Gimli Manitoba Interlake Klean-All Laundry & Dry Kleaning, the Lake Winnipeg Writers' Group, and the Envoi Literary Foundation are pleased to announce that Victor Enns will be the Klean-All Laundry Poet-in-Residence to celebrate poetry month. April is poetry month all over North America, celebrated annually every-which-way in communities from coast-to-coast-to-coast.
Enns, a Klean-All regular customer, will be available to answer questions about poetry, and provide reading and writing advice to any Inter-Lake residents willing to sit down and chat while he does his laundry, every Wednesday. He is willing to share his own poems, as well as those of other poets, dead or alive, written in English. This is a pilot project running from March 30th until May 18. "We thought it would be entertaining for our customer," said Jane Schoonmacher one of the owners.
"Poetry is for people, everyday people, and I hope to dispel the notion that it's difficult to read or understand," said Enns. "Klean-All seems the perfect place to have those discussions with anyone, willing to give a poet the time of day." Enns will be available on Wednesday's from 11am to 1pm, though he will make appointments if the time is inconvenient for poets wanting to talk about their work.
"I'm interested in poetry being written in the Interlake and I look forward to working with any writers who are interested in talking about theirs." Gimli, first settled by book loving Icelanders, is located 75 kilometers north of Winnipeg, with a major harbor on Lake Winnipeg.
Thanks to Tergersen's, the Ship & Plough, Splash Printing, Flatlanders Coffee, the East Interlake Handi-Van, and the League of Canadian Poets, the Lake Winnipeg Writers' Group and Gimli's Klean-All Laundry and DryKleaning, for their support of poetry month in Gimli.
Another Envoi Literary Foundation Initiative.
Dates: April 6 (with Helma Rogge, Lake Winnipeg Writers' Group), April 13, 20 (at the Ship & Plough), 27, all from 11:00 am to 1:00 pm. May dates, including writing of any genre, will be announced before the end of April.


I'd like to personally invite you to attend The Seminar Group's Redeveloping Contaminated and Blighted Properties on Friday, January 25th in Los Angeles. As Co-Chair of the program, I am proud to present outstanding faculty who will give you the latest legislative and policy updates out of the midterm elections, including those impacting CalEPA vapor intrusion (VI) policies.
You will get a sense of the current real estate market, and how enticing brownfields projects continue to be in California. You'll gain an understanding of the latest brownfields finance tools, and new brownfields case studies from regulators, consultants, investors, and the legal community.
Agency officials and consultants will discuss how CalEPA may model a dry cleaner policy after the LUST Low-Threat Closure Policy. State Water Resources Control Board Mangers will provide an update on their Site Cleanup and UST Programs. Regulators, investors, and NGOs will describe how grants, insurers, and public/private partnerships are used to fund remediation activities. Finally, our investors and developers will discuss some recent brownfields projects, both small and large.
I am happy to offer you my faculty discount of $100 off your qualifying registration rate. Click HERE and follow the instructions for registration, or simply call (800) 574-4852, and use the code FAC100.
Want to promote your company by becoming a Sponsor of this seminar? Contact The Seminar Group for more information.
To view full agenda, which includes registration information and pricing, go to the link below. To register over the phone, or if you have any questions please call us at 800-574-4852.


text:
Double Trouble: The Political Collapse that Preceded the Economic Collapse
By Steven Hill, Montréal Review, March 2012
Excerpt from the Introduction to "10 Steps to Repair American Democracy: A More Perfect Union, 2012 Election Edition " (www.10Steps.net)
"We are fortunate to have Steven Hill's latest book, Ten Steps to Repair American Democracy, to help us find our political compass. He identifies ten critical problems with our democracy and offers concrete solutions to each one. Ten Steps is a blueprint for a reinvigoration of our republic."
–Hendrik Hertzberg, The New Yorker, from the Foreword
In 2008, an economic earthquake of historic proportions shook the world. That was followed by numerous aftershocks whose effects are still being felt years later. In the middle of the economic crash, a new audacity of hope arrived in the form of the first African American president elected in U.S. history. It was a jubilant moment showing America at its best, taking a giant step toward the dream of a multiracial society.
The very campaign of Barack Obama, which drew in unprecedented numbers of young people, seemed to auger a new era in politics that held out the potential for a badly needed transformation. Time magazine featured the face of President-elect Obama on its cover, photoshopped into a likeness of President Franklin Roosevelt complete with tipped cigarette holder and grey fedora. It seemed that a new New Deal was on the horizon for an America suffering from the ravages of a historic economic collapse.
Yet, within a short time, the Obama administration found itself flat-footed on nearly all policy fronts. Confronted by intractable challenges and difficult choices presented by the economic crisis, and hindered by a polarized Congress more interested in political brinksmanship and deploying cheap, anti-majoritarian strategies like the filibuster, the Obama administration responded with timid proposals that failed to realize its promise. It turned out that America's antiquated political system was so creaky and sclerotic that it was impervious to even the most talented of its politicians.
We now know that the economic crash was caused by a hyper-deregulated U.S. financial system that, without sufficient political and administrative oversight, had spun out of control. Without a politics that could rein in the economics, Wall Street honchos at Goldman Sachs, Lehman Brother and others had turned our banks and financial system into their personal casinos to be bailed out by taxpayers when their bets tanked. Wall Street's brand of capitalism meant we had to socialize the losses yet privatize the profits. And so it fell to the American political system, which had failed to rein in the runaway train to begin with, to re-regulate the economy and try to make the country safe again for capitalism.
Yet following President Obama's inauguration in January 2009, not only did he continue many of the Bush administration's policies but the people he chose as his cabinet members and regulators were industry insiders who were not going to change things fundamentally. Wall Street executives, at first cowed by their own incompetence and the sudden systemic instability that forced them to accept government handouts, rediscovered their bravado and began digging in against fundamental reform. The Obama administration and other key authorities, such as the New York Federal Reserve, stood back while Wall Street and the corrupted ratings agencies resurrected much of the ultra-complex trading system that had led to such a spectacular global collapse. New regulations eventually were passed, especially the Dodd-Frank legislation, but many financial experts felt that certain key defects were never adequately addressed. After the dust had settled, the banks and financial institutions that remained were even bigger than before the crisis, having swallowed those that failed. Wall Street was back to its high-flying ways, and a smoldering anger rumbled across the nation as it became clear that Main Street had been swindled by Wall Street, and government had done little to protect everyday people.
The Weakening Pulse of Democracy
But this spectacular economic collapse was just the climax of a long downhill slide for America, the last remaining superpower of the Cold War era. Long before the Great Recession struck, American workers had been some of the most productive in the world yet the wealth they produced had not gone into their pockets. Instead, as various scholars and journalists have documented, the wages of average Americans had been stagnant for three decades, necessitating ever greater levels of borrowing and debt for individuals and families to maintain their living standards. The number of Americans without health insurance had risen to 49 million, one-sixth of the nation, even before the economic collapse. Since the start of the Great Recession, the number of Americans living in poverty has risen to 45 million, nearly 15 percent of the nation, approaching 1960s levels that spurred President Lyndon Johnson's national war on poverty. Over 2 million Americans have lost their homes due to foreclosure, and millions more have lost their jobs. At the same time, the wealth of the richest Americans has reached astronomical levels. Forbes magazine reported that the net worth of the 400 richest Americans increased in 2010 to $1.4 trillion, meaning the Fat 400 had wealth totaling more than the gross domestic product of the entire country of India and its billion people. Higher levels of inequality mean that the United States suffers from higher rates than other developed nations of related social ills, such as mental illness, homicide, crime, imprisonment, and diminished levels of trust.
The crash of the economy exposed the ugly truth: The forces that have drastically increased economic insecurity and risk for so many Americans are rooted in fundamental shifts over the last thirty years. These longer-term trends, which culminated in the Great Recession, mark one of the great social transformations of the postwar era. But how could such alarming concentrations of wealth be possible, more than eighty years after the lessons we thought we had learned from the Great Depression? How could there be so much poverty and inequality within a nation that has so much wealth and power? And how could those who wrecked our economy end up profiting so brazenly from the destruction they created? These are the questions on many lips and minds today, not only in the United States but around the world, where a struggling Uncle Sam has lost much of its narrative appeal and sizzle as an international beacon.
There are many potential responses to those questions, but overwhelmingly one factor is looming larger: The economic collapse was preceded by a long-standing political collapse. Unfortunately, the antiquated American political system is desperately broken, mired in antiquated ways that have resulted in political paralysis in the face of urgent new challenges. Even today, policies that will exacerbate the inequality, unemployment and sluggish economy, such as tax cuts for the wealthy and the slashing of Social Security and Medicare, retain considerable political momentum among political elites, despite their unpopularity in opinion polls. The political system has become unresponsive to "We the People." At this point, the economic system – and those who dominate it – have captured the political system.
Understandably this has prompted great outrage and frustration among the American people. These passions crystallized into a right-wing populist movement known as the Tea Party, and later into a youth-inspired protest encampment in the belly of the beast called Occupy Wall Street (which eventually spread to other cities around the United States). Both of these populist insurrections struck a chord when they said, in effect, that it is time for Americans to take back our government. More than two hundred years after our national "birthquake," government of, by, and for the people remains an unfulfilled promise.
Today, the antiquated American political system finds itself plagued by partisan polarization, a rigidly divided Congress, superficial debate, and paralysis in the face of new global challenges. Even before the economic crisis, the U.S. was beset by choiceless elections, out-of-control campaign spending, backward voter registration laws, a filibuster-gone-wild U.S. Senate, mindless media, even a partisan Supreme Court. Americans are increasingly frustrated and have tuned out, causing the middle to collapse and allowing the partisans and apparatchiks to take over.
Fortunately, there is a better way than the status quo, one that can lead us toward a brighter national future. That better way involves making fundamental changes to our basic political and media institutions, bringing them into the 21st century. It involves not only crafting laws to cope with new assaults on American democracy- such as the horrendous US Supreme Court ruling known as Citizens United, which has opened up the spigot for corporate donations and unlimited spending in our elections-but also figuring out how to transform our increasingly creaky and antiquated political institutions.
In 10 Steps to Repair American Democracy (www.10Steps.net ) I provide a blueprint for renewing the American republic. I outline ten essential steps that can repair and modernize American democracy including: ways to allow more people to register and vote and to make sure voting equipment counts our ballots properly; replacing winner-take-all elections with alternative methods like proportional voting and ranked choice voting (also known as instant runoff voting) that give better representation, promote higher voter participation and encourage constructive debate and coalition building rather than scorched-earth tactics. I propose that presidents be elected by a national popular vote, and I advance reforms for the sclerotic Senate, which increasingly exaggerates the power of sparsely populated, conservative "red" states, and its arcane rules like the filibuster that undermine majority rule. I also propose reforms for the U.S. Supreme Court, which now resembles an unelected legislature of nine members that not only is badly out of step with mainstream America but where "five votes beats a reason any day." And I promote the advantages of publicly financed elections, free media time for candidates, more vigorous public broadcasting and media reforms that will produce a more robust debate in the free marketplace of ideas.
Not only do I propose specific reforms, but I discuss ways to enact them and provide at the end of each chapter a list of organizations that already are working on these reforms. By parsing the big picture into smaller bite-size pieces suitable for activism, 10 Steps provides a blueprint for a reinvigoration of our republic.
So it's time for American patriots to roll up our sleeves and get to work. I believe these are commonsense changes, most of them are already working in other nations and in some parts of the United States. I'm certain that the Founders and Framers of our nation, being the enlightened pragmatists that they were, would have applauded efforts to modernize their eighteenth century political creation and make it into one that lives up to the lofty rhetoric and aspirations of their astonishing age. The challenge before us of remaking American democracy is an epic one. The brightness of our national future depends on our success. But Americans have risen to great challenges before, and I believe we will again.
Steven Hill (www.Steven-Hill.com) is a political writer, cofounder of FairVote and former director of the political reform program at the New America Foundation. His articles and commentaries have appeared in dozens of newspapers and magazines, including the New York Times, Washington Post, Wall Street Journal, New York Daily News, Los Angeles Times, Toronto Star, Guardian, The Nation, Financial Times, International Herald Tribune, Ms., Salon and many others.
His previous books include the internationally-praised "Europe's Promise: Why the European Way is the Best Hope in an Insecure Age" (www.EuropesPromise.org) and "Fixing Elections: The Failure of America's Winner Take All Politics" (www.FixingElections.com), which has been called "the most important book on American democracy that has come out in many years." He has lectured widely in the United States and Europe, and has appeared on C-SPAN, Fox News, National Public Radio, the BBC, Austrian Broadcasting Corporation, Pacifica, Sirius and numerous radio and television programs across the United States and Europe.
Ready or not, Transfer Union here we come
My new book released: "10 Steps to Repair American Democracy, 2012 Election Edition"

redpajama_set_name: RedPajamaCommonCrawl


There is 1 campground found in Adelaide, SA. This is 3% of all the tourist places listed in this city. You may find a list of all categories of Adelaide attractions on this page to choose from.
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text:
July-December, 2010 International Religious Freedom Report
The constitution and other laws and policies protect religious freedom and, in practice, the government generally enforced these protections.
The government generally respected religious freedom in law and in practice. There was no change in the status of respect for religious freedom by the government during the reporting period.
There were no documented cases of societal abuses or discrimination based on religious affiliation, belief, or practice; however, there were isolated reports from religious minorities regarding limited employment and educational opportunities.
The U.S. government discusses religious freedom with the government as part of its overall policy to promote human rights.
The country has an area of 45,747 square miles and a population of 15.4 million.
Eighty percent of the population is Christian. Among the Christian groups, the largest are the Roman Catholic Church and the Church of Central Africa Presbyterian, with smaller numbers of Anglicans, Baptists, Evangelicals, and Seventh-day Adventists. Muslims constitute approximately 13 percent of the population, and the vast majority of Muslims are Sunni. There are also Hindus and Bahais, as well as small numbers of Rastafarians and Jews.
Please refer to Appendix C in the Country Reports on Human Rights Practices for the status of the government's acceptance of international legal standards //2009-2017.state.gov/j/drl/rls/hrrpt/2010/appendices/index.htm.
Religious groups must register with the government by submitting documentation to the Ministry of Justice detailing the structure and mission of their organization along with a nominal fee. Once approved, a religious group registers formally with the Registrar General's Office. During the reporting period, there were no reports that the government refused to register any religious groups.
Foreign missionaries are required to have employment permits. Missionaries and charitable workers pay lower fees for employment permits compared with other professionals.
Public schools offer religious education. Christian-oriented "Bible Knowledge" courses and "Moral and Religious Education" courses (that include Muslim, Hindu, Bahai, and Christian material) are available for schools. The Ministry of Education requires all schools to grant students or their parents the right to choose their religious instruction; however, individual parent-teacher associations or school committees decide which religion courses to offer. Although the courses are voluntary, some Muslims continued to request that the Ministry of Education discontinue use of the "Bible Knowledge" course and use only the broader-based "Moral and Religious Education" course in primary schools. Muslim courses are not available in public schools. The Muslim community operated its own schools where Islamic instruction is available to students.
The government observes the following religious holidays as national holidays: Good Friday, Easter Monday, Eid al-Fitr, and Christmas.
Restrictions on Religious Freedom
Some Zionist (African Independent) Church members complained that government policies forcing them to seek medical care for their children are an infringement of their right to practice their religion freely. This included the government's compulsory immunization in the latter part of the year for minors in some parts of the country following an outbreak of measles.
There were no reports of abuses, including religious prisoners or detainees, in the country.
Section III. Status of Societal Actions Affecting Enjoyment of Religious Freedom
There were no documented cases of societal abuses or discrimination based on religious affiliation, belief, or practice; however, there were isolated reports from religious minorities regarding limited employment and educational opportunities. Christians, Muslims, and Hindus often participated in business or civil society organizations together.


'Julian and Theo met among a million protesters in a rally by chance.' The camera glances across a collage of news clippings on the wall of the house in the woods. Among them, an ageing photograph of a sea of placards, the slogan familiar: Not In My Name.
When Alfonso Cuarón adapted P. D. James' novel The Children of Men for the screen, he laced the film with these threads of detail that link its grim imagined 2027 back to the world in which it was made. In another scene, Theo is chauffeured through Admiralty Arch into an enclave where a nostalgic England of Horseguards and brass bands is preserved against the chaos. Behind him, Trafalgar Square is filled with people holding placards that read simply, Repent!
We are halfway between those two demonstrations. So far, human fertility has not collapsed, but in other respects things are not looking great. The warnings from the scientists who study our changing climate get starker every year, yet the only year in which global carbon emissions have fallen since the signing of the Kyoto treaty was 2009, when financial crisis shrank the world economy. It would not be possible to get the countries involved in climate negotiations to sign again today the agreements that they signed in the 1990s: I heard that said, last month, by someone who has been in the negotiating rooms. It is one measure of the depth of the mess in which we find ourselves.
Those of us who work with words get asked to help and usually what is meant by this is that we should write things that help get the message across. Write a poem, or a play, or a short story that will wake people up to the depth of this mess, that will stir people to action or bring about 'behaviour change'. The work that results is mostly bad art, because this is not how art works. As the playwright Anders Duus put it to me, 'Our job is to complicate things.' Not to be difficult for the sake of it, but to do justice to the strangeness and the messiness of life in a world like this, and to create the kind of space in which stories come alive. This is not helpful, if what you are looking for is a communications tool to get across the message that the world is on fire.
If the present dispensation is wiped out now, the future will look back on us as gods… lucky gods blessed by supermarket cornucopias, torrents of accessible information, warm clothes that weigh nothing, extended life-spans, wondrous machines.
It seemed that neither Perowne nor McEwan himself was attuned to the likelihood that generations to come would look back on us quite differently.
These are two kinds of failure for writers to try to avoid: on the one hand, scribbling while the world burns, producing work that seems oblivious to the seriousness of our situation, and on the other, writing words that die on the page because a sense of the duty to 'do something' is forcing the hand that writes them.
If our job is to complicate things, we might start instead with whatever seems to be getting taken for granted. Take this urge to get the message across. Is it really the case that the information about climate change hasn't reached people? Or is it that we struggle to make sense of what this information means, to fit it into the frames we use to make sense of our lives? I sometimes suspect that the climate deniers have a better grasp than many of us of what is at stake: their willingness to twist evidence and turn reason inside out betrays an awareness of what it would cost to admit the alternative, an awareness that seems lacking among those who talk optimistically of the prospects for making the current way of living of the western countries sustainable.
Art is not an information technology, a tool for delivering messages, but it does have a knack of drawing our attention to the frames by which we have been making sense of our lives, disturbing these frames, bringing them into question, suggesting the possibility of other framings. This kind of activity is not immediately useful, in the way that the work of a communications department is useful, and it does not deliver anything that could be described as a solution. At most, it offers clues, it opens our eyes to paths that might turn out to lead somewhere or might turn out to be dead ends.
Over five years as an editor for the collections of new writing that Dark Mountain publishes, I read a lot of fiction that tried to tackle climate change as a subject. Love stories set against the background of international negotiations, science fiction futures set among the ruins of civilisation. Almost none of it worked. Instead, the stories that we found ourselves publishing approached this predicament obliquely. I think of the sense of loss that echoes through Nick Hunt's unsettling tales of encounters with strange creatures. I think of Charlotte Du Cann's 'The Seven Coats', a personal account of a journey through a myth.
The mythographer Martin Shaw offers an image which has helped me make sense of the difference between these two kinds of story and why the first of them fails. There are horrors, he suggests, that cannot be looked at directly, that will turn us to stone if we try. Such things can be approached only by following the dark reflection in the mirrored shield that Perseus uses to approach Medusa. This is an attitude that fell from intellectual respectability sometime around the 17th century, when such indirect ways of knowing were put away as childish things. The shadows were chased out, first by Enlightenment and then by electrification. We no longer inhabit a world of terrifying forces that exceed our understanding, or so we like to tell ourselves. Surely climate change is a problem that can be fixed with the right combination of technological, financial and policy innovations? As this framing of our situation loses its plausibility, we find ourselves clambering through the attic to dig out those half-forgotten things we put away in the corners of children's literature or the more unfashionable genres.
This relationship to truth does not allow for tactical calculation. If the Dark Mountain manifesto could be read as a defection from the environmental movement as we knew it, this was because that movement was coming to feel like a church whose priests had lost their faith. At rallies, you heard the same rousing speeches you had heard five years ago, but if you caught the speaker later, in a private moment, they would confess to a pessimism verging on despair. As writers, the duty to truth – not some cold, omniscient, placeless truth, but the messy, paradoxical truth that you meet in medias res – would no longer allow us to be part of this.
Who needs poetry or plays or manifestoes, when the world is on fire? I have said that art is not useful, in the way that many who are rightly alarmed at the flames would like it to be, and all of this talk about truth is liable to sound foolish. I don't want to make any strong claims for the role that art can play, but here are a few weak, tentative, questionable ones.
The insistent probing of language may be inconvenient. It opens up holes which the agreed vocabulary had papered over. It may force us to ask whether climate change is actually the problem, an unfortunate and unforeseeable consequence of human activity which might otherwise roll onwards on its current course, or only the most obviously alarming symptom of something larger, something that needs to be defined in other terms. How far down those holes go is anybody's guess.
I haven't a clue whether we humans will live for another 100 or 10,000 years. We can't be sure. What matters to me is the fact we have fallen out of a very ancient love affair – a kind of dream tangle, with the Earth itself.
Could you get any further from the grown-up language in which serious discussions of our predicament are meant to take place? And yet, there is something here that demands admittance, a voice that will be heard. Before all this is over, we will have to find a way of talking together about loss and longing and love, again, and it will take the voice of a Martin Shaw, a Jay Griffiths or a Jeanette Winterson to call the deep words out of the private places within us.
Finally, it may even be that the foolishness of art has a role to play. Meeting activists who are preparing to travel to Paris this November, what strikes me is the contrast to the mood ahead of the Copenhagen meeting, six years ago. Then, everyone seemed to be straining to believe that one more push could do it, so that when the summit ended in disappointment, people were devastated, broken by the result. This year, at least among those I have met, the disappointment seems to be assumed from the start and this gives a different atmosphere to the mobilisation. If there is no longer a rational story about the chain of cause and effect by which our presence will help lead to an agreement, we are participating in something stranger. The risk is that it comes to resemble that flash of the crowd as the limousine passes Trafalgar Square, the placards calling on the world to repent, the classic form of political protest hollowed out into the ritual of a puritanical sect. But this is not the only possibility. Art knows something about the power of seemingly useless acts, of giving voice to desperation, and the strange kind of hope that sometimes arrives when you have given up everything. Such experiences make you no promises.
The world is on fire. None of us knows for sure where this will end. I would bet on humanity making it through the hard years that are coming, but who can say what shapes human culture will take along the way? Much that we cannot imagine living without has been with us for a handful of generations, often less – the supermarket cornucopias, the wondrous machines – but there are certain elements within our experience that seem to be as old as being human. Making images and telling stories are among them. If things turn out less badly than it often looks as though they are going to turn out, in the time ahead, I suspect that these old parts of ourselves will play some role within that turning.
This essay was originally written for the Free Word centre in London.


text:
Three Professors Explain How Statistical Science is More Than Numbers
Terry Speed, professor of bioinformatics at U.C. Berkeley, makes a strong case along with two other professors about why students should learn statistics.
Speed points out that statistical science is applied to just about every sector—from agriculture and healthcare to manufacturing and technology. "It seems evident that statistics pervades every field of human endeavor, either through the use of statistical facts, some form of sample-population inference, or other informal or formal methods of addressing questions of interest," writes Speed.
This is a big draw for students who are curious about a lot of fields and don't want to be limited to just one. David Wharton, associate professor in ecological statistics at the University of New South Wales in Australia, writes he started out studying ecology, but was soon drawn to statistics because it allowed him to pursue many different interests. He explains that as an ecologist, he'd be limited to focusing on just one area of study, such as plants, frogs or microbes. But as a statistician, he can delve into all of these areas and many more.
John Henstridge, adjunct professor in mathematics and statistics at the University of Western Australia, shares a similar sentiment, calling statistical science a "mathematical Swiss Army penknife." He writes, "…even though I have spent decades working as a statistician, I remain surprised at just how useful this set of tools is and how widely it can be applied."
Read the full article, "Statistics Is More Than a Numbers Game – It Underpins All Sciences."


On Sunday, January 6, 2019 at 12:13:16 AM UTC, Brent wrote: > > > > On 1/5/2019 1:28 PM, agrays...@gmail.com wrote: > > The relation is provided by the metric. If you choose different >> coordinate systems (e.g. cylindrical or spherical or whatever) then there >> is different metric tensor.


text:
Pandora Tells All: Not the Curious Kind
by Nancy Loewen
Illustrated by Ryan Pentney
OF COURSE you think curiosity got the best of me, that I opened a vase and unleashed evils on the world. You don't know the other side of the myth. Well, let me tell you …
Picture Window Books
Mythology & Legends
Paperback Price: $6.95
Cyclops Tells All: The Way EYE...
Medea Tells All: A Mad, Magical...
by Eric Braun
Medusa Tells All: Beauty...
by Rebecca Fjelland Davis
School Library Journal - Alana Joli Abbott, James Blackstone Memorial Library, Branford, CT
"With kidfriendly illustrations and a clever narrative voice, these twisted myths will have kids chuckling. . . .A critical thinking section at the end will guide teachers to using these books in classroom discussions about mythology, and the notes on integrating Common Core topics is helpful." - School Library Journal
Nancy Loewen
Nancy Loewen writes fiction and nonfiction for children and young adults. Recent awards include: 2012 Minnesota Book Awards finalist (The LAST Day of Kindergarten); 2011 Bank Street's Best Children's Books of the Year (Share a Scare: Writing Your Own Scary Story); 2011 Book of Note, Tri-State Young Adult Review Committee (Stubborn as a Mule and Other Silly Similes); and 2010 Distinguished Achievement Award from the Association of Educational Publishers (Writer's Toolbox Series). She's also received awards from The American Library Association, the New York Public Library, the Independent Book Publishers Association, and the Society of School Librarians International. Nancy holds an MFA in creative writing from Hamline University, St. Paul. She lives in the Twin Cities with her husband and two teenage children.
If You Were an Antonym
If You Were a Homonym or a...
Believe Me, Goldilocks...
Seriously, Snow White Was SO...
Do I Have To?: Kids Talk...
Treat Me Right!: Kids Talk...
We Live Here Too!: Kids Talk...
If You Were a Conjunction
If You Were a Preposition


Designed with a caged silhouette, Alexander Wang's black suede Ava slide sandals are embellished with plush rabbit-fur-covered dome studs. These luxurious slip-ons feature a soft suede and leather footbed and low stacked heel.
Imported. Dyed rabbit fur country of origin: China.


63xc.com: How long have you been a cyclist?
Bob: Seriously, racing and so on, since 1956.
63xc.com: And your father was a cyclist too?
Bob: He started racing about 1925.
63xc.com: So what we've got here is a line of experience that runs through most of the last century. I'm particularly interested in talking to you because of the Brit tradition of time trialling, which was very much associated with fixed gear.
Bob: Time trialling was a British invention. F. H. Bidlake came up with it as a way to keep racing on the road at a time when public opinion was turning very firmly against the massed-start races of the late 19th century.
63xc.com: For non-Brit Riders... a time trial is a timed race over a set distance, say 10 or 20 miles?
Bob: It can be any distance. At the beginning, riders would actually ride in different directions. The idea is, you ride against the clock and against yourself.
63xc.com: And there's almost a tradition of riding these fixed?
Bob: When trialling started in 1898, most serious riders were on fixed gear, because there was nothing much else around.
63xc.com: So, let's say that I'm a young buck in 1895 and I'm coming to you for advice. What gear would you put me on for light day rides and generally getting about?
Bob: About a 60". The state of the roads and the state of the machine wouldn't allow you to push anything much higher than that.
63xc.com: So this is a solid-tyred machine? And the roads were more like what we'd call tracks today?
Bob: Terrible roads in those days--sand, chalk, you name it. In fact, cyclists did a lot to get roadmenders to improve the roads... but that's another story.
63xc.com: What about when I decide to do some trialling?
Bob: Well, remember, in the early years, any distance under 50 miles would be considered short. For flattish territory, Thames or East Anglia, you might go as high as 76". Certainly nothing much more than that, and a good deal less in hilly country.
63xc.com: Did those ratios creep up as bikes improved?
Bob: Fashion is important in the bike industry. In the early years of the C20th, manufacturers started pushing much longer cranks, some of them as long as eight or nine inches. They made higher gears easier. Pure leverage.
63xc.com: This is the concept of development, which Sheldon Brown is very interested in.
Bob: Long cranks made gears in the 70s easy--and event riders might go up as high as 100". Remember, there are big improvements in the roads around this time, and you've got pneumatic tyres to ride on.
63xc.com: Did the long cranks last?
Bob: People went back to shorter lengths--typically 6 1/2" for track and 6 3/4" for the road.
63xc.com: So those are the lengths people were using all through the middle of the century?
Bob: During the peak years, there was better understanding of how you get speed on a bicycle. The French call it souplesse--the speed at which you can turn the cranks.
63xc.com: OK, let's jump forward. Here I am in 1950 with my nice touring bike all set up for a day ride. What sort of gear should I be choosing?
Bob: In winter, perhaps in the low 50s. It might go down as low as 48".
Bob: The idea was to keep spinning and not get stiff. In summer, when cold wasn't an issue, you might get up as high as 63". This really goes back to a chap called Alf Whiteway, a great teacher, who advocated starting early and learning to spin for speed. Later, as you got stronger, the gears would get a bit bigger.
63xc.com: Any thoughts about offroad?
63xc.com: I'd better point out that, when I started 63xc.com, I had only just started riding fixed. 63" sounded low to me. I know better now, of course. Early fixed cyclocrossers in the 40s and 50s--what would they have used?
63xc.com: Some of us still do that!
Bob: ...the 40s or 50s seemed to be the way to go on those early events like the Chobham Clump.
63xc.com: A couple of 63xc.com contributors take fixes into SS and MTB races, and they seem to end up in the mid-50s.
Bob: Fashions come and go, but the basics of riding a bicycle don't change that much.
Bob French is a lifelong fixed gear fan, and also the librarian for the V-CC, the largest veteran cycle club in the UK.
If you want to read more about the effect of crank length on performance, Sheldon Brown's 'gain ratio' page is a good place to start.


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de.tech.ting
Me, on Twitter
Should I date Steve Jobs or Eric Schmidt?
Forget Facebook privacy, now charges of Facebook securities fraud
Huge social shift: Cellphones now used more for data than calls
College newspaper penis prank leaves nine seniors in graduation limbo
Lost iPhone 4G, Gray Powell, Jason Chen and Gizmodo immortalized in Hitler meme [VIDEO]
avc.com
better propaganda
mediabistro.com
paidcontent.org
trueslant.com
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Google Search is the new Kodak Moment
Posted by andreaitis on February 8, 2010
I just read T/S'er Kashmir Hill's post Super Bowl upset: Google puts on the best ad. In it she says:
Getting the millions of people watching the Superbowl to feel all warm and fuzzy toward the company "that does no evil" may have been one of most strategic plays of the evening.
She's right on all accounts, but the words that jumped out at me are "warm and fuzzy." There aren't many products people feel warm and fuzzy about these days. Apple causes gotta-have-it Mac attacks, and the iPad certainly led to obsessive reporting and was cleverly and very publicly punk'd by Jason Calacanis. But warm and fuzzy? Not so much. In fact, I can't think of a product that has elicited such emotional ties since Kodak. Take a look at this Kodak commercial from the 1960s. If you make it to the end without sobbing you'll hear "One little girl. One precious childhood saved for years to come, in pictures. You can do it too. All it takes is a camera, Kodak film, and thoughtfulness." Yes, that's right: Thoughtfulness.
[youtubevid id="qBWVWjdNWC0″]
In this commercial from 1985, you'll hear Barbra Streisand singing 'Memories" while the hypnotic voiceover urges "When the moment means more, trust it to Kodak video tape."
[youtubevid id="0RBEuOKx4Tk"]
George Eastman was an entrepreneur by his mid-twenties, way back in 1880. He had a simple goal for the Eastman Kodak company: "to make the camera as convenient as the pencil."
Eastman's faith in the importance of advertising, both to the company and to the public, was unbounded. The very first Kodak products were advertised in leading papers and periodicals of the day — with ads written by Eastman himself.
Eastman coined the slogan, "you press the button, we do the rest," when he introduced the Kodak camera in 1888 and within a year, it became a well-known phrase.
via History of Kodak
Like Google, Kodak was used as a verb. While Google's verb-alization came organically, Kodak included it in the advertising headline "Kodak as you go." That phrase didn't stick, but "Kodak Moment" did. It's a phrase still used today even though Kodak no longer plays a central role in our lives or our memories. In fact, I suspect some people use "Kodak Moment" without really knowing where it originated. Kodak created an emotional connection with its customers, and fed that through its advertising campaigns. As Kodak struggles to find its place in an increasingly digital world, Chief Marketing Officer Jeff Hayzlett is trying a new approach.
Mr. Hayzlett has abandoned the warm-and-fuzzy branding ads once typical of Kodak. Well-known slogans have included "You push the button — we do the rest" and "Share moments, share life." Instead, he favors more product-specific ads. "We have to have ads that drive sales," he says.
As part of Mr. Hayzlett's effort to give Kodak a hipper image, the company was featured last year in the reality-TV show "The Celebrity Apprentice," and recently signed on for another season.
via Kodak Ads Get More Aggressive – The Wall Street Journal
The implication here is that "warm and fuzzy" cannot be hip. Last night, Google blasted that theory to bits. Google beautifully and simply told the story of boy meets girl, with Google Search helping them every step of the way toward happily ever after. Google created an emotional connection that only further cements its place in our lives and now, gently, in our hearts. That Google commercial? A Kodak moment, for sure.
[youtubevid id="nnsSUqgkDwU"]
This entry was posted on February 8, 2010 at 9:41 am	and is filed under Business, sports, technology. Tagged: Eastman Kodak, George Eastman, google, Google Search, Kashmir Hill, Kodak, Kodak Moment, Super Bowl, Super Bowl Ads, TrueSlant. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
7 Responses to "Google Search is the new Kodak Moment"
Todd Essig said
I had such a different reaction. No warm fuzzies at all — all it takes is google-supplied information to fall in love, marry, and have a child? I felt diminished by the ad.
Also, it reminded about David Knowles hilarious post — http://trueslant.com/davidknowles/2010/02/01/you-are-what-you-google
andreaitis said
A case of the cynical vs the sentimental. Google doesn't make it happen, but it's there every step of the way. Google has absolutely become a part of daily life, for the highs and lows. Need a waffle recipe? Google. Need to research chemotherapy? Google. Actually, let me rephrase that: search has become a part of daily life. Google was just smart enough to exploit it.
Cynical, moi?? I am a total sap, used to tear-up during the old "reach out and touch someone" commercials. But google doesn't hit that nerve. People have been falling in love in Paris for quite some time. As intrusive as its become (fact of life?) we pay a huge cost for "free" access to their cool tools. I kept thinking about how this guy's experience was shaped by the ads he encountered because he gave google the intimate details of his love life. I know I'm in the minority (I might even be alone there) but I hate what google-ization is doing to us.
Love the tools, hate the business model.
Zach Hensel said
Folks might be more familiar with the fictionalization of the genesis of Kodak's 60s-vintage campaigns: http://www.youtube.com/watch?v=R2bLNkCqpuY
That's it exactly, Zach. To quote the Mad Man himself: "Technology is a glittering lure, but there is the rare occasion where the public can be engaged on a level beyond flash; if they have a sentimental bond with a product…"
Facebook User said
Andreaitis – Tom from Kodak (the one with the moments 😉 here. We loved that Google ad last night as well and were talking about it this morning. Those conversations weren't negative. Many, many companies appeal to people on an emotional level. Even some ads from McDonalds have produced a tear in the corner of my eye at times. Hallmark is another example, etc. (I guess I am a sap like Todd too).
We are in the thick of enabling people's special moments. Kodak technology touches tens of millions of printed photos each and every day. 85% of digital cameras and 87% of camera phones are licensed to use Kodak technology. Making products and services that enable people's self expression, to tell the stories of their lives, is fundamental to what we do. It is in our DNA and we are happy that a phrase that we coined has become part of the popular vernacular. We have the utmost respect for those "moments" and do all we can to share and preserve them for our customers.
We use a variety of methods to get our message out that does not imply a wholesale shift from one approach or theme to another. We have evolved our marketing just as we have our businesses for more than a century. The common thread through it all has been a keen understanding of the important impact the products we make can have on people's work and lives.
Thanks for listening – tom hoehn
twitter: @tomhoehn,
blog: http://tomhoehn.1000words.kodak.com
Hey Tom –
Thanks for the comment. The fact that Kodak has existed for over a century is a testament to its flexibility when times and market needs change. I do wonder, though, what the "Kodak Moment" will mean to the generation growing up with Google. Will it remain nostalgia, or will it be redefined? Maybe that's a Super Bowl ad for next year…


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It has been four years since the sacred jewel shard search began, and Kagashe is now fourteen, Shanaru is now nine, and Sanku is traveling with Inuyasha's team. Kagashe, Kagome, Inuyasha, Shanaru, Kagura, Sanku, and Kirara were walking along, when a giant ogre showed up. Everyone prepared to destroy the ogre, and the ogre charged at them. Sanku got the Hiraikotsu ready, Shanaru pulled Tokijin out, Kagura prepared her fan, Kagashe pulled out the Tetsaiga, Kagome prepared her bow, Kirara transformed, and Inuyasha pulled out the Tensaiga.
After the ogre was destroyed, a lizard on two legs walked up. The lizard said, "So you destroyed it. You should know that Ciro is the least of the nightmare." "Who are you? What do you want?" Kagashe asked. The lizard ignored her and Kagome asked, "What do you mean?" "My name is Jin Jin, and you should know that there is a creature with purple hair, and a spider on his back, which is more powerful than Ciro, was." "So what?" Kagashe said. "That is only the tip of the iceberg," Jin Jin said, "Even if Lord Sesshomaru had survived, and you all teamed up, he still wouldn't have been stopped." Everyone blinked, and Kagashe said, "How do you know all this?" "It is said that this creature is Naraku's backup plan," Jin Jin said, "This creature also has millions of servants under his control, plus a horse, which are all more powerful than Ciro, and the creature is also more powerful than all the servants put together." "So someone has seen this incarnation of Naraku?" Inuyasha asked, picking up Jin Jin. "Yes, Jin Jin and myself," a pink creature with floppy ears said, "His name is Hakadoshi."
Disclaimer: I do not own inuyasha and characters, Rumiko Takahashi does. Jin Jin, Kagashe, Shanaru, and Sanku I created.


TROY, Illinois -- Fifth graders at Silver Creek Elementary School are making a special Halloween costume for a kindergarten student battling Apert Syndrome, according to KTVI.
It's a maker space at Silver Creek Elementary School trying to make a memorable Halloween this year.
"Some parents have created just out of the box ideas for Halloween and it came to me that why can't we do this for students in wheelchairs?" Cayla Seaton, Special Education Teacher, said.
Tuesday, kindergarten student Trae Bruns was working alongside these fifth graders on his Halloween costume.
Tuesday afternoon, Trae was trying on his Cat Boy costume from the animated series PJ Masks.


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An NGO from Novi Sad (Serbia) with entities in Amsterdam & Stockholm
Publication "Escalating into Holocaust"
You are here: Home / News and Articles / News / Publication "Escalating into Holocaust"
Collection of selected works by scholars and experts
The project "Escalating into Holocaust" is finalized in February 2017. We are happy to announce that the publication "Escalating into Holocaust" is now available in PDF format for free download, and as an online ISSUU publication.
Publication "Escalating into Holocaust" is a collection of selected works, papers, presentations and lectures on topics related to Holocaust research, remembrance and education, presented during the conferences, seminars, workshops and other events organized during 2016 and 2017 in the frames of the project "Escalating into Holocaust".
Impressive list of authors
Among authors that contributed their works to the publication there are: Dr Milan Koljanin, Institute for contemporary History in Belgrade; Dr Akim Jah, International Tracing Service (ITS) in Bad Arolsen; Dr Susanne Heim, Institute of Contemporary History Munich – Berlin; Dr Sanela Schmid, Researcher in Editionsprojekt "Judenverfolgung 1933–1945" from Nuremberg; Dr Erik Somers, NIOD Institute for War, Genocide and Holocaust Studies in Amsterdam; Mikhail Tyaglyy, Ukrainian Center for Holocaust Studies; Dr Nevena Daković, Film Studies at the Dept. of Theory and History at the University of Belgrade; and many others.
Most of the works are written in English, while some are available in Serbian language only.
Victim's database, exhibition and teaching material
Also, in the publication you can read more about the project activities and events, and the project's outcomes and products: a new online database of prisoners of the Sajmište camp (produced by the Historical Archives of Belgrade), Teaching material "Ester" – graphic novels about the Holocaust in Serbia (produced by Terraforming), and the exhibition "October 1941" (produced by Center for Holocaust Research and Education in Belgrade).
"Escalating into Holocaust" initiated by the Historical Archives of Belgrade
The international project "Escalating into Holocaust" was initiated by the Historical Archives of Belgrade with partners from Serbia, Croatia, Netherlands and Sweden: Center for Holocaust Research and Education in Belgrade; NIOD Institute for War, Genocide and Holocaust Studies in Amsterdam, Dept. for Cultural Studies at the University of Rijeka, and Terraforming.
Terraforming was in charge of several segments of the project: organization of international events, production of the project's website and the publication, development of educational materials, and the project final report.
Project was supported by EACEA – Europe for Citizens: European Remembrance. Read more on the project's website: www.arhiv-beograda.org/holokaust
Read and download the publication
Follow @earthshapers
Why Terraforming?
Terraforming ("Earth‐shaping") is a term from astronomy, defining the theoretical process of deliberately modifying the atmosphere, temperature or topography of a new planet, to make it habitable by humans.
But before we start changing other planets, we believe that it is our World that needs to be "terraformed" first, making it a better place, with more empathy and love, with genuine respect for human rights, equality and freedom.
We are trying to give our small contribution to that kind of "terraforming" of our World.
Terraforming
is an NGO from Novi Sad (Serbia)
with entities in Amsterdam & Stockholm
© Copyright - Terraforming 2010 - 2019
Ester.rs – new educational concept and teaching material Gender Perspectives in Teaching and Learning about the Holocaust
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National internship in visual arts, Tutor: Maria Isabel Rueda, Ministry of Culture of Colombia. Studies in Contemporary Art Federal University of Pelotas, Pelotas, Brazil.
National internship in visual arts, Tutor: Juan Mejía, Ministry of Culture of Colombia. Bogotá D.C. - Decima semester in degree of Visual Arts, Technological University of Pereira. U.T.P.
Workshops with different Artists as: Leonardo Gotleyb, Martin Molinaro, Jose Alejandro Restrepo. Franklin Aguirre, Liliana Estrada Manzur, Antonio Caro, Carmen Maria Jaramillo, Johanna Calle, Raúl Cristancho, Cultural Area of the Bank of the Republic, Colombia and other entities, Art Festivals, among others.
-December semester in Licenciatura of Visual Arts, Technological University of Pereira. U.T.P.
Proposal Summary: The short censoriously three stories and the hollow ear mountain story It is a video where I combined the person imagination, the literature and the psychedelia through body painting, and the sculpture. The performance is achieved giving life to characters concluded strange, anonymous and sinister scenarios created from a panicky, ironic and surreal aesthetics also tinged like a cinematic universe.


It's written in Rust, but as I only occasionally get a chance to work in the language, development has been slow. I would very much welcome PRs to make improvements and add functionality.
This is the kind of tool I've always needed without realizing it. I didn't even know git could use specific editors for rebasing.
I rebase every day and although I enjoy practicing my vim strokes, the rebase editor is the last place I want to make a mistake. So this looks really useful. I'm going to install it. Thanks!
Git does a fair bit as files under the covers, so it makes tools such as this very possible.
Yeah, I've always known you can use a custom editor for commits etc, but didn't know git config had enough granularity to use a custom tool for rebasing. Very cool!
I am not a Mac user anymore, but when I was I used Homebrew a fair bit. A Homebrew package would be great and there has been an issue  for it for a little while.
Adding the Git version to README is a great idea. I will have to do some research on when the `sequence.editor` option was added. An initial check  makes me believe it will work with Git > 1.7.8, which was over 7 years ago.
I've used this occasionally and I am a fan! Very intuitive.
I've been using this daily for a while now, super useful!
Thanks! Great to hear you find it useful!


The ancient craft of papermaking was practiced long before the arrival of the Spaniards. Amate paper is made by crisscrossing strips of wet bark and then beating them with a stone hammer and laying them out to dry. Amate is still used by the Otomí Indians in the state of Puebla. The Amate paper is also sold to artisans in the state of Guerrero who create colorful and beautiful bark paintings. An entire art form has developed creating pottery plates and many other figures with the style of painting usually seen on Amate bark paintings. This kind of painting is true folk art, depicting pastoral and urban scenes, festivals and celebrations as well as ordinary daily life.


As adults we all know how precious our sight is. We also know how amazing it is when we first hold our newborns. What we sometimes fail to do is connect the two and have those beautiful baby blue eyes checked! As parents you need to know that although serious sight problems in children are rare in the UK, there are common eye defects that could affect your child for life if left untreated. Your newborn can see, but their eyes take up until age three to mature. The pathways carrying information from the eye to the brain are still developing up until age seven.
If vision in one eye is poor before the eyes are fully mature then the visual pathway may not develop properly in that eye. This condition is called Amblyopia, or Lazy Eye. It is treatable if detected by age seven to eight. After this it can't be corrected, even with glasses. These changes are not monitored unless you bring your baby to us to have everything checked.
People often assume that because you read a chart when you come for a test, we won't be able to test your baby if they can't talk or read. Don't worry - read our section on the eye examination and you'll see that we have other ways to assess your baby's sight, and we try to make it as much fun as possible! Most children love visiting us, and its covered by the NHS.
Even when they can speak, your toddler might not be able to tell you that they can't see properly. What they see is normal to them! If your child can't see properly it may cause problems socially, developmentally and emotionally. For instance - not being able to see properly in class or to study comfortably might be detrimental to their whole future career.
Watch out for any signs that your children may have problems with their sight. These can include squinting, rapid blinking, and sitting very close to the TV. If you or your partner wears glasses then your children may have inherited more than just your good looks! Eye defects can be hereditary and an eye examination will give you peace of mind.
We would love to meet your babies, and help them on the first steps to good eye health. Book an appointment at any of our branches, all equipped with toys to give the little ones something to keep them occupied. We can give you uninterrupted, relaxed time with our Opticians, and answer any queries or concerns you may have.
Don't forget that we have baby change facilities too, if the excitement gets too much!


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Sat May 03, 2014 12:34
Iran: IAEA Not Entitled to Visit Parchin
TEHRAN (FNA)- The Atomic Energy Organization of Iran (AEOI) reiterated once again that the UN nuclear watchdog agency is not legally entitled to visit the country's Parchin military site which has already been inspected by the IAEA twice, stressing that any possible access to the site will be managed by Tehran.
"Legally, they are not entitled to visit Parchin since we have not accepted and are not exercising the Additional Protocol (to the NPT)," AEOI Spokesman Behrouz Kamalvandi told FNA Saturday.
He said even if Iran one day accepts to endorse the Additional Protocol, such an access should happen in a managed form.
He underlined the importance of a fatwa (religious decree) issued by Supreme Leader of the Islamic Revolution Ayatollah Seyed Ali Khamenei against the production and use of the nuclear weapons, and said, "The other sides know that this fatwa is more valuable (more binding) to us than the Additional Protocol and other international laws", and that's why we are not after the production of the nuclear weapons, "(but) they are after other objectives".
The IAEA inspectors have two times visited Parchin military site in the past and found no evidence of nuclear activities in it.
Former Head of the AEOI Fereidoun Abbasi said in March 2013 that Tehran would allow the IAEA to visit its non-nuclear military site in Parchin again only if the UN nuclear watchdog convinces it of the necessity of such a visit by presenting relevant documents.
"As I have said before, Parchin isn't a nuclear site and no nuclear activity is carried out in there," and if the IAEA believes that it should visit this site, it "should present its documents about nuclear activity in this site so that we can discuss the issue with our military officials," Abbasi told reporters in Tehran at the time.
Also in April, 2013, Abbasi had said that the UN nuclear watchdog should explain why it intends to send its inspectors to the Parchin military site because the AEOI has no station or activity in there and the site has already been inspected by the IAEA.
He pointed to the IAEA's concern about Iran's refusal to allow an inspection of Parchin, and noted, "If we enter another country, would they allow us to visit (inspect) wherever we want?"
"We (AEOI) have no site in Parchin; Parchin has been repeatedly accused despite the fact that it has gone under inspection in the past," Abbasi said.
He reminded that the IAEA should have a strong argument to convince Iranian officials, including the defense minister, that inspection of Parchin is necessary, and said, "Our military commanders are rational people (and would allow IAEA access to Parchin if they are presented with a good reasoning), but the point is that we in the Atomic Energy (Organization of Iran) have not been convinced by the IAEA inspectors of the goal of such a visit."
Iran in April dismissed the allegations raised by a Zionist media that the country has delivered a stockpile of low-enriched uranium to its Parchin military site.
"The Zionist regime is losing (the game) and it seems that they are attempting to fool the world due to the (bad) situation they are entangled in," Kamalvandi told FNA.
Noting that the Zionist regime is angry at the normalization of relations between Iran and the western countries after the start of the talks between Tehran and the Group 5+1 (the US, Russia, China, Britain and France plus Germany), he said, "The regime is seeking to disrupt this trend (of talks) through certain measures."
Kamalvandi dismissed the claims raised by the Zionist Debka website that Iran has delivered 1,300kg of low-enriched uranium to its Parchin military site, and said, "Raising such baseless allegations will unveil the real face of the Zionists more than before to make more clear to the world that their earlier news and reports (about Iran) have also been of the same type and lies."
Iran, IAEA Experts Meet in Vienna
Iran, IAEA to Hold Experts Meeting on Monday
AEOI Spokesman: IAEA Satisfied with Recent Inspection of Iran's N. Sites
IAEA Inspectors Arrive in Tehran
IAEA Inspectors Due in Tehran Tomorrow
Iran Dismisses Zionists' Claims on Delivery of Enriched Uranium to Military Site
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Fars News Agency is licensed under a Creative Commons Attribution 4.0 International License


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REVIEW: KT Tunstall goes beyond her hits at the Great American Music Hall
KT Tunstall performs at Great American Music Hall in San Francisco on Oct. 19, 2018. Photos: Joaquin Cabello
SAN FRANCISCO — Even if you don't think you know KT Tunstall, you definitely know two songs from her 2005 debut album, Eye to the Telescope: "Black Horse and the Cherry Tree," and "Suddenly I See" were in just about every movie and TV show from 2006 to 2008. That's barely an exaggeration; the songs' on-screen appearances included The Devil Wears Prada, Ghost Whisperer, Grey's Anatomy, Ugly Betty, The Hills, So You Think You Can Dance, the Doctor Who spinoff Torchwood and Dancing With The Stars—on two separate occasions. If you were alive in 2006 you're familiar.
Tunstall played both those hits at the Great American Music Hall on Friday, of course, and judging by the dozen or more cell phones held above the crowd the audience was waiting for them. But she also played songs from the decade since Hollywood found a new song to beat into the ground, with a focus on her 2018 album, WAX. On stage with just a microphone, a guitar and drummer Cat Myers, she showed that she's more than her "two massive karaoke hits," as she described them.
KT Tunstall performs at Great American Music Hall in San Francisco on Oct. 19, 2018.
She set the tone by opening the set with 2010's "Fade Like a Shadow," a song farther to the rock side of the scale than the ones for which she's best known, and followed it up with the mellower "Little Red Thread," off her new album. The rest of the show continued that diversity in songwriting—some tunes in the classic singer-songwriter mold, others more reminiscent of The Pretenders, which makes sense. KT Tunstall cited Chrissie Hynde as one of her heroes in the introduction to "The Night That Bowie Died."
Speaking of introductions, a highlight of the show was her stories and jokes between songs. She was charming and legitimately hilarious, even more so than many stand-up comics. From explaining that one of her electric guitars is named Shirley, after Garbage frontwoman Shirley Manson, to lamenting the decision to wear sleeves she cut off a sweatshirt on her legs on her breakthrough performance on BBC2's Later… with Jools Holland, her storytelling was itself worth the price of admission.
Further highlighting her comic timing were two segments that bordered on being skits. First, in possibly the best idea I've ever heard for mid-concert banter, she read off a list of actual concerts and events fans could have been attending if they hadn't come to her show, highlighted by Drag Queen Bingo at the Tenderloin Museum.
Later on in the show, in an effort to combat "the doom scroll"—her nickname for Twitter which I am absolutely using from now on—she read some good news, including the Girl Scout who sold out in 45 minutes outside a Canadian marijuana dispensary and the mere existence of Buster, the resident dog at Hotel Nikko. It even included a weather report by roadie Annie as Helen Highwater.
One interesting dilemma for artists with two equally notable big hits is where to put them in the show and how to highlight them for more casual fans. One of there hits traditionally closes out the show—in this case that honor went to "Suddenly I See." But the other can be tricky.
KT Tunstall solved the problem by putting "Black Horse and the Cherry Tree" at just about the halfway point. Beginning solo with a loop pedal, she played an extended version of the song that even included—and I'm not making this up—the entire first verse of the White Stripes' "Seven Nation Army" played on a kazoo. During the live mashup the drummer returned to the stage and joined her for the end of the song, bringing up the intensity. The Tunstall hit was even better than the album version, and not just because of the unexpected kazoo cover.
Maddie Ross performs at Great American Music Hall in San Francisco on Oct. 19, 2018.
Bay Area native Maddie Ross opened the show. I don't know where in the Bay Area she's native to, but it's close enough that what seemed like dozens of her family members were in the crowd to support her. Her family and friends outnumbered Tunstall fans early on and made themselves heard throughout Ross' set.
Despite the added pressure of playing for so much family, Ross put on a great show. Handling vocals while her producer and girlfriend Wolfy played guitar, the songs ranged from pop that recalled Sixpence None the Richer (which she covered during the set), to something akin to modern spin on Veruca Salt or The Breeders. The latter was exemplified by "Physical," from her new EP, Touch Hands, Touch Bodies.
Follow editor Daniel J. Willis at Twitter.com/BayAreaData. Follow photographer Joaquin Cabello at Instagram.com/joaquinxcabello.
RIFF REWIND 2004: Franz Ferdinand, KT Tunstall and lots of complaints
September 29, 2018, 5:30 am 0 5,749
It's another edition of RIFF Rewind crowdsourced from the RIFF staff! Which means rock music was still overproduced…...
REVIEW: Kamasi Washington gets the rock and roll treatment at the Warfield
REVIEW: Noah Cyrus does it her way at August Hall


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Home News Music News CANADIAN INDIE-FOLK SINGER-SONGWRITER CLAIRE COUPLAND RELEASES FIRST SINGLE OFF FORTHCOMING ALBUM
CANADIAN INDIE-FOLK SINGER-SONGWRITER CLAIRE COUPLAND RELEASES FIRST SINGLE OFF FORTHCOMING ALBUM
PRODUCED BY JUNO AWARD-WINNER SAM WEBER STREAM 'LOVE SONG' HERE
Photo Credit: Ali Calladine
September 9, 2022 – Canada: Today Canadian singer-songwriter, Claire Coupland, has released the first single off her sophomore album New Light, due out in early 2023. Love Song can be heard everywhere you stream music, and was premiered via Canadian Beats.
Love Song is a spritely love letter that sits right in the pocket of California folk and Canadiana, written and performed on a shimmery high-strung acoustic guitar. It takes listeners through a lush toe-tapping arrangement echoing bluegrass and country styles with dreamy harmonies, watery electric guitar, slick stand-up bass and playful percussion.
Like many other artists, the stasis of the pandemic left Claire Coupland with a substantial period of reflection. Without live performance and the usual music engagements, her creative focus was turned inward towards a collection of partially written songs that had long been lying dormant in her imagination. Deeper, darker and more vulnerable song writing exploration unearthed stories of fragile family dynamics, the struggle to belong, homesickness, painful goodbyes, and hope for the future.
After half a year of email and phone correspondence, Covid 19 vaccine rollouts and easing of border restrictions, the stars finally aligned and Coupland made a trip to Los Angeles to join creative forces with JUNO award-winning musician and producer Sam Weber (Bahamas, Terra Lightfoot, Madison Cunningham). Together, with a hand-picked selection of LA's finest musicians (including members of Dawes, one of Claire's biggest musical influences), the team laid down a collection of exciting new songs with bluegrass, folk, soft rock and grunge flavours, and thus her brand new album, New Light, is set to release in early 2023.
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At Vidomanets Author Slava Of Page 8 Stratablue 34 What if the officer confiscates my fake ID but doesn't charge me with a crime?
8 34 Page Of Slava Author Stratablue At Vidomanets Will the University find out if I am caught using a fake ID if I am caught off campus? What are the University's consequences for being caught with a fake ID?


Lindsey Vonn's Oscar Sunday didn't exactly go off without a hitch.
Clad in a custom Christian Siriano gown, the bronze medalist encountered a problem with the sleeve of her dress. With minutes to spare, stylist Jeff Kim reportedly trimmed the sleeves of the sheath before Vonn, 33, headed to the Dolby Theater with sister Karin Kildow for the 90th Academy Awards.
Though the skier has conquered plenty of slopes in her decorated career, making it down the red carpet in one piece is a new challenge entirely.
"I made it down the red carpet so far without tripping and my outfit's in one place so I'm happy," Vonn shared.
While Vonn switched ensembles for the glitzy Vanity Fair Oscars party, it's unlikely she'll ever forget her Hollywood moment.


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Violin Sonata No. 1 in F minor, op. 80 (1938) [27:57]
Violin Sonata No. 2 in D major, op. 94a (1943) [23:30]
Alexandra Conunova (violin)
Michail Lifits (piano)
rec. Bremen, Germany, 2017
APARTÉ AP171 [51:29]
These excellent duo sonatas find Prokofiev at the height of his considerable powers.
The First dates from 1938, just a few years after the composer returned permanently to his homeland, while the Second is from 1943, when, along with other artists, he was evacuated away from the theatre of war to Perm in the Urals.
The Sonata No. 1 derived from an unusual intention: 'The idea of writing a piece for violin and keyboard came to me after I heard the D major Sonata of Handel.' For this reason there is a baroque design of four movements - slow, fast, slow, fast - while in the early stages the violin is allocated Bachian arpeggios that the dedicatee, David Oistrakh, described as resembling 'the wind in a graveyard'. This particularly atmospheric image is beautifully conveyed by Alexandra Conunova, while the recorded sound supports the subtlety of her playing.
The second movement could hardly be more different, as the unequivocal description Allegro brusco tells us. Now Conunova and her pianist Michail Lifits adopt the required aggressive tone, which is offset in due course by the lyrical lines of the third movement Andante. The finale, by contrast, is a veritable tour-de-force, and the performance is notable for its rhythmic intensity.
The Sonata No. 2 was also associated with Oistrakh, who suggested to the composer that he should adapt his new Flute Sonata for the violin. This provenance indicated music, whose personality is rather different from its predecessor, and like the contemporary Quartet No. 2, the Sonata incorporates elements of folksong. Prokofiev said: 'I wanted to write a sonata in delicate, fluid classical style.'
The essentially flowing nature of the musical inspiration is well conveyed by these artists, recalling Oistrakh's observation that the music was transcribed from the flute to the violin 'with speed and efficiency'. Melodic invention is combined with rhythmic momentum, and this characteristic brings out the best in the partnership of Conunova and Lifits.
The sonatas are presented in a nicely designed folder, with full notes that are neatly presented. If there is a caveat it is an important one: unlike the majority of its competitors, this issue offers rather less music. For example, in their equally successful and award-winning performances Alina Iragimova and Steven Osborne (Hyperion CDA67515) offer the bonus of the Five Melodies, Opus 35b, fifteen additional minutes of music.
Terry Barfoot


This week we honor Paul Ryan of the Mount Vernon Wrestling team as the Sheet Metal Workers Local 263 of Eastern and Central Iowa Athlete of the Week! Ryan, a senior, won the sectional title at 170 pounds at West Delaware last Saturday by beating 8th rated Wyatt Voelker of West Delaware 3-1. Ryan, the top rated wrestler in Class 2A at 170 pounds, enters the District meet at DeWitt this Saturday at 39-0 for the year and will be looking for a repeat trip to the State Tournament where he finished 4th a season ago also at 170 pounds. Congratulations to Paul Ryan of Mount Vernon…our Sheet Metal Workers Local 263 of Eastern and Central Iowa Athlete of the Week!