Give this gift to help MSF reach the one in five kids around the world who aren't fully vaccinated.
Each year, 22 million children around the world do not receive the vaccinations they need to protect them from preventable and often deadly illnesses. Vaccinations give children and populations at risk the best shot at a healthy life. But if stored improperly, vaccines lose their effectiveness and can do nothing to mount a battle against the illness they're intended to counteract. These cold box vaccine carriers keep vaccines stored at the appropriate temperature from the moment they leave the facility where they're made to the moment they're administered. Insulated and lined with ice packs to keep the vaccines at the required temperature for up to two days, these cold boxes can hold up to 1,000 doses of certain kinds of vaccinations and can be carried by a single field worker. When you give this gift you partner with MSF to battle disease and fight for a healthier life for everyone.


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Queen of the May
Argleton
The Lacemaker
Online Courses & Consulting
Chocolate and Vodka
bubbling enthusiasm for $arbitrary_topic
We have a voice and it's time we made ourselves heard
by Suw on July 2, 2005
Whilst I was in San Francisco, I had the opportunity to work on the Technorati Live 8 site. It was a concatenation of lucky events that led me to being involved, but I feel proud to have had that chance. The Technorati Live 8 site gives all bloggers a single point of reference to find out what is going on in the blogosphere. Amongst other things, we have resources there to help you contact the G8 leaders, and the Live 8 badge so that you can show support for the cause on your blog. We even have a version of the Live 8 Technorati tags page for your Treo!
Right now, I am watching the Live 8 London concert on TV, watching as thousands of people enjoy probably the biggest, most spectacular gig they will ever see. Part of me wishes that I had been there, but I can do my bit from my blog, as can every blogger.
There have been some cynical reactions to Live 8, not just from corners of the media but also from normal people, who think that it's a waste of time. Well, all I can say is this: We are privileged by an accident of birth. That is all that separates us from those suffering and dying in poverty. Nothing else. We have a responsibility to act and to do something to relieve the pain others are feeling, every day, with no end in sight.
Our leaders have for years assumed that they could do what profited them, what profited the big businesses that fund and support them. For years they have ignored the poverty-stricken and the disadvantaged because they saw no profit in it for them. And for years, we have let them.
It is time we remembered that our leaders are in fact our servants. We put them in power in order to represent us, but they have ignored us one time too many. We have a voice and we must use it to ensure that we send a message, strong and unequivocal, that we will not tolerate prevarication any longer. We will not tolerate their profiteering. We will not tolerate them ignoring our will.
Debt. Aid. Trade. Governance.
Debt: Africa is crippled by debt it cannot repay. It's time to wipe the slate clean, to drop the debt, to stop profiteering off the poor.
Aid: Much more aid is promised than ever delivered. A huge overhaul is needed, not just in how much aid our governments promise, but how much money they actually provide and how it is used. AIDS is wiping out half the population of the continent, and we need to do more to ensure that it's insidious spread is halted, and that drugs are made available to those who need them.
Trade: African trying to earn a living are being driven out of business or kept in poverty because of unfair trade laws. These laws are drafted and enacted by the richest countries in the world, and guess who they benefit?
Governance: There's no doubt that there is corruption. There's is also no doubt that there are good people doing good work in Africa. We can't ignore the problem of fair governance when addressing the problems faced by Africa.
We do. All of us, because a stronger Africa means a stronger world. Every African who earns a good living, who has independence, dignity and health, who can provide an education for their children and security for themselves and the next generation, they all help our world be a better place too.
We don't want your money, we want your voice
Live 8 is not about raising money, it's about raising your voice. Join billions of others in telling your leaders that you want them to act, now, to make poverty history. Don't allow the G8 Summit to pass without telling your leaders that you want them to take an historic stand, that you want them to drop the debt, reform trade laws and double aid.
Live 8 is the first rung on the ladder – there is a lot more that will need to be done. Turning out for a gig is a great show of solidarity but we need to keep the conversation going once Live 8 is over. Let this be a start, a new beginning. We must continue to discuss what is happening, what needs to happen, and what we can make happen. And we need to keep the channels of communication open, and keep the pressure on our leaders to do something constructive.
All the links you could possibly need are on the Technorati Live 8 site. Use them.
Interesting voices are being raised, too. I heard reported that there is controversy about the advice that uber-investor Warren Buffet gave to Bonno: "When speaking, do not appeal to the conscience of this country. Appeal to its greatness."
Some seem to think who was Buffett to tell Bonno what to do, and others think Buffett's advice was the epitome of how *not* to be sounding — like the US is the all-wise and other countries know nothing. Still others say hey, do whatever gets attention and gets the job done.
To me it was simply a marketing discussion: Is it more effective to appeal to people's desire to avoid bad feelings (conscience), or more effective to promise good feelings (greatness). I say, why not send both messages.
Previous post: More new luggage
Next post: New itinerary
Every year, on May Day, a young woman is stolen away by the faeries to become their Queen for a year. This year, though, the faeries have bitten off more than they can chew. Shakti Nayar will do whatever it takes to get her own life as a botanist back. As she struggles to work out how to get home, she uncovers Faerie's dark secret and finds that she is not the only human who needs saving.
All the threads looked the same to the innocent eye, but Maude could see the black heart running up through one strand as it wove its way through the lace roundel. She busied herself with tidying her bobbins as a customer browsed the lace mats on her stall.
"I'll take this one," the woman said, holding up a square piece, twelve inches across. Maude winced, picked up the piece she had just completed and held it out to the woman for her consideration.
Matt is fascinated by the story of Argleton, the unreal town that appeared on GeoMaps but which doesn't actually exist. When he and his friend and flatmate Charlie are standing at the exact longitude and latitude that defines Argleton, Matt sets in motion a chain of events that will take him places he didn't know existed… and which perhaps don't.
Listen to Argleton now!
Argleton is available on Bandcamp, or you can listen to it here:
Argleton by Suw Charman-Anderson
For all my latest writing and bookbinding news join up to my monthly(-ish) newsletter!
A Passion for Science
From the identification of the Horsehead Nebula to the creation of the computer program, from the development of in vitro fertilisation to the detection of pulsars, A Passion for Science: Stories of Discovery and Invention brings together inspiring stories of how we achieved some of the most important breakthroughs in science and technology.
Paws on S4C and Cymraeg 2050
Carl Morris on S4C and Cymraeg 2050
Suw on C17: Day 151 – How am I doing so far?
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redpajama_set_name: RedPajamaCommonCrawl


There are 1 users using the Cornilleau Gatien Absolum OFF+.
Pure Power in the pure state.
Could someone give me a good review of this blade? I just bought it. I'm Looking for some new rubbers also. Play with very fast spins with my FH and BH is allround.


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Newsblast! Jun 6, 2017 at 8:26 am
Good Morning, News: Pride Month, (Continued) Trump Idiocy, and a Terrifying Death Climb
Claire Holley
Mercury staffers at a past pride parade Portland Mercury
Happy Tuesday, everybody! Despite all the shit that continues to rain down on us, let us all try to remember what's really important: it's Pride month! While Trump continues to fuck up our country, we can at least find comfort in the fact that, starting Friday, the rest of the month is jam-packed with rainbow-infused festivities.
Now, let's get to all the not-so-great news. There's plenty.
Trump is quickly turning on his own administration in an effort to make himself look better. He's doing the opposite. On Monday he criticized the "watered-down" version of the Muslim travel ban that his aides proposed as a way to get the horrendously racist proposal passed by SCOTUS. Also, he repeatedly referred to it as a TRAVEL BAN (capitalization not my own). Poor Spicey.
That's right, we need a TRAVEL BAN for certain DANGEROUS countries, not some politically correct term that won't help us protect our people!
— Donald J. Trump (@realDonaldTrump) June 6, 2017
Trump also endorsed a plan Monday to privatize air traffic control. He held a big celebration, handed out pens, and pretended like he was a real president. It was adorable. But his signage was all but meaningless and left many people wondering when he will introduce actual infrastructure legislation, something he campaigned heavily on.
Oh, and the first person has been charged for the Russia thing! But it's a national security contractor who allegedly leaked a document that reveals further details about potential misdeeds. Not, you know, anyone who carried out those misdeeds.
TriMet attack hero Rick Best was laid to rest yesterday. Rest in peace.
Meanwhile, the alleged monster who police believe stole Best's wedding ring and belongings as he lay dying or dead on the MAX train appeared in court yesterday, and turned his back to the room.
Yesterday we reported that the accused Trimet killer was a fixture at Portland Saturday Market, selling comic books at an un-sanctioned booth near the market. Some people were hesitant to talk about him.
Over the weekend, rock climber Alex Honnold became the first man to ever free solo (AKA climb without a rope) El Capitan, the nearly 3,000 foot granite wall at Yosemite. The climb is considered one of the most difficult in the world, and only a handful of people have completed it with a rope. Honnold must be crazy, but in an amazing way. Check out photos of his ascent here.
CNN conducted a study analyzing a bunch of body camera footage and concluded that police speak to black drivers less respectfully than white ones. Groundbreaking.
Tags: Newsblast!
More In Newsblast!
Interstate 5 Bridge Project Cost Estimate Raises to $7.5 Billion
City Elections Office Upholds Campaign Penalty Against Council Candidate Rene Gonzalez
Is Portland Experimental Theatre Ensemble's The Cherry Orchard a Stage Play or a Spell?
Things Not to Miss at Pickathon 2022
Welcome to the Mercury's 2022 General Election Night Live Blog!
Good Morning, News: Go Home Zenith, the Dramatic Return of Olympic Figure Skating Costumes, and the Omicron Variant Is a Disappointment to Its Family


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Marcus Foligno signs with Minnesota Wild
BY Sam Smith	 January 13, 2021 12:28 pm GMT+0300 87 Views
Minnesota Wild has extended its contract with the forward Marcus Foligno, according to the official website of the NHL club.
The renewed agreement of the 29-year-old American is for three seasons. The average hockey player's salary will be $ 3.1 million per year.
Foligno last season played 59 games in the NHL regular season and scored 25 points (11 goals and 14 assists). In the playoffs, the forward scored one assist in four meetings. Previously, the hockey player defended the Buffalo Sabers.


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Parklea Prisoners Protest Crammed Cells
On March 11th, 2014, the private prison manager GEO implemented a new policy that crams three young male prisoners into two person cells the size of a bathroom for 18 hours a day. This prompted the outraged prisoners to petition for an open Inquiry into its effects, who decided it, after what research and consultation, and to stop it pending the Inquiry. They said "A loophole has been found by GEO's legal branch enabling GEO to bypass existing laws… The beds are being installed purely for profit."
The petition from 100 prisoners addressed their concerns with respect to the prison overcrowding - the personal damage and consequent interprisoner violence. Signing the petition attached, shows the prisoners' desperation, leaving them at risk of an extended sentence and with fears of retribution.
Their petition has now been passed to the Minister for Justice Greg Smith, the NSW Ombudsman, Pieter Bezuidenhout the Managing Director of GEO Group Australia, and the Commissioner of Corrective Services by Justice Action on March 27th, 2014. This issue has also been forwarded to two parliamentarians the Shadow Justice Minister Paul Lynch and Greens Spokesperson David Shoebridge for intervention in State Parliament. This highlights the importance of the battle against privatisation of Parklea in 2009. Increasing profit from more crime is wrong.
Increased Prison Population
The Parklea prison cramming highlights the increased prison population in NSW from 10,000 to 10,900 in a seven month period. The recent controversial closure of Grafton jail has reduced the availability of prison cells to accommodate prisoners. Subsequently, more prisoners are being packed into cells to the severe detriment of the individuals' well-being. It is like deliberately stirring trouble, or not caring about the consequences when they are released and try to resettle.
Prison Privatization by GEO
There is significant profit to be gained from owning and operating a private prison. Extending the capacity of the prison and overcrowding to fit more prisoners into the same cell can generate higher profits due to a higher prison population. The previously outfitted cells designed for two people have been converted to hold three prisoners at a time and existing services have not been increased to try to compensate.
Negative Effects of Prison Overcrowding
Services to the 850 prisoners held there are already very limited and any expansion of the population and cell cramming makes life extremely dangerous. The total lack of privacy living with strangers has more than doubled by this policy. Management had lied to prisoners saying the 3rd bunk wasn't to be used. The change was implemented the day after the Ombudsman's official inspection on March 10th, 2014, thereby avoiding his scrutiny. This left prisoners without the ability to voice their complaints and have it properly considered.
It is well-documented that increased rates of inter-prisoner assaults are due to the overcrowding of the prison, with some cases of assault leading to the death of the inmate. With 18 out of every 100 prisoners experiencing violence yearly, increased overcrowding by housing 3 prisoners in a cell designed for 2 can only lead to a further rise in violence.
Prisoners have stated that very negative consequences result from being overcrowded within their cells for up 18 hours a day, on a daily basis. These include:
Increased tension as a result of the more stressful dynamic, created by 3 active males to a cell.
A lack of privacy, particularly in relation to the use of toilet facilities.
Air circulation inadequate and unhealthy. No chance to exercise.
No way to use time. No computer or chance to develop. Frustration and anger.
The generalized negative effects of prison overcrowding are:
Increased violence in prison yards.
A lessening in access and use of services.
More churning of population with high needs and competition for tobacco and phones.
These findings are highlighted by an outline of real-life situation, provided to us by the currently affected prisoners. Here is the prisoners' statement going with the Petition:
"We the signatories of the recent 26.02.2014 Petition wish to advise that immediately after the advertised 10.03.2014 Ombudsman visit to Parklea, GEO began filling up the additional ten beds in units 5A, 5B and 5C(Unite 2E unknown) at Parklea.
Since that time, there has been a lot of unrest at the gaol. With the increase of population only just commenced, there have been several fights (not all of those are known to the authorities), countless arguments and ONE (possibly TWO) stabbings already.
Most of the arguments are due to the increase in demand for the telephone. The additional number of prisoners who cannot afford cigarettes (new receptions). The fact that prisoners are now locked outside in hot weather with toilets that are unusable i.e. one situated under a camera, the other situated 140 cm away from the telephone. This situation applies to units 5A, 5B and 5C.
The thought that GEO timed the 3 outs after 10.03.2014 eg 11 or 12 March, suggests that GEO kept the intention secret while advertising the Ombudsman's arrival.
In calling it a secret, we are suggesting, when the beds were installed before the Ombudsman's visit, we were told the beds would not be filled. Had we have known, the Ombudsman's assistants visiting would have been 'ambushed' with complaints on the 10 March visit. We are pretty sure the actual placement of the 3rd person in the 10 additional 3 out cells in each pod commenced after 'lock in' on 11 March (if this is incorrect, then 12 March). This indicates the level of 'secrecy', 'cunning' and 'greed' behind the intention to pack the prisoners into units like 'sardines in a can'.
GEO can NOW claim to have an overcrowding problem. However, prior to the deliberate introduction of '3' out cells, they did NOT have an overcrowding problem.
We believe 3 out cells were deemed to be illegal. As a result, the 3rd bed was removed from several prisons. Somehow, GEO were able to rescue the removed beds from Mid North Coast C.C. After advocacy from community groups and a legal victory in the courts. Mid North Coast CC (and others) were told to remove the 3rd bed and 'cease' 3 out placements.
It seems that GEO have not been so advised. They should be so advised (GEO are not listening to the prisoners), especially given the tactics employed in its intention to work on the existing protocol for financial gain. In future, trial judges and sentencing bodies should be aware of the frustrating conditions behind violent crimes that will inevitably occur at Parklea as a result of this decision. The Coroner should also be aware, in future inquests into suicides that will inevitably occur also."


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Home Background Experience Special Training Int'l Academy of Mediators Professional Ratings A Message from Jerome F. Weiss Articles by Jerome Weiss Speeches & Presentations Types of Mediation Practice References Additional Services FAQs Contact Us Mediation News
Jerry Weiss received his undergraduate degree from Syracuse University and his Juris Doctor from Case Western Reserve University. His strong reputation as a Cleveland commercial mediator, with broad subject matter and facilitation expertise, is based in large measure on a previous law practice that emphasized civil litigation in a variety of cases including representation of parties in antitrust, RICO/fraud, general commercial, civil rights litigation, employment, tort and injury and other complex issues and subjects. He is the first lawyer in Cleveland, Ohio to have dedicated his practice entirely to ADR and mediation-related activities. He has successfully mediated a broad range of state and federal disputes, both regionally and nationally.
Jerry is also an adjunct Professor of Law at Case Western Reserve University School of Law where he co-teaches Mediation Representation: Theory, Principle and Practice, a course he conceived and designed. He frequently lectures at local and national educational events and has been a perennial presenter on mediation topics for the ABA and various litigation bar functions. He serves on numerous ADR sections and committees in several professional associations, including service as a Trustee of the Cleveland Metropolitan Bar Association and Chair of that Association's ADR Committee and he is listed in the Best Lawyers in America©, Ohio Super Lawyers© and in the Martindale Bar Register of Preeminent Lawyers as AV preeminent, Martindale's highest rating. He is listed in U.S. News-Best Lawyers© Best Law Firms Tier 1 in ADR. He has written extensively on mediation-related topics and has lectured throughout the United States and internationally.
Jerry has mediated cases in various jurisdictions throughout the United States. He also has mediated for international companies located from Asia to throughout the EU. He holds dual U.S. and German citizenship. Jerry is on many lawyers' and disputants' short list of go-to neutrals for the most difficult and complex disputes.
home | background | experience | special training | professional ratings | a personal message | articles of interest
speeches & presentations | areas of mediation | additional services | associations | faqs | contact


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1. Mistrzostwa świata w gimnastyce sportowej, które odbyły się w belgijskiej Antwerpii od 14 do 18 sierpnia 1903 roku. Tabelę medalową wygrali gimnastycy z Francji.

Wielobój indywidualnie

Wielobój drużynowy

Równoważnia

Drążki

Ćwiczenia na koniu z łękami

Ćwiczenia na obręczach

Tabela medalowa

Linki zewnętrzne
, sport123.com, [dostęp: 2018-08-05].
Historia i wyniki, sport-komplett.de, [dostęp: 2018-08-05].

1903 w Belgii
1903 w sporcie
Mistrzostwa świata w gimnastyce sportowej

redpajama_set_name: RedPajamaWikipedia


text:
Home › News & Events › Newsletter
Newsletter 10 - June 2020 - Farewell
Goodbye REMOURBAN
After five years' work by more than 20 partners in five countries, REMOURBAN is now coming to an end as a project. However, it is only just beginning as a way forward for a greener and smarter urban future.
We've now accomplished all the works, recorded all the results, prepared factsheets with the lessons learned and produced a workable urban regeneration model for use in towns and cities across Europe and further afield.
Today in our three Lighthouse cities, Nottingham, Eskişehir/Tepebaşı and Valladolid, residents are directly benefiting from improved quality of life, healthier environments and the authorities are better placed to fight climate change and energy poverty.
This is also true for our follower cities, Miskolc and Seraing, as they have been testing the REMOURBAN model in order to draw up their own regeneration policies and plans.
There is much technology available for greatly reducing our energy consumption in the built environment and we've sought to draw on it as much as possible. However, where REMOURBAN stands out as a project is in its ability to harness this technology, channeling it into new business models, and encouraging citizens to adopt new perspectives and behaviours.
Much of what we've accomplished has indeed been "non-tech" like citizen engagement. In this project we've devised methods for empowering citizens; we've set up committees and adapted our communication to fully embrace their concerns and to involve them. This has even included schoolchildren as education about greener towns and cities is crucial in the years to come.
REMOURBAN was never to be an end in itself; its battle cry could be "replication". It is now important to continue pursuing these efforts, via our communities – the consortium, our fellow Lighthouse projects, our social media followers and of course the citizens themselves. In this respect, I would like to invite readers to join us for our final conference that will take place on July 16. For obvious reasons, it will be a virtual conference.
I would like to take this opportunity to sincerely thank the multidisciplinary and multinational REMOURBAN team. Such huge projects are never straightforward to design and deliver, especially where partners are so wide-ranging and from different cultures. But the consortium has always risen to the challenges along the way and together we've put together a wealth of insights, experience and methods to make our cities more resilient, healthier and smarter. Without their commitment, grit and hard work, we wouldn't have achieved the results we did, some of which exceed our expectations.
So, a big thank you to all partners, contributors and followers for your efforts, commitment and positive attitude to what I think has been a most successful Lighthouse project.
Miguel García-Fuentes
CARTIF Technology Centre
TOOLKIT FOR REPLICATION
Urban Regeneration Model
A methodological guide to technical and non-technical innovations (such as citizen and stakeholder involvement, management and governance, business models, financial instruments) for making cities smarter and more sustainable.
This set of best practices contains advice for making towns and cities more sustainable and integrated. In this guide you will find practical insights into key overlapping areas and solutions for sustainable urban regeneration – energy, mobility, ICT and non-technical – with best practice factsheets for each.
Newsletter 9 - April 2020
Newsletter 8 - June 2019
Newsletter 7 - November 2018
Newsletter 5 - December 2017
Newsletter 4 - May 2017
News & Events SECTION


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Paak, Anderson - Ventura
Vendor: WB
NEW VINYL LP ON WB 2019
2 X 180 GRAM VINYL.
Last year's Oxnard was Anderson .Paak's first hard left turn. Working more closely with Dr. Dre, who gave him his original career boost on his own 2015 Compton, he jettisoned his warm, ingratiating funk in favor of sexed-up self-indulgence, hot-buttered excess, and hard-edged rapping. The project sold well but sparked such lingering criticism among fans that even his mom had to clap back at haters. After spending nearly three years working on his Malibu follow up, he took less than a year to redress it with Ventura. The soothing soul palette is back, this time coloring love songs and their sweet nothings, and Paak settles into his old polished grooves in search of comfort.
Come Home (feat. André 3000)
Make It Better (feat. Smokey Robinson)
Reachin' 2 Much (feat. Lalah Hathaway)
Good Heels (feat. Jazmine Sullivan)
Chosen One (feat. Sonyae Elise)
Jet Black (feat. Brandy)
What Can We Do? (feat. Nate Dogg)
‹ See more New Vinyl.
Vinyl info
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Thread starter paramac
paramac
This dude is bad! He is the Grandson of Roy Haynes. We should be hearing a lot more from this young guy in the future...i got to see/hear him at the Charlie Parker Festival of 07 I think? God! My memory sucks! lol! I particularly love this video where you can't see him but the tune and the playing is awesome....Be patient, it slowly builds...
http://www.youtube.com/watch?v=VeiahnFLph0
Pioneer Member
Re: Marcus Gilmore Roy Haynes Grandson
That was great! Awesome players, all of em'...
Garvin said:
YEAH, THAT'S SOME TUNE ISN'T IT? OOPS! CAPS LOCK! SORRY!
the gayge
He plays some pretty wild stuff on Vijay Iyers records. Great player. And he's like 21.
aydee
Yes Sir, Marcus Gilmore is another one of those terrible infants..( or however one say that in French )
Steste
https://www.youtube.com/watch?v=FpksAcDp32I
Here is on another planet...there are no words to describe how he play, simply beautiful, an immense taste and musical sensitivity.
I played with him just few minutes before this concert during the sound check while the "official" bassist was hearing (i play double bass and Scott Colley is playing here my double bass) and.... he projected me in another dimension. Really, i was feeling like i was lifting. Will never happen again with nobody i'm sure, this guy have something really special. His sound....mamma mia!
Keepgrooving
I don't know how it's possible....but this is the only thread about the great Marcus Gilmore? This guy makes history almost every time he plays the drums.
This thread needs some of his best videos...enjoy!
Chick Corea Vigilette Trio Live @ Scullers (Boston 2019)
https://www.youtube.com/watch?v=KRLwsSbqlwo
Here a serie of improvised broken beats during his 2 shows @ Blue Note NYC in October 2018 with Taylor Mcferrin and Big Yuki:
https://www.youtube.com/watch?v=R5DzGbHJGoI
https://www.youtube.com/watch?v=zx_yf4YoPEo
https://www.youtube.com/watch?v=XB_trB7W3RY
https://www.youtube.com/watch?v=GFASKaQvKi4
https://www.youtube.com/watch?v=A8NzK3FQ_XU
https://www.youtube.com/watch?v=4M7dR-sHpbc
https://www.youtube.com/watch?v=zxBfZor5JbA
This is one of my favorite Marcus Gilmore solos EVER, so much musicality mixed with technique and fantasy in such a small time space
Marcus Gillmore drum solo (Chris Potter Quartet)
https://www.youtube.com/watch?v=JgVdF4R073I
with Avishai Cohen
https://www.youtube.com/watch?v=iF___Xn_9B8
drum solo with Chick Corea @ Blue Note Hawaii
https://www.youtube.com/watch?v=deZdBjXf01A
other dope drum solos:
https://www.youtube.com/watch?v=c33O4oKVf-M
https://www.youtube.com/watch?v=DfKnsRzwmB8
https://www.youtube.com/watch?v=5h2F6QBDwrE
with Taylor Mcferrin:
Taylor McFerrin - LIVE @ TAICOCLUB'16
https://www.youtube.com/watch?v=Xk76N76g3Jg
Live At Winter Jazz Fest New York 2015 (full show)
https://www.youtube.com/watch?v=EHLSauQDo6o
Taylor McFerrin & Marcus Gilmore "Improv/Decisions" Live @ Bello Bar, Dublin
https://www.youtube.com/watch?v=zRxt0vQ5kDc
Taylor McFerrin & Marcus Gilmore LIVE @ BRAINFEEDER 4 TOKYO
https://www.youtube.com/watch?v=Soj_9jz1Ico
With Robert Glasper & Friends @ Sxsw 2017
https://www.youtube.com/watch?v=y7sSZpD1rHg
Reactions: flamateurhour, jazzerooty and krautfox
Here an AMAZING show with Zakir Hussain, last month in India.
Believe, anyone who loves drums can't skip these two videos, in the first one Marcus starts at 1:35:28
https://www.youtube.com/watch?v=z_O6wqwOTNg
in this one @ 33:49
https://www.youtube.com/watch?v=4NtDxzgE9Sw
Marcus will be studied as one of the greatests!
This is INSANE:
Soulfinger
Keepgrooving said:
And a re-post from your own message on 11/15. Yes, I´ve watched them all! ))
Thanks for taking the time to compile all these vids, really appreciate it!
from 10:57 to 17:45 is like watching a painter at work, simply wonderful
https://www.youtube.com/watch?v=-FJtA98Hjx4
jazzerooty
I believe he's among the best drummer/artists now playing.
Much has been made of his being the grandson of drum god Roy Haynes. And not without reason—he received his formative lessons at Mr. Snap Crackle and Pop's knee. But he's indisputably defined his own space on the jazz landscape as well, aggressively looking to the future while obsessively drawing inspiration from the original sources of our art.
When your grandfather is one of the most revered jazz drummers of all time, the notion "better get it in your soul" is something that happens naturally, like drinking water. Thirty-two-year-old Marcus Gilmore comes from a musical family, Roy Haynes being only the most celebrated member.
When Marcus was ten, Roy gave him one of his natural-finish Ludwig drumsets. Marcus had been driving his family mad with his incessant bongo playing, so his parents knew the time was right. The youngster had been asking Grandpa for the Ludwig set for many years, since his third birthday to be exact. Through his years at Fiorello H. LaGuardia High School of Music & Art and Performing Arts, summer music camps, and early professional gigs, the big Ludwig set and drumming became Marcus's focus.
Twenty-odd years later, Marcus Gilmore has created a singular drumming language that draws on his grandfather's flowing and acerbic style, the multidirectional inventions of Jack DeJohnette and Rashied Ali, and the intricate rhythms of Lenny White, all joined to the esoteric metric mysteries of one of his primary mentors, Milford Graves.
Whether holding down the drum chair with jazz icon Chick Corea or gigging with one of the dozens of musicians who've employed him live and in the studio—beginning with 2005's Reimagining by famed pianist Vijay Iyer—Gilmore embellishes everything he plays with his unique style. When focusing on Gilmore, no one rhythm is central, but all rhythms are essential, multi-directionally permeating his drums and cymbals like a wave built on spiraling, forward-motion groove-tentacles.
A recent duo performance with saxophonist Miguel Zenon found Gilmore on a small Craviotto set augmented by Sunhouse Sensory Percussion, various prototype Zildjian cymbals, and unusual percussion devices that Gilmore placed on or removed from various drums at will. The music drove fast and furious, bubbling over with fl owing Afro-Cuban rhythms adorned with guttural, punch-like drum accents.
Gilmore's long-term solo projects, Actions Speak and Silouhwav, are coming to fruition. Joining him on Actions Speak's debut recording are Berniss Travis, bass; David Virelles, keyboards; Chick Corea, piano; Lionel Loueke, guitar; and Jasmine Mitchell, vocals. A 21st century polyglot of sounds and music, the album (which includes a cover of Max Roach's "Garvey's Ghost") weaves a deep course through funky programmed sounds, experimental tableaus, solo drumming, sci-fi narratives, intense drumming redolent at times of '90s drum 'n' bass, velvety synth sounds, raw and uncategorizable rhythms performed over simple drum machine patterns, George Duke–worthy fusion, and lush soundscapes infused with Marcus's knotty and sinuous drumming.
Some of Gilmore's best work can be found in the rosters of the ECM and Pi record labels, including Steve Coleman's Weaving Symbolics and Synovial Joints, Chick Corea's The Vigil, Gilad Hekselman's Hearts Wide Open, This Just In, and Homes, the Vijay Iyer Trio's Accelerando and Break Stuff, Chris Potter's The Dreamer Is the Dream, Gonzalo Rubalcaba's Avatar and XXI Century, the Mark Turner Quartet's Lathe of Heaven, and Ambrose Akinmusire's recent Origami Harvest. And 2019 sees records by Chick Corea, Noah Preminger, Tayler McFerrin, and BIGYUKI.
MD: Your drumming shimmers, sparkles; it's almost pointillist, like a painting technique. You create a flowing rhythmic tapestry in every recording. What's your general rhythmic concept?
Marcus: It's stream of consciousness. I've always seen the drums as a melodic instrument, because we have multiple limbs and we're able to create continuous melodies. [And drums can be] harmonic, because there's layers involved using our right foot, left foot, right hand, and left hand. So it's more or less stream of consciousness, but always in the context of the music.
MD: The other night with Miguel Zenón your drumming recalled a merging of Elvin Jones and Jeff Watts, with some graceful European jazz guy, Jon Christensen perhaps—all those full-set percussive sounds. What goes into achieving that?
Marcus: Practice. Ultimately, I like having different modes to go into, like musical modes. In all the musical situations I'm part of there's an underlying spirit that's similar with all of them. So even though the music I played last night with Miguel is not necessarily the same as if I was playing in a band with non-stop straight groove and no fills, there's still a connectedness between the two things. That's how I'm able to go from one situation to the next. It's all music.
MD: Your drumming refers to some of the older cats, such as your grandfather, Lenny White, Elvin Jones, and a European free jazz spirit like Louis Moholo or Han Bennink—but you're always playing yourself. You create a unique role in every situation, with real freedom. You'll play a traditional jazz ride cymbal beat, but always with that constant forward motion energy from multi-directional drumming, as with Rashied Ali or Jack DeJohnette.
Marcus: I was exposed to certain music, and to specific musicians such as Rashied Ali and definitely Milford Graves. He's also a local hero for me because we're from the same neighborhood of Jamaica, Queens. Milford is a true renaissance man; he takes his approach to the music through all the different disciplines. He's a scientist, he deals with plant life. He deals with the heartbeat, he's a cardiologist. He's a martial artist. He does everything with a certain creative spirit. I've been influenced by him in a literal way, but also in a conceptual way, in how he approaches his life. The elders I look up to have a certain creative openness that I'm really attracted to and have a natural affinity for.
MD: How did you apply that "creative openness"?
Marcus: It was something that I'd already tapped into but didn't realize. Once I met Milford, it made so much sense. Then I wanted to dig deeper. It wasn't until I met people like Milford that I understood, and he's also very articulate. Once I had that kind of information, I realized, Oh, that's where I'm coming from. Prior to that I'd never thought about it that deeply.
MD: What specific things?
Marcus: A lot of Milford's playing deals with rhythm, but not in a very metric way—it's non-metric, a lot of waves. It's still melodic, even more so because it's very linguistic. Milford doesn't even really play snares. He keeps the snares off . His drumming sounds very melodic and very lyrical. It sounds like a language.
MD: And that's what you've done. You have your own language. There are so many variations and shadings and gradations in your drumming, which allude to funk and free jazz and bop and multidirectional drumming. How else did Milford influence you?
Marcus: The way he studies life, how he studies plants and different species, he sees the connectedness in everything. It's always a lesson when I visit Milford. You're learning more about yourself from other things that are just existing. We never have to talk about drums necessarily, we can talk about anything. I learn a lot from him.
MD: How did you develop your beautiful touch on the set?
Marcus: I try to get the optimal tone out of the instrument. There are very literal things I do to bend the notes: sometimes I choke [the head] for a second to create some type of tension, then release it. I've always been into tone. I want to bring out the natural vibrations of the instrument. I hear melodies even though I'm a drummer. In the West we think of the drums as a non-melodic instrument, but I've never seen it like that. I've been fortunate to be around legends and people I look up to who knew that that wasn't true.
MD: Which legends?
Marcus: My grandfather, Roy Haynes, is definitely one of them. Just to be around that type of greatness and wisdom, just seeing him play was enough. I got so much out of all the different elements of his playing. I was three or four the first time I remember seeing him play.
Nature Meets Nurture
MD: When did you start playing?
Marcus: When I was ten. Piano and hand drums were my first instruments, when I was about four. My mom got me bongos. I had a natural affinity for them. My parents had a gospel group in the '70s and early '80s called New Creation. My older sisters were musical, and we all sang in church. One of my sisters went to Juilliard. I listened to everything. I also was very much into Tony Williams and Elvin Jones and my grandfather. I came up with all of it.
MD: What were the first rhythms you played on your drums?
Marcus: I free-styled in the beginning because I was so excited. My dad always wanted to be a drummer, so he would play a pocket on my kit. I was trying to get different ride cymbal beats together and learn how to play solos. I studied Elvin Jones on Wayne Shorter's Speak No Evil, and the Tony Williams Lifetime. I watched a lot of DCI videos and videos of Papa Jo Jones, Max Roach, and Buddy Rich. I'd specifically watch Buddy for the solos and his technique; he was uncanny with his speed. My dad was also really into Dennis Chambers, so I got into him very early on, and Omar Hakim.
MD: Did you study privately in high school?
Marcus: My mom found out about this program at Juilliard for young musicians, so I auditioned. That's where I learned to read music notation and studied European classical music. I started there when I was ten. It was called the Music Advancement Program, or MAP.
MD: You had full scholarships to Juilliard and Manhattan School of Music. After high school, did you complete your degrees at Juilliard and then Manhattan School of Music?
Marcus: No, I didn't go to Juilliard. My mom wanted me to, but I didn't go. So I never got the degree. Juilliard wasn't for me, and I went to Manhattan but didn't finish. By that point I'd been doing professional gigs. I'd been traveling with a lot of gigs that people know me for now. I got my feet wet at fifteen touring with Steve Coleman; there are recordings I did with him, such as Weaving Symbolics, when I was seventeen.
MD: You got one of your grandfather's drumkits when you were ten?
Marcus: Yes, and it was a blessing. I had to convince my grandfather that I was actually serious about it. I'd been asking for it for years, and it finally came through on my tenth birthday. Once I got bongos and began checking out more music, I knew I wanted to play drums for the rest of my life. The kit he gave me was one of his natural-finish Ludwig kits from the '80s. There's a photo of that set in the Village Vanguard. He had these old cases that had stamps from all over the world. The kit was really enchanted.
MD: Do you remember when Roy first heard you play?
Marcus: First he played the Ludwig kit for like ten minutes. It was amazing! The head on the snare drum was smooth and I couldn't get a sound with the brushes. But he sat down and somehow made it work. That's when I learned that anything is possible. Then he left and I played until I had to stop. That's basically all I did for a while. I would do my homework first so I could play, so I could practice.
MD: What books did you go through as a youngster?
Marcus: My private teacher hipped me to some Tony Williams records. He'd studied with Tony, who said, "There's only three rudiments: singles, doubles, and fl ams. Everything else is a combination of that." He showed me the official rudiments, so I practiced them, but mostly paradiddles, singles, doubles, and fl ams. In the beginning I'd play as long as I could, until my family said, "You gotta stop!" I'd play for like six hours, with a ten-minute break for water.
MD: Did you focus on specific things within those hours?
Marcus: Singles, doubles, moving different melodies around the kit. I would try to transcribe things, anything I heard that was cool, or I would play along to specific Elvin Jones solos. I never got to see Tony, but I did get to see Max Roach up close, and I saw Elvin and my grandfather play back to back at a JVC Jazz Festival in Bryant Park. That was definitely life changing. That was the first time I met Elvin. I would try to go to all of my grandfather's gigs in the mid to late '90s. Seeing Elvin and my grandfather play back to back made me realize how great musicianship was so high. I realized it's a pretty open platform. Really, ythey can make this music, but also how different they were. But the level of ou can do anything if the musicality and level of musicianship is there, as long as you have that musical element. Anything can work. Anything is possible.
https://i1.wp.com/www.moderndrummer.com/wp-
content/uploads/2019/04/Marcus-GIlmore-PLAYING-SERIES-1-172.jpg?w=600&ssl=1
MD: Did you study your grandfather's albums, like Out of the Afternoon or Now He Sings, Now He Sobs with Chick Corea?
Marcus: I sure did. Out of the Afternoon was one of my favorites because I love Rahsaan Roland Kirk. Now He Sings, Now He Sobs is another favorite. And Charlie Parker's Bird at St. Nicks. The Amazing Bud Powell, that one is incredible. And Thelonious Monk's Misterioso and Thelonious in Action. Everybody knows how great Roy Haynes is and how important he is to the music, to the legacy, to the culture, but a lot of people in positions of power were slow to acknowledge that. If it wasn't for him just living so long, I wonder if they would have ever given him his due while he was still alive.
MD: So much of this is in your blood, and then you were exposed to the music so early. What were some of your other early professional gigs?
Marcus: My first professional gig was with the Cadillacs, the doo-wop group from the '50s. My dad played tenor on the gig. Apparently there was another band on the circuit, another guy with his son playing drums, and I'm pretty sure it was Questlove.
MD: You play using matched grip most of the time. Why is that?
Marcus: I don't think about it too much. I play traditional grip sometimes, but often I don't. When I grew up watching all the older guys, I thought, I have to play traditional because that's what they're doing. But now I just do what feels right. So sometimes traditional grip, sometimes not. Playing matched, it's just a feeling that I like. And a lot of guys play matched grip, too. My grandfather does it a lot when he's soloing. Jack DeJohnette has been doing it for a while now.
MD: In your formative years, what gave you the biggest growth spurt? What made the biggest difference in your technique?
Marcus: I spent a lot of time by myself studying the music and finding a way to relate to what made sense to me. And I got to play with musicians that were so much more established than me, such as Steve Coleman and Clark Terry. I went on the road with both of them when I was fifteen. Steve also had drummers Sean Rickman and Dafnis Prieto then. Steve wanted me to play a gig at his residency at [New York club] Tonic, so I went to check out the vibe. I got to see Sean and Dafnis, and it was amazing, it was all really new for me. It was great to see that, and then getting a chance to participate made a big difference.
MD: Regarding records, did you play along with them? How did you relate to them and find your own style?
Marcus: I played with Tony Williams' albums, such as Life Time. And I played with John Coltrane's records with Elvin Jones. And I liked the Atlantic records with Art Taylor, Coltrane's Sound and Giant Steps. Those really spoke to me in a very harmonic and lyrical way, and I loved the band. I started listening to all that stuff at a very early age, before I got my kit. I was listening to Coltrane's A Love Supreme when I was seven. I was legitimately into it and really checking it out.
MD: Were there certain books or specific exercises that helped with your technique?
Marcus: Charley Wilcoxon's Modern Rudimental Swing Solos. I did the other books at Manhattan, but wasn't really into it. I developed my reading skills at summer music camps like Encore. I did those through junior high and high school. I was doing the European [classical] thing, but also jazz.
MD: What techniques were hard for you to grasp?
Marcus: Nothing is hard. It may be challenging, but you just put in the work. The idea of playing specific rhythms with different limbs was challenging. But I ate it up because I was really into it and I saw the potential. Seeing certain guys that were known for that, like Horacio "El Negro" Hernandez, who had the clave and independence, I felt how powerful that was. I was attracted to that even though it was challenging.
I definitely checked out a lot of Afro-Cuban musicians through Steve Coleman. He was very much into the diaspora, and what was happening with African-American people in America. But then at the same time he was very curious about certain traditions that were maintained with the Afro-Cubans and the music in Haiti, and Afro-Brazilian music. Steve was the first one to play me folkloric music. He went all over the world studying native cultures. I'm on Steve's albums Weaving Symbolics, The Mancy of Sound, and Synovial Joints.
]MD: Is Wilcoxon something you shedded heavily? Did you try to master those pieces?
Marcus: Not so much. It was really only a few compositions that I got into, "Three Camps" being one. I played "Rolling in Rhythm" for a recital. There's a few of them that I really spent time on, but I can't say that I spent a lot of time on the books. I like being able to read in musical situations—sometimes you have to—but I think it's more important to get the information directly from the source rather than going through a book.
MD: And how would you do that?
Marcus: A lot of ways…if somebody is still around and you're fortunate enough to get a chance to see them play. Before YouTube, I would check out the archives at libraries to see what I could find. I probably listened to almost every recording at the Queens public library, at least all the jazz ones. I was really curious. There are certain tools you can use to get to the music, but often people get caught up in the tools and they don't get to the actual music.
MD: Did you play much straight-ahead jazz with musicians beyond Clark Terry?
Marcus: Yeah, of course. I was doing these summer programs, and some had big bands or combos. That's actually how I met a lot of musicians. I did those in my sophomore, junior, and senior years. That's how I met Justin Brown. One year he was in the combo and I was doing the big band.
MD: What do you practice now?
Marcus: These days a lot of my practicing is away from the kit. I'm always thinking about some kind of rhythm. I can practice independence things away from the kit, because that doesn't necessarily require me to be on the drumset. For hand strength or specific ideas, I'll take things slow. I did that with everything: play it as slowly as possible, then slowly increase the tempo.
MD: What's something you might practice off the drums for independence?
Marcus: You can play a halftime backbeat. Something like a slow 4/4, two quarter notes in the bass drum and then the third quarter note on the snare, the fourth quarter note is a rest. Then play a rhythm with your right hand that's double time or triple time if you're doing 16th notes. Let's say it's a dotted 8th note going to a 16th note. And then another dotted 8th note going to another 16th note. Then an 8th note rest. And then the same thing over and over and over. You can add a hi-hat part with your left foot, a quarter note on the hi-hat, then two 8th notes, an 8th-note rest, then another 8th note, and a quarter note rest.
Craviotto, Zildjian, Sunhouse
MD: Your setup featured in this MD story was photographed at Chick Corea's Mad Hatter Studios in Los Angeles.
Marcus: Yes, while I was recording Antidote, the upcoming album by Chick Corea and the Spanish Heart Band. It's a concerto for nine pieces, with hefty orchestration. I sight-read the charts, though Chick prefers that we don't. He wanted me to memorize the music so my head wouldn't be buried in charts during the recording. The arrangements were changing every day, so I read the charts and listened to the demos. When we get on the road I'll flesh it out.
MD: Is this the same kit you play live?
Marcus: This is similar to the kit I would play live. Sometimes I use a Rototom next to the floor tom. I like to have the contrast of the lower-sounding floor tom with the higher-pitched drum next to it. And it's close to the ride cymbal because sometimes I'll play a similar pattern on that Rototom to what I would play on a ride cymbal. I also have a 10×14 Craviotto snare and a 6.5×14 copper Craviotto snare.
I like my snares to have internal mufflers. I like to be able to keep a snare more open or have it more dampened if I want. And when you have an internal muffler it dampens it but it also puts pressure on the head, which I like. It's a different sound, it's more punchy. If you're playing above the muffler it will feel different, but I generally don't play in that area. The rebound isn't that different.
I use the 10×14 snare drum a lot; even tuned up high, it has its own character, and a lot of body to it. The larger body gives the tone a lot of depth, whether it's tuned high or low. And it has Craviotto's baseball-bat edges. They're rounded, which makes the drum more punchy. I sometimes use Ambassador X single-ply heads. They're like Ambassadors but a little thicker. And I like to play Pearl Eliminator bass drum pedals sometimes.
MD: You're developing a line of cymbals with Zildjian's director of cymbal innovation, Paul Francis.
Marcus: Yes. I got extra hammering on the 15″ hi-hats to bring out a more complex and darker tonal characteristic. The alloy is based on the K line. With Chick I always play a flat ride in the setup. That sound is a part of the music. Chick loves the flat ride, and my grandfather made it popular. It was his idea, then it became part of Chick's identity.
I knew I wanted a cymbal bigger than the 20″, but not a 22″, so we made a 22″ and a 21″. I wanted a flat ride that was a little bit heavier. Paul hammered it at the factory, then when I got it home and it cooled down, I still liked it but it wasn't perfect. Then I asked Paul to shave off some of the metal from the top and bottom, and I fell in love with it. It's my favorite flat ride. And I love the 18″ crash—it sounds like water.
Actions Speak
MD: What was the predominant approach to your debut album?
Marcus: I'm just trying to create sincere music that shows where I'm coming from. Some people ask, "Is it jazz?" But I'm not even thinking about that. I just want it to be the most genuine music I can make at this moment of my life.
MD: Did you feature Sunhouse Sensory Percussion on the album?
Marcus: Semi-regularly, after trying to get into it. There's a learning curve, but it's always worth the time, because once you learn how to do specific things it becomes a stronger tool. It takes time. And every time you want to do something, there's a new update, and you have to find your way around it. But the updates give you a little more power so you can be more nuanced with it.
MD: Your group is called Actions Speak, and there's another group, Silouhwav.
Marcus: And a solo project with drums and sensors. And a duo project with vocalist Silkka that's called Moment in Time. I don't really use the sensors so much in Actions Speak. It can go there electronically, but it's more acoustic, usually piano and upright bass. There's percussion in Actions Speak but not in Silouhwav. I also have a duo with dancer Savion Glover.
MD: You're so busy, but do you have longterm goals for your career?
Marcus: I'd love to travel more with my ensembles and compose for different types of ensembles, orchestras, vocalists, percussion ensembles…. I would love to just write more music and travel with it, maybe some cinematic-type stuff. I like all the early Spike Lee soundtracks because I'm a fan of his father, Bill Lee, who wrote the soundtracks. I like a lot of independent films these days. Way more creative. I'm a fan of all the Twilight Zones. I've always been intrigued by orchestrations.
MD: Who else?
Marcus: I'm a big fan of Oliver Nelson. I didn't realize how much film work he did toward the end of his life—so many pieces of music, and he only lived to forty-three. I didn't know he accomplished so much in that way. I like Alfred Hitchcock's film scores. Herbie Hancock's soundtracks for Death Wish and The Spook Who Sat by the Door. I like their sound, it's larger orchestrations. So it's the composer's concept realized in larger ensembles.
MD: What accounts for the dance-like feel in your drumming?
Marcus: I've always had a natural affinity for how rhythm relates to dance and also how it relates to contemporary culture, which is modern-day MCs. And the ancient art of griots and storytelling and the musical aspect of that and how it's tied into the drums. I'm a big fan of the MC Pharoahe Monch. All these things have influenced me and are part of my sound.
Gilmore's Setup
Drums: Craviotto
A. 6.5×14 snare drum
B. 8×12 tom
C. 7.5×10 tom
D. 14×14 fl oor tom
E. 14×20 bass drum (12×20 and 12×18 alternates)
Cymbals: Zildjian
1. Prototype 7″ K hi-hats (based on Zil Bel)
2. Prototype 15″ K hi-hats
3. Prototype 20″ K crash-ride
4. Prototype 21″ K fl at ride
5. Prototype 18″ K crash
Heads: Remo Coated Ambassadors or Ambassador X tom and snare batters, Ambassador Clear or Diplomat Clear tom resonants, Ambassador Hazy snare side, and Ambassador Fiberskyn on the front of the bass drum.
Sticks: Innovative Percussion Marcus Gilmore Signature sticks (between 7A and 5A), brushes, and mallets
Electronics: Sunhouse Sensory Percussion with Resident Audio interface, Zoom products.
Hardware: DW bass drum pedal, Yamaha stands
Reactions: NouveauCliche and Swissward Flamtacles
krautfox
Thank-you so much for this !


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redpajama_set_name: RedPajamaGithub


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text:
Historical Documents and Maps
Inventors and Inventions
People >
Williams, Jesse D.
Mill Owner
Birth: November 21, 1874, Vienna, Trumbull County, Ohio
Published Biography
From Harriet Taylor Upton, A Twentieth Century History of Trumbull County, Ohio, A Narrative Account of its Historical Progress, Its People, and Its Principal Interests (Chicago: Lewis Publishing Company, 1909), Volume 2, pp. 248-249:
JESSE D. WILLIAMS, of Vienna township, Trumbull county, is well and favorably known as the operator of an excellent steam threshing machine outfit and mill. He was born in Vienna township, November 21, 1874, a son of Addison and Eliza (Bacon) Williams, also native to Vienna township. The mother was born there March 13, 1852, and the father October 12, 1849. The paternal grandfather, William Williams, if not born in Trumbull county, must have come to that county when very young with his parents, who it is known settled there on a farm, where the great-grandfather died. The grandfather became the owner of a fine farm situated along the Niles road, about one and a half miles from Vienna village, and where he remained until his death in the month of October, 1882.
When about twenty-eight years of age the father bought a saw mill, which he continued to operate until his death. He also operated a threshing outfit for about fourteen years and owned a pleasant home in Vienna village He died November 23, 1907. This mill is the one now owned by Jesse D. The wife and mother is living in the village yet, sharing the home with her son; but she contemplates taking up her residence at Youngstown with a son and daughter who now reside there. Addison and Eliza (Bacon) Williams were the parents of five children, four of whom still survive: Leroy, of Youngstown, Ohio, a millwright on the furnaces of the Ohio Steel Works; Nora, unmarried resides in last named city; Arthur, of Youngstown, a millwright, employed by the same company as his brother; Jesse D., the eldest of the family; Myrtle, died at the age of about fifteen months.
Jesse D. Williams attended different district schools in Trumbull county, thus gaining a fair common school education. The most of his schooling was obtained, however, at the old No. 3 school, on the Niles road, near his old home. In his political views, Mr. Williams is of the Republican faith, and always casts his vote with this political organization. When about twenty-one years of age he set forth in life for himself. When not employed at home he was at work for others in the vicinity. At the age of twenty-five years he bought a steam threshing outfit, which he still operates in threshing season. He being gifted with a mechanical turn of mind, handles, operates and keeps in good repair his own machinery, both at the saw mill and his thresher, though necessarily has to employ considerable help. His mill is situated on his own land, or rather on the undivided estate of the father. He also operates a feed mill in connection with his saw mill and planer.
Mr. Williams is connected with the order of Maccabees at Vienna; also a member of the Knights of Pythias at Cortland. He was married, February 27, 1902, to Miss Mina Lewis, born in Vienna township, January 15, 1882, a daughter of E. A. Lewis and wife. Mr. and Mrs. Williams have no children living, one having died in infancy.
Vienna Historical Society
848 Youngstown-Kingsville Road
Vienna, Ohio 44473 USA
viennahistory.org
Comments, questions, corrections? Email inquiry@viennahistory.org


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What Was There When I Stopped Looking for Signs
When I was online dating, I was looking for all the signs.
We were both born in August!
His profile picture has a dog in it!
She emailed me on a Monday — I love Mondays!
I was looking for signals that this was right, because I thought that a good relationship was one where everything felt right. I didn't think that love was a choice I could make. I thought it would be a summer rain shower I would suddenly be engulfed in, confounded and dizzy.
It was the same when we were looking for a studio for Firefly. I would fall in love with a certain address, with a street with the same name as my dead aunt, a door with a beautiful knocker, a landlord who was a writer. I looked for resonance, a gut feeling that said yes. There were MANY of those, but none of them worked out.
It turns out that none of it mattered. The person I would fall deeply (slowly, fearfully, awkwardly) in love with would be one who didn't really stand out at first. Who wasn't born in August. Who didn't write me on a Monday. I chose to love him. And I continue to make that choice, every morning, every day.
And, the studio we found was 1898 Danforth Ave, as uninspired of an address as possible, with a property manager who didn't give a shit about Firefly, just wanted us to pay our bills on time.
I feel wildly fortunate to have these loves — Ian and 1898 Danforth — but they're no thanks to my sensitive psychic antenna. They're here because I worked hard, I pried my stubborn, sensitive heart open again and again, and got lucky.
But can you blame me for trying?
When something matters deeply, we call our whole selves into the search. The trouble comes when we require life to bring us signals and signs along with the gifts it's shoring up. The beautiful studio and the dead Aunt's name and the email on the Monday.
Writers — I'm talking to you. Writing matters deeply. So it's so easy to fall into thinking that we need everything to be just right in order to do it. Most of us labour under the idea that "real" writing comes in swells of flowing inspiration, impossible to ignore, that "real" writers sit down and their stories expand around them easily like their own secret landscapes, just waiting.
Or, we just think that we can get there, but the snow has to be shovelled first, the emails answered, the cereal boxes off the counter. Lined up. Smallest to largest.
We're waiting for the moment when our creative energy gets so intense that it lassos us out of the chaos of distractions like the helpless calf that we are and draws us in against our will.
To be clear though — you are not a helpless calf.
You can just choose to do it.
And actually, as a physical practice, writing is very ordinary. It's something we say yes or no to every day. And it's something we can keep saying yes or no to, along with the shovelling, along with the Instagrams, along with of all the other ka-jillion demands and distractions.
And that, my friend, is the hard part.
It's hard to choose to do something that no one might notice.
It's hard to choose to do something that may not make money.
It's hard to choose to do something that's just for us.
But hard is fine. To be clear, my life would be a lot simpler if I didn't have these 850 square feet of commercial space to manage and I was dating whoever I felt like from day to day. But simple isn't what I'm striving for. Creation, effort, devotion, production — that's what creative energy is for. And it almost never comes without struggle.
When the summer showers of inspiration drench us suddenly (and yes, it does happen sometimes, and Oh My Stars those times are good), it's easy to say yes. But for every one of those writing sessions, there will be three to sixty more that look a lot more like a date with a hard chair, while all those other life demands wave invisible pom poms in front of our eyes, trying to get our attention.
In my experience, it never gets easy, but it gets easier. To get all biblical for a sec — writing begets writing. The more we choose, the more the choice comes naturally. I look around on Fridays at the group who is gathered at the studio for quiet writing time and my soul swells. They didn't show up because they're so immersed in their project that they can't possibly turn away, they showed up because they said they would. Because they're saying yes to it. And so they sit, and they look for the words that can pull them back in, and with patience and open-heartedness, they find their way back there. And by the end, they're glowing.
I guess the point is — there's company in the struggle. And it's pretty beautiful in there. Despite the pom poms of distraction, despite the self-doubt, there is so much sweetness when we towards it fully and say yes.
Chris Fraser February 11, 2018
We Should have Done this a Long Time Ago
Chris Fraser March 2, 2018
What Happens at 3pm at My Place
Chris Fraser January 28, 2018
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Checkmates Founder Paul Auston Has Been Appointed A Deputy Lieutenant Of Kent
Checkmate's Founder, Paul Auston, Has Been Appointed A Deputy Lieutenant of Kent
CHECKMATE IS PROUD to announce that founder Paul Auston has been honoured for his positive contribution to the County and Nation. Mr Auston who has been appointed Deputy Lieutenant of Kent commented:
'I feel truly privileged to be appointed as one of the five new deputy lieutenants in Kent.'
Paul has served as Trustee and Chairman of Demelza House, a children's hospice based in Kent, Sussex and South East London for six years. On retiring he was elected honorary Vice President and he continues to support the work of the charity. He is a trustee of The Royal Navy and Royal Marines Children's Fund based in Portsmouth and is actively involved in raising funds and awareness in the wider community of the needs of families and children, "The forgotten casualties of conflict". He also serves on the development group raising funds for the restoration of Canterbury Cathedral.
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The High Court has frozen the assets of IFA Malcolm Peter Millward of Calverton, Nottingham after proceedings were brought by the FSA.
The injunction also forbids Millward from breaking the Banking Act 1987, and will remain in place until the final hearing of the case.
The FSA alleges Millward between 1994 and this year accepted loans from clients totalling about £150,000. The regulator this amounts to an unauthorised deposit taking business.


Grits recently calculated the ten-year change in rates for the proportion of adults under control of the correctional system in Texas from 2008 to 2018, defined as everyone in prison, in jail, on probation and on parole, comparing that total to the total adult population. Texas' rate of people under government-control was one-in-22 adults in '08, compared to one-in-41 in 2018.
Let's revisit the question after the Washington Post publishing a similar analysis using national data for the period 2006-2016. According to them "In 2016, 1 in 38 adults were under one of these forms of "correctional supervision"; 10 years earlier, the figure was 1 out of every 31."
By these lights, Texans overall are supervised in 2018 at slightly lower rates than the 2016 national average. That surprised me.
How could that be? Texas' prison population remains the largest in the country. And parole numbers grew slightly over this period (Texas releases nearly 70,000 inmates per year).
In 2008, the total probation population in Texas, felony and misdemeanor, stood at 429,689, according to TDCJ's annual statistical report. Earlier this year, a TDCJ legislative handout put the number at 232,278, representing an astonishing 46 percent reduction!
Jail numbers also declined, though far less dramatically. On March 1, 2008, the statewide jail population was 69,397. On March 1st of this year it was 64,537. So just a seven percent reduction, which was entirely offset by an increase in the number of parolees being supervised.
Notably, most of the change in probation numbers is relatively recent. After a step down in the total cohort of probationers following reform measures passed in 2007, their numbers remained relatively high: In 2016, according to TDCJ, the total number of felony and misdemeanor probationers was 374,980. So that's a 38 percent drop in the last two years!
Grits cannot explain the plummeting numbers from 2016 to 2018 - certainly I can't think of any change in state policy which would justify it - but the fact of it helps clarify many political dynamics surrounding decarceration reforms.
In recent years, the most vocal opponents of sentencing reform in Texas have been probation directors, who fear that shifting non-violent offenses from a felony to a misdemeanor will reduce their funding. That's because they receive more money for supervising felons than misdemeanants, and felony probation generally lasts longer.
But Grits had underestimated the extent to which probation departments were feeling the squeeze. They survive on probationer fees and a per-probationer stipend from the state. So reducing numbers means reducing revenue. If their probationer numbers really dropped 38 percent in two years, then so did their budgets. No wonder they're in a panic about their money!
This news doesn't justify probation directors' regressive stances, but it explains some of the self interest behind them. And perhaps it will help state leaders put probation directors' advocacy for tough drug penalties in context as more a plea for budget relief than for public safety.
It's a decline in misdemeanor placements. Felony placements are up slightly 2016-2018. Over past 10 years, felony placements ↓ 8% and misdemeanors ↓ 25%. Index crime rate ↓ 29% over same period, so felony placements should be lower, but possession cases up 30%+.
Digging a little deeper, much of the decline in misdemeanor probation appears to stem from reductions in theft cases, a trend made more pronounced when the Legislature in 2015 adjusted property-theft thresholds to account for inflation. According to the Office of Court Administration's Annual Statistical Report for FY 2017, "The number of new misdemeanor theft cases filed [in FY '17] fell 28 percent from the previous year and was the lowest number filed in at least 30 years."
An accompanying chart (p. 27 of the pdf) showed misdemeanor theft charges maxxed out in Texas in 2004 at >120,000, but came in at less than a third of that (38,377) last year. By contrast, "The number of new misdemeanor drug cases filed [ed. note: almost all marijuana possession cases] increased 1 percent from the previous year, reaching a new peak in filings in this category."
In the five years ending in 2017, misdemeanor theft filings overall declined by 41 percent. This trend was led by a 76 percent reduction in "theft by check" charges. The theft-by-check part of that trend is technologically driven, but the decline in theft charges exceeds the amount which can be explained by that reduction. Texas has a larger population that's simply accused of stealing at much lower rates than in years past.
Notably, this has been a period when many types of petty criminal cases in Texas have dropped like a stone. The number of traffic and parking tickets issued, for example, maxxed out in 2006 at 12.1 million, declining more than 50 percent to 5.5 million last year. Non-traffic citations declined from 2.1 million to 1.1 million over the same stretch (p. 31 of the pdf).
Nobody has been able to fully explain that traffic-ticket drop, which occurred across agencies and jurisdictions, seemingly without any coordinated effort.
But other types of cases have fallen, too. The number of new juvenile cases of all types maxxed out in 2008 at just more than 53,000 and has fallen to 29,153 last year (p. 33 of the pdf). Led by a reduction in truancy-related cases following legislative reforms, all non-traffic categories of Class C tickets given to juveniles declined radically over the last five years.
So, as Doug described, Texas has just gone through an era when crime declined quite a lot, and the number of case filings - except for drug cases, which accounted for 32 percent of felony charges in 2017 and 21 percent of misdemeanors (p. 26 of the pdf) - has mostly gone down with it.
Grits' conclusion from these data: The failed War on Drugs is propping up mass incarceration in Texas. That's why Texas probation directors oppose right-sizing penalties for low-level drug possession. That's the only growth-area in their business.
Grits do you have any access to Pretrial Diversion numbers? I know Pretrial Diversion numbers have significantly jumped in the past 4 years. Until this last legislative session Probation departments did not receive any funding for misdemeanor pretrial diversion cases, but have seen numbers skyrocket. Even with this last session, pretrial diversion is not funded across the board and only a handful of departments received grant funding for it. Historically those misdemeanor pretrial diversion numbers were not counted in probation populations reported by the state, I believe.
That data, to my knowledge, isn't gathered statewide, 9:36. But the data in the addendum/second half of the post from the Office of Court Administration was tracking new cases filed, regardless of the outcome, and those have dropped like a stone. So my sense is that, even if pretrial diversions have increased, those larger crime-reduction trends are the bigger factor.
Are arrest rates trending the same direction as probation placements for the period being studied?
Jails are overcrowded in many parts of the state. Could there be a significant backlog prosecuting cases causing the drop in probation placements?
1. Misdemeanors and felons are often placed in the Count and District Offices In House PreTrial program. In other words they have started their own Probation Offices where they collect the $500 pretrial fee. They can use this money anyway they want and don't answer to anyone! I know of one county In West Texas that collected over 1 million dollars in one year!
You might also want to look at DWI arrests as part of the reason for the decrease in misdemeanors. According to DPS records, there were about 95,000 DWI/DUI arrests in 2010. In 2016, that had dropped to less than 63,000. That's a 33% decrease. In addition, many of those DWIs are reduced to reckless driving or other lesser offenses because DAs and defense attorneys realize how draconian the surcharge laws are.
Excellent points, Steve, and 5:19.
And as you know, traffic ticket numbers have significantly declined.
So @ Steve, I have to wonder if the DWI reductions are part of broader trends involving alcohol, as implied by reductions in drunkenness, part of a trend in traffic enforcement, as implied by the reduction in overall traffic tickets, part of a more generalized crime reduction, as implied by the reduction in the "all other" category, or, as you imply (and as I've suggested before), maybe it's a policy shift in part reacting to excessive surcharges, as some Texas prosecutors and judges have suggested. Or none of these things. Or all of them, and more. ¿Quien sabe?
But you're 100% right, that's a big reduction, and one of which the press and the public are largely unaware.
Here is a question for you. If crime is going down, then why are the number of cases pending on courts dockets growing annually?
Probation population includes direct and indirect cases – this is important for your math. Please don't mix the two, they mean different things.
The 2018 PowerPoint handout states there were 232,278 under direct supervision.
The 2016 Statistical report states there were 241,265 under direct supervision.
The two-year reduction was only about 3.87%.
Could the reduction in "theft by check" charges be because local DA's are being called out for and no longer acting as a collection agency for payday loan companies?
If young men learn to party at home and stay off the roads the crime rates might be cut by over a third----and prison populations more so. Penny ante traffic stops---expired plates and decals, failure to use a turn signal, etc.,---lead to the arrests that are the life blood of the bar associations. What stronger argument can these be for using mass transportation?


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At first I thought I'll get disappointed with this book but to tell you the truth if I liked The Iron Fey: Call of the Forgotten #1 entitled The Lost Prince, I liked this one better, oh wait! I meant I love this! This second book is more exciting and the adventures are more astonishing. More fighting scenes, and more heartbreaking moments. This book is more beguiling. The cover speaks for the whole book, so is the title. It is really, really cool! From the beginning to end it is captivating and poignant in a good way, it will attract you to read more and discover. The story is fun to read and you will react on those scenes that involves Keirran and Ethan. You will also learn here how important family was yet you'll discover something more. Trust is a powerful tool but you'll have to be careful. Friendships has limits too, they can betray you or stay beside you.
Ethan Chase got involved to another quest that involves the Fae world. Annwyl visited Ethan Chase in his house when Kenzie decided to come visit, Annwyl said that everyone is looking for Keirran. At the end of the day Ethan Chase decided to help Annwyl find Keirran. However when they are in search so many things happened and trouble are on their way. Fate is not being friendly to them and their adventure was about to save Annwyl, although she's with them the truth is something's bothering her, she only want to see Keirran for the last time and yet the prince refused to, he's trying all the alternatives to spare the life of the girl he wants. So with the help of the two mortals (Ethan & Kenzie) they started the other part of the quest until Ethan found out about the premonition.
There's so many things I want to tell, I might end up revealing the whole story so I'll stop now. This book is really interesting and that secret about the 'premonition' bothers me on the first book and this next book answered it. Things are really exciting here all the questions you have on the first book, the answer will be here. It gave me goosebumps! for real, I didn't expect that and the ending is soooooooo unexpected!!! It was like my heart stops for a second because it's appalling, though I already know but I still can't believe it will really happen, and now I am yearning for the next book, I would not except that thing to happen. I can't waaaaiiittt, when will it be out? someone answer me? (kidding).
Did I mention I love the cover? if I did, I'm saying it again coz it is really alluring! And, this is really a great book, fun and exciting to read!


The digitisation of heritage has become central for the preservation of national identity and cultural heritage whilst engaging with and impacting on marginalised communities.
Virtual environments for cultural heritage offer the possibility of interacting with reconstructed historic sites as visitors, tourists, and researchers, raising awareness and encouraging different societal groups to engage with their heritage.
The inaccessibility and high-maintenance nature of technology and training has limited the use of virtual heritage (VH) platforms to save endangered archaeological and heritage sites in the Middle East.
Professor Abdelmonem led an international research team in an innovative investigation that resulted in the development a conceptual framework for virtual heritage platforms that brings historic buildings back to the recognition of the ordinary user.
The project developed creative techniques for conveying historical narratives, feeding social and cultural influences into digital models that bring meaning, experience and understanding to the sociocultural context.
The team produced the first database of global case studies of virtual heritage platforms that offer a variety of methods, techniques, contexts and outputs that are suitable for different purposes and audiences. It has also undertaken collaborative field projects in medieval Cairo with a wide range of local start-ups, leading to the production of creative virtual heritage models. This project has been funded by the Arts and Humanities Research Council (AHRC).
At The Nottingham Trent University, Gamal is leading the development of the University's Innovative 'Global Centre on Heritage Sciences and Management Research', a research team that aims to engage with and produce strategic research projects with evident global impact on improving Heritage Conservation and preservation strategies on the international and cross boundary levels.
Professor Abdelmonem led a series of research events with the participation of pioneering scholars and professionals. These fed into colloquiums and training workshops that trained over 40 young professionals and entrepreneurs in advanced techniques and applications of virtual heritage. A series of research and technical reports were produced to support the intellectual foundation of virtual heritage in the Middle East.
Professor Abdelmonem's team mentored and supervised the production of virtual heritage environments for five distinctive historic sites and monuments in medieval Cairo. The project has generated the first database of virtual heritage small-to-medium enterprises (SMEs) in Egypt, produced a best-practice manual on virtual heritage, and authored the first government policy document on the governance of virtual heritage in Egypt and the Middle East.
Professor Abdelmonem organised and chaired the first-ever international conference on virtual heritage in the region in February 2017. A special issue of the International Journal of Architectural Research is documenting the project and its associated outputs.


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Q: WD elements hdd getting recognized but not showing in window explorer WD elements hdd recognized and showing in device manager and disk management but not in window explorer.
Tried uninstalling/reinstalling from disk drives but didn't help.
Tried initializing disk in disk management through MBR (master boot record) but it says that "the request failed due to fatal device hardware error".
What options do i have to get my device started without loosing my data.
kindly help.

A: This seems very unfortunate, @dim light! :(
If you have important data on the external drive, I'd strongly advise you to consult with a Professional Data Recovery Company. I'd also recommend you to test the WD Elements with WD's Data LifeGuard Diagnostics for Windows. Running the QUICK and EXTENDED tests will help us determine the health and SMART status of the hard drive. The error is definitely something to be concerned about as it could be a physical damage as well, so I'd recommend you to check the WD Element's warranty. If it's still covered, you should be able to send an RMA request to our Customer Support and get a replacement.
Hope this helps. Keep us posted.

redpajama_set_name: RedPajamaStackExchange


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Pieter van Overschie or Pieter van Overschee (fl. 1640–1672) was a Flemish still life painter who was active in Antwerp between 1640 and 1672.  He is known for his fruit still lifes and game still lifes.

Life
Virtually nothing is recorded about Pieter van Overschie 's life.  His date and place of birth are unknown. His father was probably the art dealer Blasius van Oversee. He is first recorded at the Guild of Saint Luke of Antwerp as a 'wijnmeester' (son of a master) between 18 September 1640 and 18 September 1641.   There is no record of the artist having been registered as a master of the local Guild.

He is believed to have been active in Antwerp from 1640 to 1672, the period from which signed works by his hand have been preserved. He is in some publications mentioned as working in Leiden.  This is an error and the result of confusion with the Leiden painter Pieter Dircksz. van Overzee, who became master in the Guild of Saint Luke of Leiden in 1661.

His last known dated work is from 1672.  He likely died in or after 1672.

Work
Only a handful of paintings have thus far been securely attributed to van Overschee. He painted fruit still lifes and game still lifes. His dated works are 10 still lifes, which bear dates between 1651 and 1672.

Van Overschie is regarded as a member of the circle of painters who were influenced by Jan Davidsz de Heem, a Dutch still life painter who was active in Antwerp at the same time as van Overschie and was himself influenced by Flemish still life painters such as Frans Snyders, Adriaen van Utrecht and Daniel Seghers. Van Overschie's style clearly shows the influence of the school of Jan Davidsz. de Heem.  His paintings also show a painterly affinity to works by the Dutch painter Abraham van Beyeren and the Flemish painters Jan Fyt, Alexander Adriaenssen and Adriaen van Utrecht.

Notes and References

External links

Flemish Baroque painters
Flemish still life painters
Year of birth unknown
Year of death unknown
Artists from Antwerp


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