborhood. Community meetings, organized clean-ups, etc abound. So it's not due to apathy that Westwood is having its difficulties.
What it all boils down to for the OP is whether they have the "urban pioneer spirit" to purchase the property which "speaks to them" and man the battle stations. Personally, I bought into a transitioning neighborhood twenty years ago and have never regretted the decision. But many people - understandably - would just as soon not have to have the security, and resale value, of their investment be foremost in their minds.
My perpetual recommendation is to pay a visit to the block on a mild Saturday night and again on a pleasant Sunday afternoon. Are groups of people hanging around on corners looking sketchy? Are residents out walking their dogs, washing cars, raking leaves, etc, and are they interacting with each other? Is loud music emanating from any window? What's the nature of glances directed your way when you walk or drive past? Should you have free time some afternoon around the time schools are dismissed, it might be worthwhile to appear over there around then too. And make several return visits to see whether first impressions are bolstered.
P.S. Assessed property values have definitely taken a hit during this economic turmoil. Assumptions should not be made as to why the current owner is likely to be selling at a loss. My place was a "steal" (asking price was the previous purchase price & I bargained it down 15%) because it hadn't moved on the market for five months and the owners had run out of space for their growing family. Neighborhood problems had nothing to do with their anxiousness to move.
Last edited by goyguy; 12-02-2012 at 07:24 AM..
In a nutshell. Some areas of Westwood are nice and others aren't. Just depends on where you are at.
Westwood is a huge neighborhood, and like the rest of Cincinnati, is a neighborhood of pockets. That area is probably OK, but on the edge. The closer you get to the Westwood Town Center and Cheviot, the better the neighborhood ... although there have been some problems there that hadn't cropped up before, too. My friend on Montclair has been broken into twice in the past year; the house next door to hers was for sale, foreclosed upon, and has been vacant for two years. That, unfortunately, is not a scenario limited to neighborhoods on the edge.
Could we have your perspective on which areas of Westwood are the most and least desirable?
The problem with Westwood is that there is no "Hyde Park Near" factor to prop it up. Neighborhoods like Oakley. Madisonville, and even Norwood have benefited from being near Hyde Park, and owe their resurgence in large part to their proximity to this desirable area. On the west side, there is no Hyde Park-type area to anchor and cue off of, so Westwood has to be its own "Hyde Park." If you drive down certain streets in Westwood, you say, "why not? This is a beautiful neighborhood!" However, Westwood is sort of crushed under its own weight...it's a huge area, and they have severe blight, crime, and drug activity in certain corners, and it tends to pull down the rest of the neighborhood with it.
Plus, Westwood is isolated. It doesn't have easy or intuitive access to other parts of the city or expressways. It makes it very hard for people to "discover" Westwood, and as the older generation has fled or died off, few have followed in their footsteps. It seems inconvenient to get in and out of Westwood, and the is exacerbated by the fact that there isn't much to do in Westwood itself, other than live in a nice house on the cheap. It seems you always have to go somewhere to do anything if you live there. Since Westwood lacks a cohesive a central business district the way you have in Hyde Park, Oakley, and Mt Lookout, it's harder for the neighborhood to develop its own identity and amenities. I asked a real estate agent (who lives in Westwood) once about two years ago what kinds of unique bars and restaurants are in the area, and he, in all earnestness replied, "we just got a new Chipotle." Sorry, but that's not the kind of thing that puts Westwood on the map for being the next up and coming neighborhood.
It's really sad, because there is fabulous housing stock in Westwood. There are a few who continue to fight the good fight to restore Westwood to its former glory, but they really have their work cut out for them. Honestly, Walnut Hills and Mt Auburn have brighter futures than Westwood. Westwood might not get dramatically worse, but I don't see any reason for it to get better.
In my opinion, Epworth is the backbone of "good" Westwood, and it serves as the axis that connects what I consider to be the two best pockets. The first is the southern end and that "island" bordered by Werk, Boudinot, and Harrison. The second is the north end of Epworth where it intersects streets like Urweiler and Montclair. The area west of Boudinot around Daytona also seems okay.
If you go east on Harrison, the neighborhood quickly deteriorates past Werk, and it goes down hill as you get near Queen City Avenue in the south and Westwood Northern in the north.
These are my personal generalizations, and has been pointed out above, Westwood can be a block by block game of good and bad.


Packet Pushers are adding a new series of sporadic and occasional podcasts where we take a single topic, probably technical and very focussed and discuss just that thing. These podcasts should be about fifteen minutes and be brief and hard hitting.
This week we're joined by Aaron Conaway of 'Aaron's worthless Words' fame, while we did our usual chit chat about a few things, the main subject was a conversation about career progression.
Jeremy Filliben, CCIE #3851 & CCDE #20090003 (@jfilliben) and Brandon Carroll, CCIE #23827 (@brandoncarroll) join the Prime Pushers for an hour-long round-table discussion of the week's news. And if you missed Greg last week, he's back – with rant mode decidedly ON.
Greg's off to Glastonbury this week, but Dan returned from extended vacation on the west coast of Ireland to record the show with Ethan. They are joined by JT, an R&S CCIE candidate with a strong security background. We did have a few audio drops on Skype this week, but that shouldn't affect your enjoyment of this show too badly, we hope!
A collection of topics this week and joined by Jeremy Stretch from Packetlife and Amy Arnold to cover the news in the Networking Industry.
We had planned a number of topics this week. Once we started on DDOS we didn't stop before the time was up.
This week, the Pushers start talking about switches then go totally nerd on Data Centre Ethernet and new protocols.
This week Dan, Ethan and Greg cover some news and then put Marko Milivojevic through a "job interview" to deep dive the Interview Process.


Fly Emirates to experience our world-class service, award-winning inflight entertainment and gourmet cuisine from Hyderabad (HYD) to Stockholm (ARN).
Prepare for your trip from Hyderabad to Stockholm with our destination guide.
Every destination is different. Learn about Stockholm before you fly from Hyderabad.
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text:
Top 5 Short Stories and Fairy Tales for Kids
May 28, 2019 Deandre
I want to delight you with insights concerning the many popular Holiday composition ever "Twas the Night Before Christmas" By Clement C Moore 1823. It's not simply magical but it transformed the world even as we learn it!
Let's begin with the history of this popular composition. While identified generally today as "The Night Before Christmas" or "Twas the Night Before Christmas" that has been extracted from its first line, it was in reality initially called "A Trip from St. Nicholas".
It was first released in 1823 in the USA and yes that is a long time before today. Yet this composition is indeed is incredibly essential for one to realize that it put the modern American understanding and perspective of our precious Santa Claus that has also been adopted in other countries. It changed the picture of Holiday as Nationalis previously knew it. They used the verses description of Santa and his reindeer since the one that they'd grasp.
Before this poetry St Nicholas, who was simply of course referred to as the patron saint of children, associated with Christmas, had never been of a sleigh or reindeers! And this composition was the driver for a whole new way of remembering and rekindling Christmas every year in a amazingly mysterious and marvelous way!
It's assumed that a family pal, Miss H. Butler, delivered a replica of the composition towards the New York Sentinel magazine who first revealed the poetry in on 23rd December 1823. It was posted beneath the situation that the publisher was to remain confidential. It was an immediate success as people fresh and old loved it!
It had been reprinted often from thereon without any name linked also it wasn't until 1837 that Clement Clarke Moore was reported as the publisher by a newspaper. However Moore herself did not maintain the composition as his until 1844 when it had been contained in a guide of his poetry. Some say that he was convinced by his kids to maintain the composition.
More was not also enthusiastic because he desired to be regarded for more let's say, scholarly works. Nevertheless, there is just a little debate as some think that he might not have published it plus a member of his lengthy family may have. However it has never been which can this very day! What we do understand is that Moore published considerably deeper songs prior to that one. What have just talked about is crucial for your understanding about learn this here now, but there is a lot more to think about. But there is so much more that you would do well to study. It is difficult to ascertain all the different means by which they can serve you. It really should not need to be said that you must perform closer examination of all relevant points. The rest of the document will provide you with a few more essential points to bear in mind.
Within An American Anthology, 1787-1900, author Edmund Clarence Stedman reprinted the initial Dutch model of the poem but included German spelling of two of our reindeer. Actually Moore wrote Dunder nevertheless Stedman wrote Donder. Originally Moore also published Blixem yet Stedman wrote Blitzen. None the less equally labels however essentially convert to magic and lightning! Yes, Dunder was said to seem like mastery as he rode on his way and Blitzen was as fast as lightning!
There has been a number of variations of the composition including parodies. The majority of the parodies which can be located on the Web are intended to be hilarious, or satirical. There really are some funny YouTube videos that have been created that may give you a chuckle. Only Google the poetry's title and a variety will undoubtedly be offered to you at the click of one's mouse! Are you aware that actually the Muppets and Garfield comic pieces have used this composition in comedy skits. Nonetheless I have to share with you that one of my alltime favorites is Tim Burton's 1993 parody of the songs title which is a truly non stop action movie named The Nightmare Before Christmas also it really is incredible! There are some poems that do take long time to write.
Nowadays you can find four-hand-prepared copies of the composition however proven to exist. Three come in museums plus one that was written by Clement Clarke Moore and signed as a gift to at least one of his friends in 1860 was bought by a collector in 2006 for $280,000 USD to another collector who stays unnamed yet we do know he was Chief Executive Director of the media company that resides in Manhattan.
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Talos Energy Receives Extension And Approval For Additional Exploration On Offshore Mexico Block 7
édité le 12/09/2019 - Plus de news de "Talos Energy" - Voir la fiche entreprise de "Talos Energy"
Talos Energy Inc. announced that it has received a two-year contract term extension as well as regulatory approvals for additional exploration activities on Block 7, located in the offshore portion of Mexico's prolific Sureste Basin. Talos is the operator of Block 7 in a consortium (the "Consortium") with its partners Sierra Oil & Gas, a Wintershall DEA company, and Premier Oil plc.
On September 4, 2019, the National Hydrocarbons Commission of Mexico ("CNH") granted a two-year term extension under the Consortium's production sharing contract for offshore Mexico Block 7, the first such extension granted to a private company in offshore Mexico. On September 9, 2019, the CNH approved the Consortium's modified exploration plan for Block 7. The extended contract term in combination with the expanded plan allows the Consortium to evaluate additional exploration prospects on the block in the future following the successful appraisal of the globally-recognized Zama discovery that was completed earlier this year.
The Consortium has identified multiple potential exploration targets on Block 7, including the Xlapak and Pok-A-Tok prospects, among others, with typical gross unrisked resources ranges between 75 – 150 million barrels of oil equivalent ("MMBoe") each. The prospects are amplitude-supported oil prospects targeting similarly-aged sands as those seen in the drilling campaign related to the Zama discovery and subsequent appraisal. The additional identified inventory is within close proximity of Zama, potentially allowing for significant development cost synergies if successful. Due to the recent high level of activity on Block 7, the Consortium has already fulfilled the minimum work commitments that would otherwise be required for extension, and any future exploration activities would benefit from cost recovery mechanisms under the Block 7 contract terms. As a result, the modified exploration plan and related approvals provide the Consortium with significant optionality for future evaluation of additional, material exploration prospects within the block. The Block 7 production sharing contract requires the Consortium to relinquish approximately half the acreage on Block 7 upon obtaining the two-year term extension, but the Block 7 modified exploration plan, approved by CNH, retains the acreage covering all of the Consortium's identified potential exploration targets.
Talos President and Chief Executive Officer Timothy S. Duncan commented, "The recent CNH approvals have provided Talos and its partners with the flexibility to continue optimizing the potential of Block 7. The Consortium has significantly over-delivered on its commitments under the production sharing contract, and these approvals will give us the opportunity to continue to successfully develop the country's resources. We are excited about the additional potential of these prospects, all of which could be incremental to our world-class Zama discovery, the first by the private sector in Mexico's history. Finally, we believe these approvals, in combination with the significant increase in industry activity, are yet another indicator of the tremendous potential of the basin in the future."
Because the Consortium's Zama asset has already been discovered and appraised, it does not require any extension from the CNH in order to proceed to Final Investment Decision ("FID") and thereafter to development. After rapidly completing the Zama appraisal program safely and under budget, the Consortium is continuing its Zama unitization discussions with Petróleos Mexicanos ("Pemex") while simultaneously moving forward with its Front-End Engineering and Design ("FEED") work in anticipation of a 2020 FID milestone.
About Talos Energy
Talos Energy (NYSE: TALO) is a technically driven independent exploration and production company focused on safely and efficiently maximizing cash-flows and long-term value through our operations, currently in the United States Gulf of Mexico and offshore Mexico. As one of the US Gulf's largest public independent producers, we leverage decades of geology, geophysics and offshore operations expertise towards the acquisition, exploration, exploitation and development of assets in key geological trends that are present in many offshore basins around the world. Our activities in offshore Mexico provide high impact exploration opportunities in an oil rich emerging basin.
Origine : Communiqué Talos Energy
Voir la fiche entreprise de "Talos Energy"
Les dernières news de "Talos Energy"
22/09/2022 - Talos Energy Announces Strategic Acquisition of EnVen Energy, Increasing Operational Scale and Improving Financial Profile Through the Addition of Oil-Weighted, Deepwater Assets with Significant Infrastructure
08/06/2021 - Talos Energy And Storegga Form Carbon Capture And Storage Joint Venture Focused On The U.S. Gulf Coast And Gulf Of Mexico
15/04/2021 - Talos Energy Announces Successful Exploration Results At Puma West in the U.S. Gulf of Mexico
07/01/2020 - Talos Energy Announces Completion Of Independent Resource Evaluation Of Zama Discovery
11/12/2019 - Talos Energy Announces Transformative Acquisition Of Gulf Of Mexico Portfolio Through Multiple Transactions
20/09/2019 - Talos Energy Announces Transactions With BP, ExxonMobil
12/09/2019 - Talos Energy Receives Extension And Approval For Additional Exploration On Offshore Mexico Block 7
27/06/2019 - Talos Energy Completes Zama Appraisal Program
18/10/2018 - Talos Energy Announces A Transaction With Pan American Energy To Cross-Assign Interests In Block 2 And Block 31 Offshore Mexico
28/09/2018 - Talos Energy Announces Approval Of Zama Appraisal Plan


Cindy Liebel used leftover chipboard packaging for a quick foundation with dimension and lots of "compartments" for holding patterned paper, photos, and embellishments.
Make your own easy scrapbook page just like Cindy's using the 5-step formula we've shared below.
Begin with text-print paper for a base with visual texture.
Use leftover chipboard framing or packaging as your foundation. Cut a piece of patterned paper about 1/2″ larger on all sides. Mount paper at page center.
Back up the openings in the frame with photos, patterned paper, and embellishments. Mount on patterned paper at page center.
Top the chipboard frame with an index card holding title and 3-piece pennant and with a soft and oversized embellishment like the flower here.
Print journaling and trim in strips. Mount above index card.


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La ligne IRT Broadway-Seventh Avenue, dite aussi ligne West Side ou ligne Seventh Avenue, est une ligne (au sens de tronçon du réseau) à la fois souterraine et aérienne du métro de New York qui dessert les arrondissements de Manhattan, de Brooklyn et du Bronx. Issue de l'ancien réseau de l'Interborough Rapid Transit Company (IRT), elle constitue avec l'IRT Lexington Avenue Line l'une des deux premières lignes souterraines du réseau. D'un point de vue technique, elle fait aujourd'hui partie de la Division A. Elle constitue en outre l'une des lignes principales (trunk lines) du réseau qui donnent leur couleur (en l'occurrence le rouge) aux dessertes (services) qui les empruntent, à la fois dans Manhattan et en dehors. La ligne, dont une partie a été inaugurée en 1904 fut achevée en 1919, et comporte aujourd'hui 44 stations. Elle tire son nom du fait que la plupart de son tracé est situé en dessous de la Septième Avenue au sud de Times Square, puis de Broadway au-delà. Elle est empruntée par les métros 1, 2 et 3. La ligne dessert notamment le Lincoln Center, l'université Columbia, ainsi que le City College of New York.

La desserte 1 emprunte l'ensemble du tracé de la ligne à Manhattan puis se prolonge au nord vers le Bronx. Elle fonctionne en omnibus entre Van Cortlandt Park dans le Bronx et la station de South Ferry, au sud de Manhattan. Les dessertes 2 et 3 empruntent quant à elle la ligne à la fois dans Manhattan et Brooklyn, entre les stations de 96th Street et de Borough Hall. Elles circulent également dans le Bronx, mais empruntent pour cela deux autres lignes: l'IRT Lenox Avenue Line et l'IRT White Plains Road Line. Elles fonctionnent toutes deux en express (arrêt aux stations principales seulement) en journée, mais les métros 2 s'arrêtent à toutes les stations de la ligne pendant la nuit, avec une desserte omnibus en complément de celle de la desserte 1.

Histoire

Des premiers segments à l'inauguration du « réseau en H »

Lorsque les premiers segments des lignes de l'IRT furent inaugurés entre 1904 et 1908, l'un des principaux schémas de desserte était la « Branche Ouest » (West Side Branch) qui allait de Lower Manhattan à Van Cortlandt Park en empruntant successivement l'actuelle IRT Lexington Avenue Line, le 42nd Street Shuttle et une section de la Broadway-Seventh Avenue Line à partir de 50th Street. Des dessertes express et omnibus étaient proposées, en utilisant notamment les voies express au sud de 96th Street. Pendant les heures de pointe, certains métros express continuaient jusqu'à la station Atlantic Avenue à Brooklyn, tandis que les autres métros express, et l'ensemble des métros omnibus faisaient demi-tour à City Hall ou South Ferry.

Les premières portions de la Broadway – Seventh Avenue Line au sud de la station Times Square – 42nd Street ouvrirent le  sous la forme d'une navette allant jusqu'à 34th Street – Penn Station. Cette navette fut prolongée jusqu'à South Ferry et le nouveau segment fut mis en service le . Les travaux inclurent en outre l'ajout d'une nouvelle navette entre Chambers Street et Wall Street (esquissant le futur parcours emprunté par les dessertes 2 et 3 en direction de Brooklyn) le . L'année 1918 marqua une année importante dans l'histoire du réseau, puisqu'elle fut marquée par la mise en service quasi simultanée du prolongement de la Broadway – Seventh Avenue Line au sud de Times Square (le ), et du prolongement de l'IRT Lexington Avenue Line au nord (le ). Le , le nouveau « réseau en H » (dont le 42nd Street Shuttle constituait la barre centrale) fut inauguré par le maire John Hylan en envoyant les premiers trains au sud de Times Square – 42nd Street via le nouveau segment de la Seventh Avenue Line.

Dans ce système, les voies locales allaient jusqu'au terminus de South Ferry, tandis que les voies express utilisaient l'embranchement Brooklyn en direction de Wall Street. La liaison vers Brooklyn et la station de Atlantic Avenue via le Clark Street Tunnel fut quant à elle inaugurée le . Les extensions de la Eastern Parkway Line et des raccordements avec la Nostrand Avenue Line et la New Lots Line ouvrirent au cours des années suivantes, prolongeant ainsi la desserte de la West Side Branch jusqu'à Flatbush Avenue – Brooklyn College et New Lots Avenue.

Évolution des dessertes

Le , la desserte 1, qui circulait auparavant en express le long de la ligne en direction de Brooklyn prit le nom de West Side Local (omnibus). Les métros 3, qui effectuaient quant à eux une desserte express jusqu'à South Ferry furent ainsi déroutés. Le schéma de desserte des métros 1 n'a pas été modifié depuis.

Le , une desserte spéciale baptisée 9 et fonctionnant en saut-de-mouton sur le parcours des métros 1 fut mise en place pour les jours de semaine. Ce nouveau service n'était cependant utilisé qu'au nord de la station 137th Street – City College. En 1994, le service fut partiellement supprimé (pendant les middays c'est-à-dire entre les heures de pointe du matin et du soir). À ce moment-là, les métros 1 ne sautaient que les stations de Marble Hill – 225th, 207th Street et 145th Street, tandis que les métros 9 sautaient les stations 238th Street, 215th Street, Dyckman Street et 157th Street.

L'après 11 septembre

À la suite des attentats du 11 septembre 2001, il fut nécessaire de modifier le parcours de la desserte 1 étant donné que la Broadway – Seventh Avenue Line passait directement sous le World Trade Center, et que les infrastructures furent significativement endommagées à la suite de l'effondrement des tours jumelles. Dans le nouveau schéma de desserte, les métros 1 ne circulaient qu'entre 14th Street et 242nd Street, avec une desserte express au sud de la station 96th Street. La desserte 9 fut quant à elle suspendue pendant cette période. Le , à la suite de plusieurs retards à 96th Street, les schémas de desserte furent de nouveau adaptés. Les métros 1 remplacèrent ainsi la desserte 3 via un parcours omnibus entre 242nd Street et New Lots Avenue via le Clark Street Tunnel et l'IRT Eastern Parkway Line, et la desserte des métros 3 fut raccourcie jusqu'à 14th Street toute la journée, sauf la nuit ou le service était prolongé jusqu'à Chambers Street à la place. Le , les métros 1 circulèrent de nouveau vers South Ferry, et la desserte 9 fut restaurée en saut-de-mouton.

Le , la desserte 9 et le système de saut-de-mouton furent supprimés.

Le , la desserte 1 vit à nouveau son parcours modifié avec la fermeture de la station des South Ferry loops (qui permettait également aux métros de faire demi-tour) et l'ouverture d'un nouveau complexe à South Ferry – Whitehall Street. Cette station fut la première à ouvrir sur la ligne depuis l'inauguration de l'IND 63rd Street Line en 1989. Les deux boucles de l'ancienne station restent cependant utilisées par certains métros à desserte courte (comme les métros 5 lorsqu'ils ne vont pas à Brooklyn), mais les quais ne sont plus accessibles aux passagers. À la suite du passage de l'Ouragan Sandy, l'ancienne station fut temporairement rouverte le temps de réparer les dégâts dans le nouveau complexe.

Tracé et stations

Notes et références

Voir aussi

Articles connexes
 Lignes du métro de New York (Infrastructures)
 Matériel roulant du Métro de New York

Liens externes

Ligne 1 du métro de New York
Ligne 2 du métro de New York
Ligne 3 du métro de New York


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Tag: drill
How to Make Conservatives Care More About the Environment? Use Messages that Speak to Their Morals
For most liberals and progressives, simply hearing or reading about environmental destruction/pollution, the scientific consensus on global warming, the loss of biodiversity and diminishing resources and 'quality of life' standards … [Read full article]
France is Now First Nation to Ban 'Fracking'
As reported in the June 30 on-line edition of Le Monde, the French Parliament has voted to ban hydraulic fracturing — the natural gas extracting technique known popularly as 'fracking'. The law had passed the National Assembly nine days earlier and then moved on to the Senate, where the measure passed by a small majority of 176 (yes) to 151 (no). This makes France the first nation to ban the controversial extraction technique.
In Search of Missing Carbon & Life – 'Deep Earth' Mission Planned
It is the fundamental structural element of all living things. It is a key component of many energy sources, and, it is a crucial player in our planet's climate system. … [Read full article]
OIL: Our National Dog and Pony Show
Step Right Up And Be Amazed It struck me today that our fearless leaders, would-be's, and corporate giants seem to think we're all a bunch of rubes gathered outside a … [Read full article]


No one likes taxes, but you can Enjoy 20% Off sitewide until 4/21!
There are few things quite are quite as frustrating as when you spill food or drink on your couch. Unless the fabric of your couch allows for easy cleanup, you probably have resorted to a number of different ways to try and remove stains. In today's post, we'll take a look at some of the ways that you can try to avoid spills on your couch, as well as how to remove any stains that might slip past your best efforts. At Table-Mate®, we offer the best portable table trays you'll ever purchase. If you are tired of accidents and spills, then browse our online store today to find the right table for you.
If you have children or grandchildren, then you should be prepared for accidents to happen. However, this does not mean that you have to resign yourself to having a stained couch. Choosing the right fabric for your couch can mean the difference between resistance to stains and a couch that shows every single handprint and finger smudge. Fabric with a higher man-made fiber content is much better at resisting stains than a fabric made from natural fibers.
Slipcovers are a wonderful product that are designed to fit over a variety of styles of couches. In fact, their reasonable pricing means that you could change them out every so often as stains occur so that your couch always looks sharp. If you don't want to go the route of slipcovers, however, you could opt for a pretty throw blanket. Placed strategically, a throw blanket will look not only fashionable, but will also cover up the stains you are trying to hide.
Sometimes the best option is the easiest option. You probably heard your mother or father tell you that an ounce of prevention is worth a pound of cure. Simply put — protect your couch with stain guard before the accidents can happen. There are a variety of stain guards on the market, so be sure to check for one that will best protect the type of fabric that covers your couch. You can even purchase stain guards that won't change the quality or feel of your fabric.
While changing habits may not be the easiest thing to do, the changes we're recommending are actually minimal in nature. Start limiting the types of foods or drinks that are allowed to be consumed outside of the kitchen or dining area. While this may sound extreme, there are studies that have shown that eating at your table instead of snacking on the couch will not only help to prevent accidents and stains, but may also help you to consume healthier meals in smaller quantities.
At Table-Mate® we don't think you should have to give up the fun of relaxing on the couch with your favorite snacks while watching your favorite TV show or movie. We offer a variety of table trays to meet your needs, including table trays for kids! Our table trays easily slide up to you, adjust to different heights and angles, and have a raised outer edge to catch any spills that might happen.
Since avoiding spills is always the best option, make your life easier by purchasing a Table-Mate® table tray. Be sure to browse our store to choose the right table trays for your needs.
Tablemate, LLC is the worldwide licensor and authorized distributor of Table-Mate® II and other Table-Mate branded products. Look for the words "Table-Mate" printed on the back of your Table-Mate product to ensure authenticity.


We're certainly feeling the hexagon vibes lately! Lets first start by saying this is not a recent trend and instead of "jumping" on the hexagon bandwagon, we decided to drive it. This may come as a shock, but hexagon tiles never really went out of style! This uniform pattern has been around since the early 1900′s, recently gaining more and more popularity in the design world.
Our Monte Bianco Collection offers the hexagon tile in 3 sought after white marble shades: Calacatta Gold Extra, Statuario White Extra & Italian White Carrara Select. Also available in 2 finishes: the ever popular high gloss polished & the smooth "velvety to the touch" trendy honed finish.
So simple and yet so eye catching. The hexagon pattern tends to create a dappled effect by every other tile featuring a different shade of the white marble. Perfecting the perfect backsplash in any room.
You can let the hexagon pattern shine all on its own or pair it with your favorite tile to achieve a magical combination! Perfect for a bathroom or kitchen inspiration.
Feeling inspired? Do you see yourself planning a hexagon tile project in the near future? Share your next hexagon story with us here at Terrazzo & Marble!
Are you looking for durable, consistent and easy to maintain tile? If so, Vitalia Porcelain Tiles may be the right choice for you! Porcelain offers consistent colors and textures at an economic price with very little maintenance and upkeep.
Porcelain tiles can adapt to any space instantly, through its ability to take on any color or texture. With today's leading technology, Porcelain is a solid contender amongst natural stone products. You are now able to achieve the look of marble, granite, limestone and wood without the high cost and maintenance.
Vitalia Tile offers a porcelain line that is suitable for both residential and commercial projects. Each series, Elegante, Europa, Fusao, Marmi, Travertine and Vioso, collectively meets the consumer's needs. Whether it's a look that is crisp and textured, simple and elegant, contemporary, has subtle organic movements or something that resembles natural stone, Vitalia Tile delivers on all accounts.


Cover crops continue to attract national attention because of the benefits they add to soil health, boosts in crop production and clean water. But, 15 years ago, the practice of no-tilling and cover crops was almost unheard of, outside of a small number of farmers and educators like Mike Plumer, formerly with the University of Illinois Extension.
Jim and Jamie Scott (Pierceton, IN) turned their own success with annual ryegrass into a cover crop education effort with neighbors. Jamie now speaks at field days and national conferences about increasingly complex cover crop management issues. They also provide cover crop seed applications – using contracted air service – for those who want timely seed planting but don't have the time once harvest begins. For their continuous efforts, the Scotts received a national conservation award from the American Soybean Association a few years back.
Greg Roth, an agronomy professor at Penn State University developed a multipurpose tool as an outcome of another project where cornstalk residue was being removed for use as a biofuel. Cover crops are increasingly important to protect bare soil over winter.


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Home » World News » I was a real-life Hulk with oil-injected 'double muscle' biceps full to bursting – I was unrecognisable as a scrawny lad | The Sun
I was a real-life Hulk with oil-injected 'double muscle' biceps full to bursting – I was unrecognisable as a scrawny lad | The Sun
BODYBUILDER Romario Dos Santos Alves was insecure about his small arms as a teen, so he turned to an unconventional and deadly way to get toned.
Alves struggled for years to gain muscle naturally, so the Brazilian bodybuilder turned to a solution which would almost cost him his life: mineral oil.
He began injecting himself with synthol, a dangerous mix of alcohol and mineral oil, when he was 15.
The effects of the injections were immediate, and Alves soon got the "Incredible Hulk" arms he longed for.
Misuse of the substance can lead to life-long health issues – including muscle tissue turning into a "rock".
At one point, Alves was injecting 4ml of mineral oil twice a week, leading to his arms bulking up by 20% in the nine months he was using the oil.
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Alves became addicted to the injections, and his wife Marisangela Marinho threatened to leave him if he didn't stop the worrying practice.
The bodybuilder's addiction soon caught up with him, and he began to have breathing issues and incredibly low energy levels.
After using the injections for a period, a doctor told Alves he needed a double arm amputation to save his life.
On the morning of the scheduled amputation, however, Alves was given a second chance.
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The amputation wasn't necessary, and his arms were saved.
"I wanted to get big, I didn't want only to have a nice defined body, I wanted to be a big guy. I wanted to be a monster," Alves said, reflecting on his addiction.
"I'm thankful to God for putting my family in my life so I could see life isn't just about big muscles. There are more important things."
A Russian man had surgery on both his arms to remove his "clogged" triceps and save his life after using synthol.
Synthol injections expand muscle tissue and are popular amongst bodybuilders due to its almost immediate results.
As well as the dangers involved with injecting, the substance can cause irreversible muscle damage and potentially life-threatening complications.
Despite the clear risks, the substance is widely available online and relatively easy to purchase.


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Jesus provides for spectacle
With The Passion in the Bijlmer was the Thursday night a long wait on a real spectacle. Between impressions of many vooropnames was to Glennis Grace, Mary, the task of the public audience to warm up. But Tommie Christiaan knew things really flame up.
Noraly Beyer started as a narrator to the story of the last days of Jesus. After a long intro, it started swinging, thanks to a stunning gospel choir composed of residents of the district Zuidoost, an increase in the backdrop. Beyer made a rather embarrassing slip of the tongue about Pontius Pilate (Arjan Ederveen). "That his hands washed in scum, eh in innocence." And that in spite of the teleprompter.
On the stage happened a little in the beginning, the spectators had to keep warm with vooropnames of Jesus, Tommie Christiaan, I see you (the theme of The Passion of this year) sang for Graziëlla Hunsel Rivero, the bloedvloeiende woman. This role was new this year in the Bijbelvertelling, and was played by the singer who was born and raised in the Bijlmer.
Glennis Grace sang live, and that sounded pretty pure on the stage in the vicinity of the ArenA, but the hands were not going to be very hard on each other for the singer. For her second song You are the love, the applause slightly louder, but still not overwhelming.
In between ran Bert van Leeuwen along with the procession. The attendees were under the impression of a woman told me about her two children who she lost during the bijlmer disaster. That has forever a wound, smitten in the close-knit community.
The long wait for Jesus went by, with more vooropnames. Tommie Christiaan put therein his role is already beautiful and convincing down. Really a shame that that didn't live was on show for the attendees in the Southeast. And rapper Brainpower if Peter was well-chosen, which is also a 'úrban touch' happening gave. Jeangu Macrooy in his role of Judas was also finely cast. All he did in the song I live my life by André Hazes for his opponent Christian.
When Jesus, Tommie Christiaan, once the future had arrived, it was really loose in the Bijlmer. With black-and-white by Frank Boeijen, a more familiar song to middle of previous songs sung in the evening. Very impressive, with the live musicians and the choir.
The surprise was: who would Barabbas play. That was on the night itself, published: Ben Saunders was roped in the role of always being put down someone who is discredited. Earlier it was the turn of, among others, Thomas Dekker, and Dave Roelvink. Marco Kroon was asked, but it was so Saunders. Surprised, because that has been discredited and in fact from the picture.
At the climax knew Glennis Grace as Mary was to move, at the departure of her son Jesus, with the number For you of Marco Borsato. A tear musical valve of the singer. Then garnered Noraly Beyers hymn of praise to the Bijlmer also applause. And made Jesus for a wonderful finale on the top of the ArenA. That was all the wait more than worth it.
How in the Bijlmer also happened, on tv are undoubtedly millions of people enjoyed a tightly directed show. It was the eighth edition of The Passion, traditionally on maundy Thursday will be broadcast by the EO and KRO-NCRV.
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