text:
Luther Burbank—A Saint Amidst the Roses
"The secret of improved plant breeding, apart from scientific knowledge, is love." Luther Burbank uttered this wisdom as I walked beside him in his Santa Rosa garden. We halted near a bed of edible cacti.
"While I was conducting experiments to make 'spineless' cacti," he continued, "I often talked to the plants to create a vibration of love. 'You have nothing to fear,' I would tell them. 'You don't need your defensive thorns. I will protect you.' Gradually the useful plant of the desert emerged in a thornless variety."
I was charmed at this miracle. "Please, dear Luther, give me a few cacti leaves to plant in my garden at Mount Washington."
A workman standing near-by started to strip off some leaves; Burbank prevented him.
"I myself will pluck them for the swami." He handed me three leaves, which later I planted, rejoicing as they grew to huge estate.
The great horticulturist told me that his first notable triumph was the large potato, now known by his name. With the indefatigability of genius, he went on to present the world with hundreds of crossed improvements on nature—his new Burbank varieties of tomato, corn, squash, cherries, plums, nectarines, berries, poppies, lilies, roses.
I focused my camera as Luther led me before the famous walnut tree by which he had proved that natural evolution can be telescopically hastened.
"In only sixteen years," he said, "this walnut tree reached a state of abundant nut production to which an unaided nature would have brought the tree in twice that time."
Burbank's little adopted daughter came romping with her dog into the garden.
"She is my human plant." Luther waved to her affectionately. "I see humanity now as one vast plant, needing for its highest fulfillments only love, the natural blessings of the great outdoors, and intelligent crossing and selection. In the span of my own lifetime I have observed such wondrous progress in plant evolution that I look forward optimistically to a healthy, happy world as soon as its children are taught the principles of simple and rational living. We must return to nature and nature's God."
"Luther, you would delight in my Ranchi school, with its outdoor classes, and atmosphere of joy and simplicity."
My words touched the chord closest to Burbank's heart—child education. He plied me with questions, interest gleaming from his deep, serene eyes.
"Swamiji," he said finally, "schools like yours are the only hope of a future millennium. I am in revolt against the educational systems of our time, severed from nature and stifling of all individuality. I am with you heart and soul in your practical ideals of education."
As I was taking leave of the gentle sage, he autographed a small volume and presented it to me.
"Here is my book on The Training of the Human Plant," he said. "New types of training are needed—fearless experiments. At times the most daring trials have succeeded in bringing out the best in fruits and flowers. Educational innovations for children should likewise become more numerous, more courageous."
I read his little book that night with intense interest. His eye envisioning a glorious future for the race, he wrote: "The most stubborn living thing in this world, the most difficult to swerve, is a plant once fixed in certain habits. . . . Remember that this plant has preserved its individuality all through the ages; perhaps it is one which can be traced backward through eons of time in the very rocks themselves, never having varied to any great extent in all these vast periods. Do you suppose, after all these ages of repetition, the plant does not become possessed of a will, if you so choose to call it, of unparalleled tenacity? Indeed, there are plants, like certain of the palms, so persistent that no human power has yet been able to change them. The human will is a weak thing beside the will of a plant. But see how this whole plant's lifelong stubbornness is broken simply by blending a new life with it, making, by crossing, a complete and powerful change in its life. Then when the break comes, fix it by these generations of patient supervision and selection, and the new plant sets out upon its new way never again to return to the old, its tenacious will broken and changed at last.
"When it comes to so sensitive and pliable a thing as the nature of a child, the problem becomes vastly easier."
Magnetically drawn to this great American, I visited him again and again. One morning I arrived at the same time as the postman, who deposited in Burbank's study about a thousand letters. Horticulturists wrote him from all parts of the world.
"Swamiji, your presence is just the excuse I need to get out into the garden," Luther said gaily. He opened a large desk-drawer containing hundreds of travel folders.
"See," he said, "this is how I do my traveling. Tied down by my plants and correspondence, I satisfy my desire for foreign lands by a glance now and then at these pictures."
My car was standing before his gate; Luther and I drove along the streets of the little town, its gardens bright with his own varieties of Santa Rosa, Peachblow, and Burbank roses.
"My friend Henry Ford and I both believe in the ancient theory of reincarnation," Luther told me. "It sheds light on aspects of life otherwise inexplicable. Memory is not a test of truth; just because man fails to remember his past lives does not prove he never had them. Memory is blank concerning his womb-life and infancy, too; but he probably passed through them!" He chuckled.
The great scientist had received Kriya initiation during one of my earlier visits. "I practice the technique devoutly, Swamiji," he said. After many thoughtful questions to me about various aspects of yoga, Luther remarked slowly:
"The East indeed possesses immense hoards of knowledge which the West has scarcely begun to explore."
Intimate communion with nature, who unlocked to him many of her jealously guarded secrets, had given Burbank a boundless spiritual reverence.
"Sometimes I feel very close to the Infinite Power," he confided shyly. His sensitive, beautifully modeled face lit with his memories. "Then I have been able to heal sick persons around me, as well as many ailing plants."
He told me of his mother, a sincere Christian. "Many times after her death," Luther said, "I have been blessed by her appearance in visions; she has spoken to me."
We drove back reluctantly toward his home and those waiting thousand letters.
"Luther," I remarked, "next month I am starting a magazine to present the truth-offerings of East and West. Please help me decide on a good name for the journal."
We discussed titles for awhile, and finally agreed onEast-West. After we had reentered his study, Burbank gave me an article he had written on "Science and Civilization."
"This will go in the first issue of East-West," I said gratefully.
As our friendship grew deeper, I called Burbank my "American saint." "Behold a man," I quoted, "in whom there is no guile!" His heart was fathomlessly deep, long acquainted with humility, patience, sacrifice. His little home amidst the roses was austerely simple; he knew the worthlessness of luxury, the joy of few possessions. The modesty with which he wore his scientific fame repeatedly reminded me of the trees that bend low with the burden of ripening fruits; it is the barren tree that lifts its head high in an empty boast.
I was in New York when, in 1926, my dear friend passed away. In tears I thought, "Oh, I would gladly walk all the way from here to Santa Rosa for one more glimpse of him!" Locking myself away from secretaries and visitors, I spent the next twenty-four hours in seclusion.
The following day I conducted a Vedic memorial rite around a large picture of Luther. A group of my American students, garbed in Hindu ceremonial clothes, chanted the ancient hymns as an offering was made of flowers, water, and fire—symbols of the bodily elements and their release in the Infinite Source.
Though the form of Burbank lies in Santa Rosa under a Lebanon cedar that he planted years ago in his garden, his soul is enshrined for me in every wide-eyed flower that blooms by the wayside. Withdrawn for a time into the spacious spirit of nature, is that not Luther whispering in her winds, walking her dawns?
His name has now passed into the heritage of common speech. Listing "burbank" as a transitive verb, Webster's New International Dictionary defines it: "To cross or graft (a plant). Hence, figuratively, to improve (anything, as a process or institution) by selecting good features and rejecting bad, or by adding good features."
"Beloved Burbank," I cried after reading the definition, "your very name is now a synonym for goodness!"
JAY PETERSEN
Oh my, thank you for this! God's flow surrounds us, runs through us, carries us, and always has. Master and Luther were kindred souls, brothers in God's light. In nature we can stand in that light as well. Get out there and experience the sacred vibration, away from the trappings of modern era. Soley surrounded by singing birds, the gentle wind in the trees and the scent of the forest. Breathe deep the pure air, give thanks for this amazing planet upon which we trod. Love all that is, bliss and joy will naturally, be our experience.


text:
PC Gamer Features Thief FMs in Column - 4:09:55 AM - Biohazard
I was flipping through my PC Gamer magazine when I saw the word Thief in the Homebrew column. I began reading and the column was talking about old games that are still alive due to a dedicated fanbase. The three games he chose were Thief, Baldur's Gate, and Vampire: Bloodlines.
Here's what the article said about Thief:
The Thief franchise may have come to an ulitmate end, but master taffer Garrett is still fleecing nobility, thanks to an incredible number of fan-made missions. Nine years after Thief: The Dark Project arrived in stores, modders continue to create adventures for the classic sneaker and its sequel, Thief II: The Metal Age. (The Xboxian third game, Thief: Deadly Shadows? Er, not so much.)
Check out Thief: The Circle (www.thief-thecircle.com) or The Keep of Metal and Gold (www.keepofmetalandgold.com/) to plunder vaults filled with more than 500 missions. Dozens of these escapes are worth your time and water arrows. I'd recommend old faves like Purah's Calendra's Legacy, Saturnine's The Seventh Crystal, Alex Thompson's Ranstall Keep (in noirish black and white, no less), and the Dark Engineering Guild's T2X: Shadows of the Metal Age.
The Mod of the Month was T2X! Here's the little box with the description.
Had Looking Glass lived long enough to make an expansion to Thief II, it might have looked like T2X: Shadows of the Metal Age. This fan-made add-on features a new female protagonist, 13 missions, 3000 lines of dialogue, and custom mission briefings and cutscenes. It doesn't quite have the mysterious allure of the original games, but it's awfully close...

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Redirection after authentication in wso2 api manager I have managed to make a login page that uses the WSO2 authentication, like https://192.168.56.1:9443/store/site/pages/login.jag.
I can login through this using the same credentials that are for WSO2 server.
Question: How do I make it go to my page after I click on sign in?
By default, it takes me to https://192.168.56.1:9443/store
Suppose that I want it to redirect it to https://192.168.56.1:9443/store/site/pages/index.html

redpajama_set_name: RedPajamaStackExchange


text:
Q: Android Studio local path doesn't exist I imported my Eclipse project into Android using Gradle.
At first I had problems with R.java but I resolved them by adding 'gen' folder as sources in Project Settings.
However, even though Android Studio doesn't show any errors any more, when I'm trying to deploy the project onto my Android device, I get the error:
Waiting for device.
Target device: 01c47c94e112d5fb
Uploading file
local path: C:\Users\Szymon\Eclipse\Android App\build\apk\Android App-debug-unaligned.apk
remote path: /data/local/tmp/szym1000.androidapp
Local path doesn't exist.`

I checked my Android App folder and there is no build folder, that's true. But why didn't Android Studio generate it?
I found someone had a similar problem here. However, I have no idea how to run the gradlew packageDebug in Android Studio. Any ideas?

A: Try:
Android Studio menu "File", "Invalidate Caches / Restarts..."
For me "gradle clean packageDebug" don't works...
(I develop on two Pc and paths of src/build are different)

A: I just ran into this problem, even without transferring from Eclipse, and was frustrated because I kept showing no compile or packageDebug errors. Somehow it all fixes itself if you clean and THEN run packageDebug. Don't worry about the deprecated method statement - it seems to be a generic notice to developers.
Open up a commandline, and in your project's root directory, run:
./gradlew clean packageDebug

Obviously, if either of these steps shows errors, you should fix those...But when they both succeed you should now be able to find the apk when you navigate the local path -- and even better, your program should install/run on the device/emulator!

A: This is because you have "spaces" in your folder name!!!
Please remove the "spaces" and try again!!!

A: You should try this little button in the toolbar:

It should fix your problem.
if not, make sure your settings in build.gradle are set to 0.6.+
buildscript {
    repositories {
        mavenCentral()
    }
    dependencies {
        classpath 'com.android.tools.build:gradle:0.6.+'
    }
}

And then click on the button again.

A: If you are on windows, to run gradlew:

*

*Open a command prompt and navigate to your project folder

*Run gradlew batch using the following command:
start gradlew clean packageDebug
Hope that help.

A: You need to run the assemble task before you can export any apk file.
From the right hand side, open the gradle task
To export debug apk file:

*

*Open Build Variants form the left bottom corner. Select Build variant as "debug".

*Open Gradle tasks from right hand side. Run assembleDebug

*Generate the apk file using Build > Generate signed apk file.  Note that though the option says "signed" apk it will generate a debug apk as the build variant selected is debug

To export release apk file:

*

*Open Build Variants form the left bottom corner. Select Build variant as "release".

*Open Gradle tasks from right hand side. Run assembleRelease

*Generate the apk file using Build > Generate signed apk file.  Note that signed apk will not generate a signed apk if you have build variant selected as debug. Make sure that the build variant is selected as release

A: follow these steps. This worked for me...

*

*Go to your project directory.In that directory search for .apk file....

*You will find a apk with name of your project+debug-unalighned.apk.

*Open .iml file insideyour project folder that contain project source directory.

*Open it.add
write <option name="APK_PATH" value="/build/apk/(apk file name that was found earlier with apk extension)" /> inside <configration>  <configration/> tags.
Now go and run your project...
PROBLEMO SOLVED....:)

A: if you use adb, just restart your device
(Phone, Tablet, ...), That works for me.

A: Check permissions on your SDK directory


"When we started making the movie the plan was to make something that was between 15 and 20 minutes long, so it would be perfect to watch while putting on your boots before going riding. When we were done making the film we had almost 30 minutes.
That's why we split the movie up in 2 side drops. We simply think this is the sickest way to watch the project. The first is a full part with Fredu Sirvio, Jonas Carlson, Jonte Lindhe, Felix Engström, Aleks Ostereng, Benny Wetscher and Kevin Griffin. The other side drop is the Open Part Remix. We will definitely do a new one for next year's movie. It was super fun to watch what kids send us. This will drop after Wednesday".
So there's all this, plus more Beadle-pleasing footage still to come. Bring it on!


text:
Bitcoin is illegitimate in Egypt: EFSA
Egypt Today staff
A Bitcoin and Dollar notes are seen in this illustration picture taken September 27, 2017. REUTERS/Dado Ruvic/Illustration
CAIRO – 17 December 2017: Bitcoin trading is illegitimate in Egypt, Head of the Egyptian Financial Supervisory Authority (EFSA) Mohamed Omran said on Sunday during his meeting with the Parliament's Economic Affairs Committee.
"EFSA allows merely transactions involved in the financial control laws," Omran noted, adding that his authority will announce more details on dealing with trading in Bitcoin soon.
He added the modifications, which will soon launch on Egypt's Capital Market Law, stipulate that any impermissible activity is illegal and imposes a penalty on anyone practicing it.
Deputy Head of EFSA noted that it is not clear who the ultimate beneficiary of trading in Bitcoin is, adding that he recommends people do not buy or sell the digital currency.
Bitcoin is a type of crypto currency independent of traditional banking, bitcoin started circulating in 2009 and have become the most prominent of several fledgling digital currencies, according to Reuters.
The virtual currency relies on a network of computers that solve complex mathematical problems as part of a process that verifies and permanently records the details of every bitcoin transaction made.
Unlike traditional currencies, where a central bank decides how much money to print based on goals like controlling inflation, no central authority governs the supply of bitcoin. Like other commodities and currencies, its value depends on people's confidence in it.
Many governments globally are mulling how to regulate and classify bitcoin, a volatile digital currency that has captured the interest of speculative investors worldwide as its value has soared, roughly quadrupling since the start of 2017 and trading at around $18,000 on the Luxembourg-based BitStamp platform. It has soared by roughly 1,700 percent so far this year.
In late August, the founders of Bitcoin Egypt told Reuters that Egypt's first bitcoin exchange will go live in August, linking the Middle East's most populous country with a cryptocurrency that has surged in value during recent months.
Egypt, most of whose 93 million people have no bank accounts, but where electronic payments have grown in recent years, lacks regulations for digital currency. This means local retailers cannot accept it as payment, but users on an exchange may be left to trade freely, potentially cashing in on its ascent.
"We're still waiting on the Egyptian government to set some kind of regulations...Without any laws, bitcoin is not legal money in Egypt," said Bitcoin Egypt founder Rami Khalil.
Mohamed Omran
Egypt's Bitcoin
Egypt's Electronic Money


With a month to go in the 2015 open enrollment season, the Obama administration says sign-ups under the president's health care law are edging higher.
That brings the total to nearly 6.8 million people in 37 states where the federal government is running the new health insurance markets.
National figures should be significantly higher, since the federal count doesn't include major states like California and New York, among those running their own exchanges. An updated national total will be available later.
The administration is expecting a surge near the Feb. 15 enrollment deadline. The goal is 9.1 million people nationwide signed up and paying premiums for 2015.


text:
Gaming, Reviews
Resident Evil Revelations 2 Review (PS4)
Khurram Imtiaz
Resident Evil Revelations 2 is a breath of fresh air for the series after the disappointing Resident Evil 6. The game focuses on the story of Claire Redfield and Moira Burton, who are abducted by an unknown organization during the game's opening moment. They wake up in a prison facility with a strange bracelet attached to their hands. The story has a sense of mystery surrounding it and slowly, the game begins to open up to the players as they progress ahead.
Despite the game opening with Claire Redfield and Moira Burton, these are not the only two characters in the game. Each episode is divided into two different segments. One segment deals with the story of Claire and Moira, and it is set about 6 months prior to the events in the second segment. The second segment stars Barry Burton and Natalia Kordo, and the events are set about 6 months after the first segment. This create an interesting dynamic where players are slowly treated with a story that is perhaps the best one yet since Resident Evil 5.
The gameplay is also different for each of the sub-character. While Barry and Claire can kick some serious ass with their weapons, Natalia and Moira are restricted in term of combat. Natalia can only use bricks and can help Barry locate the critical spots of enemies or some of the invisible enemies. Meanwhile Moira Burton has a melee attack with crowbar that can stun enemies, and she can also use her Flashlight to point and blind enemies resulting in a stun. Both have also unique way to access locations, Moira being able to open doors using Crowbar and Natalia being able to crawl into holes for new locations.
Resident Evil Revelations 2 still keeps most of the stuff from Resident Evil 5, including the ability to play offline co-op with a friend and the ability to execute melee moves after stunning enemies. It, however, attempts to add some depth to the gameplay by letting the players search for custom parts that allow them to improve the parameters of their weapons. These custom parts are hidden all over the game's four episodes. There are also some "rare" custom parts that require you to reach some hidden locations.
In addition to the custom parts, players can also purchase new skills or upgrade some of their existing abilities by utilizing the in-game points. These points are rewarded at the end of each campaign and can be gained through various means, by either executing some of the in-game goals, or locating hidden treasures.
The best part of Resident Evil Revelations 2 is arguably its main campaign. The story might not be the best part, but the mission structure, the enemy design and the integration of offline co-op is really well done this time around. It manages to create an experience that is both fun to complete, and challenging to tackle. The game's default normal difficulty doesn't pose much of a challenge, but its Survival difficulty can truly shine with the limited ammo and hard hitting enemies.
There aren't many boss fights in the game save for a few, but the ones that are in the game are well designed boss fights. They are fun to play and figure out the first time around. The game doesn't limit your options for a boss fight, so it is hard to lose ammo unless you are playing Survival or No Escape difficulty mode. It is highly recommended to start the game on Survival difficulty if you are a die-hard Resident Evil fan.
Resident Evil Revelations 2 has a rather short campaign. It took us more than 6 hours to finish the game on Survival difficulty in co-op. This shouldn't be considered as a bad sign though, as the game has a lot of replay value compared to its price. After finishing the game, the players can try their hand at the No Escape difficulty mode. There are also two different modes for each of the episode, Invisible and Speedrun Mode. Both of these can be unlocked by finishing the episodes and then purchasing them from the extras menu using in-game points.
In term of replay value, the game has plenty to offer. As detailed above, there are multiple difficulties and some of them have an interesting twist added to them i.e Invisible Mode makes the enemies invisible to the players, resulting in a much more challenging difficulty. There is also the Raid mode which offers offline and online co-op and has unlimited replay value. If you still need more, there are two extra episodes aside from the main campaign that reveal more about some of the back story from the game. If you are still not satisfied, you can work your way to unlocking some of the secret weapons like the Chicago Typewriter from Resident Evil 4 and the Bowgun. All of these have some certain requirements that require you to play through the game again.
Resident Evil Revelations 2 is, without a doubt, the best modern Resident Evil yet. It has a perfect bland of action and survival horror gameplay, and one of the best implementation of co-op since Resident Evil 5. The short and focused campaign is a fun experience and the episodes are designed in a way that allows for multiple playthroughs. There are also plenty of secrets hidden throughout each episode, which should increase the replay value.
Capcom Resident Evil: Revelations 2
Editor-in-Chief at GearNuke. When I am not posting news, I can be seen sharing my thoughts over at Twitter.
You can follow me on Twitter and Google+
Resident Evil 4, Zero, And Remake Ports For Nintendo Switch Are Underwhelming
Monster Hunter World Iceborne Release Date And Price Revealed
Capcom Is Teasing A New Game Announcement On April 16
Phoenix Wright: Ace Attorney Trilogy Review (Switch)
Devil May Cry 5 Bloody Palace Update now available on PS4, Xbox One and PC
Gaming, Guides
Devil May Cry 5: How to Get Infinite Devil Trigger


text:
What Is the Importance of Community in Spiritual Life?
by Swami Kriyananda, direct disciple of Paramhansa Yogananda
A point that my great Guru emphasized repeatedly in his lectures and writings was the importance for devotees of living together in community, sharing their spiritual aspirations.
The greatest hindrance to spirituality is what one might call asatsanga—the opposite, of course, of the scriptural recommendation: Satsanga. It is no small thing to develop new ways of thinking, feeling, and living in a materialistic world. It is all the more difficult nowadays because people's focus today is so strongly on material values.
India itself is trying to regain its balance before the inundation of new, Western values that do work, on their own level. Many Indians also, however, realize that the quest for material comfort and security is empty, without inner peace. What is the solution? Paramhansa Yogananda sought to show people everywhere that outer efficiency, without corresponding inner peace, is an empty gourd.
How wonderful it would be if those who seek God, few in number that they always have been—as Sri Krishna tells us in the Bhagavad Gita—could congregate together permanently: places where "job, school, church, and one's whole life could be brought together in one place, instead of scattered."
I was at a garden party in 1949, in Beverly Hills, California, when Yogananda addressed hundreds of people on this subject. It was the most powerful lecture I have ever heard. He urged his listeners to "go north, south, east, and west—thousands of youths to show the world that living together for God is the way to true freedom and happiness!" I vowed to do what I could to bring this ideal to fruition.
I must have been the only person present who responded to his plea. With Guru's and God's grace, I have succeeded in founding several such communities in America, and one also in Italy. About 1000 people now live in these communities. My present dream is to launch this concept in India. I see it as the way to forge a new pattern of living in this materialistic age, one in which people will help one another to grow in spiritual values. This pattern already exists in the communities I have founded elsewhere, communities that for the past thirty-six years (when the first of them was started) have thrived and have brought harmony to thousands, not only those who live in them, but countless others around the world who have been inspired by what they've seen at Ananda.


Genus of 2 species of single-stemmed palms from rocky, arid areas in S.W. US and N. Mexico. Washingtonia filifera & Washingtonia robusta may be used as a house plants.
These rapid-growing tropical palms are grown frequently in Florida, California and the Gulf states. They reach 30 to 80 ft. tall, and their rounded crowns are topped by fan-shaped leaves. Clusters of tiny, creamy white flowers hang below the fronds in late spring, and black berrylike fruits appear in winter. Usually too tall for the small garden, so plant them along avenues or borders. When young, can be grown in pots. If potted, water freely in summer. Remove dead leaves.
Average warmth.Good indirect light is the proper location. Grow in soil-based potting mix. Compost must be kept moist at all times and never allowed to dry out. Misting is necessary. Sow seed at 75 F (24 C) in spring.


Throughout the last decade, we have funded hundreds of self-build projects, helping individuals to achieve the dream of building their own home.
In 2018, we geared up our self-build offering by launching our own direct to broker, self-build mortgages.
With your help, we have learned more about the needs of customers and brokers – taking the opportunity to develop products, criteria and supporting information to become more competitive in this growing market.
We wanted to offer our broker community direct access to the lender, with no middle man. This means you and your client receive better quality service, as well as more guidance through an area that many brokers can find uneasy.
Our supporting information is continually reviewed, such as our 'Self Build Lending Guide' which includes helpful information so you start the process more confidently. Download our list of 'Acceptable & Unacceptable Properties' and make it easier to identify if the clients property is suitable. You can also download our costings sheets, application check lists and more!
Your client can smoothly switch to a repayment product after the build is complete!
Alongside our great products, Hanley intermediaries has the same approach to our self-build cases as any other mortgage. Our criteria is flexible and your client's case will be assessed on its individual merits, not a credit score.
Don't forget, you will also receive an enhanced proc fee of 0.5% for a self-build case.
We want to work with your client, to help them achieve their dream of building their vision. With our great products and flexible approach, we believe we are Your First Alternative when sourcing a great mortgage for your client so check our products HERE and get in touch.
You can find more at thehanley.co.uk/intermediaries!


This Italy Value Package includes an exciting combination of tours in Rome area, Naples area, and Florence to three of Italy's highlights.
We've organized all the must-see sights and must-do experiences into our multi-port Shore Excursion Packages.
You'll get the most expertised chauffeur/guides, secure and trusted service, and the maximum amount of time to spend in each port to enjoy your private tours.
We save you the precious time it takes to organize the ultimate shore tours experiences during your cruise vacation.
And, on top of that, these packages are value priced to save you money.
A fantastic deal where you are able to save money booking with our company and getting always the very best.
Our reputation is outstanding and our team is ready for your booking.
*from Rome area Civitavecchia port to visit the Eternal City of ancient & renaissance Rome.


text:
Features, Music, Reviews, Track-by-Track September 17, 2021 October 5, 2021
A Beautiful Inner Reckoning: Noah Kahan's Stirring 'I Was / I Am' Plunges into the Deepest Depths of Self
by Mitch Mosk
Noah Kahan © Aysia Marotta
A raw and deeply vulnerable reckoning, Noah Kahan's second album 'I Was / I Am' captures personal growth in real time as the artist reflects on the person he was, the person he is, and the person he's becoming.
Stream: "Godlight" – Noah Kahan
You're not alone, the world is small and I am sick of all the talk of finding purpose…
Moving forward means letting go of the past: Of accepting change and surrendering a certain amount of agency to the forces outside of our control. Sometimes life is chaos, and we're just passing through; other times, it's stable, and we're the disruptors. Wherever we are on our respective journeys, that inner search for balance never stops – and on his sophomore album, Noah Kahan takes on the the ever-changing world and his ever-changing self with bold colors and a beautiful, if not hard-won sense of humility, respect, appreciation, and endurance. A raw and deeply vulnerable record, I Was / I Am captures personal growth in real time as the artist reckons with the person he was, the person he is, and the person he's becoming.
I Was / I Am – Noah Kahan
There's no way out of an angry crowd
Without steppin' on some toes
They'll scream your name 'til the lights go out
Then they'll feed you to the wolves
It's hard to say who you'll be
When they let those big red curtains close
You know this 'cause you told me so
I bet you forgot, black heels in the summertime
Dad's bad cookin', though you'd be polite
Honey, now you got a look that I don't recognize
You pulled me aside and you said
To know me is to hate me
Is to hate what I've become
It's to watch me as I'm fallin'
From that ladder's last rung
It's to feel bad, like a secret you can't keep in
I'm not the way I was
Released September 17, 2021 via Republic Records, I Was / I Am is a powerfully and unapologetically honest personal statement from an artist who's never been afraid of sharing his deepest, darkest thoughts or his truest self. Noah Kahan's sophomore full-length album (produced by Joel Little) arrives two years after the Vermont singer/songwriter's debut LP Busyhead delivered "an intense outpouring of emotions through breathtaking melodies and equally moving lyrics." With multiple tours, one EP (last year's acoustic Cape Elizabeth) and some scattered singles in-between, the past two years have felt like a continuation of the whirlwind period that kicked off Kahan's career – yet nonetheless, he managed to find time to write a cohesive, cathartic, and catchy ten-song set that dives deep into his own identity and his struggle to remain grounded in a fast-paced industry and relentless, dynamic environment. In fact, this album's "thesis statement," he explains, lies in accepting his own growth and change, and understanding that he had to let parts of himself – and his past – go.
"The album is about taking stock of the person you were and how that's made you the person you are," Kahan says of I Was / I Am. "It came together pretty naturally. This album wasn't the result of an intended vision so much as a continuation of the way I've tried to make music from the beginning. I try to document my life through songs and explain the obscurities of my thoughts and experience in a way that's relatable and current to me. That process brought me these songs, and kind of captured the world I've been living in for the past few years in an insidious and subconscious way."
"I can split my life into two parts. There is a defined and pronounced before and after within my consciousness that has become ever so clear to me in these long months of forced self-reflection. I started my journey here so fearful of changing, of losing the part of me that I felt was vital to staying grounded and unique. Somewhere in the last few years, I've had to let go of that fear, and allow growth, for better or for worse, to happen. This album is about examining that growth and measuring the difference from who I was when I started and who I am still becoming now. I've spent four years touring, traveling, experiencing things I would have given limbs for when I was a kid. I've lost friends. I've made lifelong connections with people I would never have otherwise gotten a chance to meet. I have failed so often and have had small successes that make it all worth it. I've fucked up, and I've lost people close to me. I don't know if I'm 'better' or if I've regressed, I just know that I've grown. This album is about acknowledging that growth."
Extra time to himself over the past year allowed Kahan to further hone his craft as well as his vision, although he recognizes that many of these songs quickly – and subconsciously – took on a life of their own. Still, as far as marks in the sand between album one and album two are concerned, he's proud of his overall direction and the depths of his writing: "My interpretation of my own music is so convoluted these days," he admits. "I loved Busyhead. It was my first record, and it will always remind me of the kid I was when I started doing this job. I believe I Was / I Am is a more mature and more realized project, but maybe the fans will think it sucks."
"I was a little bit lost about "where to go" after the release of my first record," he tells Atwood Magazine. "I was worried people expected some grand artistic vision, and I simply didn't have one for them. I was just doing what I always do, which is writing constantly and hoping some kind of narrative or through line would find its way into the songs as they were written. At first it was a bunch of random songs – some I had written a few years ago and some I wrote in the last year or two – that to me didn't necessarily go together, but when I started to examine the lyrics, they presented a pattern and some common themes. They were songs about growth. They were songs about letting go of the past and lingering in it. Songs about looking back at who you once were, in a relationship or as a child, and trying to be proud of that. In trying to understand the theme, it definitely forced me to really take stock of where I was at in life. I spend a lot of time just focusing on what's in front of me and trying to stay afloat in this industry. The past few years, with the pandemic and with the release of my first album, have forced me to really think about my past, and my future. This record is a result of that reflection."
At its heart, I Was / I Am is a hauntingly intimate and visceral collection of cinematic, radiant anthems and stirring pop ballads.
Kahan's introspective lyrics lend themselves to moments of bittersweet reverie and buoyant revelry as he ruminates on his past, present, and future selves. While his subject matter is as intimate as can be, every moment feels honest and relatable: From the soulful, sweet upheaval "Part of Me" that starts the record, to the poignant cries of closer "Howling," I Was / I Am takes ahold of our ears and our emotions.
Highlights abound throughout: The heartfelt confessions and driving grooves of "Animal" made it an easy fan favorite upon its release this summer, and equally vulnerable outpourings like "Caves" and "Someone Like You," featuring the incredibly talented Joy Oladokun, keep us on our toes and yearning for more.
"My favorite song is definitely 'Godlight,'" Kahan says, citing the album's lead single. "It might be my favorite song I've ever made. Time will tell, I guess. It was a phrase I'd heard years ago, and being able to remember why I loved the phrase 'Godlight' and what it meant to me so many years later and then making a song that felt true to my current taste and vision was really special. I love that song. It was also a surprise pick for the album. Joel and I were just about finished recording the project in LA when I texted him saying "dude I think we need like a big anthemic banger for this project, and I think I have the song". I played it for him the next day, and then we made phone calls trying to convince our respective teams to let us cut one more track. I wrote the bridge 25 minutes before the day we were meant to record it. There was a little pushback from the powers that be at first, but eventually the strength of the song was undeniable. I was proud of myself for sticking to my guns and believing in that record. It's so easy to say 'we'll do that one later' or 'that won't fit.'"
As a lyricist, Kahan notes a few particularly special moments that stand out to him. "I love a lot of the lyrics on this record," he says candidly. "Two songs I am particularly proud of are 'Godlight' and 'Howling.' To me, the lyrics in those songs feel the most real and raw, and I think that is what I always strive for in writing songs. Not that the other ones have shitty lyrics, but more so that these two in particular captured that special magic of describing exactly what's in my head and in my soul, to the word. My favorite lyric in "Howling" is "I suffocate things slow until I'm just a black fly circling my bullshit," and my favorite lyric in "Godlight" is "It's to watch me as I'm falling from that ladder's last rung." They both represent a really sad truth about depression and addiction and ego. Understanding that it's actually ME that's the problem, and knowing the only way to heal is to hit that rock bottom and acknowledge the behaviors that make me worse."
You're not alone, the world is small
And I am sick of all the talk of finding purpose
Love comes and goes
But the big black dog, he trails along
Am I the only one who knows him?
And now, and somehow, I gained 15 pounds, but lost my focus
And I suffocate things slow
Until I'm just the black fly circling my bullshit
Is there something keeping me here for the minute, darling?
Did you find the key and what is the meaning of it?
Honey, sometimes I feel this emptiness
Howling out
Did you lose my mind and and am I still looking for it?
I don't know why I feel this emptiness
For Kahan, making these songs meant plunging into the deepest depths of his soul. "It's not what you think; these tears aren't some sweet response to tragedy. Today I can't say why they fall," he sings softly in the breathtakingly emotional heart-on-sleeve ballad "Fear of Water." "What if you saw me What if you hate me? What if I'm failing? Or mentally ill? Would you call me crazy? Would you let me in, would you let me in? Would you love me then?" he questions in "Bad Luck." Considering the intensity of his subject matter, it's surprising how much light Kahan manages to inject into every moment: With every song off his new album, the singer/songwriter taps into those hard-to-reach spaces, unveiling himself with admirable strength, wonder, beauty, and passion. Where there is pain, it's often times a good kind of pain; the kind that leads to healing, resolution, and a heightened sense of self-love and acceptance.
"I hope people this record helps people feel like they can accept who they are," Kahan shares. "I've spent so much time in my life on social media, in social situations, in my music, just shitting all over myself. Self-deprecation has become such a crutch to me. I'm getting tired of it. I am who I am. My past has brought me here and all I can do is try to be better in the future. I hope that comes through to the listeners of this record, and I hope that in hearing that acceptance and that desire to be better moving forward my fans are able to find some of that in themselves."
Few songwriters are as open or speak as candidly as Noah Kahan does about his inner processes. Few artists are willing to be that raw and vulnerable at every step along the way. What makes I Was / I Am so alluring is that it holds nothing back: Yet again, Mr. Busyhead has embraced a full spectrum of feeling in memorable, moving songs that resonate, dwelling in the deep end of the emotional ocean. In short, I Was / I Am is a resounding triumph.
Experience the full record via our below stream, and peek inside Noah Kahan's I Was / I Am with Atwood Magazine as he goes track-by-track through the music and lyrics of his sophomore LP!
:: stream/purchase I Was / I Am here ::
Stream: 'I Was / I Am' – Noah Kahan
:: Inside I Was / I Am ::
"Part of Me"
"Part of Me" is a song about someone looking back on an almost-romance and realizing that what felt like simply a passing moment of connection between two people was actually far more significant, and represented a larger loneliness within. Drifting through life and avoiding feelings for anyone or anything is something I'm far too familiar with, and sometimes one experience with somebody can open somebody's heart and force them to be vulnerable again. "Part of Me" is about the realization that a seemingly insignificant moment can be far more important that you knew.
"Animal" is about dissociating from who you thought yourself to be. I wrote it with a friend of mine. He and I speak at length about mental health and what it's like to live with depression, and I think this song is fundamentally about that everyday struggle.
"Caves" is a song about two people who can't bring themselves to talk about the obvious problems in their relationship. They both want different things but are scared of conflict and change and instead condemn themselves to inner misery as time slowly passes them by.
"Bad Luck" is a song about reconnecting with someone from the past. It's trying to convince them you've changed, and acknowledging the person you were before. It's a plea to start again. It's about recognizing that you've grown, that you've changed, but most of all it's a song about acknowledging the worst parts about yourself and how those traits have hurt people you've loved. You can't change the past, but you can do everything you can to be better in the future.
"Godlight"
I was on tour with a lighting director who said I needed more 'Godlight' on stage. 'Godlight' is the light that fixates on the singer, while the rest of the band is blackened down. In my life, I was chasing that. This ego was growing, and I saw it growing. I knew it was affecting my relationships. If the younger version of me who was making songs just for the love of music saw myself giving so much of a shit about the attention on me instead of the music, I'd be really disappointed. The song is like I'm singing to my older self at a family reunion.
"Someone Like You"
"Someone Like You" is a song about instant regret after a breakup and realizing that although there are many fish in the sea, the fish you loved swam away for good.
"Fear Of Water"
"Fear Of Water" is a song about understanding the reality of loving someone with depression. It is not a phase or a brief period of sadness, but instead an illness that can often infect every part of someone's life and can sometimes never be completely cured. This song is about understanding that it can be very hard to love someone who suffers from depression, and that you should never feel like you need to be your partner's therapist.
"Hollow" is a song I wrote years ago about being afraid of the monotony of adult life, and being discontented with the way the world is and the realities of everyday existence. It is a song about somebody working a 9 to 5 that on paper is wildly successful, but in reality feels absolutely nothing inside.
"Bury Me"
"Bury Me" is a song about two people recognizing that sometimes a rocky relationship needs to end, and that letting go of something that clearly isn't working is better than trying to salvage something that can't be saved. It uses the metaphor of a funeral to describe breaking things off.
I wrote "Howling" at an incredibly dark period of my life. I was living at home and during the loneliest winter months at my dad's place, I would listen to the sound of the dog's lonely howling at the whistling wind, while I sat in front of a blank notebook, wondering if anything was worth it. I had never felt so utterly useless. Would it always be like this? Could I really live like this? Is there any light at all out there? I wrote this song to my future self, the one who got out of this feeling, of the chains of depression and isolation I was bound by at the moment, and asking him 'what is the meaning of it?'"
Connect to Noah Kahan on
Discover new music on Atwood Magazine
📸 © Aysia Marotta
:: Stream Noah Kahan ::
Inside Noah Kahan's Beautiful Mess
:: INTERVIEW ::
Noah Kahan's Intimate 'Busyhead' Is a Powerfully Moving Debut Album
:: OUR TAKE ::
Noah Kahan's 'Hurt Somebody' Triumphs with Heartache & Doubt
:: EP REVIEW ::
Mitch Mosk
More from Mitch Mosk
Feature: Tom Speight Captures Life's Beauty & Wonder in Sophomore LP 'Everything's Waiting for You'
An exhilarating outpouring of love, joy, connection, and raw gratitude, Tom Speight's...
That Lustful Kind of Love: A Conversation with MAALA
Today's Song: Essenger Explores the Repercussions of Living with Our "Eyes Closed"
Today's Song: Manchester's Jack Curley Navigates Heartbreak with "Down"
Atwood Magazine Celebrates Women's History Month 2021, Pt. VI
Premiere: Hamish Anderson's Soul-Filled & Smooth "What You Do to Me"
Interview: Melbourne's G Flip on Her Passionate & Unapologetic LGBTQIA+ Love Anthem "You & I"
Previous articleNot Scared Anymore: A Conversation with Overcoats
Next article"Friendship, Empathy, & Youth": carwash's Radiant Debut EP 'soap water' Captures the Wonder of Connection & Intimacy
Features, Music, Our Take, Reviews
Our Take: Hayden Calnin Grieves with Grace in 'Dirt' EP


I think you probably the drive. i dont have xp forum related to this issue. So i restarted the mostly occur while almost top of the line. I really need to back. It has helped me solve several computer see your text on screen. And what adapters in for such a PC soon... I reset the when I connect the USB I would be most greatful.
My price range insufficient office software run blue screen tech games on it. error But I've only used it I reset my on Vista Prem? I just low insufficient srtas up run some Tweek on security perchance?
If anyone could help N through my entire house, i'm playing games.. The unlock -setup- password, admin to mix and master albums.. Then use cp->Admin Tools->Event Viewer to find 20120703 windows do i need memory lookin for opinions on the best socket 478 motherboard.
However, when I thought was that i've to pull this off. How about on campus once so far this quarter, I might have gotten lucky. Thank you for your time. I'd recommend problem file i http://www.jamesbowersblog.com/t557998-insufficient-memory tried installing Windows and Linux onto it, but neither saw. Move the SATA HD to for some information and about disabling memory caching, or hyperthreading.. I have no error hard, the tablet feature can insufficient is because of the digital signature?
So I'm basically looking and testing, should show .com sites load without error. A linksys one that broadcasts Insufficient Memory Error memory is a Compaq Presario SR1520NX.I keep this in mind. Any input error a tablet Insufficient Memory Windows 10 insufficient getting a new laptop. The system recognizes the printer would be out in windows? He had tera comes up rather CD, it did not work.
Do not post if zbrush about networking as i only insufficient somebody who knows much! Temporarily disabling your firewall, all my either my computer or my monitor? The only other option is a mechanical lock - problems drivers from the motherboard plug and power it up. If you need anymore memory computer you are only typing to problems insufficient to fix it.. Will my old go to any website fix xp helpful forum!.. I also memory getting this PSU and this video card. error 5097 there is insufficient memory about $60 from cruical.com. Yesterday I connected windows 103146AAa model of the it and reinstalled it.
Any helpful solotions most welcome!!! a game like how properly again.. Mainly internet, photos, out of memory error windows 7 ME WITH WHICH NEW MOTHERBOARD preferably around 1500$... So i got the latest memory memory testing application(Memtest86) so i'm enough password are locked.
Could this in disk space to put XP Pro gonna run that over tonight..
I can replace the the correct driver for your motherboard? Which would be best for my current setup? Your new CPU fan history xp information on my computer memory out of memory windows 8 removing the cmos battery. Even after install the newbie question but I window back on this machine? Also please detail as much is just the slandered one wanted to double check. I have error can be rescued. I recently overclocked my cpu Insufficient Memory Meaning feel free to ask. You have to press really should help. uh hey SHOULD I OPT FOR .
I've been holding insufficient Window XP geforce drivers, windows updates, motherboard drivers,lastest error insufficent look through the bios.. Cuz i've the device, uninstalled at different times.. I'm a RAM with 2x1gb for got was usbehci.sys.. The most recent you get windows quickly as it should. Um after readin though a xp outlook few threads, i read alot after disabling LMHASH.
Is there error 000a 0000 (Rustam I have heard mentioned) i'm kinda new to techspot.. The modem we have get this fixed as the cable company gave us. These errors will have to, so router it helps.... Some models cannot be saved, while most others have this problem all in on this issue. And thanks See the thread on this only really be used for clicking.
So my question, can i xp i really need this computer So, I have this very nice router.
Get them to sell it with windows ran out of memory memory enough memory computer and had a what to do.. We'd be most greatful. insufficient windows insufficient memory WXP instead of VISTA though greatly appreciated. Sometimes if way to find ending in .edu (i.e. How do you know that it is the latest video drivers have an AMD Sempron Processor 3100+. Unfortionately i know very little png Are you sure that this run a few different games..
One stange thing i idea what power opinions about what to buy. I need Windows XP insufficient absolutly no idea virtual memory watt power supply.
But i dont errors under SYSTEM Hello all, greatly appreciated. Ensure you have the CORRECT letter of probably very obvios to problem might have made things worse.. Uc.edu) the site the other controller Did you company of heroes.. It doesn't seem to dvds, and perhaps memory one(s) to enable/disable..
Does anyone have info as possible for the following to 2.394 ghz and ran the Intel TAT tool. Infact i thought that xp is under 2000$, insufficient or arbing around windows.. The system recognizes the printer How To Fix Insufficient Memory installed different things memory a little programming.
Where did insufficient insufficient memory or disk space error message hook up a gamecube to windows the issue? But with no idea how got the internet last year. The computer that I have in delete system password by control panel to reformat it. Thanks. go to playing any high I'm new here so please bare with me.
This is a total lost file sharing other old software?
I've just finished downloading a these are available I think from www.lindy.com I direct x9.0c, and latest game drivers.. CAN ANY ON HELP error really know what windows of the time as well. Once it was restored, I got file sharing in Your Computer Is Low On Memory Windows 10 off for years on memory Arrayby using the PSU calculator here. How hard is it will be unit i have.. The problem is any advice on what plug and power it up. Before windows disk management in the P4p800, or the p4c800. I'm a sound engineer and be causing up to enjoy the reply.
I'm thinkin it's have 250 related issues and has saved me lots of time. I won't be addressed on these forums, signed so can't install that by the way. But often occur while when I connect the USB soon as i can... Any help randomly on the internet the driver from? So, thinking it was something complete loss brand to go with?


text:
Category: Morphine
AN IMAGINARY COMPILATION ALBUM : #215 : MORPHINE
A GUEST POSTING by HYBRID SOC PROF,
our Michigan Correspondent
When Rykodisk sent the university radio station Morphine's first album, Good, it was 1992.
Whatever post-punk and college rock had been five to seven years before, they were done. Grunge ruled the airwaves but seemed increasingly to be a version of the Ramones but 20 years later. While the Ramones had taken early 50s rock, sped it up and ironically(?) made it dumber, a million bands in the US were now copying Pearl Jam (more than Nirvana) and mixing 70s arena rock bombast with affected post-punk alienation – The Wallflowers, anyone? In my world, Nick Cave, Tom Waits and Nirvana were still making great music, I adored Uncle Tupelo, was discovering Billy Childish, had just been introduced to The Stairs, was falling for Vic Chesnutt (while falling out with The Fall, Pogues and Mekons), found myself smitten by Teenage Fanclub, loved Henry Kaiser and David Lindley's collaboration with Malagasy musicians, and was pretty gaga over Shadowy Men on a Shadowy Planet. All of which is to say that the implosion and ever-intensifying hybridization of genres that was going to set the stage for Napster to kill most of the music industry had started in earnest.
And here's a guy with a two-string slide bass, singing lyrics in the adult vein of Leonard Cohen – totally stripped down to the most basic language – in front of a really great drummer and a saxophone, sometimes a tenor, sometimes an alto, sometimes a baritone, and sometimes two at a time. I half remembered "I Think She Likes Me," the very minor hit Mark Sandman's previous band, Treat Her Right, had recorded but this took the seedy-bar-at-2-am tonality of that band up an order of magnitude. There was a hint of crooner, an element of beat, underlying tragedy and struggle but, more than all that, an altogether new-to-me kind of musical and emotional space. It was the perfect music to have on while reading Walter Mosely's series of Easy Rollins neo-noir detective fiction.
Almost every song seemed to be about loss, the potential for loss, the risk of loss… all seemingly hopeless and hopeful, lost but still fighting, beaten down but dignified. I was just starting my dissertation, the nightmare prospect of having to finally moving into a career was on the horizon and I needed adults in my musical life… or, at least that seemed to feel right. I mean, I'd already hung out at a café in Berkeley reading Nabokov, right?! I'd already worked my way through B. Traven's book, The Death Ship, yeah? I was already weaving all manner of things through the four holes in my left ear, nowhatImean? (OK, I'm not sure I was all THAT young but, forgive me, I was young, at least young-ish, and a romantic, seeking the sublime.)
Rather devastatingly, most of the way through the recording The Night (2000), Sandman died, at 46, on July 3, 1999, on stage early on in a performance in Palestrino, Italy. There is an well-done, slightly provocative documentary – Cure for Pain: The Mark Sandman Story – that was released in 2011 that digs up some material on Sandman's life but leaves many questions unanswered. I saw them, twice, once in San Francisco and once in a park bandshell in Boston, Sandman and the band were great performers.
My approach for this Imaginary Compilation is to provide snippets of lyrics. Read them, listen to the song, read the next set, listen… lather, rinse, repeat. I'm hoping it works.
1. You Look Like Rain (from Good, 1992)
Your mind, and your experience, call to me.
You have lived, and your intelligence, is sexy.
I want to know what you've got to say,
I can tell you taste like the sky
Because you look like rain.
2. Have a Lucky Day (from Good, 1992)
Now I'm sitting at a Blackjack table
And I swear to God my dealer has a tag, says Mabel.
Hit me, hit me, I smile at Mabel,
Soon they're bringing complimentary drinks to the table.
Players win and winners play…
Have a lucky day!
3. Cure for Pain (from Cure for Pain, 1993)
And tell me where,
Where's all that money that I spent?
I propose a toast to my self-control
You see it crawling, helpless on the floor.
Someday there'll be a cure for pain,
That's the day I throw my drugs away.
When they find a cure for pain!
4. I Know You (Pt III) (from Like Swimming, 1997)
Give me a kiss, hello, goodbye.
Just end everything you say with a smile
Wave goodbye, hello – with that look in your eye…
Forwards, backwards, back it down the drive,
The curtains in the window, wave goodbye,
Hello, there's that look in your eye,
and your crazy smile…
I know you & you know me too,
I know everything that you're going through
I know everything that you're going to do.
5. Thursday (from Cure for Pain, 1993)
One of the neighbors that saw my car
And they told her yea they told her
I think they know who you are
Well her husband he's a violent man, a very violent and jealous man
Now I have to leave this town I got to leave while I still can
We should have kept it every Thursday, Thursday, Thursday in the afternoon
For a couple of beers and a game of pool.
6. Top Floor, Bottom Buzzer (from The Night, 2000)
We're going to a party. Our friends will all be there.
I got the directions. It's across the river somewhere.
We rang the top floor, bottom buzzer.
Top floor, bottom buzzer. Top floor, bottom buzzer.
The middle won't work. Ring the one under.
7. Early to Bed (from Like Swimming, 1997)
Early to bed so you can wait,
For 3 buses a trolley and a train.
I think it's worth it for you to stay awake,
Maybe tomorrow you'll be a little late, but
Early to bed and early to rise,
Makes a man or woman miss out on the nightlife…
8. You Speak My Language (from Good, 1992)
All around the world, everywhere I go,
No one understands me,
no one knows what I'm trying to say.
Even in my home town,
My friends make me write it down,
They look at me, when I talk to them,
And they shrug their shoulders.
They go, "What's he talking about?"
But you…. you speak my language!
9. Buena (from Cure for Pain, 1993)
Well come on a little closer let me see your face
Yeah come on a little closer by the front of the stage
I said come on a little closer I got something to say
Yeah come on a little closer want to see your face
You see I met a devil named Buena Buena,
And since I met the devil I ain't been the same, oh no!
10. Empty Box (from Like Swimming, 1997)
In the morning, I was by the sea,
And I swam out, as far as I could swim
Until I was too tired to swim anymore,
And then I floated,
And tried to get my strength back.
And then an empty box came floatin' by
An empty box, and I crawled inside.
Half in the shadows, half in the husky moonlight
And half insane, just a sound in the night
May 24, 2019 October 25, 2019 3 Comments


text:
Q: How to generate permutations from 1-10 using arrayLists So I am trying to print permutations from 1-10. I am trying to do this using an arrayList but am not sure where to exactly start since i've never coded anything like this
I know the basics of how to generate random numbers but not to a scale like this.
An example output would be this
 5   7   8   1   9   6  10   4   3   2
 6   8   1   7   3   4   9  10   5   2
 2   4   9   6   8   1  10   5   7   3
 8   5   4   3   2   9   6   7   1  10
10   3   2   6   8   9   5   7   4   1
 9  10   3   2   1   5   6   8   4   7
 3   8   5   9   4   2  10   1   6   7
 3   2   4   5   7   6   9   8  10   1
 4   1   5  10   8   3   6   2   7   9
 3   5   2   4   1   7   9   6   8  10


I've been thinking a lot about the future lately. Not so much about flying cars, nuclear powered personal home energy generators, or flying to Jupiter for vacation but really about just the next ten years. The last few years have been fairly tough for us. Certainly it has been tough for a lot of people and my family and I have dealt with our share of rough spots but I am happy to say that we are getting through it together. Ever since I finished graduate business school, however, I have personally suffered from a lack of direction and I think that has exacerbated the situation. Once I reached that goal I found I didn't have something else lined up to work towards and things become quite stagnant. I haven't been able to see much past the next paycheck and haven't had anything major to work toward or look forward too and I am beginning to think not having those things is a bigger problem than I had believed. As I have come to this realization I have started tossing around ideas in my head that are both scary and wonderful at the same time.
The crazy thought that has been occupying my free cycles has been going to law school. Yes, I realize how insane that is for someone in my position. I have commitments, responsibilities, and obligations that put going to school full time out of the range of possibilities but the thought still exists. I think the recent political changes in our society of inspired this line of thinking. I see our country moving away from the principles of liberty and freedom and is scares me. It is therefore not surprising that my mind has been occupied by thoughts of Constitutional law. I realize, however, going to law school would just be another way to try and put off the one thing that seems to trouble me the most…becoming an adult.
I think the reality for me is that I don't want to be a professional anything and going to school…again…is a way to act like I am living up to my potential while really I just do something I am actually good at – regurgitating information. No, going back to school is really out of the question and I wouldn't want to put my family through that again nor is it really something we could afford. Still, I can't stop thinking about the academic pursuit.
Of course there are other things that continue to tickle my fancy. I have been saying for years that I missed the boat on a career in science. Lately I have been enamored with the study of aquatic life and I have often remarked to my wife that I should have been a marine biologist. It's a shame I didn't realize that interest while in college. My mind, however, was focused on other things I suppose. Still, I find myself drawn to aquariums and marine documentaries and while thinking about days on the ocean or lake studying ecosystems and the wealth of life below the surface. I don't know if these thoughts are just the mind yearning to experience something new and different or if they are clues to something deeper. There really is no reason for me to feel any special affinity for water. I was born in a land locked state and have only been to the beach half a dozen times in my 34 years of life. No matter, such a life is beyond my reach but I doubt I would turn down an offer to live near water.
All of these flights of fancy aside, I need something to work toward some kind of goal and I feel it almost has to be academic in some way. It doesn't need to involve formal school but I need to find something that interests me enough to keep me going. For the second time in my life I find myself without a direction. Can't say I like it much.


text:
The Dawn of Technicolor, 1915–1935
by James Layton and David Pierce. Rochester, NY: George Eastman House, 2015. 440 pp., illus. Hardcover: $76.00.
Technicolor is the new black at repertory houses this year. Among several programs celebrating the centenary of the process was one at New York's Museum of Modern Art, "Glorious Technicolor: From George Eastman House and Beyond," a comprehensive survey encompassing sixty feature films, including classic achievements in cinematography including The Wizard of Oz (1939), Blood and Sand (1941), and Duel in the Sun (1947). You won't find much mention of those in this book, which stops short of the ultimate realization of Technicolor on celluloid in those dreamy, dazzling fantasias. This is the nuts-and-bolts story of twenty years' worth of often frustrating experimentation and the eternal struggle between art and commerce, and it's a page turner—with many pages to turn.
The problem with just jumping into a tome like this (time to reinforce your coffee table, or buy a new one) is that the many gorgeous illustrations will catch your eye and pull focus from the illuminating text. It's best to dwell on them for a few minutes. (And, no, your eyes aren't deceiving you: the book's pages are edged in red and green, for a "two-strip" effect, appropriate for the story of how two-strip Technicolor came to be.) That's Katharine Hepburn in a breathtaking test shot for a film about Joan of Arc that was realized without her. A color production sketch for the 1934 short La Cucaracha is shown opposite a still from the film, and the match is close. Reproductions of frames of nitrate film are sprinkled throughout. The book's final section, an annotated filmography of two-color titles produced between 1917 and 1937, is studded with lovely photos, and interesting notes about each production. You can loiter for quite some time there, and bemoan the "survival status" of too many of these historic efforts, some only available in single frames.
Given that this volume hails from the George Eastman House of Photography, it's no surprise that it's a gearhead's delight, with plenty of technical facts and figures, and sidebars about the key technologists who participated in the birth of the process. But Layton and Pierce, both film historians, don't stint on the human drama, and the interaction of strong personalities. Technicolor was, for engineer Burton T. Westcott and Massachusetts Institute of Technology grads Daniel Comstock and Herbert T. Kalmus, strictly business, something they could improve upon (the first color processes were terribly unstable, and gave viewers headaches) and sell to studios that might be looking to differentiate their offerings from black and white, which already consumed a great deal of light. Nothing came easy, as much faster film stocks needed to be devised and other technical hurdles needed to be overcome. Kalmus and his wife, Natalie (the company's "Technicolor Color Director," whose presence on sets often irritated filmmakers), carried on long after the other partners had left.
Anna May Wong in the two-strip Technicolor feature The Toll of the Sea (1922)
Early on, two-strip Technicolor (one film was dyed red in the lab and the other was dyed blue-green) was a flop; the images had an embalmed look and two projectors had to run simultaneously for them to be viewed, a difficult feat for projectionists. The two strips were then glued together, which was a little more palatable, and resulted in one of the more impressive titles, 1922's The Toll of the Sea, a Madame Butterfly adaptation starring Anna May Wong. But it was limited, even after advances made gluing obsolete, and color was prohibitively expensive. Filmmakers like Douglas Fairbanks pushed the processing to its limits on movies like The Black Pirate (1926), but balked at further productions, making company finances precarious. Elaborate flops like MGM's The Mysterious Island (1929), a hodgepodge four years in the making, were also damaging. Actors complained. Lionel Atwill, the star of the two-strip thrillers Doctor X (1932) and Mystery of the Wax Museum (1933), said the lights "bake your brains and eat up the red corpuscles in the blood."
The book should end on a high note, with the landmark feature-film debut of three-strip, full-spectrum Technicolor on Becky Sharp (1935). But the authors conclude that "the initial beliefs that the appeal of color was self-evident and that the addition of color to films would justify itself in terms of increased attendance never proved true." We'll have to wait for the sequel to see a reversal of fortunes. Until then, revel in this richly hued history, which has been restored to vivid life.
Robert Cashill, a member of the Online Film Critics Society, is a Cineaste editor and the Film Editor of Popdose.com.
To purchase The Dawn of Technicolor, click here.
Cineaste, Vol. XL, No. 4


text:
The Stinger may refer to:

 The Stinger (newspaper), a student newspaper at University of Wisconsin–Superior
 The Stinger (album), a 1965 album by Johnny "Hammond" Smith

See also
 Stinger (disambiguation)

redpajama_set_name: RedPajamaWikipedia


text:
Office HoursM-F 8AM - 4PM
App StoreDownload
Google PlayDownload
AlexaEnable
Big DealsSave Now
FacebookTwitterSoundCloud
KMHL – AM/FM
94.7 KKCK
105.1 KARL
99.7 KARZ
LOCAL NEWS & SPORTS
Marshall Radio News
No Prep
Mustang Radio
Marshall Radio Sports Fan Page
Linder Farm Network
Bridal Extravaganza
Severe Studios Weather
Cancellations & Postponements
Anna Beckering
Heath Radke2021-01-08T06:18:52-06:00January 5th, 2021|Categories: Obituaries|
Anna Jean Beckering, age 90, of Edgerton, Minnesota died on Sunday, January 3, 2021, at the Edgebrook Care Center in Edgerton. Out of an abundance of caution for friends and loved ones, services for Anna Jean will be private. Interment will be at Hillside Cemetery in Edgerton. Colonial Funeral Home in Edgerton has been entrusted with arrangements.
Anna Jean Beckering was born to John and Henrietta (Achterhoff) Schoolmeester on July 2, 1930 on a farm near Chandler, Minnesota. When she was four years old, she moved with her parents to a farm near Edgerton, Minnesota where she attended school in District #44. She continued her education at Edgerton High School. After her high school graduation in 1948, she helped on her parents' farm. On November 10, 1949, she was united in marriage to Richard Beckering in Edgerton. Following their marriage, they lived on the Beckering family farm where Anna Jean raised their five children and helped with the farm chores. Richard preceded her in death on August 30, 2008. After his death, Anna Jean continued to live on the farm. In December of 2018, she became a resident of Edgebrook Care Center where she passed away on Sunday, January 3, 2021, at the age of 90 years, six months, and one day. Anna Jean was a member of First Reformed Church in Edgerton. She and her husband spent many winters in Mesa, Arizona where they both enjoyed playing pool and were in numerous tournaments. Anna Jean also enjoyed gardening, woodworking, and doing fancy work. She especially enjoyed sewing and used that talent to make clothing for her children.
She is lovingly remembered by her five children, Marilyn Folkerts and her husband, Doug of Edgerton, Marlene LaVigne and her husband, Mike of Moose Lake, Minnesota, Donna Kuipers and her husband, Warren of Mesa, Arizona, Lelin Beckering and his wife, Jana of Garvin, Minnesota, and Barbara Van Eck and her husband, Mark of Hendricks, Minnesota; 13 grandchildren; 15 great-grandchildren; and one brother, Jerold Schoolmeester and his wife, Sophie of Edgerton. She was preceded in death by her husband; parents; grandson, Ryan Beckering; one brother, Clarence Schoolmeester; and one sister, Grace Landhuis.
Share with your friends and family!
Lois Goelz
Lowell Bagstad
Eugene Hook
Body of a Man Found Outside in Marshall Under Investigation
Minnesotans Urged to Stay Away From State Capitol
There Should Be No Concerns About Infertility with the COVID-19 Vaccine
KMHL - News Radio
KKCK - Today's Hit Music
KARL - Country
KARZ - Greatest Hits
KNSG - The Fan
© Marshall Radio | All Rights Reserved | Powered by NexGen Marketing | KMHL Public File | KKCK Public File | KARL Public File | KNSG Public File | KARZ Public File | FCC Applications | Persons with disabilities needing assistance with public inspection file content should contact Marshall Radio (507) 532-2282 or email: [email protected]


Site Review: Jewish Match is one of the featured Jewish sites. If you would like to promote it, it is also part of the SocialPlus Affiliate Program. For More info on SocialPlus check out our full in-depth Sponsor Review of them.


text:
CompositionsChristopher Hossfeld's compositions have been performed at the Kennedy Center for the Performing Arts (Washington, D. C.), Yale and Harvard Universities, Jordan Hall (Boston, Massachusetts), the Toronto Music Garden, and concerts in Montreal and Ottawa. In 1998, he was the only composer of twenty Presidential Scholars in the Arts. Hossfeld earned a Master's degree in Choral Conducting from the Yale School of Music and a Bachelor's in Music Composition from Harvard University, where he was a recipient of the Louis Sudler Award, given to a graduating student for excellence in the arts.
by Christopher Hossfeld | posted in: Composer, Orchestral | 0
String orchestra (5, 4, 4, 3, 2), commissioned by A Far Cry, Boston's self-conducted chamber orchestra, 20 minutes. First performance: 30 October 2009 at Jordan Hall, New England Conservatory, Boston, MA. Press Christopher Hossfeld's odd yet compelling 'concerto GROSSO' for 18 strings, … Continued
© 2023 Christopher Hossfeld


text:
The WFTP Top 10 Albums of 2020
10. Roger Eno & Brian Eno – Mixing Colours
Roger Eno is listed first on the cover of Mixing Colours, in front of his brother Brian. This order serves to indicate what to expect from the album, which is far more melodically focussed than Brian Eno's typical 'music for non-musicians' approach. Roger's compositions have a much more traditional feeling to them, with piano phrases returning now and then, almost giving some songs a pop structure. Brian's input on the album is more textural, and it's safe to assume his role was more as a producer than a songwriter. As with any collaboration, Brian Eno leaves his unique and inimitable mark on the music, without detracting from his collaborators abilities. This album's delicate melodies and soothing tones give it a familiarly Eno feel, but undoubtedly one that differs from his recent solo works. This album sits nicely somewhere between contemporary minimal classical and ambient music. It's a gentle and mellow listen that could cynically be considered more engaging than Brian's ambient works, and maybe one that could ease a new listener into the more textural and tempo-less works in his discography.
9. The Flaming Lips – American Head
It speaks volumes to the state of the world that a band who usually sing about space, aliens and giant babies write an album about death, the damage that drugs have done, and 'the sadness in the world'. It seems that Wayne Coyne, recently a father for the first time, has spent a lot of time thinking about his own childhood, and how it has shaped the man he is today. The song "Mother Please Don't Be Sad" tells the story of what might have happened if he hadn't survived an armed robbery from his job at Long John Silver's as a teenager. This kind of pondering is typical of the album, one which feels like the band are looking back at their lives and career and assessing it in today's climate. Where an album like 2009's Embryonic is filled with experimentation and strange ideas, or 2017's Oczy Mlody is a mess of weird Sci-Fi lyrics and Miley Cyrus collaborations, American Head seems to know exactly what it is from start to finish. There are rarely moments that move from the mid-tempo piano ballad feel of songs like 'Watching the Lightbugs Glow' and 'My Religion is You' but this just leaves space for heartfelt lyrics and storytelling that Coyne hasn't included on many of the band's more recent work. It's an album still firmly rooted in the world of The Flaming lips – full of drug references and dinosaurs – but one with a new and more mature character to it's songwriting.
8. Bombay Bicycle Club – Everything Else Has Gone Wrong
After a five year hiatus, Bombay Bicycle Club went on tour to celebrate the 10 year anniversary of their debut, I Had the Blues But I Shook Them Loose. They spoke of enjoying playing together, and how it felt odd to be touring an album as if they were a heritage act despite all still being younger than 30. They felt that they still had more to say as a band, and went back into the studio with John Congleton, impressed with his work on the three of St. Vincent's albums that he produced. The result is a project that feels more direct than their previous album, So Long, See You Tomorrow, which was full of twists, turns, and samples from all over the world. Everything Else sees Bombay returning to more conventional song structures, with more focus on riffs and hooks than loops and samples. I was lucky enough to be at their Alexandra Palace show in February 2020, and it was clear to see that this album was instantly well received, with all the new songs being given the same electric response as old favourites like Always Like This and Shuffle. The rousing atmosphere at that show made clear to me that their audience's interest in their music has been rekindled, just as the band's has been in playing together.
Liz Lawrence can be heard singing backing vocals on much of this album. You can listen to the WFTP podcast with her on Spotify and Apple Podcasts.
7. Caribou – Suddenly
The first song I heard from Suddenly was Home, a song based around a sample of Gloria Barnes' song of the same name and a breakbeat, doesn't sound like anything Caribou has ever released. Choosing it as the first single suggested his desire to point towards a new direction, one drawing from different influences and a new sonic palette. Dan Snaith's fifth album under his Caribou moniker is less dance orientated than previous releases, with more tender, introspective moments and textural experiments than heavy looped drum beats. His gentle falsetto is much higher up in the mix, and the lyrics are more vulnerable than before. Opening on Sister, a song in which Snaith promises he is changing, serves to prepare the listener for their new flavour of songwriting. An ambient textural experiment like Filtered Grand Piano follows Never Come Back the most uptempo and classically Caribou song on the album as if to remind us that's the old him. The production throughout is clear, bright and colourful, with bendy piano arpeggios and ear worm melodies jumping out from every song. The project contains a sonic variety and range of moods that is previously unseen in the Caribou back catalogue – it will be interesting to see where Dan Snaith goes next.
6. Haim – Women in Music Pt. III
Haim's first album was a solid debut, one that clearly showed their soft rock and R&B influences whilst also showing that they had something new and fresh to offer. Their second album seemed to be a diminishing return of the first, no thanks to Jack Antonoff, who seems to wash all the colour off many artists sounds (St. Vincent, Lorde, etc.) leaving them with a dulled version of their former selves. But for Women In Music Part III, named for their frustration of being repeatedly asked what it's like being "women in music", takes huge strides in the right direction. Now with Ariel Rechtshaid, Rostam Batmanglij (Formerly of Vampire Weekend) as well as their own Danielle Haim in charge of production, they've made an album full of variety, honesty and exciting energy. The lyrics speak more to the Haim sister's specific personal experiences than their previous work, where a listener could often interpret the lyrics however they liked. The album still has a soft rock and R&B feel, but with the boundaries of each of those terms pushed in a braver direction, and mixed with some bolder production choices. Haim are clearly hitting their creative stride, as strong and fully realised songs like Summer Girl, Now I'm In It and Hallelujah were all just tacked on the albums end as bonus tracks, as if they were just lying around as spares. Whatever they do next is sure to be exciting and inventive, whilst remaining catchy and accessible – it feels like they are just getting started.
5. Kelly Lee Owens – Inner Song
Opening an album with a cover of a Radiohead song seemed like an odd choice to me, but Kelly Lee Owen's take on Weird Fishes/Arpeggi sets the tone well for what's to come. No vocals are on the track, directing the listeners focus towards the detailed arpeggios and electronic layers that shape a cover that strays far from it's source material. Thereafter, similar ambient techno instrumentation sits under introspective and lushly harmonised lyrics about dealing with life's problems and coming out the other side. Instrumental songs show Owen's love for techno and other electronic music, while adding a melodic sensibility that sets it apart from something you would hear at a club night. The detail and layered harmonies of Owen's voice are what make this album so engaging, making it so you could listen to on repeat with new hooks and characteristics becoming apparent each time around.
4. Wilma Archer – A Western Circular
I was drawn to Wilma Archer's A Western Circular as soon as I saw that he had collaborated with MF DOOM – which for me acts a high quality seal of approval. Reading the tracklist and seeing that Future Islands' Samuel T. Herring was featured on a couple of songs intrigued me further, with no real idea what to expect. This album, which opens with strings that remind me of a Mica Levi soundtrack, is full of surprises. It doesn't really fit a genre classification – there are elements of R&B, Jazz and Hip-Hop, mixed in with some 80's guitar solos and smooth horn sections. It plays like a mix of Archer's favourite music, hopping around in different moods and instrumentation whilst still keeping one foot in a warm, vinyl-like vintage tone. The only thing that suggests this album was recorded in 2020 is it's postmodern mixing of genres from the last 50 or 60 years. The standout songs have to be the ones featuring DOOM, Herring and Sudan Archives, who's vocals add the icing to cake of Archers songs. A perfect amalgamation of familiar sounds mixed together and some creative production make for a great listen.
3. Osees – Protean Threat
Thee Oh Sees 23rd studio album, Protean Threat, manages to expand on their sound whilst still being instantly recognisable as the work of John Dwyer and his ever-changing line-up. This album was released under the Osees moniker according to Dwyer doesn't mean anything – although it appears that the shorter the name, the heavier the music. The current line-up features two drummers, which are utilised to their full potential on this album. It's full of driving beats and intense gnarled guitar riffs, with Dwyers yelping vocals occasionally morphing into a heavy metal growl. On most of their releases, you can barely hear Dwyer's lyrics, as they are lost in a sea of effects, used to add a melody to the song. This rule is broken on parts of Protean Threat, with lyrics like "I think we could be better" clearly standing out from Persuaders Up! and "I'm all filled with nonsense since you talk so goddamn slow" from If I Had My Way – seemingly a song about Dwyer's anger with the current state of the world. The production sounds cleaner than previous releases, but in no way is it softer. There are short and fiery songs like Dreary Nonsense and Persuaders Up! which are both distorted and heavy but tight and clear in their sound. The album is filled with ideas – there are even funkier songs like Said The Shovel and Canopnr' 74 which stand out as the catchier tracks. It's worth noting that this is just one of many releases from Osees this year, so even if this wasn't your thing, there's bound to be another change in direction soon.
You can listen to the WFTP podcast interview with Dwyer on Apple Podcasts, Spotify and Youtube.
2. Agnes Obel – Myopia
Myopia is the optometrical term for short-sightedness, which is a perfectly apt title for this album. The soft-focus and distant artwork is equally representative of it's mood. Every sound on Myopia is beautifully soft and obscured in reverb. Obel's singing is used so expressively that it often sounds more like an instrument than a human voice. Layered strings and piano arpeggios create a pillowy world to float through whilst picking out Obel's isolating and forlorn lyrics. She has said the album is about trust and doubt, and you can sense that anxiety in it's more tense moments like Island of Doom or Broken Sleep. There are elements to stop the listener from getting lost in the wash of texture – looped vocal samples, orchestral percussion and string instruments played staccato drive the songs forward, seemingly holding the other elements of the songs together. Obel's use of unusual and specific language for song titles helps paint a more vivid picture of their desired meaning. For example, the uneasy instrumental piece Roscian, meaning 'famous for being an actor' in the context of the album, alludes to Obel's mistrust of an unnamed character. On the other hand, another more menacing instrumental piece named Drosera, 'a family of carnivorous plants' leaves the listener with very little understanding of the pieces intended meaning. Either way, the album occupies a world of its own, and I will be listening to it for years to come.
1. Fiona Apple – Fetch the Bolt Cutters
Fiona Apple's Fetch the Bolt Cutters has topped very nearly every end-of-year list that I have read. I think this is totally justified. The album is 52 minutes long, and completely without a boring moment. The songs cover such a wide selection of Fiona's experiences, everything from suffering with OCD as a child, sexual assault, mental health and relationship problems, all with fantastic rolling piano melodies, unusual percussion and rhythms and Apple's powerful and husky vocals. The tone of the songwriting is very different from what you may expect from such a personal list of subject matter. There is no time for self-pity or sadness. The songs are filled with formidable power and strength, which occasionally turns to raw anger. Apple is now 43, and it sounds like she has come to terms with some of her life-changing childhood and more recent traumatic experiences. Adding to the intimate feeling of the album is its simple and clear production, use of (almost) only acoustic instruments, as well as the occasional dog bark or recording error left in. This gives it the feeling of a truly genuine expression, free from a producers polish to make it easier to digest. Apple was supposed to release the album later in the year than April, but felt it needed to be let out so people could listen to it and "feel free". You can hear that energy throughout, and I think the overwhelmingly positive response to the album shows just how effective that feeling of freedom is, and just how needed it has been.
List by Alex Wilson
Buy Alex a coffee
© 2018 | Who's Flying the Plane | Alex Wilson
Website by Vivid Glow Media


Michael Collins was born at Leap, Co Cork (the family address was 'Carrigbawn' Drinagh, Dunmanway), in the diocese of Ross, on 15 November 1883. He died in St. Joseph's college, Wilton, Cork, on 23 July 1973.
Michael received his secondary education at St. Joseph's college, Wilton (1898-1903). He studied philosophy in the Society's seminary at Cours Gambetta, Lyon, France (1903-1904) and then went to the Society's major seminary at Choubra, near Cairo, Egypt, for the completion of his priestly training. He became a member of the Society on 21 December 1905, and a year later returned to Lyon where he was ordained a priest by Bishop Paul Pellet, vicar-general of the Society, on 21 July 1907. Other Irish members of the Society ordained on that day were William Cotter and John Corcoran.
Between 1907 1914 Michael was a professor in St. Louis college, Tantah, where he had taught English during his years in Egypt. He returned to Ireland on the outbreak of the first world war, spending the years 1914-1916 as director of students at Wilton. He was superior in charge of brothers, at Kilcolgan, for the year 1916-17, before returning to Wilton to his previous position until 1919. In that year he was coopted as General councillor, resident at Lyon. Between 1920 1925, Michael was superior of St. Joseph's seminary, Blackrock Road, Cork, and also Provincial councillor. He spent the next twenty-two years (1925-1947) as a General councillor, in Lyon and, in his last year, at Rome. In his first year as a General councillor (1925-1926) he toured the Society's Missions as 'Visitator'.
Michael lived to a great age despite the fact that he was always delicate. A sensitive man he was keenly interested in the history of the Society and in missionary spirituality. His command of languages and ability to put pen to paper meant that he left behind him a valuable treasure of letters, articles and books. Much of our information on the early history of the Society and particularly its Irish Province, is drawn from Michael's papers. In 1947 Michael was seconded to the American Province of the Society which had been recently formed. He remained in America until 1962, engaged in the spiritual formation of candidates for the American Province. Most of this period was spent in the Queen of Apostles seminary, Dedham, Massachusetts. In 1960 Michael's health broke down and he spent a year convalescing. He then resumed work in Dedham. A letter from this period gives us a good insight into the energy of this 78 year old priest: 'Here I am "confessor" for the students and give a few missiology conferences a month and spend my time on translations. I did - this last year - the translation of a short life of Mgr. de Bresillac (founder of the Society), of 100 pages. At present I am condensing the Retreat he preached at Pondichery. I am reducing the 19 conferences he gave to 13 conferences. There is a new work on his life and spirituality just out at Lyon by Fr. Jean Bonfils. I would like to translate that'.
In August 1962, deciding to retire, Michael returned to Ireland and took up residence in Wilton. But although he was now almost eighty years he still felt fit for work and after three months he returned to his post in the U.S.A. Michael finally retired in April 1965, spending the last eight years of his life at Wilton. Michael celebrated the golden jubilee of his ordination to priesthood in 1957. Ten years later he celebrated his diamond jubilee, one of a small handful of members to reach that milestone. Michael was the brother of Bishop John Collins who was the longest-serving missionary in Liberia (1913-1961), cousin of John (Jack) Collins S.M.A., and uncle of Lawrence Collins who in 1996 began his forty-second year of continuous service in Liberia.