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DC Heavy Metal
This blog specializes in heavy metal music and how it relates to Washington DC and the surrounding area. Featuring info on upcoming metal concerts in Washington DC, Baltimore and Virginia, as well as info on local bands, area concert venues, reviews of live gigs, and lots of give aways.
Metal Chris' Favorite Doom and Stoner Albums of 2019
Metal Chris' Favorite Death Metal Albums of 2019
Metal Chris' Favorite Black Metal Albums of 2019
Zealot R.I.P. beer release show
Electric Wizard ticket give away
Beer & Metal
Best Metal Poster Art
Interview with Bill Ward
Maryland Deathfest Survival Guide
Secret Origin of DCHM
Animals As Leaders ticket give away
Instrumental progressive band Animals As Leaders are headlining the 9:30 Club on Saturday, May 17th. This is a show will be an instrumental music fan's dream come true as none of the three bands playing have a vocalist. I love instrumental bands and to help get you into them too we're going to give away a free pair of tickets to this show. To enter: leave a comment on this post telling me what your favorite instrumental song is. From Metallica's Orion to Watain's Lawless Darkness to Animals As Leaders' own CAFO, any instrumental song will count as long as you love it! At 5pm EST this Friday, May 2nd, a winner will be chosen at random (using Random.org) from all valid entries to receive two tickets to the show! Be sure to use a valid email you check regularly so I can contact you if you win. Don't worry, I won't add you to any spam lists or sell your info or anything sleazy like that. If I haven't heard back from the winner in 24 hours another winner will be chosen at random. If you can't wait to see if you win, or the contest is already over when you read this, then you can get tickets from right now for $20 from Ticket Fly here.
Animals As Leaders members Tosin Abasi and Javier Reyes were both from the DC area originally before relocating to California to form Animals As Leaders. Their incredible musicianship and technical prowess has earned them fans all over the world though you can bet this show will feel something like a home town show of sorts. Also playing is Conquering Dystopia, an instrumental band featuring guitar wiz Keith Merrow and Jeff Loomis (ex-Nevermore) on guitars, Alex Webster of Cannibal Corpse on bass and Alex Rüdinger, drummer for The Faceless. This band has quite the pedigree but their self titled debut album shows that they not only live up to expectations, but exceed them with a level of technicality and aggression few can match. The opening act is Chon, a progressive instrumental band from San Diego. All three of these bands can really play and this show is on a Saturday night so you don't have the school-night excuse for missing this one. Now check out these killer tunes by the bands playing and tell me what your favorite instrumental song is!
Animals As Leaders – Lippincott
Animals As Leaders – CAFO
Conquering Dystopia album teaser
Chon – Sketch
Categories: Contests, Nightclub 9:30, Progressive Metal, Tech Death . Tags: 9:30 Club, Animals As Leaders, Chon, Conquering Dystopia, Contest, Instrumental Metal . Author: Metal Chris . Comments: 15 Comments
Listen to the new Death Penalty song War
Short post today but the Northern Virginia based thrash metal band Death Penalty is having their album release show tonight at the Sidebar in Baltimore (details here). The full length, titled Electric God, will be available at the show but you can stream/download the first track off it, titled "War" below. If you can't make the show you can message them on Facebook (here) to grab a copy as well.
Categories: Local Band Info, Streams, Thrash Metal, Upcoming Album Releases, Washington DC / Maryland / Virginia Metal Scene . Tags: Death Penalty, Electric God, Heavy Metal, Metal, Thrash Metal, War . Author: Metal Chris . Comments: Leave a comment
Black Label Society ticket give away
Zakk Wylde and his band Black Label Society, along with Phil Anselmo and Down, are coming to the Fillmore Silver Spring on Sunday, May 4th, and since this show looks so damn good we're giving away a free pair of tickets to it! To enter: leave a comment on this post telling me which band at this show you're the most excited to see! Also appearing with BLS and Down is Devil You Know and the Butcher Babies. At 5pm EST this Friday, April 25th, a winner will be chosen at random (using Random.org) from all valid entries to receive two tickets to the show! Be sure to use a valid email you check regularly so I can contact you if you win. Don't worry, I won't add you to any spam lists or sell your info or anything sleazy like that. If I haven't heard back from the winner in 24 hours another winner will be chosen at random. If you can't wait to see if you win, or the contest is already over when you read this, then you can get tickets from right now for $43 (after fees) from Live Nation here.
Zakk Wylde is best known for being Ozzy Osbourne's guitarist for many years but his personal band, Black Label Society has made a name for itself by following their motto: strength, determination, merciless, forever. Their acclaim is no surprise when you've got a guitar player as talented as Zakk is! But let's not forget Down, the New Orleans band that Pantera vocalist Phil Anselmo currently rages in. Their southern style of stoner/doom/sludge is a perfect pairing with BLS. Also appearing on the tour is Devil You Know, the Los Angeles based band featuring Howard Jones of Killswitch Engage on vocals. The opening support for this stop on the Revolver Golden Gods tour comes from the Butcher Babies. Be sure to check out these killer new tunes by all the bands playing the show and tell me what your favorite band on the bill is in the comments!
Black Label Society – My Dying Time
Down – We Knew Him Well
Devil You Know – Seven Years Alone
Butcher Babies – Smell A Massacre
Categories: Contests, Fillmore Silver Spring, Sludge Metal . Tags: Black Label Society, BLS, Butcher Babies, Contest, Devil You Know, Down, Fillmore Silver Spring . Author: Metal Chris . Comments: 27 Comments
Interview with Bill Ward of Black Sabbath
On Tuesday, April 8th I was given the opportunity to interview one of the founding fathers of heavy metal, Bill Ward, the original drummer for Black Sabbath. He played with the band through the Ozzy years and on the first album with Dio as well as on Born Again then came back into the fold in the late 90s when the band reformed for their reunion tours. In November of 2011 the four original members of Black Sabbath reunited again and announced they'd be creating their first album together since the late 70s. However issues arose and Bill Ward ended up not being a part of the new album. He hasn't slowed down at all though and one of the things he's done is work on a new visual art project called Absence Of Corners. We're really lucky because they've decided that the public viewing of this collection will be in Annapolis, Maryland, and on May 9th and 10th Bill Ward will be on hand to speak about the pieces himself! Even better, if you purchase (here) one of the very limited prints you'll be invited to a special reception on May 10th where you can meet Bill Ward yourself, have him sign your piece, get your photo with him and even ask him any questions you think I might have left out of this interview (more details here). This isn't a traveling art display, this is the only exhibit so don't miss it!
This interview is 32 minutes long and we covered a wide range of topics from the art exhibition to his time with Black Sabbath, his time after and even what new metal bands he's into (spoiler: there's a lot of them). I suggest reading along while listening to the stream of the interview as I've packed this post with photos and links related to what we're talking about. You can also download an mp3 of the audio here. I hope you all enjoy this interview as much as I did! My words are in bold below and you can click the orange play button to start the stream.
This is Metal Chris of DCHeavyMetal.com and today I've got a very special guest with me, Bill Ward, the original drummer of Black Sabbath. Mr. Ward will be in Annapolis, Maryland on Friday, May 9th and Saturday, May 10th at the Annapolis Collection Gallery showcasing his new Rhythm On Canvas visual artwork series known as Absence Of Corners. The viewing is open to the public for free and limited prints will be available for purchase by fans. Anyone who does purchase a piece will be invited to an exclusive VIP reception with Bill Ward where he'll be available to sign your piece and answer a few questions and just talk to fans as well. So to start off Bill, why don't you tell me about how this Absence Of Corners project came to be.
Thank you. It started back in the spring, I think it was the spring of 2013, and we were approached by [the] two main guys in Scene Four, that would be Cory [Danziger] and Ravi [Dosaj]. They're the technicians and the producers and they had already established this new way of producing art in terms of drummers just playing their drums completely in the dark and having lighted sticks or lighted brushes and just playing whatever they wanted to play, for the most part, and taking all kinds of pictures. And the all kinds of pictures really was all kinds of pictures but at times I think we probably had between two and three photographers right in and out of the kit. There were so many different lights that were going on. And that's how all this started. We were just approached, we liked the idea, Liese Rugo was heading it, and Liese said let's think about this and go ahead and do it. It might be a nice change for you right now so I thought OK. So that's how we went ahead you know, it's quite simple. That's how it started.
Did you use your own drum kit for this?
Oh yes sir, yes I did. Yeah in fact I used the master kit. When I say a master kit that would be a kit that I would normally use with Black Sabbath. It was set up in its drum rehearsal mode and we went in and I just slammed. I slammed for probably an hour and 45 minutes. We just jammed, jammed, jammed everything out, yeah.
Wow. Now so they took a lot of photos here. Did you have any input as far as to which ones they used of which angles they used or anything like that?
No, not at all. I stayed out of all that. I followed direction. I let them tell me what they wanted. As far as the playing I went wherever I wanted but as far as any kind of cameras or anything to do with their end of it, I stayed well out of all that [and] let them do their thing. I only started to collaborate at the point when I began to view the pictures. And when I viewed them you know it's like… it took me a while to digest everything but the collaboration began when they said, "Well Bill can you suggest some titles," and I love writing. I love coming up with words and things like this so I said OK. That's when I started to realize what each picture meant to me personally and it's when I came up with the titles and then we just started to gain some depth as to where it was all going so it was a nice collaboration. That was very enjoyable actually.
I saw you made some videos that describe the naming process of these pieces and I found the one for "Soundshock" particularly interesting. Can you describe to me what sound shock is exactly and is it something you deal with on a daily basis?
My idea of sound shock is pretty tricky stuff because it's something that, through all the years and years and years of playing on stage, and playing very loud, I think that there are some prices to pay. One is in the way that I perceive the sound of right now, the sound of your voice, Chris. The sound of the room around me, the sound of the fan that we have on right now. And I can hear, I guess, well enough but sound shock becomes more apparent if I went into a super market or a grocery store or into a restaurant where there's multiple voices and multiple sounds. Train station, airport, anything like that and I have a very difficult time listening to things that are right next to me. If someone's talking to me I can barely hear them but I can actually hear things that are going on two aisles over so my hearing has become unique I guess. Not unique to me. I think other people have this phenomena also. It's very strange. When I first started getting this it was a bit scary you know. I was just wondering what was going on. It's been going on now for a number of years. It's something that I've definitely gotten used to. It can also be called mixer's ears. Just recently I've spent an awful lot of time in the studios finishing up a piece of work I've been trying to get done there for quite some time and only the other day I was in the studio and I can only listen for about three hours now and I went, you know what? My ears have completely gone. And I was hearing things that weren't there and you know that happens to a lot of musicians when there at the final stages mixing and things like that. But what happens with mixer's ears is when we break, take five, sit outside or whatever, the sound of being outside is a little bit different than what it was three hours before going into the studio. So I have that too. There's imbalance and incorrect perceiving of sound. I think that's the best way I can describe it. I did see a documentary a few months back now. It was about a soldier that had been in Iraq and they were focused on this soldier and what he went through when he walked into supermarkets having been around bombs and explosions and I was intrigued by what he was sharing because I thought oh my god. I said I feel the same way. I feel just like this guy, the things that he was going through. I went to see a couple of doctors to talk about it, neurologists. So we're still researching it ya know, we're still going through it and I'm sure there's other musicians, I'm sure I'm not unique in this at all, other musicians that are either on their way and got a better understanding of it. It's not like something that I'm desiring to fix. It's something about learning exactly like, oh this is what I live with now and I have an explanation for why things can sometimes sound really strange. Especially in a restaurant. I can hear the other people talking three tables over [louder] than I can my own wife whose in front of me. She doesn't think of– my wife doesn't mind ya know? She's used to me being kind of crazy you know so, hahaha, so it can be taken as quite rude I think. It'll be interesting to see what happens in Annapolis when I start talking with everyone.
Are you interested in doing more visual art projects in the future?
I think I would have to really take a look and see what it might be. There are some other things that I would like to get to and it's trying to have the time to get to it. So I did have something else on the back burner but it would not be working the same way that I did with Ravi and Cory in terms of playing drums to create art. But however it depends. I like to keep an open mind. One never knows. It could be something that's completely different so if it appeals and I can feel the nature of it and it has some substance and it can be meaningful to other people then you know I'd look at it, yeah. I think I'd say yes to that, to that question. Yeah.
Are there any specific pieces about Black Sabbath or your time with the band or your time after?
I think that there are actually and I didn't realize that until after. It was during the time I mentioned earlier, Chris. There was a period that happened where we started to collaborate, you know myself and Liese and Ravi and Cory, in terms of going into each piece and what it meant. That's when I– it started to hit me. It really came quite strong actually. There were some things that were primarily related to the turbulent emotional stuff that I was going through after the contractual agreement [with Black Sabbath] couldn't be sorted out. You know it just couldn't be sorted out. And I just felt so horrible about everything about that not being able to be sorted out as I believe they did but I'm not going to quote them or anything else. I read something from Tony [Iommi, Black Sabbath guitar player] that he was not particularly happy either so, well neither was I. But that turbulence and that emotional upheaval, I think some part of it may have reflected through my playing. There's that one piece, I'll just use the most poignant piece if you like, it's called "Grief." And somebody had put the picture, a huge picture of "Grief," and it was leaning against some cases, we were in the warehouse, I was up at the warehouse just signing off a bunch of paintings and what have you. And I hadn't seen "Grief" prior to going to the warehouse, and I turned around, it's almost like I felt something in my back and I turned around and I looked down and I saw this– I made out a face immediately. I was about maybe fifteen feet from the painting, Chris. I just peered into it and I went, "Oh my god." And I said, "What's this?" And they were smiling and they said, "That's one of your paintings, Bill." You know and I said, "Oh my god you've got to be kidding." And I came up with the title immediately. It's so sad. It was so, so, so, so, so sad. And that's exactly how I felt about it you know. Even as we speak I'm still recovering from all of this you know. And "Grief" would have been my number one choice in attaching something to the emotional well being, or the unemotional well being, of that period. 2012, 2013, very, very, very tough years. Would you like me to give you a couple more examples?
Sure, yeah.
"Grief," it's really quite morbid looking. Kind of right up my street, haha. It's very gray. It's gray looking and I think to really feel "Grief" you have to stand about ten feet away from the picture. And you see it and it's just this tormented soul. It's just really… not OK at all. Of course, technically, Ravi and Cory showed me in the picture where my arms were and what I was doing at that particular point from a drumming point of view, not what I was actually playing in terms of notes. But because I couldn't see, I couldn't make it out. You know was I playing with brushes, what was going on there you know?
It scares me to be honest with you. It really scares me. It really bothered me, bothered me a lot. But at the same time it brought a semblance of relief because I thought, you know what? I'm in a lot of pain man. And all of this stuff that we're talking about, Absence Of Corners, became more of a therapy session for me. A long therapy session which is still continuing. And it turned into that. I didn't expect that. Nobody planned that. But that's what it became then you know. And I've discussed Absence Of Corners with people from all over the world and they give me their– how it touched them you know. What it means to them and we sit down and we rap for two or three hours you know talking about emotions and what have you so it's been very fulfilling. Very, very fulfilling spiritually.
Yeah, it's great. One of the things also that's connected with the turbulence that I felt, emotional turbulence [is] this one that I have it's called "We Focus. We Persevere." And that one as well I can see myself. I think I was actually playing jazz because it looks like I'm using the brushes in the picture. That one was particularly nice. It was about drummers and that comes back from the way that I was brought up as a drummer not only as a child but into my teenage years and then of course into my later teenage years when I was 18 of course I'd been playing with Tony for two years. When I was 18 and we were already in some pretty good bands you know and Black Sabbath was just around the corner. I didn't know that but it's just the influences. I look at the picture and I can actually see my study. I can actually see that I'm focused and I'm really enjoying playing. And that came from a lot of discipline and a lot of listening to blues and jazz which were all incredibly influential inside Black Sabbath. In fact I think more people now are recognizing just how much blues and jazz was inside Black Sabbath and how we utilized that. How we would have our grooves if you like and how that structured itself inside everything that became metal. But that's a particular favorite of mine, that one, Chris. We overcome. We persevere. No matter what. We come through. We have to ascend our difficulties and we have to come through and that's part of the action of my life. It's a very strong, living statement for other drummers primarily and of course for other people or interested parties that might be interested in them. If they can receive something from those things in terms of heightened senses then more power to them. It's beautiful you know. I didn't invent it. It's just something that is part of my life as well and part of a lot of people's lives and I've seen this happen with a lot of other drummers who are friends of mine, some of the people who have passed away, that I dearly love. So yeah, that's a little bit about that one.
"We Focus. We Persevere."
OK now in November you did an interview with Rock Cellar Magazine and in that interview [read it here] you said that you hadn't listened to any of the new Black Sabbath album, 13, except for maybe about 40 seconds of [the promotional track] "God Is Dead?" Have you listened to that album since then?
No and I probably won't.
You don't think you ever will?
I, I– Maybe if I reach a point of serenity where I'm able to give it a listen but no there's nothing of value in there for me to listen to. I love the guys. I really hope that they receive blessings and wonderful things in their life. [I'm] communicating with Terry ["Geezer" Butler, Black Sabbath bass player], I'm communicating with Tony, privately. We always send our very, very best wishes to each other and our love to each other. But no I'm not interested in the album. It was something that I wanted to play on. I was completely able to play on it. There's no question in my heart at all. [This refers to comments Ozzy Osbourne made (here) about Bill Ward not being on the new Black Sabbath album because he was out of shape.] So you know it's still something that I don't care, I don't care to listen to it. Even if it was the most brilliant album in the world I don't care to listen to it.
That leads me to the question, do you ever see yourself as a part of Black Sabbath again?
Well a lot of things have happened to me. Starting in September, 2013, I had a horrible illness which I'm still recovering from and it created some other things that I am still recovering from. That's one of the reasons why I didn't come to [my previously scheduled appearance in] Annapolis you know. So aside from me now having to do a lot of work to gain my health and my strength back, you know and I'd be the first to admit it if I can't cut it physically as a drummer then my answer would be no. I would not be prepared to play with Sabbath you know. I would never, ever, ever elude to being able to play with Sabbath if my health wasn't absolutely smack on. And my health right now is not bad but it's not good enough to certainly play in any band never mind Black Sabbath. I have to get a lot stronger than where I am. I lost a lot of weight. I've got to gain all my muscle back. I lost all my muscle. And I'm doing some stick practice but if I was in a good position where I felt strong enough I can overcome the hits that I took, the verbal hits, I can overcome all that stuff. I can overcome you know just the shut down and the way that I felt and everything else. I can overcome all of those things. All of the things that were like at the time just like– what the hell? I can certainly recover from all that stuff actually. I can do it pretty good. You know in fact I've recovered from most of it as I'm speaking to you this morning. I'll always have an open mind to playing with Black Sabbath. I love the band. I miss them terribly. And so my answer would be leaning towards if something could be worked out. Something that I could live with and I'm talking politically now, contractually. And not the kind of things that I've done in the past. I'm talking about the very core of what I talked about in my big statement of February 2012 [read it here]. If we can come to some terms and we're all OK with each other and the most important thing for me is being able to know that I can play drums the way that I want to be otherwise I wouldn't even enter into any kind of conversation with them if I knew that I wasn't back on the mark. Then I would be moving forward. I think that a lot of fans have suffered horribly through these undertakings of the last couple years and I fully, fully blame the inconsiderateness of just a few people who created, and I won't talk about who, but a few people who created such a huge wasteland of real, real pain when everyone was just so excited to see the original band with an original record. And I'd already stated my boundaries quite early in all this. It didn't come overnight. It wasn't a shock. You know it wasn't something that suddenly happened. We'd been negotiating for over 15 months. Things like that so. But I have to be careful in overstating because there's still a political agenda attached to this. So I've definitely got an open mind. I miss playing with Terry, Geezer, just horribly. I absolutely miss him to death. And I miss playing with Tony just… every day. I mean every single day I– it just blows me away man. And obviously I miss Oz [Ozzy Osbourne, Black Sabbath vocalist]. I've had to– with Ozzy I– I've lost a friend as far as I'm concerned. A man that I dearly loved, and I still dearly love but I've had to really now readjust just how much I'm going to trust and love him. He fired back on some pretty mean stuff in the press so. And I've gone OK. Like with any of us when we get hurt we're going to pull back our love and our considerations for another human being when they kick out at you and you know. So that's been a big loss.
In the last couple years in the world of metal there have been several high profile drummers that have either been kicked out of their bands or just kind of you know similar situations to you I think where there's contract issues and things where I think the drummers feel like they're not getting at least a respectable compensation for what they're doing. I'm talking about like big bands here like Dave Lombardo of Slayer, Mike Portnoy leaving Dream Theater, and I'm sure there's others as well. But do you think drummers right now, in the world of modern metal, do you think they're just being under valued?
Yeah there's something going on. Just for the record I know Mike and Dave Lombardo is a very good friend of mine. Me and Dave have had many Indian food– much Indian food and we've discussed these things in the last two years, that's for sure. Yeah, I think what's going on is we find the key players and the other players have less value and its become some kind of new modern thing, modern thinking. It's like the other guys don't count as much or they can be replaced. Let's just focus on who we think are the stars in the band and you'll see it all the time. It's been going on for a long, long time. A lot of other bands have adopted this similar idea. It's been around for a while. I think it comes out of a managerial idea, for the most part. Not a very good managerial idea at all. But it's just something that's going on and I've had private discussions with a lot of people about this and I think it's not only necessarily aimed at drummers I think it's aimed at other people as well. And it's not just because the guys are being [night] owls or whatever you know. It's nothing to do with that. Back in the day that was like it's about him, it's about him and let's blame him and that and that and that you know. And it's not about me. I absolutely refuse to take any responsibility of blame that's been thrown at me. I will be accountable to the fans and I will be responsible to the fans because they are extremely important to me. I think what we're seeing is something that's been going on for a while that's starting to take seed and we're now seeing the results of defocusing other people and we're seeing that more focus goes on the primary players and that's been going on since, well I'll probably get into trouble with this, since all of the teams. [Mick] Jagger and [Keith] Richards and all the way through. And I'm not saying for one second that the [Rolling] Stones' set up is like that OK. I'm not saying that. It's a very interesting subject and as more is being revealed I can probably be a little more revealing but it's so bloody political that I have to watch what I'm saying. Because otherwise– I know that there are some people that would probably love to sue my ass and I would think they would get a great deal of pleasure from that.
Well I'm not trying to get you in any trouble here either so…
No, no I know. I know. No, I'm enjoying the interview but I just have to be careful you know. And a lot of the times I wear a lot of my stuff on my sleeve. I'm so bloody transparent and I hate having to play hopscotch but I feel like I've been as honest as I can be with you right now.
You are also the host of a radio show called Rock 50. You play a lot of metal, both older and current and I was really surprised that you are a fan of a band that was a favorite of mine growing up. You are a big fan of Cryptopsy it turns out.
Oh definitely, yeah.
Phenomenal drummer Flo [Mounier] in that band. Are there any other bands that people might not really expect the drummer from Black Sabbath to be into? Any other modern metal bands like that?
Oh God I go right across the board. When I play my radio show I only play bands that I sincerely really like, really, really like. That I'm a fan of. These are some of my long standing bands. The first one has got to be Slipknot you know. I got a couple of guys in Slipknot that are real good friends of mine.
They're another band that's recently had drummer issues as well with Joey Jordison leaving.
Yeah. It's hard for me to say anything about that but Slipknot's one of my favorite bands. An example Sunday night, I'd just gone Sunday night I was watching– Vinny Appice used to be in the band… Kill Devil Hill. Anyway the reason why I went to see them play was because there is a couple of guys in the band that I know and love. Especially I went this time because it just so happened that Johnny Kelly, who is a friend of mine he played drums with Type O Negative, Johnny has replaced Vinny. When Johnny told me that I was like, "Oh my god." And they were playing only a mile from where I'm speaking. The band came down. I went to see Johnny and Rex [Brown] was playing bass from Pantera and they're fucking outstanding man. Outstanding bass player. Johnny did a great job. The other guy, Dewey [Bragg] the singer, I've known Dewey for years man, years and years and years. And they absolutely kicked ass man. They were great. We were in this little club. Nice club, at least they're doing a shout out for metal. It's called the Gas Lamp down off Pacific Coast Highway here in Longbeach. There's another band that was supporting them called Seeds Of War and I really liked Seeds Of War as well. I like anything Mastodon. I'm a huge Mastodon fan. Slayer all the way down the line man. All the way down the line. Megadeth and Skeletonwitch. We met them when they were first new and I've always supported them. Always played their records on our radio show. Their production is getting better and better and better. Their songs are tight man [their] playing has become better. They're really good you know. So I'm right in the mix. I'm right in the middle of it all and I feel completely at home. I sit there with my metal brothers and my metal sisters and drink my tea and I just like to be by myself. I like to sit nice and quiet and watch the bands and everyone's nice enough to come up and say hello. I just look at them all and it's just a wonderful part of my life. It's a very sacred part of my life. I love metal.
DC has quite a few metal bands from this area and I was kind of curious are there any from the DC area or Maryland that you're a fan of?
Oh I'm sure if you name me the bands I can tell you instantly.
Some of our bigger ones are Clutch, Pig Destroyer, Darkest Hour, Deceased…
OK can you stop? Haha. We play Deceased, Darkest Hour, Clutch and what was the first?
Pig Destroyer.
Pig Destroyer. I think that they elude me, I'm not sure about Pig Destroyer. All the other bands have been regularly played on Rock 50 for years.
Pentagram and The Obsessed, they're both from here too.
OK, yeah. I know Pentagram.
The Obsessed was Wino's old band before he started [with] Saint Vitus.
Oh yeah Wino OK yeah.
But he's from DC originally and his band out here was called The Obsessed.
OK, yeah. I don't think I've heard The Obsessed but I've heard of Wino before.
Yeah well, they're not as big as Saint Vitus but to DC people you know we love 'em.
Yeah of course. You've got your home grown metal man. It's like that's where it's at you know for sure. It's got to keep rolling. The doors are open and the sky's the limit. And I'm just glad to be a part of the journey. I'm glad I'm on the bus and just riding with everybody. It's a real honor. It's a real privilege. I was sitting at the side of the stage. I'm like ten feet away from Dewey when he was singing the other night. You know sitting on the side of the stage and some of the audience were looking saying, "Who's that gray bearded old man sitting there?" I don't give a fuck you know. I'm on stage rocking out man.
That's the way to do it.
Yeah, I'm a fan. That's just where I'm at you know.
So how often do you go to see live shows these days?
Well, since I got sick not that often because if I go into population, in other words I'm not coming in back stage, if I'm in population I have to take a bunch of security guys with me. And it's not because I'm scared in case somebody's going to beat me up. I'm scared in case somebody's going to run up and give me a big hug and it's so painful right now cause they cut my stomach open three or four times so it's still pretty sore even though it's been– January the 7th was the last operation, January 7th, 2014. So I'm afraid that, haha, somebody's going to give me a big hug. They've already done it OK. They've gone oh my god, oh my god, oh my god. Whenever we go out anywhere when I know I'm going to be in public we have to have a little security shield say, "Don't touch him. Don't hug him so hard," you know. Haha. It's pretty crazy man but it's what it is right now and I laugh about it. I like getting hugs from people. I love people. To answer your question I like to get out a little bit to be honest with you. Obviously if we're touring with Black Sabbath then I'd see all the bands. Any band that was playing I'd watch them all the time or I'd go out afterwards, maybe see a little jazz in a club.
You also have another solo project in the works, Accountable Beasts I think I heard the name thrown around.
Accountable Beasts and right now it's 9:15 here in Pacific time and in about an hour and a half I'll be on a mixing board. We had to stop the final, final, final mix of "Accountable Beasts" the song on Sunday because my ears went. We were talking earlier about sound shock. My ears went and I went, "Oh my God I just don't know if it's there or not." So this morning we're going in with fresh ears and we're just signing off on just a couple of little things. It's like OK we got that, it's there, oh that does exist you know. You weren't dreaming it it's still there. And once we've got that that's another song done. I've got two more songs that are ready for final mix. They've already been mixed but they have now to do a final, finite mix, which is making sure the balances are OK. Does it feel good? Have we got everything there? Are we happy? Can we live with it? We gotta kind of go through that kind of measuring stick and that's it and that album goes to mastering.
When do you think we'll expect to see that, either download or physical form that we could actually buy?
I think we might be able to make an announcement because Liese Rugo, she's my publicist and she watches very carefully about the things that I might say, haha, and say "Don't say it's coming out in six months. Wait until we know it's coming out in six months," but I think that we'll probably be making some kind of an announcement pretty soon. On our timetable right now, this morning, we're hoping to be finished with the two songs but I know I've been whistling that tune for a while but I can't see anything in front of me that could can stop me. And I thought "Don't say that either," you know because I was doing this back in September and I got a perforated diverticulitis so I better not say anything at all. Haha. So I'm just going to keep it nice and quiet and say we're on our way to really, really coming to the end of this album and more will be revealed and we're going to let everybody know when we're in a better position to get more information out. I think that's the most polite way of putting it right now.
Well I'm coming to the end of my questions here. One thing I wanted to know though is what is your favorite Black Sabbath album?
The first one. I like the naiveté. I like the camaraderie then. It was a band. It was a real band. It was everything that I thought a real band– or while I was learning what a real band ought to be. Camaraderie, it was the four musketeers. It was everything. And hard, tight. Just playing a lot of gigs. It was a live band and then they went and put us in a studio for 24 hours, 36 hours, whatever it was. And they managed to get us on a piece of tape, Tom Allom and Rodger Bain, they just got us on a piece of tape and it was just absolutely incredible so it's because of that. It's because of the naiveté and the spontaneity and it's all that and I listen to it very, very fondly.
Black Sabbath cover art
It's been a real honor for me to get a chance to talk to you today. I'm a big fan of metal and all its genres but the thing that got me into it all was when I first got a copy of We Sold Our Souls For Rock And Roll and nothing was the same for me in my life since then. The chance to speak to you today has been a real honor and something I won't ever forget.
Thanks, Chris. Thank you I really appreciate that. I've really enjoyed myself. Thank you and I look forward to seeing you when I get into Annapolis.
Yeah I can't wait. I'll be very excited there and I'm excited to see your work as well. It should be a fun day and this winter seems to be finally ending so hopefully it will be very nice around here too.
Alright well thanks so much for your time this has been an awesome interview.
Well take it easy, have a good afternoon.
Categories: Classic Metal, Doom Metal, Interviews, Stoner . Tags: Absence Of Corners, Annapolis Gallery Collection, Bill Ward, Black Sabbath, Drummer, Interview, Rhythm On Canvas . Author: Metal Chris . Comments: 28 Comments
Review of Carcass at the Fillmore Silver Spring
Sunday the 13th of April 2014 marked the final night of the 2014 Decibel Magazine Tour and it was at the Fillmore Silver Spring. The headliner was Carcass, making their first DC appearance since reuniting in 2008, though they have played Baltimore twice since then. Each stop on the tour had a local opener and for this show it was Coke Bust, a straight edge hardcore band. I got there in time to see them but there was a problem with my photo pass at the box office and I didn't get the pass in hand until Coke Bust had finished their set. A shame since I've seen them before but never on such a big stage. The second band to play was Noisem, a band of very young guys from Baltimore. I don't think any of them are even old enough to drink yet. Noisem wasn't another local opener though, they were on the entire tour, and as such they've certainly been getting a lot of exposure outside the area as well. They play a rather catchy style of death/thrash that's a throwback to the 90s. Their vocalist Tyler Carnes was pretty high energy on stage, at least when he wasn't fighting with the mic chord that was wrapped around the stage monitors. He jumped down into the photo pit area several times during his set, you may have seen me trying to avoid running into him while photographing him down there, and he ran up to people and would scream lyrics at them. This must have been pretty cool to people close up but for anyone not right in front, well, they probably had no idea what he was doing. Their set was good though and the band looked good on the Fillmore's nice, big stage. A cover of Terrorizer's "Fear Of Napalm" with guest bass by Alejandro Corredor of Nausea was fun and gave Noisem's regular bass player the opportunity to stage dive.
The next band to play was technical death metal band Gorguts. The Canadian band only has one member from its pre-reunion days, guitarist/vocalist Luc Lemay, but the band was always really his to begin with. For some reason he was off to the left of the stage most of the time, an odd place for a lead vocalist even if he was also playing guitar. Two members of the techy instrumental band Dysrhythmia, a personal favorite band of mine, are in Gorguts so I'm definitely a fan of the current line up. They were absolutely crushing on Sunday at the Fillmore. They are probably the most brutal band to ever play there and while Gorguts only played five songs, each one was performed expertly. They closed out their set with their classic song "Obscura" which was punishing. This is the band I was most excited to see at this show and they did not disappoint! Luc Lemay was manning the band's merch table most of the night and was very friendly with fans, shaking hands and taking photos with them. If you missed their incredible set don't worry, they're playing the final day of Maryland Deathfest this year, Sunday, May 25th, and they're playing on one of the big outdoor stages so tickets won't sell out.
The next band to play was The Black Dahlia Murder, a melodic death metal band from Michigan that, I'll admit, I've never really been a fan of. I've seen them several times over the years since they tend to play with bands I like but I'm not really familiar with their music. A lot of people seemed to really dig their performance but I just wasn't one of them so this part of the show was, for me, used to talk to various people I knew that were there. This isn't to say that their set was particularly bad, though I could have done without the "big titties" comment from vocalist Trevor Strnad, it just wasn't my kind of music and it wouldn't really be fair of me to judge their overall performance.
The next band to play was the headliner, Carcass. They played Maryland Deathfest last May as one of the headliners, but that was before they released their new album, last year's Surgical Steel. Sunday night's set list (see it here) was fairly similar to the one they played at Maryland Deathfest, except a few older songs had been removed to make room for several new songs. While Surgical Steel seems to have been well received by most fans, I didn't like it at all so the loss of older songs in the set list for newer ones was a bummer for me. Overall the audience didn't seem to mind and I suppose if you're really into the new material this was your first chance to hear it live. The new song "Captive Bolt Pistol" certainly got a bigger mosh pit than "Exhume To Consume" did, and only hearing three songs from Necroticism: Descanting The Insalubrious was a bummer to me, but overall I got what I expected, mostly songs from Heartwork and Surgical Steel. I thought Carcass' performance was much better here than at Maryland Deathfest where they seemed a bit rusty. Part of this might be due to the band having played so many more shows recently. Bill Steer and Mike Amott replacement not Bill Steer Ben Ash traded solos seamlessly and the band just seemed tighter overall this time. Jeff Walker sure talked a lot between songs and speaking with people after the show there seemed to be two sets of thought on this: some people loved it and found it very entertaining while others found it rambling and annoying. Sometimes he had some interesting or funny things to say about the band's origins or the Chicken Man, but sometimes he said things that had me wondering why he was still talking. Like when he made a comment about how being vegetarian or vegan is a choice like being gay is (what?) and how the last time the band was in DC his only memory was of how confused he was by an overweight, black, lesbian Neo-Nazi at the 9:30 Club (again, what?). It didn't take away from the show too much I guess but I certainly don't remember him talking that much the last couple times I've seen them live. Anyways, even if this Carcass show wasn't my ideal show, they did play material from every era of the band to at least have something in there for every Carcass fan. Plus a show like this brings out a lot of people and it's always awesome running into so many familiar faces. Be sure to check out my photos and videos from the show below and feel free to leave a comment telling me about your experience at the biggest metal tour to come through our area this April.
Noisem:
Gorguts:
The Black Dahlia Murder:
Carcass:
Categories: Concert Reviews, Death Metal, Fillmore Silver Spring, Melodic Death Metal, Tech Death . Tags: BDM, Carcass, Coke Bust, Decibel Magazine Tour, Fillmore Silver Spring, Gorguts, Noisem, The Black Dahlia Murder, The Fillmore, The Fillmore Silver Spring . Author: Metal Chris . Comments: Leave a comment
Nile ticket give away
If you like your death metal tinged with ancient Egyptian history then you don't want to miss Nile when they play the Baltimore SoundStage on Tuesday, April 15th. And since April 15th is the day everyone's taxes are due we thought we'd cut you a break by giving a pair of tickets to this show to one of you DCHM fans! To enter: leave a comment on this post telling me which song from Nile's entire discography (see it here) you want them to play the most! At 5pm EST this Friday, April 11th, a winner will be chosen at random (using Random.org) from all valid entries to receive two tickets to the show! Be sure to use a valid email you check regularly so I can contact you if you win. Don't worry, I won't add you to any spam lists or sell your info or anything sleazy like that. If I haven't heard back from the winner in 24 hours another winner will be chosen at random. If you can't wait to see if you win, or the contest is already over when you read this, then you can get tickets right now for $16.50 from Ticket Fly here.
Now before you think this is just another Nile tour you should know that the band has stated (here) that they will be playing an extended set and will be performing several of their songs for the first time ever in front of a live audience! So tell me, what Nile song do you want to hear them play live at this sure to be epic show? And let's not forget that while Nile isn't touring with anyone there will be killer sets by three local bands: Metanium, March To Victory and Exemptus. Check out these classic Nile tunes and leave a comment telling me which Nile song you'd like to hear them play at this show!
Nile – Enduring The Eternal Molestation Of Flame
Nile – Lashed To The Slave Stick
Nile – Black Seeds Of Vengeance
Categories: Baltimore Soundstage, Contests, Death Metal . Tags: Baltimore Soundstage, Contest, Death Metal, Exemptus, March To Victory, Metanium, Nile . Author: Metal Chris . Comments: 9 Comments
Metal Chris
Yep, that's me in some corpse paint. So grim & frostbitten, haha!
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text:
De Jacobskerk is de middeleeuwse dorpskerk van Winterswijk, die midden in het dorp op de Markt staat. Het gebouw in gotische stijl heeft de status van rijksmonument. De kerk is gewijd aan Jakobus de Meerdere, de beschermheilige van de pelgrims naar Santiago de Compostella. Jacobus wordt dan ook driemaal als pelgrim in de kerk afgebeeld.

Beschrijving

De Jacobskerk op de Markt van Winterswijk staat centraal in het dorp. Op het marktplein komen de wegen naar de vier buurtschappen Meddo, Ratum, Woold en Miste bij elkaar. De toren van de kerk is 57 meter hoog en vertoont veel gelijkenis met de toren van de St. Walburgakerk in Ramsdorf, net over de grens in Duitsland. Voor de kerk werden verschillende steensoorten gebruikt, zoals baksteen en tufsteen.

De kerk had een romaanse voorganger uit omstreeks 1200 en zou staan op de plaats waar abt Bernrad van Echternach in 780 een doopkerkje liet bouwen. De oude romaanse kerk werd vanaf circa 1400 geleidelijk vervangen. Eerst werd het romaanse koor vervangen door nieuwbouw in vroeggotische stijl, die op zijn beurt zo'n 70 jaar later werd vervangen door het huidige, meer naar het oosten gelegen, laatgotische koor. Tevens werd toen begonnen met de bouw van het huidige driebeukige pseudobasilicale schip, waarbij in een deel van de zijbeuken tufsteen van het afgebroken romaanse schip werd hergebruikt. De toren werd gebouwd van 1507 tot ca. 1550. Ook hier werd tufsteen van de romaanse kerk in verwerkt.

In 1715 en 1888 werd de toren van de Jacobskerk door de bliksem getroffen, waarna brand uitbrak die snel onder controle was.

In de Jacobskerk zijn oude grafstenen te vinden en fragmenten van laatmiddeleeuwse en renaissancemuurschilderingen. De kerk heeft een Metzlerorgel uit 1972, dat veel materiaal (pijpwerk en orgelkas) bevat van het oorspronkelijke Naberorgel uit 1834. De kroonluchter is in 1788 geschonken door het weversgilde.

Een van de oudste afbeeldingen van de kerk in haar huidige vorm is een tekening van Jan de Beijer uit het jaar 1743. Tussen 1968 en 1972 zijn de laatste grote restauraties uitgevoerd. Rond het jaar 2000 heeft de kerk een carillon gekregen.

Zie ook
 Jacobuskerk (Winterswijk), rooms-katholieke kerk

Externe links
 Jacobskerk op website VVV Winterswijk
 Vrienden van de Jacobskerk

Kerkgebouw in Winterswijk
Rijksmonument in Winterswijk
Protestants kerkgebouw in Nederland

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text:
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National News posted Dec 21, 2021 @ 07:10am by Canadian Press
'Guided by Canada': NASA space telescope with Canadian components to launch this week
Right now, in a solar system far, far away, seven planets orbit a red dwarf star.
Three are the right distance from their sun for liquid water to be present. One of them, known as Trappist 1−F, also has the right density. Could oceans lap the shores of this faraway world, 40 light−years from Earth?
"There's a good chance this planet is water−rich," said Rene Doyon, a University of Montreal physicist and exoplanet specialist. "The only way to find out is to use Webb."
Doyon is talking about NASA's James Webb space telescope, the product of $13 billion and more than two decades of work that is finally set for liftoff this week. Doyon, the principle investigator for the telescope's Canadian−built components who's been with the project almost since the beginning, can hardly wait.
"I wake up in the morning these days and say, '(wow), it's going to happen,'" he said.
The Webb, outfitted with two crucial Canadian−built systems, is the successor to the Hubble Space Telescope. Webb, however, will orbit much deeper in space — about 1.6 million kilometres out, far past the moon — and be anywhere from a hundred to a million times more sensitive, Doyon said.
It is designed to peer into two mysteries: the nature of planets beyond our solar system and what the oldest galaxies around can tell us about the birth of the universe. Webb will be able to analyze exoplanetary atmospheres and gather data from so−called "First Light" galaxies, formed 13.6 billion years ago.
Key to that work will be the Fine Guidance Sensor, which helps aim the telescope, and the Near−Infrared Imager and Slitless Spectrograph, which helps analyze the light it observes. Both have been designed and built in Canada.
"Every single observation, every beautiful image, will have been guided by Canada," Doyon said.
Canada has been part of the Webb project almost from the start, said Sarah Gallagher, science adviser of the Canadian Space Agency. At least half of the 600 scientists in the Canadian Astronomical Society have been involved with it and dozens of scientists and engineers are part of its design team.
Canada has contributed almost $200 million over the years, enough to entitle Canadian researchers to five per cent of the telescope's observation time. In addition to exoplanets and First Light galaxies, Canadian researchers will use Webb for topics that range from asteroids and comets close to home to how stars affect space around them in distant regions of the galaxy where new stars are born.
"Just being a partner on a big project like this benefits all of Canada," Gallagher said.
"It gives us a place at the table for international collaborations. Our astronomy community is recognized worldwide and one of the reasons is because we're partners on these really exciting new missions."
But first, Webb has to get up there.
After its launch, scheduled for Friday, the telescope has to unfold in space from the rocket's cargo hold like a giant piece of remote−controlled origami. NASA says there are 300 points during this process where things could go catastrophically wrong.
That process will take two weeks. It will then take two weeks to reach its orbit.
Another five months will pass as the telescope gradually cools. Webb "sees" infrared radiation, felt on Earth as heat. Webb has to get down to about −223 C before its own heat won't muddy the radiation it's studying.
By June, Doyon said, we could be seeing images that stun the world just as the first images from Hubble did in 1990.
And he could be staring into the skies of the new world that haunts his imagination — Trappist 1−F.
"It's a perfect (solar) system," Doyon said. "Those will be our primary target, those planets.
"Is there water, CO2, methane, the kind of molecules we need to do life? That's a major step forward in that grand goal, to find life."
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text:
Farm Bill approval a tall order
Congress has returned to the Capitol for one of the last opportunities for legislative action before the 2008 election cycle heats up. High on the list of priorities for action is the 2007 Farm Bill. The House has already passed its version of the legislation, so attention is now focused on the Senate. Senate Agriculture Committee Chairman Tom Harkin (D-IA) supports legislation that mirrors the house version in many respects, but faces Senate pressure to include funding for a number of lawmakers' pet programs.
"The trick will be to get a bill that not only can garner a majority of votes in the committee, but also get 60 votes on the Senate floor-a tall order," says Kristin Wilcox, a lobbyist for the International Dairy Foods Association.
Neither the House-passed version nor an outline floated by Harkin has been highly detailed in the amount of money available for new programs and where it will come from. Both, however, reveal new emphasis on conservation and nutrition programs. The House bill covers five years, but the Senate could opt for a six- or seven-year bill, to spread some of the increased costs over a longer period of time.
Farm Bill still not approved
USDA hasn't fully implemented 2008 Farm Bill
Dairy industry reaps Farm Bill benefits


text:
This advanced search of The Andrew W. Mellon Foundation's grants database allows exploration of our grantmaking history since 1969.
Conservation and the Environment
Medicine and Population
Amount to
Years to
State (U.S.) AKALARAZCACNCOCTDCDEFLGAHawaiiHIIAIDILINKSKYLALOMAMDMEMIMNMOMSMTNCNDNENHNJNMNVNYOHOKORPAPRRISCSDTNTXUTVAVIVTWAWIWVWY
Country ArgentinaAustraliaAustriaAzerbaijanBelgiumBermudaBoliviaBrazilCameroonCanadaChileChinaColombiaCosta RicaCzech RepublicDenmarkDominican RepublicEcuadorEgyptEl SalvadorEstoniaEthiopiaFinlandFranceGeorgiaGermanyGhanaGreeceGuatemalaHungaryIcelandIrelandItalyKenyaKyrgyz RepublicLatviaLebanonMalaysiaMexicoNetherlandsNew ZealandNigeriaNorwayPeruPhilippinesPolandPortugalRepublic of ArmeniaRussiaSenegalSingaporeSlovakiaSouth AfricaSpainSwedenSwitzerlandTanzaniaThailandThe NetherlandsTurkeyUgandaUkraineUnited KingdomUnited StatesUruguayUzbekistanVatican CityVenezuelaWalesWest IndiesZimbabwe
61 Grants awarded for $85,517,875
Results Per Page: 255075100
Council on Library and Information Resources Cataloging Special Collections 12/06/12 $300,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Postdoctoral Fellowships - Data Curation for Medieval Studies 09/13/12 $896,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Administration of Special Collections Cataloging Program V 12/01/11 $295,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources General Support IV 09/15/11 $1,458,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Graduate Research Fellowships 06/03/11 $1,398,000 Washington, DC, United States Higher Education and Scholarship in the Humanities
Council on Library and Information Resources Developing a Prototype for the Digital Public Library of America 05/31/11 $46,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Research and Analysis of Publications on Linked Data Technologies 03/14/11 $49,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Administration of the Special Collections Cataloging Program IV 12/09/10 $292,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Administration of the Special Collections Cataloging Program III 03/19/10 $305,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources General Support V 12/10/09 $1,400,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Examining the Relationship Between Print and Digital Repositories 09/24/09 $32,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Declassified Analytical Tools 06/22/09 $28,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Special Collections Cataloging Program II 03/13/09 $4,303,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Special Collections Cataloging Program 03/14/08 $4,274,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Large Scale Digitization of Books 07/02/07 $39,800 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources General Support III 09/17/05 $750,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources General Support 12/17/04 $750,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Managing Digital Assets 10/25/04 $23,128 Washington, DC, United States Higher Education and Scholarship in the Humanities
Council on Library and Information Resources Libraries 09/19/03 $600,000 Washington, DC, United States Higher Education and Scholarship in the Humanities
Council on Library and Information Resources General Support II 09/19/03 $750,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Digital Library Federation 07/11/03 $36,000 Washington, DC, United States Scholarly Communications
Council on Library and Information Resources Graduate Research Fellowships 03/21/03 $778,000 Washington, DC, United States Higher Education and Scholarship in the Humanities
Council on Library and Information Resources Libraries 03/21/03 $49,000 Washington, DC, United States Higher Education and Scholarship in the Humanities
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"In recent years, Duan Jianwei often traveled to the grottoes, temples and folk cultures of northern China, and has gained new enlightenment from the traditions of ancient statues and murals. This tradition is much closer to the artist's spiritual situation than the art of the early European Renaissance. The ancient Chinese tradition was originally an art that matured earlier than the West, emphasizing language form and was more spiritual. Duan Jianwei seems to have clearly seen the natural umbilical cords connecting the spirit of the statues of ancient figures and the spirit of the oil paintings of native people from the Central Plains over the decades. The grottoes and temples which are scattered in Shaanxi, Shanxi, Henan and Shandong in northern China, offer a limitless supply of paradigms to the artist for study, and they have reached an internal consistency with the spiritual image of Chinese characters, which is undoubtedly in line with the sentiment of people who have searched for a thing hundreds and thousands of times in the crowd, suddenly he turned back and found it was there in the dim light.
Duan Jianwei was born in Xuchang, Henan province, China, in 1961, and graduated from Henan University with a bachelor's degree in 1981. He is a teacher at the College of Fine Arts, Capital Normal University.


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Every woman wears her fragrance uniquely. Once a women falls in love with that scent, she wants it to last. It's the #1 attribute she seeks. Fragrance makes women feel feminine, clean and fresh and adds to their sense of confidence, style and personal pleasure.
8 out of 10 ( 81.2%) women who participated in a blind test said their perfume lasted longer than normal and made the entire fragrance experience more enjoyable.
Ingredients: Alcohol Denat., Acrylates/Octylacrylamide Copolymer, Citrus Aurantium Bergamia (Bergamot) Oil, Glycine Soja (Soybean) Oil, Vitis Vinifera (Grapeseed) Oil, Prunus Armeniaca (Apricot) Kernel Oil, Carthamus Tinctorius (Safflower) Seed Oil, Borago Officinalis (Borage) Seed Oil, Oenothera Biennis (Evening Primrose) Oil, Linum Usitatissimum (Linseed) Oil, Tocopherol (Vitamin E), Cocamidopropyl PG-Dimonium Chloride, Guar Hydroxypropyltrimonium Chloride, Polyquaternium-11, Isododecane.


Thailand's mail service is generally reliable and efficient. It is a good idea—and cheap—to send all packages registered mail. Major hotels provide basic postal services.
If something must get to its destination quickly, send it via FedEx, UPS, or DHL, which have branches in the major tourist centers. "Overnight" shipping time from Thailand to the United States via these international carriers is actually at least two working days. Expect to pay at least B800 to B1,000 for an "overnight" letter. Major offices of the Thailand Post also offer overseas express mail service (EMS), though it usually takes longer than an international carrier and costs nearly as much.
Letter, packet, and parcel rates through the Thailand Post are low—B30 for a letter to the United States, B25 for a letter to Europe. Allow at least 10 days for your mail to arrive. A sea, air, and land service (SAL) is available for less urgent mail at a much cheaper rate. Note it can take up to three months for packages to reach their destination by this method. Bangkok's central general post office on Charoen Krung (New Road) is open weekdays 8 to 8, weekends and public holidays 8 to 1. Up-country post offices close at 4:30 pm.
Post offices in major towns are often quite crowded. Never go to a post office during lunch hour unless you bring a book and a mountain of patience.
If you need to receive mail in Bangkok, have it sent to you "poste restante" at the following address: Poste Restante, General Post Office, Bangkok, Thailand. There's a small charge for each piece collected. Thais write their last name first, so be sure to have your last name written in capital letters and underlined.
Parcels are easy to send from Thailand via Thai Post. Rates vary according to weight, destination, and shipping style (air or surface). Expect to pay between B700 and B1,100 for a kilo package shipped by sea, which will take up to three months to arrive in the United States and another additional B300 to B350 per additional kilo. Most shops catering to tourists will offer to pack and ship your purchases anywhere in the world, usually at very reasonable rates. If you want to ship a larger piece, most furniture and antiques stores can help with freight shipping.
Although thousands of travelers have had no problems with the Thai Post, there has been at least one major incident of postal larceny in Chiang Mai, so if you're shipping something precious, consider paying the extra money to send it by an international courier like DHL, Federal Express, or UPS.
DHL Worldwide. Chidlom BTS station, Room No. E1-1, Ploenchit Rd., Lumphini, Bangkok, 02/650--3550.
Federal Express. 8th fl., Green Tower, Rama IV, Bangkok, 2/229--8900.
UPS. 16/1 Sukhumvit Soi 44/1, Bangkok, 272/89000.


Europeans love vertical races—and the more up, the better. Steep vertical kilometer or "VK" races are commonplace. They happen throughout the year, with trail running shoes giving way to snowshoes, climbing skins and other forms of winter traction, as grassy alpine slopes turn white in the winter months.
Nowhere in the Alps do they love vertical races more than Italy, home to the Skyrunning Federation ("More Sky, Less Clouds"). Since 1993, the organization has been promoting running up to, and then through, the Alps. Now, its reach is worldwide.
The race start, under an arch built in 8 BC. In the distance, two nuns walk to morning services.
And nowhere in the Alps can runners race up—steeply up, in one continuous push—more than from Val di Susa, Italy. Located in the Piedmont region, not far from the French border, the Roman city of Susa is home to the Red Bull-sponsored triple vertical kilometer—the world's only triple VK. This year, the race was part of Skyrunning's Vertical Kilometer World Circuit, attracting some of the best uphill runners to be found.
Why Susa? There are several reasons. First, nearby Rocciamelone rises to a height of 3,538 meters—3,035 meters above the town's center. Second, Susa's far enough south that summits are snow-free come summer. Finally, the topography here tilts vertical, allowing runners to climb each 1,000 meters in less than 5 km of distance—the recognized standard for a vertical kilometer event. In other words, the region is uniquely suited to running up. The Red Bull K3 is just one such example, with a course that climbs 3,000 meters over an incomprehensibly meager distance of 9.7 kilometers.
Rocciamelone has an interesting history. It's the first mountain in the world for which there is a first ascent date. On September 1, 1358, local nobleman Bonifacio Rotario D'Asti gained the summit. It wasn't the first attempt, though. Rocciamelone, considered the highest summit in the Alps for centuries, had been previously attempted by both knights or monks. Today, the mountain continues to see pilgrimages from Catholic worshippers.
This year's race took places under nearly ideal conditions, without storms or sweltering heat, and with a thin layer of clouds veiling the sun from runners on the mountain's tree-free upper slopes. In all, 363 runners started—309 men and 54 women.
The race begins under the 2,025-year old Arch of Augustus in the old village, but the timing clock doesn't start until the first runner reaches Susa's outskirts, two kilometers away, where the climbing begins in earnest.
*Running through the narrow, ancient cobblestoned roads of Susa, with residents either cheering "Bravo!"and clapping… Or, shaking their heads, utterly confounded that hundreds of runners from more than a dozen countries would willingly subject themselves to the climb ahead.
*Looking skyward at the endless climb. In a 10-km race with 3 km of vertical, there's not a moment when glancing skyward isn't at least a bit demoralizing. Until you're done, there's always more up.
*Looking down and taking in the sense of forward motion. Watching your feet move quickly over centuries-old cobblestones on a mountain path helps you realize the finish line will arrive, eventually.
*Looking at my watch. This time, it wasn't giving the numbers I wanted. I needed to tick off at least 100 meters of vertical every six minutes for more than two hours, to pass the second time barrier.
*Noticing the odd damp splotches covering the path's stones, growing in number as we climbed higher. My addled brain took a moment to sort it out: sweat from the hundreds of runners ahead of me.
*A chance to stretch legs and run at 1,000 meters. More than a third of the way up the course, we got a horizontal reprieve along a wooded, forest track, and then through cow-dotted pastures for a kilometer. My legs loved it.
*Reaching the notoriously steep, grassy slope. Some runners stowed their poles, opting to free their hands in order to grab at the grassy tufts. Others, myself included, stuck to old habits, balancing our bodies precariously between earth and sky as our centers of gravity shifted upward with each double-pole plant.
*His toe-hold gone, watching the runner in front of me suddenly slide past. A moment later, losing balance, my turn came. I ended the race with a first: a grass stain on my forehead.
*Hearing Race Co-Director Nico say, "Stop!" as he marked my bib with a green "X"at 2,300 meters above Susa and 700 meters below the summit. Today's run was over. In 30 years of trail running, it was my first DNF. I felt both deep regret and relief. There were more than a few of us, with over a third of the highly competitive field being forced out.
Susa's Red Bull K3 was a typically Italian event, which is to say, organized where it mattered most and arguably a bit of a free-for-all elsewhere. (Was there a pre-race briefing? Oh, who cares… let's go!). And it was 100% Type 2 fun, right in keeping with Italy's mountain running traditions.
A day later, as the jumbled movie of Susa's K3 continued to replay itself in my mind, I turned my attention to the long drive back to Chamonix, France. The European home for Run the Alps, Chamonix is the world's center for extreme alpinism, and the town is arguably also the world's capital for trail running. There's even a vertical kilometer course right in town. On the drive back, however, Chamonix seemed a town whose beehive of trail running activity was, at least for a brief moment, timid in comparison.


text:
Category: Painting
Stop the press April 7, 2014 April 7, 2014
Brett April 7, 2014 April 7, 2014
Hear her breathing April 7, 2014 April 7, 2014
Mother Earth April 7, 2014 April 7, 2014
Mother Earth March 24, 2014
Winnipeg March 24, 2014 March 24, 2014
Mother Nature March 23, 2014
Disappear March 23, 2014
Rainbow tree March 23, 2014 March 23, 2014


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Q: What is it wrong with this power function? I am making my own power function(see below). It works but the input enters the loop just once so if in main I have: x=power(10, 3);  the output is 100 instead of 1000.
Do you have any idea?
Thank you in advance.
 int power(int a, int b) {
    int p=a;
    for (int i=1; i<=b; i++) {
        if ((b!=1) && (b!=0)) {
            a= p*a;
        }
        if ((b=1)) {
            a=a;
        }
        if ((b=0)) {
            a=1;
        }
    }
    return(a);
}

A: Here is a simpler version (for better understanding):
int power(int a, int b)
{
    int p=1;                   //CHANGE
    for (int i=0; i<b; i++)    //CHANGE
    {
       p= p*a;                 //CHANGE
    }

    return (p);                //CHANGE
}

In your code the major error is initializing p=a and then a=p*a - even if 1 is passed as b the value comes out to be 100 in case of base 10.

A: *

*You were setting b with the statements b=1 and b=0 as opposed to comparing b to 1 or 0

*Your for loop condition included an extra iteration that results in the wrong output. You want i < b and not i <= b.

*You try to handle special cases in your for loop but these can be handled outside of it easily (e.g. 0th power, 1st power, 1 to any power)

Here is your code with the above corrections
int power(int a, int b){

    /* 1 times 1 is always 1 */
    if(a == 1) return a;

    /* any number to the 0 power is always 1 */
    if(!b) return 1;

    /* any number to the 1 power is always itself */
    if(b == 1) return a;

    int p = a;

    for (int i = 1; i < b; i++){

        a = p*a;

    }

    return a;

}

I tested this here for powers of 2 from 0 to 10.

A: *

*if you don't need it to work with negative values: use unsigned

*the recursive function uses only one test, it is tail-recursive so it can be unrolled

*the non-recursive version also uses one test: the loop condition

*Note: gcc -O2 generates exactly the same code for these two functions

unsigned power1(unsigned val, unsigned exp)
{
if (!exp) return 1;
return val * power1(val, exp-1);
}

unsigned power2(unsigned val, unsigned exp)
{
unsigned result = 1;

while (exp--) result *= val;

return result;
}

A: The output is 100 because in second and third if statement you assign to b variable new number.
int power(int a, int b){
    int p=a;
    for (int i=1; i<b; ++i){
        if((b!=1) && (b!=0)){
            a= p*a;
        }
        if ((b==1)){
            a=a;
        }
        if ((b==0)){
            a=1;
        }
    }
    return(a);
}

redpajama_set_name: RedPajamaStackExchange


text:
Home Article Royal Weddings and Girly Culture
Royal Weddings and Girly Culture
by Pema Levy
Amanda Hess has a great post about the backlash to the royal wedding, specifically this Dvorak column. The point being, society thinks it's great when men get together to watch football, but think it's silly when women gather to watch the Kate and William get married:
This is bad, according to Dvorak, because smart girls don't like fashion and glamour and celebrity and dainty sandwiches and hats and tiaras and princesses and weddings and sleepover parties. Smart girls, according to Dvorak, play kickball and discuss U.S.-China policy.
The truth is that the royal wedding is this year's Superbowl of girl culture, the media has bended over backwards to cover the highly feminine event, and that tends to inspire a gut negative reaction in people. Why? Because feminine silliness is degraded in our culture, while masculine silliness is vaulted.
This is all true. For example, I personally like shopping, but I'm also writing a blog post about feminism this afternoon. I can do both because these are not mutually exclusive. That said, I think there's a second point to be made: while we should push against the denigration of "girl culture," we should acknowledge its harmful elements. Pop culture centered around things like weddings and getting married sends a message that women should prioritize getting hitched, or feel ashamed for not having a husband, even if they really want something else. Not all women or girls will feel this pressure, but some will.
The best way for people like Dvorak to explain their anxiety about a culture that they feel is harmful to women is not to attack something because it is girly, but to attack it because culture has an effect on people and is therefore a worthy conversation in its own right. Hess compares the royal wedding to the Superbowl, which works, because you can make the case that sports culture isn't healthy either. After all, there are many men who feel emasculated because they are either not interested in sports or not athletic. As Hess says, just because you watch the royal wedding doesn't mean you've returned your diploma and moved back into the kitchen. If we're uneasy about women flocking to royal-wedding watching parties, then it's a problem with our culture, not a stupid girl thing.
Blog: TAPPED
Pema Levy
Pema Levy is an assistant editor at The American Prospect.
Read more by Pema Levy


Moët & Chandon's winemakers strive to design Moët Impérial in the image of the Champagne region, honouring the exceptional product of its terroir. As such, Moët Impérial has always been a well-balanced blend that reflects the richness and diversity of the region's vineyards. This rich and varied raw material comes from the House's own 1,200 hectares of vines, the largest vineyards in Champagne.
"We believe in customised, adaptable oenology with minimum intervention in order to preserve the natural diversity of the grapes, vineyards and vintages; we do not force nature, we guide her," explains Benoît Gouez, Moët & Chandon's cellar master and gatekeeper of the ancestral know-how that sets the House's winemaking apart.
Winemaking at Moët & Chandon is both a craft and an art. It is the result of a tradition handed down over the centuries and perfected in the able hands of successive generations that have relied on their sense and sensibility and modern technology, to create a champagne that despite an ever-changing nature and fickle harvests, remains true to a distinctive, recognisable and beloved taste.
In 1869, Moët & Chandon chose to create a brut non-vintage champagne named "Brut Impérial" – known today as "Moët Impérial" – to pay tribute to the relationship established since 1801 with Napoléon Bonaparte and Jean-Remy Moët, grandson of the House's founder. Timing its launch to coincide with the 100th anniversary of the Emperor Napoléon's birth, Moët & Chandon set the stage for the continuous rise of the iconic Moët Impérial armed with an unrelenting spirit of conquest.
At home in royal company, Moët & Chandon became an official purveyor of champagne to Queen Victoria at Buckingham Palace.
Moët Impérial stepped onto the world stage in 1900 at the Paris World Fair.
German Emperor, Wilhelm II, chose the French House's iconic cuvée for the christening of his yacht, a grand gesture in line with a global tradition of christening boats with a bottle of champagne.
French actress Dany Robin was among the first stars of cinema to be photographed savouring a glass of Moët Impérial.
Cannes naturally became a new playground for Moët Impérial and in 1960, film legends Kim Novak and Cary Grant were photographed toasting with a bottle of Moët Impérial at a star-studded dinner on the French Riviera. Decades later, Monica Bellucci, the iconic Italian star, signed an over-sized bottle of Moët Impérial at a charitable event initiated by the House in Cannes.
Moët Impérial first rose onto the sporting stage as a symbol of joyous celebration when in 1967, racing champion Dan Gurney, spontaneously sprayed champagne from the winner's podium in the small French town of Le Mans, starting a lasting "champagne spray" tradition on the world's racing podiums.
The racecar driver Jackie Stewart took the relay in perpetuating that tradition with a spray of Moët Impérial to celebrate his own victory at the 1971 British Grand Prix.
The happy few who raised their glass to the rare privilege of partaking in the maiden flight of the supersonic Concorde, did so with Moët Impérial served with a first course of Sevruga caviar.
Music and champagne were the perfect pair when Studio 54 opened its doors. Moët Impérial celebrated New York's high-life, as over the years, A-list stars from the worlds of film, music or fashion, like Woody Allen, Jerry Hall, David Bowie, Lauren Bacall and Diana Vreeland were whisked past the legendary nightclub's velvet rope. The father of Pop Art, Andy Warhol, who documented the dazzling New York nightlife with black and white portraits of his celebrity friends captured by his own camera, was often photographed himself in famous company, sharing a bottle of Moët Impérial.
Catherine Deneuve in her quintessentially French elegance posed holding a generously-sized glass as Moët Impérial was poured at Paris's Club 78.
Since 1992, when it first took a front row seat at the Golden Globes Awards, the flagship champagne of Moët & Chandon has celebrated the achievements of Hollywood's royalty and created memorable cinematographic moments.
In 2006, Moët & Chandon fêted the 120th anniversary of the Statue of Liberty while also marking important personal milestones when, for instance, Moët Impérial was chosen to celebrate Paul Newman's 40th birthday in intimate company.
The Maison first sponsored the America's Cup, Moët Impérial toasted the spirit of sportsmanship on the open seas, a spirit that lives on today on the tennis courts through the House's brand ambassador, Roger Federer, in a perfect partnership of two legendary icons of timeless style and global success.
Scarlett Johansson became the first Hollywood star to grace Moët & Chandon with her likeness as ambassador for the Maison.
To mark the 150th anniversary of Moët Impérial, Moët & Chandon unveils a limited-edition bottle inscribed with a redesigned logo that erects the "I" of "Impérial" into a new symbol for its most emblematic champagne. A crowning tribute to the precious 150-year history of this remarkable champagne, "I" is a badge of honour on this historic milestone that "must be" celebrated in the grand style for which the House founded in 1743 is known. Imperial in grandeur, historic in trajectory, authentic in flavour, Moët Impérial is recognized today as a symbol of what the Champagne region brings to the world, a "must be" component of life's memorable moments.
To know more about Moët & Chandon, you can visit: moet.com.


text:
12 Ancient Secrets
that can significantly affect our lives today.
See My Books
We have published the following books describing them and more are coming.
Key Secrets Discovered
The Original Bible told us that Lilith was Adam's first mate and that after she left him God created Eve. Cain may have married Lilith's Daughter.
Finding A Parallel Universe
NASA is building equipment to search for and prove that Parallel Universes exist. Some believe that the dead may reside in one.
We Can Become Immortal
Methuselah lived 969 years. We synthesized an enzyme from the tree of life and used it in the laboratory to make human cells immortal.
New! Quick View
Tree Life, God planted the Tree of Life in Eden
We found the ancient Tree of Life and used its ingredients to
make human cells immortal in the lab.
It is just a matter of time before some of us living today can become immortal.
God planted the Tree of Life in the Garden of Eden. Methuselah lived 969 years. The Patriarchs lived comparable life spans. The Sumerian Kings lived even longer lives. Other ancient peoples whose descendents became Indians called the juice from the leaves of the Tree of Life Soma and drank it to increase their life spans. Noah's Flood destroyed the Tree. King Gilgamesh searched for it and found a bit of it under the flood waters. But the Tree was destroyed for all times and God told us He limited our life spans to 120 years. What was the Tree of Life and how did it work: it provided an ingredient that reactivated the telomerase gene in our bodies. A lab test has proved that this ingredient can make human cells immortal. On-going medical programs will make us immortal. Progress with the Tree ingredients is such that some people living today will become immortal.
Learn the facts.
The Ancients
This book summarizes some of the Ancient Secrets that have been found in our search for the truth.
You will see how Methuselah lived 969 years and others of the era also liver very long lives. You will learn just what the Tree of Life really was. You'll see just how Atlantis was destroyed; and other secrets of the ancients.
PURCHASE PAPERBACK FROM AMAZON ($7.99)
was last modified: May 21st, 2021
Anti-Aging to become Immortal Again like Methuselah
Secrets of the Ancients Their Secrets can Increase our Longevity
Ancient literature from the Bible and the clay tablets of Sumer tells us that Methuselah lived 969 years and that the Babylonian Kings lived even longer.
Immortal Again describes the ancient documents and the modern research that may allow us to become Immortal Again.
Asteroid Impact! Revelation Foretells Our End, Asteroid close to earth
Psychics & Unworldly
An asteroid will destroy mankind just as one destroyed the dinosaurs. This is predicted in the Book of Revelation in the Bible. This book provides the scientific evidence for the certainty.
details reveals to us that this is our destiny.
PURCHASE PAPERBACK BOOK FROM AMAZON ($14.99)
was last modified: August 21st, 2022
Aura, Chakra, Healing Crystals Scientific Evidence
Crystal Healing, Chakra, Aura, Third Eye
I studied Crystal Healing experiences and searched for a scientific basis.
I realized that any scientific basis for Crystal Healing would have to require some sort of exchange of energy between the crystal and our human body.
I found the possible scientific basis for Crystal Healing and I describe my research and finding in a step-by-step fashion in this book.
Purchase Audible Book from Amazon Audible ($6.95)
Cain's Wife Lilith's Daughter in land of nod
Cain's Wife Lilith's Daughter in Land of Nod
The enduring question has been: "Where did Cain get his wife?" Cains Wife Liliths Daughter provides the answer.
This story of Cain's Wife is my initial attempt to reconcile the Bible with the undisputable scientific evidence for creative evolution. I have combined 4 sets of information: The current Bible, the old Bible before the major changes in late BC and early AD, other Ancient Literature, and the scientific facts of creation/evolution.
The Bible gives 2 accounts of the creation of Adam and Eve. The Bible actually describes the creation of 2 women for him. The first was Lilith (Genesis 1:27) but her name was removed from the current Bible. However her name can be seen in the older version of the Bible that existed before later day changes were made.
PURCHASE EBOOK FROM BARNES AND NOBEL ($3.99)
PURCHASE EBOOK FROM SMASHWORDS – ALL EBOOK FORMATS ($3.99)
Jesus the Missing Years
Last Eyewitnesses World War II Memories
Solomon's Temple Treasure has been found
Asteroid Impact!
Atlantis the Eyewitnesses Press Release Information


text:
Ассоциация книгоиздателей России (АСКИ, до 1993 года — Ассоциация советских издателей) — российская некоммерческая организация в сфере защиты прав книгоиздателей. Представляет интересы российских издателей в .

История
Основана 17 октября 1990 года. Первоначально организация являлась «Ассоциацией советских издателей» и в неё входили издательства почти всех советских республик, кроме прибалтийских. В 1993 году преобразовалась в «Ассоциацию книгоиздателей России».

Партнерами АСКИ являются Роспечать, Департаменты Правительства Москвы, Россотрудничество, Издательский совет Русской Православной Церкви, Фонд «Русский мир», Федеральное агентство по делам национальностей, Союз журналистов России, Союз писателей России, Российская библиотечная ассоциация, Российская государственная библиотека и другие организации.

В проектах АСКИ участвуют МИД России, Минобороны России, Российское военно-историческое общество, руководящие структуры ряда регионов России.

В АСКИ входят крупные российские издательства, такие как «Молодая гвардия», «Наука», «Рипол» и др.

Оценка книгоиздательской деятельности
АСКИ проводит регулярный ежегодный профессиональный конкурс «Лучшие книги года», где каждый год определяет лучшие книги в 12 номинациях от 140-150 издательств и ежегодно формирует рейтинг ТОП-50 лучших региональных изданий.

Ежегодно АСКИ организует работу павильонов «Регионы России» на Книжном фестивале «Красная Площадь».

Руководство
 Президент — Константин Чеченёв (с 2006 года)

Награды
 Благодарность Президента Российской Федерации (5 марта 2021 года) — за большой вклад в развитие книжной отрасли, плодотворную деятельность по поддержке отечественных издателей в России и за рубежом.

Примечания

Ассоциации производителей


An intriguing motif that includes a solid flower design trails down the length of this lace trim. The yarn that holds the motif in place is thick and sturdy. It can be used as a hairband, a tablecloth border, or as an embellishment for bed and pillow covers and curtain valances. Sold by the yard, but additional yards can be cut for continuous orders.
Vintage Beige Floral Lace Trim 2½" wide has a rating of 5.0 stars based on 1 reviews.


We need your support! Please join or donate to FANs today.
As an all-volunteer organization, FANs depends on the generous support of our members in order to preserve and restore wild places like Alder Springs and Steelhead Falls. With the support of individuals like you, FANs volunteers have hosted educational hikes and lectures, planted more than one thousand native plants to restore degraded areas, pulled invasive weeds and installed informational kiosks and signs at trailheads. Your donations make this work possible.
FANs Membership is just $10 per year for an individual; any amount donated at or above $10 entitles you to membership, and you will receive a donation confirmation letter. Your additional donation above the $10 level allows us to do more to protect the magnificent public lands we call the Deschutes Canyon Area.
Friends and Neighbors of the Deschutes Canyon Area is a 501c3 charitable organization, and all donations are tax deductible!


text:
How to Watch 2023 Australian Open Women's Semifinals: Stream Tennis Live, TV Channel
Rod Laver Arena is set to host the women's semifinals on Thursday at the 2023 Australian Open in Melbourne. The first matchup of the night session will be between No. 22-seed Elena Rybakina and No. 24-seed Victoria Azarenka. Last year's Wimbledon champion has had a tough road to get to the final four, facing No. 13-seed Danielle Collins in the third round (6-2, 5-7, 6-2). Then, Rybakina faced No. 1 in the world Iga Światek in the fourth round on Saturday to advance to the top eight (6-4, 6-4). In the quarters, Rybakina beat No. 17-seeded Jelena Ostapenko to advance to the final four (6-2, 6-4).
How to Watch 2023 Australian Open Women's Semifinals today:
Game Time: 3:30 a.m. ET
TV: ESPN
Watch 2023 Australian Open Women's Semifinals online with fuboTV: Start with your free trial today!
Azarenka's toughest matchup, meanwhile, was the quarterfinal against No. 3-seeded American Jessica Pegula on Tuesday night. The two-time Australian Open champion (2012, 2013) won in straight sets to advance to the final four (6-4, 6-1).
In the other semifinal matchup, No. 5-seed Aryna Sabalenka will be going up against Polish star Magda Linette right after the Rybakina-Azarenka match wraps up.
American Chopper Argument or Overly Attached Girlfriend, e.g. Crossword Clue
Arsenal FC XI vs Man City: Predicted lineup, confirmed team news, injury latest as Jakub Kiwior hopes for debut


Offering extra reach into tight spaces, the long nose tapers from a wide base to a fine tip. To make sure the tip can consistently grasp the tiniest wires or parts, the base of the jaws is relieved with a small gap (0.3 mm +/- 0.1 mm) to prevent contact that would keep the tips from closing tightly together.
The second half of a versatile, two-in-one design, the integrated wire cutters cleanly snip soft metal wires like copper, aluminum, brass, and silver in sizes 14-38 AWG.
D. Jaw Length 0.9 in.


Muddy roads? Effortless for this supercharged Miata roadster.
BMW fulfills its promise and debuts the all-new Z4 roadster in California for the world to see.
Just in case you can't afford its top-of-the-line variant, Mercedes-AMG has your back.
And Musk is dead-solid about this claim.
With words coming out of Honda's CEO, we can't help but wonder.
Mazda has promised a wheelchair-friendly package on the MX-5 Miata, with a hand lever acting out as the gas and brake pedals.
BMW opens new doors for open-top driving experience as it teases the i8 Roadster.
Introduced in 1989, the Mazda Miata, now known as MX-5, is already in its 4th generation and it's just as sleek as when it first came out.
The Australian New Car Assessment Program (ANCAP) gave the award-winning Mazda MX-5 a five-star safety rating. The roadster received 35.2 points out of a possible 37 overall points.


Rave Pack is a unique blend of vitamins and supplements that maximize the experience of raving, dancing and partying, while at the same time making sure you will have the best rest after the party. The packaging utilized the shape of the normal pill pack and combined DJ turntable into the look. So, it adds more fun and joy to the product itself.
Not only the concept of the product but also the packaging are both very unique in thoughts. The unexpected structure of the pill container really brings the fun out of it.


« Membership fees for the new Financial Year – Extra Extra – read all about it!
Also used to refer to other kinds of activities and refreshments.
Agenda for the EVENING?????? – THERE IS NO AGENDA.
You come and join in the fun. Leave the struggles of life behind for 3 hours and come play radio.
RF Nite at the ERB Clubhouse. Oh what a night!