Moving from an older version of an operating system to a new one is seemingly one of those tasks that is never ending. Just as you finish one project, another new or updated operating system pops up. Even then, vendors have different versions of the same operating system. Take Windows 10 for example. Currently we are on the seventh 'version' (1809) of that particular operating system.
Then there are the migration projects due to a hardware refresh, which may also be initiated due to older hardware not supporting the latest operating systems. Either way, invariably these projects stall due to the incompatibility between the application and the operating system.
At the end of the day, the challenge is in making applications available to end users, regardless of the hardware and operating system. After all, then end users only really care about the applications.
With Droplet Computing's semi-connected container technology, you can decouple applications from both the underlying hardware and operating system, setting them free. Applications are simply containerized, allowing them to be delivered to a new operating system or new hardware platform regardless of the type of device, all with the added advantage of being secure, and the ability to work online or offline.
Freeing your applications now allows you to seamlessly migrate to new supported platforms.
Applications are simply installed directly into the Droplet Computing container completely unchanged. There is no need for any complicated packaging. Then the container can be easily delivered by using the application delivery mechanism you use currently. There is no need to refactor, package, or virtualize the applications to make them work. Unless of course you already deliver them in that way, in which case Droplet Computing will allow you to now continue but now with the added advantage of being able to run these applications on the new hardware and OS, as well as other non-Windows devices and operating systems.
Delivering containerized environments ensures that you remain secure, removing the typical vulnerabilities associated with staying on unsupported platforms, while allowing you to refresh your hardware.
To see how you can set your applications free to enable you to migrate to a new platform, contact us for a free trial, or demonstration to see how Droplet Computing can enable and simplify you migration projects.
It was once quoted by a well know blogger in the EUC space that "if we ever have a nuclear holocaust, the only things that will survive will be cockroaches, Twinkies, and Windows legacy apps." Even in this cloud-enabled world in which we find ourselves today, how do we take these applications, that still remain firmly rooted to specific hardware and operating system versions, and deliver them into the modern world? These applications are often referred to as legacy apps, but if they are still being used, then surely, they are current apps and not really legacy at all?
But the question still remains, how can you move these apps to an environment that embraces both the new and the old?
With Droplet Computing's semi-connected container technology, you can decouple your applications from the both the underlying hardware and operating system, setting them free. Once containerized you can simply deliver your applications to your choice of device, and all regardless of the device type and whether you are working online or offline.
You are no longer limited by the device, the operating system, or only being able to work when connected.
Your legacy applications can simply be installed directly into the Droplet Computing Container unchanged, and then delivered using the application delivery mechanism you use currently. There is no need to refactor, package, or virtualize the applications to make them work. Unless you already deliver them in that way, in which case Droplet Computing will allow you to now extend the ability to run these applications on whatever device you choose to use.
To see how you can set your applications free to enable you to migrate to a new platform, contact us for a free trial, or demonstration to see how Droplet Computing can enable you to still run your applications on modern platforms.
Wouldn't it be great if you had the freedom of using your own device at work?
With Droplet Computing Containers you can do exactly that. The Droplet Computing Container delivers a completely isolated environment on to your personal device that can be fully encrypted, and policy controlled by your work IT administrator, delivering your work applications securely.
All of your personal applications & documents are not visible to your employer, and are still available for you to use, as the Droplet Computing Container just runs as an application on your device without change. This isolation allows you to use your personal device for work purposes whether you are online or offline safe in the knowledge that your personal data is not being controlled or monitored.
The work applications required are installed directly inside the Droplet Computing Container meaning that they are available to the end user at any time, online or offline allowing you to continue to work regardless of your connected state. Any documents you create or edit inside the container can automatically synchronise with folder on your device and in turn synchronise back to the corporate network when you are connected again.
One of the reasons BYOD is not always easy to deliver is due to the different devices that an end user could potentially want to use and whether IT can even deliver apps to that device. The Droplet Computing Container solves this as it runs across multiple platforms. All you need is the Droplet Computing app for your particular device type to be installed locally on your device. For IT this means they no longer need to worry about the device type and can simply deliver containerized apps to the device regardless of form factor, operating systems, or even chipset type. The perfect solution for contractors, temporary workers, and full-time employees alike.
To see how you can embrace BYOD, by containerizing your applications, click here for a free trial, download the legacy application whitepaper, or contact us today.
With Droplet Computing Containers your applications now become truly mobile.
Containerizing your applications removes the dependencies on both the operating system and the underlying device, effectively freeing the application. With new found freedom comes new opportunities in the form of being able to run the applications on non-native platforms. For example, you could now take the full-blown version of Microsoft Visio, containerize it, and then run it on macOS.
With your applications now containerized, you can deploy the container to as many devices as you want. Not only that, the very same container will run on a variety of different device platforms, without having to change it. You simply ensure you have the container on the device. For example, you could be running on a Windows platform in the office and then continue working from home on a Mac, using exactly the same container. If you introduce a file sync solution then you could have the container automatically sync across multiple devices. In fact with the Droplet Computing multi-platform license you can do exactly that, and allow the container to run on more than one type of device.
To see how you can deliver true application mobility, across multi-platforms, contact us for a free trial, or demonstration to see how Droplet Computing can enable you to redefine your application delivery.


It's hard to overstate just how useful an air compressor can be in a woodshop. Compressors not only power a wide range of tools — everything from nail guns to spray guns and sanders — but they also clean off dusty tools and people.
Big shops that routinely run air-hungry pneumatic tools need large-capacity compressors, but many smaller shops can get by handily with a portable and less expensive machine.
Compressors are sorted roughly by the size of their tank (or tanks). Along with the power of the motor, this helps determine what kinds of tools the compressor can run. Pneumatic nail guns, even framing guns, can operate on the air supplied by a relatively small machine. Other tools, notably spray guns and sanders, need a lot more air and may overtax a compressor that's too small. So one of the first steps in choosing a compressor is figuring out exactly what kinds of tools you'll be using and checking to see what air supply they require.
Some models must be lubricated with oil while others are oil-free designs, which reduces maintenance. Most compressors sold these days are oil-less, and manufacturers say they should last about as long as oil-lubricated models. But they are noisier. Another factor is whether the compressor has a one- or two-stage pump. In general, two-stage pumps are preferable: they deliver higher pressures with less horsepower. They also are not as noisy and run cooler, which means less condensation inside the tank.
Small machines have one or two tanks and a capacity of between 4 gal. and 6 gal. of air. That's enough for nail guns, but not enough to run a pneumatic sander or a spray gun. These compressors may be of the twin "hot dog" tank or single-tank "pancake" variety, and while not exactly light they are small enough to move around the shop or between the shop and the house or job site fairly easily. Motors run on 115-volt current. A typical machine in this class would deliver a bit over 5 cubic feet per minute (cfm) of air at 90 pounds per square inch (psi). Costs range up to about $300.
Mid-sized machines have tanks of about 25 gal., giving them more reserves to run tools that require a lot of air. Tanks may be vertical or horizontal and are often on a pair of rubber wheels, making them easy to move around the shop. With the extra tank size, these compressors could run more types of pneumatic tools, but would have to operate continuously to run most pneumatic sanders, and not all motors are designed to handle that kind of wear. If the compressor would have to run more than 50 percent of the time, consider buying a larger model. Costs for midsize machines start at about $300 and go up to about $500.
Compressors with 60-gal. tanks can handle just about any kind of tool found in a small woodshop, including sanders and spray guns. These are larger, non-portable machines weighing a couple of hundred pounds. They typically run on 230-volt current and some have continuous-duty motors, meaning they are designed to operate 100 percent of the time without damage. Some models deliver more than 17 cfm of air at 90 psi. Costs range from about $450 to nearly $2,000.


"The suit filed on October 31,2007 at Suffolk Superior Court in Boston, claims that Gehry and Skanska committed design and construction failures on the project which caused, among other things, masonry cracking, efflorescence, and poor drainage at outdoor amphitheater; efflorescence and mold growth at various locations on the brick exterior vertical elevations; persistent leaks at various locations throughout the building; and sliding ice and snow from the building.
"A civil judge in Bilbao, Spain, has ruled against Santiago Calatrava in his suit challenging Arata Isozaki's addition to his 1997 footbridge over Nervion River. The addition was built without Calatrava's knowledge and opened last February. Calatrava sued the city of Bilbao which owns the bridge, and 2 local contractors that built the addition, demanding that the extension be demolished and that he be awarded US$ 365,000 in damages, or US$ 4.3 million if it was not removed.
Both cases indicate how law has protected also design practices, as well as their clients, and not merely other service related businesses (though Calatrava lose his suit). This common level in the eye of Law may put each party to its stand, as professional or client with a sense of respect, responsibility and professionalism. People would start to notice that these design practices (especially architecture) are truly related to their way of life, and how does it influence their daily activities, thus giving it its greater responsibility to create 'something good' for the people. This has surely put design practices with a large amount of fees, and yet a larger amount of responsibility.
Last week, The Engineering Faculty's Dean officially announced their new facilities at Magister Manajemen Teknologi (MMT FT) in UI Campus Salemba, which were planned to uplift the existing interior condition. They were the Digital Library and Computer Lab for MMTFTUI, located on the ground floor of this 3 storeys building.
Initially, we were asked to plan for 3-phase renovation, starting with the roof and facade treatment, followed by interior renovation, and completed by the new furnishings. The first phase has been done as planned, followed by the second phase that focused on the interior of the new large classroom on third floor. The classroom was designed and built in a very short term of less than a month with a minimum budget that a large classroom could have, while the ground floor area was left untouched for future development.
After a while, the Faculty asked us to develop the ground area that was occupied mostly by an empty (unfunctional)room, cafeteria, admin office and toilets. This large unfunctional space on ground level was not a good representative for a post graduate engineering programs, especially when it also functions as the entrance to the whole facility. We need something to uplift the interior condition as well as its atmosphere, where academical activities can be experienced dynamically. Thus a student library, computer lab and lounge were considered the most appropriate.
The Digital libary, as the main feature in the ground area, was planned as the virtual complementary database for the actual library in campus UI Depok, where students can browse many things related to their studies and academic schedules. The place also accomodates a meeting room and a reading lounge. Adjacent to the library, a computer lab for 20 persons connected by wi-fi is facilitated. Both the library and the lab were designed with a sharp shaped furnishings with dynamic lines and colors, that indicate the sense of progressivity in the world of technology and engineering.
The Atrium, located on the center of facility with large skylight, is definitely the most spacious area in MMT. It's surrounded by railing walls from upper storeys and 2 sets of concrete collumns that hold the staircases. This volume had to be reduced somehow in order to create friendlier space for people to sit in the lounge below. We decided to apply bold red color, as to emphasize the warmth ambience and reflect the MMT's passion to go beyond any limit in engineering, that often represented by royal blue. Unlike the library and lab interior, the atrium uses curving furnitures with similar red color, to create an integrated informal lounge as well as convinient place to sit, browse and updating news.
Recently, the UI's new management had asked us to contribute more to the development of campus' properties, namely the Wisma Rini in Jatinegara and Wisma PSJ in Depok. Both are in need of revitalization and new management as to optimize the UI's assets.
Wisma Rini, that was once functioned as student dorm, will be planned to have its commercial and semi-recreation functions. The project has actually proposed 3 years ago by us, and now UI decided to have another look on the plan. Located near the central business district of Jakarta and its transportation lines, with its unique 60's look and large green park on the site, it has become one of the most prospective UI's asset to develop.
Wisma PSJ, that functions as campus' 3-star guesthouse, will be designed to have fresher, modern interior looks, and equipped with internet access points. With its nicely developed green surroundings, as well as new interior, it targets the foreign students and professors, even their family to stay during their regular conferences or academic calendar in Depok.


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redpajama_set_name: RedPajamaGithub


The first month of a new year is often a time of expectancy and hope. The onset of the new year typically provides a few weeks during which we celebrate the goodness of God, the faithful promise keeper! We carry with us new visions of satisfaction; replacing yesterday's memories of despair and hunger. Indeed, we hope – at least in some measure – to discover satisfaction and fulfillment in the year ahead. That's why I have spent the bulk of January reflecting on the nature and nurture of soul satisfying godly desire!
I grew up believing that desire is evil. I learned to question my desire; to subdue it – beat it into submission or simply deny its existence.
That didn't work so well. Denying my desire pulled me down a tortuous path littered with a multitude of bad decisions.
I have come to believe that desires – in and of themselves – are not sinful or unnatural. They are God-given. The are also, however, easily distorted and misaligned; bent and turned inward often at the expense of interior Shalom and well-being. Desire can, wondrously so, when aimed toward God, produce amazing outcomes.
Can I trust Christ with these primal desires? Is He dependable? Will He be faithful with them?
When I feel unfilled in life or dragged down by life, will I continually and patiently surrender to Christ and trust Him with my pain or will I run to a quick remedy for my pain and seek to grab, grasp, and control desire's fulfillment on my own?
If I am to surrender my desires to Christ, then it will be because place my complete trust in God and God alone! Therefore, I must intuitively believe He is faithful. Trust cannot flourish where faithfulness is not present. Faithfulness might be called steadfast(ness), firm(ness), reliability or fidelity. Each of these terms represent trustworthy goodness and dependability; accentuating the type of character upon which one might rely in times of need and unfulfilled desires.
HE IS ONE IN WHOM I CAN TRUST!
This confession of satisfaction in the Messiah is wrapped up in a song that leaps from the lips of Mary. Her manifesto put to music recalls ancient promises and rekindles ancient hope. It's the hope of Abraham, Isaac and Jacob finding fruition in the Messiah. I am reminded, in portions of Scripture like this one, that God has ALWAYS been a faithful God. One in whom I can confidently place my trust and in whom my desires are fulfilled!
And, though I know this great truth, I equally find myself hungry for more. As Bruce Springsteen growled two decades ago, it seems, everybody has a hungry heart.
You have fed us with the bread of tears and made us drink tears by the bucketful.
"You have fed us the bread of tears" – a metaphor for God's absence. Where or to whom do our longings turn when we are forced – it seems – to feast on God's absence?
Who is responsible for God's absence: is God absence His fault or my fault?
In Psalm 80, His absence seems to represent a 'self-inflicted' wound. In this case, it's not God's absence as much as it is misaligned human desires which bear the brunt of the blame.
I might suggest that this is also the primary contributor behind our feelings of being perpetually unsatisfied, always on a quest, ever striving for more. Maybe our aim is off the mark?
Desire 5: Seek the path of surrender rather than pursue the way of success.
Desire 6: That Christ – in all things, at all times, in all ways – will become my only, obvious and ultimate end.
The inauguration of the reign of Christ – prophesied (as Mary sings) hundreds of years before its fulfillment – is God's invitation to trust in Him! It's an invitation to enjoy His goodness and lean into the security his reign provides! An invitation to rely on Him rather than the self's proclivity to grasp for the satisfaction of desires He alone provides!
NOT IF BUT TO WHOM OR WHAT!
– run to God in the face of absence, struggle, confusion, and pain. I believe and have come to know that my truest – most authentic – sense of plac'dness is related to the degree to which my soul is at rest in the peace Christ provides. This quality of rest and peace, or inner strength of heart, can become a wellspring of health and wholeness from which we face our every day – at times overwhelming – realities. Such an interior orientation of rest releases us to say, 'yes, this is good – truly good,' regardless of or in spite of the external dynamics always in play!
Mary's response is as beautiful as it is impressive. It reveals an inner orientation of peace and rest. An orientation which provides a fountain of strength for the chaos that she now had to endure and from which she could not escape. This is the type of peace I seek to know and long to discover.
The first chapter of the Gospel of Luke is a story of life-giving hope related to God's fidelity – which ultimately asks a question of us: Will we surrender to Him and His goodness in our life? Will we place our trust in Him regardless of what may come? Once I surrender to Christ, then I will relate to Him in a way that nurtures and reveals the inner reality of a soul that believes He is – at any and all times – my only, ultimate and most obvious option for satisfaction. A soul that fundamentally trusts in Him and looks toward Him for fulfillment and satisfaction!
I am going to trust in something or someone! I will surrender to something or someone! I trust and surrender all the time, every day. Typically I trust in and surrender to 'self' but it is ever happening and always occurring.
We place trust in or surrender to things or people who just cannot fulfill our deepest most heartfelt desires. Honestly, this is both a burden that's as unfair as it is overwhelming.
Is there one – anyone – more worthy of our trust and surrender than Christ – the Messiah to whom we look as we enter month number two of 2016?


Art curator, project and communication manager, co-Founder at Artnoise, a web magazine focused on art and culture. She has a bachelor degree in Art History at "La Sapienza" University of Rome. As curator and communication manager She worked with many museums and galleries and wrote several critical texts for art magazines and catalogs. She's editor for Arte e Critica and Inside Art and curates the Re:Humanism project for Alan Advantage.
Senior executive, 30 years of experience in IT, marketing and financial. CEO and co-founder at Mediamobile Italia S.p.A., that provides solutions and services for Intelligent Transport System, Metro "Telecom" Systems and Digital Signage markets. Senior Partner at Alan Advantage from 2014, where launched the RenAIssance project, aimed to investigate and exploit the marriage between "Humanism" and "Artificial Intelligence".
Giuseppe is an Independent Management Consultant at iNEXT. His work experience led him to know directly several industry sectors, such as Software, Consulting, Healthcare, Textile, Food etc. He has a great experience as a freelance technical journalist and he was the author of three fiction books: "Mai stato nel Missouri" (Aracne press), "Addio Ragazze d'Avigone" Pendragon press, both available on Amazon, and "Sezione Bordiga", currently in print with Pendragon press.
Contemporary art critic and curator. Her research is focused on the relationship between art and new technologies, with a particular focus on Internet culture. In 2002, she graduated in Art History from La Sapienza University in Rome with a master's thesis on net art (Net Art.1994–2001), and in the following years she published a number of articles, reviews and essays for Italian and international magazines. She is the founder of Random Magazine and co-founder of Exibart and Artribune, two important Italian art magazines. She also directed the online version of FMR magazine. Since 2001 she has curated several solo and group exhibitions. From 2010 to 2012 she was a guest curator of the FotoGrafia International Photography Festival in Rome. She currently teaches "Digital Art" at Politecnico University in Milan.
Salvatore is a robotic engineer, hacker, TeD and Eisenhower Fellow. Oriana is an expert in communication and digital inclusion and cyber-ecologist. Salvatore Iaconesi and Oriana Persico observe the mutation the societies with the advent of networks and technologies ubique. Between poetics and politics, bodies and architectures, squats and revolutionary business models, the couple promotes a vision of the world in which art is the link between science, politics and economics. They are authors of global performances, publications and works exhibited all over the world. They teach Near Future and Design at various faculties, including the ISIA of Florence and the La Sapienza University of Rome, and are founders of HER - Human Ecosystems Relations, research center that uses art and design to create processes of cultural acceleration through data, as an existential boundary of human beings in contemporary societies.
Born in Venice, she lives and works in Rome. Since 2004, she founded AlbumArte, an independent non-profit cultural association of which is currently President and Project Manager. After numerous Modern Art projects, from 2010 through AlbumArte she has exclusively produced and focused on Contemporary Art projects. Among others, she had collaborations with the MAXXI National Museum of XXI Century Arts, the La Galleria Nazionale in Rome, the Italian Institutes of Culture in Istanbul and Prague, the Institute Français, the Real Academia de España, the Ministry of Culture of the Republic of Lithuania, the Galata Rum Okulu-Greek School of Galata in Istanbul, as well as with different independent spaces, artists and curators both in Italy and abroad. She collaborates with Exibart and she has written numerous texts for art books, monographs and catalogs.


text:
Showbiz Analysis with Angela Cartwright
Dr. Nancy Berk
Angela Cartwright in 2005.
There's a lot to learn from interviewing interesting people. As a psychologist, I discovered long ago the importance of asking the right questions and actively listening to people. But when I began interviewing celebrities and entertainment insiders for my iTunes' podcast Whine At 9, what I thought would be just a fun change of course, yielded plenty of important life lessons. Show business is a tough business, so maybe that's why there is so much to learn from success stories and survivors. I'm thrilled to be sharing my interviews and insights in a new column, Showbiz Analysis, for Parade.com. We'll take a look at fascinating people in the entertainment industry and analyze some of the secrets of career and interpersonal success and happiness. Join me each week for a little nostalgia, humor, insight and strategy.
Child actors have long been a hot topic of discussion. We watch them grow up on screen and off. Some actors have landed on their feet in adulthood. Others have gone down tragic paths. True, growing up in the spotlight has its perks, but it's not without potential problems. Whether there's a specific secret to success isn't clear, but speaking with child actors who have happily transitioned into adulthood provides some fascinating clues. I was thrilled to interview the remarkable actress Angela Cartwright for my entertainment podcast Whine At 9, and walked away with some interesting observations and a very cool new friend.
Before the age of 13, Angela Cartwright's film and television career skyrocketed, landing her in outer space and in one of the most beloved Academy Award-winning motion pictures of all time. From The Sound of Music with Julie Andrews to Make Room for Daddy with Danny Thomas and Lost in Space with June Lockhart, Cartwright was a child star landing plum roles with Hollywood legends. Dubbed "America's Little Darling", she was typecast only as adorable. Since then, in addition to raising a family, she's appeared on television, film and commercials and carved creative careers in writing, photography and fashion design.
Today, Cartwright's as likable as Penny Robinson and her story offers plenty of valuable lessons for celebrities and their audiences. Here are some of my favorites:
1. Do Your Best and Find The Best in Every Job.
Cartwright's parents kept her grounded by framing her career as a job and teaching her the importance of professionalism. On and off the set, she was closely parented, but being a child star didn't enter into that equation. She had to make her own bed every day—which, by the way, totally busted my early childhood theory that Penny Robinson's mom wouldn't make her clean her room. "It was a job," says Cartwright. "I went to work. I did my job, and I came home ... I did have different things in my life...but it always seemed to be kept in perspective. And that's the secret."
Even as a child, Cartwright embraced each job as a new adventure. She moved from the Alps to Jupiter 2 without whining. She didn't even complain when Judy got the hot astronaut boyfriend and she got stuck with an alien pet monkey. She was able to identify the fun pieces of the new job. Of course this wasn't difficult because they included a space suit, a robot and a primate.
2. Build and Maintain Friendships.
Positive friendships offer critical social support and can bring us back to reality by reminding us of who we are and where we've been. "When you do make a film or a television series, it kind of has this family feel about it," says Cartwright. "The hardest part (of wrapping up a show) is saying goodbye on the last day." Throughout the years she has maintained long term friendships, including those with many fellow cast members from Lost in Space and The Sound of Music.
3. Don't Be Afraid of Detours.
Career and life detours happen, but they can also be valuable. As our roles change, it's important to be versatile and dedicated. From role playing to parenting, Cartwright stepped up to the plate to take on new important roles in her life. Now an empty nest parent, she's embracing her new career objectives and, along with her husband, enjoying their children's success. "If I do say so myself, I have great kids", says Cartwright. If they're anything like her, I'm sure she's right. I'm happy to report that the little girl who was once lost in space appears to have grown up to be a pretty down-to-earth woman.
Nancy Berk, Ph.D. is a clinical psychologist, author, humorist and entertainment analyst. The host of the showbiz podcast Whine At 9, Nancy digs a little deeper as she chats with fascinating celebrities and industry insiders. Her book College Bound and Gagged: How to Help Your Kid Get into a Great College Without Losing Your Savings, Your Relationship, or Your Mind can be seen in the feature film Admission starring Tina Fey and Paul Rudd.
Numbrix 9 - February 1
Why 'Dr. Phil' Is Coming to an End After 21 Seasons
Paul Rudd Shares the Secrets to His Youthful Appearance
What's Going On With the DCEU Movies
Everything to Know About the New Superman Movie From James Gunn
The Three 'FBI' Shows Team Up for a Global Crossover Event
Watch the 'AGT: All-Stars' Golden Buzzer Winner That Simon Cowell Says Is 'The Best Performance I've Seen All Series'
125 Funny Things to Ask Alexa That'll Reveal Her Silly Side

redpajama_set_name: RedPajamaCommonCrawl


text:
Do soutěže mužské dvouhry na londýnském Wimbledonu 2006 nastoupilo sto dvacet osm tenistů. Z kvalifikačního turnaje postoupilo sedmnáct hráčů, z toho šestnáct po výhrách ve třech kvalifikačních kolech a jeden jako tzv. šťastný poražený. Trojnásobným obhájcem titulu byla švýcarská světová jednička Roger Federer

Basilejský rodák Federer měl jako největší favorit turnaje cíl napodobit šňůru čtyř titulů Peta Samprase v řadě, které Američan vybojoval v letech 1997–2000. Do finále se probojoval suverénně, když jeho poměr vítězných setů činil 18:0. Poslední překážkou se stal Španěl Rafael Nadal, s nímž měl sezónní bilanci 0–4 na zápasy. Jeho celkový poměr utkání v kalendářním roce činil 55–4. Obdobně jako na Roland Garros vstoupil do utkání lépe, když v úvodní sadě uštědřil soupeři kanára 6–0. Druhé dějství mělo odlišný průběh a dospělo do tiebreaku, v němž Švýcar zvýšil náskok po výhře 7:5. Vzápětí ztratil první set na turnaji, když ze zkrácené hry třetí sady odešel poražen 2:7. Poté však Španěla přehrál svým stylem hry a výhra 6–3 znamenala čtvrtý wimbledonský titul za sebou. Konečný výsledek 6–0, 7–6, 6–7 a 6–3 znamenal osmý kariérní grandslam, kterým se připojil k Andremu Agassimu, Jimmy Connorsovi a Ivanu Lendlovi. Před ním pak zůstávali pouze Björn Borg (11) a Pete Sampras (14).

Harmonogram

Nasazení hráčů

Pavouk

Finálová fáze

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| RD3-team03= M Mirnyj
| RD3-score03-1=6
| RD3-score03-2=3
| RD3-score03-3=4
| RD3-score03-4=6
| RD3-score03-5=6
| RD3-seed04=8
| RD3-team04= J Blake
| RD3-score04-1=4
| RD3-score04-2=6
| RD3-score04-3=6
| RD3-score04-4=1
| RD3-score04-5=0
| RD4-seed01=
| RD4-team01=

 Dolní polovina
 5. sekce

| RD1-score12-1=7
| RD1-score12-2=4
| RD1-score12-3=7
| RD1-score12-4=6
| RD1-score12-5=
| RD1-seed13=
| RD1-team13= G Rusedski
| RD1-score13-1=4
| RD1-score13-2=4
| RD1-score13-3=4
| RD1-score13-4=
| RD1-score13-5=
| RD1-seed14=
| RD1-team14= M Safin
| RD1-score14-1=6
| RD1-score14-2=6
| RD1-score14-3=6
| RD1-score14-4=
| RD1-score14-5=
| RD1-seed15=
| RD1-team15= L Horna
| RD1-score15-1=63
| RD1-score15-2=5
| RD1-score15-3=2
| RD1-score15-4=
| RD1-score15-5=
| RD1-seed16=10
| RD1-team16= F González
| RD1-score16-1=7
| RD1-score16-2=7
| RD1-score16-3=6
| RD1-score16-4=
| RD1-score16-5=
| RD2-seed01=6
| RD2-team01= L Hewitt
| RD2-score01-1=64
| RD2-score01-2=6
| RD2-score01-3=7
| RD2-score01-4=65
| RD2-score01-5=6
| RD2-seed02=
| RD2-team02= H-t Lee
| RD2-score02-1=7
| RD2-score02-2=2
| RD2-score02-3=66
| RD2-score02-4=7
| RD2-score02-5=4
| RD2-seed03=
| RD2-team03= T Zíb
| RD2-score03-1=1
| RD2-score03-2=1
| RD2-score03-3=0
| RD2-score03-4=
| RD2-score03-5=
| RD2-seed04=26
| RD2-team04= O Rochus
| RD2-score04-1=6
| RD2-score04-2=6
| RD2-score04-3=6
| RD2-score04-4=
| RD2-score04-5=
| RD2-seed05=23
| RD2-team05= D Ferrer
| RD2-score05-1=7
| RD2-score05-2=7
| RD2-score05-3=6
| RD2-score05-4=
| RD2-score05-5=
| RD2-seed06=
| RD2-team06=
| RD2-score06-1=62
| RD2-score06-2=5
| RD2-score06-3=3
| RD2-score06-4=
| RD2-score06-5=
| RD2-seed07=
| RD2-team07= M Safin
| RD2-score07-1=6
| RD2-score07-2=7
| RD2-score07-3=4
| RD2-score07-4=4
| RD2-score07-5=4
| RD2-seed08=10
| RD2-team08= F González
| RD2-score08-1=4
| RD2-score08-2=64
| RD2-score08-3=6
| RD2-score08-4=6
| RD2-score08-5=6
| RD3-seed01=6
| RD3-team01= L Hewitt
| RD3-score01-1=6
| RD3-score01-2=6
| RD3-score01-3=6
| RD3-score01-4=
| RD3-score01-5=
| RD3-seed02=26
| RD3-team02= O Rochus
| RD3-score02-1=1
| RD3-score02-2=4
| RD3-score02-3=4
| RD3-score02-4=
| RD3-score02-5=
| RD3-seed03=23
| RD3-team03= D Ferrer
| RD3-score03-1=4
| RD3-score03-2=2
| RD3-score03-3=6
| RD3-score03-4=6
| RD3-score03-5=6
| RD3-seed04=10
| RD3-team04=
| RD3-score04-1=6
| RD3-score04-2=6
| RD3-score04-3=2
| RD3-score04-4=3
| RD3-score04-5=4
| RD4-seed01=6
| RD4-team01=
| RD1-score14-1=6
| RD1-score14-2=6
| RD1-score14-3=6
| RD1-score14-4=
| RD1-score14-5=
| RD1-seed15=Q
| RD1-team15= A Falla
| RD1-score15-1=2
| RD1-score15-2=7
| RD1-score15-3=7
| RD1-score15-4=6
| RD1-score15-5=
| RD1-seed16=9
| RD1-team16= N Davyděnko
| RD1-score16-1=6
| RD1-score16-2=64
| RD1-score16-3=68
| RD1-score16-4=3
| RD1-score16-5=
| RD2-seed01=5
| RD2-team01= I Ljubičić
| RD2-score01-1=6
| RD2-score01-2=7
| RD2-score01-3=7
| RD2-score01-4=
| RD2-score01-5=
| RD2-seed02=
| RD2-team02= J Gimelstob
| RD2-score02-1=3
| RD2-score02-2=61
| RD2-score02-3=5
| RD2-score02-4=
| RD2-score02-5=
| RD2-team03= A Martín
| RD2-seed03=
| RD2-score03-1=1
| RD2-score03-2=5
| RD2-score03-3=4
| RD2-score03-4=
| RD2-score03-5=
| RD2-seed04=27
| RD2-team04= D Tursunov
| RD2-score04-1=6
| RD2-score04-2=7
| RD2-score04-3=6
| RD2-score04-4=
| RD2-score04-5=
| RD2-seed05=22
| RD2-team05= J Nieminen
| RD2-score05-1=6
| RD2-score05-2=6
| RD2-score05-3=6
| RD2-score05-4=
| RD2-score05-5=
| RD2-seed06=WC
| RD2-team06= M Lee
| RD2-score06-1=4
| RD2-score06-2=0
| RD2-score06-3=3
| RD2-score06-4=
| RD2-score06-5=
| RD2-seed07=
| RD2-team07=

 8. sekce
{{Pavouk 16-5
| RD1=První kolo
| RD2=Druhé kolo
| RD3=Třetí kolo
| RD4=Čtvrté kolo

| RD1-seed01=16
| RD1-team01= G Gaudio| RD1-score01-1=7
| RD1-score01-2=3
| RD1-score01-3=6
| RD1-score01-4=6
| RD1-score01-5=
| RD1-seed02=LL
| RD1-team02= JC Faurel
| RD1-score02-1=5
| RD1-score02-2=6
| RD1-score02-3=2
| RD1-score02-4=4
| RD1-score02-5=
| RD1-seed03=Q
| RD1-team03= A Peya
| RD1-score03-1=4
| RD1-score03-2=6
| RD1-score03-3=7
| RD1-score03-4=3
| RD1-score03-5=1
| RD1-seed04=Q
| RD1-team04= I Labadze
| RD1-score04-1=6
| RD1-score04-2=4
| RD1-score04-3=5
| RD1-score04-4=6
| RD1-score04-5='''6
| RD1-seed05=
| RD1-team05=

Odkazy

Reference

Externí odkazy

Wimbledon 2006

redpajama_set_name: RedPajamaWikipedia


text:
North American Plugged '98 Tour
Check Out The Reviews And Set Lists Page
Tori performed in Binghamton, NY on November 10, 1998 at Broome County Arena during the main North American leg of her Plugged '98 tour.
Tori performed Hey Jupiter, Upside Down and A Case Of You solo. I must thank Matt Page for calling me on the phone after the show with the set list. Richard Handal also phoned me with details. Danielle was the first to email me the set list.
Precious Things
Liquid Diamonds
Caught A Lite Sneeze
iieee
Father Lucifer
Playboy Mommy
Hey Jupiter (solo)
Upside Down (solo)
The Waitress
1st Encore:
Crucify
Raspberry Swirl
2nd Encore:
Past The Mission
Pretty Good Year
A Case Of You (solo)
The most recently added reviews are first.
From Michael Heiker
December 18, 1998 - German Toriphile Michael Heiker made it to the states toward the end of the Plugged '98 tour and described his touring experiences in a post to the Tori News mailing list. This includes not only the Binghamton show, but also the Rochester, Poughkeepsie, Amherst, Burlington, Lowell and Durham shows as well.
Subject: 2 weeks Tori in the U.S.A....my Review...
Hi there !
This is a little attempt to describe my experiences during 2 weeks in the U.S.A. - following Tori on her Plugged '98 - Tour. I'm not the first one who's done this..maybe you know the great review from Eric with a 'c "The American Experience" that you can read [on the Dent]. Originally I would've been one of those German Toriphiles who went to the States in June/August '98 but as live goes..first I had to solve some personal problems.. Anyway..
At the end I finally took a flight to New York and saw Tori on the 7 Concerts in Binghampton, Rochester, Poughkeepsie, Amherst, Burlington, Lowell and Durham near the end of her tour. Rurik, Melanie and Jenny from Germany were already in the States since the 06th respectively 07th November and I was happy to see them again.
Everything I had in my mind about the States was like: How difficult is it to get the Tickets ? What people will I meet ? Is it possible to come in the 1st or 2nd row during the Concerts ? How easy is it to meet Tori in the U.S.A. respectively what difference is between the Meet'n'Greets in Europe and the States ? And much more..
So I was anxious to see the first concert in Binghampton and how everything would work..
It was just ingenius.. I always got my tickets even when the show was sold out as in Poughkeepsie. And really.. I met some wonderful Toriphiles during these 2 weeks. Thank you all for making my time in the U.S.A. one of the best times in my life. Toriphiles like Richard, Linda, Laura, William, Matt P., Jeremy, Gina, Emi, Tony, Jessin, Paul, Matt D., Nicole, the Canadians in Burlington and so many others... you made my days..
What definitely impressed me was the driving - just following Tori through nearly the whole East of the States. Rurik, Melanie, Jenny and I rented a lovely Pontiac 8-seat Van for about 11 days and this was one of the best ideas we could have. Driving..just driving..seeing the sky turning from day into night from red into black. Watching the rivers and seas near the streets. Hearing Tori's Music in full loudness on the speakers (and Natalie, Jeff, Peter, Loreena...). Seeing wonderful houses..we felt like in the TV-Series "North and South". If I only could find some money..I would buy one of these ingenius looking houses. Driving....seeing the nature in full colour...and searching for every *sorry* god-forsaken town to see Tori. Finding some wonderful CD-Shops and a *grin* FABULOUS Chocolate-Shop (..you know what I mean Rurik, Mel and Jenny...) making the owners happy people..and myself a poor person.. Wondering why it takes so long 'til the next stop on the Interstate to rest a while (ok..I mean..I come from Germany and it was a strange feeling for me cause in my country there are much more exits to rest and maybe something nearby the Interstates..but yes..it's another country..and definitely longer streets..haha..). Finding places like the "Black Swan Inn" - more to this later.. - and sleeping in a House in Corning (thank you Matt P.) ...several Motels..in the car...and before the last concert in Durham in a indescribable house from 1724 with a nice cat and ingenius king-size beds...
All that together - TORI and the band in concert - the great American/Urugay/Canadian Toriphiles - us four crazy germans - these lovely places like "Butcher King, Mack Donot, Wendywant's it" and and and.. they made this two weeks memorable !
For me one of the main problems seemed to be if I come in the 1st or 2nd row again during the General Admission Concerts (and if possible to the front of the stage in the other venues like Poughkeepsie). In Europe respectively in Germany it was never a huge thing to get there but you know..it's the States..maybe it's different..
But - no - it wasn't that difficult to get there. I was once again the lucky guy and nearly every time I saw Tori from the 1st row, mostly directly in the middle. You can call me crazy but getting front row is something I'm addicted to... Anyway...it was great to see how (especially in Burlington) Rurik, Mel, Jenny and I were able to make the show a little more "swirling" as it yet was. In Burlington all of us German Toriphiles were in front row and we were out of our mind - just "swirling-swirling-swirling.." - it worked..we infected definitely the first 2nd rows with our ecstasy and joy. This was truly Rock'n'Roll !!!
And for the M&G's - I must confess I was kind of shocked... wow...it's really not easy to meet Tori in the U.S.... You had to go out before the 1st encore to have a good chance for the 1st or 2nd row at the After-Show-M&G. I did that in Rochester and got front row (together with Jessin, William and some others). I gave Tori a little card from our first German Tori-Con (OcTori-Fest '98 Germany - see a review about it at the Dent: http://www.thedent.com/germanfest.html ) and she said something like: "um...hmm..I know this one..this one..oh yes and this one" and pointed with her finger on the photo I fixed on the front of the card (sorry that I don't have a picture of the card - it was a personal gift for Tori from all us German EWF's who were at the OcTori-Fest with our signatures and some words for Tori). I was so excited that she remembered so many of us... great.. Together with the card I gave Tori the Lyrics to "Boys in the Trees" from Carly Simon and asked her if she finds some time to play it... She was like "..umm..oooh...hmmm...yeaah...hmmm..." - this means she had a very cute smile on her face saying this..I had some hope.. At the end "SHE" didn't came to her..but this really didn't matter. I was so damn happy to see Tori again, see the Band !
See how much fun they all had - Steve, Jon, Matt - they were just amazing. And in some way I always saw Jon and Steve (and Tori too..) smiling when they watched us crazy Germans from the stage going wild during "Raspberry Swirl" or the "Waitress"...
And as live goes in Lowell I got my beautiful "Black Swan" instead of "Boys.." and truly..it was magical.
Tori played it really to my surprise... It was kind of funny cause during we waited before the stage for the concert to begin I gave a little brochure of the "Black Swan Inn" to Tori's Bodyguard Steve Sanchez together with a letter of me. The Brochure was really just for Tori's Interest and not meant to play the song ! So it was to my astonishment that she played "HER" this day. I was blewn away... Tori is such a wonderful person - you can't describe it - she's just one of the most lovely and warmhearted persons on the world.
Nothing more - nothing less.
My final show of Tori was coming...Durham...and I inhaled every moment of the show. Every shade of light - every nuance - every note. I was lucky (thank you Tony for lettin me in your place) and got in the 3rd row at the After-Show-M&G. As Tori was there I just wanted to say her farewell until the next tour and reached out my hand shouting "Tori, Tori". Suddenly Tori just looked me directly in the face and said something like "Michael, so this is your last show today ?" - I was flabbergasted..she knew my by the name.. - I just said yes and that maybe Mel and Jenny would see some more shows of her (Rurik's last Show was in Lowell). She just kept on talking to me like a good friend (..this stays secret..sorry..) and as she finally left I was nearly the happiest person in the whole world. Even now it's too much for my brain to take it - I mean..it's such an honour for me that she spoke to me in that way and the things she told me. It was the perfect end for my Tori-Tour in the States !!!
After Durham I went together with Tony, Jessin, Dor, Emi and Gina to Dover(NH) but at the end I landed in a double-bedded room together with all of them sleeping on the floor in my warm sleeping bag after drinking the rest of my Guinness (the lovely Pontiac Van was given to Matt P. during the day in Durham - Matt P. drove back to Corning with Mel and Jenny (they stayed a little longer) to give back the car). Perfect ! Haha.. After some sleep the fabulous Gina (with Emi) drove me to New York and the next day I leaved the United States of America in the evening at 05.50 p.m. - back to Germany.
What will stay in my mind forever is besides the brilliant concerts of TORI and Steve and Jon and Matt (..yeah..and a little bit the "Unbelievable Truth"-Guys..cool Drummer..) the absolutely wonderful Toriphiles I met during my time in the States. It was a great time hanging around with all of you - talkin' about Tori and much more... THANK YOU ALL !!!
THANK YOU TORI !!! THANK YOU STEVE, JON, MATT, JOEL "Agent Orange" and STEVE SANCHEZ !!! Danke Melanie, Jenny und Rurik - es waren zum Teil stressige aber echt geniale 2 Wochen mit euch dreien !!!
See you all on the next Tour !!!
Bye and take care.
Torifully yours
Michael Heiker
From Heather DeLand
December 8, 1998 - In the crowd, waiting for the concert to begin, a woman calls out as though she is summoning a person who is close by. "Tori!" she yells. A dozen heads turn.
But it is not Tori Amos that this woman is yelling to. She's just calling her daughter; this "Tori" is an ornery 3-year-old with curly blond hair, not the beloved red-haired rock goddess the fans are craning their necks to see.
"Yes," says the proud mother. "She is named after Her."
This is the kind of fan base that gathered in the Broome County Arena on Nov. 10-- they would stand outside in the cold for hours, defying bulky bodyguards in the hopes of catching a glimpse. These fans, who remind us that the word "fan" comes from "fanatic," would have loved her just the same if her performance had been a flop.
But it wasn't.
These 2,300 fans screamed when the lights went off and the band began to lay down the early rhythms of an old hit. They hollered her name as though she didn't know what it was when she strode onstage wearing a brown shirt and pants overlaid with a long, green sequinned top. She was the shaman they'd been expecting.
She said nothing. She went immediately to the piano and began her fierce opener, "Precious Things." She followed that up with the bluesy yet intense "Liquid Diamonds" and then addressed the audience.
Let this woman pause for just one moment in her onstage rambling, and the fans will take advantage of it. While thinking of her next word, she stopped for a second, and the underpopulated arena lit up like Madison Square Garden with cries of "I love you, TORI" bursting from every rafter.
She returned the love with a quick "Yep, mwwah!" into the microphone and continued telling how she and her crew had stopped for dinner at Binghamton's Lost Dog Cafe the previous night. Fans there had approached the entourage, causing somewhat of a scene, but leaving early song requests recorded in marker on her left hand.
She waded through "spark," the first release from her new album, as the murky lighting reflected off the onstage mist, shifting her attention from keyboard to piano and back again. She touched base with her current album and maintained ties with old B-sides in her solo set, offering up a confrontational and unflinching "Upside Down." Ghosts of the arena's previous event, a rodeo, which the crew claimed to have been able to smell upon their arrival, were all well exorcised by this point.
Whether it was the crowd keeping Tori pumped or the other way around, the energy level of the concert swelled steadily throughout, building up to the powerful first encore. She dazzled the crowd with "Raspberry Swirl," a soon-to-be-released popular number with a dance beat flair. The flashing of the spotlights and disco balls, which was a highlight throughout, went beyond stage lighting to reach out everywhere and involve the audience. It was particularly effective during this energy-packed piece, turning the home of the Binghamton Icemen into a swirling, frantic discotheque.
For the second encore, Tori returned triumphant and almost nostalgic about the show, singing the sweet-sounding "Pretty Good Year" before dismissing her backup so that she could funnel all of her own emotion into the last number. She finished the show with the Joni Mitchell cover "A Case of You" to the accompaniment of many a weeping fan, singing the final chorus as "I could drink a case of you, husband," and blowing a kiss to her own new husband, Mark Hawley, who was sitting behind the sound board.
The concert was an exercise in intimacy between a performer and an audience, highlighted by personal stories and openness. The small size of the crowd must have been disappointing for the event's promoters, but for Tori Amos, the arena wasn't half-empty. It was half-full.
From The Oswegonian newspaper
November 24, 1998 - Toriphile Melanie posted this review to the ToriNews mailing list. This review appeared in the State University of New York at Oswego's newspaper, The Oswegonian sometime during November 1998. There was a picture of Tori on the front cover of the newspaper and two articles with numerous pictures in the centerfold. The pictures were taken from the Plugged '98 tour program. One of the articles was a review of the Binghamton, which you can read below. The review is nice, but it mentions a couple of songs that Tori DID NOT PLAY that night!
Tori Amos-Binghamton
by Andrew Mcllwraith and Autumn Cave
Tori Amos has a band now but, "Plugged" or not, she makes all the magic.
The black velvet curtain which had a caged the fury of a new band was unexpectedly dropped, revealing no Tori. Then she came, confident and fiery, eyes flashing with red-hair complementing them. Dressed in a green sequined geisha gown and olive cargo pants, she had finally graced an endearing audience with her glowing presence.
The first set began with a rock-enriched "Crucify," which, by her wild facial expressions and convulsive shudders, moved Tori like it did us. She simultaneously flooded the room with sound and drenched it with stormy emotion.
To see her perform is to witness the musical equivalent of multiple orgasms. To hear her speak is hardly as spectacular, however, it is nonetheless extraordinary.
When she paused to tell us all the story of how she came to write "Playboy Mommy," we listened like infants being read Dr.Suess in motherese. "When I lost the baby," she began, and that was enough. The entire crowd voiced a sympathetic "Awww," which hardly seemed sufficient. So we silently promised Tori we'd be her children.
And we were, through "Professional Widow," "Caught a Light Sneeze," and the remainder of the first set, we were there for her. It wasn't like she played to us, a roomful of ticket stub holders. Rather, it was as though she played for us, hundreds of old friends - the kind you tell your innermost secrets.
Secrets that answer questions like, "How does rape feel?" Live, Tori's ominous "Me and a Gun" invokes enough emotion to thicken air, hers is more than honesty, it's brutal humanity. Tori Amos takes showmanship to a new level. She rocks as a lover loves - absolutely, unconditionally and without reserve. The first set was only a warm up for the explosive performance the second set presented. Tori enticingly seduced her piano as she arched her back and sat gracefully atop the ivory keys between songs. The crowd, who became hypnotically trapped like a baby doe in headlights, swayed with the soft choruses of "The Waitress," which was performed by Tori without her band.
The final song, "Raspberry Swirl," dealt the crowd a new Tori. The song from her latest album pushed the limits of the audience's expectations. Red, pink, and purple lasers violently attacked the stage as her drummer played oil cans and lids. She furiously pounded keys of her musical soul mate with more emotion than the audience had experienced up to this point. It was pure ecstasy for a dedicated fan. Members of the audience danced as if techno suddenly began.
As the lights came on and the magic to fade, it became apparent that this was one of the highlights of our concert careers.
From Romy
November 13, 1998 - Of the four Tori shows I have been to, this was definitely the best. I could actually see Tori this time...and the set list was amazing. She seemed to be in a great mood.
The Unbelievable Truth weren't that bad, but I thought 9 songs was a bit much. There was someone sitting behind me who kept yelling "radiohead is better" in between songs, and talking to himself rather loudly. They got the most cheers when they said it was their last song. I think The Unbelievable Truth and The Devlins are good examples of bands that are fine as opening acts, but should never be more then that...although I sort of liked the Devlins.
Liquid Diamonds-I was so happy to hear this song. She changed the lyrics a little.
iieee-She did a little dance. Lots of pretty colored lights.
Father Lucifer-This song sounds so amazing now
Playboy Mommy-This is definitely one of my favorites. Once she said she couldn't think of a first line and mentioned Beenie, I knew she was going to play it...
Hey Jupiter (solo)-This is the second time on this tour I've heard her play it. It was really beautiful, her voice was echoing throughout the arena.
Upside Down (solo)-This was a nice surprise.
Sugar-I love this song with the band. It didn't seem like many people recognized it.
Hotel-This is my first time hearing it live. wow.
Crucify-I think I like the just-Tori version better. It seemed to lose a little with the band. It was still amazing. Especially the chains part
Past The Mission-I love this song. I thought she wasn't going to play it since it wasn't in the main set. I love the "they found a body..." part on the keyboard
Pretty Good Year-amazing...
Then the band came to the front of the stage for a group hug with Tori.
A Case of You (solo)-I couldn't believe she played this!!! It was definitely the highlight of the show for me. Purple lights and disco balls.
From Kristy Ribble
November 11, 1998 - The Binghamton show was absolutely phenominal...what can I say! Tori was in a WONDERFUL mood, and it seemed like she had a smile on her face every moment of that magical nite. The crowd was very very small - and it made for a great, intimate setting. I was on the floor, about 3 rows back ó I saw every facial expression that Tori made; and that in itself is something great! All nite, she was making faces at Jon and smiling at him. But now, on to the show... When I got there, I saw some of my friends from last August - Hi William, Caroline & Matt!!! :-)
I searched the lines and finally found the wonderful Kelly Dwyer, whom I hung out with all nite and I absolutely adore. Hiya Kelly :-)!!
There are some new shirts being sold now, I'm not sure if it's been mentioned or not. One is brownish-creme-coloured, and has like a filmstrip down the front with three pictures of Tori - on the back it had every show listed since the beginning, and said "bye bye now..." or something to that extent, I can't remember. Another new shirt had pictures from JS on the front, it was really nice. And yet another was grey and had pictures from Choirgirl on the front and back. Also a new babydoll T - it had the little blue piano and said "tori amos from the choirgirl hotel" in a circle around it.
The Unbelievable Truth played...about 9 songs (i think). They were all right, but we were all anticipating Tori too much to really pay attention. There were a good deal of rude people pushing their way to the front. *insert glaring here to the large, sweaty, hairy guy who pushed his way to the front and his friends*. There were also some girls in front of me who talked through ALL of Tori's set...I asked them nicely to be quiet so we could focus on Tori, and thankfully they complied...they weren't big Tori fans, they said they were here to hear "addicted to nicotine patches." Whatever. Okie. So on we go.
Tori came out, and everyone went *nuts*!!! She was in a wonderful mood and said that she had been at the Lucky Dog all day - a bar in Binghamton. She said "I gained 10 pounds!!!" and laughed. The setlist went as follows, although I'm sure you already have it on the Dent, mikewhy. :-)
A Case of You (solo) <--- !!!!!
This setlist is just *amazing*!!! I'm so thrilled I was there to experience this. Despite getting to know my neighbours a little *too* well being wedged in between the mass of sweaty people, it was worth it. Absolutely. I would do it all over again in a heartbeat. From Father Lucifer on, the show was a total surprise every moment. (minus waitress, spark, and raspberry swirl - but of course they were heartstopping).
Father Lucifer was absolutely enthralling with the band - I was so excited when I heard the opening piano!!! I had been hoping and hoping to experience it with the band. It was absolutely beautiful.
Before Playboy Mommy, Tori told a story. :-) She explained that she worked on this song for what seemed like forever, and it came right after she lost the baby. She said Marcel was naked, and they were in the Bahamas. Apparently Marcel ran into a pier, and they needed pharmaceuticals, "you know, first aid. we're big fans of pharmaceuticals you know." (insert crowd laughing here) She then went on to explain she had to have re-written the opening verse 20 times, and was staying with 4 women, including Beene. "lots of cats. pee- uuu!!! beenie was whining. a woman was going to get her throat removed." And then went on to explain she was going down this large staircase in her Prada shoes, and fell all the way down. When she hit the bottom, "i looked at Beenie and I said 'in my platforms i hit the floor...' " and then she smiled and they went into Playboy Mommy. It was really great with the band - I was hoping to hear that, but again, didn't expect it.
Hey Jupiter...was...I'm speechless. This has always been one of my favourite Tori songs. It was absolutely beautiful. It always has such emotion and means so much to me on so many different levels...WOW. I later found out that nite that "marianne" was on the set list where she played "hey jupiter." Okie, so I'm a little disappointed. I asked Tori to play "marianne" last august, but she didn't. But that's okie. I'll get Marianne someday. Absolutely. :-)
Oh my, then here comes "Upside Down." Tori said "I don't play this song a lot anymore, but this girl I met in a coffee shop today asked me to play this." A lot of people were singing along. What a community feeling! :-) I definitely was not expecting Sugar. It's so powerful with the band!!! Tori did some improv on this a little, but I have no clue what in the world she was singing. I tried my best...but you know.
HOTEL!!!! AAHH!!! I have wanted to hear Hotel since the album first came out - I remember starting a thread on Precious Things about getting Tori to work this with the band - and then, there it came!!! oh WOW!!! It was absolutely phenominal, I couldn't believe I was hearing it. That was just so yummy, oh my.
Spark was as always absolutely beautiful - it remains one of my favourites. That song is just...words can't express it!
The Waitress - AIEE!! :-) That's always a trip. Tori did the "I believe she's the devil's bitch" line again, I love that. The "Hang Ten Honey..." lines went a little longer than usual tonite, it honestly seemed like Tori did not want to leave!
Encores....:
Crucify I wasn't expecting, I'm not sure why. She has been playing it pretty often. It was better than it was when I saw Tori in August - it was really tight. She re-ran some verses and made it longer than usual - again...I'm serious, you could just *feel* that Tori didn't want this nite to end. She was having so much fun up there! Caton was going crazy through most of the nite...he's so much fun.
As anyone who has been to a Tori show this year knows - Raspberry Swirl makes the place on giant rave. Everyone was dancing like mad!!! It's always so exciting.
I definitely wasn't expecting 3 songs for the encore, let alone these three... When I heard the opening notes to Past The Mission, my heart skipped a beat. MY GODDESS!!! Tori was just full of surprises. She seemed to have fun during this one, and Jon was getting his groove on. I had spent a good deal of the nite making faces at Jon - he made a few back and was laughing. :-)
Pretty Good Year made me cry - that song....aaiieeeee!!! It's always so emotional and beautiful. The "what's it gonna take 'til my baby's all right" part was really powerful - it was great!!! Tori went back into an earlier verse toward the end (can't remember which, sorry), and elongated yet another song...I'm telling you, Tori did *not* want to leave. And I was definitely happy about that. I expected the show to be over at this point, and was in tears. And then...the boys leave, and Tori stays.
"A Case of You" starts...!!!! I got to the point where I was hysterically crying - this is my favourite Tori cover, only challenged by "Landslide". Tori sang "I could drink a case of you husband..." instead of "I could drink a case of you darling..." I also saw Tori blow a kiss to Mark, which was really sweet! :-)
After the show, when Kelly and I were up against the 5-foot *annoyinnnngg* barracades, trying to get a set list, we saw a table off to the right of the stage. It had a stuffed tiger on it, a vase with big obviously fake cheery- looking flowers on it, and some other things. Pretty sure they were things she's gotten from EWF and Meet & Greets.
It was *SUCH* a wonderful show...I didn't think anything could beat the show last August...but this show was 100 times better!!! Tori was so full of energy and just so happy - it really made the show such a special experience! I'm so happy that I was lucky enough to attend this great show...what a set list, what a woman, what a show!!!!
From Heather
November 11, 1998 - hi. :) binghamton was GREAT!
i am going to be writing a full "journalistic" review for a class of mine and i will send that to you... but for now, i have this.
i got there at 2:00. nice people all around... even a little girl named "tori" (after our tori). one of the crew guys told me she was going to do a meet & greet at maybe 4:30 but then steve came out and made us back off. he said there wasn't going to be one because it was so cold. he came out and urged us to leave a few times and we just sort of backed up further but hung around each time (we didn't want meet & greet per se, maybe just a wave). so finally, he came out and really pressured us and he said she'd be there soon so we should go get warm first, and then as soon as we left, they rushed her in. no one i talked to got to see her; there were only about 7 of us waiting consistently anyway.
so my friend david and i got to go backstage. we heard her doing the soundcheck while we were talking to her atlantic rep. she was doing london girls when we got to the lobby and then she started doing sugar over and over. then the rep said she was ready for us and we went back, but by the time we got to her dressing room, she was back up there doing sugar again.
so she came out and she seemed really distracted and frustrated, which i would attribute to the number of times she played sugar in the sound check. there must have been some problem; the piano wasn't hers so maybe that was it.
i was first in line (there were 6 of us) and i had no idea what to say; i felt so forgettable when faced with a person i had appreciated so much. she was nice, she said "okay come on over," and i started walking really slowly because i was insanely nervous and she said, "come on, i won't bite." then she put out her hand and said "hi. i'm tori amos. who are you?" and i told her my name, she said it was nice to meet me and she asked the name of my friend, etc. they took our picture and then she said "wait, no, you have to do it again because i was looking the wrong way," so they took a second. i gave her some gifts, some poetry i had written and stuff and she started signing everything in my hands. i got nervous because the bodyguards said she'd only sign the picture and one other thing, so i was going with that. but she saw the stuff in my hands and she was just taking it all, saying, "here, i'll sign this too," and she even took the cd book out of the album i won and signed that. i asked her if here in my head might be lurking around binghamton and she said, "oh i don't know, i'll try, i've got so many requests, i'll try but this is a really big show."
she didn't play here in my head but as you can see by the set list... who cares?
anyway, she was really very nice, and she was a lot more relaxed by showtime.
i found it interesting that danielle thought binghamton was so lame because tori obviously had a lot of fun here. here's her first time addressing the audience, after liquid diamonds: (and these are genuine word for word; don't ask the covert means by which i obtained them)
"Hi everybody, how's it going? Oh god, so it's so good to be here. We have had the best time at The Lost Dog, oh my god. We lived at that place! I hope we didn't cause any trouble, everybody was so fantastic, I gained ten pounds. But anyway, um, we're going tonight (something indeterminable), we're going. Some of you know my brothers, uh, especially if you were at The Lost Dog, you know all of us, this is Caton on guitar...." etc, she introduces the band.
to explain that: on monday night, she spent her night off in binghamton. some friends of mine were over at the local cafe/coffeehouse "The Lost Dog Cafe" and they had the good fortune of sitting at the table right next to tori and mark! they said she was really friendly, saying hi to everyone, signing autographs and taking early requests. so it sounds like she had a good time in binghamton.
and here's the "playboy mommy story." it's really neat:
"So while the guys change basses and stuff, I'll tell ya a little story about this next song. I don't do that much anymore, do I Matt, I just don't tell stories much; I've gotten shy in my old age. Anyway, um, the strangest thing-- (fans scream 'i love you' etc and she goes, 'yep, mmmwah' into the mike)-- so anyway, this little story: I lived in the tropics and the crew was down there and Marcel was-- I think you were nude, Marcel... Strange. Odd. And, uh, he had run into-- what did you run into-- a pier. Anyway, he was almost dead. He was on a (?) so we, of course we had loads of pharmaceuticals because.. that's ah.. that's our Goddess! That's the great American health food, heh, that's what I love. And of course, um, but only in moderation, balance. And of course, um, while all this was happening, you know strawberry margaritas going into the tum-tum, I had just lost the baby, and ah, this song started to come. And everybody started to kinda weave in and out of this beach house and ah, I couldn't finish it, for some reason I just couldn't. I wrote this first verse twenty times. I had my wisdom teeth out and I was singing it to my mother going, 'mother what do you think of these lyrics?' something about, you know, my head, and it hurts, and da da da da, just, she goes 'you're outta your mind, you just had your wisd-- this is terrible!' And I said, ah okay, thanks mom. And then it took me a while until I went with Beenie to a... champagne... you THINK I'm an alcoholic and a drug addict and I'm NOT! It's one of those things. It's not the same! But anyway, so I'm in the champagne, right, with Beenie and we were having an argument with one of her, uh, friends, there were four of us women and my god, four women together oh god it can be ugly. So um... cats for days and P.U.! Anyway, so there was a war going on and one woman was having her throat removed and um, Beenie of course was gonna win, and I just, I just came into my room freaked out by the whole thing and schmoozy me, my uh, spiral staircase, mm mmm.... So I come down in my Prada shoes and I trip all the way down the steps and I fall all the way down to the floor and so, uh, when I looked at Beenie and said (sings) 'in my platforms i hit the floor'..." percussion/bass for playboy mommy starts... breathtaking. heartbraking. signature tori.
From Andrew - A. P. Marki (Posted to the rec.music.tori-amos newsgroup)
November 11, 1998 - Well, I wasn't happy with the sound quality. I hope someone else can compare it with her shows at other venues. I also liked the accoustic solos most for just that reason, although the first one (which song?) had sound problems which were solved by the time she did Jupiter.
The arena people were working on someone who passed out in front of me just as Raspberry Swirl started, so I felt a little divided there.
Like Josh and others said, the new arrangements were fun to hear, esp Waitress, and I think Tori gave extra poignant emphasis to the line "what's it gonna take 'til my baby's all right" from Pretty Good Year.
The only song which I felt didn't benefit from updating was Father Lucifer, since the BfP piano already provides all the percussive rhythm it needs, so the band adds nothing and takes away the whimsical or naive and somewhat sly quality of the transparent arrangement. Maybe Tori has a special reason for wanting to tour with it? There's the line, "baby's still in his comatose state," and maybe there's more going on in the Plugged version than I noticed.
I thought the show started out a little cold, like a run-through with the sound not worked out, but that might have been just me, since I'm going through the LDR's (long dissed relationship) and called her just before and had a nice long talk but the general cloud of uncertainty followed me to the concert. (I take exams next week, then after thanksgiving in maine I'm outta the northeast as soon as I can get my act together and hit the west coast. But from what she said today, I may be starting from scratch when I see her again. "Scratch" sounds like the title of a tori song. I guess some rmta'ers know what I'm going thru.)
I'd claim for sure that Tori sounded hoarse by "Past the Mission", and her voice was a bit forced. Is it possible that she peaked in Ithaca and wasn't in top form? A good performance can be a hard act to follow. Kinda wish I'd gone to Ithaca too after all (the LDR's, dontcha know).
I remember some songs working esp well for me: all the ftch songs (iieee, hotel, spark etc) except maybe Liquid Diamonds, which I love but seemed to have lost all its musicality, maybe because it came early in the show; as an aside, you gotta love Tori's piano bench antics, but do we need her to point out the difference between "horseback" and "dogsled"? :) Crucify was esp good for me. Was it good for you?
Tori's story was the intro to Playboy Mommy, explaining how she came up with the opening lyrics. She supposed that she doesn't do as many stories now in her old age.
From Matt Page
November 11, 1998 - Matt called me on the phone with details about this show. The set list was very interesting, especially the second encore which included the cover "A Case Of You", which Tori played for the first time on the Plugged '98 tour. What Tori played varied a little from the official/written set list. Tori had planned to play Marianne and Upside Down during "secret time", but performed Hey Jupiter and Upside Down instead. Also, Marcel's set list had Graveyard written in before Playboy Mommy, but Tori must have decided to tell a story at that time instead. Before Playboy Mommy Tori directed a question at Matt Page who was in the front row. She said something to the effect of, "Matt, I don't tell stories very often anymore, do I? I must be getting old." She then told a long story about Playboy Mommy, and about how she struggled to come up with the opening verse. She said she was out with some friends (including Beenie) and was drinking champagne. Apparently they were going up a staircase and Tori fell down the stairs, which gave her the idea for the line, "In my platforms I hit the floor, fell face down, didn't help my brain out..." She also said prior to Upside Down that is was a request for someone she met at a coffee shop the day before. The one real negative for this show were the barricades they had set up in front of the stage. The show was general admission (at least on the floor) and the barricades for something like 5 feet tall, which was really unfortunate for some of the smaller people in the front. These barricades reportedly belonged to the venue and they likely refused to moved them or had nothing smaller to place there. It was not the idea of Tori's people to have such high barricades. Matt also heard part of the soundcheck that day, and heard Pretty Good Year and Sugar.
From Richard Handal
November 11, 1998 - Richard added that "A Case Of You" was done solo at the piano and was not listed on the official set list. Several people saw Tori blow a kiss to her husband Mark after "A Case Of You", which was apparently sung to him. (She even added the word "husband" to one of the lines.) Tori was playing a Yamaha piano because her Bosey is still sick. Tori was on stage from 8:56 until 10:43. Tori's main set ended at 10:12PM.
From Danielle
November 11, 1998 - I went a little overboard writing down details at this one. It was a last minute thing for me. I wasn't planning on going to this one but when my mom got home from work, I begged her and we went. Usually my boyfriend and I go but since he's in NJ, mom had to do. For her first Tori show, I don't think it was half bad.
Before the show, Steve was "no pre Meet and Greets anymore". Blah Blah. At GA(general admission) shows they don't want her to do them. They only want her to do after show ones. It was really cold and windy so we didn't stick around. Funny though, after all Steve said, I found out that certain people did get to meet her. GRRR. I digress...
Mom and I left to grab a bite to eat. Not to "dis" Binghamton but it's not a happenin' place. Quick eats at a little diner. Came back to put more money in the meter and I heard the soundcheck. I ran to the door. It had been going on for I assume about 20 mins before I got there but this is what I heard: Part of Pretty Good Year Caton having some guitar fun something (not sure if it was a song. I'm pretty sure just random music)
Pretty Good Year (somethings are....til my baby's alright) That part a few
Sugar (whole song 4 times)
part of iieee
part of spark
part of precious things
part of spark again
part of precious things again
7:34 Unbeliveable Truth came on. Played 9 songs. Left at 8:09.
8:55 Band comes out. Then Tori wearing a brown tight top with fur at the sleeves, grey(or black) pants and high heeled black boots. Green apron.
liquid diamonds with something like "going back where you're coming from fe fi fo fum pick myself up off the floor...can't take it....something...."
Then talked about the Lost Dog and how she went there last night and lives there. She said she gained 10 lbs there. She said she liked it there and was sad because she was going bye bye.
caught a lite sneeze something "you never did...." (mad caton dancing)
iieee with intro dance she stood up for. did some little hand movements.
playboy mommy story: she was in the tropics. she said she had just lost a baby. marcel was nude. he had ran into a pier (?) and was dying. they had loads of pharmasudicals there. she said that pharmasudicals are their goddess. she wrote the first verse of this song 20 times and she was having her wisdom teeth out. she called her mom and asked her how it sounded and her mom said bad.
then she was talking about strawberry margaritas and how we all must think she's a drug addict and an alcoholic. she said she was with beenie and 4 women were together. bad thing. cats for days. pewww. one girl was having her throat out. beenie was winning. she said it upset her so she went somewhere (didn't catch it). there was a spiral staircase and she was walking down it in her prada shoes and fell....
hey jupiter(solo)
upside down (solo) (a girl asked me to do this last night and i haven't done it much) started it the stopped. asked marcel if verything was ok then started again.
Something about giving a girl in the front row water. "she needs water. I
need water."
hotel (mad caton dancing again)
waitress ( i thought long hang ten...)
10:13 left 10:15 back
raspberry swirl (no deely boppers :( )
past the mision
pretty god year
waved the boys bye a case of you (instead of "I could drink a case of you darling", she said husband)
10:44 over
I didn't stay for after. It was rainy and windy and COLD.
A very relaxed show in my opinion. Small crowd. Very small. Floor was half filled. She seemed happy. I am happy :) I met some nice people. Hi Tom!
Now I am off to bed...
From Josh (Posted to the rec.music.tori-amos newsgroup)
November 11, 1998 - Hey all...I'm wondering if anyone else out there saw the Binghamton show tonight. I had one bitch though, they set the PA System up in such a way that it blocked a lot of people's seats. Otherwise, this was the first I have heard of her new arrangements and really was blown away. "Waitress" was fucking amazing...PLEASE write me if you were at the show in Binghamton, 11/10/1998. I'd really like to get some opinions! Thanks a ton and hope to hear from you guys...
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Please give me feedback, comments, or suggestions about my site. Email me (Michael Whitehead) at mikewhy@iglou.com


A Florida teen accused of firing the shots during a drive-by shooting that killed a seven-year-old boy surrendered to authorities on Tuesday, Miami-Dade police said.
Dravein "Pop" Duke, 19, has yet to be formally charged, but a warrant for his arrest preliminarily listed second-degree murder, said Miami-Dade Police Department spokeswoman Robin Pinkard.
The child, Amiere Castro, died at the scene of the shooting on Sunday afternoon in Miami-Dade County, where he and his mother were visiting relatives for the Christmas holiday weekend.
At about 3:30 p.m. a white pick-up truck drove by the house and someone began shooting "an assault-type rifle," police told reporters on Sunday.
Three people were inside the vehicle, police Acting Director Juan Perez told reporters on Tuesday, and an 18-year-old suspected of driving the car was arrested the evening of the shooting.
Duke's attorney could not immediately be reached for comment.


text:
Q: Consequences of the axioms of connection and order How do I prove that:
Theorem 4. If we have given any finite number of points situated upon a straight
line, we can always arrange them in a sequence A, B, C, D, E,. . ., K so that B shall
lie between A and C, D, E,. . ., K; C between A, B and D, E,. . . , K; D between
A, B, C and E,. . .K, etc. Aside from this order of sequence, there exists but one
other possessing this property namely, the reverse order K,. . . , E, D, C, B, A.
I know it is a generalization of the theorem that states that: Between any two points of a straight line, there always exists an unlimited number of points.
But can I directly say that this last theorem proves it easily or is more complicated?

redpajama_set_name: RedPajamaStackExchange


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Compare these photos with how you sew. Follow the instructions for the direction in which you sew. No matter which direction you stitch, always finger-press your appliqué pieces before you pin them to your background (page 22). It really does make a difference! 34 THE BEST-EVER APPLIQUÉ SAMPLER from Piece O' Cake Designs Making a Good Stitch After you know the mechanics of a good stitch, all your stitches will be invisible. Appliqué stitches are made one at a time. The needle goes into the background next to the edge of the appliqué fabric.
The tip of the toothpick should be even with the cut edge of the seam allowance. 7. Rotate the toothpick only as far as the stitches on the first side of the point. 6. Push against the fabric with the toothpick and rotate the turn-under allowance underneath the point. The toothpick should pivot on top of the tack stitch. 48 THE BEST-EVER APPLIQUÉ SAMPLER from Piece O' Cake Designs 8. Place the point of the toothpick at the side of the point. Use the toothpick to smooth the turn-under allowance down and away from the point.
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In some countries the milk from goats, ewes and camels is used to make cheese.
In Britain most cheese is made from cow's milk.
Cheese may be grouped in several ways.
Very hard cheese has a low water content.
An example of a very hard cheese is Parmesan cheese.
Hard cheese has a relatively low water content.
Examples of hard cheeses are Cheddar and Gruyere.
Semi-Hard cheese has a higher water content.
It is more difficult to store.
Examples of this cheese are Stilton, Gorgonzola, Danish Blue, Roquefort and Edam.
Soft cheese has the highest water content.
The high water content encourages the growth of bacteria and mould.
Examples of unripened soft cheese are Cottage cheese and Cream cheese.
Examples of ripened soft cheese are Fetta cheese and Camembert.
Processed cheese is made from a mixture of cheeses.
It may be sold in slices.
Some processed cheese has butter added to make it into a creamy spread.
Examples of processed cheese are Cheese Slices and Creamy Cheese Spread.