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Teknos Outlines Group's Sustainability Targets
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Teknos outlined the group's sustainability targets as part of its strategy renewal for 2019–2025.
The goal is to become the most responsible actor in the industry and to make the world last longer through close cooperation with stakeholders and by investing in developing exceptional customer solutions and enhancing employees' expertise. The focus areas of the program are sustainable solutions and services, responsible operations and supply chain, people development and future generations.
"For us, sustainability means two things: First, is that we invest most of our profits back into the company, and invest in our people and their skills. This way, we can develop the society by sharing our expertise forward through e.g. customer training or social activities," Teknos Group CEO Paula Salastie said. "Second, we feel that it is important for us to support our customers in reaching their sustainability goals. This will help us to make a bigger positive impact."
In practice, this means that Teknos is committed to developing sustainable solutions and services that enable the company's customers to save energy, extend their products' life span and reduce the number of hazardous chemicals in their products, among other things.
In the coming years, the company will focus on research into bio-based and secondary raw materials and their inclusion in their products. Country and function-specific road maps are currently being developed to support the CSR program.
As part of the work, Teknos has also published a report on non-financial information for the first time. The company commits to developing its sustainability reporting in accordance with the interests and expectations of external and internal stakeholders.
Sustainability has guided the company's operations and product development for years. It stems from the values of the family business, the company culture and a willingness to look ahead far into the future instead of just into the next quarter. As a fourth-generation family entrepreneur, Salastie wants to nurture the company like her own child; she speaks about ensuring continuity of both the company and the planet.
"Sustainability can also be small actions for which you expect nothing in return, things that make our stakeholders happy," she said. "As such, sustainability is not only realized through our CSR program but is built in the way we operate daily.
"We want people's living environment to be as good as now – or better – in the future," Salastie continued. "This means not only taking environmental issues into account, but also both ensuring continuity for the company and investing in the wellbeing and development of our personnel. As we develop the company with a view to the long-term future, we guarantee that we will be able to continue to grow and develop, create jobs, innovate and develop more sustainable and better products, and invest in employee well-being and safety."
According to Salastie, Teknos is well placed to build a more sustainable world.
"We are backed by strong innovation expertise and highly skilled and motivated staff. As a family-run business, our trump cards are agility and the ability to make quick decisions. Our customer focus and years of excellent customer relationships help us work closely with our customers in this field," Salastie said.
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Helena sells Potters Place
Home News Helena sells Potters Place
What started out as a pottery studio and a venue for art lessons, with the odd cup of coffee thrown in, Potters Place became the top live entertainment venue in Jeffreys Bay in a short space of time.
Locals are therefore almost in shock that the woman behind it all, Helena Terblanche will be handing over Potters Place tomorrow as the business has been sold.
"I have received a few offers for Potters that I didn't accept because I wasn't convinced that the buyer would continue with vibe and style that Potters Place has developed over the years. I needed someone who the artists would trust as well as somebody the Jeffreys Bay community could also trust" said Helena.
Helena brought many of the big names in SA music to J'Bay and started the transformation of Oosterland Street.
"However the right guy has come along and will be carrying on with the Live Shows and will keep the ambience of Potters the same so I made the decision to sell. Marli, my youngest daughter was in Grade One when I started in Stone Lodge and she is now in Matric so the time feels right to start the next phase of my life".
From humble beginnings 12 years ago, Potters Place has become the Live entertainment venue in Jeffreys Bay. The first artist to perform at Potters was Gert Vlok Nel and soon a stream of top South African artists like Valiant Swart were making their way to Jeffreys Bay to perform at Potters.
"Theuns Jordaan played here before he became famous", recalls Helena. "He arrived in an old bakkie and carried his own speakers and set up himself".
As the Live shows became more popular it was clear that Stone Lodge was becoming too small. In 2001 Helena bought the house where Potters Place is situated today. "I made the alterations and put up the roof and the stage. At that stage people were used to bringing their own chairs to watch shows at Potters so Johan Grobler went to the business people in town and got businessmen to sponsor the chairs for the new venue," said Helena.
Article continues below...
"What has been really cool about Potters Place is that artists contact us to come and play here. Many of them are busy touring South Africa and stop off in Jeffreys Bay on their way to their next performance."
When asked what she is going to be doing with her life after Potters Place, Helena laughed and said that despite the rumours, she is not getting married. "I will probably still be involved with artists and become a promoter for venues around the Eastern Cape. It looks like I will be spending more time in the Langkloof which is where I came from before moving to Jeffreys Bay and will have a studio at the Assegai Bos Lodge near Kareedouw. I will be painting and making pottery and my work will still be sold through Potters Place".
Jeffreys Bay without Helena just won't be the same but what she has started and contributed to the town will continue. Potters Place is holding a 40 % sale until 12 PM on 30 September so some early Christmas shopping is definitely the call.
Buy one of Helena's paintings or something from the unique Indian/Nepal clothing range and don't leave without a bottle or six of the famous Potters Moerse Lekker Sous.
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redpajama_set_name: RedPajamaCommonCrawl


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Extensions of Opial's inequality
Paul Richard Beesack and Krishna M. Das
In this paper certain inequalities involving integrals of powers of a function and of its derivative are proved. The prototype of such inequalities is Opial's Inequality which states that 2∫ 0X|yy′|dx ≦ X ∫ 0Xy′2 dx whenever y is absolutely continuous on [0,X] with y(0) = 0. The extensions dealt with here are all integral inequalities of the form
(or with ≦ replaced by ≧), where r, s are nonnegative, measurable functions on I = [a,b], and y is absolutely continuous on I with either y(a) = 0, or y(b) = 0, or both. In some cases y may be complex-valued, while in other cases y′ must not change sign on I. The inequality (as stated) is obtained in case pq > 0 and either p + q ≧ 1 or p + q < 0, while the opposite inequality is obtained in case p < 0, q ≧ 1, p + q < 0, or p > 0, p + q < 0. In all cases, necessary and sufficient conditions are obtained for equality to hold.
Published: 1 August 1968
Paul Richard Beesack
Krishna M. Das


The Sea of Pain is Raul Zurita's poignant ode to Galip Kurdi. The five year old who drowned alongside his mother and younger brother Alan–immortalised by a heart-rending image evocative of the Syrian refugee crisis–with nary a mention. Not even a fleeting one. The Chilean poet's installation at Aspinwall House, for the ongoing Kochi Muziris Biennale, invites visitors to wade through knee-deep water in a cavernous warehouse to read, literally, the writing on the wall.
Powerful words confront you at the end of the concomitant zombie-lumber. "Below the silence you can make out a piece of sea, of the sea of pain. I'm not his father, but Galip Kurdi is my son," he signs off, provoking pensive commentary about persecution-driven migrations around the world. The mild albeit compelling lap of waves against legs braced for balance induces attention back to immediate surrounds. As much to the role seas essay in the separation of people from people, often a person from life.
Equally, these seas have served to bridge civilisations since man first learnt to catch the wind in his sails. For the sake of specifics, trade winds, just as Mark Twain would have us do to explore, dream, and discover. Pre-dating his dictum by many millennia though, ancient mariners are believed to have dropped anchor in the Indian Ocean as far back as the third century BCE. Coastal sailing vessels yawed along the maritime routes of the Red Sea bearing Arab tradesmen to the western shores of India.
They were possibly lured by a tiny spice that had been finding its way to Egypt, overland, since the time of the pharaohs. Preservative properties of the pungent peppercorn necessitated its presence, among others, in burial chambers. The earliest material evidence of which is seen in the wall relief at the funerary monument of Queen Hatshepsut (circa 15th century BCE) in Thebes. Some 200 years later, the same fragrant spice was packed into the patrician nostrils of Ramses II for retention of shape before mummification.
More recently, in the 1990s, excavations in Berenike on the west coast of Egypt have unearthed not just the lost past of this port city, but also a large vessel made of Nile silt containing many kilograms of pepper. A vital transit port during the Ptolemic-Roman period (3rd century BCE – 6th century CE), cargoes unloaded here were carried across the desert to the Nile then ferried up to the Mediterranean Sea and beyond. Goods from Rome and Egypt bound for then South Arabia, East Africa, India and Sri Lanka retraced this route before being launched into the Indian Ocean.
Berenike's subsequent loss in significance, then to time, coincided with the fading fortunes of Rome. One of the reasons for which, should one heed the lament of Pliny the Elder, was the fast depleting gold and silver reserves in exchange for the impossibly high demand for–and cost of–pepper. Be that as it may, that a vibrant maritime trade existed between Red Sea ports and the source of the spice in Greco-Roman times is also gleaned from other archaeological finds in the proximity of Berenike. They include a graffito in Tamil Brahmi mentioning a chieftain by name, Indian pottery, kitchen ware, coconut, teak wood and beads fashioned from precious and semi precious stones.
In addition, the Periplus of the Erythrean Sea, a 1st century CE nautical navigation aid describes knowledgeably, in Greek, ports and littoral landmarks along the coast of the Red Sea, northeast Africa, west and southwest India. One of them on the Malabar Coast was Muziris. Said to be the hub of phenomenal trade during the Greco-Roman period–more so after Hippalus too discovered the might of the monsoon wind in his sails–it fell off maritime maps roughly about the same time as did Berenike.
Not entirely from lore and legend though, thanks to the paeans articulated about its cultural and commercial interactions in contemporaneous Sangam literature. This collection of over two thousand Tamil poems spanning six hundred years is a telling chronicle of the history of Tamilakam; ancient southern India under the Cheras, Cholas and Pandyas. In their poems, both Erukattur Thayankannannar and Paranaru describe Muziris as a flourishing town where Yavanas (possibly a derivative of Ionians) arrived on beautiful ships in order to exchange gold for pepper.
For the longest time, Kodangallur (colonial Crangnore) believed itself to be Muziris. Located as it is a short distance upstream of the Periyar River, like how European and Indian classical texts flagged it. This belief was perhaps underscored in large measure by the coming ashore of the three major religions of the world within a short chronological period of each other. Large footprints of all are still extant within a narrow radius. St Thomas, one of 12 Apostles of Christ is said to have arrived here in 52 CE. The riverside Mar Thoma Church in Azhikode, of very recent vintage, commemorates this event.
Following the destruction of the Second Temple, circa 70 CE, Jews fleeing Jerusalem made this part of India home till the formation of Israel when some migrated there. Legend also holds they may have sailed here during King Solomon's time. Later, sometime in the 7th century then Chera king Cheraman Perumal reportedly embraced Islam. He died while returning from a visit to Mecca but not before entrusting letters of intent for his feudatories into the hands of one Malik Ibn Dinar. The bearer is credited, as a result, with building the Cheraman Juma Masjid, mostly believed to be the first mosque in India. Yet, despite such cultural riches supporting its past, Kodangallur failed to provide any empirical evidence to substantiate its primary claim to fame.
Then, about a decade ago, the ground under Pattanam, a nondescript village located in the Periyar delta some 25 kilometres north of Kochi, and 8 kilometres across the river from Kodangallur, began to spew kaleidoscopic beads with unfailing regularity, come rains. This led to a whole lot of excited speculation about what lay beneath, continues indeed to-date with as much fervour, with historians, archaeologists, and related experts yet to reach a common conclusion. There is little doubt that cultural contact of the region with civilisations of the Old World existed, long facilitated by the legendary Silk Road, of which the Dakshinapath was an important southern off-shoot.
Concerted excavations and resultant finds since 2007 in and around Pattanam have established beyond reasonable doubt the existence of a cosmopolitan society. That it was one engaged in maritime trade can be evinced from the presence of a couple of million potsherds of local origin, amphora shards indicative of Greco-Roman connections, as well as those reminiscent of West Asia. Not least, by the discovery of what may once have been a wharf, bollards to secure boats, and a canoe which carbon dating places somewhere between 1st century BCE and 1st century CE. Clearly, here was an important link to the Spice Route of yore that shaped enormously the history and ethos of Kerala as we know it today.
It is on this hoary wealth–real and imagined–that Kerala Tourism's ambitious Muziris Heritage Project is largely hinged. Having inundated every available coastal inch with leisure and wellness tourism, it now seeks to galvanise footfalls to the not too distant hinterland. The project straddles a couple of millennia and encompasses several historic and cultural sites dotting the two neighbouring districts of Ernakulam and Thrissur. Places of faith, seminaries, royal residences, marketplaces, cemeteries et al connected by road as well as waterways have all been threaded into interest-specific circuits.
A visit to the site museum at Pattanam, on which the project is centred, promises to fire up the imagination of even the most casual visitor. Interactive multimedia displays include images of various stages of excavation that resulted in the remarkable cache of exhibits, reconstructed representations of wine and oil storage amphorae, and a children's corner. A blow-up of Vivan Sundaram's Black Gold, an installation he created for the previous edition of the Biennale using potsherds from the digs around here, is a prominent part of the captivating array.
The jury, of course, is still out on whether Pattanam is indeed Muziris. While many believe it is a ground-breaking achievement, some insist it's a contrived attempt at dolling up a has-been. Much like AES+F's Defile, the life-size digital display of dead bodies kitted out in high-fashion currently showing at the Biennale underway in Kochi. To draw inference with complete certainty though will require a much deeper probe of Pattanam's multi-layered foundations. That said, history buffs and leisure travellers will want for nothing should they decide to undertake an enriching voyage into this little-known side of God's Own Country.
Note: This article has earlier appeared in The Hindu Business Line.


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Documentaries / Movie Reviews / Movies / Pop Culture / Reviews / Video / Video Reviews
Filmworker (A PopEntertainment.com Movie Review)
Posted on May 25, 2018 by popenterta	Leave a comment
Filmworker
FILMWORKER (2018)
Featuring Leon Vitali, Ryan O'Neal, Matthew Modine, R. Lee Ermey, Danny Lloyd, Stellan Skarsgård, Marie Richardson, Tim Colceri, Brian Capron, Pernilla August, Julian Senior, Lisa Leone, Brian Jamieson, Chris Jenkins, Nick Redman, Ned Price, Steve Southgate, Treva Etienne, Mike Alfreds, Warren Lieberfarb, Colin Mossman, Jacob Rosenberg, Phil Rosenthal, Max Vitali, Vera Vitali, Masha Vitali, Janet Wilson, Beverly Wood, Chris Vitali, Tim Vitali, Maria Hayward and archival footage of Stanley Kubrick.
Directed by Tony Zierra.
Distributed by Kino Lorber. 93 minutes. Not Rated.
Leon Vitali seemed to have a great future ahead of him. He had a promising career as an actor; working in theater, on TV and in film. Just when he had received his biggest role yet, he chucked it all to work 24/7 as an assistant (some might say indentured servant) for a complete perfectionist with a massive temper.
A perfectionist named Stanley Kubrick.
Vitali was a fan of the master filmmaker since his childhood when he was entranced by the films 2001: A Space Odyssey and A Clockwork Orange. Therefore, Vitali thought that he had hit the jackpot when he got a substantial supporting role in the filmmaker's 1975 film Barry Lyndon. He befriended the big guy, who enjoyed his acting and even beefed up his role.
Then Kubrick offered him the chance to watch things behind the scenes, eventually making the guy a jack-of-all-trades on set. Vitali did everything for Kubrick – casting, filming, dolly, editing, sound, restoration, making trailers, location scouting, even cleaning up bathrooms, caring for his pets and picking up his dry cleaning. Vitali even eventually acted again a little, playing like nine different roles (all behind masks) in Kubrick's final film, Eyes Wide Shut.
The problem is, Kubrick only made three films in the 20-some years that Vitali worked behind the scenes for the master before Kubrick's death – four if you count Barry Lyndon, with Vitali on set but in front of the camera. Honestly, those four films for the most part are considered some of Kubrick's weaker and more self-indulgent work. Only Full Metal Jacket was critically acclaimed upon release. The Shining was met with critical derision and was considered a massive box-office bust when it first came out, though through the years it has gotten a big cult following. (I still consider the film a very intriguing near miss artistically.) And the less said the better about Barry Lyndon and Eyes Wide Shut.
Most of the truly great Kubrick films were already well in the past when Vitali hooked up with Kubrick – including classics like Dr. Strangelove, 2001, A Clockwork Orange, Spartacus, Lolita and The Killing. And while, yes, Vitali was involved with the conservation, video conversion and rereleases of these classic films, he did not actually work on them.
Since we mostly see Vitali's life in this film through the prism of what he did for Kubrick – and what he sacrificed to work 18-hour days, seven days a week – this lack of intriguing projects somewhat limits the interest of this film for film scholars. I mean, really, how much passion can you work up about the foreign VHS box artwork?
However, the film is fascinating because of how completely Vitali immersed himself into his work. The man devoted himself body and soul for over 20 years just because he believed that Kubrick was a genius and he was honored to be touched by greatness. He felt that he was of more use to humanity and the arts to let himself be a vessel to help a true visionary get his work out.
He barely slept, had few days off if any, only traveled for business, and did anything and everything that Kubrick asked of him without complaint, or resistance. Sometimes he even seems to have a little bit of battered-spouse syndrome when discussing what happened – for example he acknowledged in Filmworker that when Kubrick blew his top, the best thing to do was to step back, not to engage or argue, and just let the guy yell himself out.
However, Vitali is a very engaging host and has some very interesting behind-the-scenes insights. The title of this documentary is how Vitali sees himself, merely a worker, a tool which helped to bring Kubrick's imagination to celluloid. Since we will never see a movie with Kubrick about his artistic process, this is probably the next best thing.
Copyright ©2018 PopEntertainment.com. All rights reserved. Posted: May 25, 2018.
Tags: 2001 A Space Odyssey, a clockwork orange, Barry Lyndon, Beverly Wood, Brian Capron, Brian Jamieson, Chris Jenkins, Chris Vitali, Colin Mossman, Danny Lloyd, Dr. Strangelove, Eyes Wide Shut, Filmworker, full metal jacket, Jacob Rosenberg, Janet Wilson, Jay S. Jacobs, Julian Senior, Leon Vitali, Lisa Leone, Lolita, Maria Hayward, Marie Richardson, Masha Vitali, Matthew Modine, Max Vitali, Mike Alfreds, movie review, Ned Price, Nick Redman, Pernilla August, Phil Rosenthal, PopEntertainment.com, R. Lee Ermey, Ryan O'Neal, Spartacus, Stanley Kubrick, Stellan Skarsgård, Steve Southgate, the killing, the shining, Tim Colceri, Tim Vitali, Tony Zierra, Treva Etienne, Vera Vitali, Warren Lieberfarb. Bookmark the permalink.
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Man is the only mammal that willingly delays sleep. In general, most healthy adults need seven to nine hours of sleep a night. However, some individuals are able to function without sleepiness or drowsiness after as little as six hours of sleep. Others can't perform at their peak unless they've slept ten hours. Sleep is just as important as diet and exercise.


Blog: Is it smart to be stingy about covering addiction treatment?
The conflict between health plans and providers over coverage of medication-assisted treatment for patients with opioid addiction highlights the ongoing tensions over government regulation of insurance benefit packages. And it raises questions about whether current benefit designs of private health plans are necessarily consistent with the broader public health goals.
Modern Healthcare's Bob Herman reported last week that health insurance trade groups and provider groups are on opposite sides of a debate over whether the Obama administration should deem medication-assisted treatment (MAT) a mandated benefit under the Affordable Care Act's essential benefits provision.
But America's Health Insurance Plans, the Blue Cross and Blue Shield Association, the Pharmaceutical Care Management Association, Express Scripts Holding Co., CVS Health Corp., and UnitedHealth Group sent the CMS written comments that they should not be required to pay for any specific treatment for opioid addiction. "We are concerned that by mandating specific benefits within an (essential health benefits) category, CMS may establish a precedent of imposing essential health benefit mandates in the future," the Blues association wrote. That, it warned, could lead to premium increases. The insurance groups said they should be able to make their own coverage decisions for specific drugs.
Many insurers do pay for MAT, which involves a combination of medication and counseling to reduce addicted patients' craving for opioids such as heroin. But providers and patient advocates say insurers often pay for only one of the three FDA-approved drugs for addiction treatment. Providers prescribe different drugs based on their assessment of which is most effective for particular patients.
Or the insurers may set high cost sharing for the drugs, thus reducing the number of addicted patients receiving treatment. And some plans cap the number of covered dosages and refills, according to the Substance Abuse and Mental Health Services Administration. Methadone and buprenorphine, the two most commonly used drugs, can set a patient back thousands of dollars a year in out-of-pocket costs.
Both SAMHSA and the National Institute on Drug Abuse have found MAT to be clinically effective for people with opioid addiction. NIDA said such treatment also saves money by keeping people out of hospitals and treatment centers.
This coverage debate is playing out at a time when the U.S. is facing what many experts consider a national opioid addiction crisis, with sharply rising numbers of Americans becoming addicted and dying from opioid overdoses. Nearly 29,000 people died in 2014 from overdoses of prescription painkillers, heroin and other opioids, according to the Centers for Disease Control and Prevention. Both Republican and Democratic politicians are calling for expanded treatment.
One unanswered question is why a drug like methadone that's been on the market for decades is so expensive.
Still, does the usual "skin in the game" justification for high cost sharing really apply to people in the grip of opioid addiction? Are heroin addicts going to think about their deductible and copays before snorting or shooting up? And do we want to make it harder and less affordable for them to receive effective treatment by imposing insurance hurdles and high cost sharing?


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Сантья́го Габриэ́ль Орме́ньо Са́йас (); ) — перуанский и мексиканский футболист, нападающий клуба «Леон» и сборной Перу.

Клубная карьера
Орменьо родился 4 февраля 1994 года в Мехико в семье перуанца. Он является внуком футболиста Вальтера Орменьо, вратаря сборной Перу в 1940-е — 1950-е годы. Сантьяго начинал свою карьеру в низших лигах мексиканского футбола, где играл в третьем дивизионе за молодёжные команды «Америки» (Мехико) и «УНАМ Пумас», «» и «Лобос БУАП». В 2018 году его купила «Пуэбла», в составе которой он дебютировал в профессиональном футболе, выйдя на замену в матче кубка Мексики против «Венадоса» (1:0). Несколько месяцев спустя, 10 октября, дебютировал в чемпионате Мексики в матче против клуба «Монаркас Морелия» (0:2), а 21 февраля 2019 года забил свой первый гол в матче национального кубка против «Хуареса» (1:1).

В июле 2019 года был отдан в аренду на сезон в «Реал Гарсиласо», однако сыграл за этот клуб всего в трёх матчах и забил один гол. В начале 2020 года вернулся из аренды и провёл всего одну игру в . В сезоне 2020/2021 сумел завоевать место в стартовом составе и по итогам сезона стал лучшим бомбардиром команды, отметившись 17 забитыми мячами в 36 матчах. 4 июня 2021 года перешёл в клуб «Леон», подписав контракт на 4 года.

Карьера в сборной
Поскольку у Орменьо было двойное гражданство, Мексики и Перу, он мог выбрать любую из этих национальных сборных. 10 июля 2021 года был включён в заявку перуанской сборной на Кубок Америки 2021. 20 июня 2021 года официально дебютировал за сборную в матче против Колумбии на Кубке Америки, вступив в игру на 83-й минуте вместо Джанлуки Лападулы. По итогам турнира Орменьо принял участие в 6 матчах, не отметившись забитыми мячами, а сборная Перу заняла 4 место.

Статистика

Клубная

В сборной

Матчи за сборную

Итого: 6 матчей; 2 победы, 2 ничьих, 2 поражения.

Примечания

Футболисты Перу
Футболисты Мексики
Игроки сборной Перу по футболу
Игроки ФК «Пуэбла»
Игроки ФК «Лобос БУАП»
Игроки ФК «Куско»
Игроки ФК «Леон»

redpajama_set_name: RedPajamaWikipedia


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O'Hara Law Firm December 13, 2016
Houston Passes Ordinance to Protect Bicyclists
Last July, seventeen-year-old Miguel Marcial was riding his bike along a rode in Houston after finishing the late shift with his brother. He was on the way to a nearby pharmacy. A few blocks away from his destination, he was struck from behind by a new BMW and launched head first into a tree. The driver failed to stop and give aid, leaving the teenager to die. Miguel is one of twenty-three bicyclists killed in Houston by a vehicle in the past five years.
Houston passed an ordinance in 2013 to help protect bicyclists and other vulnerable road users from motor vehicles. The ordinance requires motor vehicles to keep a separation of three or more feet from vulnerable road users. Commercial vehicles and trucks must keep a separation of more than six feet. Vulnerable road users are defined as walkers; runners; the physically disabled, such as someone in a wheelchair; a stranded motorist or passengers; highway construction, utility or maintenance workers; tow truck operators; cyclists; moped, motor-driven cycle and scooter drivers; or horseback riders. Similar ordinances also exist in San Antonio, Fort Worth and Austin.
Hopefully, fewer bicyclists will be injured or killed over the following years as police officers enforce the ordinance. Presently, too many pedestrians and cyclists are still injured each month in Harris County. If you have been struck by a motor vehicle and injured, contact O'Hara Law Firm for a consultation. You may be entitled to compensation for medical bills, lost wages and pain and suffering.


I keep asking myself: what is a belief?
Couple of days later I stumbled upon this video.
What it really got me is the depth of research the team involved just to prove that what we believe is just a reality… and if you see this experiment reality doesn't really exist!
Everything we believe is general truth for some, while total disbelief for others. People believe in God, people believe in aliens, even though they may never see any of it in throughout their WHOLE life.
The point in this video is trying to tell us something really important.
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Half-price travel with the Half-Fare travel card or Swiss Half-Fare Card.
From 6 to 16 years: 50% discount.
With the Junior Card, children under the age of 16 accompanied by a parent travel for free.
The seat reservation is obligatory and will be levied on anyone travelling by the Glacier Express. The fee must be paid in full by all passengers, including children and ohters holding discount travel passes. This does not apply to children under six who do not require a seat. Holders of all TCV and Eurail passes must also pay the fee.


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Captain America #384 and Namor the Sub-Mariner #13 (April 1991)
This issue may seem like a disposable fill-in, but it actually resolves an issue that the Marvel brass may have wanted, as the title of the CBR column goes, abandoned and forsaken: the removal of the super-soldier serum from Captain America's bloodstream in issue #377 and the ensuing (as was expected, at least) decline in his abilities. It took years to reverse the super-strength Cap gained in issue #158, but only seven issues for this more recent change is be… reconsidered. Also, we say hello (and goodbye?) to a Golden Age hero we only briefly met earlier—although he may seem familiar in several ways—and in Namor's book this month, we get a lesson on superhero testimony that has since been overturned itself.
In Captain America #384, the main focus is laid out on the first page, along with a memo from the team leader that just might have been prompted by all the junk food seen in the meeting room in Avengers #329!
Cap knows he feels good, but he wants to hear it from team physician Dr. Keith Kincaid as well—and the good doctor has a theory as to why.
In short, the Project Rebirth treatment permanently altered his system so it would replace any of the serum it lost (for instance, through blood transfusion).
Besides the obvious, Cap is relieved both that he had a chance to prove to himself (in issue #378) that he didn't need the serum while it was depleted, and that the super-soldier serum has even less in common with recreational and performance-enhancing drugs than he thought. (This second point was never a significant concern, but it is hard to see how its self-maintaining ability affects that comparison—if anything, it makes the super-soldier serum a more dangerous analogue of other drugs.) So, not only does this resolve a change in the character that I doubt anyone really wanted, but it also put Cap's mind to ease… always a good thing!
Below, we get some basic medical info about the Sentinel of Liberty, none of which is surprising…
…until Dr. Kincaid hits on a concern somewhat unique to Cap (and very Gruenwaldian), which prompts some reminiscing on events recounted many times since Avengers #4.
We do get a few new details about Cap's impressions as he fell through the air and into the frigid waters below, making the episode more terrifying than it seemed in previous recountings.
Of course, we get "that" scene, one of the most famous panels in Marvel Comics history.
Cap continues to speculate while Dr. Kincaid follows up…
…which leads Cap to remember more recent but similarly tragic events, which reminded him at the time of losing Bucky (as we saw).
This starts Cap thinking that D-Man may actually be alive (but not Bucky, no way, he definitely blowed up, not possible), and when Peggy Carter shows up with the latest tabloid, it just adds fuel to the fire.
Thanks to the priming, Cap jumps to the conclusion that the figure in the ice could be D-Man, and even though Dr. Kincaid tries to tamper his expectations, Cap's off to the races.
(Kincaid's offhand comment about Sasquatch—Walter Langkowski from Alpha Flight—is cringeworthy, not just for treating gender reassignment surgery as a punchline, but also because Sasquatch's spirit had recently been transferred into the body of Snowbird, his female Alpha Flight colleague, and then a closer female analogue of himself named Wanda Langkowski, which was likely the truthful basis for the tabloid story he saw.)
While flying with John Jamseon to the site of the mystery man, Cap second-guesses his past decisions, as he is wont to do.
Once there, Cap rides his sky-cycle to the ground and asks two indigenous men—one of them a shaman—to show him the frozen man, and when Cap starts to free him, the shaman begs him to stop (albeit in his native tongue).
The shaman's companion is able to translate (at least one way) when Cap explains his sympathy for the men's religious convictions, but there is a man's life at stake—a conflict Cap acknowledges but does not find difficult to resolve.
It turns out Cap's initial blow was enough…
…but the issue of the identity of the man in the ice takes second place to the coming of the ice demon (as the shaman warned).
Cap radios to John and asks him to have Peggy call Thor, and then proceeds to fight the ice demon while trying to free the man inside… until the demon swallows him whole.
As he travels through the ice demon's digestive system, Cap bumps into the man frozen inside, but before he can confirm his identity, he starts to pass out, acknowledging that this might be the end (or the beginning of another spell in ice for him).
Eventually he awakens to a vision of Death and the Statue of Liberty in combat—subtle, that—before reviving completely and greeting his companion… who is not D-Man at all.
You will no doubt remember Jack Frost from 1976's Marvel Premiere #29-30 and Invaders #6, in which he appeared as a member of the Liberty Legion, after debuting in USA Comics #1 in August 1941. (However, you would be forgiven if you thought for a second it was Captain Atom, especially as drawn as Pat Broderick in his DC Comics series that launched in 1987.)
Cap and Jack continue to fight the ice demon from the outside—with Jack proving he could show young Bobby Drake a thing or two—but Cap is more concerned with making sure the shaman doesn't sacrifice himself to stop the monster.
Cap faces another conflict of values, which again he seems to find easy to resolve, always erring on side of saving a life.
(Well, this is comics, so not really… but OK.)
Jack sees a way to defeat the ice demon, but knowing all too well how Cap feels about self-sacrifice, he doesn't let him know ahead of time.
Cap prepares to counter the ice demon's attack when it suddenly turns, and once he sees Jack, he knows what he's planning and he commits to stopping him.
While again second-guessing his past decisions, Cap tries to combat the ice demon from above to free Jack from his chosen destiny below… but to no avail.
Hey, look who finally showed up! At least he has a fun fact about Jack…
…which, as of the time of writing, has never been followed up on. In fact, aside from the occasional Golden Age flashback, Jack Frost has not been seen again, so we can only assume he's frozen inside the ice demon once more, waiting for the next industrious Marvel Comics writer to haul him out. (Gee, wasn't there a War of the Realms recently?)
Cap and John fly back to New York… leaving a certain friend unseen. (How many people are in the ice up there, anyway?)
Will D-Man return? Wait and see!
Either before and after his arctic journey, Cap appears in Namor the Sub-Mariner #13, where his fellow Invader (and sometimes Avenger) faces charges stemming for allllll his acts of aggression against the surface world. Cap would love to testify on his behalf…
…but the law says no. (Naturally, it takes Matt Murdock to get this law overturned in Daredevil, vol. 5, #25, October 2017.)
Captain America (vol. 1) #384, April 1991: Mark Gruenwald (writer), Ron Lim (pencils), Danny Bulanadi (inks), Steve Buccellato (colors), Joe Rosen (letters). (More details at Marvel Database.)
Collected in: Captain America Epic Collection: Streets of Poison
Namor the Sub-Mariner #13, April 1991: John Byrne (writer, pencils, inks, letters), Glynis Oliver (colors). (More details at Marvel Database.)
Collected in Namor Visionaries by John Byrne, Volume 2.
PREVIOUS ISSUE: Captain America #383 (March 1991)
ALSO THIS MONTH: Avengers #331, West Coast Avengers #69, and Web of Spider-Man #75 (April 1991)
NEXT ISSUE: Captain America #385 (May 1991)
1991, Captain America (title), compassion, death, friendship, generosity, grief, judgment, law, moral dilemma, sacrifice
April 1991, Captain America #384, Namor the Sub-Mariner #13
Avengers #330-331, West Coast Avengers #69, and Web of Spider-Man #75-76 (March-May 1991)
Captain America #385 (May 1991)
2 thoughts on "Captain America #384 and Namor the Sub-Mariner #13 (April 1991)"
To be honest at the time the idea that the SS serum had always stayed in his body afterward seemed strange to me. So I really didn't care for them making such a big issue of the whole thing becuase to me it would have left his system soon after it transformed him. (I know it makes the whole "frozen in ice" thing more plausible but… comics!)
profmdwhite says:
Same — it's one of those things I would never have given a moment's thought to if they hadn't brought it up!


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Lucas Arruda 'Solar' (Favorite France) 4/5
30th September 2015 ukvibe
Born in 1983 near Rio de Janeiro, Lucas Arruda initially studied electric guitar, before a shift in emphasis led him to Rhodes and Keyboards. Whilst expanding his range of skills he started his own studio and began forging a musical career in Brazil. In 2012 Fabricio Di Monaco (from Modo Solar) introduced Arruda's music to Favourite Recordings' head honcho Pascal Rioux, and one year later the Brazilian released his first solo album "Sambadi", receiving impressive acclaim for the writer's compositions and arrangements. "Solar" further develops Arruda's growing reputation, with its stylish and smooth mix of elements from his Latin musical background creating a magical fusion of jazz, soul and funk.
One could say "Solar" is a throwback to Brazilian 70's music at its best. Soulful, warm and heartfelt tunes blend with subtle rhythms and melodies to create a highly expressive and enjoyable album. There are some key influences in Arruda's music, think Azymuth, Marcos Valle and Ed Motta, but Arruda manages to combine these with his own voice, creating his own individual sound. His vocals sound so natural, with a soulful expression that adds to the grooves and rhythms of his Fender Rhodes, leaving us with a vintage sounding mix to be treasured.
The intro to Solar is a sweet and chilled piece that gently leads us into the album, with a warm and uplifting vibe that simply glows with its subtle musicality. Then it's into the cool laid back groove of the wonderful songs with their funky bass lines, melodic synths, über-cool Rhodes and luscious vocals. On the catchy "Melt The Night" Arruda asked legendary producer Leon Ware for assistance. His 80's collaborations with Marcos Vale are evident here, adding a sophisticated boogie and soulful Californian touch to this immediately likeable tune. For "Uma Onda" Arruda collaborates with Azymuth bassist Alex Malheiros and together they pay tribute to their specific fusion sound and influence on the Brazilian music scene. "Agua" is a song co-written with Arruda's longtime friend Fabricio Di Monaco and is a beautifully worked ballad which illustrates perfectly the writer's passion for Soul Music stars such as Stevie Wonder and Curtis Mayfield.
"Solar" is an accomplished album from an artist who truly "feels" the music he is making. Track after track of natural flair and gorgeous grooves are performed with style and sensitivity – the result being a recording that once you've listened to it, you'll keep coming back for more. Uplifting and celebratory. An extremely joyful experience.
Nat Birchall 'Invocations' (Jazzman) 5/5
It was Sibelius who said: "Music begins where the possibilities of language end." And there endeth this review. Or not (obviously). I am far from alone in having been fortunate enough to have had the pleasure at one time or another, to listen to music that somehow seems to bypass the usual route to our senses by directly affecting us in a way that transcends our normal thought processes, even taking us beyond what we would consider to be a heightened emotional response. It goes deep. Deep into our very being, in to what it is to exist as a human being. Buddhists might experience this as the awakening of the lotus flower that rests within us all. A spiritual awakening that sets a person on the path to Enlightenment. In musical terms, it is the point where we don't even need to think, extrapolate any information or consider anything to do with what we are hearing and feeling; it just is. A oneness within us that touches, holds, and is effortlessly joined with the music we are listening to. This is how I felt when I first heard this album.
John Coltrane once said: "All a musician can do is to get closer to the sources of nature, and so feel that he is in communion with the natural laws." An apt and relevant quotation in more ways than one. Nat Birchall's musical journey began in the early 70's, listening to Jamaican music. Throughout the decade he delved deep into roots and reggae music, with passion and enthusiasm. To Birchall, it was the "sound" of these recordings, as much as anything else, that meant so much. Sometime around 1978 Birchall purchased his first Coltrane album, "Blue Train". It felt slightly foreign to his tastes at that time but once again, it was the "sound" of what he was listening to that really struck a chord. A year or so later, after a brief flirtation with playing the guitar, Birchall bought his first saxophone. He explains: "So in gathering together the records featuring saxophones it gave me a taste for the saxophone myself." Having made the purchase he goes on to say, "I went home with it, intending to fool around with it and impress people at parties. But as soon as I put the mouthpiece in my mouth and breathed air into it the sound spoke to me. It spoke to me in a way that the guitar never did. The sound had some kind of meaning to me. I decided there and then that I had to take it a little more seriously."
Fast forward to 2015 and I think we can safely say he has. Despite the fact that Birchall, to some extent, still appears to be, in jazz terms "The UK's best kept secret", he has pursued his own path of discovery that has led him to become one of jazz's true exponents of the kind of soulful, spiritual jazz perhaps first embodied by the trail blazing recordings of John Coltrane. For "Invocations", his latest album, Birchall is joined by his regular pianist Adam Fairhall, bassist Tim Fairhall and drummer Johnny Hunter. Birchall's previous release, the excellent "Live in Larissa" featured Cory Mwamba on vibes and although he doesn't feature on this session, we do have the addition of Christian Weaver on congas and percussion. What makes this album so special, apart from the obvious: outstanding compositions and a band leader at the peak of his powers, is the contribution of Birchall's fellow band members. They perform with such unity and skill that the resulting recording is lifted to an even higher place than one may have imagined. This is especially noticeable with pianist Adam Fairhall. His performance here is simply stunning. Throughout the session he performs at such a high level of mastery, virtuosity and above all, intrinsic understanding, at times the listener is left speechless. There appears to be a rare natural musical bond between the musicians here, one that elevates the music well beyond normal expectations. Interestingly, in a recent interview for UK Vibe, Birchall makes reference to part of the recording process: "When we have a new song, usually at a recording session, I explain the different parts to the players and how they fit together. We then have a brief run through the beginning of the piece, maybe once or maybe twice, and then we go for a take. Each player has to really find his own space. The musicians are free to deviate from the written part after it has been played for a few bars or for the duration of the melody statement, but even this is not strict, it depends on the song." Birchall's approach pays huge dividends on this recording, allowing space and freedom for the band to shine. Without doubt this approach requires the players to be on the same wavelength, and it works with an unerring cohesion here. Birchall sums it up well: "I believe the best music is made when the musicians are free to play as they wish within the character of the song, and you have to be a certain type of player to do this."
"Invocations" features five tracks, four Birchall compositions and Coltrane's "To Be". All the pieces sit very well together, the album as a whole being more like one conceptual spiritual vessel rather than separate individual tracks. The journey begins with "Song to The Divine Mother", a searching, emotively powerful composition that draws the listener in from its first breath. The percussive and bass led opening soon develops into a Coltrane-like floating hymn, the music caressing and comforting the soul with Birchall's evocative and expressive tenor reaching out to the listener, at times subtle, at times explosive, but always with a deep meditative balance. The rhythm section plot their own course half-way through the tune, with pianist Adam Fairhall taking the lead in breathtaking fashion. There seems to be an awareness here, one of mindful unity and understanding from the musicians. It's such an open, honest vibe being created that when the band leader's sax brings the tune back in, it's totally natural, nothing being forced, allowing the music to simply live and breathe. It's almost as if Birchall and co are the divine vessels through which the music flows. Tim Fairhall's double bass leads us into "Invocation", a thoughtful piece that gradually builds on its reflective opening with Adam Fairhall's piano holding it all together as Birchall soars. The extended intro, punctuated by some great drums and percussion from Hunter and Weaver, takes us into more familiar territory as the melody kicks in, underpinned by a cool, time-honoured bass riff that allows pianist Fairhall and saxophonist Birchall to express themselves, weaving in and out of the subtle nuances created by the band as a whole. One can only sit and marvel with a deep respect on hearing Coltrane's "To Be". Originally recorded during 1967's "Expression" sessions, the tune featured Coltrane on flute, sharing the ambience with Pharoah Sanders' piccolo flute. Birchall's tenor playing suits the feel of the track perfectly. There's a universal energy emanating here, one which sees Birchall leading his band to an ultimate truth through the lineage of Coltrane and Sanders. And when pianist Fairhall rides the waves of consciousness with such passion, it's hard to imagine anyone else enhancing an old Trane tune with such skillful beauty and heartfelt understanding. Continuing in the same mood, "Njozi (Vision)" is a truly stunning piece of music. Birchall disappears into freer territory here, yet his soloing is so immersive and involving, that there's never a doubt in my mind as to just how poignant and melodiously wondrous his playing can be. He's on fire here, his inner flames darting out with metaphysical strength and prowess, engaging and atmospheric. During this tune he hands over the torch to Fairhall who provides us with an equally memorable passage of virtuosic piano playing. The emotional power in his performance lifts things to an even higher plane. The final track, "A Luta Continua" translates as "The struggle continues". No matter what tongue we are speaking in, the universal language here is undoubtedly in the music itself. The improvisations around the core themes create an aesthetic of purity and unbridled, unashamed freedom of spirit and expression. Listen to this album by letting yourself go… by letting everything go… and you will be transported to a place where music rarely takes us, to the heart and soul of our very being.
Artyom Manukyan 'Citizen' (Ghost Note) 4/5
Armenian born Cellist Artyom Manukyan studied classical music in his home country, along with Russia, Germany and Greece before becoming inspired by the jazz of Avishai Cohen (bass) and Marc Johnson. His influences spread far and wide, seeing him perform with his own Armenian based bands, along with the funk-fusion band Katuner, Joe Zawinul, Night Arc, Karim Ziad and many more. His love and passion for all styles of music led him to form the hip-hop influenced band New People, before moving to Los Angeles and taking to the stage with Tigran Hamasyan and working as a session musician with the likes of Peter Erskine, Bobby Brown and Gretchen Parlato, to name but a few. Having travelled the world and fully immersed himself in so many different musical styles and genres, it comes as little surprise that "Citizen" is filled to the brim with so many multi-cultural, genre-bending flavours and influences. What could be more surprising is how it all fits together so well. Manukyan is obviously one driven musician, and it is his skill, passion and understanding that seems to hold everything together on this excellent recording. His innovative approach to playing the cello like a bass emerged from a combination of his conservatory training and exposure to the music of legendary bass players, in particular Jaco Pastorius and Marcus Miller. "We listened to jazz 27 hours a day in our house," he says. "At the time I didn't know a cello player who played jazz, so I copied what the bass players were doing." Out of this was born his unique style and sound, with this album the result of many years of nurturing and developing his playing, combined with a whole host of world-renowned musicians that add their own impressive contributions to what is a thoroughly enjoyable and entertaining album.
"Citizen" delivers 10 original compositions by Manukyan, some of which are breathtakingly bold and energetic whilst others employ a thoughtful, stirring beauty. One thing that is consistent throughout is the composer's strong sense of identity, as heard through his confident cello playing. Highlights are many, and just as the listener thinks he knows what's coming next, Manukyan is very adept at springing a surprise; from jazz to classical to rap to folk and electronics, there really is never a dull moment. This festival of music begins with the expressive "Sailors Song", a rock-driven anthemic number that introduces the cellist in bold fashion. "Waltz for Maya" mixes subtle electronics with hauntingly beautiful laid back vocals, all in a classical setting. The gorgeous "CityZen" features the bass style of playing from the cellist before leading us into a lovely piano-cello folk melody, somewhat reminiscent of a Lars Daniellson tune. The energetic "Dark Matters" leads us into "3 Mas Dub" which highlights the technical skill and jazzy edginess of the cellist. Really nice production values here as rapper A. Chilla, pianist Tigran Hamasyan and percussionist Arto Tuncboyaciyan all combine to create a highly original piece of music. The darker "Old New Home" allows the core band; bassist Tim Lefebvre, pianist Vardan Ovsepian, drummer Jamire Williams and electronics maestro Troy Zeigler to lay down a wonderful platform for the unique improvisations of the cellist. "Turgut to be true" is awash with Brazilian/Flamenco flavours featuring the percussive talents of Arto and the guitar of Vahagni. Manukyan once again employs some clever and thoughtful production techniques, reminding me very much of Nitin Sawhney. "Duet N.1" is a stunning piece of music, with pianist Tigran and the cellist at their peak. There's a distinctly cinematic feel to "All Yours" with the combinations of violins, electronic drums and rap artist A. Chills working very well together. The album closes with "Words", a chamber music piece which rounds off this musical adventure very nicely as it slowly turns into a warm and welcoming jazz tune.
"Citizen" gives much to the listener, not least an introduction to a cellist who is anything but the run of the mill cello player one might have imagined prior to listening to this innovative and invigorating album. Supremely talented and with an extremely bright future, I can't wait to see where Artyom Manukyan's journeys take him next.
The Sorcerers 'The Sorcerers' (ATA) 4/5
Leeds, England does not at first seem to be the epicenter of contemporary Ethiopian influenced jazz, but new band, The Sorcerers are beginning to create an authentic buzz with their take on probably the hippest of all sub genres.
With their self-titled debut released on local Leeds label ATA Records, The Sorcerers have created an absorbing, unique and quirky eight-track album that is full of rich ideas from across the musical spectrum, but it's their obvious Ethio-Jazz references that the music press are mostly talking about.
Fluid organs, rhythmic brass parts and a driving percussion foundation provide a solid outlet for some well written and constructed groove heavy tracks, coupled with some nice flute touches on top and the instantly Ethio-Jazz-esque use of vibes – I would have actually liked greater use of vibes as they are only featured on certain tracks, but maybe that's just me!
Being honest, it probably isn't an album for the purists who want something with the integrity of a Mulatu Astatke release, the undoubtable king of Ethiopian Jazz, but those with a bit of a broad mind will truly love this album. I've already mentioned it amongst my circle of like-minded music fiends, geeks and nerds and no one has been disappointed, as it is very original. 'The Horror' takes its influence from, guess what, creaky, old organ horror film soundtracks, but it actually works. My personal favourite is 'Night Of The Sorcerer', which is a little more traditional sounding.
My only gripe is the short track count and running times, (although 'Kasalefkut-Hulu' and 'Kulunmanqueleshi', my favourite pieces from Mulatu's 1972 masterpiece "Mulatu of Ethiopia" combined only clock-in at just over four and half minutes in length). Thankfully the album is available on vinyl – at the moment, and will surely be a short vinyl run and definitely one to collect.
My hope that this isn't a one-off project and that the group can continue to grow and develop, as they may succeed in what Antibalas did for contemporary Afrobeat but for the Ethio-Jazz world.
JD Allen 'Graffiti' (Savant) 4/5
Tenor saxophonist JD Allen has been on the New York jazz scene since 1993, when his youthful precociousness earned him many admirers. Since then, the Detroit born musician has released eight albums, "Graffiti" being his ninth, and his fourth consecutive outing on the Savant label. For this trio recording, Allen is joined by his frequent collaborators bassist Gregg August and drummer Rudy Royston. This accomplished threesome know each other well, having performed together now for several years… and it shows. The intuition they so obviously share allows them to make trio music of the highest standard, effortless interplay combining with well written, open and honest compositions. Allen's playing style might well be compared to two of the greats; Coltrane and Sanders. One can also hear touches of Shorter, Webster and Hawkins. He plays with such fluency, his imagination and expression creating a wholesome, spiritual, post-bop vitality that is at times breathtaking. "Graffiti" is a no nonsense recording; the sound captures the essence of the music perfectly as the trio work their way through nine compositions, leaving the listener in no doubt that they are experiencing three musicians so effortlessly integrated with one another and on top of their game that it's difficult to imagine hearing a more accomplished sax/drums/bass outfit.
The album opens with "Naked", a drum and sax duet. There's an immediate spontaneity which grabs hold, yet at the same time managing to retain its cohesion which underlines much of this album's success – the fine line between the two points being met with skill and poise. Inspired by the African-American folktale, "Jawn Henry" has an urgency and purpose to it that spills out of the saxophonist's mind, sounding like there's an uninhibited outpouring direct from thought to mouthpiece. "Third Eye" is looser, with its free flowing energy setting up some back and forth responses from drums, bass and sax. Whilst the title track "Graffiti" charts a course firmly routed in historical jazz trio symbolism, "G-dspeed, B. Morris" pursues a very different path. The trio know how to groove, with this melodic and lyrical blues-inflected piece really hitting the spot. Infectious writing and playing from all three musicians, August's bass is just so on the money here, this is a prime example of how well the trio combine, time and space afforded by the composer for the drums and bass to work their magic. "Little Mack" sways with its own jaunty rhythm, leading into the soulful blues of "Sonny Boy", a deep groove allowing the tune to ring out with hope and deep affection. There's a comforting and familiar feel to the swinging "Indigo (Blue Like)". Allen's sax speaks the words of many time-honoured saxophonists, yet somehow manages to herald a new beginning with its uncomplicated and honest, open attitude. The session closes with "Disambiguation", a more lyrical, free flowing take on what has come before. Sharp, incisive and totally at ease, drums and bass add some wonderful textures and embellishments to Allen's supreme saxophony.
As a newcomer to the music of JD Allen, "Graffiti" has now inspired me to check out his back catalogue. With more than a handful of albums already under his belt, I somehow think I won't be disappointed. There's something special about this man's playing, he has such a natural sound and feel, I look forward to immersing myself deeper into Mr JD Allen's musical adventures.
Tom Paxton 'Peace Will Come'/'New Songs For Old Friends' (Morello) 4/5
A handy pairing of two albums that US folk legend Tom Paxton recorded in the UK during his sojourn here in the early 1970s and previously unavailable in CD format, this welcome re-issue sheds useful light on the post-Elektra period of Tom's output when briefly he achieved a modicum of popular acclaim, at least on this side of the Atlantic. Of the two, the second, a live recording before an invited audience at the Marquee club in London is by far the superior one and captures Tom in performance with some of the UK's finest folk musicians including Danny Thompson, Ralph McTell and, perhaps, unusually some nifty percussive work that adds vibrancy to the set.
The gentle-paced numbers work best with a highlight being, 'Faces and Places', with lovely melodic double bass and guitar accompaniment and McTell doubling up on vocals. In general, there is a deceptive simplicity to Tom's sound and the often gorgeous melodies give way to some serious reflection on life. One classic folk melody is to be found on 'When you shook your long hair down' while for a deeper message, look no further than 'When princes meet' which focuses on social class divisions. Producer Tony Visconti deserves credit for the excellent sound quality and this lends a surprisingly contemporary feel to the music with harmonica, classical guitar double bass and percussion all featured at various points. Tom has always excelled as a quality storyteller of some conviction and this is showcased on the intimate reading of 'Who's been passing dreams around'. The joint harmonies with Ralph McTell work a treat on 'Hob in my mind' whereas those of Tom's then young daughters are, with the passing of time, a little hard going on 'Fred'. Nonetheless, his devotion to his family comes to the rescue on 'Katy', written for his daughter and sung a cappella throughout. It is at once humorous and entertaining and Tom's skills as a witty raconteur are beyond question.
In 1972 Paxton scored a minor pop chart hit with the title track of the first album here, the studio recording, and the significantly enhanced instrumentation on the album with drums, cello, harp, vibes as well as banjo gives the album a layered, but in some respects a somewhat dated sound. Where the sound is most traditional is where Tom's voice come shining through and 'You come throwing colours' is probably the pick of the bunch, though a homage to the west coast in 'California' is not at all bad with just guitar and bass, and with Mary (Hopkin) Visconti backing on vocals. Neither album sold as well as Tom Paxton had hoped and, after completing his label contract with Reprise, Paxton moved back to Long island with his family, though the contacts with both the UK and Ireland have remained permanent ones.
Ashford and Simpson 'Come As You Are' (BBR) 4/5
Arguably the least well known of any of the Warner releases for the duo, 'Come as you are' is fully deserving of a re-issue and was the third album the pair recorded for the label together in 1976, following on from 'Gimme something real (1973) and 'I wanna be selfish' (1974). Up until then, they were primarily known as seriously talented songwriters who had delivered a number one pop hit for Ray Charles in 'Let's get stoned' as well as major hits on Motown for Marvin Gaye, the latter in tandem with Tammi Terrell as well as the post-Supremes hit 'Ain't no mountain high enough' for Diana Ross, and they would continue the collaboration with Ms Ross. In comparison to the other later albums, this recording has an unexpected gospel flavour to it and, judging by the comments from Valerie Simpson, it was quite unintended. Nonetheless, it adds a refreshingly different edge to proceedings and the glorious joint vocal harmonies complement this approach to perfection. A real left-field winner that has rapidly become a favourite with this reviewer is 'Sell this house' and it is a stunning flowing mid-tempo number with an atmospheric bass line that hints at Marvin's 'Inner City Blues' period without ever being derivative, and the classy strings alongside the gospel-infused vocals make this a contender for the album's strongest number. A modern soul stepper which only made it as B-side is Caretaker' and, with nifty guitar licks courtesy of ace session guitarist Hugh McCracken and Eric Gale, this is another strong composition. While no single became a pop or R & B hit here, a new departure for Ashford and Simpson came in the form of a minor disco hit in 'One more try' and this would be the first of a series of more dance-oriented songs that would feature on subsequent albums and this particular one was co-written by Raymond Simpson, brother of Valerie, and Bobby Gene Hall. It stands out as a soulful interpretation of the disco idiom and nestled just outside the disco charts top ten at the time. As an extra bonus, and similar to Teddy Pendergrass, a new and younger generation has become familiar with Ashford and Simpson's work via their more dance-oriented material and there is the very welcome inclusion of a re-edit by Dimitri of Paris of the vastly underrated disco number, 'One more try'. This makes for an interesting contrast with the original 12″ cut that is also included, with the latter featuring a storming instrumental breakdown where the studio musicians are clearly having a ball and the isolated bass and rhythm guitar groove is a precursor to the classic Chic side that would emerge just a year later. As a first attempt at an outright disco sound, this was a pretty successful stab. For ballad fans, 'Somebody told a lie' is an interesting number in that both singers take solo leads and then join in on harmonies in the chorus and the song has continued to appeal since it was revisited by Valerie Simpson on the latest Terri Lyne Carrington album, 'Mosaic project: love and soul'. Another ballad, 'Believe in me' was reprised by Cheryl Lynn and Luther Vandross in 1982 so that album was heard and respected by fellow musicians. Of note is the important contribution made by a bevvy of crème de la crème studio musicians with jazz keyboardists Don Grolnick and Richard Tee, drummer Steve Gadd and percussionist Ralph MacDonald along with the aforementioned guitarists all contributing to the quality accompaniment. Excellent and extended inner sleeve notes with graphics of various 45s and 12″ labels and full back cover sleeve lyrics.
Soul Jazz Orchestra 'Resistance' (Strut) LP/CD/Dig 4/5
23rd September 2015 ukvibe
Canadian outfit the Soul Jazz Orchestra have consistently hit the mark with a series of Afro-Latin themed recordings for Strut including their debut for the label, 'Rising Sun' (2010), 'Solidarity' (2012) and most recently Inner Fire (2014). For this new recording, the sound departs from Afro-Beat and Ethio-Jazz to an exploration of pan-Caribbean music from some of the French speaking islands and what may surprise some is that the African influence is still very much present. In fact zouk music from the French islands of Guadeloupe and Martinique bears a remarkable resemblance to Congolese soukous in its underlying beat and among France's Caribbean and central African communities this connection has not gone unnoticed and was positively encouraged. A major contributor to the development of zouk music was the founding of group Kassav' in the late 1970s in Paris and that city became the focal point for musicians from the Lesser Antilles with vocalists such as Jocelyne Béroard emerging and gaining success during the 1980s.
For francophones residing in Canada (the group, though, hail from English-speaking Ottawa) which is the case of some members of the Soul Jazz Orchestra, and more specifically those from Montreal, where it is perfectly possible to pick up an original album by say Malavoi or Tabou Combo, this has served as the pretext for a serious examination of the diverse styles and the result is some delightful dancefloor grooves.
A heady mix of soukous guitar riffs and Afro-Beat horns predominate on the uptempo 'Shock and Awe' which could be a Fela Kuti title. The Soul Jazz Orchestra expand the cross-fertilisation of genres on 'Courage' with a lilting Caribbean back beat and collective chorus that are married to the guitar riffs of late 1970s disco and this makes for compelling dance music. In general there are more vocal contributions on this release than previously and that is in keeping with Caribbean music, but for fans of their modern update on the classic Afro-Beat the opener 'Greet the dawn' will certainly appeal.
Those seeking a more detailed historical overview would be well served seeking out excellent compilations such as 'Tumbélé. Biguine, Afro and Latin sounds from the French Caribbean 1963-1974' (Soundway 2009) and 'Haiti Direct' (Strut 2014), reviewed in these columns previously, and both of which direct the neophyte listener to a plethora of hitherto unknown sounds and music that would be near impossible to find in the UK. Two UK dates in October include the Jazz Café (4 October) and Bristol (19 October).
Cæcilie Norby and Lars Danielsson 'Just The Two Of Us' (ACT) 4/5
22nd September 2015 ukvibe
Husband and wife musicians Danish vocalist Cæcilie Norby and Swedish bassist Lars Danielsson both have impeccable jazz credentials inside and outside Scandinavia. For the former, a lengthy tenure as a Blue Note artist gained useful exposure internationally and Norby has now been an ACT artist for some five years. In the case of the latter, the bassist has worked with some of the greats past and present including the Brecker Brothers and Charles Lloyd. Recorded in Sweden and mixed at the famous Rainbow studios in Oslo, famous for the ECM sound, this new recording makes inventive use of the duet format and manage to keep things varied throughout, and consequently the music gels together beautifully. Norby possesses a deep voice in a not dissimilar vein to Dianne Reeves (on other songs the influence of Billie Holiday is sometimes evident, though never a carbon copy attempt), is clearly well versed in the jazz vocal tradition, and ad-libs wonderfully on the original number, 'Double Dance'.
The duo have previously contributed two albums with a classical bent under the 'Libretto' title and here 'Libretto Cantabile' continues the quasi-classical connection with a piece that is more in a gentle folk vein. Wordless vocals in the intro and bass work in tandem on 'Toccata' with a melodic story line and an intriguing combination of jazz and classical bass lines. Even a couple of Abbey Lincoln covers are attempted and of these the blues-laden 'And it is supposed to be love' is a highlight which hits as lovely percussive groove and cello adds to the layered texture as does what sounds like a marimba solo. A stripped down to the bare minimum reading of Joni Mitchell's 'Both sides now' works a treat where once again one discovers a lovely blues undercurrent bubbles just below the surface. The minimalist accompaniment adds intimacy to the standards elsewhere with a slower tempo in the bass than the original on Leonard Cohen's 'Hallelujah' where Norby excels and is at once a gentle and reflective way in which to end the album.
Quantic presents 'The Western Transient – A New Constellation' (Tru Thoughts) 3/5
21st September 2015 ukvibe
'Quantic presents the Western Transient' is the latest musical endeavour from Will Holland, a.k.a Quantic. Holland has an insatiable hunger for sonic exploration, which has produced over 15 albums and has taken him all around the world, more notably from his Worcestershire roots to spending seven years in Colombia. Previously exploring Funk, Latin, Caribbean and African styles, he has spent more recent time touring the States where he has rediscovered his love for instrumental Jazz.
His albums represent an impressive musical scrapbook that document his travels. With that in mind, this album takes you on an intimate journey through the West coast of America, although recorded in Brooklyn, he recruited the musicians involved from Los Angeles. Holland explains that; "The themes reflect the beginnings of living in a new city, a creative intermission and a desire to experiment with an instrumental jazz format on American soil".
The first track off the album to be released 'Creation (East L.A)' Is one of the more iconic and animated songs and stands apart from some of the other, more sober tracks. It coasts along with a predominantly disco feel, thanks to Hollands distinctive 'Quantic' rhythm guitar combined with Wilson Viveros grooving away on the hi-hat throughout. This is a bizarre, yet brilliant tune that really incapsulates the hybridity of Hollands music, with elements of disco, jazzy horns, Caribbean style steel drums finished off with electronic synthy sounds.
The opening track 'Latitude' has a relaxed and more sophisticated sound, giving a nostalgic nod to the golden days of Jazz. With soft meandering horn lines from saxophonist Sylvester Onyejiaka and trumpeter Todd Simon accompanied by the laid back jazzy flair of Viveros, Holland has definitely hit the nail on the head in terms of creating soulful and intimate instrumental jazz.
Tracks like 'Mirzan' and 'Requiescence' are equally chilled, but bordering on a little dull, with elements of Bossa and Samba that lack the punch he has formerly packed into these sounds. 'A New Constellation' is again, a little slow, and dare I say it, Lounge? I think that as I have always been a big Quantic fan, this is just a little too down beat for me, but that is me being a little too personal, as there is no denying that this is a good album, well executed with exceptional musicians all directed by the very talented Will Holland. An enjoyable listen, but quite different to many of his previous colourful and vivacious albums, so be sure to listen with fresh ears.
Lindsey Evans


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Kelly Engineering Resources(R) Awards Three Academy of Engineering Grants
November 23, 2011 11:48 ET | Source: Kelly Services, Inc.
TROY, MI--(Marketwire - Nov 23, 2011) - Kelly Engineering Resources (KER®), a technical staffing service of Kelly Services, Inc. (NASDAQ: KELYA) (NASDAQ: KELYB), partnered with the National Academy Foundation (NAF) to award grants to three NAF engineering high school academies throughout the United States. This is the fourth year that KER and NAF worked together to support engineering academies.
Engineering Academies located in New Orleans, Miami, and Queens, New York, each received a $2,000 grant to help fund a specific school engineering project. To qualify, administrators from NAF engineering high school academies completed an application detailing a specific engineering project, including the impact the project would have on a student's learning experience. Grant proposals were reviewed by a panel of judges from Kelly Engineering Resources and awarded to the three schools with projects that best met the criteria of enhancing the current curriculum.
Winners for 2011, listed with their winning project, are:
The Sara T. Reed High School / Academy of Engineering, New Orleans, Louisiana
Funding of Introduction to Engineering Design curriculum
Miami-Sunset High School / Academy of Engineering, Miami, Florida
Fund student robotics competition team
High School CTEA Academy of Engineering, Queens, New York
Purchase technology necessary (completing Engineering curriculum) to utilize solar panels donated to school in 2009
About the National Academy Foundation
The National Academy Foundation (NAF) is an acclaimed network of career-themed academies that open doors for underserved high school students to viable careers. For nearly 30 years, NAF has refined a proven model that provides young people access to industry-specific curricula, work-based learning experiences, and relationships with business professionals. NAF academies focus on one of four career themes: finance, hospitality & tourism, information technology, and engineering. Employees of more than 2,500 companies volunteer in classrooms, act as mentors, engage NAF students in paid internships, and serve on local Advisory Boards. During the 2009 - 10 school years, 500 NAF academies served more than 50,000 students across 41 states, D.C., and the U.S. Virgin Islands. NAF's national graduation rate of 90 percent testifies to the effectiveness of this effort. For more information, visit www.naf.org.
About Kelly Engineering Resources
Since 1998, Kelly Engineering Resources, a specialty service of Kelly Services, Inc., has provided staffing and placement services to a broad spectrum of industries, including aerospace, chemical, defense, energy, medical device, nanotechnology, petroleum, pharmaceutical, power, refining, shipbuilding, semiconductor, and telecommunications. Visit www.kellyengineering.com/us for more information.
Jane Stehney
Kelly Services, Inc.
stehnja@kellyservices.com
Dana Nachbar
dnachbar@naf.org


Shobhit University, Gangoh has advertised in THE TIMES OF INDIA newspaper for the recruitment of Teaching Faculty- Professor / Associate Professor / Assistant Professor jobs vacancies. Interested and eligible job aspirants are requested to walk-in on 06th October 2018. Check out further more details below.
About University: Shobhit University believes in strategic growth as envisaged in our mission and vision, to impart quality education through vertical and horizontal integration. It strives to become a world class university, with a global perspective, that educates the future leaders of the world.
How to Apply: Interested and eligible candidates are requested to attend the Walk-in interview along with CV, originals & copies of certificates and recent PP size photo the walk-in address provided below.


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CDC Announces New Guidelines for School Reopenings
February 15, 2021by madeleine in General
Rochelle Walensky, the newly appointed director of the Centers for Disease Control (CDC) appeared on CBS Meet the Press today to discuss the CDC's new school reopening guidelines. These are more thorough, and, if followed, probably more useful than previous CDC proposals. It is, however, a set of guidelines, not a mandate for action. It includes:
As an "overview," it presents a table giving brief description of measures taken and identifying them as permitting low to high levels of transmission. They say that schools operating at the high end should not open.
Detailed instructions on the kinds of masks to wear, how to clean & care for them, etc.
Strict 6 foot distancing. They say this is necessary for full return to school, but, of course, without doubling (or more) the size of the schools, there's no room for full return and 6 ft distancing.
Teachers should be vaccinated (Anthony Fauci told ABC today that that's not absolutely necessary if the other CDC guidelines are followed.)
Overall increased testing, including genetic sequencing to identify and track mutations. Walensky says that B.1.1.7 strain, now estimated at 4% of the U.S. infections, may be dominant here by next month.
COVID relief package should include funds for improving the safety of our schools. Anthony Fauci said that passing the stimulus bill with these measures is a requirement for school re-opening.
These proposals are clearly not workable in the Great Reset, so it remains to be seen whether there is anything more than pleasant talk in these proposals.
Prominent Voices Join Helga Zepp LaRouche in Warning of War Danger
How to Defeat the "Great Reset" and the "Green New Deal", and the Criminal Cabal Trying to Impose Them
Video: Mobilize Love for Humanity to Overcome Today's Existential Crisis


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Middle East government, politics and policy
Jihad in Saudi Arabia
Violence and Pan-Islamism since 1979
Part of Cambridge Middle East Studies
Author: Thomas Hegghammer, Norwegian Defence Research Establishment
Saudi Arabia, homeland of Osama bin Laden and many 9/11 hijackers, is widely considered to be the heartland of radical Islamism. For decades, the conservative and oil-rich kingdom contributed recruits, ideologues and money to jihadi groups worldwide. Yet Islamism within Saudi Arabia itself remains poorly understood. Why has Saudi Arabia produced so many militants? Has the Saudi government supported violent groups? How strong is al-Qaida's foothold in the kingdom and does it threaten the regime? Why did Bin Laden not launch a campaign there until 2003? This 2010 book presents the first ever history of Saudi jihadism based on extensive fieldwork in the kingdom and primary sources in Arabic. It offers a powerful explanation for the rise of Islamist militancy in Saudi Arabia and sheds crucial new light on the history of the global jihadist movement.
The first ever history of al-Qaida in Saudi Arabia - helps understand the causes of 9/11
Includes new information from fieldwork and primary sources to fill numerous holes in our understanding of radical Islamism
Contains detailed descriptions of recruitment and radicalisation in Saudi Arabia
Silver Medal Winner, 2011 Arthur Ross Book Award
'The definitive work on Al Qaida in the Arabian Peninsula, this book makes an exceptional contribution to studies of Saudi Arabia, political Islam, and comparative political violence.' David Commins, Dickinson College
'Thomas Hegghammer presents the first substantiated study of the jihadist movement in Saudi Arabia. He brilliantly analyses a wealth of hitherto unexamined material and adds both depth and subtlety to our understanding of Islamic politics in the Kingdom. In doing so, he perceptively highlights the importance of pan-Islamism as a mobilising and radicalising factor. This informed and conceptually suggestive study deserves a very wide reading.' James Piscatori, The Australian National University
'… draws on an impressive collection of biographies and written sources from al-Qaeda websites. … This dense book is not an easy read for novices, but it is a welcome contribution to understanding the Saudi paradox and the enigma of the QAP.' The Times Higher Education Supplement
'Jihad in Saudi Arabia fills a gap in the existing literature on violent Islamism and specifically the history of Muslim activism inside the kingdom. … this book is one of the best and most comprehensive studies of Islamist activism yet written and is a must-read …' The Muslim World Book Review
contains: 3 b/w illus. 1 table
1. The politics of pan-Islamism
2. The classical jihadists
3. Recruitment to the early jihad fronts
4. Opportunities for global jihad
5. Al-Qaida and Saudi Arabia
6. Recruitment to al-Qaida
7. Post-9/11 Saudi Arabia
8. The Mujahidin on the Arabian Peninsula
9. Recruitment to the QAP
10. The failure of the jihad in Arabia
Instructors have used or reviewed this title for the following courses
Intro to Middle Eastern History
Introduction to Middle East Politics
Thomas Hegghammer, Norwegian Defence Research Establishment
Thomas Hegghammer is a Senior Fellow at the Norwegian Defence Research Establishment (FFI). He has contributed chapters to several edited books and his articles have appeared in journals such as International Affairs, The International Journal of Middle East Studies, The British Journal of Middle East Studies, The Middle East Journal, Studies in Conflict and Terrorism, and The Times Literary Supplement.
Times Higher Education Review
A Most Masculine State
Gender, Politics and Religion in Saudi Arabia
Saudi Arabia in Transition
Insights on Social, Political, Economic and Religious Change
The Other Saudis
Shiism, Dissent and Sectarianism
International Journal of Middle East Studies
Published under the auspices of the Middle East Studies AssociationThe International Journal of Middle East Studies…
Abdallah Azzam and the Rise of Global Jihad
African government, politics and policy
American government, politics and policy
British government, politics and policy
East Asian government, politics and policy
European government, politics and policy
International relations and international organisations
Latin American government, politics and policy
Politics: general interest
Research methods in politics
Russian and east European government, politics and policy
South Asian government, politics and policy
South-east Asian government, politics and policy
Texts in political thought
American political development


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The illustration, motion graphic and transitional design, dubbing, editing, BGM and SFX composing, brand color tuning were crafted by our team. The craftsmanship of the video is our major focuses, as it represent us in many ways. This video is self-explanatory. We hope you enjoy.


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Have you heard of load boards? This is a very useful tool for the trucking industry that lets you have the information exchange that you need regarding shipments. It can be used both ways, for shippers and for truckers. Finding commission free flatbed loads lets you get postings about the loads and the flatbed trucks that had been posted on the board for a minimal monthly fee.
It's really very useful, especially for truckers to give them a boost in demand for their deliveries.
For trucking companies you'd really benefit from these load boards and you'd get an increased efficiency but it's not only the trucking industry that would benefit from this. Brokers and even intermediaries can also make use of this platform. Getting commission free flatbed loads information is really beneficial for owners of flatbed trucks especially the small trucking companies as they can get their presence known and also get the chance to bid on loads together with other bigger trucking companies. That means there is an equal chance for everybody.
Companies who have regular loads that needs to be shipped can also benefit from these load boards because it's the most efficient way of finding truckers to do the job. With commission free flatbed loads information, a company can look for the truckers that would be best suited for their needs without spending on every search they make. It can really be a big headache when you have a shipment that needs to be delivered fast and the regular carries you're used to can't handle them. If you go and look for new carriers it would take awhile if you still request for individual proposals and the urgent shipment don't have the time needed. You can get your shipment booked just in time when other shippers see your load posting. That way you can just relax because your deliverable will not be delayed and your customers won't complain.
Making use of the commission free flatbed loads board really has a lot of advantages both for the shipper and the trucking companies and everyone who can take advantage of their service in the trucking industry. It's very easy to use too and you can get updates regularly just as long as you have a computer and internet connection then you wouldn't miss a posting. That way you could really maximize your earning potential if you are a trucking company. For shippers, you'd get the convenience you desire and you can also search through the cheapest freight cost for your deliverables.