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An imminent show at the Church of Sound in Clapton showcases British and French artists – the Greg Foat Band and the Neue Grafik Ensemble. Both play a contemporary take on '70s soul jazz as it moved on a mystically airy arc away from earthiness and into the more fantastical zones of funk and psychedelia: in Greg's case laced with tidal Radiophonic electronica via antique suitcase synth, and in NGE's case celestial Rhodes keying.
More from the Church:
"Greg Foat's latest album 'The Mage' threads lineage between the past and future of British jazz, enlisting the talents of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to collaborate with their modern contemporaries, Greg Foat, Moses Boyd and Heliocentric's drummer Malcolm Catto. Something undeniably British but outward-looking and global has been created. Greg's compositions and arrangements showcase the old and new, downtempo folkscapes, free jazz with notes of hip-hop and soul from the young team flavouring the mix. The album is a testament to the versatility and pure musicality of all those involved and Greg Foat's ability to bring artists together to record beautiful, timeless music.
"Personnel on the night: Greg Foat (piano, EMS Synthi AKS), Clark Tracey (drums), Eric Young (congas), Phil Achille (bass), Trevor Walker (trumpet), Rob Mach (saxophones), Hugh Harris (guitar) with special guest Duncan Lamont (tenor saxophone).
"Parisian-born producer Fred "Neue Grafik" N'Thepe formed his Ensemble last year, consisting of trumpet player Emma-Jean Thackray, Vels Trio's drummer Dougal Taylor, bassist Matt Gedrych and of course Fred himself on keyboards. Grafik's sound is a hybrid of jazz, house and hip hop, all with his unique geographical tones of African ethnicity, Parisian roots and a love for London sounds (like broken beat and grime) thrown into the mix. For this session, they will be joined by rapper and poet Brother Portrait who is omnipresent on NGE's forthcoming EP."
Representing the Church of Sound DJ resources, half of the CoS diumvirate (and Total Refreshment Centre founder) Lex Blondin will be manning the decks, and there'll be an aftershow party over at Tottenham's Five Mile club.
Further north-east, the Polish Jazz London Series is opening up in Waltham Forest. It's a handshake between a borough celebrating its current status as London Borough of Culture (and pushing hard not to be overshadowed by the existing momentum of Hackney and Tottenham), the Polish Cultural Institute, B Side Events and the Music Halls Project which is opening up church spaces in Walthamstow and Leytonstone as high-quality music performance venues.
Poland isn't the first place that springs to mind when jazz is mentioned. Cognoscenti, however, are aware of it as an incubator of high-end music with typical Polish determination. Five monthly concerts starting in the summer and leading into the autumn – each featuring some outstanding talent – demonstrate how productive this can be.
The first, on 4th July, features Warsaw avant-fusioneers Niechęć – saxophonist Maciej Zwierzchowski, drummer Michał Kaczorek, guitarist Rafal Błaszczak, keyboard player Michał Załęski and double bassist Maciej Szczepański stir ominous misty shifts of chord-tones and atmospherics into spinning jagged cyclones. Theirs is a frictional engagement with the air, although one which embraces a tight mothership of form rather than a straight free-jazz explosion.
Szczepański's fondness for arco bowing, Zwierzchowski's for caustic, cryptic Shorterish sax commentary and the band's readiness to pursue whistling psychedelic rockscapes close to that of 'Saucerful'-era Pink Floyd (as well as touching on the tweaked, ring-modulated open-ended fierceness of early electric Miles and the initially freeforming argumentation of Weather Report) pin them as spirit brothers to the permeable explorers of the '70s cusp. Translated from the Polish, their name means "dislike"; and sometimes their music's a growling frown, a diet of harsh and undying embers. Despite that, it's never withdrawn or surly, never dull – it constantly takes you along with its dark and challenging moods.
The August concert features a new trio led by pre-eminent young Polish polymath Marcin Masecki. Not new in that his keyboard playing is augmented by his regular project cohorts (Jerzy Rogiewicz on drums and Piotr Domagalski on double bass) but new in that he's apparently not looked into the possibilities of a classic trio since his schooldays. Since then, he's been busy mastering and promoting a dizzying variety of projects and musical applications (the program lists it all as "big bands, brass orchestras, classical symphony orchestras, choirs, alternative pop bands, electric quintets, acoustic duets, sextets and nonets, composing for film and theatre, giving masterclasses, classical chamber musicking, and a vast body of solo work").
It took an extended moment alone to trigger this new project – a jogging session during which Marcin became fascinated by both the bodily mechanics of respiration, extension, heart-rate (and so forth) and the mental changes and separation of mind which occur during the strictures of exercise. He opted to translate this across into music. In this clip, you can see how the post-bop pulse motors away while Marcin plays a succession of complex, diversifying ideas on top of it, maintaining both independence and integration while also sustaining perfect stability and authority.
The September gig features the bony, peppery rhythmic work of the Kuba Więcek Trio, whose paradoxical music (authoratively skittish; cerebrally frenzied; making overpowering gestures within a small and disciplined space) has been noted by uber-critic and fellow countryman Piotr Metz for combining the Polish post-bop of the late '50s and early '60s with knowingly neurotic Manhattanisms. More specifically, "the melody, which seems straight from Komeda songs, also has the noise of the New York traffic." Each member doubles, musically – bass player Michał Barański spits and mutters konnakol (Carnatic drum-talk vocals), drummer Łukasz Żyta rattles out additional melodies on glockenspiel, and Kuba himself swaps between saxophone and dropped-in synth or electronics.
Packed into the music are funk and marches, transposed tabla burrs, Birdland boptalk and strains of eastern European folk dance. The trio's also capable of periods of delicate sweetness, but always with a febrile watchfulness and staccato undercurrent; as if they're tiptoeing precisely over a tough streetscape of broken glass and stray syringes even as they chat or serenade.
The October gig features High Definition Quartet, who come with sky-high praise from Randy Brecker: but if, from that, you're expecting them to fit into his American fusion tradition, you'd be surprised. While this collectively-run quartet are second-to-no-one in hoarding and firing out classic chops, they're also continual polyreferential box-busters, moving through multiple styles . It's not just a case of tricksy polystylism, though: not something carried out as a joke. Instead, Piotr Orzechowski (who also rejoices in the nickname of "Pianohooligan") and his allies (double bassist Alan Wykpisz, saxophonist Mateusz Śliwa and drummer Grzegorz Pałka) come across more as people whose brains process at double-speed: simultaneously and voraciously riffing and developing from anything which flits across their attention or their synapses.
For their current project, Piotr and the quartet have created jazz rearrangements of 'Bukoliki', a set of short piano pieces (originally string duets) by Witold Lutosławski – which he, in turn, derived by old Polish folk songs from the distinct Kurpie forest culture of north-east Poland (whose music also inspired Górecki). A second-generation mutation, then; and one which the HDQ deliver with breathtaking speed, precision and invention, respecting the source material by stepping deeply into it and refusing to do anything less than give it and gift it every scrap of their own intuition.
The last show (as far as I know) is in November, in the grand Art Nouveau surroundings of Leyton's Great Hall, sponsored by LVE Foundation. Signing us out is Wrocław septet Electro-Acoustic Beat Sessions, or EABS – a Polish answer to the current club-culture reinvigorations of jazz forms as demonstrated by Shabaka Hutchings, Kamasi Washington and others. Via their technological wildcard Spisek Jednego, EABS merge sampling and looping into their instrumentation in a "reconstruction from deconstruction" approach. The rest of the band consists of Marek Pędziwiatr (on piano, synths and voice), guitarist Vojto Monteur, drummer Marcin Rak, bass player Paweł Stachowiak and a doubled brass line of Jakub Kurek (trumpet) and Olaf Węgier (tenor sax); merging a profoundly lyrical sensibility and a taste for European conceptual landscapery, while pulling in and transforming strong strands of hip hop, jungle, funk, gospel and electronic music.
As with many jazz acts, EABS build into a developing future while looking deeply into a specific cultural past. Among their preoccupations are the ideas of "Slavic melancholy" and the culture's tendency to have favoured oral transmission over literacy: something reflected in the examination of Polish demonology and general Slavic mythology in their most recent recording, 'Slavic Spirits', drawing on accounts from "musicians, historians, journalists, writers and even psychotherapists."
Church of Sound presents:
Greg Foat Group + Neue Grafik Ensemble + Church of Sound DJ set
St James the Great, 188 Lower Clapton Road, Clapton, London, E5 8EG, England
Friday 21st Jun 2019, 7.30pm – information here and here
Polish Jazz London Series:
Niechęć – St Mary's Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 4th July 2019, 6.30pm – information here and here
Marcin Masecki's Jazz Trio – St John's Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 16th August 2019, 6.30pm – information here
Kuba Więcek Trio – St Mary's Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 19th September 2019, 6.30pm – information here and here
High Definition Quartet – St John's Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 18th October 2018, 6.30pm – information here
EABS – Leyton Great Hall, 1 Adelaide Road, Leyton, London, E10 5NN – Thursday 21st November 2019, 6.30pm – information here
Tags: Alan Wykpisz, Brother Portrait, Church of Sound (promoter), Clark Tracey, Dougal Taylor, Duncan Lamont, EABS (Electro-Acoustic Beat Sessions), Emma-Jean Thackray, Eric Young, Greg Foat, Grzegorz Pałka, Henryk Górecki, High Definition Quartet, Hugh Harris, Jakub Kurek, Jerzy Rogiewicz, Kuba Więcek, London (England), Maciej Szczepański, Maciej Zwierzchowski, Marcin Masecki, Marcin Rak, Marek Pędziwiatr, Mateusz Śliwa, Matt Gedrych, Michał Barański, Michał Kaczorek, Michał Załęski, Neue Grafik (Fred N'Thepe), Niechęć, Olaf Węgier, Paweł Stachowiak, Phil Achille, Piotr Domagalski, Piotr Orzechowski (Pianohooligan), Rafal Błaszczak, Rob Mach, Spisek Jednego, Trevor Walker, Vels Trio, Vojto Monteur, Warsaw (Poland), Witold Lutosławski, Wrocław (Poland), Łukasz Żyta
Categories 2019 music, 20th century classical music, acoustic music, broken beats, classical (Western art music), cover versions, dance, DIY music, DJ sets, downtempo, electro-acoustic music, experimental music, hip hop, improvisation, instrumental music, jazz, jazz fusion, jazz-funk, New Music, post-bop, previews, psychedelic rock, rapping, soul-jazz
Quick news on a couple of London dance events next week…
"We have been sent synchronistic signs from another metaphysical plane. We are the glitch-seekers exposing the Holes In The Holoverse."
Multimedia dance moves (swirling around various esoteric, psychedelic and club culture tropes) come from Lost Souls Of Saturn, playing at Village Underground. "Lost Souls Of Saturn is a multidisciplinary live project, primarily piloted by Seth Troxler and Phil Moffa, with opaque additional participants congregating to combine music, imagery, and storytelling into an inextricably linked whole, all wrapped up in a philosophy of their own making. Attempting something creatively that's above-and-beyond, LSOS explore new ways to open doors of perception and challenge the reality vs. simulation paradigm whilst capturing the spirit of Alejandro Jodorowsky, Philip K. Dick, Sun Ra and The KLF within their music, live experiences, and forthcoming films… which is basically catnip to us.
"Having released their debut EP 'Holes In The Holoverse' on 1st March (with a debut album to follow in June), on Thursday 18th April the full LSOS live experience will be unveiled with DJ support from Seth Troxler, Phil Moffa and others – make sure you're here for it."
Walthamstow avant clubnight More News From Nowhere, generally known for avant-tronica, texture music and various other delightful musical miscegenations, have recently returned "after a year-long hiatus… back with a new venture and spreading further afield – showcasing the best in London's underground and experimental music with a series of occasional one-off events around the capital. The show takes place at the newly re-opened Brew Club in Hackney Central – a fantastic new warehouse venue a stone's throw from their original location in Clapton, which played host to the raucous 'Fresh Hell' series of New Years parties which hosted, among others, Sly and the Family Drone, and UKAEA."
I missed the first one, but the coming week's event is part of MNFN's sister event Total Cult, which "showcases some of the most interesting homegrown dance music London has to offer, with a headline set from 2018 Daphne Oram award winner Loraine James.
"James combines influences from the world of electronic music such as Aoki Takamasa, Telefon Tel Aviv and Toe, with an eclecticism borne of growing up in London in the 1990s and 2000s. Garage, rave, math-rock and chart pop references are combined into a pulsating, and intricate collage which is as joyful as it is thought-provoking. After releasing her debut album 'Detail' with DIY collective Fu Inle records in 2018, she returned with the four-track EP 'Button Mashing' on New York Haunted in 2019 – a more personal record which speaks to her experience as a queer black woman, while also developing her sound (which combines glitch, footwork, ambient and bouncing techno) even further.
"In support will be dub-techno veteran Matt Spendlove (a.k.a. Spatial), with his first London performance of a new audiovisual piece for 4.1 surround, originally performed at Grey Area in San Francisco. Spatial's work pushes the dynamics of sound system culture incorporating low frequency vibration, hacked code, and optisonic experiments. An unconventional artist in the turbulent realm of bass music, he combines a preoccupation with emergent behaviour, rule based repetition and chaotic systems with an ability to shape dubbed out, cracked and reductive sonics into audible geometric form. Through textured intricate production, Spatial's releases and live sets bring corporeal presence carved out with a minimalist's scalpel.
"Also playing is Mike Neaves, whose intricate, hypnotic techno (showcased on 2019 release 'Black Sauce') combines delicate, hypnotic instrumentation with visceral, body-first bangers. 'The Ransom Note' tagged him as an artist "mix(ing) drum machines, pianos, Wurlitzers and field recordings to create something forward-thinking. Imagine CJ Bolland reworking Pierre Schaffer's musique concrete compositions, but with an ear on the dancefloor, and you're on the right tracks"…"
Lost Souls Of Saturn
Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England
Thursday 18th April 2019, 8.00pm – information here and here
Total Cult presents:
Loraine James + Spatial + Mike Neaves
Brew Club, Hackney Walk, Arches 7-8 Bohemia Place, Hackney, London, E8 1DU, England
Friday 19th April 2019, 8.00pm – information here and here
Tags: London (England), Loraine James, Lost Souls Of Saturn, Mike Neaves, More News From Nowhere (event), Spatial (Matt Spendlove), Total Cult (event/promoter)
Categories 2019 music, broken beats, dance, DIY music, dub, electronica, experimental music, glitch music, IDM, instrumental music, sound collage, techno
Usually busy in New York or Berlin, multimedia musician and performer Joe Snape drops back into England this week and next week for a five-date tour of his 'Joyrobix' project – "a suite of nimble, polychrome post-pop songs" which "(pay) weird homage to a musical America that doesn't quite exist. Part soft-rock guitars, part gospel grooves, part Broadway aria, this is music that's resolutely strange and oddly familiar at once."
Amen to that. I might not hear much Hall & Oates or Mahalia Jackson in what he does, but 'Joyrobix' is an enchanting experience – pitch-bent fragmentary experimental pop arranged in a jaunty shatter. Joe sings wordlessly in a gentle, sensual welter of jazzy, Autotuned melisma amidst a cavalcade of perky noises and thumbed guitar, echoes of doo-wop and looming noise clouds, kinked brass and woodwind and broken-beat invention. Stemming from "a danceable refix of pieces for chamber ensemble", its final form is apparently inspired by how his move to America went wrong: a crisped-up experience of "dislocation and burnout… dejection and displacement" which resulted in a sheaf of pieces which are as uplifting as their inspirations were sad.
Consequently, 'Joyrobix' is part musical diary, part therapeutic bounceback and part meander: too elusive to pin down easily, but a kaleidoscopic tapestry of complicated feelings expressed through pop tunes which wink and beckon at you around extra-dimensional twists. You'll find yourself humming along even as you get lost. Live, the music's being performed by a trio of Joe plus Jethro Cooke (electric guitar, electronics) and Louise Snape (trumpet and vocals), and Joe has collaborated with witty Swiss video absurdist Leonie Brandner to provide a set of ten short films as backdrops.
On all five dates Joe is headlining an evening of mingled multi-media music and performance art. At each gig, he's joined by Laurie Tompkins and Suze Whaites – a.k.a. simply Laurie & Suze, two of the three co-directors of Newcastle's hybrid electronic/improvised music label Slip (which is both promoting the tour and releasing much of the music involved in it). As a performing duo, they're presenting their 'Coop' project, a first substantial step into collaboration (though I'm not sure whether that should be 'Coop' as in "co-operative" or as in "chicken"). Laurie deals with the music, Suze the visuals, with 'Coop' offing "a meshing of Tompkins' sonic negotiations of pop cultural trauma, ritual self-abasement, and gunky funk, with Whaites' illusive video renderings of the alien, microscopic, and fleshy.".
The third act on the bill varies from city to city. In Birmingham, it's Belgian experimental composer and former Acid Police Noise Ensemble member Maya Verlaak. I've heard nothing about what (or how) she's going to perform, but previous live outings have had her picking and choosing from an arsenal of voice, melodica, keyboards, recorder, light sources, self-built electronics, cow horns, nail violin and bicycle. This – plus her preference for creating contextual compositions around factors of "place, musician, instrument, etiquette, conventions, history" – suggest that she'll have scoped out the venue (Digbeth's Vivid Projects space) and created something enigmatically appropriate.
In Brighton, battle is joined by local dark-space "electro-acoustic muck" noiseniks Blood Stereo, who base their disturbing atmospherics around "feral hissing and rumbling tape loops" including field recordings and home conjurings, plus electronics and objects. The object is to voice – or suggest – deep disturbances and anxieties seeping to the surface of the psyche and from there out into the broader world. Should rattle and chip a few teacups over in Hove.
In London it's performance duo O Yama O, within which a "micro-orchestra" of small domestic objects, toys and mechanisms manipulated by Rie Nakajima ally with the body and voice performance of Keiko Yamamoto. They probe and map a (very) Japanese landscape of everyday life and noises, underlaid and informed by myth, tradition and national folk music, attempting a philosophical marriage of "the non-spectacular and the sublime"; a soundtrack for friendly or indifferent spirits floating across the tatami in a danchi apartment.
On album, O Yama O tend to incorporate more instrumentation and melody in a kind of skittering avant-garde Noh-dub. Live, it's a strangely matter-of-fact immersive affair, domestic, dramatic and keyed to the performance space, with Keiki alternately tiptoeing, romping and stamping around using a full range of vocalisations ("chanting, incanting, thundering, whispering").
In Bristol, it's Orxid, a spinoff of visually-triggered, immediate-response Glaswegian rhythmic randomists Still House Plants, who finesse garage rock and Fine Art influences into something which sounds like neither (and who were once cheeky enough to release a live album consisting solely of them being introduced onstage before a cut to the aftershow chatter: check here for a long breakdown of their complex ethos).
Orxid is a solo project for SHP singer Jessica Hickie-Kallenbach, who adds the tattered fragments of song expression to their clangs, hisses and staggers. What she does on her own is less clear, but you could glean some clues from her general art-mission statement of "being concerned with value in the immaterial and everyday… the translation of experience" and by her summary of the project as "Orxid is, Jessica Hickie-Kallenbach is, triumphant when barking, flirting with misdirection, with weak knees, malfunctioning. All brushed up when just-heard through bedroom doors."
Update, 11th April – I've just noticed that there's a fifth date, in Newcastle, so am adding it in a hurry while I'm supposed to be doing something else… and it looks as if I missed two earlier Bradford and Manchester dates as well… Nuts.. oh well, here's what's left. Ripping the Newcastle support acts' blurbs here…
"Competition (a.k.a. Craig Pollard) makes (mild) pop music and performs live with a sampler and voice. The songs think about smallness and vulnerability, and build hooks from within their own limited means. Most recent tape 'You Turned Into A Painting' was released by Slip in November 2018."
"Gwilly Edmondez is a person-project forced into a pop packaging that inevitably gets mangled up by person-to-person cataclysmics. Because Gwilly is influenced by anybody you can possible think of (Billy Joel, Coil, Lucinda Williams, Laurie Anderson, AIDS Wolf…) there's no point trying to categorise… Abstract Exhibitionism? Troubled Intimacy? Wild Pop… Gwilly Edmondez represents a coagulation of multiple character strands derived out of one private/public individual whose corporeal manifestation carries it through live shows, albums, videos and numerous collaborations in improvised music. Born in Lake Fear, Pen-Y-Bont, Gwilly has returned. Other incarnations include Radioactive Sparrow co-founder Bill Bargefoot, JRMY PAXMN out of YEAH YOU and the writer/composer/artist Gustav Thomas which is probably his real name. In all guises he is a purveyor of reaLFake Wild Pop, tearing open the terrified quotidian regimes of colonized consciousness (through, and in, his own brain) in order to plunge intensities between the cracks exposed. This doesn't actually, necessarily, work – per se – but it's the in engagement of attempts where the drama takes place."
Finally, Mariam Rezaei is a turntablist and vocalist with a yen for making electronic theatre soundtracks: she's part of Gateshead DJ-haunt turned mixed-arts incubator TOPH (or The Old Police House). Below is a taste of her esoteric clubtronica, although on this occasion I think she's just playing other people's music…
And while I'm making additions, here's a Snape video from 'Joyrobix'…
Joe Snape's Joyrobix + Laurie & Suze's 'Coop':
Vivid Projects, 16 Minerva Works, Eastside, Birmingham, B5 5RS, England – Thursday 11th April 2019, 7.30pm (with Maya Verlaak) – information here and here
The Rose Hill, 70-71 Rosehill Terrace, Brighton, BN1 4JL, England – Saturday 13th April 2019, 7.30pm (with Blood Stereo) – information here and here
Stour Space, 7 Roach Road, Fish Island, Bow, London, E3 2PA, England – Wednesday 17th April 2019, 7.30pm (with O Yama O) – information here, here and here
Café Kino, 108 Stokes Croft, Bristol, BS1 3RU – Thursday 18th April 2019, 7.30pm (with Orxid) – information here and here
Star & Shadow Cinema, Warwick Street, Newcastle-upon-Tyne, NE2 1BB, England – Friday 19th April 2019, 7.30pm (with Competition + Gwilly Edmondez + DJ Mariam Rezaei) – information here, here and here
Tags: Acid Police Noise Ensemble, Birmingham (England), Brighton (England), Bristol (England), Competition (Craig Pollard), Gwilly Edmondez, Joe Snape, Keiko Yamamoto, Laurie & Suze, Laurie Tompkins, Leonie Brandner (artist), London (England), Mariam Rezaei, Maya Verlaak, Newcastle-upon-Tyne (England), O Yama O, Orxid (Jessica Hickie-Kallenbach), Rie Nakajima, Still House Plants, Suze Whaites
Categories 2019 music, 21st century classical music, ambient music, Americana, anti-music, broken beats, chamber music, cross-cultural music, cross-disciplinary pop, dance, dance performances, DIY music, doo-wop, drone music, electro-acoustic music, electronic, electronica, experimental music, experimental pop, experimental/avant-garde rock, field recordings, film & cinema, films, folk music, funk, improvisation, instrumental music, interactive performances, loop music, musique concrete, New Music, noise, outsider music, performance art, pop, previews, process music, psychedelic ambient music, R&B, rock, roots music, sound collage, soundscapes, world & indigenous music
On 9th January, tenor saxophonist Chelsea Carmichael (from SEED Ensemble/NYJO Jazz Messengers) jumps into a bigger spotlight at the Jazz Cafe, as part of Tastemakers Jazz's 'Sound of 2019' evening. At twenty-five, the time's right for her to step out; with recent apprenticeships with Terence Blanchard, Courtney Pine, and Etienne Charles (as well as work with Indo-jazz fusioneer Arun Ghosh and as right-hand reedswoman for SEED's Cassie Kinoshi) helping to shape whatever she does now. This will apparently be the debut of her first project under her own name: so new that I don't know who else is in it yet, nor anything bar the fact that it'll be influenced by Chelsea's "love of groove and intricate rhythms", and probably isn't the Mingus-flavoured quintet she brought to the City Beerfest last summer.
Meanwhile, here's Chelsea blowing tenor with SEED…
In the middle of the bill is electro-acoustic quintet Nihilism – a tuneful cluster of post-bop hip hop, Grapelli hot jazz, funk, grime and Mahavishnu fusion flickering around a median age of twenty. At the core of it (but not restricting it) is a classic acoustic sound revitalised by latterday British dance music, bedrocked by soprano saxophonist Shango Ijishakin, Berklee-trained pianist Lorenz Okello-Osengor and drummer Benjamin Appiah. Lorenz also dabbles in synths, while bassist Christopher Luu juggles his time between acoustic upright and a batch of electronic devices. Their debut EP 'Exposition' surfaced in November 2018, a couple of years after they'd formed and honed themselves with frequent gigging.
Despite Lorenz' Berklee crown, Nihilism's true secret weapon appears to be their electric violinist and occasional singer/rapper Saskia Horton, a twenty-one-year-old ball of energy and onetime fiddler for FKA Twigs. With an extra double life in theatre and dance, she choreographs and performs in a variety of street and dance-club styles (including krumping and waacking), and brings an assertive physicality to the band's music every time she bows a string.
Toting a "spiritual jazz-funk" tag, Vertaal are an open-socketed duo (keyboard player Theo Howarth and drummer Ajit Gill) perpetually plugging in a rich turnover of guest players. Here's a taste of them, with the core duo augmented on that occasion by bassist Warren Woodcraft, saxophonist Loren Hignell and percussionist Simon Todd. Who knows who'll be joining Ajit and Theo on the night?
On 17th January, Jazz Herstory resume their staging of female-led jazz concerts over at Poplar Union. It kicks off this year with a performance by trumpeter and bandleader Alexandra Ridout – still only nineteen, but already packing awards for BBC Young Musician of the Year (in 2016) and as 2017 runner-up rising star in the Jazz Awards, as well as hirings by Clarke Tracy and Dave Holland and time spent with her two-generation family jazz band The Ridouts.
She's bringing along a quintet of fellow teenagers. Pianist Noah Stoneman and guitarist Miles Mindlin are each a fresh-faced seventeen, while bassist Freddie Jensen and drummer Luca Caruso are both nineteen: fresh-faced they may be, but they have equal facility in classic swing, contemporary post-bop, funk and balladry. (Expect an audience with its fair share of middle-aged jazzers with mingled expressions of inspiration, chagrin and vague – or in some case, actual – parental pride.)
Here's the quintet at work – admittedly with a Stoneman original rather than the sheaf of Ridout tunes which will be played on the night. Also attached is Alexandra's Young Musician performance from three years ago.
Jazz HerStory continues over the next couple of months with performances by Rosie Turton and Ms. Maurice, but more on that nearer to February…
On the 26th, interactively-minded Deptford crew Steam Down have invited everyone down to the Albany to help them record their first album. It's going to be a live one, caught in full audio-visual with attendees and responders on an equal footing to the band. "There is no audience, we are all the music, everyone's participation matters. The collective's sessions are a co-creative experience between the audience and musicians. A mutual exchange of energy and vibes between the groovers and movers, the band and the crowd."
All of this is in keeping with Steam Down's African-inspired collective ethos. One-and-a-half years old now, the project was founded by saxophonist and multi-instrumentalist Ahnanse and they've already reached out beyond their south London base to light up gigs in Berlin, Paris, Amsterdam, Antwerp and Oslo. They're a simmering pot of phuture soul, West African rhythms and cheerful Afrofuturism, the rapid offset breakbeat-splash and electrophonic edge of grime and broken-beat, and (in particular) spiritual jazz.
That said, they're well aware that they should steer clear of romantic oversimplifications about roots. As Ahnanse remarked in an interview with 'The Vinyl Factory' last year, "the roots of what we are creating starts outside of that context, jazz is not the only source of improvised music in the world. It happens in many forms and many cultures, we all come from different spaces and cultures, and it isn't black American culture, none of us were born there, so actually we are bringing all of those other experiences into this… In a society that is so hegemonic and monotonous it's nice to surprise yourself and be surprised, by people that you know well." More than anything else, Steam Down work is inspired by the interlocking of Afro-diasporan culture with week-by-week London life – the information-rich bustle and challenges of a world city made up of people from everywhere, many of them sometimes pushing (or knocking heads) against half-invisible restrictions and oppressions as well as providing broad-mindedness and opportunity. Occasionally the words "church" and "spiritual warfare" are used.
Steam Down's shifting but family-loyal cloud of membership has included tuba boss Theon Cross, Maisha/Nérija saxophonist Nubya Garcia and keyboard player Dominic Canning (the latter also contributing at 'Vocal Classics Of The Black Avant-Garde' on the 7th). In the rhythmatist corner are Sons Of Kemet/Nok Cultural Ensemble's young drum-sage Edward Wakili "Nache" Hick and beatmaker Tilé "D'Vo" Gichigi-Lipere. There's also a bevy of integral singer-poet-rappers in the shape of CarLi Adams, Norwegian-Philipino And Is Phi, Brother Portrait, sometime DJ/illustrator/maker Alex Rita, and the Afro-liminally-minded polymath Nadeem Din-Gabisi (DJ, artist, poet and broadcaster). Multiple talents are at play, with many members teaching and plenty of them producing. They're a diverse, voluntary hive mind, their individualities fused and encouraged by common purpose, and there are sub-groups, independent familial endeavours and more (for instance, And Is Phi and D'vo work together as Sawa-Manga in a lineup including Saskia Horton from Nihilism).
This particular gig features a Steam Down line-up of Ahnanse, Alex, Dominic, Portrait, Theon, Nadeem, Nache and Sawa Manga plus Nihilism drummer Benjamin Appiah, singer Naima Adams and crunktronic Leeds beatmaker Wonky Logic. Also in the frame are a ton of integrated name guests from up and down the UK jazz scene – no details yet on who they'll be, but rest assured they'll be committed to their seat at the table..
Jazz re:freshed & Jazz Cafe present:
The Sounds of 2019 featuring Chelsea Carmichael + Nihilism + Vertaal
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Wednesday 9th January 2019, 7.00pm – information here, here and here
Jazz Herstory presents:
Alexandra Ridout
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Thursday 17th January 2019, 7.30pm – information here and here
Steam Down: 'The Live Album'
The Albany, Douglas Way, Deptford, London, SE8 4AG, England
Saturday 26th January 2019, 7.00pm – information here and here
Tags: Afro-futurism, Ahnanse, Ajit Gill, Alex Rita, Alexandra Ridout, And.Is.Phi, Benjamin Appiah, Brother Portrait, Cassie Kinoshi's Seed, Chelsea Carmichael, Christopher Luu, D'Vo (Tilé Gichigi-Lipere), Dominic Canning, Freddie Jensen, Jazz Herstory (event/promoter), Jazz re:freshed (event/promoter), London (England), Loren Hignell, Lorenz Okello-Osengor, Luca Caruso, Miles Mindlin, Nache (Edward Wakili Hick), Nadeem Din Gabisi, Naima Adams, Nihilism (band), Noah Stoneman, Nubya Garcia, Saskia Horton, Shango Ijishakin, Simon Todd, Sons Of Kemet, Steam Down, Tastemakers Jazz (promoter), Theo Howarth, Theon Cross, Vertaal, Warren Woodcraft, Wonky Logic
Categories 2019 music, acoustic music, Afrobeat, broken beats, cross-cultural music, dance, drum and bass, electro-acoustic music, grime, hip hop, hot jazz/Gypsy jazz/manouche jazz, improvisation, instrumental music, interactive performances, jazz, jazz fusion, jazz-funk, neo-soul, poetry, post-bop, previews, R&B, rapping, slam poetry, spoken word, West African music
October 2018 – upcoming rock/experimental/dance gigs in England – The Evil Usses on tour in Liverpool, Salford and Derby (4th, 6th, 7th October) with shows also featuring Unstoppable Sweeties Show, The Age Of Glass, Mal, Night Stage, Shunya and Unicursal
This coming week, The Evil Usses take their witty, post-Beefheart/No Wave skronk-rock out of Bristol to travel in a brief arc across the Midlands and the North.
In Liverpool, they'll be playing a saxophone-heavy Postmusic night with three Merseyside acts.
Jazz-punk absurdists Unstoppable Sweeties Show will be celebrating the release of their second album "Bring Kath her Breamcatcher [the musical]". Styling themselves as "post-pronk" or as "passive-aggressive progressive prog" they come across as prime nonsensical Scouse upsetters: singer Yashaswi Sharma sounds like a young PJ Harvey yelping nonsequiturs, drug babble and occasional obscenities against an omnidirectional springy racket of guitars, saxophone and drums (while a bassline rushes across the gaps like a spider on a slender bridge, under fire). Incorporating "free improvisation, spoken word, avant-garde, noise, and comedy" as blunt objects in their armoury, USS are part of the scattered North-West English rock weirdness which includes a.P.a.t.t., White Blacula and Poisoned Electrick Head. (They've got members of the first two on board, plus people from the LAZE and from Elmo & The Styx, making them something of a Mersey anti-supergroup).
Rounding out the Liverpool bill, Mal provide ritualistic occult-industrial ambient noise (employing synth pads and doubled saxophones for "brutal sermons" and "chilling sideways sweeps at things"), while Unicursal bring cut-up acoustic noise via guitar and tape loop.
For Salford's Space Cassette night, Evil Usses will be playing with delightfully spindly Manchester band The Age Of Glass, who employ skinny acoustic guitar skank, rolling jazz bass and crisp percussion to create their own yelping electronic dance/dub/funk combination.
Age Of Glass' samplehead Alan Keary will also be performing as his own multi-instrumental, multi-genre project Shunya, using his mastery of guitar, programming, jazz double bass and other strings to create a rattled, skittish combination of post-classical, jazz and electronic dance ideas. Firing live beats across live instrumentation that can vary from duo performances to a twelve-piece band, he's already made a name for himself by remixing the work of latterday choral composer Eric Whitacre, and drawn collaborative interest from members of GoGo Penguin: his future's looking bright and intriguing.
In addition, Talos 4000 (specialist in "acid rave/cosmic dross") and Burnibus (curator of eclectic electronica show Non Dualism Podcast) will be providing the DJ sets. Here's an example of some previous Space Cassette-ing…
In Derby, Evil Usses' support comes from Night Stages: the brainchild of Dubrek Studio owner and Derby music stalwart Jay, who's put together his own "psychedelic noise-rock super group" featuring members of assorted Derby strivers Them Are They, Twinkie and YouNoGoDie. They're still so underground and emergent that they've got no web presence yet, so all we've got to go on is an account from Derby arts-blog 'Storge', from a previous Dubrek all-dayer – "they are loud, shimmering sludge, and at one point the rhythm section sounds like pure, glorious metal. The guitar sounds Jay provides at times sound like shattering glass and if he hits that red pedal of doom you know it means trouble for your hearing."
Full dates:
Postmusic @ DROP The Dumbulls Gallery, Dublin Street, Liverpool, L3 7DT, England, Thursday 4th October 2018, 7.30pm (with Unstoppable Sweeties Show + Mal + Unicursal) – information here
Space Cassette @ Siren Asylum, 24 Missouri Avenue, Salford, M50 2NP, England, Saturday 6th October 2018, 10.00pm (with The Age of Glass + Shunya) – information here and here
Dubrek Studio, 6 Becket Street, Derby, Derbyshire, DE1 1HT, England, Sunday 7th October 2018, 6.30pm (with Night Stages) – information here and here
Tags: Bristol (England), Derby (England), DJ Burnibus, DJ Talos 4000, Eric Whitacre, Liverpool (England), Mal, Manchester (England), Night Stages, Postmusic (event/promoter), Salford (England), Shunya (Alan Keary), Space Cassette (event/promoter), The Age of Glass, The Evil Usses, Unicursal, Unstoppable Sweeties Show
Categories alternative rock, art punk, broken beats, choral music, dance, DIY music, downtempo, drone music, drum and bass, electro-acoustic music, experimental music, experimental/avant-garde rock, freaktronica, IDM, improvisation, industrial music, industrial rock, instrumental music, jazz, jazz rock, loop music, noise, noise rock, previews, rock, skronk
August 2018 – upcoming hip hop and dance gigs in London – 'Ear Shots' with Brother Portrait, Shunaji, Paul White, Confucius MC and Chris P Cuts (30th August); resistance worldbeat ladygrooves, grunge-soul, grigri and more with GRRRL, Sounds Of Harlowe, Bamako Overground and DJ Hot Bread (31st August)
Notes on two imminent beats-and-words gigs in south London…
Peckham's Ghost Notes offers up an end-of-August hip hop evening "bringing together lyricists from all corners to create something positive" – all available for free, it's strictly a "no bad vibes" evening. It's hosted by Irish/British/Grenadian-rooted rapper and Con+Kwake member Confucius MC (whose London-toned post-Wu Tang/Tribe/Dilla approach has been keeping him occupied and appreciated for the last few years, most recently via his EPs 'The Highest Order' and 'The Artform') and by busy DJ Chris P Cuts.
This particular show features two rapper/writers. The first – Brother Portrait – is a member of Deptford's Steam Down collective and one-third of Black/Other, a mood creator and wordsmith positor who (according to this 'Gal Dem' interview from two years ago) is primarily interested in "identifying what those boxes are [that make me, me]: community, diaspora, family… a process of opening them to start going inside and see what's in there." The second – Lagos-born, London-living, Rome-raised Shunaji – is a protege of beat-talent developers Future Bubblers, whose assured, slinky, cinema-inspired and code-switching flow ranges between the varied languages and dialects of her upbringing and travels, embracing multiplicity of perspective personae and while maintaining a muscle-solid sense of self.
Also on hand is music producer and Golden Rules member Paul White (whose contemporary broken beats and synths have backed and illuminated the likes of Open Mike Eagle, Obongjayar, Jamie Woon and Jamie Isaac).
'Ear Shots – A New Kind of Cypher': featuring Brother Portrait + Shunaji + Paul White + Confucius MC + Chris P Cuts
Ghost Notes, 95a Rye Lane, Peckham, London, SE15 4ST, England
Thursday 30th August 2018, 9.00pm – free event – information here and here
The following night, Woodburner (responsible for all of those Dalston Eastern Curve gigs I've been posting about over summer) hits Brixton with the following:
"Woodburner is proud to present an all-night party at Hootananny Brixton, featuring global females GRRRL, Bristol power-unit Sounds Of Harlowe, and London-based Afro-inspiration from Bamako Overground.
"GRRRL is an electronic music collaboration between revolutionary women, brought together by In Place of War (a global organisation that supports artistic creativity in places of conflict as a tool for positive change). GRRRL is directed by Brazil's Laima Leyton (Mixhell, Soulwax), and features an exhilarating mix of influential artists including Zimbabwe's rapper queen Awa Khiwe, queen of Brazilian dancehall Lei Di Dai, the Ghanaian lioness of Africa Noella Wiyaala, UK/Bangladeshi vocalist Sohini Alam, and Caracan DJ/ percussionist María "MABE" Betania. GRRRL fuses together sounds of dark techno, ghetto bass, hip-hop, dancehall, reggae, soul and electronica.
"Dubbed "incendiary live hip-hop/soul rabble rousers packing deep lyrics, subterranean grooves and stratospheric brass" by 'Sounddhism' (and as "an almost erotic experience." by 'Yack Magazine Fat City', Sounds Of Harlowe are a grunge-soul collective with a wide range of influences who blend elements of soul, hip-hop, metal and jazz to create their own signature brand of music. The Bristol-based group's infectious live performances have allowed them to headline shows around the UK, as well as perform at a variety of festivals from the likes of Boomtown and Bestival, to Soundwave Croatia and Nozstock. This culminated in their first UK tour at the end of 2016 after a limited release the debut EP 'Change Of Disposition' which, after having some finishing tweaks made, received a full online release in January 2018.
"Bamako Overground bring grigri grooves and rocking desert blues from London via Bamako. The trio are irresistibly seduced by the music of West Africa, blending its influences overtly and covertly with their own carefully-selected flavours. Deep and soulful rhythms meet soaring melodies, while crunching three-part vocal harmonies speak of pilgrimage and placelessness to complete a brew that's compelling and utterly unique.
"In between, DJ Hot Bread will spin afro and tropical bangers, nice and fresh."
Woodburner & GRRRL present:
GRRRL + Sounds Of Harlowe + Bamako Overground, DJ Hot Bread (Woodburner)
Hootananny Brixton, 95 Effra Road, Brixton, London, SW2 1DF, England
Friday 31st August 2018, 8.00pm – (free before 9.00pm) – information here and here
Tags: Awa Khiwe, Bamako Overground, Black/Other, Chris P Cuts, Con+Kwake, Confucius MC, DJ Hot Bread, Future Bubblers, Golden Rules, GRRRL, Laima Leyton, Lei Di Dai, London (England), María Betania, Noella Wiyaala, Sohini Alam, Sounds Of Harlowe, Steam Down Collective
Categories 2018 music, Bangladeshi music, broken beats, club music, dance, dance performances, dancehall, desert blues, DJ sets, electronica, Ghanaian music, ghetto bass, grunge-soul, heavy metal, hip hop, jazz, jazz-funk, Malian music, neo-soul, previews, R&B, rapping, reggae, roots music, soul, techno, West African music, world & indigenous music, worldbeat


text:
Home News Jewelry Store Owner's Children Fight Off Robbers
Jewelry Store Owner's Children Fight Off Robbers
Three ordinary clerks transformed into superheroes to fight off a team of robbers in a wild scene from a dystopian lawless nightmare.
Four hooded thugs broke into the Princess Bride Diamonds jewelry shop in Huntington Beach, Calif. Sunday. One of the thugs took a hammer and smashed a glass display case. The store associates were able to set them on fire before they could complete the "grab" portion of their mission.
Dallas Baca (son of Trans and Lisa Baca store owners) began the defensive action by charging criminals and landing full-contact punches on one intruder's face. The thief fell to the ground near the front door. His friends then trampled him. Another employee joined the fight, punching another thief and kick-kicking the miscreant with her stylish tan boots. Dallas's sister Sarah came in with a stool, which she used to great advantage as both a noggin bonker and a Ram. The would-be robbers were defeated and fled the store.
California's ruling Democrat party's policies to tolerate riots, decriminalize crime and undermine law enforcement have caused a lot of chaos. This has made it difficult for many businesses to survive. As expected, law enforcement tells civilians to ignore the fact that their businesses are being pillaged and instead think about the equity flag and call 9-1-1 to report a complaint. Store owners know that terrorized employees and stolen stock are not the best ways to run a business.
Sarah Baca, a stool-wielder, stated that she jumped into action to defend her brother and the other employee of the store. She stated that she was just trying to grab the "heaviest object" to deter others and hit them as hard as possible.
"I am tired of it. It is just so sickening to watch it all over the news. It's so sad," Sarah lamented. We hope things will change. Criminals need to be sent to jail. It shouldn't be up to the people to do things like this to help their staff and themselves.
She explained that "We had been concerned since the riots started when lootings and violence occurred in L.A., but it's just been continuing down to Orange County." We know it's happening in our area a lot, but it's crazy when it happens".
She said, "But we just really wish that police can be funded more to stop this type of thing happening and that criminals get actually prosecuted so they don't feel so brazenly to do this in public daylight."
Sarah stated, "I believe that this is like our livelihood." "We want California to be great again."
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redpajama_set_name: RedPajamaCommonCrawl


Jaw Crusher Introduction Jaw Crushers are configured for primary crushing of even hardest rock. Our Jaw Crushers are crushing without rubbing Minimum dust Oil lubrication, devise having Oil/Grease lubrication system. The company crushers are .
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Impact Crusher This Impact Crusher is used for primary, secondary and fine crushing for all kinds of minerals and rocks(for example, the granite, marble, and limestone) with compressive strength less than 350 MPa. It is widely used for sand and rock producing in .
Jaw Crusher Plate Production process 1. After the contract signing, technician will correct and confirm the drawing for 3D simulation (if the customer dont have drawing, we can provide the field sketch service). 2. Carbide EDS and 3D simulation. 3. The .
. 320D/D L Series 2 Hydraulic Excavators .
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text:
Reading: Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hosp...
Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka
A S Jayaweera ,
Departments of Microbiology, Faculty of Medicine and Allied Sciences, Rajarata University of Sri Lanka, LK
M Karunarathne,
Department of Microbiology Teaching Hospital, Anuradhapura, LK
W W Kumbukgolla,
Department of Biochemistry Faculty of Medicine and Allied Sciences, Rajarata University of Sri Lanka, LK
H L Thushari
How to Cite: Jayaweera, A.S., Karunarathne, M., Kumbukgolla, W.W. and Thushari, H.L., 2017. Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka. Ceylon Medical Journal, 62(2), pp.110–111. DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera, A.S., Karunarathne, M., Kumbukgolla, W.W. and Thushari, H.L., 2017. Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka. Ceylon Medical Journal, 62(2), pp.110–111. DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera AS, Karunarathne M, Kumbukgolla WW, Thushari HL. Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka. Ceylon Medical Journal. 2017;62(2):110–1. DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera, A. S., Karunarathne, M., Kumbukgolla, W. W., & Thushari, H. L. (2017). Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka. Ceylon Medical Journal, 62(2), 110–111. DOI: http://doi.org/10.4038/cmj.v62i2.8478
1. Jayaweera AS, Karunarathne M, Kumbukgolla WW, Thushari HL. Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka. Ceylon Medical Journal. 2017;62(2):110-111. DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera AS and others, 'Prevalence of Methicillin Resistant Staphylococcus Aureus (MRSA) Bacteremia at Teaching Hospital Anuradhapura, Sri Lanka' (2017) 62 Ceylon Medical Journal 110 DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera, A S, M Karunarathne, W W Kumbukgolla, and H L Thushari. 2017. "Prevalence of Methicillin Resistant Staphylococcus Aureus (MRSA) Bacteremia at Teaching Hospital Anuradhapura, Sri Lanka". Ceylon Medical Journal 62 (2): 110–11. DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera, A S, M Karunarathne, W W Kumbukgolla, and H L Thushari. "Prevalence of Methicillin Resistant Staphylococcus Aureus (MRSA) Bacteremia at Teaching Hospital Anuradhapura, Sri Lanka". Ceylon Medical Journal 62, no. 2 (2017): 110–11. DOI: http://doi.org/10.4038/cmj.v62i2.8478
Jayaweera, A S, et al.. "Prevalence of methicillin resistant Staphylococcus aureus (MRSA) bacteremia at Teaching Hospital Anuradhapura, Sri Lanka". Ceylon Medical Journal, vol. 62, no. 2, 2017, pp. 110–11. DOI: http://doi.org/10.4038/cmj.v62i2.8478


We are inviting applications from undergraduate students for Materials Bursaries for 2018.
All students who need financial support are encouraged to apply, but we particularly encourage applications from Financial Aid or GAP funded students. Financial need and student performance will also be taken into account when making the awards.
Funds for the materials bursaries are limited and the school cannot guarantee that all applications will be successful.
It is important to note that it could take a few weeks before the outcome of the applications will be made, as various applications need to be processed and considered.
Students need to bear in mind that if they do not wish to have the funds transferred to the Art Sauce or ORMS, it is possible, due to the financial process within the Faculty that they might have to wait several months to get paid.
It is in the spirit of the awards that students will contribute to the operations of the School. This would take the form of work in the studios, in the administrative office, assisting staff with exhibitions in the gallery, project demonstrations in the studios or in the computer lab.
A completed materials bursary application form – on the form you will indicate the following information.
A one-page motivation for the award. This is not necessary if you are on Financial Aid or are GAP funded.


The Most Powerful Handheld Travel Clothes Steamer Available!
After years of development, we are super proud to release the Fridja f10 portable handheld clothes steamer, ideal for traveling! Weighing only 900 grams, we made sure that there are no compromises! We've made it the same power as a full sized one – 1500W!
Coming in black (Raf), white (Erin) and pink (Gigi), these three powerful handheld clothes steamers are ideal for those in tight spaces, on the move from city to city or just as a new sidekick!
Since 2010, Fridja have led the way in garment care. Our clothes steamers are an incredibly fast way of avoiding ironing and cutting down on dry cleaning. Coming in a range of colours and with a start time of 45 seconds, you'll wonder how you lived without one.
Knocking Dragons dead on Dragons' Den and being used at countless fashion events across Europe, Fridja garment steamers are the perfect solution for refreshing fabrics, eliminating creases and caring for your clothes.
In 2019 – meet our brand new f1500 high pressure clothes steamer, the most powerful clothes steamer in the world!
SEE OUR FULL RANGE OF FRIDJA PRODUCTS!
The brand new Fridja f200 is simple and minimal design but an incredibly handy tool. The f200 fast wireless charging LED mirror lamp creatively combines the function of mirror lamp, desk lamp and 10W adaptive wireless fast charger. Providing the ultimate lighting for skincare and daily routine, applying your make up, charging your QI-enabled devices such as your iPhone or Samsung phone and a lamp to read with.
We couldn't help but launch a range of cold press juicers. Slow juicers are incredible at squeezing fruits and vegetables into amazing juice leaving just dry pulp. Whether you want to juice for weight loss, clearer skin or just to stay on top of your five a day, slow juicers are a revolution in the kitchen.
Sergio, our f1900 model, has a huge three-inch tilted wide mouth feeding chute, which makes juice, smoothies, fruit ice cream and so much more. With next day delivery, you could be less than 24 hours away from feeling a whole lot better.
At Fridja, we have a passion for home technology, products that make you look good and feel good. From our famous clothes steamers to our technologically advanced cold press juicers. We believe that the best way to showcase our products are videos. So please, sit back and flick through some of our greatest ones. If you never want to miss another one, please subscribe to our YouTube channel or any of our social media platforms, we promise to keep you in the loop. Thanks for watching!
Our brand new f200 is a totally new product. Combining three functions in one, and looking freaking awesome, this would get used everyday. The LED mirror is strong and illuminates every part of your face. The desk or night lamp is soft and ideal for natural light for reading or working. The 10W adaptive wireless charger gives power to your Qi-Enabled devices in the fastest and safest possible time.
Fridja products (accessories not included) all are sent with free shipping, valid in UK and lots of Europe.
Our clothes steamers produce great results, we think they are the best looking clothes steamers on the planet!
Simply order by 1pm on this site and you'll receive your Fridja the next business day if you live within UK mainland.


text:
Q: Can I return typed objects from a Dictionary? Here's what I have right now:
enum TestKeys: String {
    case login = "login"
    case username = "username"
}

var testData: Dictionary<String,AnyObject>  = // a dictionary of known key/values

// I want the return value from this function to be typed
func getTestObject(key: TestKeys) -> AnyObject! {
    if let obj: AnyObject = testData[key.rawValue] {
        return obj
    } else {
        assertionFailure("We cannot find \(key.rawValue) in our testData")
        return nil
    }
}

I know in advance the keys and specific value types in my dictionary. What I'd like to be able to do is associate a type with each key, so that I can have typed return values when I access the content of the dictionary.

redpajama_set_name: RedPajamaStackExchange


text:
Besler, Basilius
German, (1561-1629)
Magnificent flower prints from the first great botanical folio. Our selection includes tulips, peonies, roses, iris, daffodils, hyacinths, vegetables, water lilies, and tomatoes. Each species is identified with its Latin name on the print.
The prints were commissioned by Johann Konrad von Gemmingen (c. 1561-1612), Prince-Bishop of Eichstätt, to chronicle his garden through the four seasons, with most of the plants depicted actual size. This garden, which encircled the Episcopal residence, was one of the first of its kind, an inclusive display of shrubs and flowering plants, mostly European, but with some then exotic species from Asia, Africa and the Americas. Basil Besler, a pharmacist and botanist, was retained as an artist to record the glories of the garden. Besler worked on intermittently over a 16-year period, on site or from specimens. A team of at least six engravers faithfully translated Besler's drawings to copperplates, Wolfgang Kilian chief among them.
Hortus Eysttensis (literally the Garden of Eichstätt), first published in 1613, is a landmark work in the history of botanical art and considered one of the greatest botanical sets ever created. Over 1,000 flowers representing 667 species are depicted on 374 folio size plates. The prints are historically significant on several levels, showing a remarkably large number of tulips and other flower bulbs and chronicling the introduction of exotic species to Germany. The prints survived the gardens themselves, which fell into neglect after von Gemmingen died, and were destroyed by invading Swedish troops in 1634. The copperplates from which the prints were used to print a second and a third edition. They remained at Eichstätt until around 1800 and disappeared several years later. In 1998, a reconstruction of the original garden opened to the public in Eichstätt.
Editions: We offer an assortment of prints from the first, second, and third editions. A superior feature of the first edition is that the details of the strike generally are finer and richer. An advantage of the second edition is that the text is not printed on the back (sometimes the text lightly shows through to the front on the first or third editions). The third edition is printed on a heavier rich hand-made paper. The following is a summary:
First Edition, 1613. Text description printed on the back of the print.
Second Edition, 1640. Back of print is blank.
Third Edition, 1713 [- c. 1750]. Thicker and richer with grainier cloth fibers. Text description printed on the back of the print.


Brackley won a first home game since mid-October in a match of forgettable quality but nevertheless plenty of incident and goal chances.
After a scrappy start, bottom of the table Nuneaton went ahead after 28 minutes as Saints' defence failed to clear allowing Ryan Edmunds to finish with ease. This galvanised Brackley who responded with two quick goals to take a lead into the interval.
Matt Lowe drove down the right and found a fine finish between keeper Cam Belford and near post. Four minutes later loan striker Liam McAlinden headed in the simplest of chances from close range after Lee Ndlovu had lobbed Belford, the ball falling kindly for McAlinden.
The second half was very open with chances at both ends. Dior Angus saw Danny Lewis tip his fine effort onto the cross-bar while the home side went close to extending the lead as Gaz Dean could not connect with a corner at the far post and further opportunities were spurned.
The crucial third goal came in the 73rd minute. Top scorer Jimmy Armson was on hand to apply the finishing touch to Shane Byrne's deep corner and this proved to be the telling moment. Nuneaton stuck at their task bringing a late close range save by Lewis from Angus and Saints could not capitalise on good chances to extend the lead.
Brackley Town: Lewis, Lowe, Morgan (Murombedzi 65), Byrne, Dean, Hall (Fairlamb 27), G.Walker, Armson, Ndlovu, McAlinden (Nti 79), A.Walker. Subs unused: Myles, Jeffers.
Nuneaton Borough: Belford, Obeng, Lyne, Calveley, Addison, Hildreth, Baker, Kelly-Evans, Angus, Edmunds (Jennings 77), Leek (Morrison 74). Subs unused: Panayiotoyu, Basso.


David Grubb starts hour two of the show giving his take on the Pelicans. Voice of the Green Wave Todd Graffagnini talks about Tulane baseball.
1192 episodes available. A new episode about every 12 hours averaging 54 mins duration .


The Wabash River Enhancement Corporation (WREC) was founded in 2004. Its project area included Warren, Fountain, Tippecanoe, and Carroll counties, all within the North Central Health Services (NCHS) service area where the Wabash River flowed. NCHS funded WREC's first five years of operation and was committed to assisting with funding future planning, development, and land acquisition efforts. The WREC Board of Directors was comprised solely of Tippecanoe County leadership and chose to begin work within Tippecanoe County where project resources, support, capacity, and awareness were already strong. It was felt that work in Tippecanoe County could serve as a pilot for initiating river enhancement projects throughout the four county area. WREC's watershed work is progressing into adjacent counties, where it is developing relationships and fostering leadership.
The Region of the Great Bend of the Wabash River is replete with historical significance. When the area was settled, three main tribes of Indians remained - the Potawatomi, the Shawnee, and the Miami. The Potawatomi tribe occupied much of eastern Tippecanoe County while the Wea, a branch of the Miami, occupied the western portion of the county, and the Shawnee occupied much of the southern portion. Thousands of Wea occupied a large village at the confluence of Wea Creek and the Wabash River in 1717 when the French established the first permanent fortified European settlement across the river at Fort Ouiatenon. The Wabash River provided a critical link between the French trading colony in Montreal and its sister colony at New Orleans. Fort Oiuatenon was the southern terminus for the Montreal colony and Vincennes was the northern terminus for the New Orleans colony. Rivers were the interstate highways of that time and this route was at the epicenter of the French-British conflict to control North America and reap its significant economic benefits. Ultimately, the British seized control of the fort and burned it to the ground. The present day Fort Ouiatenon county park is immediately east of the actual historic site. The park hosts the annual Feast of the Hunters Moon festival, which recreates Eighteenth Century life along the Wabash each fall.
Another historically significant event took place along the Wabash River at present day Prophetstown State Park and the adjacent town of Battle Ground. The state park is the historical site where, in 1808, the Shawnee Indian leader Tecumseh and his brother the Prophet established Prophet's Town, a multi-tribe Indian confederation, to oppose the loss of Indian lands to the expanding United States. Territory Governor General William Henry Harrison marched troops north from Vincennes to destroy Prophet's Town in early November, 1811 while Tecumseh was away. Harrison's troops camped on a ridge above the eastern banks of Burnett Creek at present day Battle Ground. The Prophet agreed to meet with Harrison the following day, but the Native American warriors attacked the US camp in the early morning hours. The Prophet's warriors were defeated by Harrison's troops before the morning was over. Tecumseh joined forces with the British against the US in the ensuing War of 1812, but was killed by Harrison's forces in the Battle of the Thames in 1813. The Battle of Tippecanoe opened the Indiana Territory for further settlement and the creation of the State of Indiana in 1816. The battlefield is now a National Park Service Memorial and Monument, and a county park. Prophet's Rock, located west of the battlefield site, commemorates the location where the Prophet launched the attack.
During its early days, much of Tippecanoe County was resplendent with large trees and prairies as far as the eye could see. Early historians described the region as prairie with black and white walnut; bur oak; pignut, bitternut, shagbark, and scale hickory; wild cherry; sugar maple; and beech trees. Willow, dogwood, hazelnut, crabapple, plum, pawpaw, buckeye, and sassafras were also prevalent. The low water mark of the Wabash River historically measured 504 feet above sea level. Numerous clear, cold streams and springs carried water to the river.
The first post-statehood settlement in Tippecanoe County occurred in the 1820s when Peter Weaver created a homestead on the southern end of the Wea Plains. Several others followed and by 1826 Tippecanoe County was incorporated. The county and many of its towns can trace their founding to the Wabash River and the Wabash and Erie Canal. Lafayette was founded at the upper navigable limit of the Wabash River as a steamboat port in 1825. Platting of several towns soon followed with Romney in 1831, West Point in 1833, Granville in 1834, Clarks Hill in 1850, Chauncey and Kingston in 1850-55, and Battle Ground in 1858. The Wabash and Erie Canal reached Lafayette by 1843, reducing the time it took to ship goods back and forth to New York City to a mere 14 days. The canal's heyday lasted approximately 10 years before railroads reached Lafayette in 1855, reducing the region's commercial reliance on the river. The Tippecanoe County courthouse was erected between 1881 and 1884 with development of the downtown following. In 1888, Chauncey and Kingston merged to form West Lafayette. Industry soon moved into the area with the Lafayette Box Board and Paper Company being one of the largest enterprises by approximately 1856. The paper company remained in continuous operation until 2006. By 1905, 80 factories operated within Lafayette. By 1909 the city was home to 23,000 residents and contained over four-miles of asphalt roads, two-and-one-half miles of brick streets, nearly one-and-one-half miles of sanitary sewer, 13 hotels, 34 churches, and two public parks.
Purdue University is another example of how the region's development related to the Wabash River. John Purdue was a successful local merchant who shipped goods to and from Indiana via the Wabash River. After the 1862 Morrill Act called for a land grant college in each state, he donated money and property to tip the decision in favor of a Tippecanoe County location. Purdue University was established in 1869, and John Purdue was put in charge of building the first buildings. The first student graduated in 1875 and John Purdue died a year later, after a cantankerous relationship with the Board of Trustees.


The American Association of Orthodontists (AAO) recommends that all patients have their first orthodontic check-up around the age of 7 years.
This is the age at which the first permanent teeth begin to erupt. An examination at this age does not always lead to treatment at that time. However, it does allow the orthodontist the opportunity to evaluate the position of the permanent incisors and molars and plan for future growth modification if necessary.
If early treatment is indicated, your child may benefit from: moving the front teeth back to prevent injury, correction of a cross bite, guidance of the eruption of permanent teeth if they are severely crowding, and/or improved facial appearance and self-esteem to name a few.
Who is a candidate for braces?
In addition to braces for children and adolescents, approximately 25% of an average orthodontic practice is composed of adult patients. There is no age restriction for attaining a beautiful, healthy smile.
You should use a soft bristle toothbrush. Always brush above and below the braces using a small circular motion. Slowly work your way from one side of the top teeth to the other. TAKE YOUR TIME. When you have finished with the upper braces, move to the bottom teeth and start again using small circular brush strokes until you have brushed the front of all your teeth. Then brush the inside and the chewing surface of all your teeth.
To floss, insert the dental floss behind the archwire. Floss the contact and gently clean the sides of the teeth and under the gums using an up-and-down motion. Remove the floss from under the archwire and move to the next tooth contact. Repeat.
Poor brushing and flossing will result in decay, white spots or scars, and swollen, painful gums. Remember to continue to visit your dentist for regular cleanings while your braces are in place.
Loose band or bracket Call our office for an appointment to have loose appliances re-cemented. If the loose band or bracket is irritating to the gums or cheek, place wax over the area. Remember to brush very well around the loose appliance as it may tend to trap plaque.
Appliance or Headgear that does not fit. Call our office for an appointment. Do not try to force appliance into place.
Soreness from braces Place wax on any area that feels sharp. This will smooth out any area that may be poking. If necessary, you can take whatever pain reliever you would take for a fever or headache.
Poking wire ligature tie. Tuck the wire tie back in place with the tip of a spoon or a pencil eraser.
Poking archwire. Place wax or wet cotton over the area and call for an appointment to have the wire evaluated.
In general, foods that are hard, sticky, or chewy can damage your braces. You should limit sugary foods such as soda and candy. Sticky food and candy can cause cavities, loosen your appliances or put bends in your archwires. This can cause your orthodontic treatment to take longer than expected. Also, avoid chewing on hard food or objects such as hard candy, ice cubes, pens and pencils.
ORTHODONTIC APPLIANCES SHOULD NOT GO UNATTENDED!! If you accidentally miss an appointment or need to change your appointment, please call our office to reschedule your adjustment. Missed or delayed appointments can damage your teeth and gums, and cause your treatment to take longer than expected.
After your braces are removed you will receive retainers to wear. Retention is an important part of your treatment plan! Always wear your retainers as directed. Brush your retainers with toothpaste and water when you brush your teeth. Keep retainers away from pets. Never wrap your retainer in a napkin, as it can accidentally be thrown away. Always keep your retainer in the retainer case when it is not in your mouth.


Turning out of the protected bay at Marea del Portillo just after 8am into the long rolling ocean swell from the south east we had a leisurely motor sail down the coast. It was a really relaxing trip, viewing the coastline as the sheer mountains gave way to gentle hills and some green pastures. We had light easterly winds and the 25 miles trip was easy. We felt sure we would catch a fish on this trip but no luck.
About 10 miles out we spotted the lighthouse at Cabo Cruz and then the small fishing village with several boats along the shore. At this far out the looked to be sitting right out in the ocean swell as we couldn't really make out the 2 mile reef that stretches out from the point in an easterly direction. On the other side of the reef is a narrow channel with some coral patches and then mangrove extends out from the northern shore, making a really protected anchorage for anything other than westerly winds.
We studied the charts carefully and the water was super clear so we could make out exactly where the reef came to an end; which was actually quite a bit further out than the red marker buoy. Then we turned into the narrow gap and gingerly edged our way into the anchorage. We were about 2 miles from town but didn't want to push our luck by going any further as it was pretty shallow. We dropped the anchor in a great sandy spot and had our first swim in Cuba.
As soon as we arrived a fishing boat came by and Jorge (yes I think every second person in Cuba is called Jorge) offered to get us some lobsters - perfect! We had read you could just anchor here and that the Guarda were not that friendly so it wasn't necessarily worth going ashore. However, just after our snorkelling trip a rowing boat arrived with two very young Guarda aboard. Again shoes off in the their boat and very polite, if not a bit shy. They quickly checked us in and out, confirmed we were welcome to come ashore and told us the restaurant served good fish - they took their beers away and then spent about an hour rowing against the breeze back to town. We felt a bit bad to bring them out so far but not as bad as for Jorge and his mate who appeared in the water at the back of Askari an hour later with 4 lobsters.
The Cuban's are not allowed to approach or come onto our boat in any circumstances; and the Guarda are always watching. So the boys had ditched their fishing boat in the mangroves and then swam out to us about a mile. They were exhausted and I couldn't let them on the boat - typically Andrew was busy talking weather with Chris Parker on the SSB so I was left to deal with the lobsters. They drove a hard bargain but eventually we did the deal for 4CUC plus a Fremantle 'Dockers' hat and an old t-shirt. I tried to explain that the hat was special and about Australian Rules Football but I think they just wanted to swim off back to their boat and stop shivering. So if you find yourself in Cabo Cruz look out for a guy sporting a AFL hat!
Just before dinner another guy swam out from the reef passing by us on his way back to the land, a four mile round trip, and offered us another lobster and a snapper - gosh these guys can swim a long way. After he left I wish we had traded it as I could have frozen it and we could have put something into the community - a lesson for next time.
We had a great nights rest in this amazing spot, ate lobster and jacket potato for dinner with views of the village and the cliffs behind at sunset - it really was very special.


Trooper Newman was killed in a motorcycle accident while on patrol near the town of Buckner at 1200 hours. A vehicle attempted to make a left turn in front of Trooper Newman but stopped when the driver saw the trooper. Trooper Newman was unable to avoid the car and struck it broadside. He was transported to Moore Hospital where he succumbed to his injuries.
Trooper Newman had served with the Illinois State Police for four years and was assigned to District 13. He previously had served as the Chief of Police of the Benton Police Department and was a U.S. Marine Corps veteran. Trooper Newman was survived by his wife and child.
To fully appreciate the heroes of the present, we must recognize our heroes of the past. Your heroism and service is honored today, the 72nd anniversary year of your death. I am priviliged to leave a tribute to you. Your memory lives and you continue to inspire. Thank you for your service. My cherished son Larry Lasater was a fellow police officer who was murdered in the line of duty on April 24, 2005 while serving as a Pittsburg, CA police officer. He was also your fellow Marine so I thank you for your service in the Corps and bid you semper fi.


text:
Кандис Бушнел () е американска журналистка и писателка на бестселъри в жанра съвременен дамски роман или чиклит.

Биография и творчество
Бушнел е на 1 декември 1958 г. родена в Гластънбъри, Кънектикът, САЩ, в семейството на Калвин и Камил Бушнел. Нейните предци могат да се проследят чак до Франсис Бушнел от Татчъм, Бъркшър, Англия, който емигрира през 1639 г. Баща ѝ е инженер и е един от изобретателите на въздушното охлаждане на водородната горивна клетка, която е използвана в космическите мисии "Аполо" през 1960 г., а майка ѝ е туристически агент. Има две по-малки сестри. Израства в Гластънбъри с любов към книгите и желание сама да пише. Записва свои истории на касета и ги представя на своите приятелки от квартала.

След завършването на гимназията в родния си град учи в университета "Райс" в Хюстън, Тексас, и в Нюйоркския университет, който завършва през 1979 г. На 19 г. продава първите си детски разкази на издателство Саймън и Шустър, но те не са публикувани. След дипломирането си работи като журналист на свободна практика към списание "Бийт", женските издания "Лейдис Хоум Джърнъл", "Селф и Мадмоазел", редактор в "GQ" и "Vogue". През това време става част от хайлайфа и организатор на много светски партита. През 1990 г. води колонка наречена "The Human Cartoon" ("Човешката карикатура") в списание "Хамптън", която става предвестник на нейния пръв роман.

През 1993 г. започва да пише в "Ню Йорк Обзървър" и през 1994 г. като колумнист започва да води шеговитата рубрика "Сексът и градът". Бързо става известна, защото пише за неща, които тя добре познава – собствения си любовен живот (чрез гласа на своето алтер его, Кари Брадшоу), живота на своите приятелки, на своите познати, и на елита на Ню Йорк. Нейният поглед "през ключалката" към спалните на най-богатите и привлекателни личности вади на показ истинските истории за секса, любовта и отношенията в съвременния хайлайф. През 1995 г. тя се запознава с Рон Галоти (издател на "Вог"), който става прототип на нейния герой – Тузара.

През 1996 г. публикациите ѝ са събрани в книгата "Сексът и градът", която става емблематичен световен бестселър. По нея от 1998 г. започва филмирането на сериала "Сексът и градът", от 96 епизода в шест сезона, с участието на филмовите звезди Сара Джесика Паркър, Ким Катрал, Кристин Дейвис и Синтия Никсън. Впоследствие са направени още два игрални филма през 2008 и 2010 г.

През 1997 г. Бушнел е водеща на токшоуто "Секс, живот и видеоклипове" по телевизия VH1.

На 4 юли 2002 г. се омъжва за Чарлз Аскегард, главен балетист на "Ню Йорк Сити Балет", десет години по-млад от нея. Развеждат се през 2012 г.

Кандис Бушнел продължава успешната си писателска кариера с романите "Четири блондинки" – за своята нецензурирана гледна точка към ритуалите за свалки на елита в Манхатън, и "Раз-Крачка към върха" – сатира за модел на дамско бельо, чието богатство нараства, но шеметния успех ѝ идва в повече. През 2005 г. издава другият си много популярен роман "Триумфът на червилата". В него описва живота на една нова прослойка в обществото – "жените с мъжки кариери". Посрещнат възторжено от критиците, той е адаптиран през 2008 – 2009 г. в едноименния сериал с участието на актрисата Брук Шийлдс.

От октомври 2006 г. до октомври 2008 г. тя е водеща на радио шоу по "Сириус сателит радио", наречено "Секс, успех, и чувства". През септември 2009 г., заедно с Джени Гарт, стартира уебсериала "The Broadroom".

През 2010 и 2011 г. писателката издава два романа за юношеската дамска аудитория с участието на героинята си Кари Брадшоу – "Дневниците на Кари Брадшоу" и "Лятото и градът".

Чрез своите произведения Кандис Бушнел е повлияла на две поколения жени. Нейните романи неизменно са в списъците на бестселърите. Преведени са на много езици по целия свят.

Носителка е на наградата "Matrix" от 2006 г. и на наградата "Алберт Айнщайн" за духовни постижения.

Бушнел живее в Манхатън, Ню Йорк и в Роксбъри, Кънектикът.

Произведения

Самостоятелни романи
 Sex and the City (1996)Сексът и градът, изд.: ИК "Кръгозор", София (2008), прев. Светлана АхчийскаСексът и градът, изд. "Арт Етърнал Дистрибушън" (2016), прев. Весела Динолова
 Four Blondes (2000)Четири блондинки, изд.: ИК "Кръгозор", София (2003), прев. Пенка Георгиева Стефанова
 Trading Up (2003)Раз-Крачка към върха, изд.: ИК "Кръгозор", София (2006), прев.
 Lipstick Jungle (2005)Триумфът на червилата, изд.: ИК "Кръгозор", София (2006), прев. Антоанета Дончева-Стаматова
 One Fifth Avenue (2008)Булевардът на тузарите, изд.: ИК "Кръгозор", София (2009), прев. Антоанета Дончева-Стаматова
 Killing Monica (2013)
 Is There Still Sex in the City? (2019)Има ли все още секс в града, изд.: ИК "Кръгозор", София (2020), прев. Диляна Георгиева

Серия "Дневниците на Кари Брадшоу" (Carrie Diaries)
 The Carrie Diaries (2010)Дневниците на Кари Брадшоу, изд.: ИК "Кръгозор", София (2010), прев. Антоанета Дончева-Стаматова
 Summer and the City (2011)Лятото и градът : дневниците на Кари Брадшоу – 2, изд.: ИК "Кръгозор", София (2011), прев. Антоанета Дончева-Стаматова

Сборници
 Big Night Out (2002) – с Джесика Адамс, Маги Алдерсон, Джоан Колинс, Ник Ърлс, Имоджен Едуардс-Джоунс, Ник Хорнби, Мариан Кийс, Карън Молине и Патрик Нийт

Филмография
 1998 – 2004 Сексът и градът, Sex and the City – ТВ сериал, съпродуцент
 2008 Сексът и градът, Sex and the City – филм
 2008 – 2009 Триумфът на червилата, Lipstick Jungle – ТВ сериал, изпълнителен продуцент
 2009 The Broadroom – ТВ сериал
 2010 Сексът и градът 2, Sex and the City 2 – филм
 2013 Дневниците на Кари, The Carrie Diaries – ТВ сериал, изпълнителен продуцент

Източници

  Биография и библиография във "Fantasticfiction"
  Биография и библиография в "Goodreads"
  Биография в официалния сайт
  Биография в "Encyclopedia of World Biography"
 За Кандис Бушнел в "Кръгозор"

Външни препратки
   на Кандис Бушнел

  Домът на Кандис Бушнел във "Woman"

Американски писателки
Американски автори на любовни романи
Американски писатели феминисти
Американски журналисти
Възпитаници на Нюйоркския университет
Кънектикътци

redpajama_set_name: RedPajamaWikipedia


text:
Q: Why animation does not stop after loop meets condition The characters move from one side of he screen to the other. The movement finishes when the while loops is done executing but the "Run" animation keeps going.
void Update()
{

if(selected == true)
Move()

}

void Move()
{

pos = left.transform.position;

StartCoroutine(MoveOverTime());

IEnumerator MoveOverTime()
        {
            while (transform.position != pos)

            {

                transform.position = Vector3.MoveTowards(transform.position, pos, 0.04f * Time.deltaTime);
                animator.Play("Run");
                yield return null;
            }
       selected = false;
     yield return null;

      }
}

A: You should use a proper float comparison to prevent the expected almost-never-exactly-same-value condition.
Try to use (transform.position - pos).magnitude > 0.1f instead. You can tweak the precision as you wish.


Check out this week's Gino's Top Five Plays of the Week!
Taylor Scott scores 18 points in the same game as her 1000th career point.
Luke Vass crossover and left-handed finish for his 1000th career point.
Taylor Isaac outlet pass to Gavin Pivont for a quick score.
Braedon Crews grabs rebound and then goes coast to coast for the basket and the foul.
Bryce Radford scores game-winning three-pointer as part of a 29-point game.
Congratulations Bryce on having the Gino's Top Play of the Week!


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Charlotte Tilbury Is Launching a Bar of Gold Highlighter Trio
Join Allure Beauty BoxFLASH SALE! Sign up today and get over 40% off your first box with code BEAUTYBFF at checkout!JOIN NOW
The two new shades are gorgeous, just like the original.
You know a makeup product is devastatingly good when it's by no means inexpensive yet it's chronically sold out. A perfect example: Charlotte Tilbury's Bar of Gold highlighter. Can you find 0.15 ounces of gold-toned highlighting powder for less than $42? Absolutely. But will it contain pure gold pearls that illuminate your skin as flawlessly as Bar of Gold does? Absolutely not. And that's why it's pretty much never available. It's also why Charlotte Tilbury was inspired to create it in two more shades and package them with the original as a brand-new Bar of Gold Trio.
Launching July 9, the new Bar of Gold Trio will contain the original gold shade that offers "an instantly glamorizing touch of light," alongside a new Rose Gold hue that imparts a rosy blush, and Gold Bullion, which has a bronzing effect. Like the original, all three shades of the "wet powder" are formulated to offer a lit-from-within glow and a soft-focus effect on imperfections, creating a sculpted, lifted look. The brand recommends using "any or all of the three shades across different parts of the face to create a radiant, glossy complexion on the cheekbones, temples, nose, cupid's bow and décolletage." They can even be used as eye shadow or on top of lipstick.
Tilbury herself calls the Bar of Gold Trio, which comes in a sleek palette, "a lustrous library of light for the face and body," but we would've been sold even without the alliteration — it looks like an absolute must-have for summer-night skin. If you agree, you'll have your chance to snag it for $58 exclusively on charlottetilbury.com next Monday. Just be sure to set an alarm to remind you to shop, because if the original Bar of Gold can so easily sell out, three shades of the in-demand highlighter are bound to go quickly. You can make it especially easy on yourself by signing up on the brand's waitlist, right here.
More Charlotte Tilbury news:
Charlotte Tilbury Reveals the Secrets Behind Her Hollywood Flawless Filter
Charlotte Tilbury Is Dropping a New Version of Her Best-Selling Legendary Lashes Mascara
Your Guide to Meghan Markle's Favorite Beauty Products and Fashion Brands
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Ksantelazma kapka oka  (lat.  xanthelasma palpebrae) je dobroćudno (benigno) nakupljanje lipida (masnoće) i gigantskih penušavih ćelija u koži kapka.  Može biti važan indikator narušenog metabolizma masti u jetri, kod određenih hroničnih bolesti.

Ksantelazma je benigno stanje koje nikada ne dovodi do ozbiljnih posledica, ali je kozmetički neugodno, a većina pacijenata je nezadovoljna svojim imidžom i traže savet lekara. U tom smislu pacijenti često posećuju dermatološke ordinacije, klinike za rekonstruktivnu hirurgiju i oftalmološke klinike tražeći trajna rešenja.

Epidemiologija
Ksantelazma je neuobičajena lezija kože u opštoj populaciji sa grubom incidencom od 1,2%. Češće je kod žena nego kod muškaraca. Starost početka se kreće od 20 do 70 godina, ali se najčešće viđa između 35 i 55 godina.

Češće se javljaju kod žena, kojima ne predstavlja značajan estetski problem jer se može prekriti šminkom.

Etiopatogeneza
Ksantelazma je stanje u kome se meke, žute papule ili plakovi ispunjeni holesterolom formiraju preko medijalnog kantusa gornjeg kapaka. Nekoliko zdravstvenih stanja povezano je sa pojavom ksantelazme kapka, uključujući:

 Hiperlipidemiju,  tipa II koja uključuje tip IIa, poznat i kao porodična hiperholesterolemija, i tip IIb, koji se obično naziva porodična kombinovana hiperlipidemija Hiperlipidemija tipa IV, koja je takođe poznata kao porodična hipertrigliceridemija

 Šećerna bolest,

 Disfunkciju štitne žlezde, hipotireoza
 Niski  nivo HDL-a
 Masna dijeta
 Prekomerni unos alkohola
 Dobijanje na težini

Ksantelazm se primećuje i kod pacijenata koji su ranije imali eritrodermu, generalizovanu inflamatornu dermatozu kože i kod pacijenata koji su ranije imali kontaktni dermatitis. Može biti prediktor ishemijske bolesti srca, infarkta miokarda ili sistemske ateroskleroze.

U ovim stanjima  treba imati u vidu ksantelazmu  u diferencijalnoj dijagnozi i razmatrati odgovarajuću procenu i upravljanje ovim stanjem. Ova aktivnost naglašava ulogu interprofesionalnog tima u zbrinjavanju pacijenata sa ovim stanjem.

Ranije se smatralo da ksantelazme nastaju samo kod osoba sa povišenim nivoima masnoća i holesterola u krvi. Polovina osoba sa ksantelazmama ima uredan nalaz lipida u krvi, i kod njih  je genetski faktor najznacajniji uzročnik.

Ksantelazme mogu biti udružene i sa hiperlipidemijom zbog šećerne bolesti, bilijarne ciroze, ateroskleroze.

Histopatologija
Kod kantelazme epidermis je pošteđen, a takođe i papilarni dermis. U retikularnom dermisu, inflamatorni infiltrat je perivaskularni i sastoji se od mešovitih ćelija, uključujući mono i višejezgrene penaste ćelije unutar citoplazmatskih vakuola opterećenih lipidima u površinskom retikularnom dermisu. Potkožni masni sloj je obično pošteđen.

Klinička slika
Bolest se manifestuje u vidu žućkastih masnih pločastih naslaga koje su blago izdignute iznad ravni kože, u unutrašnjim uglovima očnih kapaka. Ove naslage u vidu papula se ne mogu stisnuti i neće nestati same već će rasti s vremenom.

Dijagnoza
Dijagnoza je jednostavna i postavlja se fizikalnim pregledom.

Kod pacijenti sa ksantelazmama treba preventivno urade biohemijske analize nivoa lipida u krvi, radi njihove korekcije ukoliko je potrebna, i eventualnog otkrivanja pratećih hroničnih bolesti sa narušenim metabolizmom masti.

Pošto veliki broj osoba sa ksantelazmom ima poremećaj lipida, preporučuje se merenje serumskog lipidnog profila. Takođe se može uraditi panel jetre, test funkcije štitne žlezde, glukoza u krvi natašte ili ako pacijent ima šećernu bolest, nivo glikozilovanog hemoglobina meri kontrolu šećera u krvi u poslednja 3 meseca. U većini slučajeva, nivoi holesterola i triglicerida su povišeni, a nivo lipoproteina visoke gustine (HDL) je smanjen. Da bi se precizno izmerio profil lipida, pacijenti treba da poste najmanje 12 sati.

Terapija
Ksantelazme se najčešće uklanjaju radiotalasima, čija je primena potpuno bezbedna za područje oko očiju za razliku od laserskog uklanjanja. Za potpuno uklanjanje najčešće je dovoljan jedan tretman. Za veće i duboko smeštene ksantelazme potrebno je ponekad tretman ponoviti.

Tokom intervencije pacijentu se prvo ubrizgava mala količina lokalnog anestetika, da bi se potom pomoću radiotalasne omče toplotnim efektom lagano vršilo topljenje naslage masnoće. Nakon intervencije zaostaju krastice koje išćezacvaju za sedam do deset dana.

Komplikacije
Studija koju su sproveli Christoffersen i saradnici,  smatraju da ksantelazma može biti prediktor rizika za infarkt miokarda, ishemijsku bolesti srca, tešku aterosklerozu, i smrti u opštoj populaciji, nezavisno od poznatih kardiovaskularnih faktora rizika (npr holesterola u plazmi, koncentracije triglicerida).

Sa druge strane, arcus senilis rožnjače nije utvrđen kao važan prediktor rizika kod ksantelazme.

Prognoza
Nakon uspešne intervencije radiotalasima ksantelazma na ostavlja ožiljke.

Izvori

Literatura
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