text:
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»College Basketball»Atlantic 10 and NBC Sports Extend Basketball Media Rights Partnership
Atlantic 10 and NBC Sports Extend Basketball Media Rights Partnership
Posted by Stacy Podelski on January 13, 2021 in College Basketball, College Sports
The Atlantic 10 Conference and NBC Sports have extended their partnership for men's and women's basketball with a multi-year renewal of their media rights agreement, both parties announced today.
As part of the agreement, NBC Sports will continue to provide live linear and streaming coverage of more than 35 A-10 men's and women's basketball games, including more than 25 regular-season games and eight games of the A-10 Men's Basketball Championship.
"The Atlantic 10 has enjoyed a strong relationship with NBC Sports for the past eight years," stated Commissioner Bernadette V. McGlade. "NBC Sports' high-quality productions during the regular season and across eight championship games have provided tremendous distribution for the conference. This extension is exciting and we're looking forward to continuing this great partnership."
"We're thrilled to continue our partnership with the Atlantic 10 Conference, which consistently provides high-quality, compelling competition for college basketball fans across the nation," said Marc Iacovelli, senior director, programming, NBC Sports. "We've enjoyed a great relationship with the A-10 and Commissioner McGlade for the better part of a decade and we look forward to showcasing the conference in the years to come."
The rights renewal marks "10 years with the A-10," dating back to the original agreement between NBC Sports and the A-10 in October 2012. Atlantic 10 institutions reside in states that comprise 33.3 million television households, approximately 30 percent of the total national media market. There are eight A-10 institutions in the top 25 media markets in the country, and all 14 A-10 institutions are located in or adjacent to the top 65 media markets.
The extension keeps the Atlantic 10, which is celebrating its 45th Anniversary in 2020-21, among the top basketball conferences in television coverage. The A-10 has boasted 65 postseason appearances in the last decade, 35 of which have been bids to the NCAA Tournament. The conference earned multiple at-large bids to 13 of the last 14 NCAA Tournaments.
Over the past seven years, every A-10 member has made at least one postseason appearance. League member Dayton had a magical season last year, reaching a No. 3 ranking in the AP and Coaches' Polls. The Flyers, behind National Player of the Year Obi Toppin and National Coach of the Year Anthony Grant, were being forecasted as a Final Four team in media predictions before the COVID-19 pandemic shut down the postseason.
The 2020-21 A-10 season continues on NBCSN with three games this weekend, highlighted by a doubleheader on Sunday. Coverage kicks off Saturday at 2:30 p.m. ET when Rhode Island hosts George Mason.
For more information on the A-10 Conference fans are encouraged to click on the link seen here:
Tags: A-10 Conference, Anthony Grant, Atlantic 10 Conference, College Hoops, College Men's Basketball, College Sports, Dayton, Final Four, George Mason, Men's Basketball, NBC Sports, NCAA, Obi Toppin, Rhode Island, sports Permalink
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text:
Femi Kuti: I Didn't Go To School. Fela Used Me As An Experiment
Afrobeat musician, Femi Kuti, has opened up on the reason his father, Afrobeat legend Fela Anikulapo Kuti never gave him sound education.
He said Fela never sent him to school because he wanted to use him as an experiment, to prove that he could be successful without acquiring education.
He said this recently in an interview with presenters of Your View, an all-female talk show on TVC.
According to him, though Fela was great, he had his faults, one of which was his refusal to send him to school, an experiment he believes was very risky.
"Yes Fela was great. But Fela did have faults. But one of the faults is that Fela wanted to use me as an experiment. His excuse was that I would be successful without going to school.
See video below:
Source:- PM News

redpajama_set_name: RedPajamaCommonCrawl


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Чемпионат США по кёрлингу среди мужчин 2013 проводился с 9 по 16 февраля 2013 в городе Грин-Бэй (штат Висконсин).

В чемпионате принимало участие 10 команд.

Победителями чемпионата (в 1-й раз в своей истории) стала команда скипа Брэйди Кларка, победившая в финале команду скипа Тайлера Джорджа. Бронзовые медали завоевала команда скипа Джон Шустер.

Одновременно и там же проходил чемпионат США по кёрлингу среди женщин 2013.

Составы команд

(скипы выделены полужирным шрифтом; источники: Команды (в веб-архиве). )

Групповой этап

 Проходят в плей-офф.
 Проходят в тай-брейки за выход в плей-офф с 3-го и 4-го места.

Тай-брейки
За выход в плей-офф с 3-го места:

За выход в плей-офф с 4-го места:

Плей-офф

Четвертьфиналы
14 февраля, 9:00

1-я команда против 2-й

3-я команда против 4-й

Полуфинал
14 февраля, 20:00

Финал
15 февраля, 15:00

Итоговая классификация

Примечания

Ссылки
 Официальная страница чемпионата (в веб-архиве).

См. также
 Чемпионат США по кёрлингу среди женщин 2013
 Чемпионат США по кёрлингу среди смешанных команд 2013
 Чемпионат США по кёрлингу среди смешанных пар 2013

Спорт в США в 2013 году
Чемпионаты США по кёрлингу среди мужчин
Спортивные соревнования в Висконсине
Февраль 2013 года

redpajama_set_name: RedPajamaWikipedia


text:
Is Comcast Xfinity Better Than Verizon Fios?
By Steve Smith	 On Oct 28, 2020
The biggest names in internet connectivity today are Comcast Xfinity and Verizon Fios. If both are available in your area, it may be valuable to know which provides better internet service. The quick answer to this question depends on you and your needs. If you're installing a home office or just generally a techie with high gigabit requirements, Comcast Xfinity may fall short of your expectations. However, if you're thinking about how your family can't live without TV, Comcast Xfinity may be the better option.
Comcast Xfinity already has the upper hand in accessibility, available in 40 states, while Verizon Fios is only available in 9. But where does Fios beat Xfinity?
Better Technology from Verizon Fios
Technically, Verizon Fios is a superior service. Its fiber-optic technology makes gigabit speeds and unlimited data possible. Upload times are just as fast as download speeds, which is impossible with Comcast's cable connections.
Not all homes value upload speeds, though, and cable internet speeds are usually good enough for the average family. Still, Verizon Fios doesn't have that lag during peak hours, and when you're on a video call with your boss or sending large files to a client, you will appreciate the absence of that late afternoon lag.
Competitive pricing for both services
Pricing is quite competitive between both providers' internet deals and bundles. Verizon Fios plans started much more expensive than Comcast Xfinity but have been matching their plans accordingly.
Both offer a $39.99/month plan as its lowest scheme, for 200 Mbps for Verizon Fios and 100 Mbps for Comcast Xfinity. Verizon Fios also offers more speed for their $59.99 plan with 400 Mbps over Comcast Xfinity's 300 Mbps but stops at the $79.99 plan with 940 Mbps, which falls below Comcast Xfinity's same plan for 1000 Mbps. Unfortunately, Fios only has these three plans, while Xfinity offers more choices, including a Fiber plan for 2000 Mbps at $299.95, best for small businesses that rely on heavy internet connection.
Pricing for the Internet Bundles has also become quite competitive. It used to be that Comcast Xfinity's bundles were known as budget bundles, but Verizon matched these packages again, as well as offering faster download speeds (around 940 Mbps compared to Xfinity's 150) for packages within comparable prices. They also provide more channels per package.
Fios does not bind its customers to annual contracts, while Xfinity requires contracts for specific plans.
Both companies will charge you for installation, although many have opted to install the Xfinity modem themselves successfully. Meanwhile, installing Fios in your home takes longer and is more complicated than XFinity's simple jacking the cable into a modem setup. They will, however, waive the installation fee for online applications.
Both also charge for modem or router rental, although Xfinity is okay with you using a different modem and even has a list of modems they recommend. Meanwhile, Fios would dissuade you from using another router. Their Wifi 6 router, which boasts broader coverage and next-gen technology that's up to 60% faster than the old router, costs $15 per month to rent, or you can purchase one for $299.99.
Xfinity's Good TV
Although Fios has more channels, the selections of available channels and shows on-demand are major gripes in Fios TV bundle reviews. But then, TV is something that Comcast has specialized in for quite a while, so it's not surprising that they're better at Fios in this aspect, especially with their X1 platform that has seen the integration to streaming and smart TV.
Xfinity X1 DVR lets you record up to 6 shows simultaneously and store 60 hours of content for an additional fee of around $9-19 per month (may vary per area). This may not be as exciting as Fios' higher level DVR storage capacity, which lets you store 100 to 200 hours in HD, recording up to 12 shows at a time, but it's much less expensive with Fios' monthly fee of up to $30. Fios' lesser-priced Basic DVR is not as exciting either, with 50 hours of storage, allowing the recording of only two shows at a time.
Except for Xfinity's 2000 Mbps plan, Fios is the faster and more powerful option. But the cable giant's overall TV experience still makes Comcast Xfinity rather compelling. Its wide availability also works in its favor, considering that in an area where Fios is not available, Xfinity already has the faster and more reliable speeds than close competitors.
Top Skills Required By Students To Learn Web Development
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Using The Pomodoro Technique At Work?
Different Types Of Car Floor Mats
What Are the Best Digital Marketing Strategies for New Business?


Interactive Whiteboards combine cutting edge classroom technologies with interactive learning initiatives to improve learning in classroom and evoke student interest. The robust technology equips classrooms with ready-to-use features and capabilities to leverage instructor, provide simultaneous collaboration space, and advance pedagogical delivery of content. These Interactive Smart Boards incorporate parameters and devices to integrate multimedia content in easy-to-understand format and encourage students to participate in learning proactively. Revamping the infrastructure of the classrooms with game-changing Smart Interactive Board, K-12 Schools, Universities, Corporate Development Institutes, and Training Departments are observing greater comprehension, unleashed learning, and registered superior outcomes.
Superimposing traditional learning solutions in and outside the classroom, these modern boards bring significant improvement, exhibit an exponential increase in student results, and empower growth. The interactive boards for school appreciate amplification in student retention rate as well as a measurable boost in return on investment (ROI). These boards not just facilitate students with better learning opportunities but also open up a new door of creativity for instructor, enabling them to mix N' match teaching techniques with interactive learning content. Whiteboard lets instructors to connect with students or trainees like never before, present them content in the best possible format, and take learning to a new level with just in time response gathering.
Power Recording that allows presenter to record complete or a part of lecture or presentation in digital format on a PC or connected Storage Device.
Multiuser Interface to save time and encourage multiple students to write or collaborate on the Smart Interactive Board simultaneously.
Touch Detection in an unprecedented manner. The Whiteboard uses interactive Stylus to register user content and activities on the board.
Digital Eraser makes removal of unwanted or unintentional content from the board a snap.
Integration with Digital Classroom Cameras, Multimedia Projectors, Document Cameras, Wireless Tablets, and Inkjet or Laser Printers.
Making classrooms available for interactive discussions, enabling unlimited content sharing, and providing unrestricted access to the information, Smart Interactive Whiteboard for classroom persuades learning in an affordable price. Built to deliver interactive lectures anywhere, anytime - these boards cope with various budget constraints. Even the Cheap Whiteboards feature the fundamental capabilities to resolve classroom queries and can bring ultimate interactive learning during the lectures. Be it a cheap whiteboard or an expensive Smart Interactive Board, interactive learning augments classroom lectures with unprecedented ease and rich information sharing. The cost effective Interactive boards require just one time installation cost and no significant maintenance over the period of time due to the adaptable design and futuristic set of features.


text:
package selfdiagnose

// Copyright 2016 Ernest Micklei. All rights reserved.
// Use of this source code is governed by a license
// that can be found in the LICENSE file.

import (
	"net/http"
	"strconv"
	"strings"
)

// AddInternalHandlers registers HandleSelfdiagnose on "/internal/selfdiagnose{.html,.xml,.json}"
func AddInternalHandlers() {
	http.HandleFunc("/internal/selfdiagnose", HandleSelfdiagnose)
	http.HandleFunc("/internal/selfdiagnose.html", HandleSelfdiagnose)
	http.HandleFunc("/internal/selfdiagnose.xml", HandleSelfdiagnose)
	http.HandleFunc("/internal/selfdiagnose.json", HandleSelfdiagnose)
}

// HandleSelfdiagnose runs all registered tasks and reports a HTML,JSON or XML report depending on the requested format.
func HandleSelfdiagnose(w http.ResponseWriter, r *http.Request) {
	ctx := NewContext()
	// prepare for ReportHttpRequest
	ctx.Variables["http.request"] = r
	var reporter Reporter
	if strings.HasSuffix(r.URL.Path, ".json") || r.URL.Query().Get("format") == "json" {
		w.Header().Set("Content-Type", "application/json")
		reporter = JSONReporter{w}
	} else if strings.HasSuffix(r.URL.Path, ".xml") || r.URL.Query().Get("format") == "xml" {
		w.Header().Set("Content-Type", "application/xml")
		reporter = XMLReporter{w}
	} else {
		w.Header().Set("Content-Type", "text/html")
		reporter = HtmlReporter{w}
	}
	results := DefaultRegistry.RunTasks(ctx)
	ok := true
	for _, each := range results {
		ok = ok && each.Passed
	}
	// write header first
	w.Header().Set("X-SelfDiagnose-OK", strconv.FormatBool(ok))
	reporter.Report(results)
}

redpajama_set_name: RedPajamaGithub


Both WordPress and Concrete5 administrations are fairly easy to use. Once you login, you have a dashboard with various menu items with options for you to add media, plugins or functionality, and add pages, blog, etc… One of the real differences for users is the pages area of Concrete5. When adding content to a page you are working directly on the page design, so you can see what you are doing while doing it. In WordPress, you are behind the scenes, so to see the changes in WordPress, you must launch a preview page.
Both programs have incredible SEO data entry areas making each a powerfully rich SEO website. Making sure to add keywords to images and textual content as well as a proper title and description will help the search engines place your content correctly and then others will find you.
Both can be custom designed so your site is an original, looking just how you want it and you still have that all important CMS to update and add content yourself.
So, why choose one over the other?
Concrete5 also has tons of add-ons just like WordPress, so you can add a blog also.
WordPress has a ton of themes available, Concrete5 not as many, but if you're going to hire a designer for a custom theme anyway, this is not an issue.
Concrete5 has a CMS that is very clear and there is nothing confusing about it. WordPress baffles and intimidates some people, I know because people are always asking me questions about the settings, plugins, functionality and more.
Below are a few screenshots of a WordPress site/blog and a Concrete5 website and note the differences.
New Class Series – WordPress Beginners Video Series on Udemy!
New Class Series – CMS Concrete5 – Powerful and Easy series on Udemy!
Above is the dashboard and open is the file manager where you add pages.
Above is the product management area, where you add products, categories, sub categories, and items to categories.
Above is a particular page shown in edit mode. Note how you are looking at the actual page design so you're working as you see results!
Above is the dashboard for WordPress, navigation items are on the left.
Above is a typical blog content entry window. Note how you are not seeing how it will look, unless you save the draft and click preview.
Above is the preview launched so you can see how it looks, if unhappy, back to previous mode of editing window.


Separate green part from white part of green onion; finely chop both. Set aside.
Cut Pickled Eggs in half lengthwise. Remove egg yolks, and place in a small bowl. Set egg whites aside.
In a medium bowl, mash egg yolks with a fork. Add white part of green onion, yogurt, mustard, horseradish, dill, and Creole seasoning, stirring to combine. In a small bowl, gently combine crabmeat, green part of green onion, celery, lemon juice, and salt.
Pipe or spoon egg yolk mixture into egg whites. Top with a spoonful of crabmeat mixture. Serve immediately, or cover and refrigerate for up to 1 day.
Place eggs, shallot, and dill in a 1-quart jar.
In a medium nonreactive saucepan, bring 1 cup water, vinegar, sugar, salt, peppercorns, coriander seeds, and bay leaf to a boil over medium-high heat. Cook for 5 minutes, stirring until sugar is dissolved. Remove from heat; let cool for 5 minutes.
Carefully pour hot vinegar mixture into jar to cover eggs. Add beet, if desired. Let cool to room temperature. Seal jar, and refrigerate for at least 8 hours or up to 5 days.
To easily peel eggs, after soaking in ice water, place one in a clean pint-size Mason jar with ½ inch of water. Secure lid and gently shake until the shell is cracked all over and starts to pull away; remove egg and finish peeling by hand. The shell should then be easy to remove.


text:
Report: 149,000 lbs of apples spilled along US-31
WEARE TOWNSHIP, Mich. (WOOD) — Nearly 150,000 pounds of apples were spilled when a semi-truck heading from Sparta to Ludington rolled over on US-31 in Oceana County Tuesday morning, northern Michigan news outlets report.
The crash happened around 10 a.m. near Monroe Road in Weare Township, near Pentwater, the Oceana County Press reports.
The semi was hauling about 80,000 apples weighing in at about 149,000 pounds, according to the Press. They were meant to be used in making applesauce. Photos from the scene show the semi trailer overturned, smashed crates and the apples scattered across the median.
The semi driver, 62-year-old Dennis Radford of Grand Rapids, told the Press he doesn't know what caused it.
"It happened so fast," he told the Press. "I was driving along, hit the brakes, and I ended up here. … Some rescue guys came right away, cut the seatbelt loose, and got me out."
He sustained minor injuries and was treated at the scene.


If the percentage of successful calls falls below this threshold during a service quality period, a notification is generated.
The minimum number of calls that need to be recorded before the service quality notification is issued at the critical level.
The minimum number of latency measurements that need to be recorded before a warning is logged indicating that the latency measurements have exceeded the configured threshold for the update period.
Valid Values: An integer equal to 300, 600, 900, 1200, 1800, or 3600.
This parameter indicates the interval (in seconds) at which service quality data will be forwarded to the RS from the MCP relative to the beginning of the hour. MCP components must be restarted to refresh their version of this parameter if it is updated.
This parameter defines the period of time, in seconds, between statistic updates, and is relative to the beginning of the hour, rather than the MCP client start time. MCP components must be restarted to refresh their version of this parameter if it is updated.
Retrieved from "https://docs.genesys.com/Documentation:Options:GVP:VP_ReportingServer-sqa:Current (2019-04-18 11:18:26)"


In May 2014, we published our commitment to carers to give them the recognition and support they need to provide invaluable care for loved ones.
With 1.4 million people providing 50 or more carer hours a week for a partner, friend or family member, they make a significant contribution to society and the NHS.
There are 37 commitments spread across eight key priorities which include raising the profile of carers, education and training, person-centred coordinated care and primary care, that have been developed in partnership with carers, patients, partner organisations and care professionals over the past few months.
You can also read a blog from Martin McShane, Director for improving the quality of life for people with Long Term Conditions at NHS England, where he talks about how he has been humbled by the standard of care provided by carers.
This short animation will give the viewer an insight into the lives of young carers and hopefully encourage young carers to take steps to seek support. The video is intended to raise awareness of the challenges and issues faced by young carers. The initial idea came from Meg, one of our young carer Health Champions, whilst attending one of our residential sessions.
NHS England has published 'Commissioning for Carers: Principles and resources to support effective commissioning for adult and young carers', to help Clinical Commissioning Groups (CCGs) better identify and help carers to stay well. It is part of NHS England's Commitment to Carers, working alongside other organisations, to give carers greater support and improve their quality of life.
The 10 principles aim to help CCGs deliver the best outcomes for carers, with a self-assessment questionnaire for commissioners to identify where they can provide further support at a population level. The Principles have been published alongside other new materials for commissioners and providers from NHS Improving Quality and Royal College of General Practitioners, to provide improved support for unpaid carers.
All the products, including the Principles, have been shaped with input from commissioners, providers, carer organisations and practitioners.
The commitment to carers – end of year progress summary provides a review of the progress achieved against the commitments to carers that NHS England made last year. It demonstrates that we have made a good start to our journey, but we also recognise that there is still more work to be done.
NHS England remains committed to continuing this work to support carers with our partners in 2015/16. We would like to thank all the carers and carer organisations who have contributed their valuable knowledge and experience to this process and our achievements so far and we look forward to their continued support going forward.
The summary table at the end of the commentary show that 32 of the commitments have either been completed and will be continued to be monitored or the initial action is complete and further work will be required in 2015/16 and 5 commitments are still on-going into work streams for 2015/16.
The commitments have been overseen by a delivery group comprising of carers organisations and they have agreed the content of this report. In line with transparency, this document provides an end of year report where progress has been made and what further action is needed.
Whilst the commitments have been well-received by carers organisations, we are clear that the 37 commitments , simply represent the start of a journey and a step in the right direction.
We will keep listening and refining our commitments. Ultimately, we want to improve the quality of life for carers and the people for whom they care by supporting what carers have told us is important to them.


Simply complete the form at the bottom of the page and we'll do the rest.
We'll reach out to your customer and explore the different solutions available for their home.
Every client who signs a property management contract will net you a $250 referral fee.
Sending a referral to a property manager doesn't need to mean kissing future sales goodbye. Let us handle the management for your clients and we'll refer all sales of the property back to you.
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We know it can feel intimidating to work with another partner in the industry, which is why we create detailed contracts for every one of our referral partners. Experience peace of mind knowing you're working with a trustworthy team.
Don't provide a bad referral to a customer and risk losing them for good. Instead, work with a proven property management team who will reflect positively on your recommendation by keeping the client satisfied.
As our thank you for referring us business, we'll pay you $250. There is no limit to the referral fees you can earn. Use the calculator below to calculate your potential earnings.
I got this person's permission to have HomeVault Property Management contact them.


text:
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Rozana Spokesman
Anubhav Sinha's investigative drama to feature Ayushmann as a cop
Published Mar 6, 2019, 1:25 pm IST
Updated Mar 6, 2019, 2:02 pm IST
Anubhav Sinha has roped in Ayushmann Khurrana for his next, titled "Article 15", a hard-hitting investigative drama
Mumbai, Mar 6: Anubhav Sinha has roped in Ayushmann Khurrana for his next, titled "Article 15", a hard-hitting investigative drama, in which the actor will feature as a cop. Touted as one of Sinha's most ambitious projects, "Article 15" is the director's first collaboration with the actor. "I'm always intrigued by the sociopolitical situation of our country. We hardly see films which present the situation in an unbiased way.
Anubhav is one such director who understands the complexities of our country... It will be an absolute pleasure to work with him," Khurrana said in a statement. Sinha, who last directed the critically-acclaimed "Mulk", said it took him over six months to research for the film. "It is an investigative drama where the audience too is an accused party. A very challenging film that needed an extraordinary actor like Ayushmann.
Ayushmann as a cop
Delighted to have him on board with an explosive bundle of such talented and acclaimed actors," he said. While Ayushmann will essay the role of the principal protagonist, the film also stars Isha Talwar, Manoj Pahwa, Sayani Gupta, Kumud Mishra, M Naser, Ashish Verma, Sushil Pandey, Subrajyoti Bharat and Zeeshan Ayub. Produced by Benaras Media Works, the film went on floors from March 1 in Lucknow.
end-of
Location: India, Maharashtra, Mumbai (Bombay)
punjab cm rejects sad's claim linking delhi poll decision with caa as ludicrous
punjab assembly passes resolution seeking repeal of caa, amendments to npr forms
pb cm convenes all party meet on jan 23 to evolve strategy to tackle water crisis
govt to bring out white paper on ppa signed by akalis during their regime, says cm
CBI register a preliminary enquiry related to alleged violations of Patnitop plan
Pb CM led Pb Cabinet okays amendments to tourism & culture policies in line
and stay updated
© 2017 - 2020 Rozana Spokesman | Developed & Maintained By Daksham


The Pros Of Cons Of Painting Vs Wallpapering en as Pros and Cons) is a 1999 comedy film starring Larry Miller (who also wrote the screenplay) and Tommy Davidson.
Vinyl Car Wrapping Pros & Cons. We discuss vinyl car wrapping pros & cons of getting a car wrap, including how car wrapping can protect your paint work against wear and tear.
The Pros And Cons Of Daylight Saving Time. Daylight Saving Time (DST) has been used for more than 100 years. But do the pros really outweigh the cons?


Rare vintage Norma Kamali leather trench coat with innovative burnout cowhide technique, dramatic zip bell sleeves, and full skirt silhouette.
About the Designer: For the past five decades Norma Kamali has cemented herself as an icon in the American fashion landscape. To say her influence is far-reaching would be an understatement. What Goes Around Comes Around has been lucky enough to acquire a collection of over 70 pieces from her personal archive. This collection is a wide-ranging exhibition of Kamali's revolutionary body of work.
"Style is primarily a matter of instinct. "


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Effect of heating/reheating of fats/oils, as used by Asian Indians, on trans fatty acid formation
Food Chem. 2016 Dec 1;212:663-70. doi: 10.1016/j.foodchem.2016.06.021. Epub 2016 Jun 8.
Swati Bhardwaj 1 , Santosh Jain Passi 2 , Anoop Misra 3 , Kamal K Pant 4 , Khalid Anwar 4 , R M Pandey 5 , Vikas Kardam 4
1 National Diabetes, Obesity and Cholesterol Foundation (N-DOC), C 6/57, SDA, New Delhi 110016, India; Diabetes Foundation (India), C 6/57, SDA, New Delhi 110016, India; Center of Nutrition and Metabolic Research (C-NET), New Delhi 110016, India; Institute of Home Economics, University of Delhi, F-4, Hauz Khas Enclave, New Delhi 110016, India.
2 Institute of Home Economics, University of Delhi, F-4, Hauz Khas Enclave, New Delhi 110016, India; Public Health Nutrition Div, LSTech Ventures Pvt Ltd., New Delhi, India.
3 National Diabetes, Obesity and Cholesterol Foundation (N-DOC), C 6/57, SDA, New Delhi 110016, India; Diabetes Foundation (India), C 6/57, SDA, New Delhi 110016, India; Center of Nutrition and Metabolic Research (C-NET), New Delhi 110016, India; Fortis C-DOC Center for Excellence for Diabetes, Metabolic Diseases and Endocrinology, B-16, Chirag Enclave, Nehru Place, New Delhi 110048, India. Electronic address: anoopmisra@gmail.com.
4 Department of Chemical Engineering, Indian Institute of Technology (IIT), Hauz Khas, New Delhi 110016, India.
5 Department of Biostatistics, All India Institute of Medical Sciences (AIIMS), Ansari Nagar, New Delhi 110029, India.
DOI: 10.1016/j.foodchem.2016.06.021
Heating/frying and reuse of edible fats/oils induces chemical changes such as formation of trans fatty acids (TFAs). The aim of this study was to investigate the effect of heating/frying on formation of TFAs in fats/oils. Using gas chromatography with flame ionisation detector, TFA was estimated in six commonly used fat/oils in India (refined soybean oil, groundnut oil, olive oil, rapeseed oil, clarified butter, partially hydrogenated vegetable oil), before and after subjecting them to heating/frying at 180°C and 220°C. All six fats/oils subjected to heating/frying demonstrated an increase in TFAs (p<0.001), saturated fatty acids (p<0.001) and decrease in cis-unsaturated fatty acids (p<0.001). The absolute increase in TFA content of edible oils (after subjecting to heating/reheating) ranged between 2.30±0.89g/100g and 4.5±1.43g/100g; amongst edible fats it ranged between 2.60±0.38g/100g and 5.96±1.94g/100g. There were no significant differences between the two treatment groups (heating and frying; p=0.892). Considering the undesirable health effects of TFA, appropriate guidelines for heating/re-frying of edible fats/oils by Asian Indians should be devised.
Keywords: Asian Indians; Edible oils; Fats; Fatty acids; Frying; Heating; Reheating; Trans fatty acids.
Copyright © 2016 Elsevier Ltd. All rights reserved.
Butter / analysis
Chromatography, Gas
Cooking*
Dietary Fats / analysis
Esters / chemistry
Flame Ionization
Plant Oils / chemistry*
Soybean Oil / analysis
Trans Fatty Acids / analysis*
Dietary Fats
Trans Fatty Acids


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Trump Hit With A New Sexual Assault Accusation
Former model Amy Dorris has come forward to accuse Donald Trump of sexually assaulting her when she was 24-years-old outside a bathroom in an alleged incident that left her feeling "sick" and "violated".
During an interview with The Guardian, Dorris alleged that "Trump accosted her outside the bathroom in his VIP box at the at a US Open tennis tournament in New York on 5 September 1997."
Dorris, who was 24 at the time, accuses Trump of forcing his tongue down her throat, assaulting her all over her body and holding her in a grip she was unable to escape from.
'I feel sick, violated' the former model told The Guardian.
"He just shoved his tongue down my throat and I was pushing him off. And then that's when his grip became tighter and his hands were very gropey and all over my butt, my breasts, my back, everything.
Dorris, who lives in Florida, provided the Guardian with evidence to support her account of her encounters with Trump, including her ticket to the US Open and photos showing her with the real estate magnate over several days in New York.
Source: The Guardian.
"I was in his grip, and I couldn't get out of it," she said, adding: "I don't know what you call that when you're sticking your tongue just down someone's throat. But I pushed it out with my teeth. I was pushing it. And I think I might have hurt his tongue."
President Trump's lawyers denied having ever harassed, abused or behaved improperly toward Dorris, saying "it seemed incredible that Dorris would voluntarily choose to be in the vicinity of Trump, at the US Open."
They said Dorris had never raised the allegations with a law enforcement agency or to Trump, and said the timing of the claims so close to the November presidential election suggested they might be politically motivated.
Dorris first shared her allegation with the Guardian in confidence 15 months ago, but was unsure about going public. She recently decided she was ready to take that step, in part to be a role model to her daughters, who are now in their teens.
"When you invade someone's space, it doesn't matter if you were raped, it's sexual assault, and it's not OK," she said. "You don't touch someone unless they want to be touched. And I did nothing to encourage him to touch me."
Dorris said she was also frustrated to hear Trump's many other accusers being accused themselves of lying.
"I'm sick of him getting away with this," she said. "I'm tired of being quiet. It's kind of cathartic. I just want to get this out. And I want people to know that this is the man, this is our president. This is the kind of thing he does and it's unacceptable."
Watch th einterview below:
You can read more at The Guardian.
Related Topics:donald trumpfeatured
Nikki Haley Begs Democrats To Give Trump A 'Break'
Susan Collins And Time Kaine Working On Plan To Censure Trump If He Isn't Convicted
Pro-Trump Activist Finally Admits Trump Lost, Says God Punished Him For Being Too Pro-LGBT


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Development Management Committee
1. The Development Management Committee (inthis Section 2 referred to as "the Committee") is authorised to undertake (or sub-delegate) all of the council's functions relating to town and country planning (excluding the preparation of plans and policies), development management and the protection of hedgerows and trees, as specified in PartsA and I of Schedule 1 to the Local Authorities (Functions and Responsibilities) (England)Regulations 2000 (as amended by subsequent regulations).
2. The Committee is also authorised to exercise the council's Local Choice Functions in relation to the obtaining of information under Section 330 of the Town and Country Planning Act 1990 as to interests in land and the obtaining of particulars of persons interested in land under section 16 of the Local Government (Miscellaneous Provisions) Act 1976 (as specified in the table in Section 1 above).
3. In summary, the area of responsibility of this Committee includes all matters relating to the administration of town and country planning legislation (excluding the preparation of plans and policies), Listed Building and Conservation Area legislation, Hazardous Substances legislation and associated regulations within the purview of the council.
Delegation of Functions
The majority of the Committee's functions will be determinedby Officers, as set out in Part 3C of the Constitution. These delegations are subject to:
(a) any such determination being consistent with the Development Plan and adopted District and County Planning Policies; and
(b) statutory and customary consultations being carried out.
Development Management Committee meetings are webcast – details can be found here - http://www.eastherts.public-i.tv/core/
Councillor Bob Deering (Chairman)
Councillor Tony Stowe (Vice-Chairman)
Councillor Mary Brady (Substitute)
Councillor Stan Bull (Substitute)
Councillor Ian Devonshire (Substitute)
Councillor Joseph Dumont (Substitute)
Councillor James Frecknall (Substitute)
Councillor Andrew Huggins (Substitute)
Support officer: Peter Mannings. Tel: (01279) 502174 Email: peter.mannings@eastherts.gov.uk


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Luxury's Newest Amenity: The 'Art Wall'
National Multifamily View count:
National Multifamily
March 4, 2016 Aisha Carter, Bisnow
Attention, developers! High-end buyers want more than just a great view from their luxury apartments. The new trend? Wall space for their artwork. And lots of it.
That's why Town Residential realtor Wendy Maitland wasn't a bit surprised when her client chose a SoHo apartment over an Upper East Side apartment after his art consultant praised its larger freight elevator and museum-like ceiling heights, Bloomberg reports.
Ian Schrager has embraced the new "art walls," incorporating them in his newest project, 160 Leroy. Schrager told Bloomberg that these walls must be large with high ceilings and appropriate lighting to allow the paintings to be displayed prominently.
Developer Joe McMillan of DDG adds that every grande room needs at least one art wall, and that lighting is of the utmost importance. In his new retro building at 180 E 88th St the nine-foot by nine-foot windows are spaced far apart to allow for a piece of artwork in between. There also are more interior walls designed like those of an art gallery, for optimal display.
If you're not yet convinced of the artwork's importance, consider this: at 551 West 21st St (pictured)—in the heart of Manhattan neighborhood Chelsea's gallery district—the apartments have custom glass with a built-in UV screen to filter out most of the damaging rays…and not for your health, but for your art's health.
Meanwhile projects like Tadao Ando's upcoming 152 Elizabeth St have included humidifiers so residents can maintain a constant moisture point for their precious art. That's right. Artwork is like the wealthy's new pampered pooch. And developers know just how to meet their buyer's needs, as many of them are avid art collectors themselves. [Bloomberg]
Contact Aisha Carter at aisha.carter@bisnow.com
Related Topics: 551 West 21st Street, Ian Schrager, Tadao Ando, Joe McMillan, Wendy Maitland, 160 Leroy, 180 E 88th St, 152 Elizabeth St
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critic's pick 293: bob dylan, 'bootleg series, vol. 10 – another self portrait'
{ August 29, 2013 @ 6:07 pm } · { critic's picks }
To this day, Self Portrait, stands as one of the oddest recordings Bob Dylan ever put his name to. A hodge-podge of folk tunes, pop covers and concert relics, the double-album was cut with a lean core of like minded artists (David Bromberg, Al Kooper) before producer Bob Johnston threw on overdubs by seemingly every Nashville studio pro he could find. Released in the late spring of 1970, the record was a colossal mess, earning Dylan some of the worst reviews of his career.
This sets up the tenth and newest entry in Dylan's archival "bootleg series," Another Self Portrait (1969-1971) as a return to the scene of the crime. It scours many of the songs and sessions from Self Portrait and its more streamlined and satisfying follow-up, New Morning (released mere months after Self Portrait) and serves up much of the music without the overdubs and production touches. There are nods also to the sessions for The Basement Tapes and Nashville Skyline, the projects that preceded Self Portrait, but they are brief. The primary thrust of Another Self Portrait is the folk inspiration that fed into the original Self Portrait and New Morning.
The album is available in two editions – a double disc version boasting 35 previously unreleased songs and a deluxe four disc package that includes Dylan's full 1969 performance with The Band at the Isle of Wight festival. The two-disc edition is being reviewed here. From that, what emerges is less the offhanded experiment Self Portrait began as and more of a folk retreat.
For instance, the unaccompanied demo version of New Morning's Went to See the Gypsy, enhances a narrative that, in its original form, sounded incomplete. Here it packs a sense of mystery that backs Dylan up to 1968's brilliant John Wesley Harding. Cutting more to the essence of Another Self Portrait, is the traditional This Evening So Soon. It is served with such jocularity by Dylan, Bromberg and Kooper that you almost forget how profoundly sad the storyline is. Ditto for Cooper Kettle, which is stripped here of the Nashville trappings that weighed the original Self Portrait down like concrete.
There are surprises, of course. No Dylan album new or old comes without a few. Two surface in alternative versions of New Morning's Time Passes Slowly. The first is a light quartet reading with harmonies and guitar from George Harrison. The second is a blues-soul rampage more in keeping with Joe Cocker's Mad Dogs and Englishmen band. The electric barnyard version of Highway 61 Revisited (a teaser from the Isle of Wight show) is a hoot, too, making the Self Portrait era seem more of a playground that it ever did at the time.
In performance: Lyle Lovett and his Large Band
{ August 28, 2013 @ 1:09 am } · { in performance }
"You all are so lucky to live here," Lyle Lovett said at the onset of a typically versed and versatile performance Tuesday night at the Opera House. "Of course, this is an assumption on my part."
Assumptions have always been tricky things with Lovett. Raised on the champion folk and country songwriting inspirations of his native Texas, he long ago made his tunes – which shift dramatically from the wry and acerbic to the dark and reflective – dance to Lone Star honky-tonk, jazz, vintage soul and stark Americana. When he performs with his Large Band, as he did last night, all of those elements leap to life.
The performance was a familiar career retrospective. You knew the gospel strut of Church was coming. You knew the classic murder reverie L.A. County was going to hit. And Lovett wasn't about to leave out Here I Am ("if it's not too late, make it… a cheeeeeseburger"). As Lovett shows go, it was practically a scripted affair. But why argue when you're presented with a 2 ¾-hour set (which did not break for intermission) full of Lovett favorites and a 13-member band that was half honky-tonk orchestra and half swing symphony?
Taking the stage with Black and Blue (after the Large Band's instrumental prelude of The Blues Walk), Lovett adopted the persona of the offhandedly stylish troubadour that remains a comfortable fit for seedy gems like She's No Lady, I Know You Know and What Do You Do. All three tunes had Lovett exhibiting a crooked level of crooning that fell somewhere between cool and creepy. The whole mix was nicely fortified by the hushed, brassy finesse of the Large Band's four-man horn team.
But that was just one avenue the performance traveled down. The title track to 2003's My Baby Don't Tolerate luxuriated in a massive, almost orchestral blues groove, and I Will Rise Up (from 2007's It's Not Big, It's Large album) became a slow, simmering incantation. Best of all was If I Were the Man You Wanted (from Lovett's 1986's self-titled debut), which de-emphasized the R&B overtones and remained a stately portrait of Lone Star country introspection.
The Large Band's full stylistic reach was on display as the concert concluded. A two-song encore segment began with the lean, ambient chill of North Dakota (distinguished by longtime Lovett bandmate Matt Rollings' plaintive turns on piano) and ended with the full brass sass of She's Hot to Go. The latter seemed to exemplify how much Lovett enjoyed playing with the thematic and stylistic conventions of country, pop, soul and style. But then, that is an assumption on my part.
From Henryville to Cleveland
{ August 26, 2013 @ 10:04 am } · { profiles }
Mike Cleveland
Add Henryville, Indiana to the growing list of little-known music meccas.
Located about 15 minutes across the Ohio River from Louisville, the city has contributed to the bluegrass world one of the most celebrated and resourceful fiddlers to gain prominence over the past decade. His name is Michael Cleveland, and aside from picking alongside two generations of master instrumentalists, he has been named fiddle player of the year by the International Bluegrass Music Association nine times since 2001.
That's not all Henryville has to offer, however. This week, for the next-to-last concert in this summer's Southland Jamboree series, the city is sending us Cleveland and fellow Henryville fiddler/educator Jeff Guernsey for an evening of bluegrass-inspired duets.
For Cleveland, who usually fronts his own band, Flamekeeper, the chance to rekindle a longtime musical friendship is like a homecoming away from home.
"Jeff was just one of the great players around the Southern Indiana area when I was growing up," Cleveland said. "Now he would kill me if he heard me saying this, but he's probably one of the greatest musicians in the world because his knowledge of music in all different styles is just so vast. He's an inspiration to me still. I continue to learn from him every chance I get."
At 33, Cleveland is already a remarkably learned player. Taking to the fiddle at age four, he debuted at the Grand Ole Opry at 13 by playing alongside Alison Krauss. There also have been performance meetings over the years with scores of bluegrass forefathers, including Bill Monroe, Jimmy Martin, Ralph Stanley and Kentucky's own J.D. Crowe.
But one artist proved to be an especially far-reaching influence: guitarist Doc Watson. It wasn't just the scholarly, expansive nature of Watson's music (where bluegrass sat side by side with numerous country and folk traditions and a sense of masterful instrumental improvising). In Watson, Cleveland found an artist with whom he shared something profoundly personal and non-musical: blindness.
Watson lost his sight in his infancy. Cleveland was born blind.
"When I was about seven or eight years old, I heard Doc Watson playing on The Nashville Network," Cleveland said. "That's when I found out that you can do this and be visually impaired, that there were people playing this music that were actually making money. And that just blew my mind. Doc was making musical history. From then on, I just dreamed of being in a touring band. I remember having dreams about it and everything. It was pretty amazing.
"There was this personality to Doc's records and his live shows. One record that comes to mind particularly was the Nitty Gritty Dirt Band's Will the Circle Be Unbroken (the groundbreaking 1972 album in which the Dirt Band enlisted a host of pioneering country and folk elders as guests). The thing I really enjoyed about that was all the dialogue in the studio where they are all sitting around and talking. There is a conversation between Doc and Merle Travis where Doc is discussing arrangements and talking to Vassar Clements about when to come in on a song. Doc just sounded like such a nice guy. That personality just made a huge impression on me. Then when I got to meet him when I was 13, he was just like that. That's hard to say about a lot of people. But that's just how Doc was every time I was around him."
As important as Watson was to Cleveland on a personal and professional level, it was the work of two current bluegrass women – Rhonda Vincent and Kentucky native Dale Ann Bradley – that placed Cleveland's music before an audience. His work in their bands led to the formation of Flamekeeper and the lasting recognition of the IBMA.
"When I was young and just starting to play out on the road, of course I had about a million licks and I tried to throw them all into every song I played. So that didn't work out too well. But with Dale Ann and Rhonda, I learned how to play with a singer more. That really helped.
"Rhonda, especially, had a knack for keeping an audience interested and sensing when to play an uptempo tune or a fiddle or banjo tune that would get people enthused. Dale Ann was always so great to work for, too. She was just so laid-back. She was like, 'However you want to play.' If she had any suggestions, she would make them. But she basically let the musicians in her band play their way. It was such a good experience getting to learn and play with both of them."
This week, Cleveland will take his music to Lexington but will draw inspiration from his Henryville home by teaming again with Guernsey.
"To be honest, I have no idea what we will be playing exactly. I'd say most of it will be bluegrass or old-time sounding things. But we've played together for years. I know it will be fun."
Michael Cleveland and Jeff Guernsey perform at 7 p.m. Aug. 27 for Southland Jamboree, behind Collins Bowling Center, 205 Southland Drive. Admission is free. For more info go towww.southlandjamboree.org.
In performance: Steve Forbert
{ August 26, 2013 @ 12:42 am } · { in performance }
For a second at Natasha's on Sunday night, it looked as if Steve Forbert might reveal how much of the whimsy, romanticism and domestically inclined darkness that permeates his songs has been pulled from personal experience.
It came when the veteran songsmith cracked open tunes from his fine 2012 album, Over With You. Specifically, the instance revolved around the record's leadoff tune, All I Asked of You, a tale of emotional "disrepair" told with the sort of sadness, candor and melodic grace that brought Lucinda Williams' music to mind.
So was it autobiographical? Judge by yourself from this exchange with a patron after the song wound down.
Forbert: "That was a slice of somebody's life. I hope it wasn't mine."
Patron: "It probably was."
Forbert: "Then I'll check."
Such was the mischievous nature of Forbert's music, and of his performance smarts. His commercial popularity peaked quickly at the onset of the '80s (courtesy of the radio hit Romeo's Song, which was served last night as a tasty set closer with a snippet of The Beatles' Goodnight as a prelude), Forbert has remained a prolific folk-based artist through the decades, with a strong recording catalog that has dipped only through occasional missteps in production choices as opposed to songwriting.
Forbert took wide aim at that catalog last night, serving up several works from his celebrated 1978 debut album, Alive on Arrival. The highlight of the lot was Goin' Down to Laurel, a reverie of expectations involving a seemingly frequent journey to a "dirty, stinking town."
But there also was the newest version of an evolving environmental epic that proved to be the evening's most curious sing-along (The Oil Song, which Forbert stopped and re-started in hopes that a chatty table of patrons would button their collective lips), an intriguing take on the "social environment" of large-venue rock shows (The Beast of Ballyhoo), a gem from 1992's The American in Me, Forbert's finest Geffen-era album (Responsibility) and even an unexpected cover (a folky revision of Lou Reed's Sweet Jane).
As fine as the song selection was, Forbert's nicely combustible treatment of his tunes was even more arresting. The years have not worn away any intensity or immediacy from his concerts. Forbert's body regularly bent, jerked and swayed to a song's intent as he accompanied himself on guitar, harmonica and the steady hammering of a boot heel on the floorboards.
The highlight, though, came in the title tune from Over With You, an atypically good-natured breakup song delivered, despite its obvious warmth, with the kind of disturbing exactness and quiet that you would expect from Neil Young's overlooked acoustic music from the mid-'70s. It was a meditation that sought solace from personal devastation even as room was left for loss to linger.
the past and present steve forbert
{ August 25, 2013 @ 9:53 am } · { profiles }
steve forbert.
Usually when people say the past has a way of catching up with you, the connotations are not encouraging. What they really mean is that the consequences of some nefarious deeds from years gone by are about to rock your present day world but good.
Luckily, the past has caught up with veteran folk-pop stylist Steve Forbert on far friendlier terms. This year, the singer followed the release of Over With You, his fine 2012 indie treatise on the often conflicting emotions at the heart of modern relationships, with re-issues of his first two albums – 1978's Alive on Arrival and 1979's Jackrabbit Slim. Those were the records that set the career of this Meridian, Mississippi songwriter into motion. The latter also scored a huge folk-pop hit, Romeo's Tune, that threw Forbert into the camp of the critically labeled "new Dylans."
"It's gratifying," said Forbert, who performs Sunday at Natasha's, of the second life his first records are receiving. "It means, in a sense, that those records stood the test of time. That's kind of what it's about, isn't it?
"I'm just saying if you're putting out what we'll call 'a work of art,' to have it receive some attention 35 years after the fact is fantastic. This hasn't been the reissue that Exile on Main St was. But I'm happy about it."
To better appreciate the lasting influence of Alive on Arrival and Jackrabbit Slim, you have to understand the kind of artistic climate change that surrounded their creation. In 1976, Forbert left Mississippi for New York City. But the folk revival that thrived in areas like Greenwich Village during the previous decade had been replaced by punk.
Still, in a land where bands like Blondie, Talking Heads and the Ramones were beginning to breakthrough to mainstream audiences, Forbert stuck to his folk-fortified roots. As a result, Alive on Arrival was a huge critical hit (as have most of the songwriter's recordings since then) while Jackrabbit Slim leaned closer to pop and put Forbert on the radio.
"My attitude is my attitude, even though I'm not a person who has much 'attitude.' A lot of the punk thing had this sneer to it, but I wasn't coming from a lot of overt rebellion. That wouldn't be my thing. I went to (the famed New York music club) Max's Kansas City and I didn't like the vibe. I didn't really try to play there. But you have to understand (New York new music haven) CBGB's was run by people who were interested in all kinds of music. The so-called New Wave thing grew like a mushroom in the dark there. So the idea wasn't that weird for me to be there. But I never wore a skinny tie or anything like that."
The voice that reaches out on Over With You is more learned, weary and worn. With instrumental support from Ben Harper and Kentucky's own Ben Sollee, the album has its dark moments (like the opening All I Asked of You). But the pop hopefulness from those early days still propels much of Forbert's newer music.
"This is a young person's game. Older people are inherently busier with wives, parental responsibilities, jobs, who-knows-what. It was easy when I got started to break through to my sub-generation through college radio and newspapers and music magazines. But even music magazines now are generally oriented toward the latest thing. People get over it and they get busier. I'm not really trying to reach 21 year olds anyway. Take All I Asked of You. That's really not much of a kid's song. It's just harder to crack that world when you get older."
Steve Forbert performs at 8 p.m. Aug. 25 at Natasha's Bistro, 112 Esplanade. Tickets are $15. Call (859) 259-2754 or go to www.beetnik.com
the new jason isbell
{ August 22, 2013 @ 3:43 pm } · { profiles }
jason isbell.
It was Christmastime when we last heard locally from Jason Isbell. Ironically, that was also our first glimpse of the new Jason Isbell.
The difference may not have been immediately evident to those that cheered on the versed Alabama rocker that December Saturday at Buster's or even longtime fans that have followed Isbell when he began playing the long defunct Dame a decade ago as a member of Drive-By Truckers.
In fact, last winter's show came on the heels of Live in Alabama, a then-new concert recording that neatly summarized the first few chapters of his career by including a mix of vintage Truckers songs (among them, the fearsome class anthem Outfit), the rapidly maturing tunes penned for his own 400 Unit band (including the Americana Music Awards' 2012 Song of the Year Alabama Pines) and covers that were nods to his soul-savvy Muscle Shoals roots (the '70s Candi Statton hit Heart on a String). All of that music fortified the December show, as well.
But a new chapter had also begun, even though Isbell wasn't making a big deal out of it. The 400 Unit was augmented at Buster's last winter by Texas fiddler and vocalist Amanda Shires who Isbell would marry two months later. There was also discussion of a nearly-completed new album, the first Isbell record not co-credited to the 400 Unit. Finally, there was this bit of information mentioned in an interview a week prior to the show.
"I quit drinking."
Isbell made the pronouncement off-handedly, as if to make sobriety seem like a fairly minor deal. Flash forward to a recent New York Times magazine feature that detailed just how paralyzing Isbell's drinking became and the interventions that were required for him to seek help.
"Getting sober is not an easy thing to do," Isbell said by phone last week."It gets easier as time goes on. For me, once I saw the positive consequences of my actions, then it got a lot easier to make the right decisions. But the first few months were really challenging. They were really difficult."
This summer, that first recording by the fully sober Isbell was issued as Southeastern. It has gathered scores of favorable reviews, amassed (for an indie Americana act) impressive sales and reaffirmed Isbell as one of the great Southern songwriters of his generation.
"I'm very happy with the record" Isbell said. "You know, I like all of them. But this one definitely has a special place for me because it is so personal. We've sold a lot more records, got a lot more people to the shows. People seem to feel they have a personal connection to the songs, too. That's about the best you can hope for.
"I just try to write the best songs I can. But there were the changes that I had gone through – quitting drinking, getting in a stable relationship and getting married… those things had a lot to do with what was on my mind when I was writing these songs."
The entire tone of Southeastern differs from Isbell's four previous records with the 400 Unit. Dominated by themes of loss and redemption with a few really scary interludes thrown in (like the real life nightmare of Super 8 which roars to life after the comparatively contemplative New South Wales), the album recalls the dark, scorched post-Harvest music cut in the early-to-mid '70s by Neil Young. Southeastern isn't as ragged as that body of work, but it shares a strong emotional bond.
"I've listened to a whole lot of that Neil Young stuff. That's probably been one of my biggest influences as a musician and a songwriter. So if I'm doing it right, that's going to find its way in there. But also, I spent some time with Bridge Over Troubled Water (Simon and Garfunkel's 1970 studio swansong album) before this record. That's a really interesting sounding record that could have been made at any point in time. Technologically, there is not a whole lot of advancement there. But a lot of things are ear catching, and that interests me.
"But, you know, Southeastern was just about a place I was in. Really, the focus went on the words. That's always the root of all of it. That's the only thing, really, that differentiates a good record and a great record. Production is really important. But if the songs aren't there, you're just not going to have a great record.
"I mean, I spent a year and a half writing the songs and two weeks recording them. So that shows you right there what's important."
Jason Isbell and the 400 Unit with Joe Fletcher and the Wrong Reasons perform at 9 tonight at Buster's Billiards and Backroom, 899 Manchester St. Tickets are $17 advance, $20 day of show. Call (859) 368-8871 or go to www.bustersbb.com.
nashville by way of memphis
tim easton.
Tim Easton is nothing if not well traveled.
A heralded and prolific Americana song stylist, he grew up in Akron, gigged regularly around New York City and set up a homestead for several years in the unlikely musical metropolis of Joshua Tree. While he has never fully called Lexington home, he has performed here of often enough over the past two decades to toss a few local ruminations into one of his best loved performance tunes, Lexington Jail.
The music that brings Easton back to town for two shows this week, however, is the product of his newest hometown, Nashville. But before you ask, let's set the record straight. His Not Cool recording, which was released Tuesday, is not a country project. Take a listen, in fact, to the rootsy immediacy that dominates the 11 songs Easton rips through during the album's brisk and brief half-hour running time and you will think Not Cool was cut in an entirely different corner of Tennessee – specifically, Memphis.
"I definitely wanted to make a record that was seriously roots based and had that Memphis sound to it," said Easton by phone last week from yet another port where he has amassed a loyal fanbase, Alaska.
"At the same time, though, we were in Nashville when we made the record. It was 2013. We said, 'Let's let the reality of who we are enter into the music. Let's see what each player can collectively bring.' The bass player was from Memphis. The guitar player was from Chicago. I'm from Akron. But we're all Nashville musicians that were cutting a session that day. So we set up the mikes, sat down and played the songs and recorded.
"It wasn't a very overdub-centric project. With certain recordings, you just try not to fuss with things too much. You try to get the sound of a real band playing. I think we definitely succeeded in sounding like a trio/quartet playing country blues songs."
Easton was introduced to two key compatriots of the Not Cool sessions – guitarist JD Simo and upright bassist Joe Fick – almost by accident. After noticing the stage door of the famed Ryman Auditorium opened into an alley that separated the venue from Robert's Western World, one Nashville's most heralded honky tonks, Easton caught a glimpse of the two players in action onstage. He quickly signed them up for Not Cool duty.
But such chance meetings aren't the product of serendipity, Easton said. In Nashville, such impromptu networking is standard operating procedure.
"People should understand that in a town like Nashville, there are hundreds of great musicians and they all like to work. They're eager to make records down there. That's how you do it. And doing three chord country blues songs with JD Simo, Joe Fick and Jon Radford (the drummer for the Not Cool sessions)… I mean, they can truly play that stuff any time of day. It just comes naturally to them. They could roll out of bed – and some days they literally did roll out of bed – and cut tracks like that."
Not Cool, happily, fails to live down to its name almost from the onset. On the album opening Don't Lie, the song's nocturnally imbued story, along with Easton's sly telling of it, picks up on Simo's Slim Harpo-style guitar ambience as if it were a hitchhiker on a dark country side road. The mood brightens, though, for the rockabilly blasts of Troubled Times and Little Doggie (1962) before settling into the petulant groove of Gallatin Pike Blues.
The showstoppers, though, are saved for last. Not Cool's title tune (clocking in at just over four minutes, making it the record's longest song) is a starker, more reflective moodpiece – a folky, reverb-colored throwback to the New West albums Easton cut over the past decade that cemented his reputation as a champion songsmith.
But what makes the song even more magical is the way it bleeds into Not Cool's instrumental finale, Knock Out Roses – a fiddle tune that falls somewhere between a waltz and a Celtic reverie. An exquisite vehicle for fiddler Megan Palmer (who will accompany Easton for his two shows this week at Willie's Locally Known), the tune doubles as a lovely eulogy to The Band's Levon Helm.
"I have this strange ability to make up melodies for songs," Easton said. "I do it constantly. It's not a big issue for me. It just so happened that I was thinking about Levon that day. I went outside and I played my mandolin. I mean, Levon Helm. He was a mandolin player. He was a drummer, of course. And he was a great singer and everything. So I just started thinking about him and that was the song that came out.
"I didn't think to myself, 'Oh, I need to put a fiddle song at the end of a rock 'n' roll record.' But on a later pass, I thought that maybe this would be a really nice way to finish."
Tim Easton performs at 8 p.m. Aug. 22 and 23 at Willie's Locally Known, 805 N.Broadway. Easton will open for (and sit in with) the Kentucky Hoss Cats on Aug. 22 (no cover charge) and will headline with Bluegrass Collective opening on Aug.23 ($10). Call (859) 281-1116 or go www.willieslex.com.
in performance: the goat rodeo sessions
the goat rodeo sessions: chris thile, aoife o'donovan, yo-yo ma, edgar meyer and stuart duncan. photo by jeremy cowart.
In referencing how bandmates Edgar Meyer and Chris Thile were navigating through classical adaptations, Appalachian-inspired Americana and improvisational mischief without the aid of written music while he was anchored behind layer upon layer of scores, the master cellist Yo-Yo Ma dubbed himself an "old goat."
But in the case of the genre-bending performance Ma gave last night with Meyer, Thile and veteran Nashville fiddler Stuart Duncan at Cincinnati's PNC Pavilion, being an old goat was a good thing. After all, the foursome performed under the name of The Goat Rodeo Sessions. Whether the music was in their heads or on paper in front of them, the players generally smashed string quartet convention during a fascinating two-set, two hour performance.
All four players, in varying degrees, have indulged in stylistically cross-pollinated string music long before Goat Rodeo came along. Ma and Meyer cut the famed Appalachia Waltz recording with Mark O'Connor in 1996, although with the exception of a brief two-movement blast of Bach, last night's performance possessed far less of a chamber feel than that album. Still, there was a strong, adventuresome spirit to the program.
Melodies were regularly and generously passed around from player to player, as in the way Duncan's sly fiddle lead made the rounds during the concert opening Quarter Chicken Dark. Over taught, tense ensemble passages, the lead was passed off to Thile on mandolin, then to Meyer on double bass before finding its way back to Duncan. Curiously, the overall tempo seemed to be controlled by Ma, who let the tune noticeably relax halfway through so that its playful barnyard ambience could bounce about.
The resulting feel of the program mirrored the group's self-titled 2011 album, meaning a mix of bluegrass and classical instrumentation was used to flesh out Appalachian flavored material that sounded less like vintage folk or country and more like a scholarly take on jazz and jam band music. Even the Schubert-inspired Franz and the Eagle was more classically themed than constructed (or executed).
A lovely addition to the group was Americana songstress Aoife O'Donovan. A contributor to The Goat Rodeo Sessions album, she harmonized with Thile on four songs, including a quietly regal take on Bob Dylan's Farewell Angelina (which also pulled vocal support from Duncan).
As fascinating as the band makeup was (Meyer, Duncan and Thile all did double and sometimes triple duty last night on piano, mandolin and guitar/fiddle, respectively), one of the purest, most enchanting moments came during the encore of Ar Hyd y Nos (All Through the Night) – specifically, in the very brief instances when the ensemble sound was whittled down to just O'Donovan's plaintive singing and Ma's gorgeously complimentary runs on cello.
That made for a nifty new trick from a resourceful old goat.
critic's pick 292: tedeschi trucks band, 'made up mind'
{ August 20, 2013 @ 11:16 am } · { critic's picks }
Made Up Mind, the third and finest Southern soul banquet from the Tedeschi Trucks Band, is a recording that should be viewed more for its title than its cover art.
The photo gracing the front of the album depicts a buffalo and a steam locomotive set to collide with each other head on, signaling a fairly unnatural showdown of strength.
Susan Tedeschi and Derek Trucks are certainly titan forces within the band that bears their name. She is one of today's most learned, natural and emotive white soul singing stylists. He is a wildly versed guitarist who was showing off chops on Wayne Shorter and John Coltrane tunes while in his teens before graduating to the royal jam ranks of the Allman Brothers Band. But as Made Up Mind opens with its jovial title tune, what we hear isn't the conflict of competing powers but rather the unified force of a band that operates like a soul, blues and roots-rock revue.
A shuffling guitar riff from Trucks (a lick that will likely kick around in your brain for days after you hear it) shoots out and circulates within the song, triggering a potent and funky rhythm section led by the double drums of J.J. Johnson and Tyler Greenwell. Then Tedeschi enters with a vocal maturity and confidence that places her in the ranks of pros like Bonnie Raitt. The groove subsequently blows up with blasts of brass and churchy harmonies along with healthy solos on slide guitar from Trucks that mirror Tedeschi's increasingly celebratory singing. It's a party, for sure. Still, the resulting music avoids the noodling and grandstanding that are standard operating procedures for artists that flirt with jam band fame as Tedeschi and Trucks do. Everything this husband-and-wife team explores here, pursuant to the album title, reflects effortless cool.
Tedeschi and Trucks wrote or co-wrote much of the material on Made Up Mind along with such schooled collaborators as Oliver Wood (of the Wood Brothers), John Leventhal (producer and husband of Rosanne Cash) and Gary Louris (co-chieftain of The Jayhawks). As a result, the musical moods vary, from the lanky Screaming Jay Hawkins-meets-Dusty Springfield blues strut of Do I Look Worried to the multi-layered funk of Whiskey Legs. The revue-style exuberance roaring behind the two leaders then beautifully orchestrates the fun.
Curiously, one of Made Up Mind's craftiest tracks is the album closing Calling Out to You, which has Tedeschi and Tracks going it alone on a meditative ballad that expertly showcases these unflinchingly confident talents. It is proof positive that two made up minds are better than one.
travels with ricky
ricky skaggs.
"It's one thing to play bluegrass music," writes Ricky Skaggs near the end of his new memoir, Kentucky Traveler. "It's a whole other thing to make a living at playing bluegrass music."
Spend a few minutes with one of the state's foremost bluegrass and county music ambassadors and he will explain not only how deeply he takes that credo to heart. He will also gladly outline the blessings ("gifts," as he regularly calls them) that propelled his life and career beyond his wildest bluegrass dreams.
"It's been an incredible story," Skaggs said in a telephone interview last week. "And it still is, really. Old time music and bluegrass, then the whole family dynamic with my mom and dad, meeting Mr. Monroe, Flatt & Scruggs, the Stanley Brothers … I mean, when I sit back and think about all the things that happened in my life…"
Here, Skaggs' voice trails off. A memory of a life well lived and worked can cause that to happen, especially when you try to neatly encapsulate the events, people and discoveries that filled that life. Luckily, he has a new memoir titled Kentucky Traveler to set the record straight. Every last note of it.
"The thing is, the half has not been told. There are things I've forgotten that I remembered once the book was done. Sharon (White, Skaggs' wife and a fellow country and gospel artist) will remember things and say, 'Well, is that in the book?' and I'll say. 'No. I forgot to put that one in.' And she will go, 'Oh, my goodness. You're going to have to do a revision."
If you have experienced bluegrass in the Bluegrass, there are certain aspects to Skaggs' career that are simply givens. They deal primarily with the mid '70s, when he became the mandolin voice in J.D. Crowe's first and most influential lineup of the New South. That was followed by club shows with dobro great Jerry Douglas (another Crowe alum) in Boone Creek.
But as the title suggests, Kentucky Traveler unravels as a series of broader snapshots. They begin during the years Skaggs grew up in the Eastern Kentucky hollow of Brushy Creek and the airtight bond he shared with his parents. Then they weave through the alliances he forged with a legion of bluegrass forefathers topped by patriarch Bill Monroe ("Mr. Monroe") before winding their way through a career full of country hits, a renewed focus on bluegrass and fresh partnerships with new musical friends.
"Faith, family and music – they were all so intertwined when I was growing up," Skaggs said. "I mean, I was hunting and fishing, working and doing stuff on the farm, planting tobacco and bailing hay – a lot of stuff that didn't get in the book. I wasn't just sitting around 14 hours a day playing the mandolin or the fiddle like a lot of people might think. The fiddle and mandolin and playing music were really just a pastime. It was entertainment for us as a family.
"But I tell kids when they ask me to sign a mandolin or a fiddle to be serious about their music. I ask them, 'How much are you getting to play?' And they'll say, 'Well, I play a little bit.' Then I'll ask, 'Okay. How much Nintendo or Sony Play Station do you play?' And it's, 'A lot.' So I tell them, 'Man, that is not your friend. Sit down with that instrument. If you're going to get serious about it, then get serious about it. You've got to pour your time into it. You've got to pour your life into it. You're going to make it if you work at it. But if you just play at it and use it as a hobby, you'll just be a hobby player.'
"I think sometimes they get it and sometimes they just kind of laugh or grin as they walk off.' But then their Dad will turn around and say, 'Thank you.'
There are a several bittersweet farewells as the book concludes. Especially revealing are recollections of Skaggs' father and mentor Monroe. Both died within months of each other in 1996. But there are also hints of alliances that are just now coming to fruition – in particular, a teaming with pop piano man Bruce Hornsby. Their second collaborative album, Cluck Ol' Hen, will be released next week.
"It's one of the best musical projects I've had a chance to be part of," Skaggs said of the record. "I'm so thankful, again, for another gift in Bruce Hornsby. What a gift in my life and a gift to music."
A balance of purpose and playfulness dominates the music, from the warp speed band delivery of the Monroe chestnut Bluegrass Breakdown to an extended reading of Hornsby's White Wheeled Limousine that pares itself down to a brief dialogue between the two musical titans playing piano and mandolin.
Such a mix of mischievousness and confidence has long been an integral element of Skaggs' playing. He remarked that spirit is displayed vividly on the cover of Kentucky Traveler, which sports a picture of Skaggs as a child – mandolin already in hand, already meaning business.
"There was a look my eye in that picture. I don't know if it was determination, if it was destiny, if it was a calling. I don't know. Whatever it was, there was a look in my eye that says, 'I'm doing what I'm supposed to do. I'm not real good at it, yet. But I'm doing what I'm supposed to be doing with my life.'"
Ricky Skaggs will sign copies of Kentucky Traveler at 7 p.m. Aug.28 at Joseph-Beth Booksellers, 161 Lexington Green Circle. Line tickets are available with purchase of the book. Call (859) 273-2911 or go to www.josephbeth.com. Skaggs will also perform with Bruce Hornsby will at 8 p.m. Oct. 4 at the Taft Theatre, 317 East 5th St in Cincinnati. Tickets are $32, $44.50 and $52.50. Call (800) 745-3000 or go to www.ticketmaster.org.


Gameshow mania will come to the Isle of Man later this month, with the support of the Isle of Man Steam Packet Company.
The Isle of Man Steam Packet Company says the new Sea Services Agreement will create a strong long-term foundation from which to deliver continued investment that meet the needs of the island.
The Isle of Man Steam Packet Company is supporting two parents on a mission to raise awareness of meningitis, after losing their one-year-old son to the deadly infection last year.
The Isle of Man Steam Packet Company vessel Ben-my-Chree has had a reliability record of more than 97% over the past 13 months.
An award-winning musical quartet traveled to the Isle of Man this month to present a series of special performances and workshops, thanks to support from the Isle of Man Steam Packet Company.


text:
Continued from Part One…
Guitarist Mike Barnes played that first Christmas Jam. Friends with Haynes since the two were second graders at Claxton Elementary, he formed the band Blue Sky with his fellow guitarist when they were 14 years old. By the mid '70s Haynes and Barnes co-led another group, Total Eclipse. "We did some battles of the bands, pool parties and whatever gig we could scrounge up," Barnes recalls. "We all cut our teeth together."
By the late '80s, Haynes' career had begun to take off; he had already spent four years as a guitarist for outlaw country star David Allen Coe, moving on to work with the Nighthawks and then with former Allman Brothers Band guitarist Dickey Betts. And it was on a break between dates with Betts that Haynes returned home to Asheville. While in town, he decided to organize a get-together.
"Back then, most of us were traveling," he says. "So it was hard to get everybody together at once, but that seemed to be an opportunity." By his recollection, the charitable nature of the Jam came about by default. "We weren't making very much money, and there were too many musicians to pay," he explains, recalling the thinking: "Okay, everybody take $11 … nah, let's just give it to charity."
Barnes remembers it slightly differently. "The very first Christmas Jam was to benefit Ronnie Burgin," he says. The local blues/rock musician was a longtime friend of both Barnes and Haynes. Proceeds from the fundraiser would go toward "try[ing] to get [Burgin] in rehab to stop drinking, because he was in pretty bad shape," Barnes says. The fundraising part of that goal, at least, was a success. (Burgin died in 1993.)
But a precedent had been established. "We thought, 'Let's do it again next year,'" Haynes recalls. "And that next year was even bigger. Then it gradually turned into something even beyond that."
Beyond local
The Jam continued as an annual event at 45 Cherry for a few years. "One year we did two Jams for two different charities," Haynes recalls. One took place at 45 Cherry; another was held at Sonny's Bistro in East Asheville. That year marked the start of higher-profile musicians from outside Asheville joining the festivities. Marshall Tucker Band co-founder Toy Caldwell and Rolling Stones saxophonist Bobby Keys performed. And beginning in 1994, nonprofit Asheville Habitat became the beneficiary of the fundraising event.
By the late '90s, Haynes was a star. He had spent a decade as guitarist with the Allman Brothers Band, and concurrently launched his own group, Gov't Mule. His higher profile and status in the music community meant that he could call upon famous friends to take part in his annual charitable endeavor. Jimmy Herring, Edwin McCain, Col. Bruce Hampton and Derek Trucks were just a few of the marquee names who graced the Christmas Jam stage in those years.
Along the way, the Christmas Jam moved downtown to popular venue Be Here Now. Not much larger than 45 Cherry, that location soon proved inadequate for the burgeoning event. Going forward, the Thomas Wolfe Auditorium would host the Jam, and by 2001 when that couldn't hold it all, the event moved next door to the Asheville Civic Center (known today as the Harrah's Cherokee Center), where it is currently held.
While in its early days the Christmas Jam focused on Southern rock, it broadened to feature a more eclectic lineup, one that can appeal to a wide array of music lovers. And that's very much by design. "On some level," Haynes admits, "I choose music that I like. The Christmas Jam is representative of my taste in music." But in practice, that can mean nearly anything from "rock to blues to bluegrass to jazz to country to soul," Haynes says. "It can really go anywhere, as long as it's integrity-oriented music."
Over the years, some of the most celebrated acts to take part have included Widespread Panic, Sheryl Crow, Hot Tuna, Steve Miller Band, Los Lobos, Peter Frampton, Counting Crows and a long list of other big names. And surprises often factor into the Jam: in 2018 Dave Grohl and Friends added an impromptu set at the Orange Peel. Meanwhile, the Asheville character of those earliest events is preserved by additional "Jam by Day" events at smaller venues featuring local musicians.


text:
ALM's 2022 Global 200 Reveals Stellar Performance in Key Financial Metrics
The Global 200 is a ranking of the top grossing law firms around the world
New York, NY – September 20, 2022 — Law.com International and The American Lawyer have released the 2022 Global 200 report, providing a detailed look at the top-grossing law firms from around the world. Gross revenue for The Global 200 totaled $185.6 billion for fiscal year 2021, an increase of 14.7% compared with fiscal year 2020.
"The figures in the 2022 Global 200 show that the world's largest firms once again had a gangbuster year, outdoing their performance from the previous year," said Lisa Shuchman, Executive Editor of Law.com International. "But the coming year is likely to be more of a challenge as firms cope with inflation, the impact of Russia's invasion of Ukraine and lingering effects of the pandemic, especially in Asia."
Key takeaways from this years results include:
– The growth in revenue and the 15.2% rise in average profits per equity partner was even stronger than in the previous financial year.
– Kirkland & Ellis and Latham & Watkins remain the world's largest law firms by revenue, each bringing in more than $5 billion.
– U.S.-headquartered law firms continue to grow revenue the fastest, but it is Asia-centric firms such as Dentons and Yingke that have the most lawyers.
"The world's largest law firms continued to perform strongly on the back of a robust M&A market with most firms managing a double-digit increase in both revenue and average profits per equity partner," said Paul Hodkinson, London-based Editor-In-Chief of Law.com International. "Firms that specialize in private equity, such as Kirkland & Ellis and Latham & Watkins, did especially well."
The Global 200 data is compiled in collaboration with our ALM Intelligence team for use throughout Law.com Compass which enables users to compute year-over-year trends, in-depth comparisons, and peer benchmarking on Global 200 firms across key metrics, including financials, head count, diversity and more.
"This year's Global 200 reached new performance heights in key financial metrics," said James Willer, Director at ALM Intelligence. "While geography once again played a pivotal role, with U.S. contingents in particular leading the way, firms located across several geographical regions, including Asia and the U.K., experienced strong client demand for their services, aided by, among other things, a bumper year for global M&A activity."
An analysis of The Global 200 will also be featured in The American Lawyer's October/November issue. The charts, articles and analysis—and the complete rankings based on revenue, head count and profits per equity partner—can be found online at Law.com/international. The data is available for download for Law.com Pro members and Law.com Compass subscribers.
The full report can be purchased directly by going to: Surveys & Rankings.
About ALM
ALM is the most trusted media, information services, and data company supporting both the practice of and business of professionals in the legal, insurance, commercial real estate and financial services industries. ALM delivers premium content, influential audiences and high value data essential for growing businesses globally to over 7 million professionals. Please visit alm.com for more information.
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We have been with Optus for 7 years now, and has suffered this constant-dropout problem in the last 12 months.
We use internet at home between 7am-10 pm everyday, and the connection drop out every second day between 11 am till 6 pm. Most of the time I experience 2-4 times drop out per week.
Non of the above helps.
When the connection is dropped, I can see all panel indicators (US, DS, Link, Online) at the front of my modem are flashing, and funnily enough without us doing anything the Internet will be back on again between 3 to 7 hours every time .
I called Optus technical support, they have sent like 5 or 6 technicians in and they check every thing and tell me all is good now . This has been going on for 6 months now ! They have escalated our calls so many times but their manager are even worse than their operators !
After doing some research on this website I found I am not the only one having the same problem. I only have one question why they hell they don't officially announce that they are doing this on purpose to just earn more money and the hell with customers ?!
Hey Davoudtajer, I've replied to your other thread here.


KITTERY — The Southern Maine Potter's Guild offers an open invitation to anyone interested in pottery to join the group by coming to the meetings the first Monday of each month at 6 p.m.
The Nov. 2 meeting will be at Elaine Fuller's Red Door Pottery Studio at 44 Government St. For information, e-mail handsonpottery@msn.com.
After a business meeting, Fuller will share the technique of "throwing off the hump," demonstrating making bowls in preparation for "Empty Bowls" this spring. She will have a special tool available for purchase to facilitate the technique.
The group's focus is to expand and promote opportunities in clay techniques, glaze chemistry and varying methods of firing.
The guild was formed in 2005 out of a desire among southern Maine potters to foster increased interaction and support for each other and the medium. Members range from beginner to professional, and all are welcome to attend the monthly meetings, which are held on the first Monday of each month at various members' studios.
Southern Maine Clay Guild has organized and presented two or more clay shows/sales each year since its inception.