Over the weekend at Moonrise Festival in Baltimore and at Outside Lands in San Fransisco, Louis the Child dropped a new Remix of Chance the Rapper's track All Night and announced their headlining North American tour.
The Chi-town duo is taking the world by storm with the release of their "Love is Alive" EP and spot on the lineup of every big festival during the 2017 season.
All Night is a perfect example of Robby Hauldren and Freddy Kennett, who makes up Louis the Child's undeniable talent. The duo has been quoted professing Chance as a huge inspiration and jumped at the chance to add some of their signature style to one of Chance's tracks. The mix of music in the remix of All Night is a great exhibition of the beats coming out of the windy city.
The North America headline tour dubbed the "Last To Leave" tour will cover 34 cities starting September 3rd in Seattle and Concluding Dec 16th in Hollywood.
The tour will feature not only Louis the Child but also Joey Purp, Lauv, Louis Futon, Prince Fox, Ashe, Party Pupils, Point Point, and Win Woo.


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BUFFALO, N.Y.-- U.S. Attorney William J. Hochul, Jr. announced today that John J. Barden, III, 55, of Snyder, N.Y., who was convicted of failing to pay employment taxes, was sentenced to time-served with three months of home detention and two years of supervised release by Chief U.S. District Court Judge William M. Skretny. Barden was also ordered to pay restitution in the amount of $75,568.74 to the Internal Revenue Service.
Assistant U.S. Attorney Edward H. White, who handled the case, stated that for the years 2005 through 2009, Barden falsely classified the wages of his employees at Double Down Transport, Inc. as payments for per diem, fuel advances, and reimbursements for tolls, permits, repairs, and maintenance. As a result, the defendant avoided paying a total of $75,568.74 in employment taxes.
The sentencing is the culmination of an investigation on the part of Special Agents of the Internal Revenue Service, Criminal Investigations, under the direction of Special Agent-In-Charge, Toni M. Weirauch.


text:
Scientology library: "Jürg Stettler"
ard (germany) • bis nichts mehr bleibt (movie) [english: "until nothing remains"] • carl bergengruen • germany • heiner von rönn • jürg stettler • kate connolly • silencing criticism, censorship • the guardian (uk) • the local (germany) • ursula caberta • valkyrie (movie) • volker herres
Scientologists try to block 'intolerant' German feature film — The Guardian (UK)
Author(s): Kate Connolly
Source: The Guardian (UK)
Television network denies claims that Until Nothing Remains depicts group as totalitarian and unethical [Picture / Caption: "Tom Cruise, one of Scientology's most prominent members, was a controversial choice to play a Nazi resistance fighter in Valkyrie."] Germany's state broadcaster is locked in a row with the Church of Scientology which wants to block an upcoming feature film that depicts the controversial organisation as totalitarian and unethical. Bis Nichts Mehr Bleibt, or Until Nothing Remains, dramatises the account of a German ...
Tag(s): ARD (Germany) • Bis nichts mehr bleibt (movie) [English: "Until nothing remains"] • Carl Bergengruen • Germany • Heiner von Rönn • Jürg Stettler • Kate Connolly • Silencing criticism, censorship • The Guardian (UK) • Valkyrie (movie) • Volker Herres
ARD TV drama sparks Scientology's ire — The Local (Germany)
Source: The Local (Germany)
Trouble is brewing between the Church of Scientology and German public broadcaster ARD ahead of the TV premiere of a drama portraying the controversial faith as dangerous and unethical. "Bis nichts mehr bleibt," or "Until nothing remains," is the dramatised true story of a family torn apart by the religion, and Scientology officials may try to ban its broadcast on March 31, daily Süddeutsche Zeitung reported on Monday. Scientology spokesperson Jürg Stettler told the paper that members of the church were ...
Tag(s): ARD (Germany) • Bis nichts mehr bleibt (movie) [English: "Until nothing remains"] • Germany • Jürg Stettler • The Local (Germany) • Ursula Caberta

redpajama_set_name: RedPajamaCommonCrawl


This (demo) CD by the 23 year old Mattias Holmgren surprised me. In stead of the average mediocre quality these one-man recordings normally have (Holmgren plays all instruments, i.e. vocals keyboards/piano, bass and drums himself!), here is a pretty decent recording, with an artist who knows how to write a decent neo-progressive/AOR track. Since he started out as a drummer, who worked his way up to the more melodic instruments, at least we are not confronted with a drum computer, as is also often the case nowadays. The result is a demo album that should get him a record deal in the near future.
Most of the tracks are in the Jadis/IQ domain (with the emphasis on the first band). Especially the first track immediately triggers thoughts to More Than Meets The Eye (Jadis) and Chandler's vocals, although also the more poprock/hit oriented music of the eighties is visited. A very strong point is the fact that the songs do not sound like collages, but it really seems a band effort, even though played by only one man. The compositions, although fine, present nothing spectacular. They keep on the safe side, nowhere there is a really daring experiment. In that respect, the short length of the album is not a problem, since after 30 minutes I had basically heard enough. Mattias should team up with a couple of soul mates, and bring a bit more spice to his compositions. I do not mean that he should bring more of his metal roots into it, I means work more with accents and climax building, and make the tracks more dynamic in terms of (de)crescendos. Experiment a bit more, you're still young! For instance, the last couple of bars of Leaving Without A Reason hold the promise of a new movement in the track, but instead of pursuing that further, the track stops. The next track Final Chime already is more powerful, and in my opinion better, more rocky than the previous tracks. Listen to Jadis to get an idea of how these tracks are meant.
In summary, a nice debut album of someone with great talent that now should be guided and complemented by a couple of band members. I sincerely believe we haven't heard the last of him yet!
So here it is, the third studio album from Leipzig prog-rockers Dice. The group however is not new to the scene with their first recording dating to 1979, and musically this is apparent as they fuse elements from the seventies and eighties. the group in fact combine that hard classical rock style together with certain traits such as the ambient sounding keyboards that characterized the neo-progressive rock scene. The group is a quintet with the members being Christian Nóvé (lead vocals, rhythm guitar, programming), Henry Zschelletzschky (keyboards, vocals), Thomas Jäger (guiatr), Dirk Zorn (bass) and Thomas Bunk (drums).
The opening track from The Darkness Of The Sun is also the epic track of the album running at over ten minutes and managing to combine all the elements that make Dice. Admittedly I was not too fond of Nóvé's vocals when I first heard them though with after listening repeatedly to the album, his voice kind of grew on me and began to fit well into the mould of the band's music. The most interesting section of this track, which is mainly within a neo-progressive vein, is the central section which becomes extremely moody and dark with the music reminding me somewhat of Black Sabbath. This because of the bell chimes and dark cemetery-like atmosphere a well as because of Jäger's eerie guitar playing.
Next up is the first of seven Dreamscenes present on the album. Some of them are just short snippets of a tune while others are whole tunes unto themselves. These are spread throughout the album and act more as fillers between the main tracks. The first, The Train To Coma, has an almost Floydian feel to it mainly because of the guitar playing while Nóvé attempts to create that gothic atmosphere that musicians like Type O Negative's Peter Toole so successfully succeed in doing. The Cat Is Crying (Dreamscene II), is a short guitar lick with Linda Brown's voiceover (apparently recorded in 1984 according to the liner notes). Camels In Space (Dreamscene III) has a Latin touch added to the short instrumental, almost Santana-like in nature, while Flight Through My Computer (Dreamscene IV) is a mish-mash of sound effects accompanying Jäger's guitar feedback. Other Candles (Dreamscene V) features acoustic guitar this time with some quirky sounding keyboards while Five Minutes With Geli King (Dreamscene VI) and Midnight Tango (Dreamscene VII) seem to evoke a style that is oft associated with German prog-bands. They feature the voice (or sound effects!) of Geli King while guitars float about in an ambient setting almost as if out of an Ash Ra Tempel album.
Feelings In Dreamland has a rock feel to it though there are certain traits that surprised me. Once again there are a myriad of influences included in the track as the group play a hard rock style with the occasional keyboard lick thrown in. At times they shift gear with the musical weight thrown onto the keyboards and the style changes to one almost similar to that of those eighties electronic bands such as The Cars whilst at others their music sounds like early Marillion.
Here Inside The Universe presents us with more of the same thing as did Feelings In Dreamland, while Under Candlelight shows some diversification from the rest of the tracks with a lengthy Camel-like intro. The track in itself is pleasant with some good guitar work as well as some good vocal harmonies. Black Dreams has that seventies stoner rock feel to it while the remaining I Wanna Know features much of the same as the other tracks.
On the whole, repeated listening has, I must admit, enabled this concept album to grow on me. On the other hand I was none too impressed with the vocals as well as the musical arrangement on the album and thus the album does not figure too high in my ratings.
So here we have it, another Japanese band from Musea Records and once again I must admit to being surprised at what this country seems to be producing from within the progressive rock genre. Seeds Of The Dream is the first album for this Japanese band led by Yoko Royama (vocals, keyboards) (Vermilion Sands), Yuko Tsuchiya (keyboards), Kazuhito Kawakami (bass) and Naoyuki Harada (drums). Interestingly all material for the album was written by non-participating member Shizuka Nakata except for the occasional exception. Furthermore the band was aided by various guest musicians such as Masahiro Yamada (keyboards), Junko Minobe (violin), Akihisa Tsuboy (violin) (KBB), Eiji Nishigori (guitar) and Keisuke Al (guitar).
The music presented on his album verges on the mellow with significant classical influences with a similarity to bands such as Renaissance and Solstice. The violin takes center stage on many a tune while Royama's vocals give the album that gliding feel.
Footprints opens the album as Royama sings in English (she alternates between Japanese and English) and immediately shows a resemblance to Annie Haslam. In fact what causes her voice to be endearing is the fact that though high pitched, she manages to retain a certain smoothness rather than enrich the voice as do many Japanese female vocalists, coming to resemble Kate Bush. The track itself moves along a jazz fusion line as instruments each have their individual spots at soloing.
Though The Toy-Airplane has an English title, the vocals are in Japanese, yet they are unobtrusive and in no way do they interfere with the beauty of this track which is one of the highlights of the album. Starting off in a ballad-like fashion, the track picks up with the violin solo as the keyboards catch up and drive the track into a neo-progressive piece of art. An excellent piece of music. Beyond The Wall Of Time verges on the traditional with the addition of the flute within the musical structure, while the track itself remains acoustic.
Mourning For A Falling sees the band returning to a symphonic progressive rock style with the piano taking on a front role thus drawing comparisons with Renaissance while Tasogare No Nakade (Held In The Twilight) has Royama's voice and Minobe's violin complementing each other to perfection. Here the music is a mixture of traditional and jazz as there is a certain amount of the abstract with no definite direction, however the ends all tie up creating a track with interesting influences.
Afterglow is the only instrumental on the album with Royama utilizing her flute in much the same way as would be expected from a classical musician. This contrasts with the way this instrument is often used within rock bands with the breathing and sound changed considerably thus giving the timbre and tone of the instrument a harsher sound. A perfect example would be Ian Anderson (Jethro Tull). In this case the instrumental reminds me of late sixties progressive rock bands that utitlised wood instruments and probably the most famous track from this period would be King Crimson's I Talk to The Wind, which has the great Ian McDonald on flute.
Summer Night Dream has the group returning to an almost traditional stance, and the track sounds very very British. In fact it sounds like a cross between June Tabor and Sandy Denny as the violin of Akihisa Tsuboy weaves in and out of the harp-sounding guitar work and Royama's ethereal voice. The traditionally Celtic tin whistle replaces the flute as a solo instrument on this track, and the solo blends in perfectly with the rest of the tune.
With Izumi: from the dark side, the group cross the channel to infuse a Parisian touch. This comes with an accordion sound as the tune has a waltzy feel to it, yet Royama's voice never veers away from the folk-roots touch. The album comes to a close with Musical Box Of Nostalgia which is the most "symphonic" track the band have on the album. There is a baroque feel to the music with an orchestral arrangement accompanying the vocals on this gentle ballad.
As many know, there are many different subdivisions with the progressive rock genre. Unfortunately many people consider progressive rock to involve a series of lengthy bombastic solos with running keyboards and guitars and the occasional vocal singing about trolls and elves! A-theta dispel this notion with an album that has its fair share of musical diversions, yet never is over pretentious maintaining a constant mellow feel throughout, at times verging on the progressive-folk. An album I'd recommend to those who are looking for something soft yet complex.
Though a new name on the international musical scene, Daniel Gauthier is not a newcomer to music. His musical endeavors started in the seventies and included a stint in a Yes cover band called Parallels. Above the Storm is the second album for this multi-instrumentalist on which he plays acoustic guitar, bass, keyboards as well as sings. Helping him out on electric guitar is Gaston Gagnon while Bruno Dubé plays drums.
Having played in a Yes-cover band is an immediate indication as to what musical styles are Gauthier's main influence and one can safely say that this is an album with classical progressive rock with some neo-progressive tendencies.
The album starts off with the title-track, Above The Storm which sets the pace for the rest of the album. Musically I think this is a great album but I am a bit disappointed with both the mixing which has the drums set way back, while Gauthier's vocals have a limited range which can make the tracks at time a bit monotonous. The opening notes have a Mike Oldfield/Vangelis touch though as the track moves on, there is a shift towards a more familiar Yes territory, a feeling conveyed mainly due to the Howe-sounding electric guitar.
Such a feel is maintained even in Empty Space, though this track has some very pleasant time signature changes that create a sense of unexpectedness in the album. Of note is the fact that the keyboards seem to slightly more prominent on this track, though never creating insomuch as an ambient backdrop. Evening Of A New Romance has a lovely bass run. In fact one must say that the bass is the most prominent instrument on the album featuring very high up in the mix, and one must admit that the bass work on the whole album is of very high quality. Great time changes coupled with minor chord structures make this track one of the album highlights.
Quartet Solo is the album instrumental which allows the band members to showcase their musical prowess. The track starts with a Marillion-like cue and is the first time the keyboards actually play a role in creating licks and not just acting as a filler. Though initially pleasant, the track itself features nothing to write home about as it tends to become slightly repetitive after a short while.
The short keyboard Vangelis-like introductory Soft Souvenirs of 184 leads into Real Love which once again sees Gauthier borrowing from classical progressive rock bands such as Yes and in this case Genesis. Apart from the folky acoustic interlude, the track remains a bit bland. Silent Years follows pretty much a similar format to the tracks that have gone by with the bass guitar playing a prominent role within the band and the guitar playing delicate yet effective.
The album highlight is the closing track, Cross The Bridge which runs at close to eighteen minutes. Once again the music follows a classical progressive pattern, though the duration of the track itself allows for exploration of different musical avenues with a variety of fluctuations in time signature as well as melody.
On the whole I was none too impressed with the overall album. There are a variety of good ideas spread over the whole of the album but admittedly, Gauthier's voice fails to appeal to me remaining rather monotonous and lacklustre. The production of the album also leaves me with a bitter taste as Gauthier goes to great lengths to include a live drummer on his compositions, yet the final mix fails to produce a drum sound with a kick, leaving it drab and almost electronic sounding. On the positive side, there are many a fertile idea that leaves room for improvement and hope for the next album.
Since a long time Fish has had the good habit of releasing a double live CD from each of his tours. Apart from the fact that he rereleases many of them a bit too many times (see also the previous review column) I quite like the idea of a 'souvenir' of each tour. It usually gives the fans some good memories and enables Fish some financial security, which he usually doesn't have with the concerts themselves.
For his last tour, promoting his Plague of Ghosts album, Fish has actually released two albums. The soon-to-be released Sashimi, and this one, a limited edition (3000 copies) registration of his 2000 mini-tour in the United States.
During the final part of his European tour in 1999, Fish had been plagued by what he himself calls "the Fog", an unbelievable string of bad-luck, which forced him to cancel some of the concerts. The American mini-tour was set up around guitarist John Wesley's wedding in order to both cover flight and hotel costs as well as to please the American fans some gigs as plans for a previous US-tour had been cancelled in 1999.
However, as Fish elaborately explains in the liner notes, "the Fog" hadn't left him just yet and the night before the first rehearsals he got terribly struck by a virus, forcing him to stay in bed for all three rehearsal days.
After already losing the end of the European tour to a virus, and having no insurance or whatsoever for these gigs, Fish had no other option than to do them in this state, as cancelling would certainly mean the end of his career in the US.
This album is a registration of the third night of the tour, the fanclub gig in Philadelphia. And as Fish already points out in the liner notes, his performance is very, very poor indeed. His voice, suffering from the virus, is worse than ever, which caused him to drop some songs of the setlist and to have plenty of rest in between the songs. So the usual between-song banter has grown to more than 26 minutes of this album and many times it becomes more of a stand-up comedian show than a rock gig.
But all this chatter does create a very relaxed atmosphere, with plenty audience-participation, or, as Fish calls it, group therapy. At times his chatter is quite funny, but after a while it gets utterly boring and makes you skip it for the next track. A shame, as Fish's chatter has always been his best charm on these live recordings, but when making up nearly 20% of the total time, it just gets a bit too much.
The performance of the band itself is a bit better. After a shakey version of Faithhealer and the horrible, overplayed Lucky, it becomes clear that John Wesley has only two types of playing his guitar: heavy and worse. His Heavy Metal style playing works on tracks like Faithhealer, or Brother 52, but is completely out of place on a ballad like Just Good Friends. Hearing his failed Yngwie Malmsteen interpretation go completely out of time here, I can't imagine what posseses Fish to call Wesley "the finest all-round guitarist he every worked with".
But worse than Wesley is backing vocalist Elisabeth Antwi, who barely ever manages to produce the right tone. Her voice is way to low for most of the backing vocals, not to mention her version of the Sam Brown part in Just Good Friends.
The rest of the band plays actually surprisingly well. Tony Turrell, who could barely be heard in the mix at the gigs and had the unthankful task of stepping in fan-favourite Mickey Simmond's shoes isn't half a bad as you'd expect. His showcase is of course the epic Plague of Ghosts, which he co-wrote, but he also copes pretty well with the older tracks.
Steve Vantsis has been with the band since 1996 and is the veteran of the lot here (as Fish's normal drummer Dave Stewart wasn't able to come to the US). I quite like his warm playing and at least he is high in the mix here, which isn't always the case live.
Special mention goes out to drummer Mark Prator, who is filling in for Dave Stewart. He's had to learn the set from a tape, and with Fish's absence from the rehearsals this is only his third time with the band and he does a remarkable job here.
It takes the best part of the first hour for the band and Fish to get into shape and after some hick-ups in the Warm Wet Circles trilogy, Tumbledown is the first more or less flawlessly played track of the evening.
The second CD starts with the highlight of Fish's last studio album and it's needless to say that the 35-minute version of the Plague of Ghosts suite is easily the highlight of this album. This is the track the band seems most comfortable to play and even Fish's voice manages to get through, apart from some horrible moaning in the Chocolate Frogs-part.
Especially note-worthy is the ending. Like at the European tour (and on Fish's Issue 30 CD) the band finishes Wake-up Call by introducing the band-members one by one, after which they leave the stage one by one, until Fish is left all by himself, chanting "make it happen, we can make it happen." When Fish finally leaves the audience picks it up and continues singing. And they are still singing when the band returns for the encores, which results in an impromptu full-band reprise of Wake-up Call - classic!
As the last notes of Wake-up Call fade the band starts the mellow tones of crowd-favourite Cliché. The first half of this song is performed excellently, until John Wesley utterly destroys this beautiful ballad with his over-the-top guitarsolo.
His aggressive playing style is more appropriate in the snippet of The Perception of Johnny Punter, which follows Cliché. I never liked the crossover between the two songs, but the bit of Punter they play is played exceptionally well. Maybe because Steve Vantsis takes care of the lead vocals in the chorus.
The last song of the concert (after another 6-minutes blah-blah) is The Company, which was John Wesley's least-favourite song to play during the tour. The original acoustic guitar lines proved too complicated for him, so here too, the overdrive guitar has replaced all subtle notes.
As a bonus the album is filled with three songs from the New York performance, which apparently was far superior to the Philadelphia gig, but recording equipment failed that night. The tracks, Hotel Hobbies, Warm Wet Circles, and That Time of the Night really are superior to the version of the same tracks from the Philly show, present on CD 1. The band plays tighter, Fish's voice is better and even Wesley shows that his private lessons with Marillion-guitarist Steve Rothery weren't completely a waste of time, as he even takes off the overdrive for a couple of minutes during Warm Wet Circles.
To conclude, this is such a bad performance that Fish had better wish that no music journalist will ever get hold of this album. But as Fish explains in the liner notes, the album is certainly not meant as a best-of collection of his career, but more a souvenir of one of his worst, yet bravest performances of his career. The album is actually only interesting for the real fans, and then mainly for the ones that have been to any of the gigs on the American tour.
It is available only through the official merchandise for £14 (£12 for members) and comes with a £2 voucher for your next purchase.


During the election season, candidates� political campaign signs dotting the landscape is a common scene.
So far, this primary season is no different.
Already, some candidates running for political office on May 6 have placed campaign signs out for public view. There are different rules in local municipalities that regulate when the signs can be displayed, and even their size. A few callers to the Times-News asked about it earlier this week.
Alamance County Board of Elections Director Kathy Holland said Friday that sign ordinances vary by municipality according to what their councils adopted.
BURLINGTON: In Burlington, candidates� signs are prohibited from being placed on utility poles and may not obstruct drivers� vision at intersections. Political signs in the city cannot be posted earlier than 60 days prior to a primary, general or special election, and are required to be removed within 10 days after an election.
Burlington requires that political signs erected in connection with elections or political campaigns not exceed 32 square feet. Signs that violate any of these standards would be removed by the city�s Zoning Enforcement Officers.
ELON: Elon�s sign ordinance requires campaign or election signs not to exceed four square feet and be located only on private property with the permission of the property owner. Campaign signs in Elon are limited to one per candidate per road right of way. The campaign and election signs may not be displayed more than 45 days prior to an election, and must be removed within seven days after the election.
GRAHAM: Graham requires temporary political yard signs advertising candidates or issues not to exceed one sign per candidate per zoning lot of 16 square feet in area display. The signs are not allowed to be erected prior to 45 days before the actual election day, and are required to be removed within seven days after the election.
GREEN LEVEL: Campaign and political signs are allowed in Green Level in all zoning districts if they don�t exceed more than 18 square feet in area, are removed within 7 days after the election for which they were made, and not placed upon a right of way or on any telephone pole or public property or street sign. No sign may be posted earlier than 45 days before the election date in Green Level as well.
HAW RIVER: Haw River allows yard signs erected temporarily, such as political signs or those advertising yard sales, and requires that they be removed within five days after the event promoted has taken place.
GIBSONVILLE: Gibsonville allows temporary political signs on private property, and requires that the signs be removed within seven days after an election.
MEBANE: According to Mebane�s ordinance regulating signs, temporary political yard signs advertising candidates or issues are allowed provided the signs don�t exceed one sign per candidate per zoning lot, or four square feet in area per display surface. Political signs in Mebane cannot be erected prior to 60 days before the election, and are to be removed within four days after the election. No signs in the city are allowed to be attached to utility poles, traffic signs or other publicly maintained structures.
VILLAGE OF ALAMANCE: The Village of Alamance allows signs to be displayed for not more than 12 months.
SWEPSONVILLE and OSSIPEE have no ordinances regulating political campaign signs, Holland said.


Trying to get your S Corp clients to determine their reasonable compensation is a lot like trying to get a child to eat Brussels sprouts. You can try to convince them that Brussels sprouts are good for you, while that pile of Brussels sprouts sits there just getting ever colder and even less appetizing. But if you really want them eaten, you must put your foot down and require that the little green nemesis be eaten.


text:
Game of Thrones Season 8 Episode 5: A Discourse on Communication & Storytelling | Part I
Art work by Danielle Pajak Illustrations.
"The poet must stir souls, not nurture idolaters." — Andrei Tarkovsky
I feel compelled to talk about one of the most controversial episodes of Game of Thrones. The reason I feel drawn to speak is twofold, because I am an artist and I love Art. It is my passion and my life's work, and I am most particularly passionate about the Art of Cinema, which includes series and television shows. Entertainment, for the lack of a better word, although it is so much deeper than that word implies. It is my desire to see Art thrive in our culture, and more importantly I want to see our culture thrive because of its Art.
For this reason I would like to draw a valuable and crucial lesson from what has happened with HBO's Game of Thrones and Weiss and Benioff's series. I will not be addressing the story through technical criticism. I believe there are people more qualified than I to address those issues as I am not a storyteller (in the traditional sense) or screenwriter, so I will not be addressing story structure and development. What I will be focusing on is communication and storytelling themselves as well as the fundamental worldview that has poisoned this series and why the finale was false in every sense of the word, and did not ring true in most of our hearts.
I will begin by asking you, my readers,
How do we tell stories?
Again, this is not about story structure and mechanics, but I'm talking about the very act of telling stories, which is, at its essence, communication. So in other words, I am asking, how do we communicate? There are multiple ways in which we communicate, but I want us to consider the very essence of communication and the how and why it is done. I am communicating to you right now through this blog post by arranging commonly understood words (English language) in a specific manner (grammar and syntax) through which I am communicating ideas. I am communicating for the purpose of transferring information that exists in my mind to your mind, desiring that there would be understanding between us. I would not start speaking to you, an English speaker, in another language not known between us and neither would I suddenly abandon sentence structure — the jumped white over rabbit box the — that is nonsense, is it not? It would be pointless and worthless to communicate with you in any other way than by commonly understood rules and structures of communication that exist between us. So, communication's goal is understanding, we communicate to be heard. Communication is a forward moving action. We don't want to stagnate or regress, but to progress in deeper knowledge and establish a connection between us.
Now considering we are talking about a television series, let us lay out the commonly understood structures of communication through that medium:
- Language, through firstly the written, then secondly, spoken (by actors) word.
- Visuals which include: Composition (i.e. how a shot is framed) — What is actually in the frame (what is shown to us as the audience vs what is NOT shown to us), and Scene transitions (i.e. editing).
- Sound
With these fundamental elements is a story told through the moving pictures. Now if you will notice, storytelling through the Cinematic Arts is significantly more complex than communication done simply through words alone or images alone. There are layers and layers and layers of text and subtext through word, actor performance, sound, music, imagery, etc. It is mindbogglingly complex, yet at its core it is still working towards that very simple (though not easy) goal as any other form of communication, which is understanding.
Why do we want to be understood?
We desire understanding because we hold a conviction that whatever it is we are communicating will be beneficial and/or necessary for the one hearing in order that something may be accomplished. Whether we are communicating something evil, "I hate you." or something good, "I love you.", whether positively or negatively, we are trying to give to our fellow person something that person can then take, process, and react to. We communicate at work to accomplish tasks. We communicate with our loved ones to develop deeper connections. We communicate from our emotional needs. We communicate in order to learn. There is an endless amount of reasons why we are communicating, but they all are done for that one goal — understanding which produces a desired reaction and achieves a purpose.
Storytelling, then, as a means of communication, is being told for a reason. It is communicating information and ideas that it might be understood by its audience and then provoke a reaction from said audience. We do not communicate from the vacuum or into the vacuum. We do not tell stories from the vacuum or into the vacuum. Therefore, story has meaning.
Bond of Union by M.C. Escher.
With this understanding, then, we now see that the fundamental elements of storytelling that I laid out above all have meaning. In every nuance of an actor's performance, in the arrangement of words, in the notes of the music, in every aspect of a framed image, all these variables contain layers and layers of meaning. You cannot escape it. You are bombarded by it by every moving moment. The storyteller is speaking, and we the audience are listening.
Then we react.
Now, I am not going to go into the psychological and philosophical complexities of actually communicating successfully in any given situation, because we know that our perceptions play a key role in it. How you perceive the world is different than how I perceive the world, and so there are, unfortunately, so many ways in which communication can break down between us because of subjective experience. And if there is a communication medium that is very much made up of subjective experience, it is that of Art and Story. So, I am not going to go into the nuances because I want to focus on analyzing the literal communication structure of the Game of Thrones Season 8 episode 5 and lay out a case for its utter failure at communication which follows in its failure of story which then follows to its failure of being meaningful Art in any way at all.
Daenerys Stormborn
For the sake of time, yours and mine, I am only going to focus on Daenerys' character and how she was treated in this episode because she is probably the most crucial point, being one of the main characters after all. In the episode we see her fully succumb to her Targaryen blood, going full "Mad King", as she takes out all her rage and sense of betrayal in not being loved by the people of Westeros on the inhabitants of King's Landing, laying waste to all the innocent people through fire and blood.
Now, Weiss and Benioff, as well as many Game of Thrones fans, say that this was inevitable, that Daenerys was always going down this route from the beginning, but the argument I am making is that that is just not true. At the very least this fact was not communicated to us successfully through the 7 seasons we have been watching, and I shall make my case as follows by using two scenes (for the sake of brevity) which outright contradicts this character conclusion.
Season 1 finale Episode 10 Fire and Blood
You know the moment I am going to bring up very well, that powerful and moving climax when Daenerys steps into her husband's pyre and comes out with three newborn dragons. She is Daenerys the Unburnt, Mother of Dragons.
Why was this scene communicated to us as part of the story?
Remember as I just laid out above about the fundamental elements of storytelling, i.e. word, imagery, sound, music, etc — each element is strung and woven together for a purpose. What is this scene's purpose?
I am going to rewind time back to this moment, we yet do not know what is going to come next in this story, but we are solely focusing on how this finale made us feel. How we reacted to what it was communicating. Of course, it makes sense, does it not, to study this finale within the context of what had come before within the first season? We can't understand the end of the sentence unless we know the beginning. We must listen to the beginning, middle, and end of said communication because if we stop in the middle of our listening, we will be missing crucial information and communication will break down. There would be no understanding, no meaning, and therefore nothing gained.
We have now just established, then, how we understand.
Through context.
Context is how all elements are arranged in conjunction and relation with each other so as to convey meaning. You cannot just focus on one element, pick out one word in a sentence, pick out one scene, you need all the elements in order to effectively communicate and achieved your desire goal of understanding.
Okay, so what is this scene's context?
We were introduced to Daernerys and her brother as the last surviving members of House Targaryen (or so we thought at this time). They have been exiled because of Robert's Rebellion which overthrew the Mad King from the Iron Throne. So essentially, our protagonist starts out in a very low station. She is the "underdog", and it is extremely low, as her brother is vicious and cruel towards her and she is treated no better than cattle to be sold off. Viserys makes a deal with Khal Drogo as means of gaining an army to take back the throne, and Daenerys is given to him marriage. Being Khal Drogo's wife certainly doesn't make our heroine's life any better as she is forced in a traumatic sexual encounter with her new husband and she is miserable through the strain of travel, and there really isn't any sign that Khal Drogo even cares about Daenerys and her brother's purpose of regaining what they had lost. Yet as the story progresses, we see Daenerys begin to work her way up. She learns to communicate with her husband and they even end up falling love, she gets pregnant (which culturally speaking is one of the highest and noblest functions for women), and she becomes empowered, able to stand up to Viserys and his cruelty. Our heroine finds her voice. She even successfully eats a horse's heart, which for the Dothraki is an honorable feat and promises great things for her unborn child. Even at some point Drogo gets rid of her brother, so she is freed from his lifelong abuse. Things are looking up as Daenerys finds herself in an honorable and secure station in life. However, it isn't long before calamity strikes again when Drogo becomes sick from an infected wound. Daenerys puts her trust in a slave woman captured by the Dothraki to try and help her husband, but things go from the frying pan into the fire when the woman betrays Daenerys using blood magic and is responsible for both the death of Drogo and their child.
Now rewinding back again, we were also introduced to Daenery's dragon eggs which were given to her as a wedding gift at the beginning of her story. Dragons no longer exist, if they even did exist, so they are more ceremonial than real. However, Daenerys is drawn to these eggs, which seem to be inert stones, because of her Targaryen blood. She sees something within these eggs that encourages her to press on, to remember who she is. They represent hope for our heroine. And this story element has stayed with us through the entire season. It is only now, at the finale, though, that we see their true significance when in her despair, Daenerys takes her dragon eggs and sets fire to her dead husband, and then steps into the fire herself.
The next morning she is Mother of Dragons.
The reason I took the time to outline the events of the plot was to show you how the elements built on one another. How did they make you feel? How did you react to them? What did this story as laid out through words, Emilia Clarke's acting, imagery, composition, sound, and music communicate to you? What did it mean? Did we not feel triumphant? Did we not feel wonder and hope? Did not all those elements strung together express suffering, perseverance, and transcendence? Did we not empathize deeply with Daenerys and her struggles? Did we not weep with her? Did we not cheer with her? I mean just look at our pop culture surrounding Game of Thrones — the endless amount of merchandise with "The Mother of Dragons" on it and what "Khaleesi" meant to us as fans. (We even named our children "Khaleesi" and "Daenerys"!) Why? What did her story fundamentally move within us that we reacted in such an ardent way? If we were supposed to understand from the beginning that she was only a psychotic murderer, then why did she inspire such affection within us? Did we not instead fall in love with a strong and deep feeling woman who held onto a dream and persevered through some of the worst possible atrocities in order to realize that dream in a more profound way than she could have possibly imagined?
If Daenerys was always destined to be the series' tragic villain, then why did we fall in love with her as the series' savior?
Art Title: Take What is Mine! by Danielle Pajak Illustrations. Weiss and Benioff want us to believe that she was always meant to "take what was hers" through "fire and blood" very literally, but look at the title of the 10th episode of Season 1: Fire and Blood. How was the concept of fire and blood actually used in this scene? Through loss and sacrifice, yes, but then, — new life. She lost her husband and her child, but she gained a miracle, this supernatural event, three dragons. The impossible made possible. Life. Not death.
Season 5 Episode 8 Hardhome
For a non-book scene, this was such an excellently written and performed scene. I loved watching it so much. It was the meeting we were all waiting to have happen. However, we must once again consider the context. At this point of the story we have shifted to Tyrion's point of view, but I use this scene as an example of what Daenerys means to Tyrion's personal narrative.
"So here we sit, two terrible children, of two terrible fathers."
Tyrion's place in the story is not unlike what Daenerys' was at the beginning of season 1. He is in a very low place. He too has been exiled, a runaway who was accused and sentenced with murdering King Joffery, but an actual killer of his own father. Having been an outcast in society and within his own family, is now literally an outcast and he comes to Daenerys seeking a reason to live. He comes to Daenerys for hope.
We know of the mistakes Daenerys has made at this point, but we also know the wisdom she has exhibited from the advice of others. We have seen her passion for justice and setting slaves free, but we have also seen her mercilessness and her heavy hand of power. In this scene Tyrion points out both of these aspects of Daenerys, but he tells her that he came to see if she was the "right kind of terrible", someone who could still maintain order and give stability to a kingdom. In the context of this scene, as we look at Daenerys through Tyrion's eyes, we are in no way meant to see her as mad or cruel, but a deeply flawed, volatile, passionate, and noble woman. She is human, as all the characters of this show have been, neither wholly pure nor wholly evil. Yet it is her dream that sets her apart from the rest of the candidates for the throne, a dream that speaks to Tyrion in his lowest moment and inspires him.
Daenerys: Lannister, Targaryen, Baratheon, Stark, Tyrell they're all just spokes on a wheel. This ones on top, then that ones on top and on and on it spins crushing those on the ground.
Tyrion: It's a beautiful dream, stopping the wheel. You're not the first person who's ever dreamt it.
Daenerys: I'm not going to stop the wheel, I'm going to break the wheel.
A bold, powerful, and inspiring proclamation! Daenerys wants to stop "the game of thrones", the petty squabbling of houses and vying for power. She wants to unite the kingdom under one ruler and bring about a better world for it. We believe her. Why? Because Tyrion believes her. Tyrion is also a dreamer just as much as Daenerys, he also values a better world. Are we to believe then that instead of this moment being a turning point for Tyrion, as it was clearly shown to be within its context, of him finally finding a promise and a hope of achieving something better than what has been, that it was actually all just a lie? Tyrion going from a terrible state to an even worse state: Delusion?
Where in this scene or in the rest of their scenes together was it indicated that Tyrion was delusional? In the elements — dialogue, acting, scene composition, the things shown to us in the frame, etc. In all those parts where was this feeling and concept conveyed to us to make a "delusional Tyrion" make sense?
It simply wasn't, because he isn't.
Do you see my argument? If Weiss and Benioff meant to communicate that Daenerys was "Mad King Targaryen" then why doesn't her character conclusion make cohesive sense with these scenes? Taken in all of its elements, in its entire context, why isn't this communicated perfectly and without question? Daenerys is one of the most crucial players in the Game of Thrones, her and Jon sharing prominence in the stories unfolding, shouldn't we all, then, be in agreement on the meaning of the conclusion of her story?
Yet instead what Season 8 Episode 5 communicates is in direct conflict with the rest of the show and what it was communicating from the first. However, this episode isn't the only place of conflict, there has been other moments in the show which showed this kind of disingenuous storytelling (Stannis and his burning his daughter Shireen is a good example this problem happening early on). Even the first half of Season 8 is in direct thematic conflict with the last half of season 8. Somewhere communication broke down terribly, and it simply isn't enough for someone to point out this moment or that moment as proving Daenerys was always meant to end this way. ALL aspects of the show are communicating something to us, and so ALL aspects of the show must be taken into account and expected to be coherently saying the same thing as revealed by its whole. When we lay out Game of Thrones in all its seasons and its many elements it should be communicating "Daenerys Mad Queen", but I have just proved that it wasn't.
If you, my reader, truly believe this was Daenerys' fate all along, then I ask you in earnest (in the spirit of communication and the desire for understanding) how do these scenes and the seasons they were contained in that I have just outlined above fit within that context of that narrative?
I have now come to the end of first half of my argument. The final question I would like to leave with you before closing is: what exactly is the end of Season 8 communicating? I hope that you and I can thoughtfully study this further. Thank you so much for reading and listening.
A Final Word on Conclusions
Jim LaBate in The Startup
William Faulkner on How to Become a Better Writer
Nicole Bianchi
How to Edit an Article From Start to Finish and Make It Unforgettable
Itxy Lopez in Better Marketing
The Perennial Litmag and the Death Illusion
Paula van Eenennaam
Looking for Fictional Character Inspiration?
Alison Schaffir in The Startup
My 4 Principles of Consistent Writing
Eden Au in The Ascent
Answering Queries About Queries
Joshua Doane in The Startup
Writing in the Stolen Moments
Bernadette Geyer in Storius Magazine


text:
info@therightproductions.com
Chene Park Amphitheatre celebrates 30-year milestone as city's entertainment jewel
Doing events right since 1996 | media
By Donald James, Special to the Chronicle
In the early 1980s, Coleman A. Young, then-mayor of Detroit had a vision. He pictured the city of Detroit building an amphitheater along the riverfront near downtown. Young wanted a venue for Detroiters that would rival Pine Knob, a hot-spot entertainment amphitheater, located about 30 miles north of the city. Pine Knob is now called DTE Energy Music Theatre.
Realizing that such a venue would be vital to the redevelopment of the city's waterfront, Young worked feverously with then-President Jimmy Carter's administration to purchase three parcels of land on the riverfront that had historically been used for shipping, docking and other mixed industrial endeavors.
Chene Park was the first of the three parcels of land to be developed. It was named for Charles Chene, a French immigrant who owned a strip of land along the shores of the Detroit River that extended into what is now just east of downtown.
"The mayor determined that Detroiters lacked access to our riverfront, which at the time was largely industrial," said Shahida Mausi, president of The Right Productions, which manages and operates Chene Park Amphitheatre. "Hart Plaza and The Renaissance Center had been built, but he envisioned the redevelopment of the riverfront stretching from the Ambassador Bridge to the MacArthur Bridge (Belle Isle Bridge)."
Thus, in the late spring of 1985, under the auspices of the City of Detroit Recreation Department, Chene Park Amphitheatre opened, which at the time was only a stage and hill. "I was given the opportunity to do the programming for Chene Park for the venue's first three years," recalled Mausi, who at the time was director of the City of Detroit Council of the Arts. "I established the venue's 'Wednesday Night Jazz Series,' which continues today and features many top national and international artists."
Some of the artists to perform at Chene Park Amphitheatre in its first year, included jazz singer Carmen McRae, jazz trumpeter Wynton Marsalis, legendary saxophonist Ornette Coleman, and singer Dianne Reeves. Detroit's former jazz radio station, WJZZ, was the early sponsor of shows.
"Carmen was a major star, but we booked her and it rained," Mausi recalled. "She had required a Steinway piano. I didn't know whether to put that Steinway on the stage or not because it was raining. Ultimately, 6,000 people came out in the rain. They sat with umbrellas on that wet hill to see Carmen perform. All of a sudden, the skies dried up and we put that Steinway on the stage. It was a magnificent evening of music. Mayor Young took notice and felt that Chene Park had great potential. He made decisions to make improvements to the venue, which meant building it out."
Today, the City of Detroit-owned Chene Park Amphitheatre seats 5,000 people, with the capability to seat an additional 1,000 on the hill behind the seating area. Located at 2600 Atwater St. (corner of Chene St.), Chene Park is one of the top 100 amphitheaters in the world, according to the Pollstar, the world's most authoritative trade publication that covers the worldwide concert industry.
Designed by the architect firm Schervish, Vogel and Merz, Chene Park Amphitheatre has welcomed thousands of artists to its stage over the past three decades, including Chaka Khan, Herbie Hancock, Stevie Wonder, Will Downing, Mary J. Blige, Roy Ayers, Jeffrey Osborne, The Isley Brothers, Pieces of a Dream, Angela Winbush, Boney James, Najee, The Stylistics, O'Jays, Ledisi, Erykah Badu, Morris Day and The Time, SOS Band, Atlantic Starr, New Edition, Lalah Hathaway, Keyshia Cole, and many more.
Mausi said there are many reasons why Chene Park Amphitheater is one of the top outdoor venues in the world. "Geographically, we sit on an international waterway," Mausi said. "When the audience attend shows here, they see Canada as a backdrop. There is also the beautiful Detroit downtown skyline to the west. Ultimately, however, it's the rapport and relationship and interplay between the artists and the audience that make the Chene Park experience so incredible. The design of the seating also makes it very intimate. The stage is very close to the audience."
In addition to concerts, Chene Park has been a unique place for high school graduations, weddings, white parties, as well as community, corporate and private events and health fairs. Additional, Chene Park has been the host venue for Detroit's Race for the Cure, the Universal Soul Circus (on venue's grounds), auditions for the "Wheel of Fortune" game show, harvest festivals around Halloween, and author/spiritual speaker Deepak Chopra.
Open each year from Memorial Day to Labor Day, Chene Park maintains its "world star venue status," thanks to Mausi and her four sons, all of whom form The Right Productions. The 19-year-old production company consists of Mausi and sons Dorian Mausi, executive director of food and beverages; Sulaiman Mausi, general manager; Rashid Mausi, marketing and sponsorship development; and Malik Mausi, assistant general manager. Her former husband, Sundiata Mausi, serves as production manager.
"I could not have accomplished what has been done at Chene Park without my family," said Shahida Mausi. "It's a total family effort. We form and work as a great team."
"It takes a lot of work to manage and operate Chene Park and its many events," Sulaiman Mausi added. "However, every time we hear the audiences positively respond to the shows and express their joy, those become special moments of delight for us."
A native Detroiter, Shahida Mausi grew up on the city's west side. She attended Cass Tech, but moved to North Carolina to finish high school. Growing up, her mother made sure that she was culturally aware and always involved in the arts, which included dance, music, theater, visual arts, and literature. Mausi's father was a noted CPA whose business acumen rubbed off on her.
Mausi began producing shows while a student at the University of Detroit, where she earned a degree in political science and communications. The first show that she produced while in college was a tribute to playwright and native Detroiter, Ron Milner. Following college, Mausi produced educational and entertainment programs for the Detroit Public Library's 26 branches, before heading the City's Council of the Arts.
While acknowledging and celebrating the 30-year milestone of Chene Park Amphitheatre are important, Mausi and The Right Productions are looking forward to taking the venue to new and greater levels. "Chene Park has a strong legacy and track record as an economic engine for this community and the city," said Sulaiman Mausi. "We plan to continue to do good things at Chene Park Amphitheatre that will impact the city and the residents of Detroit for a long time to come."
"We really want to thank the community for supporting Chene Park for 30 years," said Rashid Mausi. "Without the community and its support, there would not be a successful Chene Park. "We continue to believe in Detroit and its great comeback story. We also believe that Chene Park will continue to evolve and will always be a viable part of the city's bright future."
"I've been all over the country, but I've never experienced concerts like the ones at Chene Park," said Detroiter La Jondra Cleveland, who said she has attended shows at Chene Park for at least 20 years. "Every seat is a great seat, and the atmosphere on those summer nights on the Detroit riverfront while watching the shows with Canada as a backdrop are special. Chene Park is a world-class jewel that all Detroiters should be proud of."
For upcoming shows/events at Chene Park Amphitheater, log on to www.cheneparkdetroit.com, or phone the box office at 313.393.7128 or main office at 313.393.0292.
@2017 The Right Productions. Website created by creativeoutlookllc.com


The 8500 will access the bus while Phi2 is High, allowing the video chip to uses the bus while Phi2 is low.
While Phi2 or AEC is low, the address and data bus is tri-stated by the 8500.
When the BA line is low the 8500 will finish the current command (max 3 cycles) and will wait for the BA to go high again.
In the image, signals on pins 38 and 39 are wrong: Pin 38 should be R/W, pin 39 should be Phi2.
Thank you, I will fix the error, also on the 6510.


text:
Brewery redo saves architectural treasures
Elizabeth Dinan
edinan@seacoastonline.com
PORTSMOUTH — The conversion of two historic Frank Jones Brewery buildings into apartments and commercial spaces is a massive recycling project.
The two-building makeover in the city's West End is called Frank Jones Brew Yard and revives a pair of long-vacant buildings that once housed a thriving ale-production business. The 1800s-era brick buildings are being restored by as many as 100 workers at a time, who are transforming neglected properties into 68 apartments, a restaurant and commercial spaces.
By all indications, the finished project will be a collection of hip, new spaces, swaddled with antique charm.
During the transformation, developer Chinburg Properties is also salvaging architectural finds, some for reuse and others for sale, said Geoff Spitzer, vice president of Chinburg's commercial and mills division.
When contractors first got inside the brick buildings, he said, they found knotted ropes and ladders where stairs used to be. Pigeon waste covered surfaces and graffiti covered walls.
There were pot leaves and expletives spray-painted on walls and skateboard ramps propped up on floors, said Spitzer. On the top floor of a brewing building, he said, there were relics of "a performance art space," or maybe it was a "haunted house," he said, guessing the props were from the 1980s.
"There was evidence the buildings were used as a right-of-passage for kids coming in and expressing themselves," Spitzer said.
Those discoveries won't be part of the final restoration, but some architectural treasures will. As one example, Spitzer said antique elevator mechanicals are being left inside the ceiling of what will be a residential loft, with bird's eye views of the West End.
Every brick removed from the buildings is being cleaned of mortar and some are being reused during renovations, for example to frame new energy-efficient windows. Antique bricks that aren't used, are being stacked on pallets for other projects.
Original slate roof tiles have been removed, stacked in neat rows and will be sold as salvage. Nearby, stacks of eastern white pine timbers that were floor joists are being used during the renovations, while excess is being offered for sale at $6 a foot.
"The quality is amazing," said Spitzer, about the wood planks with aged patina.
Spitzer said a local craftsman will use some of the timbers to make club room fixtures and tables, mill some for shelving and use other old planks for finish work. More of the pine timbers will be reused for counter tops and furniture, he said.
Through Craigslist, some of the planks were sold for use as a bar being built for a new pub in Londonderry, Spitzer said.
All metals are also being salvaged, including about 50 cast iron columns that are original to the 1870s brew house. There, a steel mesh system remains, which the contractor thinks was used for drying hops above furnaces. Some meat-processing equipment was also found inside that are remnants of when the building housed the Schultz hot dog factory, Spitzer said.
The iron columns were installed vertically, from floors to "fairly short" ceilings, he said. To increase ceiling heights, Chinberg workers removed two of the floors in the brew house, which left them with the extra columns.
The columns were connected to wood beams "like Legos," with slots in wood beams matched to tabs in the metal columns, Spitzer said. Gravity held them in place.
Spitzer said the columns couldn't be made taller because "cast iron is famously difficult to weld." Some of them, he said, will be used to make a pergola on the grounds.
The iron columns are about 7 feet long and 7 inches in diameter and weigh 800 to 1,000 pounds each. Chinburg has a forklift on site to help with loading them onto a truck for anyone who wants to buy them at $25 each.
Developer Eric Chinburg bought the two Frank Jones buildings, which Spitzer said were connected, as shown in old photos of the brewery in its heyday. The brew house building will have 54 apartments, "some approaching micro-size," Spitzer said.
The neighboring fermentation building, with its landmark tower, will house commercial entities on two floors, including a restaurant, cocktail lounge and real estate office. All but one of the commercial spaces has been spoken for.
Above the commercial uses, Spitzer said, will be 14 apartments. A wait list has been started for tenants, with occupancy projected to begin later this year.
Anyone interested in purchasing architectural remnants from the project should call (603) 714-9884.
AUDIO: Juston McKinney Small Town Famous


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Dancing on Ice 2023: Ekin-Su Cülcüloğlu left 'upset' for days over skate-off vote amid OFCOM complaints
Strike dates 2023: National Education Union to walk out across February and March - here's when in London
River Thames: Human bones, Roman brothel token and megalodon shark tooth among wackiest items found
There have been reports of a Roman brothel token being fished from the waters around Putney Bridge, as well as a skull segment from a 30,000-year-old woolly rhino.
By Lynn Rusk
4th May 2022, 4:23pm
Human bones, animal teeth and Roman brothel tokens, these are just some of the items found lurking in the River Thames.
A recent study carried out by Barrett London took a deep dive into the 30-million-year-old river to discover the strangest items which have been fished out of the water.
River Thames
Strike dates 2023: National Education Union to walk out across February and March - here's when in London News
Bexley: Police appeal to find 14-year-old missing girl Cassandra News
In 1995, a giant Michael Jackson statue was found floating down the river, to promote his album History.
The deceased singer chose to float a giant 10-metre statue of himself down the Thames and this was one of nine counterparts found across Europe.
Last year, a 16th century sword was fished out of the Thames.
In 1995, a giant Michael Jackson statue was found floating down the river, to promote his album History. Credit: Amanda Edwards/Getty Images
The sword, which had a wooden handle, was thought to have survived at least 400 years in pristine condition, as it was buried in the oxygen-free mud.
Another fascinating item spotted lurking in the shadows is a 5,000-year-old human bone from the Stone Age.
It is reported to be dated between 3,516 and 3,365 BC and belonged to a person who was around 5ft 7.
A megalodon shark tooth found in Croatia - similar to the one discovered in the Thames. Credit: Getty Images
This is in addition to a 28-metre-long megalodon shark's tooth.
It's said that this huge beast swam in the water 1.5 million years ago.
A woolly rhino skull in Russia, similar to the one reportedly found in the Thames. Credit: MLADEN ANTONOV/AFP via Getty Images
There have also been reports of a Roman brothel token being fished from the waters around Putney Bridge, as well as a skull segment from a 30,000-year-old woolly rhino, and a plastic crocodile which initially terrified onlookers who thought the toy was real.
The study also looked at what tropical marine life resides in the river, which includes whales, dolphins, seals, crabs, and eels.
A whales was lifted from the water at Teddington in southwest London after it had swum up the River Thames on May 10, 2021
It found that the most common sea creature that resides in the river besides fish are whales.
Whales have been sighted in the river as early as 2006 and sightings date all the way up to this year.
A bottlenose whale stranded in the Thames in central London in 2006. Credit: JOHN D MCHUGH/AFP via Getty Images
Various types of whales have been found living in the river including the humpback, bottlenose, beluga and minke species.
In addition to whales, dolphins and even a range of shark species have been found to inhabit the capital's waterway.
A beluga whale breaches in the River Thames close to Gravesend, east of London in September 2018. Credit: DANIEL LEAL/AFP via Getty Images
The first sighting we have on record is 2018, when a dolphin was sighted near Barnes Bridge in West London.
A year later, a harbour porpoise was also seen swimming nearby.
The study also explored the items of waste most frequently found in the water, many of which should have been recycled instead.
Harbour porpoise found dead in the River Thames at Putney on January 21, 2006
A report by Thames21 found that wet wipes are the most littered item in the river.
When mixed with mud, the wipes form slimy layers.
The most common lightweight items found in the river included food wrappers, cotton bud sticks, cups, bottle lids, take-away drink containers and drink bottles.
Plans to build European-style lido on the River Thames - with Londoners to swim in filtered river water
Jimi the hero: Friends of man who saved woman in Thames release music on BBC Radio 1Xtra to honour anniversary
Explained: Why north London has so many more Tube stations than south of the river
Ed McCoy, sales and marketing director at Barratt West London, said: "Discovering that a number of whales have chosen to make Londoners their neighbours has been quite a pleasant and unexpected surprise.
"Their under the radar presence makes them the perfect quiet and considerate neighbours. It's a privilege to share our city with them.
"The study also brought to light the items that should not be calling the Thames home, that could have very easily been recycled instead.
"We hope this new knowledge of our underwater neighbours will make a lot of people think twice about dumping rubbish into the Thames."
River ThamesHistory


Testudo graeca cyrenaica can be found in Libya. Photo Map belongs to Lonely Planet.
Males grow 6-6.5" (15 to 16 cm) in size.
Females reach at least 7.5" (19 cm) in size.
Very little humidity, must be kept in a warm, dry habitat.
They are marked by a yellow base with black dalmatian-like spotting all over the carapace.
This subspecies does not brumate and must be kept indoors with sufficient lighting and heat during colder weather.
Hot, dry desert. Keep out of overly humid or wet environments.
Libyan Greek Tortoises. Photo taken by Garden State Tortoise and used with permission.


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text:
Locals gather for the annual Michigan Renaissance Festival
Annie Barker
Description: Queens, knights and fairgoers are gathering for the 2022 Michigan Renaissance Faire. Themed food, games and booths are set up within the fairgrounds located in Holly, Michigan. This weekend will be the final dates for this year. Subscribe to our channel and visit us at: https://statenews.com/ The State News on Facebook: https://www.facebook.com/thesnews/ The State News on Instagram: https://www.instagram.com/statenews/ The State News on Twitter: https://twitter.com/thesnews —
Queens, knights and fairgoers are gathering for the 2022 Michigan Renaissance Fair. Themed food, games and booths are set up within the fairgrounds located in Holly, Michigan. This weekend will be the final dates for this year.
Subscribe to our channel and visit us at: https://statenews.com/
The State News on Facebook: https://www.facebook.com/thesnews/
The State News on Instagram: https://www.instagram.com/statenews/
The State News on Twitter: https://twitter.com/thesnews
MSU names Wilson Centennial Farms as 2023 Dairy Farm of the Year
Siya Modi
East Lansing School Board holds emergency meeting on school safety
Liz Nass
Broadway musical 'Jagged Little Pill' coming to the Wharton Center
Jaden Beard
Share and discuss "Locals gather for the annual Michigan Renaissance Festival" on social media.


A while ago, I took the Narita Express when I went on a trip. All seats on the Narita Express are reserved seats and you buy the reservation ticket in advance. Since we had a big luggage, to put it behind between our seats and the wall and to recline the seats without any reservation, I reserved the seats in the last row of the car.
On the day, I headed to our seats after I got on the Narita Express from Shinjuku and saw a foreigner who also just got it on from Shinjuku putting his big snowboard behind our seats. I got shocked. They were our seats. Let's say it wasn't our seats but just a space but if there was such a big thing as that snowboard then we could never recline the seat at all. I immediately told him that we needed to put our luggage in the space. But he told me that I could put mine in the deck. Actually there was a space for luggage in the deck. However, as long as the snowboard was behind our seats, we couldn't recline the seats, so I wanted to say that. But, I couldn't come up with the word "recline" at that time. I had no choice but giving up and he kept his snowboard behind our seats. I felt really upset.
The group including him was told by the train conductor later. They were taking random seats they were not supposed to.


text:
Hecatera es un género de lepidópteros de la familia  Noctuidae.

Especies
 Hecatera agrapha (Boursin, 1960)
 Hecatera bicolorata (Hufnagel, 1766)
 Hecatera cappa (Hübner, [1809])
 Hecatera confusa (Sugi, 1982)
 Hecatera confusa Leech, 1900
 Hecatera constantialis (Boursin, 1960)
 Hecatera corsica (Rambur, 1832)
 Hecatera deserticola (Staudinger, 1879)
 Hecatera digramme (Fischer von Waldheim, 1820)
 Hecatera disjuncta Hacker & Fibiger, 1999
 Hecatera dysodea (Denis & Schiffermüller, 1775)
 Hecatera filipjevi (Draudt, 1934)
 Hecatera fixseni (Christoph, 1882)
 Hecatera maderae (Bethune-Baker, 1891)
 Hecatera mirabilis (Staudinger, 1888)
 Hecatera rhodocharis (Brandt, 1938)
 Hecatera weissi (Draudt, 1934)

Enlaces externos

 Natural History Museum Lepidoptera genus database

redpajama_set_name: RedPajamaWikipedia


text:
Bibliographic details for Symeon the Stylite
Page name: Symeon the Stylite
Author: OrthodoxWiki contributors
Publisher: OrthodoxWiki, .
Date of last revision: 22 October 2012 18:56 UTC
Date retrieved:
28 January 2023 19:15 UTC
Permanent URL: https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748
Page Version ID: 111748
Citation styles for Symeon the Stylite
Symeon the Stylite. (2012, October 22). OrthodoxWiki, . Retrieved
19:15, January 28, 2023
from https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748.
"Symeon the Stylite." OrthodoxWiki, . 22 Oct 2012, 18:56 UTC.
<https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748>.
OrthodoxWiki contributors, 'Symeon the Stylite', OrthodoxWiki, , 22 October 2012, 18:56 UTC, <https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748> [accessed
OrthodoxWiki contributors, "Symeon the Stylite," OrthodoxWiki, , https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748 (accessed
OrthodoxWiki contributors. Symeon the Stylite [Internet]. OrthodoxWiki, ; 2012 Oct 22, 18:56 UTC [cited
]. Available from:
https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748.
Symeon the Stylite, https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748 (last visited
author = "OrthodoxWiki",
title = "Symeon the Stylite --- OrthodoxWiki{,} ",
url = "https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748",
note = "[Online; accessed
]"
url = "\url{https://orthodoxwiki.org/index.php?title=Symeon_the_Stylite&oldid=111748}",
Retrieved from "https://orthodoxwiki.org/Special:CiteThisPage"


Messrs. John G. Sargent, of Ludlow, Vt., and Warren R. Austin, of Burlington, Vt., for the State of Vermont.
Messrs. James P. Tuttle, of Manchester, N.H., and J. A. Matthews, of Newark, N.J., for the State of New Hampshire.
It is ordered, adjudged, and decreed: First. That the boundary line between the state of Vermont and the state of New Hampshire is hereby established as a line beginning at the apex of the granite monument which marks the southeast corner of Vermont and the southwest corner of New Hampshire, erected in 1897 under the supervision of commissioners of the two states, at low-water mark on the west side of the Connecticut river and extending thence northerly along the western side of the [290 U.S. 579, 580] river at low-water mark, as the same is or would be if unaffected by improvements on the river, to the southerly line of the town of Pittsburgh, N.H. Such low-water mark is hereby defined as the line drawn at the point to which the river recedes at its lowest stage, without reference to, and unaffected by, extreme droughts, but subject to such changes as may hereafter be effected by erosion or accretion.
1. The monument marking the southwest corner of New Hampshire and southeast corner of Vermont, Commonly called the 'Mud Turtle' and the Brattleboro-Dummerston, Vt., town line.
2. The Walpole, New Hampshire-Westminster, Vermont Bridge.
3. The Westminster-Rockingham, Vt., town line and a point one hundred feet north of the Cheshire Bridge (Charlestown, N.H.-Springfield, Vt.).
4. The Claremont-Ascutneyville Bridge (Claremont, N.H.-Weathersfield, Vt.).
5. The Boston & Maine Railroad Bridge (Cornish, N.H.-Windsor, Vt.).
6. The Cornish Tollbridge (Cornish, N.H.-Windsor, Vt.).
7. A point five hundred feet south of the Sumner's or Water Quechee Falls Canal (Plainfield, N.H.-Hartland, Vt.) and a point five hundred feet north of said canal. [290 U.S. 579, 581] 8. The Boston & Maine Railroad Bridge (Lebanon, N.H.-Hartford, Vt.).
9. The Lyman Bridge (Lebanon, N.H.-Hartford, Vt.).
10. A point one thousand feet south of the Wilder Dam (Lebanon, N.H.- Hartford, Vt.) and a point one thousand feet north of the Ledyard Bridge ( Hanover, N.H.-Norwich, Vt.).
11. The Gilbert Bridge (Lyme, N.H.-Thetford, Vt.).
12. The Lyme-Northboro Bridge (Lyme, N.H.-Thetford, Vt.).
13. The Orford Bridge (Orford, N.H.-Fairlee, Vt.).
14. The Piermont Bridge (Piermont, N.H.-Bradford, Vt.).
15. The Bedell Bridge (Haverhill, N.H.-Newbury, Vt.).
16. The Keyes Steel Highway Bridge (Haverhill, N.H.-Newbury, Vt.).
17. A point one hundred feet south of Hales or Howard Island ( Haverhill, N.H.) and the point of the 'Narrows' (Bath, N.H.-Ryegate, Vt.).
18. A point one thousand feet south of the Ryegate Paper Company's dam (Bath, N.H.-Ryegate, Vt.), and a point one hundred feet north of the Moses Blake Ferry (Dalton, N.H.-Lunenburg, Vt.).
19. The South Lancaster Bridge (Lancaster, N.H.-Lunenburg, Vt.).
20. The North Lancaster Bridge (Lancaster, N.H.-Guildhall, Vt.).
21. The Maine Central Railroad Bridge (Lancaster, N.H.-Guildhall, Vt.).
22. A point five hundred feet south of the Wyoming Paper Company or Hall & Richter Paper Company dam (Northumberland, N.H.-Guildhall, Vt.) and a point opposite the mouth of the Upper Ammonoosuc river (Northumberland, N.H.).
23. The Stratford Hollow Bridge (Stratford, N.H.-Maidstone, Vt.). [290 U.S. 579, 582] 24. The Maine Central Railroad Bridge (Stratford, N.H.-Brunswick, Vt .), and a point five thousand feet north of Lyman Falls Power Company's dam (Columbia, N.H.-Bloomfield, Vt.).
25. The Columbia Bridge (Columbia, N.H.-Lemington, Vt.) and a point two thousand feet north of said bridge.
26. The Colebrook Bridge (Colebrook, N.H.-Lemington, Vt.).
27. The Colebrook-Stewartstown, N.H., town line, and the Canaan, Vt., Pittsburg, N.H., town line.
28. The northeast corner of Vermont.
29. All dams, bridges, and ferries.
Third. Samuel S. Gannett, Esq., is hereby appointed special commissioner to locate and mark upon the ground the boundary line, at the points specified herein, and to make record of the point so marked with all convenient speed. The reasonable compensation and expenses of the commissioner, as allowed by this Court, and all other costs incident to the location and marking of such boundary line and making record thereof as provided herein shall be paid by the two states, in equal shares.
Fourth. Before entering upon the discharge of his duties, the commissioner shall be duly sworn to perform fairly, impartially, and without prejudice or bias the duties imposed upon him, said oath to be taken before the clerk of this Court, or before the clerk of the District Court of the United States for the District of the said commissioner's residence, or for the District of New Hampshire, or for the District of Vermont, and returned with his report. The commissioner is authorized to adopt all usual and reasonable methods to ascertain the true location of the said boundary line, including reference to the record, transcript, and evidence in this cause, and the taking of new evidence, oral or documentary, under oath; but, in the event new evidence is taken, the parties [290 U.S. 579, 583] shall be notified and permitted to be present and cross-examine the witnesses; and all evidence taken by the commissioner, and all exceptions thereto, and action thereon, shall be preserved and certified and returned with his report. The commissioner shall mark the points upon the boundary line as designated herein with permanent monuments, erected by him or under his direction, and wherever he shall deem it necessary or desirable to do so such monuments may be established upon the fast upland and shall be suitably inscribed to indicate by distances and courses therefrom the point on the boundary line as it is fixed at the time of the erection of such monument. He shall, upon completion of the location and marking of such points on the boundary line, report to this Court, describing the several monuments established, and their location and their distances and courses to the boundary, and his determinations shall be subject in all respects to the approval of this Court. A copy of his report shall be promptly delivered to the clerk of this Court and to the Attorneys General of the two states, and exceptions or objections, if any, to such report shall be presented to this Court, or, if it is not in session, filed with the clerk within forty days after the delivery of such report. On approval by this Court of such report, the commissioner shall be discharged.
Fifth. In the event that either state shall hereafter desire additional points on the boundary line to be located and marked, or any points to be relocated and remarked where the boundary has been affected by erosion or accretion, this Court will, upon application, appoint a commissioner for the purpose.
Sixth. The state of Vermont, its officers, agents, and representatives, its citizens, and all other persons, are perpetually enjoined from disputing the sovereignty, jurisdiction, and dominion of New Hampshire over the territory adjudged to her by this decree; and the state of New [290 U.S. 579, 584] Hampshire, its officers, agents, and representatives, its citizens, and all other persons, are perpetually enjoined from disputing the sovereignty, jurisdiction, and dominion of Vermont over the territory adjudged to her by this decree.


What blepharitis symptoms and signs?
How do health care professionals diagnose blepharitis?
What are complications of blepharitis?
What types of health care professionals treat blepharitis?
What are medical treatment options for blepharitis? Are there home remedies for blepharitis?
What is the prognosis for blepharitis?
How long does blepharitis last?
Is it possible to prevent blepharitis?
Blepharitis is the term for eyelid inflammation.
Signs and symptoms of blepharitis include red, irritated, itchy eyelids, along with the formation of dandruff-like scales at the base of the eyelashes and the eyelids.
The cause of most cases of blepharitis is a malfunction of the oil glands of the lids, although allergies, eye infections, and systemic diseases can also cause blepharitis.
In many cases, good eyelid hygiene and a regular cleaning routine can control blepharitis. In other instances, medications may be required.
Blepharitis is the medical term for inflammation of the eyelids. The word "blepharitis" is derived from the Greek word blepharos, which means "eyelid," and the Greek suffix itis, which is typically used in English to denote an inflammation. Inflammation is the process by which white blood cells and the body's chemicals react to and protect us from foreign substances, injury, or infection. Signs of inflammation are eye swelling, redness, pain, warmth, and often change in function.
Blepharitis is an inflammation of the eyelids, causing red, irritated, itchy eyelids and the formation of dandruff-like scales on the eyelashes. It is a common eye disorder with a wide variety of causes. It affects people of all ages. Although it may be uncomfortable, annoying, or unattractive, blepharitis is not contagious and does not cause permanent damage to eyesight. The skin condition can be difficult to manage and it tends to recur. Another term for blepharitis is granulated eyelids. Angular blepharitis describes inflammation that primarily affects the outer corners of the eyelids. Most patients with blepharitis have it in both eyes. MGD, or meibomian gland disease, is often used as a synonym for blepharitis.
The cause of most cases of blepharitis is a malfunction of the oil glands of the lids, although allergies, eye infections, and certain systemic diseases can also cause blepharitis. Common types include allergic blepharitis, seborrheic blepharitis, infectious blepharitis, and blepharitis associated with meibomian gland dysfunction (MGD).
Blepharitis involves the eyelid margins, where the eyelashes grow and the openings of the tiny oil glands are located. There may be involvement of the skin adjacent to the outer edges of the eyelid margins and/or the inner edge of the eyelid that comes into contact with the eyeball secondary to the underlying disorder of the lid margins.
Most cases of blepharitis are posterior blepharitis, due to inflammation of the meibomian glands of the lids. There are about 40 of these glands in each of the upper and lower lids. The openings of each gland lie behind the eyelashes. The eyelid margins can become inflamed, irritated, and itchy when these glands produce abnormal secretions. Blepharitis is often seen in patients with acne rosacea, a common disorder of the oil glands of the skin of the face.
Anterior blepharitis is due to inflammation of the lid margin around the lashes. Seborrheic blepharitis is similar to dandruff of the scalp and is a type of seborrheic dermatitis, a common skin condition that causes scaly patches, red skin, and stubborn dandruff. Seborrheic dermatitis can also affect oily areas of the body, such as the face, sides of the nose, eyebrows, ears, eyelids, and chest.
Allergies due to reactions from mascara, contact lens solutions, sprays, exposure to animals, environmental chemicals, or airborne allergens can also cause blepharitis.
Less commonly, inflammation of the lids can be caused by a primary infection of the eye lids by bacteria such as Staphylococci or infestation of the lashes by tiny mites (Demodex) or head lice.
Since blepharitis is usually noninfectious, the vast majority of blepharitis cases are not contagious.
dandruff (seborrhea) of the lashes and eyebrows.
The symptoms and signs of blepharitis are often erroneously ascribed by the patient as being due to "recurrent conjunctivitis." They are also often mistakenly attributed to "dry eye" by patients due to the gritty sensation that may occur. Lubricating drops, however, do little to improve the condition.
Blepharitis can be usually diagnosed by a physician based on the history as given by the patient and the physical examination. Taking a history includes a thorough discussion of symptoms that the patient is experiencing and a review of any general health problems that may be contributing to the eye problem.
The physical examination concentrates on an evaluation of the eyelids, lid margins, base of the lashes, oil gland openings, tear quantity and quality, and the front surface of the eyeball using a slit lamp, which allows a magnified view with sufficient illumination. The type of blepharitis is determined based on this examination and appropriate treatment recommended. Occasionally, cultures are taken by swabbing the discharge and sending this to the laboratory. In some cases, an allergy evaluation may be required.
It is unusual for blepharitis to cause serious medical problems. However, blepharitis can lead to the following changes in eye health.
Sty: A sty (sometimes spelled stye) or hordeolum is a bacterial infection in one of the oil glands whose opening is clogged. The result is a painful lump on the edge or inside of the eyelid.
Chalazion: A chalazion or conjunctival granuloma occurs when blockage in one or more of the oil glands causes it/them to become enlarged and scarred. Multiple chalazia can also develop, either on the same eyelid or on different lids.
Chronic pinkeye: Blepharitis can lead to recurrent bouts of pinkeye (conjunctivitis).
Ulceration of the cornea: Constant irritation from inflamed eyelids or misdirected eyelashes may cause a sore (ulcer) to develop on the cornea.
Blepharitis does not affect vision generally, although disturbances of the tear film may intermittently blur vision, causing varying amounts of fluctuating vision during the day.
If you develop blepharitis, you should be examined promptly by a health care professional trained in the diagnosis and treatment of eye disease. Such eye doctors include ophthalmologists and optometrists.
Soften lid margin debris and oils: Apply a warm, wet compress to the lids, such as a washcloth with hot water, for five to 10 minutes two to four times a day. To keep the compresses warm for a longer period of time, place a small hot water bottle over the compress. Using a clean washcloth for each cleansing is important.
Mechanically remove lid margin debris: After using the compresses, clean the eyelids with a cotton applicator stick soaked in a 4 to 1 mixture of water and baby shampoo or an over-the-counter lid-cleansing product. Gently and repeatedly rub along the lid margins while the eyes are closed. Be careful to avoid rubbing or scratching the eyes.
Limit or stop using eye makeup, as its use will make lid hygiene more difficult. If one wears contact lenses, temporarily discontinuing wearing them during treatment may be advised. Other treatment depends on the specific type of blepharitis. The key to treating most types of blepharitis is keeping the lids clean and free of crusts. Dandruff shampoo is a standard recommendation.
Antibiotics such as doxycycline, tetracycline, azithromycin, or erythromycin may be prescribed topically or orally. If the blepharitis is due to allergy, efforts should be made to identify and reduce exposure to the offending agent. Prescription, over-the-counter drops, or oral antihistamines may be used. If it is caused by an allergy at home or at work, simply avoiding the allergen (for example, a dog or cat) may avoid future problems. Oral omega-3 fatty acids, pulsating thermal lid massage, and intense pulsed light treatment to the meibomian glands have also been effective in chronic or severe cases.
Good hygiene (regular cleaning of the area) can control signs and symptoms of blepharitis and prevent complications. Good eyelid care is usually sufficient for treatment. Such a routine needs to be convenient enough to be continued lifelong to avoid relapses, as blepharitis is often a chronic condition. One episode, however, does not signify that one has a lifelong condition. Blepharitis is not a vision-threatening condition.
If blepharitis is linked to an underlying cause such as acne rosacea, treating those conditions may alleviate the blepharitis. In patients who have multiple episodes of blepharitis, the condition rarely disappears completely. Even with successful treatment, relapses are common. Taking the time to devote extra attention to good hygiene at those times may help to control the condition.
Blepharitis due to allergies to mascara or other products like contact lens solutions, sprays, exposure to animals, environmental chemicals, or airborne allergens can be cured within a short period of time by removal of the inciting agent(s).
More commonly, blepharitis is due to inflammation of the meibomian glands of the lids or the lid margin around the lashes. This type tends to be chronic, and if untreated, may persist for years, although the symptoms may be mild and variable. Appropriate daily treatment can lessen the signs and symptoms and can lead to remissions.
It is not usually possible to prevent blepharitis. In many cases, good eyelid hygiene and a regular cleaning routine can control blepharitis. This includes frequent scalp and face washing, using a warm compress to soak the eyelids and doing eyelid scrubs using cotton swabs or other soft materials. Blepharitis is usually not contagious. Untreated blepharitis can last for many years, and chronic blepharitis can fluctuate in severity over time.
Lemp, M.A., and K.K. Nichols. "Blepharitis in the United States 2009: a survey-based perspective on prevalence and treatment." The Ocular Surface (2009) 7:S1-S14.
Lindsley, K., et al. "Interventions for chronic blepharitis." Cochrane Database of Systematic Reviews. May 16, 2012.
Pflugfelder, Stephen C., et al. "Treatment of Blepharitis: Recent Clinical Trials." The Ocular Surface 12.4 (2014): 273-284.
If known, what was the cause of your blepharitis?
Please share the signs and symptoms associated with your blepharitis.
What kinds of treatment, including hygiene, have helped your blepharitis?
What is the prognosis for your blepharitis?
Did you experience any blepharitis complications?
Please describe how your blepharitis was diagnosed.
Chalazions are cysts that form on the eyelid when a meibomian gland becomes inflamed. The meibomian glands secrete a mixture of oil and mucus (sebum) that lubricates the eye. When the gland becomes clogged, the material builds up and causes swelling.


text:
Q: How to correctly replace value of ( [Some Dimension].[All], [Some Measure] )? (MDX, SCOPE()) I'm using SQL Server Analysis Servises 2008 R2.
I need1 to replace the value of [Some Dimension].[All] when calculated against [Some Measure]. Here's what I have tried:
SCOPE( [Some Dimension].[All] );
  [Measures].[Some Measure] = 123; // for simplicity sake
END SCOPE;

This works as expected when I query against [Some Dimension] – the [All] member returns 123, and other members are untouched, showing the actual associated [Some Measure] values.
But for some strange reason, all of the members in all other dimensions now return 123 for [Some Measure]. I am really lost. Please advice me how to fix this, and why this is happening.
1 For the ones who are curious: the reason I want to replace the value of [All] is because [Some Dimension] and [Some Measure] are related as many-to-many. Because of this, tuple ( [Some Dimension].[All], [Some Measure] ) always returns the total count for [Some Measure] in the cube. What I want it to return is the count of [Some Measure] that are actually associated with at least one member of [Some Dimension].

A: If I understand correctly, you only want to overwrite [Measures].[Some Measure] when [Some Dimension].[All] is selected, but also when the remaining dimensions' currentmember in your cube is the corresponding "All" member. It that's so, then just changing your scope assignment to SCOPE(Root()) should do the trick.

redpajama_set_name: RedPajamaStackExchange


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