A new highly efficient PowerPax chiller was installed to replace the existing chiller to reduce energy use. A new controls system was installed to integrate with the new chiller and controllers were fitted to existing VAV boxes and air-handling units to reduce energy consumption from the air conditioning system.
The retrofit of this 1930s art deco building was the first environmental upgrade agreement signed under the City of Melbourne's 1200 Building Program.


Haiti's Health Ministry have confirmed over 920 deaths from cholera so far, most likely a conservative figure because aid agencies and charities in the area have their own reports which are not always collected promptly. In the last three days the number of fatalities has risen by 121. Authorities say that nearly 15,000 people have been admitted to hospital and that the disease is currently present in six provinces - Haiti has ten provinces.
Several aid agencies are concerned about the cholera spreading through the camps which house over 1 million people who became homeless after the devastating earthquake which shook the country on January 12th this year.
According to data collected from around the country, the province of Artibonite, located in the center, is the worst affected with 595 deaths.
In Port-au-Prince, the capital city with a population of 3 million, 27 deaths have so far been confirmed. As the disease has only recently reached the capital, most experts are expecting a significant rise in reported cases.
Hurricane Tomas, which hit the country a couple of weeks ago, was mercifully not as damaging as people had feared. However, it brought with it heavy rains and flooding; several rivers burst their banks. Flooding can cause sewage systems to overflow and accelerate the spread of cholera.
The United Nations and WHO (World Health Organization) believe the total number of cases in Haiti could reach hundreds of thousands. Figures coming out of PAHO (Pan American Health Organization) predict that over 200,000 people could eventually become infected.
The United Nations says that $163.9 are required to deal with this epidemic over the next 12 months.
Haitian authorities say the presidential and legislative elections planned for November 28th will still go ahead.
Hygiene is crucial in the fight to stop the spread of cholera. Several aid agencies comment that educating people about hygiene is fine, as long as they have good supplies of soap and detergents. Supplies are getting through, but not fast enough and in sufficient quantities.
Nordqvist, Christian. "Cholera Deaths Near The 1,000 Mark In Haiti, Numbers Continue To Rise." Medical News Today. MediLexicon, Intl., 15 Nov. 2010. Web.


This is a technology sample that demonstrated how to send a text messages to a Contact using a REST API call to Upwire.
You can sign up for a free trial account here.
We are accessing Upwire's Send Raw SMS web service via the CallRestAPI() function call in North52 BPA.
This will demonstrate how to create a JSON Object with North52 and then use it in the CallRestAPI() function.
For this sample when the Description field on a Contact is changed we will automatically text the contents to the Contact.
Upwire supports JSON of type application/json so we identify our object as this type in the first parameter in the SetRequestParams() function.


text:
Tag: asylum
How do you rank the studio albums by the original four? I'd give them all 10's!!
What got you hooked on KISS as a kid? The first time I saw the cover of KISS Alive II with the blood all over Gene.
What was your favorite live KISS concert experience? Revenge … my uncle Dennis bought us tickets, it was my first show … it was the UIC Pavillion …it was my favorite … just seeing all the adrenaline and the bombs and the pyrotechnics just made me feel like a kid again!
Who is your favorite member of the original four and why? Has to be Gene because he just tells it like it is and he holds no punches even though his mouth gets him in trouble sometimes, but he's got to learn too.
What's your favorite 80's KISS record and what are your favorite 5 KISS songs of the 80's? Asylum … "Uh All Nite", "Let's Put The X In Sex", "Silver Spoon", "Who Wants To Be Lonely" and "Heart of Chrome".
You are a huge Elvis fan, what do you think KISS and Elvis have in common? They were all cool back in their day, he had his worst times with the movies and the Army and he had everything taken away and KISS had their day with non-make-up records and the disco era — they both had their non-cool phase.
What's your review from the Chicago Open Air show this summer at Toyota Park? I think they need to really quit — I had to say but they need to quit or do a one year reunion tour with everyone whose alive and just call it a day.
If you met someone who wasn't (yet) a KISS fan, what 5 songs would you play them to try and enlist them in the KISS Army? "Dr Love", "Do You Love Me", "Kissin' Time", "Love Gun" and "Deuce".
You have a weekly feature on KISStorian in your Jason's Kisstoric Flashback — how do you decide each week what video to pick? It's not very hard, I just go with how I feel that week, whatever song I feel like throwing up there.
If somebody bought you the Gene Simmons Vault and he was gonna come and hang out for a bit, what would you wanna do and what would you talk with Gene about? I would talk him about why is he letting KISS continue to play live and ask him to consider just making more studio records because that's probably what the fans wanna see most at this point … I would just like to spend the day with him and see what he's like.
You are asked to write Ace Frehley's set list for the next tour … what songs are essential for him to play live that he hasn't been playing? "Do Ya", "Trouble Walkin'", "Talk To Me", "2,000 Man", "White Room" and "Foxy & Free".
What is your favorite moment in KISStory? Gene's appearance on the Mike Douglass Show or the Tom Snyder Show interview.
What would you call the next KISS studio album, please give us three working titles Jason? Maniacs, Tear It Up or Worlds Apart.
December 22, 2017 December 22, 2017 CHICAGO 'N BEYOND70's rock, 80's rock, Ace Frehley, asylum, Chicago Land, Elvis Presley, Gene Simmons, Gene Simmons Vault, Jason Roberts, Kid King Kiss, Kiss, KISS Alive II, Love Gun, Paul Stanley, Peter Criss, Revenge, Rolling Stone Records, UIC PavillionLeave a comment
Helmets tight KISS Army …I sat and looked at the album covers, accessing the part of my brain that governs KISS related decisions to figure out which album I really wanted to listen to most, and 2nd most, and so on and so forth. A short blog piece on a Herculean task. Please forgive me.
LICK IT UP > back on the streets …hey, hey have you read the news? this album is as good as Creatures of The Night and is the make-over that saved the KISS brand.
ASYLUM > alive n' kickin' …guh-guh, guh-guh, guh-guh, guh-guh get the message sugar: Asylum is Kulick/Carr KISS hitting their best 80's stride.
ANIMALIZE > once bitten, twice shy …Stanley's triumph in fret-frenzied St. Johns wood; had Simmons given a damn, or Vincent remained on-board, Animalize might have been as good as LIU.
REVENGE > cult of personality …KISS was cool again but I'de give the album higher marks were it not for Stanleys somewhat labored contributions under the rose w/ Ezrin.
HOT IN THE SHADE > these happy days are yours and mine …KISS lighten up to become almost human with "Forever" and a fun album.
CRAZY NIGHTS > desperate, but not serious …KISS buffed to 80's money-shot oblivion by the grace of Nevison's hand.
CARNIVAL OF SOULS > return to sender …unmasked KISS fade to black with a grungy dirge.
February 28, 2016 September 2, 2017 CHICAGO 'N BEYONDAnimailize, asylum, Bob Ezrin, Bruce Kulick, Carnival of Souls, Crazy Night, Crazy Nights, Eric Carr, facelift, Gene Simmons, Hot In The Shade, Kiss, Lick It Up, Mar St. John, Paul Stanely, Revenge, Ron Nevision, sans makeup, the 80's, Unmasked, Vinnie Vincent6 Comments
November 21, 2015 CHICAGO 'N BEYOND1986, asylum, Eric Carr, Kiss, KISStorianLeave a comment
As a matter of fate, unfortunately Bruce Kulick is slightly land-locked in the 80's because he had to wear so many fret-defying hats in KISS's post make-up, hair band phase. But Bruce is a guilty pleasure with no bad after taste who has done some excellent guitar work with KISS and beyond, especially on his solo disc BK3. But, as it relates to our furry fab four, these are this KISStorians' top 5 of all time:
"HELL OR HIGH WATER" – You get sizzle & steak on this ripping solo from Kulick. The high point is the Hendrix-infused long high bend that is, to me, the hottest shit he's ever laid down. Say what you will about the production on Crazy Nights, in some ways it's Bruce's most succinct and dialed in 80's sound. It's consistent through-out and one of the most pleasing elements of the album. The fade out riffage is hot also. It reminds me a lot of his brother Bob to be honest and, by all accounts, this take is the Demon's favorite Kulick shred on tape. Ripping Kulick.
"TEARS ARE FALLING" – Off the semi-screechy Asylum opus from '85, Bruce's solo here is A1, top-notch, super-melodic and ends on a searing jam of high notes that removes bras at Paul's request (yeah, he produced it). The harmony guitar line is so cool — instantly singable, hooky, and a big part of the tunes appeal. Pure melodic 80's Kulick.
"KING OF THE MOUNTAIN" – Also off Asylum, the Kulick solo here, and the extended outro jam out, is hairy and yet slick thanks to what seems like a long leash from Paul. Bruce managed to do some sweet Van Halenesque tapping and yet infuse the blues into his playing like the classics Clapton, Page, Beck, Hendrix and, dare I say, the original 'Spaceman' Ace Frehley. Majestic Kulick.
"FOREVER" – Though slightly saccharine for this KISStorian's tastes as a number, Bruce really shines on an acoustic solo that elevates the song nicely (if not the entire Hot In The Shade album). I don't think it could be improved on (though who wouldn't love hearing the electric version he apparently did that ended left on the cutting room floor in favor of the keen radio-friendly approach). I am especially fond of the descending phrase at the end of the figure. It's so tasty a solo in fact that it is, musically speaking, a legitimately KISStoric highlight/moment. Classy Kulick.
"I WALK ALONE" – Bruce's swan song on Carnival of Souls, and his only lead vocal with the lads, "I Walk Alone" is down right epic and recalls the guitar work of Queen's Brian May. You can really feel the love on this track, perhaps more than any other KISS/Kulick effort. It's a great song that is somehow in KISS's wheel house and yet a little farther reaching in scope. If God Gave Rock & Roll to You and I, the fact that "I Walk Alone" made the record is a miracle of Biblical proportions; must have been the 8th Day? Amen. Epic Kulick.
January 19, 2015 September 2, 2017 CHICAGO 'N BEYONDasylum, Brian May, Bruce Kulick, Carnival of Souls, Crazy Nights, Eric Clapton, guitar solos, Hot In The Shade, Jeff Beck, Jimi Hendrix, Jimi Page, Kiss, Queen11 Comments
July 16, 2014 July 31, 2014 CHICAGO 'N BEYONDasylum, Drummer, Eric Carr, KissLeave a comment
Me and my bro Rich were talking about Paul's recent rather disparaging comments about Gene's material in the 80's. I can't argue with his assertion that Gene was mailing it in here and there in terms of material and over all effort in the unmasked 80's. It's a pity Gene was so distracted after removing the facial facade because he simply contributed less tunes than Stanley with very few truly great tracks and certainly no workable singles …..but clunkers? The true measure of the quality of material is how it holds up today. Let's see:
LICK IT UP – I can no fault with either the Starchild or Demon's offerings on this mega rock opus that may be the best hard rock record of 1983, period.
ANIMALIZE – Some will roll there eyes here 'cuz this album is so land-locked in the 80's it's hard to have any perspective on it that isn't absurd but the only Gene cut here that really wears on me is "Lonely Is The Hunter" (even though it's got the best guitar work on the record compliments of Bruce Kulick behind the scenes). I would say Paul's "I've Had Enough" is a bit of a dog in on the LP also. "Burn Bitch Burn" may be a low point for Gene in terms of lyrics but I gotta say people, it rocks. Score: 1 to 1.
ASYLUM – Pretty cool album. but I've always hated "Trial By Fire" because it's just so shitty, save the fun bridge which does makes one want to do the Demon head and tail wag a bit. "I'm Alive" is also a bit too much: we may enjoy it, but I would say it's borderline at best. Score: 2 to 2.
CRAZY NIGHTS – Again, Gene's output here is weak, but in terms of truly walking the plank, this is Paul's baby and "My Way" and "Bang, Bang, You" are sub-par KISS cuts no matter how much gloss was added by Nevison. That said, they are over shadowed by the grim reality of Gene's god-awful "No, No. No"….mercy. Score: Paul 4, Gene 3.
HOT IN THE SHADE – Welcome to the jungle people, it's thick in here with KISS near hits n' misses but the two pigs that really stand out to me today, as they did upon first listen, are "Cadillac Dreams" (Bruce, you we're so right!) and desperate abomination that was "Read My Body". The rest is survivable though the chorus of "Love You To Hate Me" and irksome but I'll let it slide lol.. Score: Paul 5, Gene 4
SMASHES, THRASHES & HITS – Then of course we have the Stanley womanizers "Let's Put The X In Sex" and "Rock Hard" but both tunes are catchy enough to escape banishment here I think. Since Gene contributed nothing here it's hard to dock points. He was the only one of the two punching in at the office apparently.
In conclusion, sure Gene was AWOL and brought little to the table 'unmasked' that stands out today (save "Hell of High Water" and maybe "The Street Giveth" (Tommy Thayer take a bow)) but in the Demons wanderlust absence the Starchild birthed his own collection of 80's muts. That said, I cut him slack and offer a tip of the hat because did what had to do to get us all through the 80s, though a tad darkly at times.
May 30, 2014 May 30, 2014 CHICAGO 'N BEYONDAnimalize, asylum, clunkers, Crazy Nights, Gene Simmons, Hot In The Shade, Kiss, Paul StanleyLeave a comment
May 20, 2014 CHICAGO 'N BEYOND1985, asylum, Gene Simmons, Kiss, kisstory, Secretly Cruel, the DemonLeave a comment

redpajama_set_name: RedPajamaCommonCrawl


text:
Jay-Z - 99 Problems
[Music] Jay-Z – 99 Problems
by Hem-El Jul 4th, 2022 at 12:21 pm
by Hem-El Jul 4th, 2022 at 12:21 pm 39 views
Jay-Z – 99 Problems
Here comes a throwback song by American rapper; Jay-Z and he titled this one "99 Problems".
"99 Problems" is the third single released by the American rapper Jay-Z in the year 2004 from The Black Album which was released on April 27, 2004.
[Music] Beyonce – Drunk in Love ft. Jay-Z
[Music] Rihanna – Umbrella ft. Jay Z
Apr 28th, 2021 at 9:25 pm
The chorus hook "I got 99 problems, but a bitch ain't one" is taken from the Ice-T single "99 Problems" from the album Home Invasion (1993).
However, the hook was coined during a conversation between Ice-T and Brother Marquis of Miami-based 2 Live Crew. Marquis used the phrase in the 1996 2 Live Crew song "Table Dance".
In addition, in the song, JayZ tells a story about dealing with rap critics, racial profiling from a police officer who wants to search his car, and an aggressor.
Furthermore, the song reached number 30 on the Billboard Hot 100.
Download "99 Problems" mp3 below and check out our Music page for other similar tracks, also share your thoughts because we really love to hear your take on this.
Artist Name(s): Jay-Z
Genre: Rap Rock
Listen, Download, enjoy and Share the Mp3 song below:-
[Music] Jay-Z – Young Forever ft. Mr. Hudson
[Music] Sia – Unstoppable
[Music] Beyonce – Drunk in Love...
[Music] Rihanna – Umbrella ft. Jay...


Tanzania is such an incredibly beautiful country, and its people are friendly and forever smiling. Spending time finding out about new cultures is part of any trip and I was really looking forward to finding out more about the iconic Masaai tribe. They're depicted in all the photos of Tanzania with their brightly-coloured blankets and I've seen so many videos of their ritualistic jumping dances that I felt like it was all too good to be true.
Driving out of the Serengeti National Park, our game ranger pointed out these two boys waiting nearby in the bushes. They were cloaked entirely in black and their skin had been blackened with paint. There were no embellishments on the blankets they wore and the only detail in the garb was a headdress and the stark, contrasting white geometric patterns spread across their foreheads.
Our ranger explained that the boys were in fact Masaai initiates and would be expected to dress just like this throughout their initiation period, which includes a circumsion ceremony that signifies reaching adulthood and becoming men destined to be Masaai warriors.
The appearance of these boys was just so entrancing that I haven't been able to stop thinking about it and the significance and cultural weight their appearance held for me. Can it be likened as coming into the light after being cloaked in darkness? I don't know, but it sure made me think about how important a life with colour is. This intriguing attire is also the reason I've chosen to post these pics instead of any with Masaai warriors in all of their wardrobe, the simplistic black and white of it all says so much about their culture for me.


In an effort to achieve organizational goals, a large part of General Electric's overall strategy involves rigorous management oversight and dedication to controllership. Controls are processes that "direct the achievement of individuals toward the achievement of organizational goals" (Bateman & Snell, 2007). Four control mechanisms used by GE are Six Sigma, performance measurement, internal and external audits and financial controls and the following will discuss their effectiveness, positive and negative reactions to use of these controls and how the controls impact the four functions of management.
On the same note, because customers are in a hurry they may not take the time to think about the question being asked, and therefore, give a score off the top of their head. A second potential negative is that the data is somewhat skewed. For example, someone who gives a score of zero is put in the same category as someone who gave a six. Generally someone who gave a six is a fairly happy customer, whereas a zero is a customer who the company will probably never see again. Although, according to Peter McCabe, chief quality officer for GE's health care business, "Ultimately it's not about the number; it's about focusing on the customer" (McGregor, 2006). This gauge is a perfect example of how all members of an organization must work together to achieve positive results. It starts with the frontline employees receiving the initial customer feedback, this feedback then funnels through all levels of management in terms of what corrections need to be made or positives to reinforce, then comes back to the frontline employees for implementation of changes. This feedback affects the four functions of management because the organization and planning can now be adjusted based on the results. Leading and controlling also changes because the company has to adjust strategy for the next year's plans.


Silver, brass patinised, iron-punch, stainless steel cord.
Brass patinised, iron punches, stainless steel cord.
Brass patinised, stainless steel cord, iron punch.
Silver, forged iron, iron punches, stainless steelcord.
Silver, forged iron, iron-punches, steel-cord.
Gabriele Kutschera, born 1950 in Vienna, 1968 Diploma of the University f. Applied art, Vienna, Mkl. f. Jewelry & Watches in Metal design, 1986 - 2001 lecturer for the design of metal in the HBLA. Herbststraße, VIENNA. Since 1975 freelance artist in the field of jewelry and forged iron sculptures.
My medium is the forging technology. The plastic deformation of a rod/globes offers a wide range of possibilities for designing both precious metal (jewelry = body-related) and iron (iron plastics = room-related). From this, groups of works were created in jewelry such as - the sun, the moon, Mars (gold, silver, and iron), most recently - ropes - using steel ropes and their diverse possibilities of design in the jewelry sector.
Exhibition 08 Oct 2017 - 07 Jan 2018 Die Geschichte im Ich by Peter Bischof & Eisenzeit by Gabriele Kutschera.


One of the newest features of Constitution week stems from an encouraging advancement in voting registration. As of August 2015, residents of Pennsylvania are able to register to vote online. This is a huge leap for Pennsylvania, and makes the state one of 24 that have online registration systems. "Research generally indicates that a very strong majority of those who register to vote do end up voting. It is gratifying to see our state government take a bold step toward making it easier to register to vote," said Dr. Lawrence. College students especially benefit from the ability to register online, because the process makes registering for your home district more accessible.
However, since casting actual votes online is not yet possible, voters will still need to travel home or to vote by absentee ballot. Millersville's Constitution week featured a table where community members can fill out registration forms.
This year, they also included a laptop for those who wished to register online. Though it wasn't as popular as the hard copy forms, there is some speculation that an event featuring the online registration forms in a computer lab could be added to next year's Constitution week.
"We are a cautious, conservative state when it comes to pursuing electoral reform of any substantive nature," said Dr. Lawrence.
Online registration is proof that Pennsylvania is moving forward and taking risks to better suit the political need of its constituents.


text:
Q: IdentityServer4 with React I am new to React, and developing a WebApp, which requires authenticating user via IdentityServer. So this is what i 've done so far :

*

*Created a react web app using npx create-react-app.

*Created a Security service using Identity server which renders my login page.

Where i am stuck :

*

*Since i am planning to use redux in my react web app, shall i create a reducer/action for the login operation (i am planning to have them for other operations).

*How to redirect user to the Authorize/Login page of security service and redirect back to my react app? (Can i use aurelia-oauth or some other plugin ?)

Things i have tried :

*

*Have defined route for login page in react app (which will be discarded, since i am going to use login page of security service.

*Tried making a get request for the login url of security service from react app. (Throws : TypeError: Object doesn't support property or method 'render' on react-dom.development.js)

redpajama_set_name: RedPajamaStackExchange


Oserve tu kul balat, es unik. Tot mun deve vis le. Oserve tu le! No sulmentu les bal, ma a nos les kant i nsingre musik. Popre ornali no kupren le, ma ku kul stil de balat les popre trove urtime virtat oskur. Kandu les bal, les deven sopril.
Depost un kurt moment, les tuk nos cor i kumis present a nos sisasiun onest a soprepas spirt oman. Esku nos pos peven tant nevel de kul balator?
Popre ornali pos fik atensiun a movasiun de pede sulmentu i ngrul proposit vir de balat.
Observe this dance! -- it is unique. Everybody must see it. Look at it! They not only dance, but sing to us and teach us music. Ordinary people don't understand it, but with that style of dance people find the ultimate hidden truth. When they dance, they become superior.
After a short while, they touch our heart and begin to show us the honest feeling to surpass the human soul. Can we reach the level of that dancer?
Ordinary people can just pay attention to the movement of the feet and ignore the purpose of the dance.
All Latin nominal forms are given in accusative case, from which Terkunan nominals usually derive. This final -M dropped early, but to make the words look more like Latin, it was kept in the orthographic presentation here.
Verbs are given in the infinitive, although the Terkunan form might have been derived from a different form.
NOTE: Only the Terkunan words and their Latin roots were sent to the next translator.
Terkunan is quite a typical Western Romance language, the most different feature being isolating morphology.
The standard word order is SVO, but in some sentences, the verb may be fronted for focus changes and in imperatives (the subject is usually not dropped in imperatives).
A 3rd person pronoun subject may be dropped, frequently with the verb 'es'.
Oblique objects are typically before the direct object, but there is no strict rule and they may well also follow.
Terkunan has optional definite and indefinite articles, which are often inserted to separate two noun phrases instead of to stress definiteness. The indefinite article is also the number word 'one'.
Number is not marked on nouns, but only on pronouns, articles, and number words. A typical noun phrase without article is, therefore, underspecified wrt. number.
Adverbs are usually fronted, but may also be in final position.
There are no compound verb forms in the text, so I'll drop anything about verbs.
This page was last modified on 19 July 2011, at 21:03.


text:
Share the Journey Interfaith Prayer Service
buy viagra online canada Published on March 20, 2018
canadian pharmacy In September of 2017, the United States Council of Catholic Bishops (USCCB), Catholic Charities USA and Catholic Relief Services (CRS) launched the "Share the Journey" campaign, which seeks to bring together the global community to support the plight of immigrants, refugees and all those who are forced to flee their homes due to persecution, violence and war.
In light of this effort and the current political climate, faith leaders in New Orleans banded together to bring peace, unity and understanding to the community.
Organized by Father Buddy Noel, the Archdiocese of New Orleans' ecumenical officer, and countless other community leaders from a variety of religious and ethnic backgrounds, a large crowd gathered at the Hispanic Apostolate on Sunday, February 25 for an Interfaith Prayer Service in solidarity with immigrants and refugees.
The service began with a traditional fan dance. Then, religious and ethnic leaders from around the community processed past attendees of all ages, races, backgrounds and faiths to the altar. There, Archbishop Aymond addressed the crowd, reminding them we are all children of God: one family, all beautiful and perfect in His eyes.
Archbishop Aymond called all those present to remember in their prayers the migrants and refugees affected by the current legal uncertainties.
Prayers were read in different languages from different holy books. Each reflected the theme of all gathered being equal and important in God's eyes and the need for each to welcome others into our hearts and into our communities. Then, a young man made his way to the podium.
Jose, a Catholic Charities Immigration Services client, made the arduous journey from Honduras to the United States alone when he was only ten years old. After years of working and living alone, he decided he needed a support system and turned to Catholic Charities. CCANO Immigration Services staff helped him obtain the one thing he'd been dreaming of most: his legal status.
Now, Jose wanted to share his story to show that there is a way to achieve your dreams and thank those who'd helped him achieve his.
Father David Caron, Director of the Archdiocese's Office of Evangelization, and Sr. Marjorie Hebert, MSC, President and CEO of Catholic Charities, read a poem about refugees. The service ended with a prayer and a call for unity.
A big thank you to everyone involved in planning and executing such a meaningful event, including CCANO Division Director Martin Gutierrez!
Categories: Blog, Events.Tags: immigration, refugees.
Stat Focus
270formerly incarcerated men and women obtained employment and hope for a new life with Cornerstone Builders in 2017-2018.
Sign-up to receive updates and news from Catholic Charities.
Email this page Share on Facebook
click here Toll Free
trusted tablets pharmacy Media Inquiries:


We also present product or service sourcing and flight consolidation companies. We've our own manufacturing unit and sourcing office. We can easily provide you with nearly every form of merchandise similar to our product variety for Food Additives To Avoid , food additives to avoid , Food Additive , All items arrive with good quality and ideal after-sales solutions. Market-oriented and customer-oriented are what we now have been being immediately after. Sincerely sit up for Win-Win cooperation !
To frequently enhance the management process by virtue of your rule of "sincerely, good religion and good quality are the base of company development", we greatly absorb the essence of associated solutions internationally, and regularly produce new goods to meet the needs of shoppers for Food Additives To Avoid , food additives to avoid , Food Additive , With a team of experienced and knowledgeable personnel our market covers South America, the USA, the Mid East and North Africa. Many customers have become our friends after good cooperation with us. If you have the requirement for any of our products please contact us now. We are looking forward to hearing from you soon.


text:
RipperShred
36 Neutral
About RipperShred
Iknowathingortwo
Helix Models you wish they would add...
RipperShred replied to RandyBrooks's topic in Helix
I have mixed feelings about that site. They say they use it as their guidepost, but if you set filter by "in progress" to see what they're ACTUALLY working on, there are a lot of items with the LOWEST amount of votes that are actually in progress. If an idea's been submitted it's "in review" within a couple of weeks, and that's where most of the stuff seems to sit. Don't get me wrong, I can see the utility in more than a few of those in-progress items, but it seems to me that if you look what's in-review vs in-progress they work on whatever they feel like, or maybe whatever is easy to knock out quick and dirty not what the masses are clamouring for.
So why is it taking sooooo long for Helix to be readily Available.
RipperShred replied to lefttygtr's topic in Helix
Don't feel; too bad bud, I've had retailers tell me I was going to get my Helix rack/control combo the middle of November back in October, and I've been hearing "it'll be here 'soon'" every couple of weeks since. However, I do feel your frustration, and "soon" better be SOON gosh darn it! :P
Now 2/19/2016 expected ship date for Helix Rack?
RipperShred replied to tonykit's topic in Helix
Talking to my peeps and they told me that they haven't heard any comunications, official or otherwise, that would lead them to believe that the current round won't be where it's supposed to be middle-to-third-week of December. So I'm going with my last guess that the backorders are so extenstive that the February date is when the NEXT next order will be delivered on.
Yeah, I guess they seriously underestimated the appeal of the unit as evidenced by the shortages and shipping issues right now.
I want to give them the benifit of the doubt, but the radio silence on the drop-date just feeds the parnoid frenzy and speculation that is the interwebs.
Haven't had a chance to talk to my peeps yet, but my guess now is that date is a reflection of pre-order fulfillment; that's when they think they'll have the NEXT next shippment of Helix racks that aren't already spoken for. At least that's what I hope that would mean.
thankfully Long&McQuade have updated their prices to reflect the change, but mid-february is a real kick in the 'nads! Ugh! I'll have to get in touch and find out if they've been told it's been pushed back that far...
Helix Rack and Control—New Pricing
RipperShred replied to Digital_Igloo's topic in Helix
this is pretty much the configuration I'll be running this with too! Only it'll be a 2:100 power amp, and minus that single space silver thing in the middle. :D
NO More HELIX
RipperShred replied to alanrideout's topic in Helix
totally. DI said not too long ago, they were working some bugs out, then full speed ahead on more content for the unit.
Any Word On The Rack/Control Combo?
RipperShred replied to RipperShred's topic in Helix
Now when do they hit the distribution chain, that's what I'd like to know! :D
rockin'! Tell me they're in the distribution pipeline, please!
They've got supply issues, but that launched roughly around when they said they would. I'm hoping the Rack/Control is the same, but if it's not showing up for another month or two, it'd be nice to get someting official on that.
RipperShred posted a topic in Helix
Over on TGP forum, DI said there was some "potentially big news" to drop on it, and that forum moves too fast to keep up with these days. Did this news ever get elaborated on? It was slated to ship end of November / Begginning of December; well, we've arrived at that time, so is it going to drop now? What's the dillio my friends?
Amps that need to be in the Helix!
It's awesome how you're all up in these threads! Good to know you've got your ear to the ground. You guys have A BUNCH of great amps that you're sitting on from the good ol' days, and imho if those gems you modeled back in the X3 period made it into the Helix you'd be hard pressed to find a tone you didn't like or couldn't emulate. I can only imagine how great these amps will sound in the HX engine! :D
Nice to see the love for these amp suggestions on Ideascale. I'm a little suprised the JCMs aren't getting more love, but it's obvious that people feel the same way that I do about the MkIV, VH4/Herbert, and XTC. AMAZING amps that do something special/unique, even compared to what's going to be on offer already, that they have and can/should bring back into the modeling fold. No time like the present with all that new horsepower under the hood!


I made the tags I added last week a .svg cutting file. Since I can't add them here due to WordPress , I am trying once again to add them elsewhere so you can download them without having to resort to Dropbox.
Yeah, I probably could have come up with a 6th one LOL! I did think maybe a stocking, but didn't follow thru on it.
Cut, they look like this, and you can save the bits and stick them to another set of plain tags, in a sort of twofer.
OK, so I did lose the tiny nose from the cut file, but I like the bigger circle too. That's my story and I'm sticking to it….
You should be able to break apart the elements and adjust the tag size if you prefer, or eliminate the hole entirely if you want more of a card topper or scrapbooking element.
If I find that housing the files where they are works, I may end up doing a few more .svgs – it's a challenge and therefore fun for me … unless it becomes more stress and less fun. At that point, I'll stop!
Categories: Christmas, die-cuts, tags | Tags: Christmas, SVG, tags | Permalink.
The Dropbox link should work – I just added it!


text:
Lew Stallworth Kaiden Rice Zane Najdawi Matt Frierson Sports College basketball basketball College sports Men's college basketball Men's basketball Men's sports
Citadel Southern Longwood Big South
Longwood wins shootout with The Citadel 110-94
- Jan. 03, 2019 11:42 AM EST
CHARLESTON, S.C. (AP) — Isaiah Walton scored a season-high 29 points off the bench and Shabooty Phillips added his third double-double of the season to send Longwood to a 110-94 victory over The Citadel on Saturday.
Walton, in his second game after missing seven straight with an injury, hit 5 of 10 from 3-point range and all 10 of his free throws for the Lancers (10-5). Phillips finished with 23 points, 11 rebounds and eight assists. Juan Munoz and Damarion Geter scored 10 each as Longwood made it to 10 wins under first-year coach Griff Aldrich faster than any other team in its 15-year Division I history.
Lew Stallworth, who has scored in double figures in all 12 games, topped the Bulldogs (9-3) with 23 points and seven assists. Zane Najdawi notched his third double-double in four games with 17 points and 14 rebounds, while Matt Frierson and Kaiden Rice scored 17 and 16, respectively.
Longwood led 50-42 at halftime. The Bulldogs cut the lead to one point with 8:14 left to play, but the Lancers closed out the contest with a 30-15 run.
The Citadel entered the game averaging 99.5 points per game, tops in the nation. It was Longwood's highest scoring game since a 110-89 win over VMI in 2011.


There are two basic ways to export MS doc files to WordPress Content Management system, one through native server and two, with the help of FTP. Apart from this, WP also has some plugins where mammoth .docx converter is the one with maximum popularity. The effortless dashboard with this plugin makes it easier for a developer to transfer a .docx file to WP without losing the formatting of the file.... Bill Erickson. Bill Erickson is a freelance WordPress developer and a contributing developer to the Genesis framework. For the past 14 years he has worked with attorneys, publishers, corporations, and non-profits, building custom websites tailored to their needs and goals.
Bill Erickson. Bill Erickson is a freelance WordPress developer and a contributing developer to the Genesis framework. For the past 14 years he has worked with attorneys, publishers, corporations, and non-profits, building custom websites tailored to their needs and goals.... Bill Erickson. Bill Erickson is a freelance WordPress developer and a contributing developer to the Genesis framework. For the past 14 years he has worked with attorneys, publishers, corporations, and non-profits, building custom websites tailored to their needs and goals.
There are two basic ways to export MS doc files to WordPress Content Management system, one through native server and two, with the help of FTP. Apart from this, WP also has some plugins where mammoth .docx converter is the one with maximum popularity. The effortless dashboard with this plugin makes it easier for a developer to transfer a .docx file to WP without losing the formatting of the file.... Blog to PDF Plugin for WordPress is capable enough to export the PDF of the Revisions stored by the WordPress. PDF Button Customisation Blog to PDF plugin comes with a Button which is available on every Blog/Post Page.
After activating our Watermark WordPress Files plugin, you will see �Export this post to PDF� button in the right sidebar while editing a page or post.... After activating our Watermark WordPress Files plugin, you will see �Export this post to PDF� button in the right sidebar while editing a page or post.
The exported file can only be in a WordPress format, but you don�t have to import it into WordPress. If you have more than one Blog Page on your site, a Select Primary Blog message will appear. Only one Blog Page can be exported.
WPMK PDF Generator is a Wordpress plugin that exports the current Wordpress post or page to a download PDF file.
Import and Export WordPress Posts from/to PDF and Word Processing Documents using Aspose Cloud Import/Export Plugin for WordPress Posted on August 7, 2014 by fahad.adeel WordPress is a free open source blogging tool and a content management system (CMS) based on PHP and MySQL, which runs on a web hosting service.


Product prices and availability are accurate as of 2019-03-28 21:04:05 EDT and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
Collector or commemorative plate featuring images relating to attractions in the state of Kentucky.
Size: About 10 inches wide.
Condition: Excellent condition with no chips or damage and shows only some light wear to the cold plated gilt decorations around the edge. Refer to the photos for a better idea of the condition and the design and style of the plate.


text:
Features Horror Movies
From Dusk Till Dawn (1996): A Vampire Grindhouse Classic
Robert Rodriguez's retro-styled From Dusk Till Dawn is a tribute to the 'B' grindhouse (or drive-in) films of the seventies, and it looks it to the point of nearly being indiscernible from the real thing. It's no secret that Rodriguez and Tarrantino are in love with these types of movies hailing from the seventies. Seriously, the people behind this movie went a long way to make this film seem as much like a seventies grindhouse thriller as it is; it looks like it, feels like it, and even the dialogue appears genuine (written by Quentin Tarrantino). The film goes so far in its imitation of the seventies style of cheesiness so convincing that I had to keep reminding myself this film is not that old.
Briskly paced and very entertaining, From Dusk Till Dawn wastes no time unfolding its tawdry tale in the form of a crime drama that introduces two criminal brothers on the run as two of its principal characters who provide the film's premise, at least it seems that way. This film's narrative is full of cliches and stereotypes, and, as the film continues in this fashion, more characters get introduced. As the plot develops, the film arranges for their paths to collide inevitably. The film spends its first half teaching and defining the characters and their relationships as they cross Mexico. Once there, they end up at the most prominent, most cliche location of all – the road-house/biker-bar/truck-stop in the middle of nowhere with a huge sign announcing its name as The Titty Twister. While this location and several other things about this film are cliched, this is an impressive set, where most of the movie's action takes place and where Dusk Till Dawn shifts gears from a cliched crime drama into a cliched horror movie. From Dusk Till Dawn also boasts a terrific soundtrack.
Not familiar with this title? Dusk till Dawn is a 1996 American action horror film directed by Robert Rodriguez and Quentin Tarantino. It stars Harvey Keitel, George Clooney, Tarantino, and Juliette Lewis. In keeping with the film's tribute to the seventies, the cast includes a couple of stars from that era, like Fred Williamson, a football player who who who transitioned into a blacksploitation movie star. Joining him is Tom Savini, legendary makeup, prosthetic artist, and actor as a whip-carrying badass that enters the fray on the humans' side. The cast also features a much younger-looking Machete as the club's bartender. The acting and how dialogue get delivered areare alsareo reminiscent of the seventies style. Clooney is not entirely convincing in his role as the homicidal killer/bad-as he portrays, while Tarantino is believable as the homicidal psycho he represents here.
From Dusk Till Dawn saves its payoff until almost the end of the movie when all hell breaks loose with the discovery that The Titty Twister is a nest of vampires and that everyone that works there is a blood-sucking card-carrying representative of the living dead. A lengthy fight ensues in which our questionable heroes hold their own against what, it turns out, is an army of vampires in every shape and size imaginable. When the dust settles, the two characters manage to survive.
While not overstaying its welcome, this film does come close to milking its narrative over-long and reaching its conclusion. when it does finally end. It leaves an opening for a sequel by revealing the bar is just the tip of an ancient Aztec pyramid.
Chilling Adventures Of Sabrina: A New Season 4 Teaser Casts A Spell
An American Werewolf In London (1981): The Movie That Teaches An Old Dog A New Trick
One thought on "From Dusk Till Dawn (1996): A Vampire Grindhouse Classic"
Robert Schreib says:
Well, something that was never made quite clear in this movie, is that this colony of vampires, which built their tricked out bar, etc. over an ancient Aztec sacrificial temple, was that the hidden temple below them was built over a 'Hell Mouth', like the ones in the popular 'Buffy, the Vampire Slayer' TV series, which coined that word. These Hell Mouths are nexuses of the magnetic 'Ley Lines' of our Earth, and where they are, dark supernatural energies spew out of it, which in turn enables all kinds of bad stuff and black magic, and supernatural monsters, not just vamps, an entire zoo of monster types, to occur and thrive. That's why the vampires in this film were so impossibly formidable, and could do thing the usual vamps cannot, like regenerating a head when decapitated, etc. They were being supercharged, fed dark energy from the Hell Mouth below them. They, and other supernatural monsters that utilize such forces, are far weaker and more vulnerable, the father away they move from such sites. (A recurring STUPIDITY in all of the horror movies involving Exorcisms is, why are you IDIOTS performing an Exorcism in the demon's habitat?! MOVE the possessed kid or adult FAR way from that geological spot, and the demon's strength wanes away quickly, and they can be EASILY dispossessed! Never fight a spider in the center of its web!) Also, even as there are Hell Mouths in our world, there are also 'Life Springs', where the Ley Line nexuses emit life-affirming and healing energy. These days, most of them have churches or religious centers build over them, because long ago, everyone figured out that spots are where the miracles keep happening!


Introduce your clients to the privacy, freedom, and adventure of private yacht charters. Earn thousands in commission for every referral plus residuals on repeat bookings. Download our e-brochure for details.


text:
Cave Shooting History
Interview Collection
1. Makoto Asada
2. Junya Inoue
3. Manabu Namiki
4. Takashi Ichimura
5. Hiroyuki Tanaka
6. Shinobu Yagawa
7. Hideki Nomura
8. Akira Wakabayashi
9. Tsuneki Ikeda
X. Bonus! Cave Facts!
These interviews appeared in the Cave Shooting History book, which was sold directly by Cave in 2010 to commemorate their 16 years of STG development.
In addition to interviews, it also contains an extensive collection of design art and annotated photos from their various matsuri events. The book is long since out of print now, but used copies appear on ebay from time to time.
Namiki says he has
recently taken up swimming.
Manabu Namiki
Basiscape Composer
Central Works
Dodonpachi Daioujou
Ketsui
Espgaluda II
Mushihimesama Futari
Dodonpachi Daifukkatsu + Black Label
Deathsmiles II
—Please share your feelings about Cave as they welcome their 16th anniversary.
Namiki: Shooting games have been around since the dawning of the game centers. I think its amazing the way Cave has shaped and pursued the evolution of the gameplay of "dodging and firing bullets." I also love these kinds of games, so I'm very happy that I've been able to support Cave through my music. I was employed by Cave before working with Basiscape, so our relationship goes back a long way.
—Starting with your older titles, please tell us how you got involved with game production and writing music.
Namiki: My first plunge into the game industry was a part-time job designing pixel art graphics. But I didn't have any artistic talent and never studied art. I just knew how to get the computer to display certain images and worked like that. It was the first time I learned color theory and such, from an art school professional who taught me while I worked. I was 19 then, and it was 1990.
Listening to music had always been a hobby for me. When it comes making music, I had never studied, I didn't know piano, and I never went to music school. About all I had done was help a friend out a bit who had a band when I was a student. But I was a young kid who earnestly loved games, so I had all these personal ideas about how game music should be, or how the music should match the graphics of a game. I wrote music just with my imagination. Through my part time job, I painfully realized that I had no talent with drawing. (laughs) So I thought, if I'm no good at drawing, how about music? So with a synthesizer that I had at hand I started making chiptune style game music, and I'd keep diligently working at it until I'd finally have something worth hearing, and then I'd show it to a friend. While I was doing all that, I sent a demo tape to a company, and they hired me. That was my professional start, in April of 1992. After I joined the company as a "pro," while I made music there I also studied music, so that order was all wrong. (laughs) So, if anyone reading this has something love to do, I want them to challenge themselves and remember that you can pick up the technical stuff later. I think if you really love something, even the difficult parts won't seem painful.
—Having worked on so many games, there must be some where the setting and world were very difficult for you to write music to.
Namiki: When it comes to writing music that fits a shooting game, its different from normal music. I have to always keep in mind that it has to be a certain kind of music to work for a shooting game. I think this is a fundamental thing to remember, in a sense even coming ahead of the graphics and the setting.
For example, to compare it with cooking, in cooking the ingredients are already decided, and the setting of the game is like the spice or flavor. In Dodonpachi Daioujou, when I heard the world was a retro-future sci-fi setting, I thought I'd give the music the same color and style, but a fundamental premise that I have to remember is that this is music for a shooting game. Another example, Mushihimesama, takes place in a fantasy world, and the feeling of nature flows through it, so musically I wanted to include folk music rhythms, and use flutes and drums as instruments. For each game I add all sorts of things to diversify the game world. All these different "spices" have to be added while I hold fast to the premise of it as a shooting game… to say it another way, how do I work it out with such limitations. In that sense, its a difficulty I have to face for every game I work on.
—When you're creating the music for a game, what kind of things do you pay special attention to?
Namiki: I've always really loved games. I've been playing what we would now call "retro" games since I was in elementary school. When I'd listen to the sound effects and music of those games, I'd think about how it could be made more enjoyable, or how it could better excite the listener as he played. I continue to research those things now, with my work, and its something I keep close to me everytime I'm writing. I'm making "music for video games" so I really focus on how to make the music synergize with the game and make it more exciting.
—It must be difficult to achieve that effect in the noisy environment of a game center!
Namiki: Like many kids, when I was young, I'd often ride my bike to the game center, and when I stopped my bike in front, and the automatic doors opened, and I heard all the music flow out… I was like, "Alright, let's play!" and it would really get me excited. I'd like it if I could recreate that excitement in my music. In game centers, there aren't only video games… there's also medal games, crane games, photo sticker booths, tv displays… its a place where all these sounds and more are jumbled together. I've been involved in making music for games in game centers for almost 18 years now, and I still find it hard to hear a game's music in the flood of all that sound. Its something you just can't get away from.
But when I write music, I think if I can at least match the mood of the music to the game's progression, even if you can't hear it properly with headphones, the basic parts of the rhythm and melody won't get lost as you play, even in that noise-saturated environment. When I play my favorite games, too, if I get overwhelmed by the other sounds in the game I get disinterested and will soon end up dying. (laughs) And its further disappointing then, not even being able to hear my own explosion! So that sense of excitement and tension from the music is important. When you've cleared a stage and hear music that feels good, you get pumped up and think, "Alright, what's next!" When you can't hear it, though, its like there's no response from the game and its lonely. I feel like even now I'm still fighting against the flood of sound in the game center to avoid that. (laughs)
—Its true that your music really gets people excited to play, starting with the character select screens.
Sally from DFK:BL, a rousing select theme.
Namiki: Players who aren't very good at shooting games will still always hear certain music: the stage, ship, and character select screens, and the music you hear before you start playing and take-off. Before I start composing I always get some hints from the graphics and rules of the game, in order to understand what I should be emphasizing. Each time I work hard at this aspect of the composition. I consciously try to write the stage select screen so that it gets players excited, and to make it feel like an inviting door into the world of the game. Of course the more stage select screens I make, the more I exhaust my tricks. (laughs) I haven't counted exactly yet, but I think its been… 9 games? If you add in arrange versions and console ports its probably well over 10. For Daioujou, Ketsui, and Deathsmiles I did all the music myself, but for the other games, in order to keep on schedule, I've asked for help from other Basiscape staff for several songs. Of course I'd like to do everything myself, but its just too difficult.
—The CD soundtracks for those titles were also very popular.
Namiki: Before I started working at Cave I worked for another company making shooting game music, but almost all that music has never been put out on cd. When the soundtracks for the Cave games came out on CD, I got inquiries about putting out my older work on CD, too. My response was, please ask Cave about that. (laughs) But after that things became more open, and I participated in the Cave Matsuri events, too. The truth is, people then were saying the outlook for shooting games doesn't look good, and that fewer and fewer game centers are carrying shooting games. There was a feeling of danger that, at this rate, shooting games would disappear. I made my music then with the feeling that, if I write good music, the people who love it will carry the torch forward. That was all around the time of Daioujou and Ketsui.
—You must have a lot of attachment to the music from those games, then?
Namiki: I feel that way for all the music I've written, but those early days were particularly memorable because they were full of trial and error. Back then the music couldn't be realized with the same level of quality as a CD, and the waveforms for the different instruments all had to fit on the space of a floppy disk. Now that I think of it, I remember that the music score had to all fit on the same floppy, too.
Its not exact, but I believe we had about 1.2MB of space. When the music got recorded for the CD soundtrack, that was the first time we even heard them in stereo. Even now, pcbs with stereo capability aren't common. That's another difference between normal music and music you hear in a game center, you know. Lately there's been an increase in stereo capable arcade games, but the influence of that older time is still strong. After all, its already been 8 or 9 years since Ketsui and Daioujou were released. I believe it was December of 2001 at my first meeting with Cave that I was told about the space and sound limitations, and I was shocked. It was a real struggle but somehow we managed to release Daioujou in April. I remember staying up late all night sometime in February and delivering the finished product to the office.
—Daioujou also has a lot of tracks, and you were on such a tight schedule!
Namiki: More than the number of tracks, the development environment and the technical specs were special and difficult to deal with, and it was really frantic. But for Ketsui and Daioujou, I felt I had really grasped the essence and feel of "Cave shooting," and that it was very clear to me how a shooting game should be, so my vigor came back. Since then, the hardware has been improved for games like Mushihimesama, Espgaluda II, Mushihimesama Futari, Daifukkatsu, and Deathsmiles…and each game has brought its own new challenges, but it was my experience with Daioujou that formed the firm base for me. Everything since then has been about how can I build off that base, and it has never once failed me, except once. That was for Daifukkatsu Black Label. Well, I shouldn't say it failed, but rather that I wanted a different taste there. Everyone who plays shooters seems to have really good ears, so its very difficult meeting their expectations each time. (laughs) I think the graphics and design teams, and everyone involved in our games, has to face that same dilemma anew with each game.
In particular, I have a strong impression from Junya Inoue saying during Deathsmiles, "I want to make something that isn't 'Cave style'." The way the difficulty and stages can be selected, and how players can choose their favorite stages, the way it scrolls horizontally and you don't die when you run into something… Deathsmiles, looked at objectively, really is different from Cave's normal style. At the first meeting for it, I heard from Inoue himself that the world was a "gothic horror, gothic lolita." That news came at just the right time because I too had been wanting to change the style I'd become set in. Inoue and I were kindred spirits in the sense that we both saw a lot of new ideas in that setting. So Ketsui, Daioujou, and Deathsmiles were all turning points to me, and I have a very special attachment to them.
—In Deathsmiles, the "Halloweentown" song is very impressive.
Burning Halloweentown from Deathsmiles.
Namiki: That song came out very easily. It was very different from the music I'd written up till then, a sort of gothic style with classical airs, so of course I studied up on those things in order to incorporate them. I'd never written for that kind of a world, and to be honest, I felt I wasn't very good at it. The music of old Europe like Bach, pipe organ music and such… its famous, but I feel like the respect people pay it is sometimes not entirely genuine. I get the sense people are forced to listen to it for their musical training, and it often gets used in a hackneyed, cliche way whenever anyone wants to evoke churches or old Europe. But if I wanted to give players an image of a horror game, that was the way to go, and even if I didn't reference Bach, if I wanted something with that kind of feeling I was going to have to make my own "gothic horror shooting" style music in this way. It became easier when I realized I could put my own twist on it. After I wrote the Halloweentown song, like a picture scroll, the music for the other stages came out smoothly and easily.
From the experience I felt how important a game's world was. For a SF, mecha shooting like Dodonpachi, where the world is already firmly set in stone, its become very difficult to add variety through the music. Using just a synthesizer and figuring out how to keep things interesting for each new game… I've finally hit a stalemate. When I hear other mecha style shooting games, it always cliched rock and techno, and it doesn't enhance or enlarge the world of the game. Since I've been given the distinction of writing music for Cave, after all, I've never wanted to cop out with some generic rock and techno cliche. I've always wanted to write music that really reflects the true core of the game's world, filtered through my own sensibilities. And I here I am today. (laughs)
—Is there anything you've been wanting to do in the future?
Namiki: By now I've made so many songs for boss fights that I'm really worried how I will make future ones interesting. Such worries are the fate of the creator, but I want new challenges without narrowing my ambitions and releasing something mediocre. I want Cave to make a shooting games with no boss music. (laughs) A boss-less shooting game… could it be the next big thing!? (laughs)
—Are you saying a shooting game without stages?!
Namiki: Yeah, the accomplishment from clearing stages would be lost… (laughs) Well, in place of bosses, just put some kind of boss-like obstruction in the way!
—That's what a "boss" is. (laughs)
Please, no more bosses.
Namiki: Ok then, let's have Ikeda make a new shooting game with no bosses at all. I only ask the world that they please stop making boss rush games. These games where its just one boss fight after the other from the get-go just end up giving you ulcers, anyway. So instead, please make a "journey shooting" game with no bosses. (laughs) Because that's what I've been saying about not getting trapped by mediocrity. I want Cave, and myself, to challenge ourselves by making games that aren't just rehashes of preexisting ideas. In shooting games there's a certain basic set of promises that games fulfill: zako come out, then a midboss appears, then you defeat the boss and clear the stage. I want to overturn such "common sense"… with a no-boss shooting game! (laughs) Or maybe we could do a single, really well-hidden boss.
—If you do that, then the boss will have to have 5 phases or so, and with each phase the music will also have to change…
Namiki: Why are you torturing me!! (laughs) Well, I know that's a joke, but it would be a new challenge, something different from everything we'd done so far, like Deathsmiles was. Shooting has this reputation as a hardcore genre, and I know Ikeda too has wanted to sweep that image away. Its difficult, you know, to make something that different people can all enjoy. That challenge will be an eternal theme for shooting developers.
—Do you still go to game centers to relax or get ideas?
Namiki: I go a lot. But I like older games, when there were more diverse genres. The number of new arcade games has really decreased, and there's almost no new large arcade machines1 at all. So if I want to play something like that it always ends up being something older.
By the way, I have two children, and my son is a big fan of Cave's shooting games. He's in his third year of elementary school now, but he can clear their games. He 1cc'd Deathsmiles Mega Black Label at the game center. (laughs) It began with him listening to the roms I'd bring home from work, and him asking "Can I hear Dad's music on this?" but lately, rather than hear Dad's music, he's awoken to the intrigue of Cave's games. I thought there's no way he'll spend enough time to clear these, and that he'd just give up after awhile, but I was shocked when I saw him weaving through these danmaku patterns! He cleared Deathsmiles II with about 60 million points! Someone saw his score ranked on the Xbox Live leaderboards around 100th place and said to me, "Maniki, your score is amazing!" and I replied, "That's not me, that's my son!" (laughs)
—Your son shows great promise as a future shooter. (laughs)
Namiki: If there are more kids like him, then I think a way will open up for the next generation of shooting. I also want to hear what shooting music sounds like in 10 years. I wonder if I'll still be writing shooting game music then? I'd like to still be writing and be included in the 25th Anniversary Cave shooting book. (laughs) I'm excited for however it will turn out, but please let everything be in stereo by then. Maybe we'll even have "live orchestra" shooting music. I know it would be exciting to have a live orchestra playing shooting music at some future event! I hope there are more events and such in the future. I'd like to involve kids more, like with a caravan shooting competition. If you do that you'll get kids named "Naniwa Casper" gathering in Shinjuku Gyoen.2
You know, the original shooting game generation is now in their 30s and 40s. Soon we'll be Grandfathers! When our eyesight starts to go bad, there's no way we're going to see these danmaku patterns… it'll be "Oohh, where's my ship?!" and the arcade cabs may start needing reading glasses or handrails attached to them. (laughs) "Barrier Free Shooting" won't be referring to a shooting game with no barrier!3 And since our hands will be shaking all the time, they'll have to add "shake correction" to the games to keep the ships from moving about… ok, I'll stop thinking of all these ways our bodies will degenerate. (laughs) So please, show your children ages 10 and below the wonder of shooting games.
—And the music too should appeal to the younger generation as well.
Namiki: Maybe we'll start seeing bouncy punk music by 10 year old girls be added to shooting games. (laughs) Let's sign some of these girl bands for production! You'll hear them screaming out while you struggle with the boss! I was saying I wanted boss music to have an impact, so I've got to try some strange things, you know. (laughs)
—Looks like we've finally come back to the subject of bosses… you really do hate them. (laughs)
Back when boss music was still fun to write.
Namiki: When I first started writing boss music it was fun. But gradually I started running out of new things to do. (laughs) Now that its come to this I just have to keep trying new things. But when the tempo gets over 200 BPM, it becomes difficult to construct music that way. And at 300 or 400 things everything juts sounds like a drill. I'm really at an impasse here. When I'm trying to write boss music at my PC I'm just grinding my teeth with frustration, and its raising my blood pressure! If you don't get the right tension to make it feel imposing like "I'm the BOSS!" , then the song ends up being more appropriate for a mid-boss or something. If I can just convey to the readers of this book the terribleness of bosses, I will be saved. (laughs) Its terrible making their music, its terrible for players struggling to defeat them, its terrible for Cave from start to finish creating them… everything about bosses is terrible. Who benefits from this madness?! (laughs) So please, think about a shooting game without bosses!
—Please give all your fans a final message.
Namiki: As everyone knows, shooting is a very interesting genre. While you can naturally enjoy it on your own, please also share it with your friends. Or if you have children, please don't think it will be bad influence on them, add playing together as one of his/her activities. And as a composer it would make me happy to see parents and children playing together and getting excited. Also, if you've understood how terrible the work involving bosses is, despite all this, please crush them. (laughs) Shooting games will surely be decreasing, and there will be less chances to play them, but I think Cave will continue to put out high quality shooting games, so please keep watching us.
Footnotes ( returns to text)
the terms Namiki uses are kogata games and taikan games. A kogata game just refers to a normal sized arcade game, like a standard candy cab size. Taikan games are large arcade machines with enclosures designed to give greater sensory immersion, things like F-ZERO AX, Darius Burst, many racing games, etc
Where Cave's offices are located
"Barrier Free" in Japan is a term that means handicap accessible. Otherwise, in Japanese shooting games, the term barrier means the same thing as in English, a shield/barrier. Nice one, Namiki.


text:
Contact Us | Join/Update ListServ
Nursing Home COVID-19 Commission Findings, Oregon Wildfires, & Flu
Independent Nursing Home COVID-19 Commission Findings Validate Unprecedented Federal Response
CMS Offers Comprehensive Support for Oregon due to Wildfires
Protect Yourself & Your Patients from Flu this Season
On September 16, CMS received the final report from the independent Coronavirus Commission for Safety and Quality in Nursing Homes (Commission), which was facilitated by MITRE. CMS also released an overview of the robust public health actions the agency has taken to date to combat the spread of the Coronavirus Disease 2019 (COVID-19) in nursing homes. The Commission's findings align with the actions the Trump Administration and CMS have taken to contain the spread of the virus and to safeguard nursing home residents from the ongoing threat of the COVID-19 pandemic. This announcement delivers on the Administration's commitments to keeping nursing home residents safe and to transparency for the American people in the face of this unprecedented pandemic.
"The Trump Administration's effort to protect the uniquely vulnerable residents of nursing homes from COVID-19 is nothing short of unprecedented," said CMS Administrator Seema Verma. "In tasking a contractor to convene this independent Commission comprised of a broad range of experts and stakeholders, President Trump sought to refine our approach still further as we continue to battle the virus in the months to come. Its findings represent both an invaluable action plan for the future and a resounding vindication of our overall approach to date. We are grateful for the Commission's important contribution."
As the capstone to the Commission's extensive report, on September 17, Administrator Verma will join Vice President Mike Pence and CDC Director Dr. Robert R. Redfield, some members of the Commission, and other public health and elder care experts at the White House. The Vice President, Dr. Redfield, and Administrator Verma will lead the group in a discussion regarding the Commission's findings and general issues facing the nation's elder care system.
Nursing homes and other shared or congregate living facilities have been severely affected by COVID-19, as these facilities often house older individuals who suffer from multiple medical conditions, making them particularly susceptible to complications from the virus. To help CMS inform immediate and future actions as well as identify opportunities for improvement, the Commission was created to conduct an independent review and comprehensive assessments of confronting COVID-19. The Commission's report contains best practices that emphasize and reinforce CMS strategies and initiatives to ensure nursing home residents are protected from COVID-19.
As outlined in the overview released on September 16, the Trump Administration has already taken significant steps to implement many of the Commission's findings. The Administration has worked to support nursing homes financially during this challenging time, distributing over $21 billion to America's nursing homes – more than $1.5 million each on average. To ensure nursing homes had access to supplies, the Trump Administration shipped a 14-day supply of personal protective equipment to more than 15,000 nursing homes across the Nation in May.
The Administration has also required facilities to report data about COVID-19 cases, deaths, and supply levels, with 99.3 percent of facilities currently reporting. CMS took action to keep COVID-19 out of nursing homes by requiring them to test staff, a requirement that was paired with the Administration's distribution of 13,850 point-of-care testing devices to America's nursing homes. The Administration has also deployed federal Task Force Strike Teams in six waves, in 18 states so far, to 61 facilities particularly affected by COVID-19 to share best practices and gain a deeper understanding of how the virus spreads. CMS also required states to conduct focused infection control inspections at their nursing homes; between June and July, states completed these inspections at 99.8 percent of Medicare and Medicaid certified nursing homes.
Additionally, since March, CMS has conducted weekly calls with nursing homes, issued over 22 guidance documents and established a National Nursing Home COVID-19 Training program focused on infection control and best practices. CMS is also using COVID-19 data to target support to the highest risk nursing homes. In May, CMS released a new toolkit developed to aid nursing homes, Governors, states, departments of health, and other agencies who provide oversight and assistance to nursing homes. The toolkit is a catalogue of resources dedicated to addressing the specific challenges facing nursing homes as they combat COVID-19. CMS updates the toolkit on a biweekly basis.
Coronavirus Commission for Safety and Quality in Nursing Homes Report
Trump Administration Response to Commission findings
COVID-19 Guidance and Updates for Nursing Homes during COVID-19
See the full text of this excerpted CMS Press Release (issued September 16), including a list of CMS public health actions for nursing homes on COVID-19 to date.
On September 17, CMS announced efforts underway to support Oregon in response to wildfires across the state. On September 16, HHS Secretary Alex Azar declared a Public Health Emergency (PHE) in Oregon, retroactive to September 8. CMS is working to ensure hospitals and other facilities can continue operations and provide access to care despite the effects of the wildfires. CMS provided numerous waivers to health care providers during the current Coronavirus Disease 2019 (COVID-19) pandemic to meet the needs of beneficiaries and providers. These waivers will continue be available to health care providers to use for the duration of the COVID-19 PHE and for the wildfires PHEs. CMS will be waiving certain Medicare, Medicaid, and Children's Health Insurance Program requirements; creating special enrollment opportunities for individuals to access health care quickly; and taking steps to ensure dialysis patients obtain critical life-saving services.
For More Information, visit www.cms.gov/emergency . See the full text of this excerpted CMS Press Release (issued September 17).
Do your part to prevent the spread of seasonal flu. The CDC published flu vaccine recommendations for the 2020-2021 season. Because of the COVID-19 pandemic, reducing the spread of respiratory illness, like flu, this fall and winter is more important than ever.
Frequency and Coverage:
Medicare Part B covers one flu shot per flu season and additional flu shots if medically necessary
Flu shots are free for your Medicare patients if you accept assignment
You can give pneumonia and flu shots during the same office visit; see CDC recommendations .
The CDC , the Advisory Committee on Immunization Practices, and the Healthcare Infection Control Practices Advisory Committee recommend that all U.S. health care workers get annual flu shots.
CMS Flu Shot webpage
CDC Flu website
CDC Information for Health Professionals webpage
CDC Fight Flu Toolkit webpage


A Fire Place Screen may not get a wide range of thought; there are many reasons to possess a fire place screen and to use one. The primary primary incentive is protection. Too many times the fire department comes in the middle of the night into a house fire as a result of a fireplace? There are many first lines of fireplace defense; smoke alarms, fire place rugs and a fire place screen. All working together to let you heat your home with wooden in a safe way. Another consideration for a fire place display is the decorative element. Basic safety and elegance are both fundamentals in order to to use a fire place screen. Guarding the home from sparks is definitely the critical reasoning for by using a screen. The screen acts as a barrier to help contain skiing sparks or embers via entering the room. Thoughtfulness for the screen density is paramount. The tighter the place the better it knocks down sparks from a fire. While all screens support, those with dense weave definitely will perform the best. The best to obtain stopping sparks coming into the space is a glass fire place display screen.
Toutlemaghreb - Cast stone fireplace mantels old world stoneworks. At old world stoneworks, we have been creating beautiful cast stone fireplace mantels as the centerpieces of your home for decades we cherish the process and feel that every cast stone fireplace mantel and stone fireplace surround has a story around it we offer a variety of options, add ons, and overmantels, all custom made for your home, business or design project. 60 best fireplace mantel ideas and enhancing tips. 4 fabulous ideas: fireplace garden home decor cottage fireplace eplace built ins bench fireplace built ins bench me thin stone fireplace surround for hearth cast mantels concord ma fireplace ceramic tile, surround ideas, design, and pictures creative and inexpensive tricks: wood fireplace stove gold fireplace screen. 41 best mantle supports images fire places, fireplace. Marvelous cool tips: fireplace living room luxury stone fireplace e fireplace and tv stone rock fireplace remodel spaces craftsman fireplace design, pictures, remodel, decor and ideas page 8 create a lovely tree centerpiece or standard table decoration with scrapbook leaves. Remodelaholic 13 transformative fireplace makeover ideas. Try one of these 13 fireplace makeover ideas to improve the look of your home! 13 transformative fireplace makeover ideas this fireplace looks beautiful with white planks above a white mantel surround and herringbone tile 8 put stone veneer over a brick fireplace. Fireplace makeover ideas before and after sumaphayata. Fireplace makeover ideas before and after, furniture there and personally i follow on the bold impression you ideas before after fireplace surround take note fabulous outdoor room transformations made by pk like ive seen a facelift find inspiration or have posts from the way the shelves enclosing the fireplace should be the crazy side of a. Fabulous fireplaces belle homes to love. Fabulous fireplaces, settle in to the romance of a fireplace formation's 'curved leg' cast stone fireplace, poa, will complement a classic interior 3 0 10 fireplace ideas to inspire your next design update belle mar 18, 2019. Remodelaholic amazing diy fireplace and built ins. The biggest investment was the gas fireplace we were able to find the stone veneer on craigslist for a steal we also got a deal on the maple hardwood by utilizing short cutoff boards from a local woodworking fabrication and supply shop the price of the hardwood averaged less than $1 board foot. 28 mantel design gallery. Discover inspiration for your mantel, mantel decor, mantel shelf, mantel clocks, mantels direct, mantel ideas, mantelpiece, mantelmount, mantel decorating ideas, mantella corporation, mantel piece crossword clue, mantle, fireplace mantels, mantel shelves, mantel shelf, mantel decor, floating mantel, mantel clocks, rustic fireplace mantels. 20 fabulous living room arrangement ideas decor sala. Using these four designer secrets and small living room decorating ideas can make all the difference between feeling cozy or [ ] 20 fabulous living room arrangement ideas trendecora. Reviews of devinci cast stone devinci cast stone. I wanted to install a surround that looked fabulous and displayed the most intricate of details their catalog has so many that meet these requirements the professional service and the finest quality end product will ensure my business as a design professional "i love my devinci cast stone fireplace surround !! the ordering process.


text:
Contractors Meet With Affected Iliana Landowners
About 30 landowners came to the American Legion Hall in Peotone on Wednesday night to meet the man who promised to "help everyone as much as possible" though the "very unnerving situation" of losing their land to the proposed Illiana Expressway.
Joliet attorney Mike Hansen has been appointed by the Will County Board to act as an ombudsman — an independent liaison between the Illinois Department of Transportation and the hundreds of people from whom it needs to acquire land for the planned 47-mile tollway between Interstate 55 near Wilmington and I-65 near Lowell, Ind.
For over nearly two hours, Hansen explained the land acquisition process and fielded comments and questions from landowners who are losing their homes and family farms. While Hansen cannot represent them in negotiating an offer from IDOT, he said he can get answers to their questions and make sure they are treated fairly.
IDOT needs to acquire between 375 and 400 properties and relocate 50 to 60 households, a process that could start as early as June 1, when IDOT hopes to get the green light from the federal government to construct the tollway.
Under IDOT's plan, the Illiana Expressway would be realized through a private-public partnership in which a private company would build and operate the highway, paying off its project debt via tolls.
"I want to be down here and be involved and not just some attorney from Joliet," Hansen told the group.
He urged people to contact him and stressed that they will not be charged for his services. His salary is paid through a grant obtained by IDOT.
Beginning March 25, Hansen will have office hours from 3 to 6 p.m. on the fourth Tuesday of the month at Washington Township Hall, 30200 Town Center Road, Beecher.
A ombudsman also was appointed to work with landowners within the footprint of the proposed South Suburban Airport, but many said there was a "trust" issue with him.
"Time will tell," if Hansen will have a positive impact on the land purchasing process, said Duane Temme, of Peotone, who lives within 400 feet of the planned tollway. "This gives us someone to go to."
Although Temme is not losing any property, like many at the meeting he's concerned about the new road's impact on drainage. Others are worried about declining property value, future closures of local roads and a lack of respect for their property rights.
Contractors, engineers and surveyors who want access to their property have used "bully tactics," Virginia Hamann, of Peotone, said. "They have no respect for landowners."
Will County Board member Judy Ogalla, R-Monee, said she's trying to create a "bill of rights" with the Will County Farm Bureau to ensure that people are treated fairly. She urged those in the audience to "make some noise" and let state and local officials know their concerns.
Fearing a fate similar to their neighbors, whose land and homes were acquired for an airport that remains a long way from reality, some of those at the meeting questioned Hansen on whether that could happen to them.
"Could the project not go? Anything could happen," he said.
If you think you may be affected by the Illiana Expressway Project and/or are interested in a free consultation, contact our eminent domain landowner attorneys at 1-888-318-3761 or visit us on the web at www.landownerattorneys.com.
« Upcoming Seminar(s): Reynolds Topeka Powerline Project in Northern Indiana
County Responds to Intersection Concerns on Randall Road Project »


Welcome to Pia Carrot is a dating sim for the PC-FX.
Welcome to Pia Carrot is a much beloved ADV/dating sim/visual novel style game with full voice acting and multiple endings. It was released for PC, NEC PC-FX, and Sega Saturn in 1996, 1997, and 1998 respectively in various versions.
This patch is an English translation of the PC-FX version and is the result of a lot of hard work. This patch should be fully playable and is being released for the enjoyment of the fans. It has not been fully tested but the game has been played start to finish with at least 3 of the endings.
DISCLAIMER: This patch includes some adult situations and language. When released in Japan this game was intended for users over the age of 18. Please abide by the laws in your country regarding material of this type.
This is a first release and there are some rough edges here and there so please keep this in mind. Minor edits/additions to other things may be made in the future. Please see the readme for more info. Enjoy!


By the end of the twentieth century, Grant Park was Chicago's "front yard." More than any other piece of Chicago real estate, the park's 319 acres along Lake Michigan immediately east of the city's Loop embodied the city's civic heart. Here Chicagoans came to witness the public appearances of famous people, celebrate special events, attend major festivals, and patronize leading museums. Traditional neighborhood and recreational activities-softball, ice skating, tennis, even promenading-were daily and seasonal events throughout the park. The completion of Grant Park's final twenty-four acres-Millennium Park-in 2004 reinforced the centrality of the site in the cultural life of the metropolis.
Unlike the canonical events of Chicago history-the Great Fire of 1871, the World's Columbian Exposition of 1893, Daniel Burnham and Edward Bennett's 1909 Plan of Chicago, the race riot of 1919, the Century of Progress International Exposition of 1933-34-Grant Park evolved over the course of an entire century. The park never had one comprehensive plan, nor was it the brainchild of a single architect. Rather, Grant Park developed in a gradual, piecemeal fashion, the combined product of various and sometimes unrelated architects, landscape designers, planners, artists, and business leaders. The creation of Millennium Park was shaped by this 170-year tradition.
The overlapping histories of Grant and Millennium parks constitute more than the simple introduction of "nature" into the urban fabric. While both landscapes reflect the influence of the pastoral ideal and the parks' movement over time, they also embody the transportation innovations that defined the nineteenth- and twentieth-century city-canals, railroads, and automobiles. Equally important, both park spaces exemplify places of civic, public, and artistic activity, and thereby represent changing ideas of culture in Chicago.
Before 1850, most of the future site of Grant Park was water-Lake Michigan. A portion of what became Millennium Park was a sand bar extending from the current entrance of the Chicago River as far south as the future location of Washington Street. In 1836, the Board of Canal Commissioners responsible for raising money to construct a canal between the Mississippi River basin and the Great Lakes organized a public auction to sell Chicago's first city lots. Prominent citizens, fearful of commercial lakefront development, lobbied the commissioners to set aside open space along the lakefront. In response, the commissioners left the land from Randolph Street south to Park Row (11th Street) and east of Michigan Avenue undivided with the notation on the map designated "Public Ground-A Common to Remain Forever Open, Clear and Free of Any Buildings, or Other Obstruction, whatever." No other document proved as influential in shaping the future development of Grant and Millennium parks.
Over the next decade, the lakefront land remained relatively untouched. In 1844, the canal commissioners transferred control of the open, undeveloped space to the City of Chicago; three years later, the narrow strip of land east of Michigan Avenue was designated "Lake Park" (although over the next half century, Chicagoans used both "Lake Park" and "Lake Front Park" to describe the area). The small park proved to be among the most popular public places in the city, "the only breathing-space in the city," wrote one resident. Others compared Lake Park to New York's Battery, Boston's Tremont Street Mall, Philadelphia's Fairmount Park, and Charleston's Battery. Promenading, traditionally an elite custom limited to the upper classes of Chicago, became commonplace, bringing together Chicago's emerging middle classes. Boosters and promoters of Chicago even identified Michigan Avenue and the lakefront as "the Battery of Chicago."
Lake Park and Michigan Avenue, however, were frequently threatened by the fierce winter storms off Lake Michigan. To prevent the park and the upscale street from washing into the lake, the city cut a deal. In 1852, the Illinois Central Railroad agreed to construct a protective breakwater in the lake north of Twelfth Street, thereby protecting Chicago's most expensive residential real estate along Michigan Avenue. In return, the city council granted a right-of-way to the railroad to enter the city along the breakwater. Over the next four years, the Illinois Central, Michigan Central, and Chicago, Burlington & Quincy railroads erected the barrier, creating an attractive and peaceful lagoon along Michigan Avenue. The protected and accessible basin of water was soon transformed into a center for recreational and casual boating. The cooperative agreement between the city's public and private sectors was a portent for the future Millennium Park site.
Construction of the breakwater, however, proved to be a Faustian bargain. By 1857, the area north of Randolph Street stretching to the Chicago River was filled with railroad terminals, passenger facilities, warehouses, and other industrial structures. The most impressive of these structures was the Great Central Depot, a four-story, five hundred-foot-long terminus designed by Otto Matz that opened in 1856. Journalists immediately hailed the depot as one of "the finest passenger structures in the United States," and "the finest of the kind in the West." During the 1860s, the future site of Millennium Park filled with railroad tracks. Fearing that Michigan Avenue was becoming a "railroad avenue," well-to-do residents soon moved away from the lakefront. "Wealth and fashion," wrote James Sheahan in 1866, "have gone elsewhere."
For the remainder of the nineteenth century, the Illinois Central Railroad was the key variable in the evolution of Lake Park. During the 1860s, with the expansion of terminal and freight facilities around the Great Central Depot, a switchyard fanned out to the east between Randolph and Adams Streets. In time, the right-of-way grew from two hundred feet at Adams to thirteen hundred feet at Randolph. Needless to say, the grade-level location of the tracks greatly impaired views of Lake Michigan. Only in 1919, when the tracks were finally lowered below street level, did the vista from the Michigan Avenue promenade improve. Eventually four vehicular bridges and four pedestrian bridges were constructed above the tracks.
Equally important were efforts by the Illinois Central to control development along the lakefront. In 1869, the Illinois legislature passed the Lake Front Act over the veto of governor John M. Palmer. The law granted the City of Chicago the full title to land earlier dedicated to the Illinois and Michigan Canal commissioners and confirmed to the Illinois Central the right to use certain submerged lands east of the lakeshore. Critics dubbed the legislation "the lakefront steal" because the Illinois Central, Michigan Central, and Burlington railroads gained the right to erect new stations east of Michigan Avenue between Randolph and Monroe Streets, then referred to as "the three blocks" and today the site of Millennium Park. Only strenuous public opposition discouraged the railroads from developing the land, and in 1873, the state legislature repealed the statute.
These setbacks, however, never dampened the Illinois Central's enthusiasm for acquiring more lakefront real estate. In 1881, the railroad proposed extending the rail lines another one hundred feet into Lake Michigan, creating a three-hundred-foot rail bed parallel to and immediately east of Lake Park. With 170 trains "passing both ways over these tracks daily," argued Benjamin F. Ayer of the Illinois Central, commercial development was a necessity. Opponents like G. J. Lydecker of the Army Corps of Engineers concluded that such proposals would simply turn the lakefront and Lake Park into "a vast railroad yard."
Equally important was the impact of the Great Fire of 1871. In addition to the destruction of Grand Central Depot north of Randolph Street, the area between Michigan Avenue and the railroad breakwater became a landfill site for charred rubble. Over the next twenty years, the lagoon was filled in and, for the first time, land east of the railroad trestle was created. Much to the chagrin of many citizens, however, the site was used primarily for dumping garbage, transforming the lakefront into an unsightly open space.
More significant, in the haste to rebuild Chicago in the aftermath of the fire, a number of structures appeared in Lake Park, directly violating the "open, clear and free" provision. In 1873, the 165-feet-high Inter-State Industrial Exposition Building (1873-91), designed by W. W. Boyington just south of Monroe Street (at the future location of the Art Institute), inaugurated Chicago's first exposition and proclaimed the city's recovery from the fire. At approximately the same time, the Illinois Central built an additional freight depot adjacent to the exposition building. Based on legislation passed in 1869, the railroad was granted "in fee" the land between Randolph and Monroe Streets and Michigan Avenue and the railroad tracks. From 1874 to 1891, the Illinois Central leased the property to the Baltimore and Ohio Railroad. Finally, in 1881, municipal authorities granted the federal government the right to construct two armories in the park.
In addition to providing space for business and industrial purposes, Lake Front Park also hosted professional sports. In 1871, the city leased the northern part of the park to Albert G. Spaulding, owner of the Chicago White Stockings of the National League (forerunners of the Chicago Cubs, not the White Sox). Spaulding promptly built the Union baseball grounds. Situated in the relatively narrow space between Michigan Avenue and the Illinois Central tracks north of Madison Street, the grounds seated seven thousand spectators with the main grandstand behind home plate located along Randolph Street. A few months after the field opened, the entire structure was incinerated by the Great Fire.
Baseball did not rebound as quickly as the rest of Chicago. A professional team did not reappear until 1874, and Spaulding did not rebuild the grounds until 1878. This time, he reconfigured the field, locating home plate near the corner of Madison and Michigan Avenue. The playing area was, by later standards, cramped; the foul lines measured only 180 feet in left field, 196 in right field, shorter than some Little League fields today. Outfield fences were so short that balls hit over them were deemed ground-rule doubles, not home runs, prior to 1884. When such out-of-the-park hits were defined as home runs, Chicago slugger Ned Williamson established the single-season home-run record of twenty-seven. That remained the standard until 1919 when Babe Ruth hit twenty-nine.
The baseball grounds were considerably improved in 1883, doubling the seating capacity to eight thousand. The Chicago Tribune and Harper's Weekly each proclaimed the "palatial" structure to be the best in the country, if not the world. The field's proximity to the retail district of State Street and the team's success (winning three consecutive National League championships from 1880 to 1882) made the site a popular entertainment venue. In 1882, the team averaged three thousand spectators per game, reportedly "made up in good part of the better classes of the community." Reporters believed that attendance at the lakefront field surpassed that of any other city in the United States. Such success, however, proved short-lived. At the end of the 1884 season, Spaulding's squad was forced out. Since the land was given to the city by the federal government with the stipulation that no commercial venture could use it, the team was compelled to move to a new facility on the South Side.
Debates over lakefront development rights entered a new phase after 1890. In 1892, the United States Supreme Court finally ruled that the state of Illinois did not have the authority to grant lakefront water rights or control to the Illinois Central. In fact, such power belonged to the city "in trust for public use." Under this public trust doctrine, as it became known, the municipality owned all the filled land east of Michigan Avenue between Park Row (previously Eleventh Street) and Randolph Street, including the land on which the railroad had its right-of-way. That same year, the Illinois Central Railroad Company demolished the passenger station north of Randolph Street in anticipation of the opening of the new terminal south of Lake Park at Twelfth Street. A smaller facility for suburban trains replaced the old depot, which some described as a "ruin" and "an eyesore." The remainder of the site was thereafter devoted primarily to freight service.
In anticipation of the World's Columbian Exposition in 1893, the World's Congresses Building was erected in the park along Michigan Avenue, just south of Monroe Street. Designed by Shepley, Rutan and Coolidge (the successor firm to Henry Hobson Richardson), the building was the one fair structure located in the park after planners rejected Lake Park as the site for the exposition. The edifice, which replaced the Inter-State Industrial Exposition Building, housed a variety of exhibits on religion, folklore, and music. More significant, the Congresses Building was the first structure to obtain unanimous approval from property owners along Lake Park, a precedent that proved critical in the creation of Millennium Park a century later. The park's newest building became the permanent home of the Art Institute of Chicago at the conclusion of the fair.
Among the property owners who approved the plan to construct the Art Institute was Aaron Montgomery Ward. More than any other lakefront landlord, Ward disapproved of the park's unsightliness. In 1890, he initiated the first of a series of lawsuits to keep the park free of new buildings, specifically the wooden shanties, garbage, and other refuse that littered the site. Ward argued that Michigan Avenue property owners held an easement on this property and that the city was responsible for preventing encroachments. A decade later, the Illinois Supreme Court expanded Ward's claim in concluding that all landfill east of Michigan Avenue was subject to the same dedications and easements. In 1909, the Illinois Supreme Court further reinforced Ward's opposition to development in the park when he sought to prevent the erection of the Field Museum of Natural History in the center of the park.
Ward's litigation attracted increasing attention and gained importance after the World's Columbian Exposition. By 1896, when state and city legislation placed Lake Front Park under the control of the South Park Commissioners, the municipality was creating parkland east of the Illinois Central tracks. Although the process was slow-6 acres by 1898, 26 acres by 1901, 49 acres by 1903-by 1910, the park comprised 205 acres. The additions included a beachhead east of Michigan Avenue and Washington Street which later became the Richard J. Daley Bicentennial Plaza and Millennium Park. . . .
Excerpted from Millennium Parkby Timothy J. Gilfoyle Copyright © 2006 by University of Chicago Press. Excerpted by permission.