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Q: Adding one more condition for lookup formula on excel Based on the formula, there should be 2 conditions. For example I would need to get a value from another table with condition that it was either assigned to Eusebio, Mark or from another user, how can i add the user into the formula. It should be either Eusebio, Mark or Tan, Johnny.
=IFERROR(LOOKUP(9.99999999999999E+307, INDEX(Table_owssvr_1[Start Date], MATCH(Table_ACBD_Summary.accdb4[@[Reference Number]]& "Eusebio, Mark" & "WIP",Table_owssvr_1[REF ID]&Table_owssvr_1[Assigned To]&Table_owssvr_1[Status2], 0))), "")

A: Is the data you are looking for in the same table, but you need two search criteria (in two different columns)?
Let suppose that we have the following table in Excel:
B   C   D   E
2   A   2   7
3   A   3   8
4   B   2   9
5   B   3   10

B, C, D, E represent column names, and 2, 3, 4, 5 represent row numbers
Let suppose I am looking for a record (the data I am lookng for is located in column E) that in column C has got "A" and in column D has got "3". In the cell A6 I enter "A" and in the cell B6 I write "3".
Below I write the following function:
=INDEX(C2:E5,MATCH(1,(C2:C5=A6)*(D2:D5=B6),0),3)
To make this function work, leave the cell with a function by pressing a combination of CTRL+SHIFT+ENTER, not ENTER.

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Holy Faith Church
The Saline Community
Parish Support Teams
The Mustard Seed Newsletter
Social Distancing at Home Photo Gallery
Times and Descriptions
Worship Participation
Faith Lutheran and Holy Cross Episcopal began as separate congregations sharing our current building with each congregation having its own separate worship space.
In the late 1990s, talks began between the national bodies of the Episcopal Church and the ELCA (Evangelical Lutheran Church in America) to develop a true Christian fellowship.
In July 2000, an agreement entitled "Called to Common Mission" (CCM) was drafted and approved, and our two denominations achieved full communion. This officially opened up the possibility of sharing pastors and combining congregations to worship together as one. (Click here and here to learn more).
In 2005, Faith Lutheran and Holy Cross Episcopal embraced CCM and combined to form one congregation, Holy Faith Church. Thus began our new life worshipping together in joy and faith. We enjoy voice and vote in the decisions of both the Southeastern Michigan Synod of the ELCA and the Episcopal Diocese of Michigan.
Today, Holy Faith Church is one of a handful of combined Episcopal and ELCA churches in the United States.
One of the original handpainted signs from 1964 before the church building existed - with a few of the original members who remember it. It was found in the crawlspace under the church during a fall cleaning in 2011.
The first handpainted "two in one" sign, about 1983, before the formal joining of the two congregations.
The first official Holy Faith sign in 2000 - worshipping together in joy and faith.
Our current sign in front of Holy Faith.
Holy Faith Church is home to the
Saline Cooperative Preschool
Thrivent
We affirm your LGBTQ+ identity
and welcome you here
Holy Faith Church - 6299 Ann Arbor-Saline Road, Saline, Michigan 48176 - (734) 429-2991

redpajama_set_name: RedPajamaCommonCrawl


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Morgan completed the Service Academy Program (SAP) this year with a cumulative GPA of 3.5. He has been accepted to the United States Military Academy at West Point.


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26 Webbs Mills Road Raymond, ME 04071. MLS Number 1326931. Sale Price: $230,000; 384 Days Since Sale; Print. Price $ Down Payment $ Interest Rate % Years $ /month over payments. ... Listing data is derived in whole or in part from the Maine IDX & is for consumers' personal, non commercial use only. Dimensions are approximate and not guaranteed.


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Outstanding Lead Actor in a Drama Series can mean one of two Emmy Awards:

 Daytime Emmy Award for Outstanding Lead Actor in a Drama Series (from 1974 on)
 Primetime Emmy Award for Outstanding Lead Actor in a Drama Series (from the 1950s on)

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I started DDRing regularly again in late Janurary (until we get a ITG machine XD), hitting all the hot spots around town on Friday and Saturday nights and stuff. Anyway, I'm better than I ever was, but I've hit a roadblock making the jump from 8 footers to catas. Crossovers.
I'm a double stepping machine, and although I can 1,2 step my way thourgh most 8 footers, I am eager to go back and fix the problem (though not looking forward to failing songs that I was once able to pass by double stepping, like Daikenkai).
I've spent some time with DDRMAX(Ps2) and the training mode, practicing with songs like AM-3P and Spin the Disc. I do fine when the crossover is isolated by itself, but I have trouble when they're in big streams (see: Rhythm and Police, my next DDR goal) and I have to turn my body back and forth between right and left, left and right, back and forth, etc. Also, I tend to start trying to hard and doing crossovers on stuff that doesn't need to be, ultimately messing myself up.
Actually, I know the best way to learn is to practice these, but I just felt like getting this off my chest, and asking for suggestions even though there isn't much you all (all 2 of you) can do.
Well, the key to crossovers is what you said to do, move your whole body. That's really the only way to master the harder songs and their more complicated patterns.
Just keep practicing. Crossovers can take a lot of work to get down right.
Ugh... I feel like qutting DDR. I have no confidence anymore, I am getting C's on songs like Ecstasy and B4U (Orch Groove) that I used to A with ease, just because I refuse to let myself double step. I feel like the worst player in the world because Spin the Disc, AM-3P and Rhythm and Police make me look foolish.
I watch these videos of people playing those songs (R&P especially) and I know they've had a lot of practice and what not, but they make it look so freekin easy and that they're doing something totally different from what I try to do.
Yes, DDR is a discouraging game allright. Last year this time I could get about halfway through MAX 300 heavy. Now...I can get about 1/4 of the way through MAX 300 heavy. Stamina is surely an issue, which is why I play IIDX more.
^ Where do you play IIDX at? Home or arcade?
I've pretty much gotten the hang, everytime I play I'm pretty much passing a different 9 footer now. Still haven't passed R&P, got to the last stream of corssovers and failed, so I've defientely improved. It's more getting from familiar with how far and where I need to put my foot to hit the arrow when I have to reach behind my body (right foot hitting left arrow, visa versa).


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Our air conditioners have probably been turned already this year with all the warm weather we have been having. Make sure your AC is tuned up and ready to roll. Premier Air of Denver is a full service heating and cooling company. Receive $500 off any new air conditioner! Keep your energy bills down by making sure your AC is running in top condition. Call us at 303-993-9060 and visit us online at www.premieraircolorado.com for more information and our specials we are running.


Into the hands of MAO ZEDONG - architect of modern China!
Mao Zedong's hand was characterized by a well-developed, rectangle-shaped hand with with a strong developed mount of moon, ring finger & pinky finger.
Only his index finger was underdeveloped (low set + short). Since the index finger symbolises individuality, his short index finger could be recognized as symbol for his politics - which included very little space for selfexpression by the individual: "Self-interest is the 'original sin' of Maoism".
Re: Into the hands of MAO ZEDONG - architect of modern China!
"Mao Zedong went from communist guerrilla to leader of the world's most populous nation in 1949, and embarked on a series of programs to bring China in line with his Marxist ideals. Unfortunately, they also caused mass starvation, a culture of informants, and severe political repression in which it was a common tactic to drive opponents to suicide. In all, it's believed Mao was responsible for tens of millions of deaths."


text:
package org.apache.apex.malhar.sql;

import java.util.Date;

public class InputPOJO
{
  private Date RowTime;
  private int id;
  private String Product;
  private int units;

  public Date getRowTime()
  {
    return RowTime;
  }

  public void setRowTime(Date rowTime)
  {
    RowTime = rowTime;
  }

  public int getId()
  {
    return id;
  }

  public void setId(int id)
  {
    this.id = id;
  }

  public String getProduct()
  {
    return Product;
  }

  public void setProduct(String product)
  {
    Product = product;
  }

  public int getUnits()
  {
    return units;
  }

  public void setUnits(int units)
  {
    this.units = units;
  }
}


text:
Q: Particle (cloth) to sphere collision What is the proper way to add a sphere constraint to a cloth sim?
I am trying to add a sphere (or capsule) constraing to Skeel Lee's cloth simulation source code, but I am not sure how to do it properly.
I created a rather simple constraint which "kicks" the particle back out of the sphere in the opposite direction (opposite from the vector towards the center):
void SatisfySphereConstraints()
{
    foreach (var simObj in this.simObjects)
        simObj.CurrPosition += SphereConstraint(simObj.CurrPosition, _center, _radius);
}

Vector3 SphereConstraint(Vector3 position, Vector3 center, float radius)
{
    var delta = position - center;
    var distance = delta.Length();
    if (distance < radius)
        return (radius - distance) * delta / distance;

    return Vector3.Zero;
}

And then I inserted the method in the existing code:
ApplyForces();
Integrate();

for (var i = 0; i < constraintIterations; i++)
{
    foreach (Constraint constraint in constraints)
        constraint.SatisfyConstraint();

    SatisfySphereConstraints(); // <-- I added it here
}

The collision code works fairly well for situations like this (C is the center of the sphere, P is the current particle position, P' is the resolved position):

But the problem occurs if particles are moving very quickly, because then the particle basically jumps to the other side of the sphere (P1 is the previous position, P2 is the current position, P' is how I think it should be resolved), instead of returning back to the previous position:

Since this is a cloth simulation, the cloth basically jumps over the sphere in that case, instead of being "stopped" by the sphere.
Now, I could try to return in the direction of the previous point, but since the sphere might also be moving, I am not sure if P1 is even a valid position (and if it will make sense). Also, it seems to be more computationally expensive - is this how I am supposed to do it, or not?

A: Cloth like things snapping to the wrong side of an obstacle and getting stuck there is not too uncommon.  Even more common is fast moving objects overlapping way too much when the collision is detected.
A common solution is, on detecting a collision, sub divide the previous step until the collision is less severe and then resolve it.  I think you will find trying to detect how deep the collision is to be difficult in your case, but if you could limit the top speed of spheres in your system you could binary split the frames in which collisions occur a fixed number of times and assume it will be good enough?
if (it collides at time T and didn't at T-1)
    if (it collides at T-0.5)
        try T-0.75
    else
        try T-0.25

etc...
Are you prepared to accept that it will sometimes be wrong, or does it have to be always a good result?


text:
Q: Finding longest sequence of consecutive repeats of a substring within a string My code for the function is really messy and I cannot find why it returns a list of 1's. A solution would obviously be great, but with advice to make the code just better, i'd be happy
def cont_cons_repeats(ADN, STR, pos):
slong = 0
# Find start of sequence
for i in range(len(ADN[pos:])):
    if ADN[pos + i:i + len(STR)] == STR:
        slong = 1
        pos = i + pos
        break

if slong == 0:
    return 0

# First run
for i in range(len(ADN[pos:])):
    i += len(STR) - 1
    if ADN[pos + i + 1:pos + i + len(STR)] == STR:
        slong += 1
    else:
        pos = i + pos
        break

# Every other run
while True:
    pslong = cont_cons_repets(ADN, STR, pos)
    if pslong > slong:
        slong = pslong
    if pslong == 0:
        break

return slong

(slong stands for size of longest sequence, pslong for potential slong, and pos for position)

A: Assuming you pass in pos because you want to ignore the start of the string you're searching up to pos:
def longest_run(text, part, pos):
    m = 0
    n = 0
    while pos < len(text):
        if text[pos:pos+len(part)] == part:
            n += 1
            pos += len(part)
        else:
            m = max(n, m)
            n = 0
            pos += 1
    return m

You say your function returns a list of 1s, but that doesn't seem to match what your code is doing. Your provided code has some syntax errors, including a misspelled call to your function cont_cons_repets, so it's impossible to say why you're getting that result.
You mentioned in the comments that you thought a recursive solution was required. You could definitely make it work as a recursive function, but in many cases where a recursive function works, you should consider a non-recursive function to save on resources. Recursive functions can be very elegant and easy to read, but remember that any recursive function can also be written as a non-recursive function. It's never required, often more resource-intensive, but sometimes just a very clean and easy to maintain solution.


text:
Colorado mountain towns rebound – and then some – from coronavirus
Despite grim projections, many communities saw waves of in-state visitors
By Jason Blevins The Colorado Sun
Saturday, April 10, 2021 9:49 AM
Updated: Saturday, April 10, 2021 6:55 PM
Derailed Pour House, Fired Up Pizza, Switchback Taco Bar and Durango Rug Co. are just a few of the businesses in downtown Durango that have set up bump-outs in 2020 on Main Avenue.
Jerry McBride/Durango Herald file
John Norton, Gunnison County's tourism czar, was talking to his board last April. The ski resort had closed abruptly. Lodging and restaurants were closed. Visitors were being told to leave. The pandemic was triggering a panic in tourist-based economies across the country.
A board member asked how much the Gunnison River Valley tourism community could expect to lose. Norton guessed: down 25%, maybe even 50% for the year.
"A couple board members told me I was being overly optimistic," said Norton, the director of the valley's Tourism and Prosperity Partnership. "I just didn't know. Nobody could know. The last pandemic was a century ago, right? But to end up where we did, that is something I never, ever would have predicted."
In fact, lodging sales tax revenue from the Gunnison valley ended 2020 up 11.5% from the year before. In the town of Crested Butte, net taxable sales jumped 5.7% in 2020 to $119.9 million.
"We are all just shaking our heads over here," Norton said.
Worst case never happenedThe sky-is-falling scenario projected in the dark, early days of the pandemic never materialized in Colorado's high country. A survey of sales tax reports filed by 20 resort communities shows combined spending in those places fell by only 3% in 2020 compared with the previous year.
Some communities – Copper Mountain, Keystone, Breckenridge, Vail and Aspen, for example – saw steeper declines, but not nearly as painful as projected last spring, when the threat of contagion appeared poised to decimate tourism businesses across the state.
And early reports show the 2020-21 ski season will end far outperforming projections, with visitors and residents spending like a regular ski season, despite capacity limits at ski resorts, restaurants and lodges, and a lack of public attendance at big-draw events and concerts.
It looked dire last spring. A terrible March tumbled into a dismal April, with spending in the 20 high-country communities down 39%. While it was impossible to tell then, those months marked the nadir of 2020, and just about every community across the mountains started climbing out of that hole by early summer.
There are a lot of reasons why mountain economies didn't collapse last year. Federal stimulus dollars bolstered bank accounts. Online shopping funneled more sales taxes into small-town coffers. Restaurants expanded into streets. City leaders dug deep to help. More people were eating and nesting at home, so grocers and essential retailers enjoyed big upticks in business.
Breckenridge was among several Colorado communities in summer 2020 that closed main streets to cars to make more room for restaurants and businesses.
Andy Colwell/Special to The Colorado Sun file
Second-home owners settled in resort communities for the winter, fleeing their city homes. Short-term rentals were wildly popular with vacationers, supporting the flow of lodging taxes.
And in general, Front Rangers flocked to Colorado's mountain towns in the past year, enjoying the outdoors and space to roam. Those staycationers helped offset what would normally have been a crippling decline in destination and international visitors, who stay longer and spend big.
Glenwood Springs handed out $100 certificates to overnight, midweek visitors redeemable at all sorts of businesses around the city. The Glenwood Gold Community Currency program fueled a strong rebound, not just from the pandemic-related closures but from the lingering impacts of the wildfire on the city's doorstep.
After a 91% drop in lodging tax revenue in April, the community currency plan helped Glenwood Springs finish 2020 only 4% behind 2019 – which is even more impressive considering the tourist-reliant city was inaccessible for two critical weeks in July when Interstate 70 closed in Glenwood Canyon during the Grizzly Creek Fire.
"When your economy relies on tourism and things are closed and there isn't anything happening, it is really a slippery slope for businesses worrying whether they will make it or not," Visit Glenwood Springs Tourism Director Lisa Langer said, noting how the Glenwood Gold spending plan has been adopted in recent months by communities such as Redmond, Washington.
Langer credits her community's success last year not just to the certificates but also to city support, such as grants to struggling businesses and providing portable heaters to restaurants with outdoor dining.
"We all came together and it worked," Langer said. "Very few if any businesses failed. We even had restaurants purchased and opened during the pandemic. We have businesses expanding. Talk about resiliency."
Restaurant patrons of the Glenwood Brewpub in Glenwood Springs sit outside Aug. 14, 2020.
William Woody/Colorado Sun file
The analysis of 20 Western Slope tourist communities mirrors a larger survey of the state's cities and towns by the Colorado Municipal League. The CML survey showed 60% of local governments ended 2020 "better than expected" when compared with the outlook last spring, with 24% saying they ended the year "much better" than expected. More than one-third of Colorado's 271 municipalities have fully recovered from the fiscal impacts of the pandemic, according to the State of our Cities and Towns report.
But sales tax is only "part of the picture," Colorado Municipal League Director Kevin Bommer said. Lodging tax – which makes up a big chunk of total sales tax revenues in resort towns – collapsed last spring. And the grim outlook in April pushed many local governments to furlough workers and delay or even cancel infrastructure projects.
"Those decisions created a ripple effect, like tossing a pebble in the pond. Those ripples extend out and will last for a while, even if the economy is turning around," said Bommer, who hopes the federal stimulus will buoy local projects and planning. "The knowledge that it wasn't as bad as was first anticipated should help boost confidence that full recovery will come sooner than expected."
Eric Roemer closed his Wooden Nickel restaurant on Crested Butte's Elk Avenue in March last year and didn't reopen until the end of June. He reduced seating at the restaurant he has owned for 40 years and still, July through December was better than 2019. Vacationers came during the week, they stayed in town longer and they adjusted their meal times to accommodate limited capacity and required reservations. So Roemer wasn't just slammed on weekend evenings, but had a steady stream of traffic all week long.
He ended 2020 down 15% from the previous year, which surprised him since the Wooden Nickel was closed for three months. The fall was especially busy, with sales up 24% to 42% a month.
"Overall, I think we saw a lot of Front Range traffic, and we really filled in during the slow times," said Roemer, who sold his restaurant this spring and celebrated his final night of ownership at the Wooden Nickel on April 3. "I can't really put my finger on it, but we saw a lot of in-state business and a lot of customers seemed to be staying in town for a long time."
Dan Gearig, co-owner of Switchback Taco Bar, builds the restaurant's bump-out last month on Main Avenue in downtown Durango. The new bump-out adds about 650 square feet to his restaurant.
Dining in the streetIn Durango, the community's businesses reignited the Southwest Colorado Disaster Assistance and Economic Recovery plan that helped the Four Corners recover from the 2015 Gold King Mine blowout and the 416 Fire in 2018.
Leaders from Durango's Business Improvement District joined local government in a multifaceted response to the pandemic. They bumped dining into the street, with Durango's own Modstreet supplying customized "parklets," like miniature outdoor dining patios.
"That literally saved so many of our restaurants," said Jack Llewellyn, the 14-year executive director of the Durango Chamber of Commerce.
Durango wrapped 2020 with 6% more taxable sales than 2019.
Llewellyn said almost all the visitors last year drove to town. "If they were within a 12-hour drive, people just flocked here," Llewellyn said, adding that Durango's summer and fall 80% occupancy rate in area lodging was among the highest in the state.
Like Glenwood Springs, Durango businesses also joined together to offer gift cards good at local businesses and ramped up the community's Local First campaign to get residents shopping in La Plata County.
Despite the rebound last fall and winter, some communities endured painful business declines, especially places where economies lean heavily toward skiing and tourism.
Aspen, with one of the most robust tourist economies in the West, withered under COVID-19. Pitkin County in December required overnight visitors to test negative for COVID-19 before arrival and adjusted that so-called "travel affidavit" in late February. Aspen finished 2020 with taxable spending down 9%.
Pitkin County slipped into Level Red shutdowns after the holidays, which slowed business in January as restaurants closed for indoor dining. Today, Pitkin County is the only county in the state still at Level Orange restrictions, but there are 76 businesses certified under the 5-Star Program that keeps doors open despite sudden shifts in COVID-19 case numbers.
The transition from required testing to recommendations and education about responsible travel into Aspen has fueled a big rebound, said Debbie Braun, the executive director of the Aspen Chamber.
"March roared back," Braun said. "We are planning a traditional marketing buy for summer and we are working with the county and city as well as our task forces to figure out how we can support business. The restrictions did hurt our business, but the virus is hurting business more."
The Colorado Sun is a reader-supported, nonpartisan news organization dedicated to covering Colorado issues. To learn more, go to coloradosun.com.


text:
Special Documentary Film Podcast - It's A Thing!: The Greatest Show That No One Saw
A few weeks ago, our noble heroes and podcasters-extraordaire journeyed to San Francisco's Fringe Festival, set on performing It's A Thing! before a live, in theatre audience. Things didn't turn out quite the way the boys hoped, but in the interest of lemonade and documentaries, Mikey and Jared turned the bullshitstorm of disappointment into a crafty expression of emotion, frustration, love and proper pronunciation of common words. So, like with the train wrecks and car wrecks of old, look upon the tragedy of two young men's lives and gawk and laugh! This is It's A Thing!: The Greatest Show That No One Saw... live, in pre-recorded, streaming internet video! Also, go to itsathingshow.com, for special, exclusive web-tastic updates!
It's A Thing: The Greatest Show That No One Saw from Mikey Joseph O'Connor on Vimeo.
By Nate Ragolia
Whats: He Went To Jared, Its A Thing, philosophy, podcasts, San Francisco, stand-up comedy, streaming player, The Most Awesome Protagonist, video
Feist - Metals
Seeing official release next week, Leslie Feist's long-awaited new album Metals, having been teased through a short, documentary-style video in the last two months, is now available in a free stream form. Other than entering your email address, with the extra gift of getting emails from indie-rock-goddess-wondercrush Leslie Feist, we are also treated to another year-alteringly exceptional album. Metals finds a strong and mature spot between the more spare Let It Die and 2007's breakout, pop-strong The Reminder, and Feist feels more confident than ever to concoct sprawling, orchestral soundscapes that both dazzle and frighten. This is another case, as with Bon Iver and St. Vincent earlier this year, where an artist comes to us in 2011 with a new release that offers a sort of climactic magic that both reinvents and summarizes their entire catalog. Metals isn't so different from anything you've heard before either, and like the artists I've just mentioned, Feist delivers on her central promise. You will receive great lyrics, beautiful vocals, big, emotional material, and moments of overwhelming rock... plus, now more than ever before, there's a healthy dose of experimentation.
Opening with the duet-ish "The Bad in Each Other," Feist seems ready to continue the romantic dialogue she has started so long ago. It's a sincere and tender song, but one that also has a sturdy, somewhat grungy structure. "Graveyard," though, implies a sort of drive for reinvention and invigoration. The refain, "Bring them all back to life" that closes the track is energizing and a little creepy. This is a pop song at the strangest extreme, not quite as grungy and complicated as St. Vincent's work, but still theatrical. And that's really the word for the whole album. Metals is theatrical. The beautiful, jazzy, and mournful "Caught a Long Wind" follows. It's like classic Feist. Rather, it is classic Feist, but later in the timeline. "How Come You Never Go There" is likely one of the first songs from the album that will catch fire in the mainstream. It has a swagger and bounding nature that's both sultry and direct. Of course, "A Commotion" will be up there too, with it's nearly Fiery Furnaces-style mashing of keys and driving drums. Feist's syncopated vocals and the barked, all-male chorus, will stick this song in your head. Then comes "The Circle Married the Line," which beautifully paints a lovelorn story of the kind we are used to from Feist. It is nearly a showtune, but there's enough darkness mixed in with the hope and nursery rhyme aspects that it will never be confused.
"Bittersweet Melodies" opens with a subtle background drone... cymbals and guitar feedback. Then Feist comes cooing in. It's a beautiful song, sweet and chirpy, but still there's an underlying sadness throughout. The jazzy and gorgeous "Anti-Pioneer" is all sliding and twanging guitars mixed with a subtle back beat that almost screams out. Layers of vocals give parts of the song a muddled, complicated quality, too. It's a beautiful tapestry of a song. "Undiscovered First" has some of the most rocking and chaotic instrumentation on the album. It's one of my favorites, possibly the best track on the album. The beautiful, folksy "Cicadas and Gulls" offers up the intimate kind of Feist we loved from Let It Die. And the penultimate track "Comfort Me" is one of the most gorgeous songs of all time, with rattling guitar and vulnerable lyrics. And it may be the best track on the album too. It's something here because Metals builds steam and gets better as it goes. It grows more vibrant and aggressive, leaving the early calm quiet behind. The closer, "Get It Wrong, Get It Right" is just insanely, perfectly, immensely beautiful.
Like the driftwood-built "F" on the album cover, Metals is both sturdy and vulnerable. It is a structure that can hold itself up, but also one that needs only a great wind or fire to muddle the works. It is representative of life, but itself not alive. And that speaks to the cool opening, and hefty beats that populate the record. Get Metals when it comes out on October 4th. And listen to it before hand through Feist's website, www.listentofeist.com.
Whats: Bon Iver, Feist, Fiery Furnaces, Let It Die, links, Metals, music, review, St. Vincent, streaming player, The Reminder
Jens Lekman - An Argument With Myself
Other than last summer's website only mash-up compilation track "A Summer in 3/4 Time," Jens Lekman has been quietly touring the world, playing his music, but not churning out a whole lot new material. That feels especially savage considering Night Falls Over Kortedala came out way back in 2007. So, with An Argument With Myself, a relatively meager 5 song offering, Jens has definitely had plenty of time to sort out, fine tune and whittle away the bark from the good wood. The great news is that he was entirely successful. An Argument With Myself is 5 perfectly designed tracks, none of which are as sweepingly orchestral as his last release, but each having the tender, delicate, melodramatic heart that we've come to expect. It's also a compilation of perfect pop. The only problem is that it's so short. But, as my friend Ian said just the other day, "would you rather have a full album with 5 good songs, or an EP comprising ONLY good songs?" The answer, I think we can all agree, is the latter. Although, Lekman's blog provides a quality of Smalltalk unique to him, which we can all nearly validate as extended insight.
"An Argument With Myself," the song, is a post-Paul Simon-Samba-African pop track that covers the eerie travels of a man throughout the city streets and around his own mind. It is as much a prose poem, an essay and a diatribe as it is a song. Especially highlighted by a spoken word section in which Lekman likens backpackers exiting a reggae show to a "tidal wave of vomit." "Waiting For Kirsten" posits a hypothetical situation in which a dreamy, lovelorn Jens and friend wait for Kirsten Dunst outside her hotel. It has a distinctly just-post-'90s vibe about it, and it's nothing if not catchy and hopelessly romantic. Jens spends much of the song trying to convince Kirsten that life is different where she is, that she needn't hide. It's cute. And for a Jens fan, it is wheelhouse. "A Promise" is one of the most, dare I say, promising tracks on the EP. It has a defined and unique sound, combining strings with a sort of calypso percussion, and it also has the deepest, darkest version of Jens. I'll rank it number one on the disc... with a bullet. "New Directions" is also promising, with bright horns and great backing vocals. It's the most ornate track on the collection and one that feels a little rambling, but in the enjoyable, Lekman-esque way. "So This Guy At My Office" has a reggae beat to it, and a casual demeanor, as if it's not too concerned with being a song at all. It is good, with Lekman's paranoia seeping through the lyrics, but it's also as much an experiment with style as a full-on commitment. Though, the EP as a whole is that way.
For Lekman fans, An Argument With Myself is a brilliant addition to the collection. It is wonderful, peaceful, summery, and pop-ready. It is twee at points, melodramatic at others, and on-the-nose often, but those are aspects one must love about Jens to love him. In offering 5 great tracks, rather than 9 mediocre ones, Lekman has at least tided us over. But the appetite continues and will require a full-length response soon. Jens? Someone must find your reviews, right? Pass it on. We want more. Thank you. Listen to the EP below, then buy it. It's 8 bucks. What do you want, a sandwich?
Whats: A Summer in 3/4 Time, An Argument With Myself, Extended Play, grooveshark, Jens Lekman, Kirsten Dunst, links, music, Paul Simon, review, streaming player
Twist and Shout In-store Concert - Eric Johnson and Andy Cabic
Twist and Shout is a wonderful record store because it not only trumps all competition in selection and vibe, but they make a habit of inviting bands to play short, intimate, wonderful sets in the store too. For fans of Fruit Bats (and I am one) and fans of Vetiver (and I am newly intrigued), last night Twist and Shout welcomed the bands' respective leaders Eric Johnson and Andy Cabic. Johnson and Cabic sat atop zebra-print stools on a small stage in the back of the building, in an area where some of the LPs generally stand and they were accompanied by two, one from each band, electric guitarists who sat aside their amps. As shows go, it was a short one, and unpolished, but in the most heavenly positive way. Johnson, Cabic and the guitarists shared quiet whispers back and forth, as they chose which songs to play and even discussed chord progressions, scales, tuning and the like. At one point Johnson and Cabic even joked with us that we, the small audience of perhaps 40 or more, would know how to play all of the songs by the end too. They were close to right. The beauty of being that close to the band, when the band is parts of two bands who haven't really played together is that you can see how being a musician and collaborating is always complicated. If you don't know, you don't know, so you try your best to keep up.
Johnson and Cabic harmonized amazingly, performing two songs by Vetiver, two by Fruit Bats and one cover of Loudon Wainwright III's "The Swimming Song." They closed on the Fruit Bats' excellent "When You Love Somebody." And after that great song, which is still stuck in my head this morning, the guys quietly took down the stage, spoke with the audience, and signed autographs. It's always staggering to be that close to a band, to feel the creation and artistic expression at that close proximity. It's also a continuing reminder that bands, rock stars, artists, are often humble, kind, slightly embarrassed people. They are real. It's essentially a halo of amazing creative and expressive energy with an amazing, immersive presence. But, enough new age-y talk. There will be video to come. Check back for updates.
Whats: Andy Cabic, concert, Eric Johnson, Fruit Bats, Loudon Wainwright III, music, review, Twist and Shout, Vetiver
Various Artists - SPIN's Newermind
We're getting to the point, now in 2011, where many of the bands we grew up with (by "we" here I mean me and my late-20's early 30's contemporaries) are going to become "classic rock," at least in the traditional definition. Once a car is 20 years old it can be registered with classic plates. Music is much the same. Only people, probably because we always assume each of us is an instant classic, avoid this time-linkage. Still, here we are, living in a world where an album like Modest Mouse's triumphant The Moon & Antarctica is already 11 years old. That wonderful album is five years from getting behind the wheel of some hybridized new Beetle with 48" wheels and a Coca-Cola dispenser. (Yes, the future WILL BE that strange.) What is showing itself to be inevitable now though, is the rapid and undaunted onslaught of tributes, mash-ups and reworkings. And those are the ones that require some additional creative input. There will also be endless remasterings and re-releases. And I'm not really complaining about this. I think it's a wonderful, monster-hugging, lovable sort of thing. I embraced the Smiths tribute cover album Covered that was released in full-form earlier this year, despite some of its holes and miscues. So, when SPIN, the venerable music rag, released Newermind, a tribute to Nirvana's 1991 (on my birthday no less, I turned 10) album Nevermind with loads of covers by great artists, well, I got a little excited.
I'll admit, I was 10 when Nevermind came out. I didn't listen to it at length, really, for another couple years. Largely, this was due to my parent's divorce, and the fact that I had MTV at my mom's for the first time. Also, there's the middle school factor. I can remember at least that I liked it. It was different from the other pop and rock around. I won't dare state here or anywhere else that I "knew they'd be HUGE" or some shit like that, but I will say that it was intriguing to me, and a little dangerous, what with the baby swimming for cash. The bottom line though, is that this album ended up altering a lot of lives. And it is one of the first albums I remember having that was LOADED from start to finish. And most of the bands that caught on after couldn't create this prolifically. Nevermind is just insanely good. Newermind, the tribute, is close, but it has its failings. It also has versions of these songs that refresh the original. There's a lot of artistic bulk around these digital songs, so it's hard to imagine a full failure. There are just some very minor ones. And that's okay.
Meat Puppets open with "Smells Like Teen Spirit" and do a fairly conventional, true-to-the-original version of the song. It is solid. Butch Walker & The Black Widows cover "In Bloom" very well too. But things get weird with "Come As Are You Are" as performed by Midnight Juggernauts as a dreamy, wistful, pixie-land acid trip. Titus Andronicus comes in and blasts "Breed" straight out the stadium. It's brilliant. As are the next two tracks, wherein the album gains real steam and inspiration. The Vaselines version of "Lithium" is pristine, perfect and impeccable. (Don't even try to pecc it!) And Amanda Palmer comes in to do a sweet, haunting and wonderful version of "Polly." You cannot miss those two tracks, even if you don't care for Nirvana. Surfer Blood does great with "Territorial Pissings." But Foxy Shazam's version of "Drain You" has the energy and force of classic Queen, slightly watered down, slightly loaded with horns. Then Jessica Lea Mayfield brings some sweet, silky vocals to "Lounge Act." It may be the best track of the last handful, for it's spare qualities. Charles Bradley & The Menahan Street Band just murder "Stay Away" by infusing it will soul and funk and the tricky wobbles of classic Motown... plus, Bradley is 62. Telekinesis does a serviceable and poppy version of "On A Plain" that's also really fucking fun and straightforward. Jeff the Brotherhood covers "Something in the Way" nicely, really dragging the slow sad pace of the track out into the open and covering it in fuzz. But EMA's version of "Endless Nameless" closes the album on a grungy, overdrive-heavy, raucous and screaming note. It's a brilliant finish.
The album is free through SPIN at their website linked here. You'll have to give SPIN your email to download it, but it's a valuable addition for Nirvana fans, sonic archivists, and those who wish to see old dogs (songs) perform new tricks.
Whats: Amanda Palmer, download, free tunes, Kurt Cobain, Modest Mouse, music, Nevermind, Newermind, Nirvana, Queen, review, SPIN, The Smiths, The Vaselines, Titus Andronicus
Fela Soul - Gummy Soul Mixtape by Amerigo Gazaway
In a world overwhelmed with shitty remakes and re-hashings of past ideas (see the remakes of Charlie's Angels, Beauty and the Beast - the Linda Hamilton one, not the Disney one, and George Lucas' BluRay re-release of the all 6 Star Wars films now with EVEN MORE digital effect tampering) it's pleasing, hell, wonderful, to see the mixtape revolution occurring in our music world. Of course, all the mash-ups and mixtapes are really re-hashings of bygone material. And yes, this type of manipulation, taking the already created by someone creative and turning it into something new potentially reeks of the same stink emanating from the "genius" outlined parenthetically above. But the beauty of this new sub-culture is that it requires an immense amount of skill to do properly. A fine mash-up or mixtape requires intimate, broad knowledge of the groups involved. Now, I made a case like this when reviewing Girl Talk's All Day, but he is a man who deals primarily in volume. You have to know music to be Girl Talk. You have to understand the pieces and understand narrative structure so when you drop Boston or Bell Biv DeVoe mid-track, it has to hit hard but not take over. That's a different skill set.
With Fela Soul, a mixtape via Gummy Soul, built by Amerigo Gazaway, and featuring Fela Kuti and De La Soul, the skill set is far different. More difficult, perhaps, perhaps not, but certainly different. What Gazaway does so well on the 9 tracks is assemble brand new, stand-alone works that also call-back credibly to their original source. It helps that Fela Kuti's jazz, afrobeat, fusion tracks fit well with the syncopated early beats of De La Soul, but Gazaway doesn't just put them together, the common mash-up problem, he lovingly paints with each on a single sonic canvas. So, it's only two groups combined, unlike the Girl Talk excess, but it's also done with such authority and knowledge that neither feels underwhelming, or underutilized. What comes out is one of the most enjoyable mash-ups of 2011. By far, too. It's just really fucking good. You will lose yourself in the bright, cascading horns and fire-starting rhymes. Add in the inclusion of MF Doom on "Rock Co.Kane Flow," Redman on "Ooh," Yummy on "Much More" and a special cover of the Gorillaz' "Feel Good Inc." featuring De La Soul, and there's no denying the quality and the excellence.
So, really, this is less a review than a thank you note to Amerigo Gazaway, Gummy Soul and their great efforts. Of course, we thank De La Soul and Fela Kuti too. And the Gorillaz. And the muthafuckin' internet! Listen to Fela Soul in the stream below. Download it for free. Own it, love it, and cherish the new movement in music.

Fela Soul by Amerigo Gazaway

Whats: All Day, Amerigo Gazaway, Beauty and the Beast, De La Soul, Fela Kuti, Fela Soul, Girl Talk, Gummy Soul, MF Doom, mixtape, music, Redman, review, streaming player
Podcast: It's A Thing! #15.5
Since Jared and Mikey are performing live for San Francisco's Fringe Festival, and because they have been away for the last couple weeks, here's a little stopgap, bonus, wonderpod! We get the final word from Mikey's dad regarding that whole broken leg, scooter incident. Don't worry, it's thrice as wonderful as you can imagine. If you're in SF, hit the old Exit Theater. You can find out about the event here... And as always, enjoy...
Whats: He Went To Jared, Its A Thing, links, podcasts, The Most Awesome Protagonist
Words On Film: Never Let Me Go vs. The Island
Watch out for spoilers! I probably won't say it again, so if you haven't seen 2010's beautiful, if sometimes slightly off-step film Never Let Me Go (or the 2005 film The Island), and do not want to know how it goes, cease your ingress now. Both of these films deal with medical science gone to its next semi-logical extreme. And both deal with the complex notions and rules that define each of us as human, or to use a vile, Republican vernacular, "persons." But, really, both movies are about clones. Clones specifically created for organs, or to be the "data back-up" for some wealthy individual somewhere who no longer fears having cancer or heart disease when new bits and gibblets are OTC. The approaches between these films are very different. And most especially in their presentation of the protagonists. Because in both cases, Science (capital S) is the villain...
First, Michael Bay's The Island, starring Ewan McGregor and Scarlett Johansson hits the action and sci-fi side of the issue as Lincoln Six Echo (McGregor) and Jordan Two Delta (Johansson) grow up in a jump-suited, ideal of Tomorrowland world bubble. They believe that the world outside has been contaminated and that life outside is impossible. But there's one place called the Island (right!?) where fresh air, water and other Earthly delights exist without contamination. The people inside their bubble compete to win a lottery that sends them there... to, for lack of a better term "heaven on Earth." But, over the course of the film we learn that the Earth is fine, just like we remember it, and Lincoln and Jordan are, in fact, clones of wealthy people who need some extra organs. Along with everyone else inside their eternal indoor prison. And, oh yeah, that Island, well, it's a myth... when you win and go there, you actually just get harvested because someone drank their first (or second) liver away. Upon discovering the truth, Lincoln and Jordan run, Logan-style, and learn about the world that they didn't really know at all. You see, these clones are naive. They know nothing of their world. They only know the tiny ordered, systems they are placed in to keep them sane, but not smart enough to revolt. Science has made people it can control... for organs... until, well, Science can't control them anymore. And in typical Bay-fashion, shit blows up all over the goddamn screen. And people, well, even as clones, we are human... we have personhood, so Lincoln and Jordan help all the clones escape... and then get to fuck on a boat (implied, not shown).
But, Never Let Me Go takes a different route. A film not directed by Bay, there are exponentially less explosions, helicopter chases and action sequences. In fact, there are none. Brooding and contemplation are the names of the game for Kathy H. (Carey Mulligan), Ruth (Keira Knightley) and Tommy D. (Andrew Garfield). Opening at a typical British boarding school, Never Let Me Go holds onto the revelation of clone-person-ship until shortly before the end of the first act. Instead, we see these characters, first through child actors, behaving as normal kids, and told merely that they are special so they must never smoke or do other detrimental things that may harm their health. When a caring teacher tells them the truth, that they will grow to be young adults and then be harvested, the children do not react. They have no concept of the reality befalling them. They are too young to know that they aren't just children. Over time, though, they come to terms with it, insofar as they acknowledge that they are clones. But rather than run, or fight, or escape, Kathy, Ruth and Tommy simply trudge forth to their destiny like chip-registered cattle. They fall in love and they want, but they also seem so resigned to their fates that they barely have to will to be "persons" at all. The greatest tragedy of Never Let Me Go comes from a last ditch effort, one that is meant to merely defer Kathy and Tommy's deaths so they can be together. It turns out to be a hoax, a fairytale concoction. Mulligan's Kathy, after losing both of her friends to "completion" (the Science term for dying because there aren't enough organs left to support the clone) and learning that she too will begin donations soon, looks out over a pastoral plain and contemplates whether her life is actually any less meaningful than someone who lived a "full life." Her final argument being that time isn't as valuable as experience because we all "complete."
For The Island, clones are charming, naive and childish, but quickly learn, only because of a failure in the system, what they are and what will happen to them. From there... it's just any action movie. It's Total Recall. For Never Let Me Go, clones are charming, naive and childish, but slowly learn about life (not because they lack the capacity, but because they seem to lack the need) in a system that NEVER fails to keep them in line. From there... it's a tragedy, but a tempered one. It's a more painful tragedy. As viewers we can't do anything to halt the system, to at least save Mulligan's Kathy. They won't run. We can't make them. So, while both films show Science gone awry. And both films imply that the wealthy will access the greatest care in the future with no regard for the human life created to meet their requirements. Only Bay's action flick offers humanity an escape. Instead, Never Let Me Go leaves us with a lamentful thought and, perhaps, the knowledge that some people (the teachers at the Clone Academy) fought to show that all these kids have souls. Where The Island becomes a thriller, Never Let Me Go turns to the dour reality of bureaucracy. It shows that if we started growing humans for harvest today, there would be opposition, but only from those who cared never to benefit. It asks a greater question about human nature. And poses the terrifying answer that each of us will almost always look out for ourselves given the chance.
Same premise. Same theme. Same Science villain. One side tells of revolution, allegorical American resistance. The other side tells of silent, disappointed whispers as life is yanked from three kids piece by piece. They ask the same questions. What is human life? What makes you a person? Who deserves to die in the name of another? But these films ask them in different ways. And the elegance and inflection is what makes the questions most resonant. Remember to look at the people you pass on the street and see them as people, persons, like you. If you actively do that, you will feel differently. That's all.
Whats: Andrew Garfield, Carey Mulligan, Clones, Ewan McGregor, Keira Knightley, links, Logans Run, Michael Bay, Never Let Me Go, organ donation, Scarlett Johansson, The Island, Words On Film, youtube
St. Vincent - Strange Mercy
There will be no arguments, no complaining, and definitely no temper tantrums. The only acceptable reaction is quiet distemper, with a heaping side of malicious mischief. Strange Mercy, St. Vincent's forthcoming third album, is all of those things, and because of its epic, complex, multi-layered awesomeness, you will listen to it and you will buy it. It is a commandment. And it's also in the title. Strange Mercy is an album throughout which, to her greatest ability thus far, Tulsa's Annie Clark combines the austere creepiness of noir fantasy with pure vocal and melodic beauty. On one hand, this new album is her strangest, her darkest and her most directly lamentative, but it's also her most enlightened, most sweepingly arranged and most brilliant. Strange Mercy hearkens back to some of the softer side that made 2007's Marry Me so revelatory, lightening up on the grungy guitar rasp of 2009's Actor. But where Annie Clark cuts back on the heavy sounds, she fills in with tone and mood accents that up the creepiness as necessary, and in turn, exponentially up the tension between horror and beauty, strange and merciful.
Opening with the hypnotizing, unsettling "Chloe in the Afternoon," Strange Mercy sets its psychologically weighty tone immediately. But it's with "Cruel," and its video appeared here just a short while ago, and "Cheerleader" that the beauty-horror meets best with complex harmonies, pristine vocals and themes that stagger and mystify as they entertain. On the former, Clark sings of the abuse that lies in not valuing oneself, letting oneself be taken and then taken advantage of. On the latter, easily my favorite track after two listens, she intones "I don't want to be a cheerleader any more," in haunting, gorgeous tones. The ante is upped once more with "Surgeon" and the building, energetic and boil-over-into-electronics beauty of "Northern Lights." What's clear, through the first half of Strange Mercy is that St. Vincent is no longer just an idea about making palatable indie rock that's a little unsettling. It's now about making unsettling rock that is undeniably palatable... even lovable.
"Strange Mercy" reins the chaos in a bit, with a synthy, echoing track that is half love letter, half ransom note. Even as Clark's beautiful vocals say wonderful things, there's a hint of danger, especially when she speaks of what she'll do if she ever "meet[s] the dirty police man who roughed you up." On "Neutered Fruit" a choral beginning turns quickly to a feeling of ghosts moaning in the darkness. The guitar, with some especially strong riffs, comes through most here. "Champagne Year" has a very Leonard Cohen quality, but with another point of dark self-reflection as Clark sings "I make a living, telling people what they want to hear." The rest of the song is spent qualifying that choice, slowly, sweetly, but somewhat desperately. "Dilettante" is more direct, with crunchier guitars and a stronger rock vibe. With a jaunty, wobbling beat, "Hysterical Strength" lives and dies by fuzziness and a sense that there's nearly a olde timey piano fight about to occur, in ghost town. But it's on "Year of the Tiger" that St. Vincent really knocks everything out of the park. A heavy bass drum breaks down to a very beautiful acoustic guitar strum that while spare feels powerful and complete. Moments like these, where an album diverges from most of its previous sound, make me wonder if it's a hint of things to come. It's a beautiful song.
Strange Mercy is available for a limited time through NPR's First Listen. You can also pre-order it through the official Beggars Group website. I suggest you do both.
Whats: Annie Clark, Leonard Cohen, music, NPR, review, St. Vincent, Strange Mercy, streaming player, video, youtube
Josie Charlwood covers "Feel Good Inc."
Here's your holy-shit-how-wonderful-is-the-universe moment of the day. Josie Charlwood, whose great tunage can be purchased here, does a madcap super-looping cover of the Gorillaz "Feel Good Inc." And guess what, it's better than everything, ever! Observe the various personas she takes on easily and god-damn-staggeringly. And you know, listen to it 5 - 100 times, because that's what Friday's are for. That and ice cream sandwiches. Gorgeous. And 'like' her on facebook too... unless you're a goon.
Whats: covers, Feel Good Inc., Gorillaz, Josie Charlwood, links, music, streaming player, youtube
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KUALA LUMPUR, Malaysia (AP) - Prime Minister Mahathir Mohamad said Friday Malaysia won't ratify the Rome Statute of the International Criminal Court, the second treaty the government is withdrawing from after coming under pressure from the majority Muslim opposition.
Mahathir said the Cabinet decided not to ratify the Rome Statute as it has been manipulated by his opponents. He rejected allegations that the treaty will undermine Malaysia's sovereignty and its royal families after a powerful state sultan joined the opposition to Malaysia's joining the court.
Mahathir's government still struggles with racial issues as many ethnic Muslim Malays, who account for two-thirds of the population, support the opposition.
Mahathir slammed efforts to engage Malaysia's royal families in the discourse against the government.


: Is this an expression I just "think" I picked up (while flipping channels), or does it exist /have some kind of history behind?
: If so, is it "archaic," out-of-fashion, not as current -- your comment here?
The last word is Shinola, a brand of shoe polish. Eric Partridge's "Dictionary of Catch Phrases" quotes a correspondent, writing in 1977, who said that Shinola had been the standard-issue boot polish in the U.S. Armed Forces, where the phrase originated (before 1930), and that the phrase was obsolete. I'm not so sure it's obsolete.


text:
Depth and 'D' is great, but Hurricanes need top trio to step up
Two key forwards are out for the time being for the Hurricanes. It's time for some of the team's other stars to pick up the pace.
Steven Ellis
This was originally going to be a piece detailing how well Andrei Svechnikov was playing for the Carolina Hurricanes in his first NHL post-season. Then, Alex Ovechkin knocked Svechnikov out cold in a fight on Monday and the rookie will miss Game 4 with a concussion.
In the aftermath of the fight, however, something happened. Already leading 1-0 on a Warren Foegele goal before Ovechkin and Svechnikov threw down, Carolina proceeded to win Game 3 on the backs of its depth and defensemen. Foegele scored his second goal in the next frame, marking the first two post-season goals of his young career. Dougie Hamilton grabbed a pair of goals on the power play. Brock McGinn iced the 5-0 victory, the franchise's first since 2009, back when current Canes coach Rod Brind'Amour was sitting on the bench, not patrolling it.
The contribution from the bottom-sixers and rearguards is a great development for Carolina, who wasn't able to keep pace with Washington's offense through the first two games of the first-round series. And with injuries taking Svechnikov and top-six scorer Micheal Ferland (upper-body) out of action, the Hurricanes will need to continue to rely on those further down the lineup to produce.
But you know who else could pick up the slack in the absence of Svechnikov and Ferland? Carolina's top line of Sebastian Aho, Teuvo Teravainen and Nino Niederreiter, which has yet to make noise. Through three games, Aho has a goal and an assist, Teravainen has a lone helper and Niederreiter has zeroes beside his name.
The lack of production from the Hurricanes' top forwards is puzzling. Teravainen had 33 points in his final 32 games and Aho and Niederreiter had 26 points each in that span. Aho's 83-point season was the second-highest point total in Hurricanes history behind Eric Staal, and Teravainen wasn't far behind with 76 points.
However, they've been fairly ineffective in the post-season. The three top shooters on the Hurricanes are defensemen Hamilton, Jaccob Slavin and Justin Faulk, who have combined for 30 shots through three games. Teravainen, Aho and Niederreiter have combined for 22. Furthermore, Teravainen, Aho and Niederreiter have only combined for five high-danger chances and 15 scoring chances at five-a-side. And when Foegele and McGinn not only have more goals but have combined for more high-danger chances (11) and the same number of scoring chances as the guys you pay to score – while playing significantly fewer minutes, too – that's not a good sign.
Is the trio's lack of production a result of a tough matchup? Very possibly, since Carolina's top line met Washington's main trio in 67 percent of Game 1 and 49 percent of Game 2. Ovechkin, Nicklas Backstrom and Tom Wilson is faster, stronger, and not afraid to force you to play along the boards. And when you look at defensive matchups, Teravainen's expected goals-for per 60 against third-pair D-man Brooks Orpik, whom he has played against in just over 10 minutes in the series, is 6.02, compared to 3.83 in 19 minutes against No. 1 defenseman John Carlson, with Niederreiter and Aho posting similar numbers. Clearly, the line would thrive more against any line other than Ovechkin's and Washington's slower, more physical third-defensive pairing, so getting more aggressive with the final line change is vital.
The Hurricanes do have the momentum from Monday's victory heading into Game 4, but the home team still enters the contest down a game. That Carolina has had so much help from the depth of the lineup is a positive, but can you rely on Foegele, McGinn and the blueline to pull their weight every night? Even if it's just lighting it up on the power play – where the team is already scoring at 23.1 percent, but the production is coming from Hamilton and Jordan Staal – the team needs the spark that the top line can bring. Goaltender Petr Mrazek has done everything in his power the past few months to keep the Hurricanes in games, and the team's defense core hasn't been an issue.
But if Carolina is going to pull the upset, it needs it's three top scorers to step up. Because while the Canes' depth guys have come through so far, they need some production from the big guns.
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ghana denmark
Denmark and Ghana said alarmed by the humanitarian situation in the war-torn Darfur region. The two countries denounced attacks against civilians, aid workers and African peacekeepers.
Akwasi Osei-Adjei, Deputy Minister of Foreign Affairs of Ghana, and Per Stig Moller, Minister for Foreign Affairs of Denmark,
have made the following statement in connection with their meeting in Copenhagen, March 26, 2007:
"We are alarmed at the security situation and the consequences it has on the humanitarian relief operation in Darfur. The continued attacks on civilians, relief workers and peacekeepers are unacceptable. We urgently need to see a drastic improvement on the ground.
Humanitarian workers must be able to operate freely and securely.
All parties must contribute to genuine movement on the political process. All sides must respect international law, including human rights, and humanitarian law, and abide by the N'Djamena Ceasefire Agreement, the Abuja Protocols and the Cannes Declaration.
We strongly urge the Government of Sudan to work with the United Nations and the African Union with regards to the deployment of the UN's two support packages to the African Union Mission in Sudan (AMIS) and the transition of the current peacekeeping force into a hybrid AU-UN operation."
Note for editors:
N'Djamena Ceasefire Agreement:
The humanitarian ceasefire agreement between the Government of Sudan, the Sudan Liberation Movement/Army and the Sudan Justice and Equality Movement was signed in N'djamena, Chad, on 8 April 2004. The agreement provides for a cease-fire and guarantees humanitarian access to the civilian populations.
Abuja Protocols:
The Abuja Protocols concerning the humanitarian and security situation in Darfur were signed by Government of Khartoum, the Sudan Liberation Movement/Army and the Sudan Justice and Equality Movement November 9, 2004. The humanitarian protocol stipulates the parties' commitment to take all steps required to prevent violence against civilians and to guarantee unimpeded and unrestricted access for humanitarian workers in Darfur.
Cannes Declaration:
The Cannes declaration on Darfur was adopted on the need for enhanced regional dialogue in the search for a solution to the Darfur conflict and the declaration calls for the establishment of active consultation bodies bringing together Sudan, Chad and the Central African Republic. The declaration was signed by the president of Sudan, the president of Chad and the president of the Central African Republic in the presence of their counterparts from Ghana, France, Egypt, Gabon, and Congo February 15, 2007.
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