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Ron Martz: Players can kneel if they want; I'll turn my back on NFL
League's response to anthem protests is its latest example of hypocrisy driven by greed
Members of the Cleveland Browns take a knee during the national anthem before the Sept. 24 NFL game against the Indianapolis Colts in Indianapolis. (Michael Conroy) - photo by Associated Press
For the remainder of the football season I am going to kneel, lock arms with myself and turn my back on the National Football League.
I will kneel not in support of the protesting players, but in remembrance of my uncle Eugene Acker, who died at the age of 19 in World War II during the Battle of the Bulge so the players can protest.
I will kneel in remembrance of my boot camp buddy at Parris Island, S.C., Quinnen T. Chandler, Jr., "The Oklahoma Blackhawk," who also was only 19 when he died in Vietnam so the players can protest.
And I will kneel in remembrance of my father, Louis H. Martz, who survived the Battle of the Bulge but came home with a head full of PTSD demons that haunted him until his death last month at age 96 so the players can protest.
As far as I am concerned, the players can do what they like and express themselves in any nonviolent manner they choose on any subject they choose, on or off the field.
They can twiddle their thumbs, pick their noses or scratch their nether regions during the playing of the national anthem if they like.
It's their right as Americans to be disrespectful of the flag, the country, military personnel, police, firefighters and just plain old average Americans, most of whom recognize their country is not perfect but would like to work to make it a better place for everyone if they weren't always trying to defend themselves against charges of racism, sexism, homophobia, imperialism, nationalism, ethnocentrism and whatever else you can pull out of your bag of "isms."
Likewise, it is my right as an average American to express myself as a consumer and choose not to watch any of these protests or patronize any league sponsors because of their refusal to honor the sacrifices my family and friends have made so they have the freedom to do what they are doing.
I make this choice not because of the subject of the protests, but because of the incredible hypocrisy the NFL is demonstrating when it comes to protests of any sort.
That observation comes not from casual observation of the league but from seven of my 40 years in the newspaper business spent reporting on the NFL and seeing up-close its hypocrisy, which in recent years off the charts.
The NFL likes to portray itself as a loyal, patriotic corporate citizen of America. It is anything but.
It is a corporate tyrant that thinks nothing of bullying anyone or anything in its path and then trying to convince us whatever it does is for our own good and the good of all America.
When a team wants — but doesn't necessary need — a new stadium the NFL and team owners think nothing of bullying local governments by threatening to leave town if they don't get to suckle at the public tax teat for money to build that new stadium.
The Falcons are getting about $200 million in public financing through hotel/motel tax funds for the new Mercedes Benz Stadium. They made the city of Atlanta an offer it couldn't refuse.
As for fans, if you want a season ticket for the Falcons you first are bullied into buying a personal seat license and then have to pay for game tickets on top of that.
If you're a small business and want to try to latch on to the economic windfall the local team produces if it gets to the Super Bowl, the NFL is just waiting to see if you have the temerity to put your advertising the words "Super" and "Bowl" in proximity that it considers too close. Do that and a flock of NFL licensed lawyers will descend on you like the flying monkeys in The Wizard of Oz and haul your assets off to federal court.
The "Super Bowl" moniker is league property and you can't have any of it unless you shell out big bucks.
The league is especially hypocritical when it comes to patriotism. In recent years all that patriotic, flag-waving hoopla before games has been a bought-and-paid-for sham.
According to Business Insider, the Pentagon paid 14 NFL teams $5.4 million dollars — more than $1 million went to Arthur Blank's Atlanta Falcons — for pregame displays honoring troops.
That the Pentagon agreed to pay the money, supposedly as a recruiting tool, is another story. Or maybe it also got an offer from the NFL it couldn't refuse.
But those payoffs demonstrates one immutable fact about the league: Its primary purpose is not to entertain the public but to make money.
The NFL is all about money, optics, money to enhance the optics, money and, well, money.
And it order to keep the money rolling in the league thinks nothing of bullying anyone or anything. It is especially good at bullying players who try to make low-key political statements.
Last year the No Fun League as some have dubbed it threatened to fine the Dallas Cowboys if they put stickers on their helmets supporting Dallas police after the murder of five officers who were providing security for a Black Lives Matter march.
The league also forbid teams from displaying anything on their helmets or uniforms commemorating the lives lost in the 9/11 terrorist attacks.
When Sean Taylor of the Washington Redskins was killed by a burglar during a home invasion, teammate Ryan Clark saluted him by wearing Taylor's No. 21 on his eye black during a game. The league fined him $5,000.
In 2013 Chicago Bears' wide receiver Brandon Marshall, who suffers from a bipolar disorder, wore green shoes to commemorate National Mental Health Awareness Month. The league fined him $5,250.
DeAngelo Williams of the Pittsburgh Steelers tried to wear pink to commemorate the death of his mother from breast cancer but was denied by the league, even though teams spend much of October sporting pink gear in support of Breast Cancer Awareness Month. Instead, Williams wrote: "Find the Cure" on his eye black. He was fined.
Yet the league now sanctions, supports and all but promotes protests against flag, country and those who serve because the most spineless commissioner in its history, Roger Goodell, says to do otherwise would be divisive.
President Donald Trump's decision to weigh in on this was an egregious mistake on his part because he has far weightier issues to consider. He only further politicized an already highly politicized issue.
Then the NFL, through its hypocritical approach to political protests, upped the ante by trying to bully Trump.
Not everything has to be about politics, folks.
Already advertisers are having doubts about the long-term viability of spending money on ads during NFL games because of the league's decision to allow these protests.
Forbes.com reported last Monday that shares of companies that broadcast NFL games are down as much as 8 percent at the same time the stock market is up more than 2 percent. In addition, the $5 billion the networks are paying to televise the games this season has corporate officials nervously biting their nails because of the potential loss of ad revenue if viewership continues to decline as it has the first few weeks.
Better call in the Flying Monkeys Legal Team and find somebody to sue. Or to bully.
Personal note to Arthur Blank: The Falcons shirt I returned to you earlier this week may be a bit large for you, so please feel free to give it somebody who gives a flying fig tree about the Falcons and the NFL.
I no longer do. I am sure I will find it far more rewarding to spend my Sundays remembering the people who gave you and your employees the opportunity to protest.
Ron Martz is Marine Corps veteran (1965-68), journalist and former educator.; email. He lives in Northeast Georgia and writes monthly commentaries for Sunday's Viewpoint page.
Cleveland Browns fans hold a sign following the national anthem before the Sept. 24 game in Indianapolis. (Michael Conroy) - photo by Associated Press


I keep having to drag up this old Chronicle article so much I finally thought I'd better link to it AND excerpt the relevant parts in case it ever disappears down the memory hole.
The key here is that from about 1997-1999, Capital Metro's plan of record was to take the entire Red Line (what we use now for commuter rail), build two new tracks, put up electric wire, and run light rail trains on it all day long at high frequencies.
The Federal government said the ridership would be low, negligibly higher than what we're seeing today, and hinted to Capital Metro that they would not fund that line. Capital Metro quickly switched to what became the 2000 light rail proposal – the "Red/Green" line, using the Red Line's ROW only from Leander to Airport/Lamar, then going in the street from there.
You can use the 1997 proposal as, effectively, a ceiling for what can be accomplished with further investment in the Red Line we have today. Nothing has truly changed since then – Capital Metro anticipated infill then around the stations in the far northwest, and they anticipate it now, and it still turns out to be low-density crap if it ever gets built. No more jobs have moved to be close to the MLK station instead of at UT.
Folks, there isn't that much more that can be accomplished with a train that doesn't go very many places worth going. The real action is, as it always has been, around Congress Avenue downtown (not the Convention Center); at the University of Texas (preferably its front door on Guadalupe), and at the Capitol; and no, you aren't going to convince suburbanites to transfer to a shuttle-bus(*) to get to those places (as we've finally, I hope, proven by now).
This is why further investment in the Red Line is best characterized as wasting money trying to disprove the sunk cost fallacy. There's very little new ridership there, even if the train gets a little faster, or runs a few more hours on the weekend.
* – no, urban rail doesn't help either. Suburbanites own cars. Two train trips in our commuting environment, even if the second one goes closer to where they want to go, is fundamentally uncompetitive. Believe me, or not, but remember: I'm the guy who predicted the Year 1 ridership correctly, and called that nobody would want to ride shuttlebuses when everybody else said they would.
Don't bother clicking to embiggen. I had to make that in five seconds with PowerPoint.
Original for lower picture from StreetsBlog; I forget where I got the upper.


For years in the international circuit of regattas, thanks to our recognized organizational and management skills, combined with a remarkable capacity for hospitality, this year we will host: two European Championships class Asso4000 and class Nacra, skiff the first and catamarans the second, a regatta international class 5.5 cabin cruiser SI, the Italian Championship 470 Masters, three other national regattas (Finn, Formula Windsurfing and 470) in addition to our "classic" (Montiva Cup, Repetition of the Montiva and High Lario Cruise) and other Zonali including a Meeting Optimist.
we are already working on organizing the 470 Master World Championship that we have in the pipeline for 2019!
Please note that for each regatta the announcement, the rankings and the photo gallery will be available as an attachment.
Registration is online with the appropriate ENTRY FORM.


The Central Government has constituted Central Council of Homoeopathy under the provisions of Homeopathy Central Council Act, 1973 to regulate education and practice of Homoeopathy.
The Central Government has also established an apex Central Council for Research in Homoeopathy to carry out research activities in different aspects of Homoeopathy. It has a network of 22 research centers and 05 Homoeopathic treatment centers and is carrying out intramural research including collaboration with institutes of excellence. CCRH is undertaking various public health initiative programmes like 'Homoeopathy for healthy child' with Rashtriya Bal Swasthya Karyakram (RSBK) launched by Government of India, and Integrating AYSUH systems (Homoeopathy) in National Programme for prevention and control of Cancer, Diabetes, Cardiovascular diseases and stroke.
Government of India has approved and notified National AYUSH Mission (NAM) as a centrally Sponsored Scheme on 29.09.2014, which inter alia includes the component of AYUSH services, where there is provision of financial assistance for co-location of AYUSH facilities at Primary Health Centers (PHCs), Community Health Centers (CHCs) and District Hospitals (DHs), upgradation of existing Government AYUSH hospitals, setting up of 50 bedded integrated AYUSH hospitals and supply of essential drugs to AYUSH hospitals and dispensaries including Homoeopathy system.
An amount of Rs 2312.205 lakhs (Rs. 1778.285 Lakh as central Share and Rs. 533.92 lakhs as State share) has been indicated as resource pool for the year 2015-16 to the state of Rajasthan under National AYUSH Mission (NAM) including Homoeopathy system of Medicine.
The Government of India has approved and notified National AYUSH Mission (NAM) on 29.09.2014 which envisages better access to AYUSH services; strengthening of AYUSH educational institutions, facilitate the enforcement of quality control of Ayurveda, Siddha and Unani& Homoeopathy (ASU &H) drugs and sustainable availability of ASU & H raw-materials in the States/UTs during 12th Plan.
The new initiatives under NAM include School Health Programme through AYUSH, Public Health outreach activity to focus on increasing awareness about AYUSH strength in managing community health problems, adoption of villages for propagating AYUSH way of life and interventions of health care through AYUSH Gram, early prevention of non-communicable diseases and promotion of health care by way of Behaviour Change Communication (BCC) integrated with the principles and practices of AYUSH systems and Yoga and Naturopathy wellness centres.
The Ministry of AYUSH has been implementing the Central Sector Scheme for promotion of Information, Education and Communication in AYUSH for creation of awareness amongst the masses about the efficacy of the AYUSH systems, their cost-effectiveness and dissemination of proven results or Research and Development work conducted in AYUSH systems.
The Scheme provides for organization of Arogya Fairs both at the National and State Level; participation in Health Fairs/ Melas / Exhibitions organized by Government Departments, State Governments and other reputed Organizations; preparation and distribution of authentic Publicity material on AYUSH Systems including Multi-media/print media campaigns, audio visual materials for popularization of AYUSH Systems; providing financial assistance to reputed organizations, NGOs, educational/ research institutes for organizing Seminars, Conferences, Symposiums, Workshop, meeting, etc. on AYUSH Systems and providing incentives to AYUSH Industry to participate in Arogya and other Fairs/ Melas/ Exhibitions/ Conferences/ Seminars etc.
Central Sector Scheme for "Conservation, Development, and Sustainable Management of Medicinal Plants" was approved by Government to provide support for Survey, Inventorization, in-situ conservation, ex-situ conservation/ herbal gardens, linkage with JFMCs, Research and Development etc. The Scheme is being implemented since 2008 and continued during the 12th Plan.
The main aim of the scheme is to support creative and innovative proposals for upgrading both functions and facilities of reputed AYUSH institutions to levels of excellence. Both the Government as well as private organizations are eligible under this scheme. Maximum Rs.10.00 Crore is provided to the grantee organization for a period of three years for implementing the scheme.
Ministry of AYUSH is implementing one Central Sector Grant-in Aid Scheme for promotion of AYUSH Intervention in Public Health Initiatives. The main aim of the scheme is to promote AYUSH intervention for community health care and to encourage utilization of AYUSH practitioners in different public health programmes. Both Government as well as private organizations are eligible under this scheme. Maximum Rs.1.50 Crore are provided to the grantee organization for the period of three years for implementing the scheme.
For Ministry of AYUSH a total Budgetary provision of Rs.1214 crore has been earmarked for the current financial year 2015-16. Out of the above Rs.1008 crore are earmarked for Plan and Rs.206 crore are earmarked for Non-Plan. Out of the Plan Budget Rs.690 crore is earmarked for Central Sector Schemes and Rs.318 crore for Centrally Sponsored Schemes. The above outlay is proposed to be distributed amongst various Central Sector and Centrally Sponsored schemes of the Ministry. The amount will be spent in accordance with the guidelines stipulated in the scheme documents, General Financial Rules and keeping in view instructions issued by the Government of India, from time to time.
More provision is likely to be needed in case of Centrally Sponsored Scheme 'National Ayush Mission'(NAM) under Promotion of AYUSH, which was approved and notified on 29.9.2014 as the States/UTs are gearing up to absorb the funds for development and promotion of AYUSH.
A Task Force has been constituted by the Ministry to deliberate and make recommendations on various important issues concerning the Ministry of AYUSH, including the preferred option for promotion, development and regulation of yoga & naturopathy for education and practice.
The President of India, Shri Pranab Mukherjee has condoled the loss of lives in a bus accident in Madhya Pradesh.
In a message to Shri Ram Naresh Yadav, the Governor of Madhya Pradesh, the President has said "I am saddened to learn that a bus carrying passengers met with an accident yesterday and caught fire in Madhya Pradesh's Panna district leading to the loss of lives and injury to many. I understand relief operations are currently underway.
Please convey my heartfelt condolences to the families of the deceased. I also wish speedy recovery to the injured persons".


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Podcast: Public Housing in Twentieth Century Dublin with Ruth McManus
John_Dorney 19 June, 2020 Audio, Irish History, Podcasts
Dublin slums.
Cathal Brennan and John Dorney talk to Dr Ruth McManus about public housing in twentieth century Dublin.
Ruth McManus is the associate professor of geography at Dublin City University.
Dublin in the late nineteenth and early twentieth century was notorious for its slums – often deemed the worst in Europe and indeed, cited in some quarters as the worst in the world at that time outside of Calcutta. Disease including tuberculosis typhus and cholera was rife in 19th century Dublin.
Unlike, say Belfast, where relatively good quality low cost housing existed, built for that city's burgeoning industrial working class, in Dublin many of the urban poor lived in single room tenements, either in decaying Georgian mansions, or, as Ruth notes, sometimes in insanitary cellars beneath them.
Radical nationalists and social reformers both cite the Dublin slums as one of the great blights on British rule in Ireland.
We talk about the 1913 housing inquiry that was promoted by a lethal collapse of one of the city's tenements on Church Street, during the great strike or lockout of that year. The report of the inquiry recommended urgent action by the authorities to clear the slums, but it was not until well after Irish independence that progress was made. As Ruth mentions, one of the first such initiatives under the Irish Free State was the 'garden city' at Marino on Dublin's northside in 1924.
The housing development at Marino.
It was part of the great narrative of Fianna Fail, the party that emerged under Eamon de Valera in 1926, that is, unlike its predecessor Cumman na nGaedheal, finally made serious progress towards slum clearance after its accession to power in the election of 1932.
Indeed as Barry Sheppard wrote on the Irish Story, the 'anti-slum crusade' formed a major part of their rhetoric. However, Ruth argues here that the major housing projects, including the large new estates at Crumlin in Dublin were already planned before Fianna Fail's election.
Nevertheless, the pattern of large sprawling suburban public housing estates did characterise much housing development in Dublin over the next fifty years ringing particularly the north and west of the Irish capital with large public housing estates. This brought with it its own problems – of alienation, social isolation, drug abuse and crime, but it did eventually clear the once infamous Dublin tenements, though not before another wave of anti-slum agitation in the 1960s and the last tenement was not demolished until the 1980s.
A housing development at Drimnagh
By the 1990s, Ireland had embarked on a new economic direction, driven largely by the dominant belief in the superiority of the free market. It was deemed that the state built social housing of the mid twentieth century had in some respects been a mistake – causing 'ghettoisation' and marginalisation.
The signal case most often cited was the high rise development at Ballymun on the city's northside, which was built in the 1960s but eventually demolished and rebuilt as a mixture of public and private housing in the 2010s.
From then until today social housing was supposed to be incorporated into private housing developments, both to keep public spending down and also to promote more socially mixed neighbourhoods.
Whatever the success of this policy has been, in 2020, Dublin again suffers from an acute housing shortage. Ruth McManus argues here that it is time to revisit the notion that public housing was failure in twentieth century Dublin and that private enterprise cannot solve the public's need for affordable housing.
This is just a taster of our conversation which you can listen to here.
http://irishhistoryshow.ie/wp-content/uploads/2020/06/RuthMcManusHousingFinal.mp3
Crumlin estates housing Marino podcast public housing Ruth McManus slums social history social housing working class

redpajama_set_name: RedPajamaCommonCrawl


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Connacher Oil gets court OK to put oilsands leases, plants up for sale
The Canadian Press May 20, 2016
CALGARY – Connacher Oil and Gas Ltd. and its court-appointed monitor are seeking offers for its oilsands leases and extraction plants.
The Calgary-based company says prospective buyers have until June 30 to submit initial non-binding letters of intent.
Connacher's assets include two extraction facilities that produced about 14,500 barrels per day in 2015. Currently, their output has been reduced to 8,000 barrels per day due to low commodity prices.
The company also has 87,000 net acres (35,200 hectares) of oilsands leases southwest of Fort McMurray, Alta. At 2015 production rates, they represent 40 years of reserves.
Connacher is operating under court protection from creditors as it deals with depressed prices for oil, its limited ability to raise capital and disruptions caused by the wildfires that caused the Fort McMurray evacuation.
The company announced late Thursday that the sales process has been approved by Alberta's Court of Queen's Bench.


When Carnival Magic debuted in 2011, the 3,690-passenger ship set a new standard for the line, both in terms of features (two waterslides, the first ropes course at sea) and food (the line's Italian specialty restaurant, Cucina del Capitano, made its debut here). More important for Carnival's party-hearty clientele: Magic marked the first time the line released its Thirsty Frog Ale, suds so popular that it sold out on the ship's maiden voyage. (Happily, you can now buy the beer fleetwide.) Read on for our five best tips for a Carnival Magic cruise.
On many of Carnival's ships, RedFrog is a rum bar, simply a place to buy fruity drinks. Not so on Magic, where the venue is a full-fledged pub, complete with Caribbean-style snacks (bought a la carte). Try the conch fritters.
Cucina del Capitano charges $15 for adults and $5 for kids at dinner, but during the day, there's a pasta buffet that's free. On Dive-In movie nights, there's free popcorn served on the Lido Deck. And if you splurge for the Steakhouse on the first night, you'll get a free bottle of wine with your meal.
As you might expect, crowds gather around the Beach Pool on Deck 10 and the WaterWorks aqua park on Deck 12. To escape the crowds, head to the Tides Pool, on the Lido Deck aft, which is usually much quieter. There are small hot tubs on the Promenade on Deck 5 that also seem to be relatively free of kids.
Tip 4: Plan Ahead for "Faster to the Fun"
Available free to passengers in spa cabins or by daily and weekly passes to everyone else, the Cloud 9 Thermal Suite has a thalassotherapy pool, two steam rooms, a tepidarium with tiled lounges and a laconium, which features dry heat like a sauna. The loungers in the latter are also heated and can recline more than the others; grab a towel from the thalassotherapy pool and roll it up to use as a pillow. Early risers beware: the facilities are turned on in the mornings and may not be as warm at 8 a.m. as they are later in the day.


Factors influencing physicians' detection of cancer patients' and relatives distress : can a communication skills training program improve physicians' detection? - Merckaert I.
Title : Factors influencing physicians' detection of cancer patients' and relatives distress : can a communication skills training program improve physicians' detection?


Ruth Anne "Susie" Krug, 93, La Crosse, Kansas, died Friday, February 1, 2019, at her home.
Mrs. Krug was born September 19, 1925, in rural Bison, Kansas, the daughter of Everett O. Edwards, Sr., and Frances (Bitter) Edwards. She was a lifelong resident of Rush County. A 1944 graduate of Bison High School, Bison, Kansas, she was the Rush County Treasurer for many years before her retirement.
She was a member of the United Methodist Church, and the VFW Ladies Auxiliary, both of La Crosse, Kansas.
On September 11, 1949, she married Melvin "Pete" Krug at the United Methodist Church, Bison, Kansas. He preceded her in death April 3, 2009.
Survivors include: her son, Mark Krug, La Crosse, Kansas; her daughter, Michelle Keogh (Jerry), Wichita, Kansas; one granddaughter, Wendy Bublitz (Erich), Lawrence, Kansas; two great granddaughters, Mikala Bublitz, and Sofie Bublitz; and one sister, Holly Brack, Spearman, Texas.
She was preceded in death by her parents; her husband; six brothers, Robert Edwards, Everett "Peck" Edwards, Jr., Thomas Edwards, Forrest Edwards, Zane Edwards, and Elbert "Bert" Edwards; and five sisters, Ladine Peterson, Lois Edwards, Elma Edwards, Hazel Stump, and Minetta Smith.
Visitation will be Friday, February 8, 2019, from 4:00 P.M. to 8:00 P.M. at the Janousek Funeral Home, La Crosse, Kansas, with the family receiving friends from 6:00 P.M. to 7:00 P.M.
Funeral service will be Saturday, February 9, 2019, at 1:30 P.M. at the Janousek Funeral Home, La Crosse, Kansas, with Pastor Norma McNair officiating. Interment will be in the La Crosse City Cemetery, La Crosse, Kansas.
Memorials are suggested to the Rush County EMTs.
Condolences or remembrances may be left for the family at www.charterfunerals.com/locations/janousek-lacrosse.php.
Arrangements were by Janousek Funeral Home, 719 Pine Street, P O Box 550, La Crosse, Kansas 67548, 785/222-2517.
I have many fond memories of the many enjoyable times Duane and I had with Susie and Pete..
Susie was always in a happy mood and you knew there would be plenty of good food!
I am very fortunate to have had her as a sister-in-law and a friend as well.
I do feel you loss as Susie was in my life for many years.
your lives. If there is anything I can do, don't hesitate to ask.
Copyright © 2011-17 Charter Funerals. All Rights Reserved.


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Wilson - Zuffanti
The Steven Wilson gig did not disappoint. It helped that I had a front row seat, pretty much centre stage (courtesy of Neil with his hyper-quick responses when booking opened) and though Craig Blundell was obscured behind his drum kit, this was a view as good as it gets. Being so close to the stage had the slight disadvantage of not getting the best sound balance; the mixing desk was at the back of the stalls so I imagine that was where you'd experience the perfect listening environment. Ian Bond, veteran front-of-house sound man did a pretty good job for the front row, too, because the only difficulties we had with the sound were a rather quiet Adam Holzman Moog and some indistinct bass, though the latter may have been a venue-wide problem because Nick Beggs was making full use of a range of 5 string instruments; needless to say Wilson's guitar, from his Bad Cat amp and cabinet placed directly in front of us, was crystal clear. It was satisfying that they played the entire Hand.Cannot.Erase, including the short Transience which had been omitted from the UK shows following the album's release. After the intermission we were treated to a range of other Wilson material from Porcupine Tree to Storm Corrosion (the dark, haunting but brilliant Drag Ropes) plus, as a tribute to the recently departed David Bowie, Space Oddity which was filmed on a series of Go Pro cameras. There was also an outing for half of his new album 41/2, a collection of five songs that didn't quite make it on to either Raven or H.C.E, not because of a perceived lack of quality, rather that they didn't quite fit in with the feel of those albums, plus a reworked Don't Hate Me, originally recorded by Porcupine Tree that appeared on Stupid Dream (1999). Theo Travis supplied flute and saxophone for the original release and his contribution was covered by keyboards and guitar when the piece was played live. The 41/2 version includes Travis plus singer Ninet Tayeb and live, without Travis but with its trippy Floyd-inspired lengthy spaced-out middle section, was one of the highlights of the evening. Tayeb, who was guest vocalist on a number of songs, is such an incredible talent she's still able to add an extra dimension to the stellar-quality line-up of the Steven Wilson band. It seemed somehow appropriate that she should sing on Don't Hate Me which utilised eastern scales.
Steven Wilso ticket 27th January 2016
During an interview for The Pedal Show before the Bristol gig a couple of days earlier, Wilson described himself as approaching the sound from a producer's perspective, hinting that his musical ability wasn't perhaps in the same class as his band. This could be cited as an example of classic English reserve, for Wilson is an undoubted talent, but I've heard this statement before, in the same context, from Italian bassist Fabio Zuffanti. There are quite a number of parallels between Wilson and Zuffanti though apart from in his native Italy, Zuffanti has not really been recognised as a major force in modern progressive rock.
I saw Zuffanti and his Z band when Jim Knipe and I attended the Prog Résiste convention in Soignies in April 2014, showcasing his latest solo effort La Quarta Vittima but also playing songs from a back catalogue of 20 years in the music business; extracts from the Soignies performance are available to view on YouTube (Rainsuite https://www.youtube.com/watch?v=Y6Dlf3HmzAc is a good example.) It was at the post-performance interview, fortunately carried out in English, that someone suggested a parallel with Steven Wilson and Zuffanti, in a self-depreciating manner, suggested that he wasn't in the same calibre as his band-mates. What he revealed at this interview were his thoughts on his musical projects. He suggested that if Quarta Vittima was going to be compared to Wilson's The Raven That Refused to Sing (which had been released a few months before, and which Zuffanti obviously felt was the pinnacle of Wilson's output at that time, Höstsonaten were the equivalent of the Enid, with a very symphonic palette. Though Porcupine Tree was on hiatus at the time, the inference was that PT was the primary vehicle for Wilson's music, rather like La Maschera di Cera was for Zuffanti.
Though I was aware of other Zuffanti projects, at the beginning of 2014 I only had Maschera di Cera albums and the first Finisterre album (Finisterre, 1995). I'd bought LuxAde (2006) for £6 from Beanos second-hand store in February 2009, without listening to it, based on the instrumentation and the fact it was produced by PFM drummer Franz di Cioccio. I hadn't appreciated that this was a band revisiting the Orpheus saga (c.f. Focus and Eruption) but it remains one of the best buys I've ever made; when I got home and checked my Progressive Rock Files, even before listening to it, it was evident that I had acquired something special. I wasn't disappointed because the recording is as close as you can get to classic 70s Italian prog; analogue instrumentation including some excellent fuzz bass, symphonic scope and operatic vocals, all executed with consummate skill. I was so impressed I began looking for Maschera di Cera albums on every subsequent trip to Italy but for some reason I couldn't locate any and finally plumped for a download of their second album Il Grande Labirinto (2003) from Amazon in 2010, describing it in an Amazon review as a Fragile to the Close to the Edge of LuxAde (some of the details turned out to be not quite right!):
"...Il Grande Labirinto is their second album, and with no Italian trip scheduled for a while, I had to indulge in the mp3 download. (When I'm next in Italy I'm going to seek out and buy the CD for myself and two prog-minded brothers.) This release is slightly less musically mature than Lux Ade - kind of like the relationship between Fragile and Close to the Edge - almost perfect but not quite.
The musical territory is classic 70s Italian prog. PFM are an obvious comparison, though La Maschera di Cera are less jazz-influenced. Some of the keyboard trills sound like early Genesis, and there's a Wakeman-sounding synth line or two. My favourite passage is the final section of the 22 minute 37 second long Il Viaggio Nell'oceano Capovolto Parte 2 (Voyager to the Inverted Ocean) that builds up from a haunting gentle woodwind melody that reminds me of Islands-era King Crimson.
Did anyone think prog was dead? Think again, and invest in this great album."
As soon as I'd heard the band were going to do a companion piece to Felona e Sorona (1973) by Le Orme, entitled Le Porte del Domani (2013) released in both Italian and English versions (The Gates of Tomorrow), I had to buy both mixes; the Italian version was my album of the year.
I hadn't really formed an opinion about the music of Finisterre other than I liked it and it seemed not quite fully formed. Tracks seemed to be truncated mid-flow which left me feeling slightly dissatisfied. I bought In Limine (1996) when I went to the Riviera Prog Festival in 2014 where Zuffanti, in his home city of Genoa, was wandering around chatting to friends and fans on the first day. The title track of that album was one of the pieces played by the Z band in Soignies. I bought In ogni luogo (1998) and La Meccanica Naturale (2005), both in cardboard gatefold sleeves from Galleria del Disco in Florence later in 2014 and have now come to the conclusion that Finisterre was a band for trying out ideas. Back in Soignies I bought both La Quarta Vittima and Höstsonaten's live version of The Rime of the Ancient Mariner (2013) from Zuffanti's merchandise stand and then also from the same shop in Florence, Höstsonaten's Winterthrough (2005.) It's true that Höstsonaten are symphonic; the music is layered and melodic and Ancient Mariner, performed with dancers, was a modern opera.
There was no full concert recording of the Z band so late in 2014 Zuffanti and his collaborators recorded the material they'd been playing during their live set, live in the studio, releasing Il Mondo Che Era Mio at the end of the year. My copy was bought early in 2015 and it is a faithful reproduction of the Z band live experience, a mixture of dynamics, strong melodies and classic-sounding instrumentation.
Last year I spent a family long weekend in Milan and came across the excellent Rossetti Records, and amongst my haul I bought Il giorno sottile (2001), by the rather obscure Zuffanti project Quadraphonic. This represents Zuffanti at his most experimental, producing an interesting and challenging album of industrial music and electronica, heavily reliant on loops, which at times is bleak though it does retain the memory of melody.
Zuffanti seems to be at the centre of the vast Genoa prog scene. When Francesca Francesca Zanetta, guitarist with Unreal City, was interviewed after their performance at the Riviera Prog Festival, she thanked Zuffanti for helping the band (he produced their debut album La Crudeltà Di Aprile, 2013) and another band he seems to have helped, who also appeared at the same festival, were Il Tempio delle Clessidre and most recently he's collaborated with keyboard player Stefano Agnini from La Coscienza di Zeno, a band who played at both Soignies and at the Riviera Prog Festival in 2014. This project, under the title of La Curva di Lesmo, features a cast of the new wave of Italian prog and the music ranges from out and out symphonic prog to some traditional-sounding Italain music, taking in folk and electronica on the way. I bought a heavyweight white vinyl copy to play on my new Rega RP3 and the cover, by legendary artist Guido Crepax, harks back to Nuda (1972) by Garybaldi, in a similar manner to Maschera di Cera using artwork by Lanfranco for Le Porte del Domani, after Le Orme's cover for Felona e Sorona, an album also released in English with lyrics by Peter Hammill.
Zuffanti shares with Wilson an appreciation for the origins of the genre (including a love of Mellotron) but they also choose to work with a range of other musicians which informs their style, seeking out different avenues for their talents. Wilson is now a global star; I'm just waiting for Zuffanti to get the full recognition he deserves.
Filed under: The Enid, Islands, Ian Bond, mellotron, progressive rock, Adam Holzman, Rega Planar 3, Yes, Hostsonaten, Peter Hammill, The Rime of the Ancient Mariner, Steven Wilson, Neil Jellis, Craig Blundell, Nick Beggs, Dave Kilminster, Ninet Tayeb, The Raven that Refused to Sing, Hand.Cannot.Erase, Don't Hate Me, Theo Travis, Jim Knipe, Le Orme, Focus, La Curva di Lesmo, Fabio Zuffanti, La Quarta Vittima, king crimson, Storm Corrosion, La Maschera di Cera, Pink Floyd, Genoa, Z Band, Il mondo che era mio, Eruption, Winterthrough, Porcupine Tree, Prog Resiste, Soignies, Quadraphonic, prog, Hammersith Apollo, Bad Cat amplification, Drag Ropes, 41/2, Go Pro, The Pedal Show, Martin Grice, symphonic rock, LuxAde, Beanos, Orpheus, Il Grande Labirinto, Franz di Cioccio, early Genesis, In Limine, La Meccanica Naturale, Le Porte del Domani, The Gates of Tomorrow, Felona e Sorona, Galleria del Disco Florence, Francesca Zanetta, La Crudelta di Aprile, Stefano Agnini, Guido Crepax, Garybaldi, Lanfranco, Nuda, PFM, Electronica, Industrial, Finisterre, progrock, La Coscienza di Zeno, Il Tempio delle Clessidre, Riviera Prog Festival, Unreal City, Fragile, Close to the Edge
Wilsonian
With Steven Wilson's London gig rapidly approaching it seems like a good time to reflect on my relationship with his music. Though my collection cannot be said to contain a surfeit of Wilson-related material, partly due to my ambivalence towards Porcupine Tree, it can't be denied that his output covers a wide stylistic range largely owing to the trait of possessing a collaborative nature. I own his two most recent 'solo' efforts, The Raven that Refused to Sing (2013) and Hand.Cannot.Erase (2015) along with Porcupine Tree's Fear of a Blank Planet (2007). I've also been loaned Lightbulb Sun (Porcupine Tree, 2000); Wilson's solo material Grace for Drowning (2011), Get All You Deserve (2012), Catalogue Preserve Amass (2012); his project with Mikael Akerfeldt Storm Corrosion (2012); and Bass Communion albums Continuum (2005) and Continuum Vol.2 (2007).
I was first prompted to see him live at the Royal Albert Hall in October 2013 by friend Neil Jellis and I acceded on the strength of Raven; he'd assembled some supremely able musicians and produced an album that ticked all the right golden era of prog boxes but still retained an element of contemporary music. There's a moment in Luminol where I can determine Siberian Khatru that reveals Wilson's deep appreciation of classic prog but it goes further than this. His use of analogue sounds doesn't simply conjure images of gatefold sleeves, long hair and flares and dirty university refectory floors, it gives the music a depth and warmth. Wilson is of course a highly respected producer and many of the classic 70s reissues have been placed in his extremely capable hands for a remix because of his respect for the original music and his undoubted talent at tweaking out some of the instrumentation that has been buried in the mix of the original recording; something he achieves without harming the balance of the music due to his mastery of nuances.
Raven is an excellent album throughout and the performance at the Albert Hall did not disappoint, from the opening video to the final bow, the music, the musicianship and the presentation were flawless. Presentation is obviously very important to Wilson for, like his 70s heroes, he has forged long-standing artistic partnerships with Lasse Hoile, Hajo Mueller and Jess Cope that (forgive me for sounding pretentious) create the visuals for the Wilson brand, such is their importance to the integrity of the production; even something as simple as a transparent veil draped down from the lighting gantry to the front of the stage produces a quite startling effect and this attention to detail, linking music, album art and stage presentation first emerged with the prog acts Wilson was listening to in the early 70s.
When I first heard Hand.Cannot.Erase I was a bit disappointed, not because I considered the album as a retrograde step though I had wanted more of a 'son of Raven', rather that the mix of styles on the one disc, electronica, industrial, post-rock and out-and-out prog, didn't really include enough classic-style prog for my taste. Further listening has mellowed my opinion: It's a very well constructed album but I still regard it less favourably than Raven. The playing is as good as ever and there is an outstanding guest performance by Ninet Tayeb but I think it's more difficult to portray invisibility in a world dominated by social media that inspired the album as a musical concept compared to the very straightforward alternative ghost stories of Raven. Raven also features more sax and flute, courtesy of Theo Travis. To an extent, Hand covers some of the same territory that informed Fear of a Blank Planet, the social isolation caused by technology but, to his credit, Wilson explores a very different sonic landscape in his more recent release. This sort of fits in with the characters of the protagonists on the two albums, a male teenager in Blank Planet with its distorted guitar-driven riffs and Hand's young professional woman.
The live performance at the Troxy in London in March 2015 was basically the Hand.Cannot.Erase. album, played in its entirety (apart from Transience) in running order, interspersed with tracks from his back catalogue that Wilson felt fitted in with the idea of isolation and loss. Seeing the band perform the piece live helped me appreciate the music more, despite the atmosphere in the Troxy being less welcoming than at the Albert Hall; from my seat in the circle, I had the constant distraction of the light and noise from the bar, like in the upper circle at the over-rated Shepherd's Bush Empire. However, experiencing the album live meant I was better able to relate Ancestral to the song introduced as Wreckage at the Albert Hall in 2013, a piece that had been announced as a work in progress and which had different titles throughout the Raven tour. Another personal highlight was the extended First Regret, with the clever video of concrete apartment blocks that have (mistakenly) become inextricably associated with the breakdown of society; concrete jungles and problem estates.
The addition of two Royal Albert Hall dates at the end of 2015 meant I was once again invited to go along. When I signed up to the proposal I thought that I could only manage one night because of work commitments and so Neil got me a ticket just for the second evening. It transpired that to get the full experience you did need to be there for both gigs, which had subtly different set-lists. Guitarist Guthrie Govan and drummer Marco Minnemann were unable to make this leg of the tour and were deputised by Dave Kilminster and Craig Blundell respectively and over the two nights there were a series of special guests, including Guthrie Govan. The set list had relaxed from the album format and included a number of tracks I was unfamiliar with. This meant that I felt at something of a disadvantage compared to my fellow audients and though I witnessed an incredible show, I have to admit a little disappointment at the inclusion of what seemed like an unhealthy dose of Porcupine Tree; it's almost as though I was crashing a party, not knowing the host but the feeling was partly offset by the gift of a personalised T–shirt from Neil – We have got the Perfect Life.
I'm looking forward to the performance on Wednesday. Hammersmith is a good, comfortable rock venue. I'd just like more of Raven and Hand.Cannot.Erase.
Filed under: Guthrie Govan, Lasse Hoile, Grace for Drowning, progressive rock, Yes, Steven Wilson, The Raven that Refused to Sing, Hand.Cannot.Erase, Troxy, Marco Minnemann, Dave Kilminster, Craig Blundell, Lightbulb Sun, Ninet Tayeb, Neil Jellis, Theo Travis, Royal Albert Hall, Hammersmith Apollo, Shepherd's Bush Empire, post-rock, Ancestral, Wreckage, Wilsonian, concrete jungle, problem estate, Fear of a Blank Planet, Storm Corrosion, Hajo Mueller, Jess Cope, Siberian Khatru, Get All You Deserve, Catalogue Preserve Amass, Mikael Akerfeldt, Bss Communion, Continuum, Luminol, dystopian, Porcupine Tree, prog, Electronica, Industrial, progrock
The perfect life
By ProgBlog, Oct 5 2015 10:00PM
I've got a cold. I started to feel a little ill on Wednesday and wondered if I should indulge in my usual Wednesday squash evening at the National Sports Centre, Crystal Palace, but as I'd dragged my squash kit into work I thought I'd give it a go and see how I got on. As it turned out I won some games and I lost some but I felt better for doing a bit of exercise. I was very interested to read that members of Pink Floyd used to prefer to play squash rather than going to the studio during the Wish You Were Here sessions in 1974 but putting together a follow-up to Dark Side of the Moon was proving difficult. Strains in personal relationships and professional tensions within the band had surfaced and the direction of the group was unclear and of course none of this was helped by a souring relationship with the media; the NME journalist Nick Kent being particularly unkind. Squash is not only a fantastic cardio workout, it also helps to relieve tension and pent-up frustrations. It's been suggested that David Gilmour and Nick Mason became rather fond of the squash court and their relationship improved as a consequence – I can personally vouch for the de-stressing effects of regular squash as someone who a couple of years ago played up to six times a week – I was left feeling much more able to cope with whatever life could throw at me, physically and mentally reenergised. However, it's also addictive (thanks, endorphins); I had to change my working hours to allow for a 45 minute session of squash at lunchtimes and I was unreasonably frustrated when either a planned opponent or I myself couldn't make a game. Working in a hospital meant that, not infrequently, somebody would have to attend to urgent work (there were a group of around five of us who regularly took over the two courts at Guy's, helped by me taking on the role of time sheet monitor.)
Squash has been put on the backburner of late despite a flurry of league games in the final days of my semi-retirement. Now back working full time at the Royal London Hospital I'm reduced to Wednesday evenings and the odd league match at weekends. I received an invite to play last Tuesday (September 29th) but had a more pressing engagement, Steven Wilson's second night at the Royal Albert Hall. Having been quite blown away by the Raven that Refused to Sing show at the Albert Hall in October 2013 and in March this year, at the Hand.Cannot.Erase performance at London's Troxy, I was only too happy to sign up to one of the gigs on this two-night tour postscript. Leading the party was friend and Wilson aficionado Neil Jellis, who not only organised some great seats, but provided his own bespoke tour T-shirts. Neil had been in the front row on the first night, in front of Wilson's keyboard and in direct line with Craig Blundell's kick drum and, as the two dates were billed to have different sets and different guests, had also got tickets for the second show, to which I tagged along. Having heard Neil effuse enthusiastically about the first night, I was anticipating a great performance and I wasn't disappointed.
We wandered into the auditorium after Matt Berry, the support act, had begun his set with the rather spacey Medicine and I have to admit that not being much of a TV person, I had no idea who Berry was, other than I'd seen something in Prog magazine about him. It must have been rather daunting to open for Steven Wilson but Berry's band did an admirable job.
When Steven Wilson's band took to the stage, one by one, it became gradually clear to Neil that the first number was the rather heavy No Twilight within the Courts of the Sun from his first solo album Insurgentes, a track I'm not over-familiar with, likewise with the next Porcupine Tree song, a much more melodic/symphonic-lite Shesmovedon from Lightbulb Sun. I'd not seen Blundell play before (sitting in for previous incumbent Marco Minnemann) and though I'd witnessed the talents of Dave Kilminster on a number of previous occasions, none of them were as Wilson's guitarist. From our seats, level with the stage and only a few seats away from Nick Beggs who was positioned to the left of the band (from an audience perspective) it was easy to observe the technique of each of the musicians; only Adam Holzman was partially obscured by his keyboards. The first guest of the evening was Ninet Tayeb. She'd also sung the previous night and took on all vocal duties for Routine, putting in a stunning performance. I was once again in unknown territory with the next two songs, Open Car and Don't Hate Me, the latter coming across as quite proggy and the film to accompany the piece, of light snow falling in London was classic Lasse Hoile; Home Invasion featured Beggs on keyboard and Guthrie Govan as special guest guitarist which segued into Regret #9 with a brilliant Moog solo from Holzman. Theo Travis was then introduced and the band continued with Drive Home, personal favourite Sectarian and the haunting Insurgentes with its watery visuals that remind me of punting on the Isis. The set was completed with more from Grace for Drowning, No Part of Me and a truncated but still epic Raider II.
There were two encores, featuring three songs; Porcupine Tree's Dark Matter after which the band left the stage but returned, after a bit of adjustment to the drums for Lazarus, with special guest Gavin Harrison, fresh from touring with King Crimson and easily remembering his old part, finally ending with another song I'd not heard before, The Sound of Muzak.
The sound (thanks to Ian Bond) was balanced and clear, even where we were seated on the extreme left and the presentation, as ever, was consummately professional. Wilson has a brilliant rapport with his audience, teasing those that hadn't attended the first night and explaining how he was extending an introduction to make the correct pedal setting for his guitar. There was no veil on this night, though there had been on the 28th and if I have to make one complaint, it's that the programme was the same as that sold during the spring leg of the tour, even though the two shows were more varied, more special, and the musicians had changed subtly.
All in all the occasion lived up to its hype: 4 hours of amazing music over the two nights. On reflection, I should have signed up for both shows, but I already have a ticket for January 2016...
Filed under: Lasse Hoile, Home Invasion, Regret #9, Guthrie Govan, Grace for Drowning, Drive Home, Sectarian, Insurgentes, No Part of Me, Raider II, Dark Matter, Lazarus, The Sound of Muzak, Ian Bond, progressive rock, Adam Holzman, NME, David Gilmour, Prog magazine, Wish You Were Here, Crystal Palace, Steven Wilson, September 29th 2015, squash, Nick Kent, The Raven that Refused to Sing, Hand.Cannot.Erase, Troxy, The perfect life, Neil Jellis, Matt Berry, No Twilight within the Courts of the Sun, Shesmovedon, Lightbulb Sun, Craig Blundell, Nick Beggs, Marco Minnemann, Dave Kilminster, Ninet Tayeb, Routine, Open Car, Don't Hate Me, Theo Travis, Nick Mason, Royal Albert Hall, king crimson, Dark Side of the Moon, Pink Floyd, Gavin Harrison, Porcupine Tree, prog


text:
/**
 * @file OscSlip.h
 * @author Seb Madgwick
 * @brief Functions and structures for encoding and decoding OSC packets using
 * the SLIP protocol.
 * See http://en.wikipedia.org/wiki/Serial_Line_Internet_Protocol
 */

#ifndef OSC_SLIP_H
#define OSC_SLIP_H

//------------------------------------------------------------------------------
// Includes

#include "OscCommon.h"
#include "OscError.h"
#include "OscPacket.h"

//------------------------------------------------------------------------------
// Definitions

/**
 * @brief OSC SLIP decoder buffer size.  If a packet size exceeds the buffer
 * size then all bytes in the decoder buffer will be discarded.
 */
#define OSC_SLIP_DECODER_BUFFER_SIZE (MAX_TRANSPORT_SIZE)

/**
 * @brief OSC SLIP decoder structure.  Structure members are used internally and
 * should not be used by the user application.
 */
typedef struct {
    char buffer[OSC_SLIP_DECODER_BUFFER_SIZE];
    unsigned int bufferIndex;
    void ( *processPacket)(OscPacket * const oscPacket);
} OscSlipDecoder;

//------------------------------------------------------------------------------
// Function prototypes

OscError OscSlipEncodePacket(const OscPacket * const oscPacket, size_t * const slipPacketSize, char * const destination, const size_t destinationSize);
void OscSlipDecoderInitialise(OscSlipDecoder * const oscSlipDecoder);
OscError OscSlipDecoderProcessByte(OscSlipDecoder * const oscSlipDecoder, const char byte);
void OscSlipDecoderClearBuffer(OscSlipDecoder * const oscSlipDecoder);

#endif

//------------------------------------------------------------------------------
// End of file

redpajama_set_name: RedPajamaGithub


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I am interested in 73 Crystal Cove Avenue, Winthrop, MA 02152.


text:
Pseudosphromenus is een geslacht van straalvinnige vissen uit de familie van echte goerami's (Osphronemidae).

Soorten
Pseudosphromenus cupanus (, 1831)
Pseudosphromenus dayi (, 1909)

Echte goerami's

redpajama_set_name: RedPajamaWikipedia


Amazing value on this 7 bedroom, 8 full bathroom Ocean Oriented Sea Pines home. With direct ocean views from multiple rooms within the home, this third row property provides direct access to the beach path and is an easy walk to the newly rebuilt Sea Pines Beach Club. An excellent location, with an excellent rental history, the home has been immaculately maintained in nearly perfect condition and is being sold entirely furnished. Come discover why Hilton Head Island is consistently ranked as the #1 Vacation Island on the East Coast.


text:
Winner Status
QUALIFYING COUNTRIES
Giovanni da Verrazano discovered New York Bay in 1524
An Italian-born Navigator named Giovanni da Verrazano who was known to be sailing for France, discovered New York Bay in 1524. Henry Hudson, an English man who was employed by the Dutch man got to the bay and sailed up the river that now bears the name in the year 1609. In the same year the northern part of New York was explored by Samuel de Champlain and claimed for France. Fort Orange (now called Albany) was the first permanent Dutch settlement established in 1624. A year after, Peter Minuit bought Manhattan Island from the Indians in exchange for trinkets worth about 60 Dutch guilders and established the Dutch colony of New Amsterdam now called the New York city, which was then given to the English in the year1664.
New York is known to be the sixth most manufacturing state in the country situation boasting of over 446,200 workers in 2009. The major industries in the state are printing and publishing, industrial machinery and equipment, electronic equipment and instruments. Tourist attraction is also a major source of income in the state.
New York is also a leading producer of wine, agricultural products produced in the state include vegetables and fruits, corn and poultry, cattle and calves, vegetables and fruits. New York landmarks are what you will want to see as they are unique to the eyes. Some of this landmark includes 40 Wall Street, which is a 70 story skyscraper, the building was constructed in just 11 months in 1930; Astroland, a 3.1 acres of land located on Coney Island; Big Duck, this building was used by a farmer to sell his duck eggs and served as an advertising gimmick; Bronx Zoo, a 265 acres of land with over 4000 animal, the zoo is the largest metropolitan zoo nationwide; Brooklyn Bridge, is a 5989 feet long bridge connecting New York city and Brooklyn; Carnegie Hall, named after Andrew Carnegie; Charles B. Wang center, this building is used as cultural event center, conference venue and was also built to present an understanding between the Asian American values and the Asians; Chrysler Building, is a 1,047 ft building in height, known as the world's tallest brick building; Ellis Island, the island is a home for immigrants; Empire state building, known to be the tallest building in New York; Flatiron Building, one of the oldest surviving skyscrapers in Manhattan.
Other Landmarks include Flushing Meadows Corona Park, Hall of Fame for Great Americans, Metropolitan Museum of Art, New York State Capitol, New York Studio School of Drawing, Painting and Sculpture, Panam Worldport JFK, Statue of Liberty, Woolworth Building.
A lot of people wish they were New Yorkers, you can't blame them as there is no place quite like New York in the world. There are endless activities at your disposal in the state. Each neighborhood in the state has something unique like fashion, personalities and much more which makes you feel like traveling the world in a matter of minutes. Most Artists in the world tend to perform in the state which makes it the world entertainment capital. Hence, living in New York guarantees so much fun and excitement.
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text:
Art vs. Business
Process of Filmmaking
Bela Tarr (1955 - )
In about 1986 Béla Tarr jokingly remarked on his festival participation: "Since I have become Béla Tarr, I am treated decently on international festivals." In Hungarian the first name and the family name are in reverse order as compared to other European languages; that is, the family name comes first and the given name comes second. So, when Hungarians address a foreigner they usually reverse the order of their names, so that the foreigner knows which is which. When we see or hear a Hungarian name written or uttered in reverse order, we know that the person evoked either is an expatriate or is mentioned in a foreign context. 'Becoming Béla Tarr' stood for 'now having an international reputation'. At the time Tarr was gaining an international reputation and growing in status, his acceptance at home was far from being comparable to the respect he enjoyed abroad. For about sixteen years Béla Tarr was not the same as Tarr Béla.
Béla Tarr was born in Pécs, in southern Hungary, in 1955. For his fourteenth birthday he received an 8mm camera from his father. Very soon, at the age of seventeen, this camera got him into trouble. During his high school years he got involved with some radical leftist movements ideologically not far from Maoism. These groups, although consisting of intellectuals and artists, made a cult around physical work and around being among workers. They grouped around music groups like Monszun and theatre groups such as Orfeo. Tarr, while still a high school student, also went regularly to work in a shipyard and followed these groups on their regular excursions to workers' districts and workers' hostels. On one of these occasions he met a group of gypsy workers who wrote a letter to János Kádár, first secretary of the Hungarian Socialist Workers Party, asking him to grant them permission to leave the country to work in Austria, because they could not find enough work at home. The whole idea seemed so absurd in 1971 in a country where even visiting a relative living abroad required obtaining special permission, which proved an ordeal to anyone who tried, and this story inspired the sixteen-year-old Tarr to ask these workers to talk about their situation and motivation for his camera. With two of his friends they formed a filmmaking group they named after Dziga Vertov (referring to Jean-Luc Godard and Jean-Pierre Gorin's 'Dziga Vertov Group'). Tarr's Dziga Vertov Group made a documentary about these men, and sent this film, Guest Workers (lost since then), to an amateur film festival, where it won first prize. The success made Tarr very proud of his film, which he wanted everybody, especially workers, to see. So he took his projector and tape recorder, and several times a week he would visit workers' hostels, where he would set up his equipment and screen the film to workers arriving home from the factory. He even made posters by hand to advertise these projections at the workers' hostels.
The workers took this well, but the Communist Party did not. One day at school, Tarr was ordered to go to the local party office to explain what he was doing and to screen the film to the party officials. They watched the film but didn't say anything. They let him go, and no direct retaliation was undertaken. But a year later, when, after finishing high school, he wanted to study at university, he was told not even to think about it. He was denied admission to every higher educational institution in the country. So he went to work in the shipyard. He worked there for two years, but his frail, thin build wasn't meant for the hard physical labour. He sent an application to the department of philosophy of Budapest's ELTE University. At the admission exam he shocked the examining professor by asserting that Marx's Communist Manifesto was like a work of art rather than a political programme, and that communism was a movement rather than some institutionalised political formation. He was refused admittance. He took the job of doorman at a cultural centre in one of Budapest's workers' districts. In the meantime he continued making amateur films, one of which won another prize at a subsequent amateur film festival. Members of the jury included István Dárday and Györgyi Szalai, two prominent representatives of a group of documentary filmmakers working in a kind of semi-documentary, semi-fictional genre. They invited Tarr to work as an assistant on their next major project, Film Saga (Film-regény, 1977). At the age of twenty, Tarr had his first real contact with professional filmmaking.
In the meantime, Tarr already had a film project in the works, part of which was the film he won the prize for at the amateur film festival. This was about a young woman named Irén Szajki, whom Tarr met when he was filming in a workers' district on the outskirts of Budapest that has been demolished since then. Irén was squatting in an apartment for a period, but eventually the city council had her evicted by force. Tarr, who was working alone at that time, decided to film the act of eviction. He found a hideout in a neighbouring building from which he could film the action quietly, and settled there half an hour before the city council agents arrived, accompanied by the police. Somehow the police found out about his being there and began the whole procedure by arresting him first and taking him to police headquarters. He was kept there half of the day, during which time the agents accomplished their mission. After that he was let go. Irén had nowhere else to go from this apartment but to his father-inlaw's place, where she was the twelfth person in residence. This was the origin of Tarr's first full-length feature film, Family Nest (Családi tűzfészek, 1977), where Irén Szajki played the female protagonist. She also played important roles in later Tarr films, such as Satantango and Werckmeister Harmonies.
Family Nest was made by the Balázs Béla Stúdió, an independent studio for young filmmakers, and released in 1979. At the age of twenty-two not only did he become the youngest film director in Hungary with a full-length feature film officially released, but thanks to Family Nest he earned a national and international reputation, the film also winning the Grand Prize at the 1979 Mannheim International Film Festival. At the same time, the fact that Tarr did not have any professional training did not escape attention. Not only was he very young, but he was also a total outsider in a professional community that was very careful not to allow anyone near film production who did not go through official training. For Tarr to be taken seriously as a filmmaker it was strongly advised he go to an official film school. Although just a couple of years earlier he had been banned from all higher educational institutions in Hungary, after Family Nest it would have been very difficult not to admit him to film school. He was accepted into Miklós Szinetár's class, originally a television director training programme, later changed into a film director's programme in 1978.
Tarr was no less an outsider in film school, not bothering to attend many classes. He was making his next feature film, The Outsider (Szabadgyalog, 1981). He was allowed to do whatever he liked, and was not required to live a regular film student's life. The Outsider was already an official professional studio production. After the release of this film he started his third project, The Prefab People (Panelkapcsolat, 1982). At the same time he made Macbeth (1982), originally a film school assignment but later reproduced for television. By the time he graduated from film school he already had three full-length feature films finished, and two international awards, the Locarno Festival special mention for The Prefab People being the second. This was quite an unusually intense beginning to a professional career for a filmmaker of his age.
In 1980 Tarr was among the founders of a newly formed studio, called Társulás Studió. It was formed by people belonging to a certain 'cinema direct' current, who were joined by some others who had ideas about filmmaking outside of the the mainstream politically correct realist norm of Hungarian cinema. Officially, its mission was to create and promote the semi-documentary, semi-fictional style the founders of the studio initiated five years earlier. However, filmmakers with clearly avant-garde ambitions could also come and make films in the studio. Very quickly Társulás became Hungarian cinema's most inventive filmmaking studio. But Társulás was short-lived. Right from the outset, filmmakers from other studios did not agree with the formation of Társulás, for the simple reason that they all had to live on the shrinking state funding of the film industry. Another studio meant distribution of the funds between five studios instead of four. After six years' constant struggle, in 1985 Társulás, the only institutional background for the innovative spirit of Hungarian cinema, was dissolved.
Tarr made two films with Társulás, The Prefab People and Almanac of Fall (Őszi Almanach, 1985). In 1985 his next project, Satantango, was accepted by the studio, but the production could not start. With the dissolution of Társulás the chances that he could make this film fell considerably. He tried to sell the idea to several of the remaining studios with no success. He was even told by one of the studio heads, a film director colleague, that he was an amateur and he had better quit filmmaking for good. In 1986 Tarr found himself marginalised in the official Hungarian film industry, which he never really belonged to anyway, and it looked like he would not be able to continue as a filmmaker within the existing institutional structure. He started a new project less ambitious than Satantango. It was an idea he had had earlier about a small-town singer and her husband, and together with László Kransznahorkai, writer of the source novel for Satantango, he wrote the script for Damnation. He was used to the idea of being an outsider and accepted this marginalised position. He brought together several sponsors not directly involved in filmmaking, like the Hungarian Film Institute and the Hungarian Advertising Agency; Hungarian Television and MOKÉP, the state film distribution company, joined the project later. If Hungarian Television had not been involved in the production, it would have been the first Hungarian feature film after World War II to be produced entirely outside the official filmmaking system.
Thus far Tarr was not a widely known filmmaker. Each of his steps into the realm of filmmaking was irregular and kept him at the margin of the film industry. As Ágnes Hranitzky put it: "He wasn't taken seriously as a filmmaker. For the studio people, he was just a wannabe." He was categorised as someone belonging to the by-then extinguished documentary-style fiction film movement, and not even as the most characteristic representative of it, in that his films showed very few direct political concerns. Almanac of Fall was already atypical of Tarr's former work and provoked more enthusiasm among critics abroad than among those in Hungary; but this film laid the foundations for his international reputation. The discrepancy between his marginal status in Hungary and his growing international fame became even more pronounced with his next film, Damnation. The film provoked harsh or mocking reviews in Hungary and a total rejection by the jury of the Hungarian Film Week of 1988, but at same time, it earned him the Foreign Critics Award on the same occasion, two other international awards (Cannes and Bergamo), a nomination for the European Film Award and a number of other international festival invitations all over the world.
The next year Tarr received a DAAD2 fellowship for artists to spend a year in West Berlin. Upon return, the Tarr-Hranitzky couple gave up their apartment in the heart of Budapest and moved to a little village about thirty kilometres from the capital city. That is where they started preparations for their gigantic enterprise, Satantango. It looked as if Tarr had settled for remaining marginal to the Hungarian professional film world. He did not often participate in professional debates and did not keep in contact with most of the leading figures of Hungary's professional film production. However, he has since become a frequent visiting professor at the Berlin film school, where he has been spending a couple of months each year. Ironically, he has not received any invitation to teach at the Hungarian film school as yet. In 1994 Satantango featured at the Hungarian Film Week. The organisers considered this a marginal event, forecasting a weak attendance due to the film's extreme running time (seven and a half hours), and programmed it in a small theatre. Several hundred viewers showed up, loudly expressing their discontent. This film earned Tarr a massive international reputation among cinephiles all over the world. Respected critics praised this film, and a certain cult around it was born.
Due to the fact that during the preceding fifteen years he himself had to secure the financing for his own films, and played the role not only of the director but also of the executive producer, after the release of his next film, Werckmeister Harmonies, Tarr started his own production company, T. T. Filmműhely, together with producer Gábor Téni.
By the early years of 2000 Tarr was not a marginal figure any more. He was already well-known for his international successes and was recognised as a somewhat eccentric but important figure of Hungarian cinema. Although bringing together sponsorship for Werckmeister Harmonies took a long time, he managed to secure the financing for this film too, including important government grants. In 2003 he obtained the highest national award an artist can get in Hungary. In 2009 he accepted an offer to be a candidate for the future presidency of the Hungarian Film Foundation, but it was not long before he realised that there was very little support for his radical conception of how to run the Foundation, and he stepped back. In 2010 he was elected president of the Hungarian Filmmakers Association.
The lack of success of The Man from London was rather disappointing considering the high expectations, and all of this foreshadowed the difficulties surrounding the commencement of Tarr's next project, The Turin Horse (2011). This is when Tarr announced that this film would be his last one, after which he would quit filmmaking. He made this announcement when he was already a national and international celebrity, known and respected by many in the international art-film world: T-shirts with his name on are on sale in Los Angeles, his style is imitated by other filmmakers, and he has become a cult figure for art-film audiences all over the world. In short, when Tarr ceased to be a marginalised outsider and became one of the touchstones of the mainstream high-brow art-film culture, he decided it was time to stop." [1]
A torinói ló (2011) ... aka The Turin Horse
A londoni férfi (2007) ... aka The Man from London
Visions of Europe (2004) (segment "Prologue")
Werckmeister harmóniák (2000) ... aka Werckmeister Harmonies
Utazás az Alföldön (1995) ... aka Journey on the Plain
Sátántangó (1994)
City Life (1990)
Utolsó hajó (1990) ... aka The Last Boat
Kárhozat (1988) ... aka Damnation
Öszi almanach (1984) ... aka Almanac of Fall
Panelkapcsolat (1982) ... aka The Prefab People
Szabadgyalog (1981) ... aka The Outsider
Családi tüzfészek (1979) ... aka Family Nest
Hotel Magnezit (1978)
[1] András Bálint Kovács, The Cinema of Béla Tarr: The Circle Closes (Directors' Cuts) (Wallflower Press, 2013) pp 8-11,171


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Home > Foodborne Illness Outbreaks > Kansas E. coli Outbreaks Past
Kansas E. coli Outbreaks Past
By Dave Babcock on February 18, 2012
There are two Kansas residents among the twelve persons sickened in the outbreak of E. coli O26 announced by the CDC this week, and linked to consuming sprouts at Jimmy John's. E. coli O26 is a "shiga-toxin" producing strain of the E. coli bacteria, the most well known of which is E. coli O157:H7. Like O157:H7, E. coli O26 can cause hemolytic uremic syndrome (HUS).
There have been a number of E. coli outbreaks in the past that have affected Kansas residents, courtesy of outbreak-database:
2011: Schnucks E. coli O157:H7 outbreak – romaine lettuce. 60 people were sickened in Arizona, Minnesota, Arkansas, Kansas, Georgia, Illinois, Indiana, Kentucky, Missouri, Nebraska. Marler Clark has filed two lawsuits on behalf of victims of the outbreak.
2009: National Steak and Poultry, E. coli O157:H7 outbreak – steaks. 25 ill people in 16 states including Kansas.
2003: Stampede Meat E. coli O157:H7 outbreak – steaks. The outbreak sickened 16 people in Kansas and Minnesota.
Tags: ecoli attorney
Dave Babcock
Dave Babcock graduated cum laude from the University of Massachusetts in 1991 and received his Juris Doctor from the University of Washington Law School, graduating with Honors in 1997. Since joining Marler Clark in 2001, Dave's practice has focused on multiple party complex…
Dave Babcock graduated cum laude from the University of Massachusetts in 1991 and received his Juris Doctor from the University of Washington Law School, graduating with Honors in 1997. Since joining Marler Clark in 2001, Dave's practice has focused on multiple party complex litigation, most commonly related to food-borne illness outbreaks. He has written several articles about food-borne illnesses and food-borne illness litigation for such publications as The Journal of Environmental Health and Trial Magazine.
Read more about Dave Babcock


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Longtime Crozet residents will remember the charming Women's Club building, now home to a wonderful collection of vintage furnishings, heirloom pieces and uncommon finds. Also within is the studio and gallery of local watercolorist Christine Kennedy. We look forward to welcoming you to Crozet's hometown antique shopping destination.


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AIR & SPACE MAGAZINE
The World's Largest Indoor Air Show
Now featuring drones, too.
Megan Jones
Hobbyists filled the University of Illinois Armory to compete with RC aircraft.
Hundreds of radio-controlled helicopters, airplanes, and quadcopters buzzed through the Armory at the University of Illinois at Urbana-Champaign at the 10th annual E-Fest on February 6 and 7. Sponsored by RC aircraft manufacturer Hobbico Inc., the event is billed as the world's largest indoor aircraft show. Built in 1914, the Armory, with 80,000 square feet of floor space and a 100-foot vaulted ceiling, gives pilots plenty of unobstructed airspace.
"The beauty of flying models is that it teaches so many different things," said Art Pesch, senior manager at Hobbico. "You learn how to read blueprints, principles of engineering, spatial orientation."
Matt Slobe won the gauntlet at the 10th annual E-Fest.
Visitors could attend a full day of workshops: A representative from the Federal Aviation Administration explained the new drone regulations, veteran RC competitor Bobby Watts spoke about using drones in the commercial film industry, and the university's drone club taught guests how to build and fly racers. Benjamin Khachaturian, a freshman at the university studying industrial design, gave a presentation recounting his six-day hiking trip to Mount Frederick William in British Columbia with a GoPro camera and Hubsan X4Pro quadcopter. He offered advice on taking video in flight, such as how to ensure propellers don't get in the camera's sight lines.
The event hosted 350 pilots, 25 vendors, and 3,000 spectators—many of whom were in attendance to watch the combat and course challenges. In the obstacle-course event, pilots navigated Dromida Vista UAV quadcopters through hula hoops and gates.
Chris Hass has been flying RC airplanes for 19 years, and started traveling from Michigan to attend the festival when it started a decade ago. He and his team competed in the gauntlet, which requires pilots to sprint through a course and repeatedly hand-launch foam and carbon-fiber airplanes through targets not much larger than the airplane itself. It's an event that tests craftsmanship as much as precision. "The pilot and the pit crew are running with glue, trying to glue the plane back together," said Hass. "It's a really fun, high-energy event. It keeps us on our toes."
According to Pesch, when the event began, it was for electric RC airplanes. Then helicopters began to have a bigger presence, but recently drones have exploded onto the scene and brought a new crowd of enthusiasts.
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This story is a selection from the April-May issue of Air & Space magazine