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Torture the Artist
The source for contemporary electronic music
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Torture the Artist May 2, 2018 Review
REVIEW Âme 'Dream House' [Innervisions]
Kristian Beyer and Frank Wiedemann alias Âme are probably Germany's most profitable export when it comes to contemporary electronic music. Starting off with releases on Jazzanova's Sonar Kollektiv in 2003, the duo founded their own label, Innervisions, with like-minded artist Dixon only two years later. With their EP, 'Rej', which marked the second release on the label, the duo created one of House music's essential records of the noughties. But instead of resting on their laurels or following a more commercially successful path in the first place Kristian and Frank remained true to their musical credo 'good things take their time' and took one step after another not emphasizing on time-wise matters. Their unagitated approach to both, music and its handling, has paved the duo's way to become one of the scene's most in-demand artists duos in recent years. Now after 18 years of their ongoing artistic career as a production duo, Kristian and Frank have finally finalized their first LP, 'Dream House', which features eleven genre-overlapping tracks and depicts their various musical influences that vary between Krautrock, NDW (Neue Deutsche Welle), Techno, and a gentle breeze of minimalistic and tribalistic features, which in combination all form Âme's trademark sound.
'Dream House' starts with the beatless but still tension-inducing and curiosity-arousing 'The Line', featuring vocals by the duo's longtime friend Matthew Herbert, and deals in a metaphorical sense with the artists' thirst for newness and the courage to overcome musical boundaries when producing an album, their album. The verse 'bring it on, it's time to start', repeated all through the track, depicts Âme's spirit of optimism in order to create the aformentioned newness by resorting to something already existing. Nevertheless by reducing the track to melody-supporting sounds and vocals, as well as skipping a bassline, the duo prepares its listeners for the impending musical experience that stretches long and wide.
The 11-track voyage continues with the melodical and techy influenced cut 'Queen Of Toys', a whirlwind of eclectic electronic soundscapes evocative of a whimsical and equally hypnotic cyber fantasia. In contrast to 'The Line', the proceeding track comes along with a stomping bassline that bursts the calmness of the opening number, but still connects to it on a harmonic level. The interspersed vocal snippets careens listeners to the NDW-influenced third track of the album, 'Gerne', featuring Gudrun Gut. The 60-year old singer, who has been involved with Berlin's alternative music and art scene since the mid-seventies, makes a major contribution to Âme's lately, newly and again emerging love for 'Neue Deutsche Welle'. The track portrays an ambiguity in many ways: as the 80s stand for a decade of rebellion, a rejection from various standards and values expressed through music and fashion, the lyrical I in 'Gerne' is torn between following a rebellious approach or moving on to another chapter.
Picture by Katja Ruge
In Âme's case the duo accepted ambivalence and steered a middle way. 'Deadlocked' takes listeners back to the LP's initial calmness, however and in contrast to 'The Line' two major differences exist. Firstly the aforedescribed ease is created by a bassline that clings to the guitar riffs and secondly it gives way to an emerging Krautrock influence and presence when drums set in and highlight the melody in a different and more genre-fusing manner.
Frank and Kristian then guide their listeners fully sighted through 'Blind Eye', a track that has to be examined carefully as it covers a vast number of meeting extremes. The track is Âme's most pop-rock-ish, most melodical and most controversial piece of music on the album. Featuring singer Planningtorock, whose voice is transformed and modulated and hence cannot be classified as male or female. 'Blind Eye' lyrically deals with an inner strife as listeners find themselves confronted with the catchiness of the melody. All elements combined exponentially, emphasize the album's topic of ambiguity.
'Positivland' gives the lost and torn souls a well-deserved rest focusing on the duo's preference for Krautrock-influenced music. The frequently repeated loop combing guitar riffs and piano chords continues where 'Deadlocked' stopped and has the listener overcome ambiguity, or not. Hence it is to say that ambiguity is created with every other track and schematically grounded in the album. Even when the topic is not particularly brought up in one of the tracks, it is omnipresent.
'Positivland' smoothly bridges over to 'Helicona', a melodic techno track, whose synths twirl and curl in the background of the primary melody before stepping out of its shadow to remind the headphone-listener as well as the clubber of another musical chapter in Kristian and Frank's tremendous musical career. 'Helicona' somehow seems to be the missing link to take Âme's 'Dream House'-approach and musical depiction to the next level and turn over a new leaf.
As mentioned in the beginning the Innervisions label-honchos link their musical past with present and further ideas of futuristic sounding elements in their music. 'Futuro Antico', meaning 'ancient future', therefore is not to be perceived as antithetical, even though the title is, but rather as a process that has its starting point in the past and influences present and future artistical approaches. 'Futuro Antico' is the ongoing development of Âme's soundscapes that is both: musically grounded in their past and their album. With the track coming along like a modern symphony representing hope and nostalgia, it smoothly paves the way for the album's peak track 'No War'.
Choral singing paired with tribalistic elements create an almost holy and clerical atmosphere in which one finds salvation. In addition, the slapping yet muted bassline makes one want to surrender to the beauty of the conflict between the pureness of the chant and the pain of the hitting bass. 'No War' depicts the opposite scenario as the title suggests. Overcoming your inner warrior as part of an intrinsically motivated fight might see one battle the ghosts that one called upon.
Horns mark the start of the second last track 'Give Me Your Ghost'. Sword-alike sounds march through them as a synth-sequence sets in and is accompanied by Jens Kuross' voice. The lyrical I prompts to give him/her 'your ghost'. The track then seizes on the aspect of an inner conflict that is not apparent from an outer perspective and stresses a feeling of ambiguity once more, before Âme release its listeners with almost bird-like sounding chimes to the final chapter of their intimate and personal trip through their souls.
'Olderado', a neogolism, goes back to Âme's krauty musical roots or inspirations, but in the context of the album the track's meaning is slightly different than 'Deadlocked' or 'Positivland'. 'Olderado' can be interpreted as the departure to 'old Eldorado', with 'Eldorado' being the mystified gold digger town in South America from former times or in the present it means: you have to dig deep into your past to overcome your inner struggles. If that is ever possible and desirable is questionable as those circumstances brought us an album that was inspired by this very ambiguity.
'Dream House' is one of the most intimate musical pieces Âme have compiled and produced throughout their career, taking its listener not solely through the duo's eclectic musical influences but rather on a 'road trip' of ambiguity and finding your inner peace. The latter seems to be the most appropriate approach to interpret and understand the album in its entirety, while each track or rather the combination of sound-units represent a stage in both, Frank and Kristian's personal as well musical relationship and being. 'Dream House' perfectly arranges soundscapes in contrast to the broached interpersonal and musical episodes and create a perfect imperfection that is reflected in every tone, in every sequence, but leaves its listener with one little taint: as 'Oldorado' closes the 62 minute long LP with its dreamy and propitiate atmosphere it evokes the impression as if the duration of this peaceful moment goes short and leaves the listener with the fear of having to wait another 18 years for it to continue.
Âme's album 'Dream House' will be released June 1st, 2018 on Innervisions. (Holger)
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Posted in Review and tagged album, ame, blind eye, deadlocked, dream house, futuro antico, gerne, give me your ghost, gudrun gut, helicona, innervisions, jazzanova, jens kuross, krautrock, Matthew herbert, no war, olderado, positivland, queen of toys, Techno, the line. Bookmark the permalink.
REVIEW Luis Junior 'Eternity EP' [Mooseekaa]
INTERVIEW & TRACK PREMIERE Pablo Fierro 'Timanfaya' [Compost]


This is a gorgeous design by Evy Hanson at Leap Online Marketing based on the Landscape Child Theme on the Genesis Framework. Eve's also gorgeous work makes it all the more spectacular. I chopped up Evy's design, and installed into the theme.


contacting Darrin King on 202-693-4129 (this is not a toll-free number)/e-mail: king.darrin@dol.gov.
Comments should be sent to Office of Information and Regulatory Affairs, Attn: OMB Desk Officer for the Bureau of Labor Statistics (BLS), Office of Management and Budget, Room 10235, Washington, DC 20503, Telephone: 202-395-7316/Fax: 202-395-6974 (these are not toll- free numbers), within 30 days from the date of this publication in the Federal Register.
Agency: Bureau of Labor Statistics.
Title: The Consumer Expenditure Surveys: The Quarterly Interview and the Diary.
Type of Response: Reporting and recordkeeping.
Estimated Number of Respondents: 15,875.
Total Annual Burden Hours: 72,614.
Average Burden Time per Response: Approximately 1 hour.
Total Annualized Capital/Startup Costs: $0.
Total Annual Costs (operating/maintaining systems or purchasing services): $0.
Description: The Consumer Expenditure Surveys are used to gather information on expenditures, income, and other related subjects. These data are used to periodically update the national Consumer Price Index. In addition, the data are used by a variety of researchers in academia, government agencies, and the private sector. The data are collected from a national probability sample of households designed to represent the total civilian non-institutional population.
Darrin A. King, Acting Departmental Clearance Officer.


The simple and stylish you've been searching for!
Create a unique, warm and visually stunning Wear a Blanket Poncho using just 2 rectangles!
Pattern includes both counted instructions (with worsted weight yarn) AND measured instructions, which allow you to use your favorite yarn.
Wear a Blanket Poncho Crochet Pattern is available in both standard American and UK/AU terms It includes step-by-step instructions and photos to help guide your hook to completion.
WINNER of Hookin On Hump Day #163!
Chainless Starting Treble Crochet (cstr) – can be substituted for ch 2 throughout.
Crochet hook: 10mm (N) – or size needed to achieve gauge.


Safety plan for Mumbai's women has drones and hi-tech camsPrafulla MarpakwarThe Mumbai police is set to instal 125 facial recognition cameras across the city over the next three years and will get two drones, GIS mapping of criminal hotspots, 100 mounted panoramic cameras and 100 automatic number plate recognition cameras. It's a Centre-run project on 60:40 basis. Other proposals include awareness campaigns to promote the safety of women online. | TNN | Updated: Feb 9, 2019, 23:28 IST Picture for representational purpose only.MUMBAI:In a first, Mumbai police is set to instal 125 facial recognition cameras across the city over the next three years as part of a Rs 252 crore security plan for women, funded by the Centre and the state. Mumbai will get an additional 1,600 CCTV cameras, two drones, GIS mapping of criminal hotspots, 100 mounted panoramic cameras on police vehicles and 100 automatic number plate recognition cameras.
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Some of These Snapshots Are Worth Millions!


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Sean de Silva (born 17 January 1990) is a Trinidadian professional footballer.

Club career
Born in Port-of-Spain, De Silva played youth football in his native Trinidad and Tobago for St. Ann's Rangers, before attending the College of Charleston in the United States.

On 2 May 2013, according to a tweet, De Silva signed with NASL club Minnesota United FC.

However following the end of his university education De silva returned to his native country to play for Central Fc.

International career
De Silva played youth international football for Trinidad and Tobago, participating in the 2007 FIFA U-17 World Cup and 2009 FIFA U-20 World Cup. De Silva made his full international debut in March 2009.

References

External links

Living people
1989 births
Sportspeople from Port of Spain
Association football midfielders
Trinidad and Tobago footballers
Trinidad and Tobago international footballers
College of Charleston Cougars men's soccer players
Minnesota United FC (2010–2016) players
Central F.C. players
Haukar men's football players
Njarðvík FC players
1. deild karla players
North American Soccer League players
TT Pro League players
Trinidad and Tobago expatriate footballers
Trinidad and Tobago expatriate sportspeople in the United States
Expatriate soccer players in the United States
Trinidad and Tobago under-20 international footballers
Trinidad and Tobago youth international footballers

redpajama_set_name: RedPajamaWikipedia


Fishing—predominantly in freshwater—is the most popular wildlife-related recreational activity in the U.S. More than 30 million Americans enjoy fishing, and it's not difficult to see why: There's nothing like spending time by the water, be it a wetland alive with the sound of singing frogs or a meandering stream that draws deer out of the woods for an early morning drink. Fishing is great activity whether you're in a solitary mood or looking for a way to spend some quality time with family or friends.
For forest owners, trees and freshwater go hand in hand. In fact, 80 percent of the nation's freshwater originates on forested land, supplying nearly two-thirds of our drinking water. Careful stewardship of your water resources not only helps conserve the water supply but also the habitat of North America's aquatic species, while providing recreational fishing opportunities literally in your backyard.
Earl and Wanda Barrs, owners of Gully Branch Tree Farm in Bleckley County, Georgia, and 2009 National Outstanding Tree Farmers of the Year, know the value of cultivated forests and fish. Their 1500-acre woodland boasts two streams, a 40-acre man-made lake, two three-acre fish ponds and a duck pond.
The Barrs view their "waters" as essential to the sustainability of a tree farm, sheltering dozens of plant and animal species, reducing runoff, cleaning the water supply, enhancing the beauty and recreational potential of the land and adding value to it on a balance sheet. Most importantly, though, the waters benefit the surrounding forest in immeasurable ways.
Streams, ponds and lakes don't come without their own set of challenges: a beaver damn that flooded acres of hardwoods, a bevy of catfish-hungry otters that depleted the fish stock, and waterborne invasive plants that encroached on native ones are just a few of the obstacles they've faced over the years.
The MyLandPlan Tool can help you enrich your woodlands to create healthier habitats for fish like this trout catch seen here.
Still, the pleasure of fishing the land has outweighed these problems. Fishing rodeos are a regular event at Gully Branch, a cornerstone of the couple's effort to share the farm with their friends, family and community. "It's a privilege to see such rich wildlife enjoyed by so many," says Wanda.
In this section, you'll learn how to combine recreation and woodland stewardship, just as the Barrs do, for the benefit of forests, water and people.
Permitting and Licensing: Ensure you're following the laws and regulations that govern hunting in your state.
Habitat for Fish and Other Aquatic Species: How to enrich your property by creating healthy habitats for fish.
How to Care for Streams, Rivers, Ponds and Lakes: An overview of the best strategies for protecting these waterbodies and the species inhabiting them.
Forestry Best Management Practices: Guidelines on how to protect fresh water supplies in your woodland.
Fishing with Kids: How to get your little ones to fall for fishing—hook, line and sinker.


Showcase magazine covered Irish Theatre, Cabaret, Films & Cinema, Ballrooms, Bands, TV, Radio and Music Retailing.
I don't know a lot about the history of the magazine. I have a number of issues from 1967 through to 1969 but they contain no volume numbers. The last issue I have is for July-Sep 1971 by then it had changed from monthly to quarterly. With a gloss finish, it had typically 36 pages, plenty of showbiz black & white photos, reviews and adverts aimed at the Industry. Like our featured issue here, from September 1969, the front cover always featured a full page advert. Does anyone know what became of Silverpine Studios in Bray? Did it merge with Ardmore?
first picture,I remember that make from when I was very young.
We grew up in Silverpine and I still have that brochure that was featured on the front cover.
The studios were set up by Bill Stapleton in 1963 and was mainly a recording studio then.
All of the Showbands recorded there at that time as did many other bands and artists.
the warmth and friendliness of the family run business.Some names that come to mind were Peter Sellers, Richard Burton, Liz Taylor, Burl Ives, Richard Harris.The industry went into decline in the mid 70's and the studio was sold and is now a church. The processing and editing continued for a short time after as Silverpine Film Services and ceased in the 80's. The House is now owned by the Eastern Health Board and is part of the Silverpine Estate.
Great informative comment, Alan. Thanks very much for posting.


The first race of the Spring Whitecap Series was cancelled due to Gale Warnings in Admiralty inlet.
For once the Weather Service was correct. A quick check of local reporting stations at 4 pm. showed the ferry dock reporting average southerly winds in the high 20's with gusts in the high 30's and wind-shifts around 30 deg. The Mill also reported wind southerly in the high 20's to high 30's but with an occasional gust well over 40. Wind-shifts at the mill were as much as 60 deg. and very rapid.
All-in-all a beautiful day to watch the water from a suitable watering hole and not be out testing your endurance and your boat's weak points.


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Morbid Stuff is the third album by Canadian punk rock band PUP, released April 5, 2019, through Rise Records and Little Dipper, the band's personal label.

Background
Canadian punk rock band PUP released their second studio album, The Dream Is Over on May 27, 2016 via SideOneDummy Records. To support the album, the band went on a United Kingdom, Australia, and North American tour from August to December 2016, concluding with three shows at the Danforth Music Hall in their hometown of Toronto.

Themes and composition
Morbid Stuff is largely focused on anxiety, depression, and death. In an interview with Now, vocalist and rhythm guitarist Stefan Babcock said that the central theme of Morbid Stuff was "accepting the darkness and the moods and all the bullshit that comes with it and just trying to find that little pinprick of light in it".

Release and promotion

Singles and music videos
PUP announced the title and release date of Morbid Stuff in a zine mailed to fans in January 2019. The zine also included a 7" flexi disc of the lead single, "Kids". "Kids" was then released digitally on January 15, 2019, alongside a track listing for Morbid Stuff. An official music video for the track was released on January 30, 2019. Directed by Jeremy Schaulin-Rioux, the video is set in 2059 and follows a post-breakup PUP as they try to hunt down missing vocalist Stefan Babock, who has been found alive, "stinky and disheveled". Stereogum placed "Kids" at number 18 on its list of the "20 Best Music Videos of 2019", with reviewer Tom Breihan saying, "I can't even imagine how this got made, but I'm glad it did."

The second single and music video, "Free at Last", were released on February 27, 2019, and featured guest vocals from Eva Hendricks of Charly Bliss. Before officially releasing "Free at Last", PUP shared the chords and lyrics and asked fans to submit cover versions of the track; the music video was assembled from parts of the 253 submissions that the band received.

The last two pre-album songs, "Sibling Rivalry" and "Scorpion Hill", were released simultaneously on March 22, 2019. An animated music video for "Sibling Rivalry" was released on June 26, 2019, inspired by Babcock and his sister's annual "wild camping trips", in which the siblings were "constantly trying to out-dumb one another". The video, directed by Martin MacPherson, utilizes a combination of stop motion and traditional animation to illustrate said camping trips. The last music video for Morbid Stuff, "See You at Your Funeral", was directed by Joe Stakun and released on Halloween 2019. The video depicts an episode of the fictional television series Growing Up Ghouls, in which Jacko O'Ghoul's family tries to improve his mood.

Tour and live performances
PUP announced the first leg of their Morbid Stuff tour on January 15, 2019, as part of a larger album announcement. The tour ran in Europe and North America from March 26 to July 3, 2019, with support from Diet Cig, Ratboys, and Milk Teeth. On April 11, 2019, the band announced the "Morbid Stuff Tour-Pocalypse 2019", which ran from September through November and featured support from Charly Bliss and Illuminati Hotties. The Morbid Stuff touring cycle also included appearances at the Reading and Leeds Festivals on August 23 and 24, 2019.

Reception

Morbid Stuff was met with "universal acclaim" from music critics according to Metacritic. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, Morbid Stuff has an average score of 85 based on 13 reviews. The review aggregator AnyDecentMusic? gave the album 8.1 out of 10, based on their assessment of the critical consensus.

Morbid Stuff was met with critical acclaim upon its release. Exclaim! called it "their strongest album to date" and Billboard called it a "must-hear punk album."

Accolades

Track listing

Personnel
PUP
 Stefan Babcock – lead vocals and rhythm guitar
 Zack Mykula – drums, backing vocals and percussion
 Steve Sladkowski – lead guitar and backing vocals
 Nestor Chumak – bass and backing vocals

Technical
 Dave Schiffman – production, recording, mixing
 Darren McGill – assistant engineering
 Spencer Sunshine – additional engineering
 Nick Rowe – additional engineering
 Harold Hess – mastering

Additional musicians
 Eva Hendricks – additional vocals on "Free at Last"
 Maïa Davies – additional vocals on "Scorpion Hill"
 Julia Loan – additional gang vocals

Artwork
 Nes Vuckovic – album artwork, layout
 Zack Mykula – additional layout work
 Amanda Fotes – inside photo

Charts

References

External links

PUP (band) albums
2019 albums
Rise Records albums
Juno Award for Alternative Album of the Year albums


Mechanical and electromechanical patents typically cover innovations surrounding a client's systems, products, processes for making products, and/or processes for using products. Development and management of a quality patent portfolio is important to create barriers to entry for competitors, to deter costly patent litigation, to reduce royalty payments to competitors, to attract investors and obtain funding, and to provide a revenue stream for the business through monetization.
Recognizing the importance of mechanical and electromechanical patents to our client's businesses, we work closely with our clients to protect their intellectual property worldwide. Mechanical and electromechanical patent applications are drafted and prosecuted with an eye toward litigation, taking into account the legal differences among countries where appropriate. We also utilize our extensive technical expertise in the mechanical and electromechanical arts to perform patent portfolio management, monetization, and opinion services.


Dentsu Aegis Network has announced the leadership team for Happy mcgarrybowen.
The agency has elevated Samarjit Choudhry (currently COO) to the role of president and Soumitra Karnik as chief creative officer. Karnik will continue as CCO of Dentsu Impact too.
Choudhry had joined Happy mcgarrybowen in 2017 from Leo Burnett India.
Karnik had joined Dentsu Aegis Network in 2012 from JWT.
In October 2018, CEO, Kartik Iyer and its MD, Praveen Das had left Happy mcgarrybowen following #MeToo allegations against them.


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FEAR FACTORY Frontman Says 'The Industrialist' Is A Record That Rivals 'Demanufacture'
Mark Holmes of Metal Discovery conducted an interview with vocalistBurton C. Bell of Los Angeles cyber metallers FEAR FACTORY on December 15, 2012 in Manchester, England. A couple of excerpts from the chat follow below.
Metal Discovery: You've had concept records in the past dealing with man against technology but the new one, "The Industrialist", kind of reverses that perspective. So is it simply a story about an automaton and its rebellious tendencies or is there supposed to be some deeper social meaning about what's going on in the world?
Burton: Both. The twist with man versus machine, it is about the machine this time but it's a metaphor for man these days as well. Everyone is part of some type of repetitive actions every day and it's also a metaphor for what man is going through… constantly being watched… There is the machine side about being obsolete but man's gonna create his own obsolescence at the same time by creating drones, by creating robots in factories and people losing jobs. It was man that created these things so don't blame the car industry; blame man himself for creating the technology to make everything easier for himself.
Metal Discovery: To quote you about the new album, you've said in a recent interview that "it's probably the most FEAR FACTORY record that we've done in a long time." So was the writing process for "The Industrialist" about reconnecting with your roots to a degree?
Burton: Absolutely. We were more focused on this record than"Mechanize". "Mechanize" was more the "getting to know you" stage again and, after two years, that was done so we were able to really focus. Over the few years, I kept thinking what was really cool aboutFEAR FACTORY is an element that's really missing and that's the industrial element, and the soundscapes we used to do and just the cool experimentation we did to add that element into our music. Before we went into the studio, I was talking to Dino [Cazares, guitar] and Rhys[Fulber, producer] and I was like, "Man, we've really got to do this"… not to make an industrial record but to really create that hybrid again where we become an industrial metal band that we started out as. I think we really did it right and I think doing it with drum programming not only simplified and expedited the whole writing process but it really added the element of the industrial sound sonically. We were able to manipulate and play with it… as we were writing; we were able to take pieces and arrange them really quickly, like, "This works better over here" and, so, it was just, "Wow, we should've done this a long time ago!"
Metal Discovery: So it gave you far more control using programmed drums…
Burton: Far more control, ease of control and less stress… [laughs]
Metal Discovery: In just about every interview you've done for the album, people seem to ask about the drum machine and why etc., so did you predict that would cause a bit of a stir?
Burton: Oh yeah, we knew it'd be coming but it is what it is and, once it came out, people were like, "oh, it sounds like FEAR FACTORY." When"Demanufacture" came out, everyone thought it was a drum machine anyway! [laughs]
Metal Discovery: I think the whole drum machine thing is still stigmatized in this kind of genre but it sounds fucking fantastic so what's the difference…
Burton: Yeah, and ever since the record came out and people heard it, no one's said anything about it at all.
Metal Discovery: And you've had a very processed drum sound for a while anyway from using Pro Tools since "Digimortal"…
Burton: Since "Digimortal", yeah. So, technically, we haven't had a live drummer since "Obsolete" because we've used Pro Tools to move every hit that the drummer did so, at that point, it wasn't even live. And we changed every sound so it's like, a lot of that was a waste of time! [laughs]
Metal Discovery: Bearing in mind the title of the album and the concept, did you see it as more important to use a drum machine this time?
Burton: I think what was going on with the writing process really inspired the title because it really fit with what we were doing and, as I was writing, I was like, "This could work; this is something that'll fit with the vibe of the music and lyrics and I can feel something happening here."
Metal Discovery: "Demanufacture" is still talked about to this day as your seminal album and remains one of the seminal metal records of the Nineties as well so do you think that will always be the benchmark against which all your subsequent material will be judged? And do you think people get caught up in the nostalgia of that album too much?
Burton: Yeah, people do, especially fans that have been around since the beginning. I'm guilty as well for my favorite bands — you know, they were great back then but they kind of lost the plot. Like U2, they were great from "Boy" all the way to "The Joshua Tree" but after that, for me, they just lost the plot. But you create an album and there's always those benchmark albums for certain bands, which is great because you set a standard for yourself and you don't want to deviate too much from it or you'll alienate your fans but you do want to improve upon it and maybe even better yourself. I think we did that on "The Industrialist"; I think it's a record that rivals "Demanufacture". If "Demanufacture" wasn't a classic, "The Industrialist" would be that. If "The Industrialist" was our debut album, people would be like, "Whoah, fuck!" I think it definitely matches the classic element.
Read the entire interview from Metal Discovery.
Source: www.blabbermouth.net
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redpajama_set_name: RedPajamaCommonCrawl


text:
Game Design Legends: Meretzky On The Evolution Of The Medium
Game designer Steve Meretzky has spent nearly 30 years designing video games, from Infocom classics like Hitchhiker's Guide To The Galaxy to his current social network-based titles, and discusses his career with Gamasutra.
by Jeff Fleming
Steve Meretzky began his career by creating games for seminal interactive fiction firm Infocom, creating landmark titles such as Planetfall and Leather Goddesses of Phobos, as well as working with Douglas Adams on The Hitchhiker's Guide to the Galaxy. As the creative director at WorldWinner, he was an early innovator in the casual games space and is currently designing social network-based games for startup Playdom. Sitting down with Gamasutra for an in-depth interview, Meretzky reminisces on his first experiences with what we'd today call casual gaming -- back in the early nineties -- and shares insights from the progression of the casual game space over the course of his career. He explains how having a "house style" may help distinguish casual titles in a crowded space, and opines on the role of the writer in games today. At the GDC 09 Casual Games summit you said, "Games are for everyone." That's an interesting declaration that probably the rest of the game industry needs to be hearing, particularly when it comes to female players. Steve Meretzky: Right, and beyond female players, look at things like people in retirement homes playing Wii Sports and everyone's parents and grandparents getting DSes and playing Brain Age. As far as I'm concerned, virtually everyone would play games if they found games that they like. And if they aren't, or at least if they aren't playing electronic games, it's because we've yet to produce the right games for them. I think the example of casual games over the last ten years and those more recent examples with older players just shows that there's this incredible hunger for gaming of every kind. People just love games, and it's been proven for thousands of years. You used to design pretty lengthy and complex games. What brought you from that to where you're at now? Really, the first kind of experience that I had with what you would know as casual games was in 1994. I did a game called Hodj 'n' Podj. It was sort of a board game, but embedded within that board game were 19 minigames, each of which we would now call a casual game, and any of which you could also play standalone. You didn't have to play the board game to experience them. You could just boot the game and say, "I want to play any game standalone," and then choose any of those 19. Anyway, it was sort of a game before its time. It was definitely a game that was perfect for a family audience at a time when there wasn't really a family market and there wasn't really any way of marketing to anybody other than hardcore gamers. It sold pretty miserably. But I have to say, I get more mail to this day about that game then all my other games put together. You know, a lot of people saying things like, "We've been playing that game for ten years, and the disc is worn out. Where can I get a new one?" That sort of thing. So, that was sort of my first foray into casual games in '94. The real genesis for that was that I had many games that I remembered fondly, like the early, very simple arcade games, the Pac-Man and Space Invaders-type games. And simple card games, Solitaire and Pyramid, things like that. So, really, these games had sort of disappeared from the face of electronic gaming. They had been like fun things to do with computers in the early days, and now, pretty much everything you can play on your computer was some giant time commitment kind of game, and I kind of really miss those simple games. But the only sort of potential business model for games at that point was to put them in a box and sell them in a store for $40. And you couldn't take a solitaire game, and you couldn't take something like the wonderful, simple little arcade games and put them in a box and sell that for $40. And no one was interested in putting things in a box and selling them for $5 to $10. So, that's kind of how I came up with the idea for this collection of minigames set as games within a game. I returned to that market again when I joined WorldWinner in 2000. Now, we're in post-internet environment or post-arrival internet environment, and WorldWinner had an online tournament, cash skill games business model. And the company rightly sort of identified casual games as the proper type of games for that business model, whereas other people were thinking about that same business model but for things like first-person shooters. And so, WorldWinner succeeded whereas those other companies tried and didn't. Was there something that clued them in to go that direction? Thinking back, it seems like the conventional wisdom would have been to do a Quake-style game. Right. It really took everyone by surprise when we were doing casual games back in 2000 in that business model, we thought that we were going to have a primarily male audience, even though we were creating the sort of games that women like to play, because we thought that women wouldn't be interested in competing for money in that way, and that that sort of high-stress, high-competition environment was an environment that would appeal more to men. I think the primary thing wasn't so much that we were thinking casual games or thinking that we were making games with primarily a soccer mom demographic. We were thinking that we need games that can be played in just two, three, or four minutes. And most of those obvious game ideas were casual games. And then we began to do some that skewed more male, some skewed more female. All the ones that did well were the ones skewing female. And we began to do more analysis of our demographics and stuff, and saw we were two-thirds more women. Obviously, it got more and more of a conscious decision to make these traditional casual games. With casual games, because they are so quick and because there's always the need to put more of them out, there's a sense that maybe the business side is driving everything. Does creativity get pushed aside? The business is really characterized by a lot of the same sorts of things that we've seen for many years on the hardcore side, which is that it's a very red ocean. There are a lot of players, the market is very mature and it's well understood. Companies have been differentiating not by innovating creatively, but more by raising the bar in terms of production values in the interest of making bigger games, more fancy opening movies and cutscenes, or featuring more different player modes. As a result, budgets are getting higher and higher without sales increasing at the same rate. Companies get very conservative in their decision-making. They don't want to do anything because more money is on the line, and they want to do something that they know is just like something that sold well in the past. It's sort of like a self-reinforcing cycle that leads to a real lack of innovation. Really, probably the last major innovation we had within the downloadable space was when hidden object games appeared, which would be like four years ago now or so. Could someone say, "This is a Steve Meretzky casual game," and immediately know your style? If I have a style that anyone's going to recognize, it would probably be more in terms of story, character, and writing than it is in terms of gameplay and game design. You know particularly in something that's sort of boiled down to the very basics as most casual games are. I think more than any sort of individual style, I think you tend to see studio style. For example, take a look at PopCap. I think even with the studio logo removed or whatever, you could sort of take me away to a desert island for a couple years, and come back, and show me ten new casual games, and I'd be able to say, "Oh, these two are PopCap games." You know, a matter of a certain art style, a certain level of production value, probably a lot of tangibles that I'd have trouble describing or putting a finger on. I think PlayFirst is another good example of a company that I feel has a style. I think to a great extent, that's because their creative director Kenny Shea Dinkin is a very artistically oriented visual person. So, I think he drives a lot of that. But then, there's, you know, like 1200 casual game developers. There's obviously going to be a lot of pretty generic work among a group that's that big. Do you think that somebody developing a house style pay dividends, that it can help build an audience? Yeah. I mean, I think what's really going to build loyalty is just the quality of the games and how much fun they are. And if a house continues to deliver high quality, like both of those two examples have, then they'll build both player loyalty and name recognition among those players. Whereas I think having a distinctive look is probably sort of a second order effect, or a second order contributor to building brand loyalty and building recognition and building long-term players. I also wanted to talk to you about game writing. Is game writing really separate from game design? There's a sense that is it possible to have game writing as a job that's somehow different from game design. It certainly is. There are dozens of people who made their living as a game writer who don't do game design. I think ideally, it's best for the designer and the writer to be the same person, just as ideally it's best for the artist, programmer, designer, and the writer to be the same person. But clearly, other than an increasingly small number of projects, that's not feasible. As game projects get bigger and bigger and teams get more and more specialized, it becomes not only more common but absolutely necessary to split up the role of writer and designer because it's too much work for one person. In fact, you could have more than just a writer and a designer... three designers and five writers. So, the question is that given the necessity of splitting these functions, what's the best way to work? Certainly, I'm a big advocate that writers shouldn't just be someone who you bring on two months before the game ships as a "Oh, the game is almost done; add some writing." It's much better for them to come early on so that, for one thing, they can be a lot more familiar with the game and do a lot better job when it is time to do the writing, so that they can do the writing in stages and sort of provide almost a sort of first draft of the writing. And that will make the game much more playable for everyone who is playing early builds of the game. And then polish those drafts, as the game gets closer to release. The writer, by coming early, is then in a position to make a lot more suggestions about the design of the game where they see that will aid the writing or that will avoid hurting the writing. We recently did an article on Gamasutra where we singled out game writers that we all agreed were good. But in the debate over it, often it was hard to separate the writing from the game, from saying, "This is a fun game, and therefore the writing is good." It was very subjective. Sure. I mean, look at something like Portal. The writing in Portal, the dialogue particularly, the computer, it was one of those things that made the game for me. But where do you really draw the line? That certainly wasn't something that was added two days before the game shipped. So, the more integral that the writing is into the game, the harder it is to separate it out as a separate task. It's also hard to separate when we're trying to identify what is good game writing versus bad writing. If somebody thought the story was dumb, that was bad writing. But most video game stories seem kind of dumb, really. So, how do you judge that? Well, it's hard to tell who came up with what and unless you talk to the people you might not necessarily get to the truth. I'd say probably much more often than not, things like the basic storyline of a game, basic theme and setting, and things like that, were probably come up with long before writers come on board. Can a writer take something and make it better? You mean, turn lemons into lemonade? Yeah. I mean sure, within reason. If you have a completely generic story, you can spice it up a little around the edges and add some interesting characters and some interesting sub-plots and stuff. But at a thousand-foot view, it's still going to be a pretty generic story. Once again, it sort of gets back to the point of what exactly the writer's role is, how early do they come on, where do you draw the lines of responsibility between the writer and other participants in the creative process. For the most part, I think for the people who do only writing, who do only game writing, it's a pretty frustrating experience because they don't feel like they have enough of a creative role. They feel like they are just sort of being treated as a compartmentalized craftsman, and they don't feel like they were brought in early enough. I like Valve's approach of bringing in an established author like Marc Laidlaw to write. What do you think about that? Someone who's already started a career as an author. The plus, you know, is then you get a good writer, but the minus is you don't necessarily get someone who understands games and interactivity. If a writer isn't familiar with the ins and outs of interactivity and the way that games work and things like that, it doesn't really matter how good a writer they are. I've certainly worked with a professional writer when I did the Hitchhiker's Guide To The Galaxy, and it was relatively difficult at the beginning because in his case, he was even a computer game player and a text adventure player. And yet he still had a lot of trouble thinking non-linearly, so he would write scripts for the game kind of with the prejudice or with the idea that the player would always do what he was intending the player to do. And players almost never do what you intend them to do, and so he wasn't sort of thinking of it that way. I remember this moment so starkly, we started getting the game implemented so it was still just a little bit of the game that was implement, but he had people over and said, "Oh, let me show you the game version of Hitchhiker's Guide." And they started playing, and people would do something other than what he'd expect him to do, like, "No, that's not what you're supposed to do," and all of a sudden he kind of got it that you have to anticipate everything, not just what you expect, and that the game can go in lots of directions. You have to anticipate that—ideally, you want to take advantage of that. Just over the course of the few months that we worked on writing the game, he really kind of blossomed as an interactive writer, as a non-linear writer. But I was able to see over the course of that evolution the problems that he had in the beginning as some guy who was already familiar with the medium and was a game player and was a text adventure player. So, it takes more to be a game writer than to be a good writer. Speaking of text adventures, do you think there was something unique about them, or were they just a response to the technological limitations that you had at the time. Well, I think the reason they were so popular then and don't seem compelling now, is that back then, that was really kind of the coolest and most cutting edge thing you could do on a computer. The only graphics you could do on a computer, up until say when the Mac, Amiga and regular VGA came along to PCs, the best graphics that you could do were pretty crappy. So, they weren't really all that impressive. And this, on the other hand, was like talking to your computer, and your computer understanding you and answering back. It was just really kind of cool and impressive, sort of fun to do alone, fun to do with a group, and fun to show off to other people. So, in those days, the bragware, so to speak, stuff that really showed off your computer and made you feel good that you bought it, were text adventure games. So, that's one thing. Another thing is the demographics of the industry back then. I mean, what percentage of people had personal computers in 1983? Five percent or whatever. And so, the people who had them were higher end early adopters, really techie oriented, and much more male. And these were the sorts of people who liked hard games, who liked games that made you think, who liked games that were cerebral. As the computer market became broader, the population of computer owners became more and more like the general population. I think another thing was they were really cool but didn't particularly evolve. And so, text adventures in 1986 weren't that different from text adventures in 1981. Parsing was a little better, and the total game size was a little bit bigger because you didn't have to worry about the TRS-80 Model 1 anymore, but the medium didn't really change all that much. And again, as far as I'm concerned, the medium of first-person shooters hasn't changed much in fifteen years now, and yet they've retained their population [laughs]. What did you think of [interactory story game experiment] Facade? I mostly like it. I thought it was pretty limited, but within those limits, I think it did a really good job. I know a lot of people who point out the fact that you can break it so easily by sort of refusing to adhere to the role-playing. The game can start to behave really stupidly really quickly. But you can break a movie really easily by skipping scenes. You can break a book really easily by refusing to read the first sentence of every page, or things like that. There's sort of a certain kind of pact we make with any medium to use it the way it was intended, and if we don't use it as intended, then your mileage may vary. As far as I'm concerned, if you use Facade as sort of the way it was intended, and if you don't break that pact between you and the creator, I think it's a pretty decent experience.


Abstract: We propose a new architecture and training methodology for generative adversarial networks. Current approaches attempt to learn the transformation from a noise sample to a generated data sample in one shot. Our proposed generator architecture, called ChainGAN, uses a two-step process. It first attempts to transform a noise vector into a crude sample, similar to a traditional generator. Next, a chain of networks, called editors, attempt to sequentially enhance this sample. We train each of these units independently, instead of with end-to-end backpropagation on the entire chain. Our model is robust, efficient, and flexible as we can apply it to various network architectures. We provide rationale for our choices and experimentally evaluate our model, achieving competitive results on several datasets.


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Waddesdon Plumbers
Plumbers Waddesdon: Make use of the hassle-free google street plan down the page to seek out plumbers detailed close to the Waddesdon, Buckinghamshire local area.
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Review of Waddesdon: Placed approximately 10 kilometres to the west of the large town of Aylesbury, the parish and village of Waddesdon is an ancient farming area with a 13th century church. Waddesdon has been primarily an estate village since the late nineteenth century at the time the incredible Renaissance style Waddesdon Manor was put up by the successful Rothschilds family, along with houses for the house staff.
Many of the buildings established by the Rothschilds (dwellings built for manor employees, the Five Arrows hotel and the village hall) are very prominent in the village today & therefore inhabited by and valued by the population of approximately 2,097 (census of 2011). In former times reachable from near by Aylesbury by way of rail, Waddesdon railway station is now shut down & the village can only be accessed by road (A41). The parish of Waddesdon (coupled with Wormstone, Westcott, Woodham and Eythrope) accounts for an area of 7,252 acres.
Waddesdon's Past History: Prior to the Norman conquest, Waddesdon would have been a Saxon settlement, the manor being controlled by one of Queen Edith's men, Brictric. In the 1086 Domesday Book the manor was valued at twenty seven hides and documented to be controlled by Miles Crispin. Subsequently the manor of Waddesdon was accorded to Henry of Oxford and later on to the Courtenay family, it changed hands oftentimes until eventually passing to John 7th Duke of Marlborough. In the late nineteenth century the 7th Duke of Marlborough sold his complete Buckinghamshire estate, that included Waddesdon, to Ferdinand de Rothschild, a politician (he was High Sheriff of Buckinghamshire and Liberal Member of Parliment representing Aylesbury), art enthusiast & member of the rich Rothschild banking dynasty.
Waddesdon Manor House: Ferdinand de Rothschild proceeded to construct the eye-catching Waddesdon Manor House, from a layout by Gabrielle-Hippolyte Destailleur, in the style of a 16th century French chateau, wine cellars and all. Baron Ferdinand died in 1898, the estate passing down to his sister, Alice Charlotte de Rothschild. Along with being a residence Waddesdon Manor was meant to show off the substantial collection of furniture, art and tapestries, accumulated by the Baron. A new tourism hotspot was born when the National Trust took over the management of Waddesdon Manor following the death of James de Rothschild. Today's Waddesdon Manor offers considerable landscaped gardens, a world-famous displays of paintings, furniture and decorative arts, a plant centre, a Rococo style aviary, gift shops, a quality wine cellar, conference areas, a wedding venue (The Dairy at Waddesdon), a child's corner, gift shops and high class restaurants. Many different functions and events can be attended at Waddesdon Manor throughout the year for example food markets, art exhibitions, carol singing, wine tasting events, and horticultural events.
Waddesdon over the centuries has been a principally agricultural village, it has previously had the names Votesdone (eleventh century) and Woddesdon (fourteenth century), in addition to the modern day spelling of the name. During the eighteenth century the village briefly had a go at silk manufacturing, a small factory becoming established in 1843 providing an addition to the much bigger factory in neighbouring Aylesbury. Pillow lace manufacturing was furthermore carried out by a lot of the female inhabitants of the parish in the mid to late nineteenth century. In approximately 1190 construction began on Waddesdon's St Micheal & All Angels parish church, the present church tower updated a fourteenth century one in 1892, the font originates from 1400.
Facilities - Wedding Venue - The Dairy at Waddesdon Manor: Stunningly appealing, the widely known wedding venue, The Dairy at Waddesdon Manor near Aylesbury in Buckinghamshire, presents a magnificently inspiring backdrop for that ideal wedding ceremony at any time of the year. Nestling in a relaxing waterside setting amongst gorgeous garden areas, The Dairy at Waddesdon is a memorable private building on the Waddesdon Manor Estate, expertly created for the Rothschild family in the 1800s & for more than 100 years the countryside estate of the Rothschild dynasty. You, with family and guests will enjoy an idea of their wealthy standard of living: superlative food, superior wines, & skilled service with full exclusivity assured. The stunning Dairy at Waddesdon holds a license for civil wedding ceremonies outside under cover beside the lakeside pavilion, in the West Hall, under the Antler Chandelier and in the Winter Garden. Call: 01296 653226.
A selection of Waddesdon streets and roads: Warmstone Lane, Silk Street, Warmstone Close, Little Britain, High Street, Wood Street, Anstey Close, Baker Street, The Square, Frederick Street, Rose Terrace, Queen Street, Rectory Drive, Sharps Close, Grove Way, Taylors Corner, Eythrope Road, Chestnut Close, Quainton Road, School Lane, New Street, The Grove, Orchard Close, Goss Avenue, Waddesdon Hill.
You can check out much more with reference to the location & neighbourhood by using this web page: Waddeson.
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Must Watch Video - A Tour Around Waddesdon Manor
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Waddesdon Cottages/Accommodation Near Waddesdon
Orchard Cottage Ashendon - 2 Bedroom 2 Bathroom (Sleeps 4)
Undoubtedly handy for going to see Waddesdon Manor House & village & looking over lovely open landscapes, this wonderful cottage has got superb views and is perfectly appointed throughout, making this excellent for a relaxed escape or short break. The property is positioned on the edge of the pretty little village of Ashendon around 5 miles from the village of Waddesdon.
Enjoying a substantial back garden, with barbecue, patio furniture and a lot of fruit trees, the cottage boasts a cozy wooden beamed living room having an open fire for warming up on those winter evenings, in the kitchen area you'll discover an AGA range, perfect for preparing a home made breakfast before leaving to explore.
This property is simply a short walk from the village centre with its traditional public house (The Hundred of Ashendon), which serves a choice of ales and fantastic food, and in addition to Waddesdon, is great for visiting such locations as Chearsley, Cuddington, Aylesbury and Haddenham, also close by are the Chilterns. This excellent property is good for a break any time of year.
This information should be useful for surrounding towns and villages such as: Westcott, Dinton, Bicester, Edgcott, Dinton, Ashendon, Oving, Dorton, Grendon Underwood, Aylesbury, Charndon, Poundon, Upper Winchendon, Wootton Underwood, Nether Winchendon, Steeple Claydon, Woodham, Cuddington, Quainton, Chearsley, Brill, Calvert, Whitchurch, Ludgershall, Marsh Gibbon, Piddington, Kingswood.
© Waddesdon Businesses - Plumbers


What good is sitting alone in your room? Come sing away to Cabaret!
Niagara-on-the-Lake, ON (July 9, 2014) — The Shaw Festival invites amateur singers to belt it out like they're headlining at the famous Kit Kat Klub. The world-renowned Niagara-on-the-Lake repertory theatre company is once again inviting Ontario singers over the age of 13 to upload a one-minute or less video of themselves singing their favourite song from the musical Cabaret.
Participants will have to impress the panel of esteemed judges: The Shaw's Music Director Paul Sportelli, Deborah Hay and Juan Chioran – the Shaw Festival's own Sally Bowles and Emcee – and a JAZZ.FM91 on-air personality. Submissions will be judged based on the following: talent, enthusiasm and showmanship.
Deborah Hay as Sally Bowles in Cabaret.
The total approximate retail value of the Grand Prize is $940 CDN.
The submission must be a solo, unaccompanied a capella performance and created without professional assistance. The contest is open to residents of Ontario; limit of one (1) entry per person and per email address. Contestants must visit the Shaw Festival Facebook page (www.facebook.com/shawfestival), click on the Sing Away to Cabaret contest tab, complete the online registration form and upload a video of themselves singing a song of their choice from the musical Cabaret to Vimeo or YouTube. For complete eligibility requirements and full contest rules, visit www.facebook.com/shawfestival and click on the Shaw Festival contest tab.
The Shaw Festival's 2014 season began April 4 runs until October 26 and features 10 productions presented on the Festival's four Niagara-on-the-Lake stages. For more information on our 2014 season, performance schedule and ticket information, please visit www.shawfest.com or call 1-800-511-SHAW.
Sing Away to Cabaret is sponsored by JAZZ.FM91 and generously supported by Yamaha Canada Music Ltd. and Vintage Hotels.
Juan Chioran can be seen as The Emcee in Cabaret and Seth Lord in The Philadelphia Story this season at The Shaw. He made his Shaw debut last season as Signor Naccarelli in The Light in the Piazza. His theatre credits include productions at the Stratford Festival, Factory Theatre, Acting Up Stage, Chicago Shakespeare, Citadel Theatre,Canadian Stage Company, National Arts Centre, Mirvish Productions, Soulpepper Theatre Company, Tarragon Theatre and Broadway.
Deborah Hay appears as Sally Bowles in Cabaret and Dorothea in A Lovely Sunday for Creve Coeur this season at The Shaw. Her Shaw Festival credits include Eliza Doolittle in My Fair Lady, Hesione Hushabye in Heartbreak House, The Women, One Touch of Venus, Brief Encounters, Born Yesterday, Wonderful Town, After the Dance, Follies: In Concert, The Circle and The Philanderer (2007). Recently, Deborah was seen in Canadian Stage's critically acclaimed Dora award winning production of London Road. Her many theatre appearances include stints at the Stratford Festival, Chicago Shakespeare Theatre, Acting Up Stage, Soulpepper Theatre Company, Tarragon Theatre, Manitoba Theatre Centre and Mirvish Productions to name a few.
Paul Sportelli is currently in his 16th season as The Shaw's Music Director. Mr. Sportelli's growing list of credits at the Shaw Festival includes musical director/conductor and co-writer for Maria Severa and Tristan, music director and conductor for Guys and Dolls, Light in the Piazza, Ragtime and My Fair Lady and many, many more. He made his Broadway debut conducting Aspects of Love and has also conducted at many music festivals and galas in the US and Canada. He received his Bachelor of Music degree and Performers' Certificate from the Eastman School of Music and his Master of Music and Doctor of Musical Arts degrees from the Manhattan School of Music. This season at The Shaw, Mr. Sportelli is the musical director for Cabaret and composer for Juno and the Paycock.
The Shaw Festival is a theatre company inspired by the work of Bernard Shaw. We produce plays from and about his era and contemporary plays that share Shaw's provocative exploration of society and celebration of humanity.


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Bunkado: Gifts and Music
Bunkado, meaning "House of Culture" was founded in 1945 by Tokio Ueyama and his wife Suye. Suye and Tokio had just been released from the internment camps, meaning that Tokio could finally pursue his dream of owning a business. Tokio was an artist and envisioned his store as a hub of artistic talent, dialogue and for artistic rarities and materials that can only be found in Japan. Since its opening the store has passed through the family, from relation to relation, and is now owned by Tokio's niece Irene Tsukuda-Germain, who took it over form her parents. Bunkado gifts and music is a unique store specializing in authentic Japanese imports. Clients include members from the community, tourists, and many professional buyers from the Los Angeles and New York theater and film community. Members from the Little Tokyo community who have been coming to Bunkado since its opening call it a "retro store" because it hasn't changed in character. Many of the store items are still the same as in 1945, such as Buddhist incense, bells, and beads, and materials for flower arranging, but there are also some obvious additions since its inception. They now sell CD's, DVD's, and toys such as sculpted erasers and Obama coloring books. They are hailed as being very friendly and knowledgeable about their items, many of which cannot be found anywhere else in the United States.
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You want to change the world. We're here to help. A partnership between CoalitionWILD, UN Environment, Covestro, and The Do School, Young Champions of the Earth aims to celebrate and support individuals between the ages of 18 and 30 who have outstanding potential to create positive environmental impact. Along with receiving the prestigious award, winners receive seed funding, intensive training, and tailored mentorship to help bring your big environmental ideas to life.
Women in Energy & Environment (WEE) is a member-driven organization in which diversity, innovation and creativity are valued and our members are our key resources. WEE is dedicated to supporting women in their current roles and building a supportive community for them. Through WEE, I will seek to advance the role of women in the MENA region in leading the green industry while demonstrating the positive environmental, social and economic impacts of women. Read Heba's full story on the UN Environment webpage.
BioCellection is tackling the plastic crisis by developing an economical recycling solution for currently unrecyclable plastic waste. Our team has developed a chemical process that transforms plastics into renewable chemicals for sustainable virgin-quality materials. At commercial scale, our team plans to fabricate modular process skids to treat plastic waste on a regional level around the world. Products from these regions will be centralized and purified in chemical facilities. By connecting the waste and chemistry worlds, we're enabling a circular plastic economy. Read Miranda's full story on the UN Environment webpage.
Coral Vita is creating a global network of innovative land-based coral farms, using breakthrough methods developed at the Mote Marine Lab and the Hawaii Institute of Marine Biology to grow corals up to 50x faster while strengthening their resiliency to climate change. Land-based farms are scalable, allowing to potentially grow millions of corals from a single site. Coral Vita's business model can support restoration at unprecedented scales, and by taking a community-based approach we integrate local actors to promote long-term reef stewardship. Read Gator's full story on the UN Environment webpage.
Better Blue is a global network constructed mainly by diving centers or divers. It hopes to build an eco-evaluation system to redefine the diving industry and empower every diver and diving center to become advocates and practitioners in marine conservation through capacity building, citizen-scientific programs, etc. Better Blue also provides consulting services to the Professional Association of Diving Instructors (PADI) Greater China and its global charity partner, Project AWARE, to help them better integrate Chinese divers' resource and motivate action for ocean conservation. Read Miao's full story on the UN Environment webpage.
Chakr Innovation has developed a technique to control emissions from diesel generators. The device, 'Chakr Shield', causes minimum backpressure on the diesel generator, controlling up to 90% of particulate matter from diesel engines, with no impact on the engine's efficiency. The captured carbon is the processed and used to create ink pigment. This pigment is non-toxic and is of same quality as the ink used in industries. Each litre of ink saves 700 million litres of air that an average adult would breathe in lifetime! Read Arpits's full story on the UN Environment webpage.
The Evocco smartphone app helps the consumer to align their purchasing behaviour with their ethics. Evocco educates the user on the environmental impact of their food purchases in a simplified yet informative manner. Users simply take a photo of their food shopping receipt to receive instant information on the environmental impact of their purchases. The app then allows them to track their impact over time, whilst offering personalised advice on how to reduce their impact the next time they shop. Read Hugh's full story on the UN Environment webpage.
As a passionate musician, designer and environmental activist, my dream is to bring together children working as garbage collectors in Luxor and teach them how to make their own musical instruments from trash and play music as a band. The project will empower children through the innovative use of waste, whilst using art and music as a medium to nurture relationships between communities, families and children. Furthermore, the project will promote waste recycling in the design and implementation of development projects to effect positive change in communities. Read Shady's full story on the UN Environment webpage.
UN Environment's work includes assessing global, regional and national environmental conditions and trends; developing international and national environmental instruments; and strengthening institutions for the wise management of the environment.
UN Environment's mission is to provide leadership and encourage partnership in caring for the environment by inspiring, informing, and enabling nations and peoples to improve their quality of life without compromising that of future generations.
As one of the world's leading manufacturers of premium polymers, Covestro has a key position in the value chain of many industries, including auto manufacturing, construction, electronics, and wood processing. Covestro likes to use this position to push sustainability and innovation further together with our workforce of 16,000 employees, customers, partners and young talents around the world.
The "People, Planet, Prosperity" principle is one of the pillars of Covestro's approach to sustainable development. The company strives to mitigate the negative impact of its actions on the environment, advance society and at the same time create value. This is the basis of the company's vision "To make the world a brighter place" and its commitment to the UN Sustainable Development Goals.
The DO School inspires you to get things DOne. To seize new opportunities, to solve important problems. Our society and business models are changing fast. We equip you to shape what comes next. At the DO School, you become a DOer. DOers clarify new ideas, and bring them to life quickly as new products, processes and services. DOers inspire seismic cultural shifts that transform people, organisations and society. DOers are purposeful: they create not just better business but a better world – for everyone. The DO School is supporting Young Champions of the Earth initiative by facilitating the mentoring programme.


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People's Action Remembers Jafet Robles, Neighbor to Neighbor Massachusetts Organizer
The body of Jafet Robles, 33, an organizer with People's Action member organization Neighbor to Neighbor Massachusetts, was found on September 11 in a park in Chicopee, Massachusetts, near Springfield. He was pronounced dead of a gunshot wound, and local police have launched a homicide investigation.
Maria Elena Letona, the executive director of N2N, issued the following statement:
It is with a truly broken heart that we share with you that Jafet Robles, devoted father and fierce justice warrior, now rests in peace, love and power. He was 33 years old. He leaves four children behind.
To those of us at N2N who had the blessing of knowing Jafet, he was our Springfield Chapter lead organizer.
More than that, Jafet was the heart of N2N's organizing work. He was fierce, fearless and relentless in his work to end mass incarceration.
He had deep, passionate love for Puerto Rico, her people and her independence. He quickly would become curious, find out on his own, and readily embrace the struggles of all people, keenly understanding that all our struggles are connected deep at the roots: Black people, immigrants, the LGBTQ+ community.
"Ubuntu" is the word he spoke to one of our members who brought Jafet's spirit in remembrance yesterday: "I am because we are."
Jafet knew in his soul that we are one.
His love for his work was only surpassed by the love for his people. He fought for your liberation, for my liberation, for the liberation of us all.
And Jafet acted this love. He manifested it. With his singular passion and devotion for la lucha, the struggle, he, through love, organized into N2N a beautiful and diverse membership.
Jafet challenged us all to think deeply and intentionally on our legacy: "What do you want to be remembered for?"
In these times of such chaos and confusion, of such hatred and violence, of such division and disintegration, N2N takes up your challenge, dear Jafet.
We vow that we, like you, will be remembered for taking a stand fiercely and fearlessly against injustice and hatred and division.
AND, we also will remember YOU, dear Jafet for your courage, your inspiration, your love, your fierceness and fearlessness, and your smile.
We are because you are, dear Jafet. Ubuntu!
Jafet Robles: ¡PRESENTE! Now and always.
P.S.: Jafet's family has established a GoFundMe campaign. Jafet leaves four children behind, ages 5 to 16. All proceeds go to Jafet's family to support funeral and memorial costs, and other expenses.
People's Action: Congress Must Reconvene to Remove Trump
People's Action Celebrates Senate Runoff Elections in Georgia


Well, what a week it's been. An historical week for Zynstra and Hewlett Packard Enterprise (HPE) as we announced our global partnership and the launch of the new HPE ProLiant EC200a Managed Hybrid Server.
On 13 April 2016, HPE and Zynstra launched the brand new ProLiant EC200a Managed Hybrid Server. This recording is of the launch event which took place at HPE's HQ in Houston, Texas.
I am delighted to announce that today Zynstra unveiled a new global agreement with Hewlett Packard Enterprise (HPE), under which HPE will package Zynstra virtualization and cloud management software as a key part of its new HPE ProLiant EC200a Managed Hybrid Server.