Okay, finals week is almost over, I have my Algebra final this morning, and I can finally get back to posting some stuff. I have all sorts of posts ready to go, so settle down. I promise I am not slacking... to much.


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A Barbes Residency This Month by Intense Jazz Passengers Leader Roy Nathanson
When you think of solo saxophone, do you get shadowy visions of some guy leaning against a brick wall, playing desolate, mournful phrases that linger in the mist somewhere on upper Broadway in the wee hours? Or is that just a personal observation?
Roy Nathanson played something like that late in a very rare solo show at NYU this past spring, but he also played a lot of much more kinetic material, in a spellbinding display of extended technique. It's not likely that the Jazz Passengers bandleader and onetime Lounge Lizard will be playing much if any solo material during his ongoing Sunday evening 5 PM Barbes residency this month, but it's possible. That's what famous touring artists like Nathanson do here: work up new material and push the envelope outside of what pricy jazz clubs around the world expect from them.
For example, in the summer of 2016 Nathanson played a one-off Barbes duo show with pianist Arturo O'Farrill that was a feral blast of fun, a mix of Carla Bley-esque wildness and some of the (increasingly brooding) jazz poetry that's helped raise Nathanson's standing as a connoisseur of New York noir. The NYU show was a showcase for what a ferociously interesting and dauntingly virtuosic player he is. The Jazz Passengers are a song band with the kind of interplay that comes from three decades worth of gigs, but Nathanson doesn't get enough props for his technique.
Alternating between alto, soprano and baritone sax, he switched reeds in and out of his various axes, explaining his fascination with getting just the right amount of smoke or nebulosity or brightness depending on what the song calls for. The evening's most spectacular moment was when he played alto and soprano at the same time – with equal parts squall and melody. It was also very cool to hear him play baritone: a lot of alto players double on baritone to get more gigs, but Nathanson made it clear that he was just as much at home in the growly lows as the upper midrange where he's usually found.
The material was mostly new and unrecorded, along with the first number Nathanson ever wrote – or was at least comfortable enough with to bring to the stage. There was anger, and rigor and intensity in that one – if memory serves right, he wrote it in the wake of his brother's death. Many of the new compositions explored Jewish themes, although the echoes of both Eastern European Jewish folk music and liturgical melodies were distant and allusive. Nathanson also treated the gathering to some poetry: the most memorable piece pondered what the hell we're going to do and where everybody's going to go until the real estate bubble finally bursts and this endless blitzkrieg of gentrification collapses with it. Obviously, Nathanson said all that far more imagistically and succinctly. You might get some of that at Barbes this month.
September 9, 2017 Posted by delarue | concert, jazz, Live Events, Music, music, concert, New York City, poetry, review	| Arturo O'Farrill, concert, concert review, jazz, jazz passengers, Music, music review, poetry, roy nathanson, roy nathanson barbes, roy nathanson nyu, roy nathanson nyu review, roy nathanson review, saxophone jazz | Leave a comment
A Rare Brooklyn Residency By the Best Singing Pianist in Jazz
Lately there's been a lot of top-drawer jazz popping up in some unexpected places. When Bar Lunatico in Bed-Stuy booked the Jazz Passengers for a weekly residency, that sent a signal. Likewise, the cavernous Williamsburg beer garden Radegast Hall books many of this city's best swing bands, but it's not known as a listening room – and if you've witnessed the din there on the weekend, you know why. But that's not always the case.
This September, the venue has booked pianist/singer/composer Champian Fulton for a Monday night, 8 PM weekly residency that resumes September 18. If you're a serious jazz fan and you're on a budget – the venue doesn't charge a cover – you'd be crazy to miss this. If Manhattan is easier for you, she's also at Smoke on Sept 7 with sets at 7:30, 9 and 10:30.
Watching her figure out where she was going to go, in a spit-second, pensive smile on her face a couple of weeks ago at her first night at the Brooklyn venue was great fun – and a revelation. Fulton is known as a singer. Dinah Washington is the obvious influence – Fulton's 2016 album After Dark got a big thumbs-up here, as did her 2017 all-instrumental release, Speechless. The former is a subtle reinterpretation of songs that other chanteuses tend to mimic rather than putting their own stamp on. But while nuance is what distinguishes Fulton's vocals, she's got fire in her fingers. Not to disrespect Diana Krall's piano chops, and Karrin Allyson is a much better pianist than she typically lets on, but there's no other singer in jazz with chops as fast and fluid as Fulton's Nor is there a pianist with her speed and prowess who's equally gifted on the mic.
Through almost a full two sets, she only played one instrumental, a percolating postbop shuffle to open the night – understandable considering that most of the acts here have vocalists. The rest of the set was mostly standards, which also makes sense considering where she was. It was what Fulton did with them that separates her from thousands and thousands of loungey acts around the world. For example, was she going to follow that snarkly little curlicue with another devious glissando? Yessssssss. Maybe one more time? Nope. She'd already moved on to a big hammering series of downward chords.
"Every gig is a good gig," she mused between sets. Confident words – or just the daily routine for one of the great wits in jazz, who makes no secret how much fun she's having onstage. Her rhythm section shuffled and swung tersely and tightly behind her as she made her way through one eclectic intro after another: hard blues into Bessie Smith's After You've Gone, plaintive classical balladry into April in Paris. Then she'd take flight over the entire span of the keyboard, trickly highs to looming lows, slowly building to a crescendo and then back at times. Like her vocals, the musical jokes were subtle, but there were a lot of them, quotes from other tunes as well as unexpected peek-a-boo phrases and more. See for yourself next month.
August 29, 2017 Posted by delarue | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews	| Champian Fulton, champian fulton brooklyn, champian fulton radegast hall, champian fulton radegast hall review, Champian Fulton review, concert, concert review, jazz, jazz passengers, jazz passengers bar lunatico, Music, music review, piano jazz, vocal jazz | Leave a comment
Iconic New York Jazz Cats Take Lots of Chances; One of Them Risks a Bed-Stuy Gig
Saxophonist Roy Nathanson and pianist Arturo O'Farrill are part and parcel of New York. O'Farrill is one of the world's great big band leaders, composers and pianists, has shifted plenty of paradigms in latin jazz and has never backed away from a fearlessly populist political stance. Nathanson was a pillar of the downtown jazz world before John Zorn's ascendancy and eventual embrace by the mainstream, served as a crucial piece of punk jazz – and then noir jazz – pioneers the Lounge Lizards and since then has done the same with the Jazz Passengers, who've had a long association with Deborah Harry. That band makes a very rare Brooklyn appearance this Dec 22 at 8 PM at Bar Lunatico in Bed-Stuy. If you can figure out how to get there (it's about fifteen minutes away from the C train, if the C is running at all), you can see an iconic New York act in one of the few remaining shadowy neighborhoods they evoke, for the price of one of the bar's pricy crostinis and something in the tip bucket. The people who run the place are very pleasant – it's sort of a mashup of Pete's Candy Store and the Jazz Standard – and the sound is excellent.
Nathanson played a killer duo set with O'Farrill at Barbes back in July. While neither have much of an association with free jazz, they're both great improvisers, so it was a treat to see them fly completely without a net, spar, banter and pull away from each other, only to reconverge as if nothing wild or crazy had just happened. The two opened with a brooding jazz poetry number contemplating what home means in an age in New York when even the right wing media admits that two thirds of the population are either homeless or a paycheck away. The two traced an austere, chromatically charged minor-key blues direction, Nathanson intoning wordlessly and ominously when his sax wasn't veering away from the center into flurries of hard bop. O'Farrill echoed him with his own spirals at the end, up to a frenetic, jackhammer coda where Nathanson went bounding through O'Farrill's hailstones. Then they made uneasy fun out of stairstepping polyrhythms, again picking up the pace with an icepick intensity.
The pair edged their way slowly toward swinging barrelhouse blues, but without the striding lefthand, hit a pantingly rhythmic interlude, then Nathanson blew smoky, moody phrases as O'Farrill backed into the shadows, elegant and melancholic. The next number found the two pairing off wry, leaping staccato accents as O'Farrill built stygian, resonant ambience, pedaling way down at the bottom of the keys with his left as Nathanson drew him further and further into a duel, eventually hitting his octave pedal for an almost Balkan accordion effect. They edged back toward the original gritty, bluesy theme from there, O'Farrill finally hitting a semblance of a stroll with the rhythm.
As the stroll became a brisk stomp, Nathanson rose to O'Farrill's intensity, finally signaling the relentless pianist onto a siding and then a long, slow, decline that picked up when Nathanson went to the mic again. "All hands on deck are going down," he explained coldly. Then he flipped the script with a cozy wee-hours melody as O'Farrill gave the vehicle a more-or-less steady, enigmatic chassis.
From there, Nathanson went for the saxophone equivalent of bluesmetal as O'Farrill rippled and sprinted through cluster after cluster in the upper registers before hitting a dancing, insistent pasage. By now, it was clear that they weren't about to follow much of any straight-ahead rhythm and were teasing both each other as well as the crowd, no matter how much New Orleans congeniality Nathanson might send wafting through the room.
The duo's next sparring match paired off wavering, airy sax phrasing with clenched-teeth piano rhythm punctuated by the occasional detour toward blues. O'Farrill opened one of the later numbers with a frantic, Carla Bley-ish lefthand attack. There was at least another 45 minutes to go in the performance, a cuisinart version of a standard and then another hard-hitting new theme and endlessly uneasy variations if memory serves right, but by then the recorder was out of memory. See what kind of magic you can be witness to when you go a little off the beaten path in Brooklyn?
December 15, 2016 Posted by delarue | concert, Live Events, Music, music, concert, New York City, review, Reviews	| arthuro o'farrill, arturo o'farrill review, arturo o'farrill roy nathanson, arturo o'farrill roy nathanson barbes, concert, concert review, free jazz, jazz, jazz improvisation, jazz passengers, jazz passengers bar lunatico, jazz passengers brooklyn, jazz poetry, Music, music review, noir jazz, poetry, roy nathanson, roy nathanson arturo o'farrill barbes review, roy nathanson review | Leave a comment
The Puppeteers Take Harlem by Storm
[republished from Lucid Culture's sister blog New York Music Daily]
You could call the Puppeteers a latin jazz band, but they're a lot more than that. Pianist Arturo O'Farrill brings everything he does in the Afro-Latin Jazz Orchestra (who have a phenomenal new album, The Offense of the Drum, coming out): Afro-Cuban grooves, symphonic gravitas and a biting edge that sometimes slinks off into noir. Vibraphonist Bill Ware also brings some of the noir he does so memorably in the Jazz Passengers, but his duels with O'Farrill on the band's debut album make it one of the most flat-out exciting jazz albums released in the past several months. Thursday night at Ginny's Supper Club in Harlem, the two were wise to put bassist Alex Blake out front: with his terse but frenetically hammering solos on both bass and bass guitar along with his nonchalantly animated scatting, he was a big hit with the crowd. And he did all that sitting down for practically the whole show. With a fullsize bass, to call that a stretch is no joke, but Blake reached way up for the low notes – surreal, huh? – and made it look effortless.
Drummer Jaime Affoumado played mostly with brushes, deftly shifting from one Spanish Caribbean beat to another and then to straight-up funk from time to time. His purposeful drive kept one of the early numbers from drifting into Mad Men soundtrack territory. During a solo later on, he wryly impersonated a salsa percussion section, first with timbale riffage on the bell of the ride cymbal, then tapping out a bomba beat on the snare.
This gig was more about friendly camaraderie and exploration than megawatt solos. O'Farrill brought an unexpected and very effective wariness to a tempo-shifting, dynamic take of Resolutions, Ware and then Blake maintaining the mood throughout expansive solos. Ware's jazz waltz Peaceful Moment gave the vibraphonist a chance go to deep into lushly lingering, nocturnal Milt Jackson territory before picking up the pace. Later the band looked back to Coltrane for a take of Soul Eyes that began with a resonant tenderness and then went on a methodical trajectory upward.
On this particular night, the version of Ware's Bio Diesel was a lot more warmly straight-up and funky than the surrealistically bubbly album track – Ware revealed that he'd written it for his girlfriend, who works in alternative energy. Papo Vasquez's Not Now Right Now got the night's most acerbic, hard-hitting crescendos from both O'Farrill and Ware, but the night's most memorable number, by O'Farrill, was arguably its most pensive one. Opening with a poignant neoromantic glimmer, the pianist then brought his trumpeter son Adam up to contribute an almost minimalistically wired solo, carefully and methodically crafting an uneasy mood that the rest of the band kept close to the vest and never deviated from.
June 7, 2014 Posted by delarue | concert, jazz, latin music, Live Events, Music, music, concert, New York City, review, Reviews	| Alex Blake bass, Arturo O'Farrill, bill ware, bill ware vibraphone, concert, concert review, Jaime Affoumado, jazz, jazz passengers, melodic jazz, Music, music review, puppeteers band, puppeteers band review, puppeteers ginny's, puppeteers ginny's review, puppeteers review | Leave a comment
Wickedly Fun, Adrenalizing Sounds from the Puppeteers
The Puppeteers' debut album is packed with the kind of fun you would expect a bunch of guys to be having at their local. Which is where the band came together, and where they got their name, from the now-defunct South Slope, Brooklyn jazz bar. The ringleaders of the band are polymath pianist Arturo O'Farrill and Jazz Passengers vibraphone powerhouse Bill Ware, with Alex Blake on bass and Jaime Affoumado on drums. It's a wild, adrenalizing, tuneful ride.
Ware sets the stage with an impossibly machineguning solo that O'Farrill just has to match, and he does, and then he leaves it to the rhythm section. That's the lickety-split swing tune, On the Spot, that opens the album. Another tune by Blake, Jumping, puts O'Farrill in the driver's seat, and he owns it all the way through its clenched-teeth noir swing to a crash of an ending. In Whom is a distinctive, chromatically-charged O'Farrill tune, and another blast of adrenaline from the pianist. He gets plenty of high-fives for his role leading the Afro-Latin Jazz Orchestra, a unit that doesn't give him as much room to cut loose and show off his blazing chops like he does here.
Ware fuels the agile, waltzing Peaceful Moment (peaceful, yeah, right!) with a tightly wound baroque-tinged intensity, O'Farrill's sizzling righthand spirals contrasting with the minimalist bass solo and then the vibraphone-driven ballad that the song morphs into. Bio Diesel, by Ware, has a lively, bracing offcenter sway, as if to say, "We're fueled by something weird, but it's working."
O'Farrill elevates Affoumado's ballad Dreams of Dad with rapidfire, bluesy spirals that keep going even as the drums drop out: the adrenaline just won't stop. Likewise, O'Farrill's jackhammer lefthand propels Papo Vasquez's Not Now Right Now up to a clever, intricate interweave of upper righthand bustle in tandem with the vibes. Then Ware's latin-tinged Lonely Days Are Gone (a Box Tops reference) contrasts O'Farrill's spins and dips with Ware's tersely swinging lines. They wind up the album with another Ware tune, The Right Time, with a similar dichotomy, Ware playing voice of reason to O'Farrill's cyclotron pyrotechnics. Has the word "adrenaline" appeared here yet?
A word about the venue the band takes their name from: wrong place, wrong time. Situated about equidistant from Barbes and I-Beam (and now Shapeshifter Lab), Puppets had good sound, great food and the best veggie burger beyond the outskirts of Rastafarian Crown Heights. But they were never able to catch on with the youngish crowd that comes out to I-Beam for cutting-edge sounds and the latin-inclined acts favored at Barbes – or with an older neighborhood crowd that might have been into Puppets' more oldschool postbop acts. Charging more of a cover than their neighbors probably had something to do with that too. Until tourists other than those who live there start to make the South Slope a destination – or the neighborhood is taken over completely by a Wall Street crowd – would-be impresarios should take notice.
April 23, 2014 Posted by delarue | jazz, Music, music, concert, review, Reviews	| album review, Alex Blake bass, Arturo O'Farrill, bill ware, bill ware vibraphone, Jaime Affoumado, jazz, jazz passengers, melodic jazz, Music, music review, puppeteers band, puppeteers band review, puppeteers review | Leave a comment
The Jazz Passengers Are Excited to Be Reunited, No Joke
The Jazz Passengers' new album Reunited – their first in over ten years – is as nonchalantly cool as anything they've ever released. Saxophonist Roy Nathanson's cinematic compositions are as imagistic as ever, imbued with his signature wit, trombonist Curtis Fowlkes every bit the vintage soul crooner, both on the horn and the mic and vibraphonist Bill Ware his understatedly counterintuitive self. Violinist Sam Bardfeld, bassist Brad Jones, drummer E.J. Rodriguez and guitarist Marc Ribot channel their signature out-of-the-box arrangements, melodic pulse, slinky latin groove, and eclecticism, respectively. Much of this has an early 70s psychedelic feel, from the brief period where soul music, funk and jazz got to mingle unmolested before fusion came along and busted up the party.
Elvis Costello sings the opening track, Wind Walked By, a casually strolling noir-tinged New Depression era swing tune: "Shit out of luck, the American way." Ware's vibes eerily anchor Nathanson's alto sax, Ribot's guitar supplying a distant unease, swaying from nonchalant blues to off-center skronk on the outro. Seven, an instrumental works a hypnotic circular motif like an early 70s Herbie Hancock soundtrack number, Fowlkes and Ribot's wah guitar building suspense up to a violin/guitar swirl. Fowlkes sings Button Up, a matter-of-fact soul/jazz groove, wah guitar mingling with Ware's expansive, deadpan, bluesy cascades. Thom Yorke's The National Anthem trades midnight Heathrow airport corridor atmosphere for 4 AM Ninth Avenue Manhattan drama – with Ribot and then Bardfeld skronking and screeching behind the aplomb of the rest of the crew, it's every bit as menacing as the original. The best single song on the album might be Tell Me (by Fowlkes/Nathanson, not the Glimmer Twins), dark latin soul morphing into a buoyant 6/8 ballad, the warmth of the trombone silhouetted against the plinking thicket where Ware and Bardfeld are hiding out.
They redo Spanish Harlem as laid-back organ-driven swing with an amusing Spanglish skit, Ware, Fowlkes and Rodriguez joined by a whole different crew including Russ Johnson on trumpet, Tanya Kalmanovitch on viola and Susi Hyldgaard on vocals. There are also two bonus live tracks with longtime collaborator Deborah Harry. Think of Me, a Brad Jones/David Cale composition is lusciously restrained Twin Peaks swing. And who would have thought that she'd sing this 1995 concert version of One Way or Another (redone here brilliantly as Brat Pack-era suite) better than the original – or for that matter that she'd be an even more captivating singer in 2010, as recent Blondie tours have triumphantly shown. The only miss on the album is Reunited (the Peaches and Herb elevator-pop monstrosity), which pulls plenty of laughs in concert but misses the mark here: garbage in, garbage out. You could call this cd the comeback of the year except that there's nothing really for them to come back from other than a long absence – which is happily over now. Last month's shows at the Jazz Standard saw them clearly psyched to be back in action again; hopefully there'll be more of it.
October 13, 2010 Posted by delarue | jazz, Music, music, concert, review, Reviews, soul music	| bill ware, blondie band, brad jones bass, bradley jones bass, cinematic music, curtis fowlkes, debbie harry, deborah harry, e.j. rodriguez, elvis costello, film music, herbie hancock, jazz, jazz passengers, jazz passengers reunited, jazz passengers reunited review, jazz passengers review, marc ribot, modern jazz, new york noir, noir jazz, noir music, roy nathanson, russ johnson trumpet, sam bardfeld, soul jazz, soul music, susi hyldgaard, tanya kalmanovitch, thom yorke, vibraphone jazz, vocal jazz | Leave a comment

redpajama_set_name: RedPajamaCommonCrawl


The first semi-final game of the FIFA World Cup, Russia 2018 has come and gone. France carried the day ahead of a tough opposition. All thanks to Samuel Umtiti's header in the 50th minute of the game.
The match started carrying a burden of too much expectations in line with the potential of individual player in each team.
Belgium played more of the ball, pushed France into their half and force all their men to be behind the ball. France on the hand, came to the game with a well practiced tactical play to catch their opponent on a counter.
Both teams created chances to force the goalkeepers to some marvellous saves.
The breakthrough came in the second half when Umtiti nodded home from a corner kick.
As Belgium tried to bring themselves back into the game so as they were wary of France's fast players particularly Mbappe and Griezman in order not to concede more late in the game.
However, football fans expected a more competitive game having both side scored and possibly get to penalty shootout.
The score did not change till the final whistle was blown. It remained France 1 Belgium 0.
By so doing, The 1998 host and eventual winner, France will play either of England and Croatia in Moscow on Sunday. While Belgium will battle the loser in any of Croatia or England for the third place award on Saturday.


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Q: Styles when importing pd.Dataframe to excel.openpyxl library I need help.You need to add pd.DataFrame to excel with a certain style.The openpyxl library. When executing the code specified below, the data is added to the sheet.I usually find the answers to my questions on this site or YouTube, but this problem has put me at a dead end.Even after reading the pandas.io.formats.style.Styler.to_excel documentation, I didn't understand anything. This is my first question on this site.If I made a mistake with the design of the question, then let me know so that I can work on the errors.I need a specific cell format (font, size, borders, etc.).I poked around a little and found this option.How do I add more style to indexes and headers? This option makes the auto-height of the line fit the size of the text, maybe there is still an option for the auto-width of the column?
my result
the result I wantThanks!!
properties = {"border": "2px solid black", "font-size": "28px"}
    with pd.ExcelWriter(f'{name}.xlsx', mode="a", if_sheet_exists='replace', engine="openpyxl") as writer:
         vkd.style.set_properties(**properties).to_excel(writer, sheet_name="Остаток по датам коровы",startcol=1,startrow=1)

redpajama_set_name: RedPajamaStackExchange


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Home»Archives»Out There»Space Travel
The surprising history of the extraterrestrial-life debate
By rcohlers on February 2, 2021 Big Questions, Christianity, Correspondents, Exoplanets, Extraterrestrials, History, Latest, natural philosophy, Philosophy, Philosophy, Popular, R. Clinton Ohlers, Science and Religion, Space Travel, Spectroscopy, top story, UFOs
Special to CosmicTribune.com By R. Clinton Ohlers The debate over the existence of extraterrestrial life has a surprisingly long history — one as old as the history of science itself. Astrophysicist and historian of science and religion, Parandis Tajbakhsh, recently summarized this history for the International Research Network for Science and Belief in Society. […]
Leaked report details days-long, high-speed UFO incidents near Nimitz carrier group
By Cosmic Tribune on May 27, 2018 Impacting, Out There, Space Travel, UFOs, Unexplained
by WorldTribune Staff, May 27, 2018 A U.S. guided missile cruiser and two F-18s in 2004 made visual and radar contact with a UFO that traveled at "ballistic missile speeds," according to a leaked Pentagon report. The Pentagon's report, issued in 2009, reveals first-hand accounts of the encounter, which was documented in video that emerged […]
July 1969: 'The heavens have become a part of man's world'
By Cosmic Tribune on July 17, 2017 Astronomy, Christianity, Daily Nuggets, God, God, Really, Impacting, Moon, Origins, Out There, Religion, Space Travel, Time and Space
By Bill Federer, July 17, 2017 The first mission to walk on the moon was Apollo 11, which blasted off JULY 16, 1969, from Cape Kennedy. President Richard Nixon stated in Proclamation 3919: "Apollo 11 is on its way to the moon. It carries three brave astronauts; it also carries the hopes and prayers […]
NGC 3628: The Hamburger Galaxy
By Cosmic Tribune on May 4, 2017 Astronomy, Galaxies, Impacting, Out There, Space Travel, Telescopes, Time and Space
What is pictured is a sharp telescopic view of a magnificent edge-on spiral galaxy NGC 3628, a puffy galactic disk divided by dark dust lanes. Of course, this deep galactic portrait puts some astronomers in mind of its popular moniker, The Hamburger Galaxy. The tantalizing island universe is about 100,000 light-years across and 35 million […]
A peek at planet Earth and the moon from between the rings of Saturn
By Cosmic Tribune on April 25, 2017 Astronomy, Daily Nuggets, Earth, Earthly, Impacting, Moon, Out There, Planets, Saturn, Space Travel, Telescopes, Time and Space
April 25, 2017 On April 12, as the Sun was blocked by the disk of Saturn the Cassini spacecraft camera looked toward the inner Solar System and the gas giant's backlit rings. At the top of the mosaicked view is the A ring with its broader Encke and narrower Keeler gaps visible. At the bottom […]
Scenic vistas for astronauts on the International Space Station
By Cosmic Tribune on January 31, 2017 Astronomy, Daily Nuggets, Galaxies, Impacting, Milky Way, Out There, Space Travel, Stars, Telescopes, Time and Space
Jan. 31, 2017 [CLICK ON IMAGE FOR HIGH RESOLUTION, NASA, JSC, ESRS] Astronauts aboard the International Space Station see some amazing vistas, one of which was captured in this breathtaking picture in mid-2015. First, visible at the top, are parts of the space station itself including solar panels. Just below the station is the band […]
No, 'Rogue One' isn't anti-Trump; It's about selfless sacrifice and 'hope'
By Cosmic Tribune on December 29, 2016 Astronomy, Causal, Daily Nuggets, Evil, Galaxies, God, Impacting, Morality, Out There, Robotics, Socialism, Space Travel, Stars, Time and Space, Transcendent, U.S. Media
December 28, 2016 Let's be clear — "Rogue One: A Star Wars Story" won't replace "The Empire Strikes Back" as the best film in the beloved franchise. That doesn't mean "Rogue One" isn't both satisfying and grittier than any film in the "Star Wars" canon. … We finally learn how those Death Star plans were […]
Scenic vistas from . . . Mars by NASA's Curiosity
By Cosmic Tribune on September 20, 2016 Astronomy, Daily Nuggets, Impacting, Mars, Out There, Planets, Space Travel, Telescopes
September 20, 2016 It's hard to believe that more than 4 years have passed since the Curiosity rover (a.k.a. NASA's Mars Science Laboratory) dropped onto the broad floor of Gale crater and began its marathon exploration of Mars. Although the craft's "primary mission" spanned only 23 months, the hope has always been that this durable, […]
NASA launches probe to return samples from Asteroid Bennu
By Cosmic Tribune on September 12, 2016 Asteroids, Astronomy, Daily Nuggets, Impacting, Origins, Out There, Robotics, Space Travel, Time and Space
September 11, 2016 David Dickinson, Sky and Telescope The dusk skies lit up over Cape Canaveral on September 8th, as NASA's ambitious Origins, Spectral Interpretation, Resource Identification, Security and Regolith Explorer (Osiris-REX) mission started its long round trip journey. Its mission: meet up and explore Earth-crossing Apollo asteroid 101955 Bennu and bring samples of it […]
Cassini's awe-inspiring view of Jupiter's volcanic moon Io
By Cosmic Tribune on August 12, 2016 Astronomy, Impacting, Jupiter, Moon, Out There, Planets, Space Travel, Telescopes, Time and Space
[CLICK ON IMAGE FOR HIGH RESOLUTION, Cassini Imaging Team, SSI, JPL, ESA, NASA] How big is Jupiter's moon Io? The most volcanic body in the Solar System, Io (usually pronounced "EYE-oh") is 3,600 kilometers in diameter, about the size of planet Earth's single large natural satellite. Gliding past Jupiter at the turn of the millennium, […]


"The people you meet in heaven will (look) the way YOU remember them. They will look different to everyone they know."
"When you 'see' people in heaven you have to remember you're not in our three dimension realm anymore, so things like looks won't be anything you'll be interested in... everyone will just 'be' who they 'are'... spiritually...nothing in our world or what we did (or what anyone else did) in our world will matter. We will have MUCH bigger things to look forward to."
Interesting approaches! What do you think? And if you're reading this, follow me. I am basically writing to myself right now.


So can EB-5 funds to be used to replace bridge financing or not? The rules have changed in the past couple of years.
Since the February 26, 2015 USCIS SOF call, there have been people voicing concerns that the USCIS is not allowing parents to obtain loans for the purpose of funding EB-5 investments for their children. This is incorrect.


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Indies Records — чешский лейбл звукозаписи, расположен в Брно. Лейбл был основан в 1990 году Миланом Палешом () и Милошом Грубером (). К 2006 году выпущено более 300 записей. Девиз фирмы — «Мы выпускаем только ту музыку, которая нам нравится».

Некоторые известные исполнители, записывавшиеся в Indies Records: Ива Биттова, Зузана Наварова.

Лейбл выпускал номерные альбомы дебютирующих артистов, как правило победителей различных конкурсов и фестивалей, сборники записей со старых виниловых пластинок, а также издал книгу «Чехословацкий рок на граммофонных пластинках» (; дискография чехословацкого рока 1960—1997 годов), авторы Мирослав Балак () и Жозеф Китнар ().

С 2007 года Indies Records разделился на три независимых подлейбла:
 Indies Scope Records
 Indies MG Records
  Indies Happy Trails

Примечания

Лейблы звукозаписи, основанные в 1990 году
Лейблы звукозаписи Чехии
Экономика Брно
Культура Брно

redpajama_set_name: RedPajamaWikipedia


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17mins After tussle, Haryana's Home Minister ceases to hold CID
2hrs U.S. senators on 'digital detox' as they hear Trump's impeachment trial
2hrs Tesla passes $100 billion, teeing up big payout for Elon Musk
Parsnips and pear trees
SWAPNIL MIDHA
December 28, 2018 12:12 IST
Updated: December 28, 2018 12:12 IST
How a British family made room in their traditions to give the vegetarian newly-wed a memorable first Christmas
Cities in the UK are dotted with restaurants catering to the growing number of vegans, vegetarians, and 'flexitarians' in the country — a movement encouraging people to adopt a mostly plant-based diet, with room for occasional meat. Travelling in the countryside however, is a wee bit trickier. Pop into a traditional British pub and your options are often limited to chips, margherita pizza, cheese and onion rolls, or a sad salad. Or the worst thing I've ever eaten: blueberry and goat cheese pie.
So when we were invited up to Market Harborough, a tiny town in the midlands to celebrate a traditional Christmas with my husband's family, I braced myself for brussels sprouts, yorkshire pudding, and maybe some cake and custard.
"I could have roast potatoes!" I added to the WhatsApp group. "We traditionally make them with lard, which goes in yorkshire puddings too," texted my father-in-law. They must've felt a little bit sorry for me, because the next day I got a text stating that a vegetarian Christmas pudding was being made especially for me, with brandy-soaked raisins, currants, cherries, apples, carrots, and almonds. I couldn't bring myself to tell them I don't really fancy Christmas pudding.
The family Christmas Eve dinner tradition has always been to enjoy a home-cooked lasagna, layered with a rich bolognese-style sauce and topped off with a creamy bechamel. So, of course, I assumed my dinner would be a cheese sandwich with some crisps, and a pot of hummus if I was lucky. "Or," my in-laws suggested, "You could make us a curry?"
And so a decades-long tradition was broken. Christmas Eve dinner was a muttai curry tempered with mustard seeds and karuveipillai, a baby-potato biryani with caramelised onions, and thayir sadham. A whole new world of flavours and aromas for the residents of the street — if I may say so myself. My offer to swap out their china for banana leaves, however, was politely declined.
On Christmas morning, I bounded down the stairs two at a time for Christmas-special pancakes, but was handed a coat and told to get in the car instead. "We're going foraging."
We drove to the family allotment, a part of farming land rented out to residents to grow their own produce.
Now, there are degrees of madness, but my family set new benchmarks. For there wasn't a soul in sight on the farm on the freezing Christmas morning, and a thick layer of steam was lifting off the frosted soil, with the winter sun raising the temperature to a couple above zero.
But my father-in-law and his mate Graham simply had to pick the freshest brussels and parsnips for their family dinner. "We like a frost over our parsnips before digging them out, it makes them sweeter," imparted Graham, as he dusted the ice off his vegetables.
By 2 pm, the kitchen was buzzing, the counters filled with baking trays, serving bowls and wine glasses. The usually curious family cat couldn't make sense of the volley of smells, and headed out to chase birds and mice instead.
The meal began with a clementine and cranberry bucks fizz, followed by a butternut squash, peppers and chilli soup. Garnished with fresh coriander leaves and croutons, it was possibly the most delicious serving of butternut squash I've had. The trick, it seems, is in letting original flavours thrive without dumping a load of spices in. The meat-eaters dug into a starter of parma-ham, melon and grapes. Christmas crackers, trivia cards, mandatory dad-jokes and a few more glasses of fizz later, our appetites were ready for the main course.
In what was a true shock, there was a total of two items I could not eat — roast turkey, and pigs in blankets. The potatoes were roasted in rapeseed oil, the parsnips glazed with maple syrup, the red cabbage braised with apples and butter. Traditional gravy was swapped out for onion gravy, yorkshire pudding replaced with carrot and swede mash, and crispy bacon bits left off the freshly-picked steamed brussels sprouts. Especially for the rabbit in the house, a cranberry and brie tart topped with pumpkin seeds made an appearance, its filo pastry crisp and golden.
It may not have been Christmasy in any way, but the dish of cauliflower and broccoli baked in a sauce made with milk, cheese, stock, flour, chives and dijon mustard was a hit, even among the staunch carnivores.
For dessert, two look-alike puddings were topped with flaming rum, and served with a choice of cream, and brandy-cream. The vegetarian one was made with faux-suet (palm oil, wheat or rice flour). "You're going to finish this entire veggie Christmas pudding, aren't you?"
"Only if you tell me how you made the croissants," I tried my luck.
"Well my dear," said the father-in-law, "You will have to ask the chef at Waitrose."
Related Topics Life & Style Food
Printable version | Jan 23, 2020 8:51:48 AM | https://www.thehindu.com/life-and-style/food/christmas-tradition-vegan-meal-market-harborough-christmas-eve-dinner/article25848410.ece
Mumbai's slice of Paris
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Flavoured with ancestral lore, a new book with some 200 recipes brings Maharashtrian cuisine into the limelight
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The Purpose Driven Life by Rick Warren is one of the best selling books of all time due to peoples desire to learn their true purpose. In this podcast Tom Beal shares a process that only takes minutes to find your true calling in life at this moment. It has helped thousands and is here to assist you today. Enjoy!
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igreen office furniture
Main Navigation Desktop
Desk Collection
Conference Table/Table
FlexiSpot / Work Meets Workout
Been Series
Tender Series
Pentagon Series
Paraline Series
ig-W Series
ig-F Series
ig-H Series
ig-M Series
Imperial Series
Terms and Conditions of igreen office furniture sdn. bhd.
Definitions
1.1 "Supplier" shall mean igreen office furniture sdn. bhd. and its successors and assigns.
1.2 "Customer" shall mean the Customer or any person acting on behalf of and with the authority of the Customer.
1.3 "Guarantor" means that person (or persons), or entity that agrees herein to be liable for the debts of the Customer on a principal debtor basis.
1.4 "Goods" shall have the same meaning as in section 2 of the Sale of Goods Act 1908 and are goods supplied by the Supplier to the Customer (and where the context so permits shall include any supply of Services as hereinafter defined).
1.5 "Services" shall mean all services supplied by the Supplier to the Customer and includes any advice or recommendations (and where the context so permits shall include any supply of Goods as defined supra).
1.6 "Price" shall mean the cost of the goods as agreed between the Supplier and the Customer subject to clause 4 of this contract.
2. Acceptance
2.1 Any instructions received by the Supplier from the Customer for the supply of Goods shall constitute acceptance of the terms and conditions contained herein.
2.2 Where more than one Customer has entered into this agreement, the Customers shall be jointly and severally liable for all payments of the Price.
2.3 Upon acceptance of these terms and conditions by the Customer the terms and conditions are irrevocable and can only be rescinded in accordance with these terms and conditions or with the written consent of the manager of the Supplier.
2.4 None of the Supplier's agents or representatives are authorised to make any representations, statements, conditions or agreements not expressed by the manager of the Supplier in writing nor is the Supplier bound by any such unauthorised statements.
2.5 The Supplier is not required to reproduce any material or produce any Goods that are, in the Suppliers opinion, illegal, objectionable, or libellous in nature or that is in breach of any patent, design, or statute. The Supplier will be indemnified by the Customer in respect of any and all damages claims, costs, and expenses (including actual legal costs and disbursements on a solicitor and own client basis) for which the Supplier may be liable or which it may suffer arising out of any libel or breach of statute associated with the Goods provided to the Customer.
3. Goods / Services
3.1 The Goods and/or Services are as described on the invoices, quotation, work authorisation or any other work commencement forms as provided by the Supplier to the Customer.
3.2 Where the performance of any contract with the Customer requires the Supplier to obtain Goods or Services from a third party, the contract between the Supplier and the Customer shall incorporate and shall be subject to the conditions of supply of such Goods and Services to the Supplier, and the Customer shall be liable for the cost in full of such Goods or Services.
4.1 At the Suppliers sole discretion the Price shall be either; (a) The Price shall be as indicated on invoices provided by the Supplier to the Customer in respect of Goods supplied; or (b) The Price shall be the Supplier's current price at the date of delivery of the Goods according to the Suppliers current Price list; or (c) The Price of the Goods shall, subject to clause
4.2, be the Suppliers quoted Price, which shall be binding upon the Supplier provided that the Customer shall accept in writing the Suppliers quotation within thirty (30) days.
4.3 When quotations are based on specifications, roughs, layouts, samples or dummies or printed, typewritten or other good copy, any extra work or cost caused by any variation by the Customer of his original instructions or by the manuscript copy being, in the Suppliers opinion, poorly prepared or by the Customer's requirements being different from those originally submitted or described may be charged to the Customer and shown as extras on the invoice.
4.4 All work carried out whether experimentally or otherwise at the Customer's request will be charged to the Customer.
4.5 Any tabulated work and/or foreign language included in the job but not contained in the manuscript originally submitted for the purpose of estimating may be charged to the Customer and shown as extras on the invoice.
4.6 All extra work caused by author's corrections including reinstallation and/or the over-running of Design furniture may be charged to the Customer and shown as extras on the invoice.
4.7 Unless otherwise agreed, the Customer shall bear the cost of Furniture, or Design, or Material, specially bought at his request for the project.
4.8 Time for payment for the Goods shall be of the essence and will be stated on the invoice, quotation or any other order forms. If no time is stated then payment shall be due on 20th each month following the posting of an invoice or statement to the Customer's address or address for notices.
4.9 Payment will be made by cash, or by cheque, or by bank cheque, or by direct credit, or by any other method as agreed to between the Customer and the Supplier.
4.10 The Price shall be increased by the amount of any GST and other taxes and duties, which may be applicable, except to the extent that such taxes are expressly included in any quotation given by the Supplier.
5. Delivery Of Goods
5.1 Delivery of the Goods shall be made to the Customer's address. The Customer shall make all arrangements necessary to take delivery of the Goods whenever they are tendered for delivery, or delivery of the Goods shall be made to the Customer at the Supplier's address.
5.2 Delivery of the Goods to a carrier, either named by the Customer or failing such naming to a carrier at the discretion of the Supplier for the purpose of transmission to the Customer, is deemed to be a delivery of the Goods to the Customer.
5.3 The costs of carriage and any insurance which the Customer reasonably directs the Supplier to incur shall be reimbursed by the Customer (without any set-off or other withholding whatever) and shall be due on the date for payment of the Price. The carrier shall be deemed to be the Customer's agent.
5.4 Where there is no agreement that the Supplier shall send the Goods to the Customer, delivery to a carrier at limited carrier's risk at the expense of the Customer is deemed to be delivery to the Customer.
5.5 The Customer shall take delivery of the Goods tendered notwithstanding that the quantity so delivered shall be either greater or less than the quantity purchased provided that;
(a) such discrepancy in quantity shall not exceed 10%, and
(b) The Price shall be adjusted pro rata to the discrepancy.
5.6 The failure of the Supplier to deliver shall not entitle either party to treat this contract as repudiated.
5.7 The Supplier shall not be liable for any loss or damage whatsoever due to failure by the Supplier to deliver the Goods (or any of them) promptly or at all.
6. Risk
6.1 If the Supplier retains property in the Goods nonetheless all risk for the Goods passes to the Customer on delivery.
6.2 If any of the Goods are damaged or destroyed prior to property in them passing to the Customer, the Supplier is entitled, without prejudice to any of its other rights or remedies under these terms and conditions (including the right to receive payment of the balance of the Price for the Goods), to receive all insurance proceeds payable in respect of the Goods. This applies whether or not the Price has become payable under these terms and conditions. The production of these terms and conditions by the Supplier is sufficient evidence of the Supplier's rights to receive the insurance proceeds without the need for any person dealing with the Supplier to make further enquiries.
7. Defects/Returns
7.1 The Customer shall inspect the Goods on delivery and shall within seven (7) days of delivery notify the Supplier of any alleged defect, shortage in quantity, damage or failure to comply with the description or quote. The Customer shall afford the Supplier an opportunity to inspect the Goods within a reasonable time following delivery if the Customer believes the Goods are defective in any way. If the Customer shall fail to comply with these provisions the Goods shall be conclusively presumed to be in accordance with the terms and conditions and free from any defect or damage. 7.2 For defective Goods which the Supplier has agreed in writing that the Customer is entitled to reject, the Supplier's liability is limited to either (at the Supplier's discretion) replacing the Goods or repairing the Goods provided that the Customer has complied with the provisions of clause 7.1.
7.3 Whilst every care is taken by the Supplier to carry out the instructions of the Customer, it is the Customers responsibility to undertake a final proof reading of the Goods. The Supplier shall be under no liability whatever for any errors not corrected by the Customer in the final proof reading. Should the Customers alterations require additional proofs this may be invoiced as an extra.
7.4 When style, type or layout is left to the Suppliers judgement, then the Customer makes further alterations to the copy this will be invoiced as an extra.
8. Warranty
8.1 For Goods not manufactured by the Supplier the warranty shall be the current warranty provided by the manufacturer of the Goods. The Supplier shall be under no liability whatsoever except for the express conditions as detailed and stipulated in the manufacturers warranty.
8.2 Once accepted by the Customer, the Supplier's written quotation shall be deemed to interpret correctly the Customer's instructions, whether written or verbal. Where verbal instructions only are received from the Customer, the Supplier shall not be responsible for errors or omissions due to oversight or misinterpretation of those instructions.
8.3 The Supplier shall be under no liability whatever to the Customer for any variation (beyond the reasonable control of the Supplier) in colours between the approved prototype or proof and the finished Goods because of variations in proof preparation methods and substrates. The Supplier however will use its best endeavours to provide a commercially acceptable finished product.
9. Default & Consequences of Default As per paragraph 4.7, all invoices are due for payment 20th of the month following invoice date, unless other arrangements have been made and confirmed in writing. Overdue invoices will automatically go to AdaJaya Debt Collection Service Malaysia for collection along with collection costs over and above the original debt.
9.1 Interest on overdue invoices shall accrue from the date when payment becomes due daily until the date of payment at a rate of 2.5% compounding per calendar month and shall accrue at such a rate after as well as before any judgement.
9.2 If the Customer defaults in payment of any invoice when due, the Customer shall indemnify the Supplier from and against all of the Supplier's costs and disbursements including on a solicitor and own client basis and in addition all of the Supplier's nominees costs of collection.
9.3 Without prejudice to any other remedies the Supplier may have, if at any time the Customer is in breach of any obligation (including those relating to payment), the Supplier may suspend or terminate the supply of Goods to the Customer and any of its other obligations under the terms and conditions. The Supplier will not be liable to the Customer for any loss or damage the Customer suffers because the Supplier exercised its rights under this clause.
9.4 If any account remains unpaid at the end of the second month after supply of the Goods or services the following shall apply: An immediate amount of the greater of $20.00 or 10.00% of the amount overdue shall be levied for administration fees which sum shall become immediately due and payable in addition to the interest payable under clause 9.1 hereof.
9.5 In the event that:
(a) any money payable to the Supplier becomes overdue, or in the Supplier's opinion the Customer will be unable to meet its payments as they fall due, or;
(b) the Customer becomes insolvent, convenes a meeting with its creditors or proposes or enters into an arrangement with creditors, or makes an assignment for the benefit of its creditors, or;
(c) a receiver, manager, liquidator (provisional or otherwise) or similar person is appointed in respect of the Customer or any asset of the Customer, then without prejudice to the Supplier's other remedies at law
(i) the Supplier shall be entitled to cancel all or any part of any order of the Customer which remains unperformed in addition to and without prejudice to any other remedies; and
(ii) all amounts owing to the Supplier shall, whether or not due for payment, immediately become due and payable.
10. Title
10.1 It is the intention of the Supplier and agreed by the Customer that property in the goods shall not pass until:
(a) The Customer has paid all amounts owing for the particular Goods, and
(b) The Customer has met all other obligations due by the Customer to the Supplier in respect of all contracts between the Supplier and the Customer, and that the Goods, or proceeds of the sale of the Goods, shall be kept separate until the Supplier shall have received payment and all other obligations of the Customer are met.
10.2 It is further agreed that:
(a) Until such time as ownership of the Goods shall pass from the Supplier to the Customer the Supplier may give notice in writing to the Customer to return the Goods or any of them to the Supplier. Upon such notice the rights of the Customer to obtain ownership or any other interest in the Goods shall cease.
(b) If the Customer fails to return the Goods to the Supplier then the Supplier or the Supplier's agent may enter upon and into land and premises owned, occupied or used by the Customer, or any premises as the invitee of the Customer, where the Goods are situated and take possession of the Goods, without being responsible for any damage thereby caused.
(c) The Customer is only a bailee of the Goods and until such time as the Supplier has received payment in full for the Goods then the Customer shall hold any proceeds from the sale or disposal of the Goods on trust for the Supplier.
(d) The Customer shall not deal with the money of the Supplier in any way which may be adverse to the Supplier.
(e) Receipt by the Supplier of any form of payment other than cash shall not be deemed to be payment until that form of payment has been honoured, cleared or recognised and until then the Supplier's ownership of rights in respect of the Goods shall continue.
(f) The Customer shall not charge the Goods in any way nor grant nor otherwise give any interest in the Goods while they remain the property of the Supplier.
(g) The Supplier may require payment of the Price or the balance of the Price due together with any other amounts due from the Customer to the Supplier arising out of these terms and conditions, and the Supplier may take any lawful steps to require payment of the amounts due and the Price.
(h) The Supplier can issue proceedings to recover the Price of the Goods sold notwithstanding that ownership of the Goods may not have passed to the Customer. (i) Until such time the Customer has the Supplier's authority to convert the goods into other products and if the goods are so converted, the parties agree that the Supplier will be the owner of the end products.
11. Personal Property Securities
11.1 Upon assenting to these terms and conditions in writing the Customer acknowledges and agrees that:
(a) These terms and conditions constitute a security agreement for the purposes of the PPSA; and
(b) A security interest is taken in all Goods previously supplied by the Supplier to the Customer (if any) and all Goods that will be supplied in the future by the Supplier to the Customer during the continuance of the parties relationship;
11.2 The Customer undertakes to:
(a) sign any further documents and/or provide any further information, such information to be complete, accurate and up-to-date in all respects, which the Supplier may reasonably require to register a financing statement or financing charge statement on the Personal Property Securities Register;
(b) indemnify, and upon demand reimburse, the Supplier for all expenses incurred in registering a financing statement or financing charge statement on the Personal Property Securities Register or releasing any Goods charged thereby;
(c) not register a financing charge statement or a charge demand without the prior written consent of the Supplier;
(d) give the Supplier not less than fourteen (14) days prior written notice of any proposed change in the Customer's name and/or any other change in the Customer's details (including but not limited to, changes in the Customer's address, facsimile number, or business practice); and
(e) Immediately advise the Supplier of any material change in its business practices of selling the Goods which would result in a change in the nature of proceeds derived from such sales.
(f) The Supplier and the Customer agree that nothing in sections 114(1)(a), 133 and 134 of the PPSA shall apply to these Terms and Conditions. (g) The Customer waives its rights as a debtor under sections 116, 120(2), 121, 125, 126, 127, 129, 131 and 132 of the PPSA.
11.3 Unless otherwise agreed to in writing by the Supplier, the Customer waives its right to receive a verification statement in accordance with section 148 of the PPSA.
11.4 The Customer unconditionally ratifies any actions taken by the Supplier under and by virtue of the power of attorney given by the Customer to the Supplier under clauses 11.1 to 11.3. 12. Security & Charge
12.1 Despite anything to the contrary contained herein or any other rights which the Supplier may have howsoever:
(a) Where the Customer and/or the Guarantor (if any) is the owner of land, realty or any other asset capable of being charged, both the Customer and/or the Guarantor agree to mortgage and/or charge all of their joint and/or several interest in the said land, realty or any other asset to the Supplier or the Supplier's nominee to secure all amounts and other monetary obligations payable under the terms and conditions. The Customer and/or the Guarantor acknowledge and agree that the Supplier (or the Supplier's nominee) shall be entitled to lodge where appropriate a caveat, which caveat shall be released once all payments and other monetary obligations payable hereunder have been met. (b) Should the Supplier elect to proceed in any manner in accordance with this clause and/or its sub-clauses, the Customer and/or Guarantor shall indemnify the Supplier from and against all the Supplier's costs and disbursements including legal costs on a solicitor and own client basis.
(c) To give effect to the provisions of clause [11, 12.1(a) to (b)] inclusive hereof the Customer and/or the Guarantor (if any) do hereby irrevocably nominate constitute and appoint the Supplier or the Supplier's nominee as the Customer's and/or Guarantor's true and lawful attorney to execute mortgages and charges (whether registerable or not) including such other terms and conditions as the Supplier and/or the Supplier's nominee shall think fit in his/her/its/their absolute discretion against the joint and/or several interest of the Customer and/or the Guarantor in any land, realty or asset in favour of the Supplier and in the Customer's and/or Guarantor's name as may be necessary to secure the said Customer's and/or Guarantor's obligations and indebtedness to the Supplier and further to do and perform all necessary and other acts including instituting any necessary legal proceedings, and further to execute all or any documents in the Supplier's absolute discretion which may be necessary or advantageous to give effect to the provisions of this clause.
13.1 Where the Supplier has designed or drawn Goods for the Customer, then the copyright in those designs and drawings shall remain vested in the Supplier, and shall only be used by the Customer at the Supplier's discretion.
13.2 Conversely, in such a situation, where the Customer has supplied drawings, the Supplier in its sale conditions may look for an indemnity (the specifications and design of the Goods (including the copyright, design right or other intellectual property in them) shall as between the parties be the property of the Supplier).
13.3 Where any designs or specifications have been supplied by the Customer for manufacture by or to the order of the Supplier then the Customer warrants that the use of those designs or specifications for the manufacture, processing, assembly or supply of the Goods shall not infringe the rights of any third party.
13.4 The Customer warrants that all designs or instructions to the Supplier will not cause the Supplier to infringe any patent, registered design or trademark in the execution of the Customers order.
13.5 Sample furniture and dummies submitted by the Supplier on a speculative basis shall remain the property of the Supplier. They shall not be used for any purpose other than that nominated by the Supplier and no ideas obtained there from may be used without the consent of the Supplier. The Supplier shall be entitled to compensation from the Customer for any unauthorised use of such sketches and dummies.
13.6 The Customer shall have no right or title to data stored by the Supplier on disks or any other electronic form of storage but after a Supplier agrees to duplicate or transfer stored electronic or like media for use by a Customer or other parties authorised to obtain that data, he shall have the right to charge for those services.
13.7 Disks, artwork and film supplied by the Customer and/or other authorised persons remain the property of the Customer. Unless otherwise indicated in writing the Supplier shall assume these disks, artwork and film to be duplicate copies of the original.
13.8 Where a designer has designed or drawn Goods for the Client then the Client undertakes to acknowledge the designer's design or drawings in the event that images of the Goods are utilised in advertising or marketing material by the Client.
13.9 The Client hereby authorises the designer to utilise images of the Goods designed or drawn by the designer in advertising, marketing, or competition material by the designer.
14.1 The Supplier may cancel these terms and conditions or cancel delivery of Goods and Services at any time before the Goods are delivered by giving written notice. On giving such notice the Supplier shall promptly repay to the Customer any sums paid in respect of the Price for those Goods. The Supplier shall not be liable for any loss or damage whatsoever arising from such cancellation.
14.2 At the Suppliers sole discretion the Customer may cancel delivery of Goods and/or Services. In the event that the Customer cancels delivery of Goods and/or Services (including, but not limited to, design and typesetting) the Customer shall be liable for any costs incurred by the Supplier up to the time of cancellation.
15.1 The Customer and the Guarantor/s (if separate to the Customer) authorises the Supplier to collect, retain and use any information about the Customer, for the purpose of assessing the Customers creditworthiness or marketing any Goods and Services provided by the Supplier to any other party.
15.2 The Customer authorises the Supplier to disclose any information obtained to any person for the purposes set out in clause 15.1
15.3 Where the Customer is a natural person the authorities under (clause 15.1 & 15.2) are authorities or consents for the purposes of the Privacy Act 1993.
16. Customers Disclaimer
16.1 The Customer hereby disclaims any right to rescind, or cancel the contract or to sue for damages or to claim restitution arising out of any misrepresentation made to him by any servant or agent of the Supplier and the Customer acknowledges that he buys the Goods relying solely upon his own skill and judgement and that the Supplier shall not be bound by nor responsible for any term, condition, representation or warranty other than the warranty given by the Manufacturer which warranty shall be personal to the Customer and shall not be transferable to any subsequent Customer.
17.1 If any provision of these terms and conditions shall be invalid, void or illegal or unenforceable the validity existence, legality and enforceability of the remaining provisions shall not be affected, prejudiced or impaired.
17.2 All Goods and Services supplied by the Supplier are subject to the laws of Malaysia and the Supplier takes no responsibility for changes in the law that affect the Goods or Services supplied. 17.3 The Supplier shall be under no liability whatsoever to the Customer for any indirect loss and/or expense (including loss of profit) suffered by the Customer arising out of a breach by the Supplier of these terms and conditions.
17.4 In the event of any breach of this contract by the Supplier the remedies of the Customer shall be limited to damages. Under no circumstances shall the liability of the Supplier exceed the Price of the Goods.
17.5 Neither party shall be liable for any default due to any act of God, terrorism, war, strike, lock out, industrial action, flood, storm or other event beyond the reasonable control of either party.
17.6 The Customer shall not set off against the Price amounts due from the Supplier.
17.7 The Supplier may license or sub-contract all or any part of its rights and obligations without the Customer's consent.
17.8 The Supplier reserves the right to review these terms and conditions at any time and from time to time. If, following any such review, there is to be any change in such terms and conditions, that change will take effect from the date on which the Supplier notifies the Customer of such change.
18. Storage and Delivery
18.1 Acceptance of this quotation constitutes your agreement to pay the total cost of the product as quoted.
18.2 The product will be stored by us and delivered to you either upon request, or at agreed intervals.
18.3 Deliveries will be invoiced at the time of supply. Payments made for these deliveries will be deducted from the total cost.
18.4 Please note that payment must be made on or before the 20th of the month following the date the invoice, as per paragraph 4.7 of these terms and conditions. Late payment may affect delivery of subsequent distributions.
18.5 Should you:
a.) Stop using the product for any reason at all
b.) Not request a delivery for more than 3 months
c.) Default in payment of any invoice for supply of this product then we can, at our sole discretion, enforce immediate payment of the unpaid portion of the total cost of the product, along with any costs of disposal of the unused product and any costs of recovery of the unpaid amount.
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Our Ninth Donation Delivery!
Today we delivered over a dozen pair of shoes to the St. Vincent de Paul of Los Angeles homeless shelter near Skid Row. Diana and Silvia warmly welcomed us and gave a tour of their facilities. SVDPLA is a Catholic charity that serves the poor and homeless of any religious denomination free of charge. Its 2,500 volunteers in Los Angeles, Ventura and Santa Barbara Counties meet with the disadvantaged in their homes to provide food, clothing, furniture, appliances, rental and other forms of financial assistance that prevent homelessness. The organization also operates food pantries and soup kitchens, and a homeless program for men on Skid Row in downtown Los Angeles with 65 beds that gets an average of 100 men a year off the streets and into permanent housing. Please support our new partner, SVDPLA!
Also in Our Journey
Our 13th Donation Delivery
Third Brethren Support Circle


Slipsafe TGSI's are available in hard wearing plastic rated to R11 (ramp test) these products as with the Stainless Steel line are available with stems (posts) for drilled applications or flat underside for areas where drilling is not practical.
A full range of accessories to assist in the installation of TGSI systems is available, these accessories include specialist adhesives, spacing tools, wedges, templates (for hire).
Click here to view the test report.


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This Jethro Tull song is barely over a minute. That makes it a tiny speck in the universe of a band given to epics in the 15 to 25 minute range. A minute is barely enough time for Ian Anderson to draw a deep breath before a mighty flute solo. It's a blink of an eye, a fruit fly's lifespan. Yet, there have been artists aplenty, from the Ramones to Tierra Whack, who've said all that they needed to say entirely in one and two minute songs. There's time enough to say all you need to say in one minute, and if you can't do that, you don't deserve to be writing epics in the first place. Ian Anderson, for all of his ambitions, knows this. He can slide a quiet slip of a song in between all of the big thoughts and say what he has to say. I've always loved this, as a breather, a small moment of contemplation. And if nothing else, I love the line "and you press on God's waiter your last dime, as he hands you the bill…"
May 1, 2019 ladygarfunkel	1971, Aqualung, Jethro Tull	Leave a comment
Do you ever get the feeling that "everybody's on the stage and it seems like you're the only Person sitting in the audience?" Well, yes. Life is treacherous and transient as thin ice, indeed, and we navigate it with as much grace as we can. Feeling lost, disconnected, spooked and unreal while we're at it. Yes, it's a great metaphor, and a small lesson in some kind of philosophy. You should build your life one day at a time exactly because there may well never be a next one.
March 16, 2019 ladygarfunkel	1974, Jethro Tull, War Child	Leave a comment
Yes, life is indeed very much like a frantic carnival, and you are a helpless aquatic mammal with no legs desperately performing tricks to please a cruel and fickle ringmaster through no fault of your own. A good metaphor right there. See, this is why I'm a lifelong follower of Jethro Tull. The J-Tull fan will always be rewarded with clever phrasing and inspired imagery. Putting on a Tull record is like returning to a favorite book. It may be a sustained storyline or a series of vignettes or loosely connected theses but it will be a literary experience as much as a musical one.
June 25, 2018 ladygarfunkel	1974, Jethro Tull, War Child	Leave a comment
This begs the question, why are dogs named Rover? I've never met a dog named Rover. It would be interesting to find out where that trope came from. Television, probably. Anyhow, here in this song, Ian Anderson uses a doggy metaphor to represent himself as both loyal companion, and a wild and free spirit. Which is not even all that doglike, making it a pretty weak metaphor. But it's on point with Heavy Horses' animal and nature themes, which explore the tension between freedom and domesticity, and the trade-off of modern comfort vs. a harder but more satisfying un-industrialized life. The fate of lowly domestic animals is entwined with the progress of man, and while a few pampered mouses might enjoy the safety and comfort of modern man's lifestyle, most creatures benefit from it far less than man does. Dogs certainly enjoy all of the comforts, if not more, the price for which being that dogs are as far removed from their wolfy heritage as men are from their monkey ancestors. Dogs are as neurotic, spoiled, helpless and diabetic as their human overlords. If any animal is the metaphorical symbol of the coddled and useless modern being, it's the fat lapdog who barks incessantly at his own shadow and never sets paws outside.
January 30, 2018 ladygarfunkel	1978, Heavy Horses, Jethro Tull	Leave a comment
Ring Out, Solstice Bells
Although we're still a few weeks away from our winter solstice, I'd say it's very much in the spirit of the season. Call it a holiday song, one of the few you'll ever get from me. There's nothing more I love than good, clean English pastoralia. From Tudor architecture to The Wind in the Willows to Hobbiton to high tea and hot cross buns. And, of course, the stylings of Jethro Tull, who took folk revivalism and took it into unforeseen territory. Although Ian Anderson's crazed court jester persona and odd taste in pants has tainted the band with a reputation for silliness, I for one take my J-Tull very seriously. For one thing, they're firmly in the classic tradition of eccentric fuzzy Englishness, right alongside Miss Marple, Mole and Ratty, and Basil Fawlty. Anderson's songwriting, along with all his posturing, is a nod to popular literary tropes as much as a musical persona per se. There's a fine line between self-serious silliness and the self-aware kind, and one can't expect one's searing indictments of the Anglican Church to be taken without a grain of salt when one is wearing an embroidered codpiece. Ahem. On the other hand, it's hard not to be charmed by a sincerely affectionate – and sincerely silly – ode to uncool age-old folk traditions like the celebration of the solstice. The English folk revival was part of a young generation's search for a politically safe cultural heritage, the same thirst for a clean sense of identity that inspires Bavarians to go about their day in full Heidi regalia. It's a love for all things homey and twee and unhip and reminiscent of grandmother. That's not exactly what rock star dreams are made of; but Jethro Tull proved that you can be all about all of those things and turn it into a stage persona. That alone is a legacy-making achievement.
November 29, 2017 ladygarfunkel	1977, Jethro Tull, Songs from the Wood	Leave a comment
Quizz Kid
It was 1976 and Ian Anderson already felt like a grumpy old man. Apparently. Jethro Tull were very much still in their prime, despite being nearly a decade old as a unit. But Anderson wanted to make a concept album about an old and out of touch rocker struggling to comprehend the changing times. Perhaps not actually being that old or out of touch is why the concept of Too Old To Rock'n'Roll didn't really work. Should've tried that one in the 80's or today. It was a nice break from grumbling about the church, I suppose. The thing is, though, when Anderson criticized the stranglehold of the church and other crusty, abusive institutions he had grown up with, he then got to enjoy watching those things change and grow weaker. People who grew up caned and deprived in the postwar years may have some satisfaction that their grandkids are growing up in a more secular and permissive world with far less corporal punishment. On the other hand, when Anderson took aim at the entertainment industry, with all of its shallowness, narcissism and exploitation, as he did with this album, he had no idea the monster that was only just awakening. Sure, there was a lot going on in the 70's that a veteran such as himself could raise an eyebrow at: television was on the rise as a cultural influence, allowing no-talent-having nobodies to earn both money and notoriety; glam rock had crested to such a degree that even Dylan was onstage wearing eyeliner; high and low culture were rubbing shoulders like never before, etc, etc. I guess that in 1976 the idea of finding a second shot at fame by winning a quiz show was a pretty unexpected plot twist – Too Old… was an alright story but it didn't really resonate. It was unintentionally prescient, though. That story is a lot of people's lives now. What Warholian fever dreams we're living in!
July 14, 2017 ladygarfunkel	1976, Jethro Tull, Too Old to Rock'n'Roll: Too Young to Die!	Leave a comment
Queen and Country
The sun used to never set on the British empire, as they used to say. It's something the Brits were very proud of, and some of them still perversely are. Of course, the glory of the British empire, like all empires, came at the very violent expense of everybody else in the world who wasn't British or at least continental Europeans, and the expense of the enlisted men who were sent out to do Queen and Country's dirty work. This reality is now a bit of a national embarrassment, as more and more former colonies politely request if they could maybe have their pillaged art treasures and cultural legacy back, and oh maybe an apology and some restitution for all the killing, rape and enslavement. There may be a few proud Englishmen left who insist that it was all totally worth it, but their numbers are getting fewer, and if you haven't guessed Ian Anderson is not one of them. It was inevitable that Jethro Tull would at some point take that shot, though this is a pretty mild indictment by Anderson's standards. He just points out that it kind of sucks to have to be the person sailing around the world fighting and stealing for the enrichment of the Country and its upper classes with not much thanks or benefit to yourself.


Grant's of Derbyshire are delighted to offer For Sale this charming two bedroomed end terrace cottage enjoying a tucked away village location within the Peak District National Park. Extremely well presented throughout and with the benefit of gas central heating and double glazing, the accommodation itself briefly comprises sitting room with log burner, dining room with log burner, fitted kitchen, bathroom, two bedrooms and a useful attic room. There is off road parking for two vehicles and an enclosed lawned garden to the rear. Adjacent to the property is a paved area and to the front is a foregarden and an additional enclosed decked seating area. The cottage really is in an enviable position, set back from any main thoroughfare, with stunning views of surrounding countryside. No Upward Chain. Viewing highly recommended.
Location - Wensley lies in the Peak District National Park offering ready access to the delights of the surrounding Derbyshire Dales countryside. Only a short distance from the neighbouring town of Matlock which has the full range of shops and amenities as well as the train station with links to London & Sheffield. The popular destinations of Wirksworth, Cromford, Matlock Bath & Winster are only a short distance away.
Porch - 1.91m x 1.68m (6'3" x 5'6") - A most useful addition to the property with windows to two sides, tiled flooring and ample space for the storage of shoes and hanging of coats.
Kitchen - 3.68m x 2.08m (12'0" x 6'9") - This kitchen, with tiled flooring, is fitted with a good range of wall and base units with rolled top work surfaces incorporating a one and a half bowl sink with swan neck mixer tap. This is ideally located beneath the large window which overlooks the garden to the side. Opposite this is the integrated oven with four ring gas hob and extractor over. There is space for an under counter fridge as well as space and plumbing for a washing machine.
Bathroom - 2.71m x 2.60m (max) (8'10" x 8'6" (max)) - This is an elegant bathroom which is fully tiled and has a ceramic tiled floor. It is fitted with a three piece suite comprising low flush WC, vanity wash hand basin and a free standing roll edged cast bath with Victorian style mixer shower taps. There is an opaque window to the side elevation.
Sitting Room - 4.12m x 3.62m (13'6" x 11'10") - This is a delightful sitting room which is full of character with the original red and green quarry tiled floor, exposed ceiling timbers and exposed stone to one wall. This room also benefits from a multi fuel burner which is set on a raised tiled hearth and within a stone surround with substantial timber mantel over. There is built in cupboard and shelving unit in the space to the right of the chimney breast. Plenty of natural light floods through the large window to the front aspect and this also allows most pleasant views across the front gardens to the countryside beyond. A part glazed door opens to the exterior at the front of the property.
First Floor - The pine staircase leading up from the dining room reaches a landing space from where doors open to the two bedrooms.
Bedroom One - 3.95m x 3.64m (12'11" x 11'11") - A good sized double bedroom with the window to the front providing stunning views across the Dale and towards Bonsall Moor on the horizon. There are exposed boards to the floor and a period cast iron fire place.
Bedroom Two - 3.02m x 3.00m (9'10" x 9'10") - This second bedroom also has a boarded floor and a feature cast fireplace. There is built-in wardrobe set above the bulk head of the stairs. The room is lit by wall lights and there is a window to the rear aspect.
Attic Room - 3.71m x 3.26m (12'2" x 10'8") - Suitable for a variety of purposes, this is a most useful space. Such a light room with the two Velux roof lights providing stunning views similar to those from the main bedroom.
Outside - The cottage stands at the far end of a terrace tucked back from the roadside. To the front of the property is a well stocked herbaceous garden planted with a variety of ornamental shrubs and perennials. A brick paved pathway allows shared access with the adjoining cottage to the front. Beyond the front gate a further gate opens to a delightful decked seating area belonging to this property alone. With beautiful borders around the decking this really is the most pleasant place to enjoy the superb scenery. The views are quite breathtaking across the Dale towards Bonsall Moor and along the Derwent Valley to the south taking in Riber Castle on the horizon.
The paved pathway continues around the side of the property, again with beautiful borders, and reaches a good sized paved seating area and yard adjacent to the rear entrance to the property.
From here is access to a store integral to the property (1.96m x 0.99m) which also houses the gas fired combination boiler.
There is off street parking for two vehicles by the rear entrance across from this is a further garden which is of a good size, is fully enclosed and laid to lawn.
Directional Notes - From our office, proceed to Matlock via Cromford and Matlock Bath. At Matlock Crown Square, take the A6 north towards Darley Dale. After passing St Elphins Park turn left by Red House Stables into Old Road. At the following crossroads turn left to Darley Bridge, proceed around the bends and up the hill to Wensley. Continue through the village and just before the brow of the hill Oker Terrace is accessed via a driveway to the left hand side. Number 6 can be found at the bottom end of the terrace on the right hand side. When viewing it may be advisable initially to park in the village square or on the roadside further up the hill. The postcode is DE4 2LJ.


Debbie Merdjan, CEO and founder of the Camelot Group with over 30 years of business experience encompassing Health & Skin Care Training Centres, Product distribution , Spa Consultancy and Spa Franchise operations throughout Southern Africa.
Winner of numerous awards including Spa Ambassador Award , Industry Entrepreneur of the year award, Best Luxury Spa Group in Africa and Best Spa Boutique Hotel Award. Passionate about business, developing etrapreneurs and consulting by sharing best buisness practises and operational success.


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