text:
Q: to display selected contact from phone book to edit text What is have done so far is on press of a button "Add contact" phone book gets open and then select a contact that get displayed in Edittext View and when another button "Add More Contacts" is pressed, a another Edit-Text View gets displayed on the top for which i can again select the contact from phone book.
But the problem that i am facing is when i select contact for second Edit-Text View it replace the contact of the previous edit text. What to do in this case.
Code that is used for displaying edit-text Views
public class MainActivity extends Activity {
private Button btn_cntct;
public int REQUESTCODE = 1;
private LinearLayout layoutLinear;
private Button btn_addmore_cntct;

@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);

    // defining button elements for picking contacts from phone-book
    btn_cntct = (Button) findViewById(R.id.bpickperson);
    btn_cntct.setOnClickListener(new OnClickListener() {

        @Override
        public void onClick(View arg0) {
            // TODO Auto-generated method stub
            // using Intent for fetching contacts from phone-book
            Intent intent = new Intent(Intent.ACTION_GET_CONTENT);
            intent.setType(ContactsContract.CommonDataKinds.Phone.CONTENT_ITEM_TYPE);
            startActivityForResult(intent, REQUESTCODE);
        }

    });

    layoutLinear = (LinearLayout) findViewById(R.id.mLayout);
    btn_addmore_cntct = (Button) findViewById(R.id.baddmorecontacts);
    btn_addmore_cntct.setOnClickListener(OnClick());
    EditText editview = new EditText(this);
    editview.setText("Add more");
}

private OnClickListener OnClick() {
    // TODO Auto-generated method stub
    // changing return type "null" to "new OnClickListner"
    return new OnClickListener() {

        @Override
        public void onClick(View v) {
            // TODO Auto-generated method stub
            EditText tab = new EditText(getApplicationContext());
            tab.setLayoutParams(new LayoutParams(LayoutParams.FILL_PARENT,
                    LayoutParams.WRAP_CONTENT));
            // adding (0) to display edit-text view on the top
            layoutLinear.addView(tab, 0);
            tab.requestFocus();

        }
    };

}

@Override
public boolean onCreateOptionsMenu(Menu menu) {
    // Inflate the menu; this adds items to the action bar if it is present.
    getMenuInflater().inflate(R.menu.main, menu);
    return true;
}

@Override
protected void onActivityResult(int requestCode, int resultCode, Intent data) {
    // TODO Auto-generated method stub
    super.onActivityResult(requestCode, resultCode, data);

    if (data != null) {
        Uri uri = data.getData();
        Log.i("data", uri.toString());
        if (uri != null) {
            Cursor c = null;
            try {
                c = getContentResolver()
                        .query(uri,
                                new String[] {
                                        ContactsContract.CommonDataKinds.Phone.DISPLAY_NAME,
                                        ContactsContract.CommonDataKinds.Phone.NUMBER,
                                        ContactsContract.CommonDataKinds.Phone.TYPE },
                                null, null, null);

                if (c != null && c.moveToFirst()) {
                    String name = c.getString(0);
                    String number = c.getString(1);
                    int type = c.getInt(2);

                    showSelectedNumber(name, number, type);
                }
            } finally {
                if (c != null) {
                    c.close();
                }
            }
        }
    }
}

public void showSelectedNumber(String name, String number, int type) {
    EditText userNumber = (EditText) findViewById(R.id.edittext);
    String typeNumber = (String) ContactsContract.CommonDataKinds.Phone
            .getTypeLabel(getResources(), type, "");
    userNumber.setText(name + ": " + number + " " + typeNumber);

}

and my logcat is
01-21 14:29:01.766: W/IInputConnectionWrapper(590): showStatusIcon on inactive InputConnection
01-21 14:29:04.327: I/data(590): content://com.android.contacts/data/1
01-21 14:29:04.387: I/layoutLinear is not  null(590): not null
01-21 14:29:04.387: I/edittext is null(590): null
01-21 14:29:04.437: D/AndroidRuntime(590): Shutting down VM
01-21 14:29:04.437: W/dalvikvm(590): threadid=1: thread exiting with uncaught exception (group=0x40015560)
01-21 14:29:04.477: E/AndroidRuntime(590): FATAL EXCEPTION: main
01-21 14:29:04.477: E/AndroidRuntime(590): java.lang.RuntimeException: Failure delivering result ResultInfo{who=null, request=1, result=-1, data=Intent { dat=content://com.android.contacts/data/1 flg=0x1 (has extras) }} to activity {com.example.zzz1/com.example.zzz1.MainActivity}: java.lang.NullPointerException
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.ActivityThread.deliverResults(ActivityThread.java:2532)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.ActivityThread.handleSendResult(ActivityThread.java:2574)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.ActivityThread.access$2000(ActivityThread.java:117)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.ActivityThread$H.handleMessage(ActivityThread.java:961)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.os.Handler.dispatchMessage(Handler.java:99)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.os.Looper.loop(Looper.java:123)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.ActivityThread.main(ActivityThread.java:3683)
01-21 14:29:04.477: E/AndroidRuntime(590):  at java.lang.reflect.Method.invokeNative(Native Method)
01-21 14:29:04.477: E/AndroidRuntime(590):  at java.lang.reflect.Method.invoke(Method.java:507)
01-21 14:29:04.477: E/AndroidRuntime(590):  at com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:839)
01-21 14:29:04.477: E/AndroidRuntime(590):  at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:597)
01-21 14:29:04.477: E/AndroidRuntime(590):  at dalvik.system.NativeStart.main(Native Method)
01-21 14:29:04.477: E/AndroidRuntime(590): Caused by: java.lang.NullPointerException
01-21 14:29:04.477: E/AndroidRuntime(590):  at com.example.zzz1.MainActivity.showSelectedNumber(MainActivity.java:145)
01-21 14:29:04.477: E/AndroidRuntime(590):  at com.example.zzz1.MainActivity.onActivityResult(MainActivity.java:115)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.Activity.dispatchActivityResult(Activity.java:3908)
01-21 14:29:04.477: E/AndroidRuntime(590):  at android.app.ActivityThread.deliverResults(ActivityThread.java:2528)
01-21 14:29:04.477: E/AndroidRuntime(590):  ... 11 more

A: what you should do is that you have to give an ID to your created EditText , everytime you create a new EditText , like the following :
private int id = 1 ;

private OnClickListener OnClick() {
    // TODO Auto-generated method stub
    // changing return type "null" to "new OnClickListner"
    return new OnClickListener() {

        @Override
        public void onClick(View v) {
            // TODO Auto-generated method stub
            EditText tab = new EditText(getApplicationContext());
            tab.setLayoutParams(new LayoutParams(LayoutParams.FILL_PARENT,
                    LayoutParams.WRAP_CONTENT));

        // here you set the ID
        tab.setId(id);
        // and increment it
        id++;
            // adding (0) to display edit-text view on the top
            layoutLinear.addView(tab,0);
            tab.requestFocus();

        }
    };

}

then in the showSelectedNumber method , you should get the EditText from the LinearLayout and get it by the id that you assigned to you recently created EditText , like the following :
public void showSelectedNumber(String name, String number, int type) {

    if(layoutLinear== null ) {
        Log.i("layoutLinear is null" , "null");
    }else {
        Log.i("layoutLinear is not  null" , "not null");

    }

    EditText userNumber = (EditText) layoutLinear.getChildAt(0);
    if(userNumber == null ) {
        Log.i("edittext is null" , "null");
    }else {
        Log.i("edittext is not  null" , "not null");

    }
    String typeNumber = (String) ContactsContract.CommonDataKinds.Phone
            .getTypeLabel(getResources(), type, "");
    userNumber.setText(name + ": " + number + " " + typeNumber);

}

Hope That Helps .

A: In showSelectedNumber method, EditText userNumber will always be the first EditText, because you try to find it by R.id.edittext. That's why the first EditText's content will be changed.
You should assign a new id for new-added EditText, in OnClickListener.
EditText tab = new EditText(getApplicationContext());
// For example
tab.setId( A_NEW_ID );

Then, in showSelectedNumber,
EditText userNumber = (EditText) findViewById( A_NEW_ID );

==================================================
Or, you can just holder new-added EditText in a list. Then use the last one each time you add a new contact.

A: store reference in class variable when you click on EditText and then pass this EditText to method when you setText().
public void showSelectedNumber(String name, String number, int type,EditText et) {
EditText userNumber = et;
String typeNumber = (String) ContactsContract.CommonDataKinds.Phone
        .getTypeLabel(getResources(), type, "");
userNumber.setText(name + ": " + number + " " + typeNumber);

}

redpajama_set_name: RedPajamaStackExchange


The WHU Controller Panel was launched in 2007 as a joint initiative of the IMC with the International Controller Association ( ICV ) to derive benchmarks and identify best practices in the field of controlling. Regular surveys on specific longitudinal research topics enable us to make statements on the development of controlling in the D-A-CH countries. The studies examine current controlling trends in detail. Membership is free of charge.
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text:
Queen Máxima's 40th Birthday Concert, 2011
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Queen Máxima of the Netherlands celebrated her 50th Birthday last week (for which we covered her Top 5 Jewels), and since celebrations had to be curtailed due to the ongoing Pandemic, we are taking a look back at the then Crown Princess Máxima's 40th Birthday Concert by the Royal Concertgebouw Orchestra in Amsterdam on this day in 2011.
Queen Máxima's 50th Birthday Concert | Queen Máxima's Top 5 Jewels | 50th Birthday Interview
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In addition to the extended Dutch Royal Family, Royal Guests in attendance included the Aga Khan, Crown Prince Philippe and Crown Princess Mathilde of Belgium, Crown Prince Frederik and Crown Princess Mary of Denmark, Hereditary Grand Duke Guillaume of Luxembourg, Crown Prince Haakon, Princess Martha Louise and Ari Behn of Norway, Crown Prince Pavlos and Crown Princess Marie Chantal with Prince Nikolaos and Princess Tatiana of Greece, and Crown Princess Miriam, Prince Kyril and Princess Rosario of Bulgaria.
Next > Closing Ceremony of the General Assembly of the Church of Scotland
2 thoughts on "Queen Máxima's 40th Birthday Concert, 2011"
NinaRose says:
Queen Máxima's is a Ravishing"
BlueSaphire70 says:
So many things have happened since this party. Several people who attended are no longer with us, such as her father. Several princes have become King since then, including her own husband. But it looks like everyone had a good time, especially Queen Maxima, who looks extremely happy during her 40th birthday celebration! Hopefully she'll be able to celebrate with the same exuberance soon!

redpajama_set_name: RedPajamaCommonCrawl


First up this week are the new BenQ HT1070A and the Epson Home Cinema 1060. These entry level native 1080p projectors are priced at about $650 each and are being reviewed together in a side by side comparison. We are in the final stages of putting this one to bed, and hope to have it posted by mid-week.
Next, the Epson Home Cinema 2150 and the just announced Optoma HD39Darbee are also being evaluated in a side by side review -- they are both 1080p models priced at $899. We are doing comparisons of home theater models at similar price points so you can focus on the reviews in your particular budget range.
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Also currently in house is the Vivitek HK2288, which is Vivitek's aggressively priced 4K projector using the 4K UHD DLP chip. Priced at $1,999 it competes directly with the Optoma UHD60 and we are looking at these two units side by side. Though we have already reviewed the UHD60 with the Epson HC 4000, we will include comparative data in this upcoming review.
The Optoma UHZ65, a laser based 4K DLP projector at $4,495 is in house and will be reviewed in November.
Finally, we expect the arrival any moment of the JVC DLA-RS440K with the latest eshift 5 technology. Priced at $3,999 it is close in price to the Optoma UHZ65, and it fits between the Sony VPL-VW285ES at $4,999, and the Epson HC 5040UB and the Optoma UHD65, both at about $2500.
Awesome line-up. Love the comparisons. Would be interesting to see how the entry level 1080p projectors stack upagainst the Sony 40, to see if the price is worth the upgrade for the Sony.
I look forward to your review of the vivitek dh765z especially comparing it to the Epson ls100 you just reviewed. Can you review the lg hf85ja ust laser projector or are you already planning on doing a review of it in the near future..?
I'd love to see a shoot-out between Optoma UHD65 and Vivitek HK2299. I watched Lucy UHD on the HK2299 and walked away very impressed by contrast, black levels, and sharpness. It's not clear to me how the Optoma compares on colors and deep blacks.
I'm personally interested in how Optoma UHZ65 stacks up against Sony's 4k projectors. I'm waiting on this review before I purchase.
Let me know if there are other 4k laser projectors inbound.


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View other active issues in [input.iterators].
View all other issues in [input.iterators].
There are two problems with this. First, the return type is specified to be "T", as opposed to something like "convertible to T". This is too specific: we want to allow *r++ to return an lvalue.
Second, writing the semantics in terms of code misleadingly suggests that the effects *r++ should precisely replicate the behavior of this code, including side effects. (Does this mean that *r++ should invoke the copy constructor exactly as many times as the sample code above would?) See issue 334 for a similar problem.
In Table 72 in 23.3.5.2 [input.iterators], change the return type for *r++ from T to "convertible to T".
This issue has two parts: the return type, and the number of times the copy constructor is invoked.
The LWG believes the the first part is a real issue. It's inappropriate for the return type to be specified so much more precisely for *r++ than it is for *r. In particular, if r is of (say) type int*, then *r++ isn't int, but int&.
The LWG does not believe that the number of times the copy constructor is invoked is a real issue. This can vary in any case, because of language rules on copy constructor elision. That's too much to read into these semantics clauses.
Additionally, as Dave Abrahams pointed out (c++std-lib-13703): since we're told (24.1/3) that forward iterators satisfy all the requirements of input iterators, we can't impose any requirements in the Input Iterator requirements table that forward iterators don't satisfy.


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Das Steinkohlenbergwerk Budryk (poln. Kopalnia Węgla Kamiennego Budryk) ist ein aktives Steinkohlenbergwerk der JSW in Ornontowice, Polen.

Geschichte
Am 14. November 1978 erfolgte durch das polnische Bergbauministerium die Erlaubnis zur Errichtung eines Steinkohlenbergwerks mit dem Namen Budryk auf dem Gebiet der Gemeinde Ornontowice mit dem Ziel, die Förderung 1991 beginnen zu können. Der Name des Bergwerks geht auf Witold Budryk zurück, Rektor der Akademie für Bergbau und Metallurgie in Krakau.

Im Oktober 1979 begann man mit dem Abteufen von "Schacht III", im November mit dem der Schächte I, II und VI. Aber nach vier Jahren verschob man den geplanten Förderbeginn von 1991 auf das Jahr 1995 und 1989 ließ man die weiteren Arbeiten zum Ausbau des Bergwerks ruhen. Zwei Jahre später nahm man die Arbeiten wieder auf, nachdem vorher mehrere Banken die Finanzierung der weiteren Schritte sichergestellt hatten.

Nachdem die Zeche 1994 in den alleinigen Besitz des polnischen Finanzministeriums gekommen war, konnte im Juli 1995 endlich die Förderung aufgenommen werden. 2008 erfolgte der bisher letzte Besitzerwechsel, diesmal zur Jastrzębska Spółka Węglowa S.A. (JSW).

Gegenwart
Das Bergwerk verfügt über eine Berechtsame von 35,97 km² und ein Reservefeld (Ornontowice II) von 4,63 km². Die tägliche Nettoproduktion beläuft sich auf ca. 11.600 t. Es hat vier Sohlen bei 700 m, 900 m, 1050 m und 1290 m. Die Flöze besitzen Mächtigkeiten zwischen 1,65 m und 2,3 m und sind mit 4–6 Gon sehr flach gelagert. Fünf Schächte gehören Budryk, ein Förderschacht mit Gefäßförderung, zwei Schächte für Seilfahrt und Materialtransport sowie zwei Wetterschächte.

2015 wurde "Schacht VI" des Bergwerks in Chudów auf 1320 m tiefergeteuft, wodurch der Schacht der tiefste in ganz Polen sein soll.

Quellen
 Alle wesentlichen Informationen sind der Internetseite https://www.jsw.pl/o-nas/zaklady/budryk/ (Zugriff am 3. Mai 2017) der Betreibergesellschaft JSW entnommen.
 Die vermutlich einzig davon unabhängige und im Internet verfügbare Quelle ist
http://eksploratorzy.com.pl/viewtopic.php?f=21&t=6076&sid=6c3cfd32ea3da90cb07d992b954c93a3
(Zugriff am 3. Mai 2017) des Forums Zbuntowanych Poszukiwaczy

Kohlebergwerk in Polen
Bergbau (Oberschlesien)
Gmina Ornontowice
Bergwerk in Europa

redpajama_set_name: RedPajamaWikipedia


Unfold piecrusts; stack on a lightly floured surface. Roll into a 14-inch circle; place on a parchment-lined baking sheet.
Stir together melted butter, almond filling, and 2 tablespoons amaretto until blended; spread on piecrust to within 3 inches of edge.
Toss together sugar and pears; arrange in circles, overlapping slices, on top of filling.
Cook preserves in a saucepan over low heat until melted. Pour through a fine wire-mesh strainer, discarding solids. Stir in 1 tablespoon butter and remaining 2 tablespoons amaretto; drizzle over pears.
Fold outer 3 inches of dough towards center, pressing lightly to seal.
Bake at 400° on bottom rack 30 minutes or until golden brown. Cool on baking sheet on wire rack 15 minutes. Serve with Toffee Fudge Sauce and Toffee Whipped Cream.
Rustic Apple Tart: Substitute 2 Granny Smith apples for red pears.
Note: For testing purposes only, we used Solo Almond Filling.


Steve Poltz (solo) opened the evening of acoustic music in Colorado Springs promptly at 8 pm. His hour long set was exceptional. Poltz is a truly amazing entertainer, weaving funny and entertaining stories into and between his songs. He easily drew the sold out crowd of 550 into his world and held their undivided attention throughout the performance.
Poltz is best known as a songwriting collaborator with Grammy Award nominee Jewel Kilcher and as a founding member of the San Diego indie band The Rugburns. He played a good mix of songs from his most recent project the soundtrack for the documentary film "Running Wild - The Life Of Dayton O Hyde" along with some other well crafted originals.
Near the end of the set he told a very funny story about a trip he took to Mexico with Jewel which lead to them co-writing the hit song "You Are Meant For Me." The song appeared on Jewel's breakthrough Platinum selling album "Pieces Of You." Of course Poltz performed the song and added some more hilarious commentary that had the enthusiastic audience yelling "Hallelujah" at him before the song was done.
The last and only cover song he played was "Waterfalls" written by Lisa "Left Eye" Lopes. Poltz told us the song just makes him happy and he likes the message in it. He "rapped" one of the last verses of the song and was rewarded with a well deserved standing ovation at the end of the not quite long enough set. I am now a Steve Poltz fan for life. It was that good.
Nederland, Colorado folk band Elephant Revival played next. From the first song through the encore they held the attention of nearly every person in the crowded venue. You could hear every breath singer & percussionist Bonnie Paine and multi-instrumentalist Sage Cook took during the quieter sections of the songs they sang. The audience was intent on hearing every single word. It was that collaboration between the band and the audience that made this night at Stargazer's Theatre special.
Also worth noting were two performers that appeared during the 85 minute long set. First was Rainbow Michael from Boulder who walked on stage before the instrumental "Ancient Sea" and performed illusions with a ball. Later, aerialist Lani Gordon performed acrobatics on a rope hanging between the audience and the stage while the band played their instrumental "Single Beds Are Made For One." They both embellished the music Elephant Revival played along with them.
Elephant Revival's set was nearly all original songs that were all unique and very well played. Paine's voice in particular is a standout. There is an alluring, soft and lilting quality to her voice that must be heard live to be appreciated fully. Paine sang the last song of the set "Out Under the Winter Sky" a cappella which drew enthusiastic applause from the crowd.
The three song encore was capped when Poltz, Rainbow Michael and Gordon joined Elephant Revival on stage for a poignant sing along version of Bob Dylan's "Forever Young" lead by Poltz on acoustic guitar and vocals. Poltz dedicated one verse to Nelson Mandela who passed away recently.
It was quite a night to remember at Stargazer's Theatre for the last Saturday in December of 2013.
With the generous assistance of Jonathon L from the venue and sound engineer Shaun Wall with Elephant Revival I captured the night of music and have made it available for your listening pleasure. The links below will lead you to more photos and the recordings I made of both performances.
Thank you to Stargazer's Theatre, Steve Poltz and Elephant Revival for allowing me to record this wonderful night of acoustic music.
Prompted by reading a discussion thread I saw over at taperssection.com I thought I'd share the details of the construction of the sound board patch cables I made a while ago and have been using for years. Read more about them by following the link below.
Upstate New York based jam band moe. gave us two sets of great music in Denver on December 6. They played the instrumental "Oh, Hanukkah" from their Season's Greetings From moe. CD for only the third time ever. Also, a great cover of the Pink Floyd song "Time" sung by Chuck Garvey started after "Ricky Marten" which was also very nice to hear. An abbreviated rendition of "Spine Of A Dog" was played as the encore just before 2AM on Saturday and set everyone out of the venue happy.
The Magic Beans from Colorado opened the show and did a really good job. They fall into the String Cheese Incident like category of jam bands gauging from what I heard on Friday night. Long jams with solid playing and singing were what I heard during their 45 minute long set. I would like to see them headline a show on their own sometime.
I did record both bands at the Friday show and I also took some photos which can be accessed by following the links below.
I have never owned a large diaphragm multi-pattern microphone. So, when I spotted this used and cosmetically neglected Nady SCM-1000 microphone on eBay for less than $50 I bought it and made a learning project out of restoring it and upgrading it for my specific needs.
I cleaned it up, made some minor circuit modifications, replaced the stock capsule with a new capsule and painted the body. I took photos and notes throughout the process and have included them on the page linked below.
It had been a while since I'd gotten out to record anything, so I headed over to the Black Sheep in Colorado Springs on Saturday night to record the Grant Sabin Band.
There was a good sized crowd for the show that was headlined by Larry and His Flask. I had seen Larry and His Flask before, as they opened for Lucero at the Black Sheep last year in April.
Singer-songwriter Kiel Grove opened the show at 7:45PM. He played a good enough set. The audience wasn't paying attention, so there was a lot of chatter that made it difficult to hear the subtleties of Grove's performance.
The Grant Sabin Band played as a three piece with a new bass player, Chris Davis and of course with Alex Koshak as usual behind the drums. As has been the case every single time I've seen Sabin, it was an intense, well played set that was well received by the audience.
Check out my recording by following the link below.
In a continuing effort to make my recording gear lower in profile, I had the idea to make a small, robust stereo microphone mount for my Microtech Gefell M300 microphones.
I used some parts I already had along with items I purchased at local hardware stores to complete the project. During construction I took some pictures. I have also included links to the materials I used.
Follow the link below to access the project page.
I was only able to go to the Sunday Furthur show at Red Rocks this year. But, I'm so glad that's the one I was able to attend. I got there early enough to be the first taper to set up behind the sound board. So, I got the center spot on the rail. I taped my stand to the rail as I usually do, which proved to be a good thing. It rained through most of the first set. But, that was nothing compared to the wind! It was the kind of wind that turned several umbrellas inside out and it blew over at least two microphone stands that weren't taped down well.
The first set was very good despite the wind. I really enjoyed the songs "Black Throated Wind" and "Brown Eyed Women". The sound from the PA system was excellent as usual for Furthur Red Rocks shows.
I ran my Audix CPS-MICRO-O (omni's), which was another good thing, because my Gefell M300 cardioid microphone source for the first set is somewhat un-listenable because of that wind. Omni-directional microphones reject wind better than directional mics. The strong wind and rain slowed down near the end of the first set and didn't come back again for the second set. Thankfully.
The band took an hour long set break as the crew covered everything on stage with tarps. They opened the second set at 7:15 PM with Bob Weir's "Weather Report Suite." A little after the "Let It Grow" section started Branford Marsalis walked onto the stage with his saxophone! Weir marked the legendary jazz sax man's appearance on stage with some humor, by saying, "Security please!" in the middle of "Let It Grow."
Well, the rest of the night was just magic with Marsalis sitting in on saxophone for the second set and encore. The band played one of the best sets I've seen them play. Of course they did "Eyes Of the World". They finished the "Dark Star" they started on Saturday night. Next came a somewhat disjointed reading of "The Other One" which segued perfectly into "Morning Dew" which was sung beautifully by John Kadlecik. "Help On the Way" > "Slipknot!" > "Franklin's Tower" was somewhat expected by me, but it was great to hear that trio of songs. They finished the night with the most appropriate song, "Brokedown Palace." The back-up singers Sunshine Becker and Jeff Pehrson really sweetened that song, making it one of my favorite songs of the night. Marsalis went around the stage and hugged everyone. Then they all lined up downstage and took a big deep bow together as the audience showered them with applause. The show and the last night of the four night stand at Red Rocks was over.
Both of my recordings of the first set suffer from the phasing sound that happens with high winds, but they're listenable. The Audix CPS-MICRO-O (omni-directional microphones) first set recording is better than the Gefell M300 recording. The second set's both sound fine. Some photos I took and the recordings I made can be accessed via the links below. My Audix microphone recording also earned a mentioned in an article on JamBase online.
Rescheduled from September 13 because of rain, the concert featuring the band 2 Hour Delay. The band made up of Colorado Springs teachers played as a trio and gave us two one hour sets with a good mix of originals and covers.
They played some old school folk tunes, some newer music and had a few really nice originals.
I took some pictures of the band which can be found by following the link below. I didn't make a recording.
Saturday, August 24, folk singer Joe Uveges and Mark's Midnight Carnival Show played the last free Saturday concert of the year in Acacia Park. It was another beautiful night for music in Colorado Springs. Uveges played first and gave us a good set of original songs with some cover's mixed in too. His between songs comedic banter was just as good as the music. He had the audience laughing with him throughout the performance.
I planned to multi-track record his set, but it didn't work out. So, I don't have a good recording of his set to share. He did express interest in trying it again. So, hopefully I'll get one of his up coming shows recorded.
I didn't stay for Mark's Midnight Carnival Show. But, I did hear them sound check and I thought they sounded very good.
Follow the link below to view a couple of photographs I took during Uveges's hour long performance.
On Friday, August 23 Stargazers Theatre hosted the Jake Loggins Birthday Bash and Justus League CD release party. It was Loggins 30th birthday and the venue was packed. Loggin's brother Justin opened the show with a comedy skit which included lots of pictures of Jake throughout the years. The images were displayed on the giant movie screen behind the stage at the venue. Justin Loggins told many interesting and funny stories about his younger brother before the music started.
Next, The Jake Loggins Band laid down some rocking blues covers which had lots of people up and dancing. This band was much more hard driving than the band I heard him play with in June at Acacia Park.
The Wendy Woo Band has been playing the lunch time concerts at the Hilton Antlers Hotel (Plaza) in downtown Colorado Springs for many years now. The free summer concerts are hosted by Cushman Wakefield. This year was one of the best performances I've seen from her band. They get better every time I see them.
Playing as a four piece, the band was focused and Woo really shined on guitar and vocals. Belting out the songs when appropriate and reining it in when more subtle singing was needed. The band followed along expertly. The weather was perfect and the sound was excellent.
The highlights of the 93 minute long set, for me, were the originals "Another September" and "Ghost". The band also did excellent cover versions of John Mayer's "Why Georgia" and the beautiful John Prine written "Angel From Montgomery".
Finally, there was good weather again for the free weekly concerts held at the Acacia Park Bandshell in downtown Colorado Springs. Up first on Saturday, August 17 was the Alan Joseph Trio with guest musician Mark Rose on saxophone. Joseph is a local guitar master and jazz guitar instructor at the University of Denver. His band's hour long set consisted of a good mix of original instrumentals and standard jazz covers. The small, mostly older crowd seemed to enjoy what they heard.
Colorado Springs music lovers may have become a bit skeptical about attending the Saturday evening concerts because the weather had cancelled the last two in a row. But, this time it was a very nice, clear evening with no rain and light wind.
Performing after The Alan Joseph Trio was singer-songwriter Levi Weaver from Nashville, TN. Weaver entertained the crowd with his voice, an acoustic guitar and some electronic wizardry. He used vocal and instrumental effects and loops to embellish his mostly dark and often angsty songs to good effect. He also had an interesting story to tell about nearly every song he played. The audience was very attentive during his low key but very well played set.
It was getting dark and the crowd had thinned a bit by the time his set was ending. When unexpectedly, Weaver walked to the front stage lip after his last song to lead the crowd in a sloppy but fun version of "Happy Birthday" sung to very surprised sound engineer Russ Tellup. Tellup, owner of Hard Act Entertainment, has provided the PA system and live sound engineering for the Acacia Park concerts for at least the last two years. Happy birthday Russ!
Next Saturday is the last free Acacia Park concert for the summer of 2013. I hope the weather cooperates as local singer-songwriter Joe Uveges is scheduled to perform. I have not seen him play yet, but I have been told he is very good.
I'm waiting to see if I will get permission to upload the Alan Joseph Trio recording I made which I think turned out well.
I did take some photos of both acts. They can be accessed by following the links below.
For the second Saturday in a row the free concert in Acacia Park was cancelled due to weather. On August 3 and last Saturday, August 10, it was raining lightly, but there was lightning over head 30 minutes before show time, so both shows were cancelled by the organizers before 6PM. We badly need the rain in Colorado Springs so there's a bit of good news mixed in with the bad.
So, I missed an opportunity to record the Haunted Windchimes who I really enjoy. The recording I made last year of the Windchimes in Acacia Park turned out so well, I was hoping to get another good recording of them this year.
I also missed seeing and recording We Are Not A Glum Lot and El Toro de la Muerte last Saturday. I have not yet seen either of those bands play live. But, what I have heard from listening to both bands online is impressive. I hope to have another opportunity to record both of those bands soon.
Hopefully the weather will be better this Saturday for the Alan Joseph Trio and Levi Weaver. I have only seen Alan Joseph play once before. That was back in 1991 at the Pikes Peak Vineyards for a Labor Day festival. So, I'm anxious to hear Joseph and his band play some jazz again. This time in Acacia Park.
The third annual Grateful Dead Meet-up at the Movies event held on August 1, this year featured the premiere presentation of the long awaited documentary film Sunshine Daydream. The movie filmed at the Oregon County Fair near Veneta, Oregon on August 27, 1972 documents a concert by the Grateful Dead to benefit the failing Springfield Creamery which was owned by Ken Kesey's family.
This movie premiere was a very long time overdue. Though an unofficial audio recording of this concert has been a touchstone for deadheads through the years, the Grateful Dead were unhappy with technical aspects of their performance. It was a very hot day in August of 1972 and the stage had the band facing into the hot sun, which made it difficult for them to keep their stringed instruments in perfect tune during songs. But, the Grateful Dead played very well despite the tuning issues. Apparently those issues have been fixed or are no longer a concern, because the movie has finally been released.
So, on what would have been Jerry Garcia's 71st birthday, movie theaters across America played the film Sunshine Daydream at 7:30 PM local time to eager deadheads. I was one of them.
I really enjoyed the movie. But, I was surprised by the camera work, which was often out of focus and very shaky at times. The best parts of the movie were the scenes that featured the Grateful Dead playing songs. When the camera's were not focused on the band playing, the movie dragged a bit for me.
If you want to know what hippy's looked like in the early 1970's there are plenty of scenes showing that in the movie, including male and female fans dancing blissfully to the music and completely naked. Those images reminded me of the movie Woodstock which was filmed three years earlier. The movie theater audience I was part of clapped and cheered after every song the band played. There were certainly some poignant moments too. Like when the cameras were focused close in on Jerry Garcia. But, I generally felt more joyous hearing the music rather than sad seeing those images.
Well, there's not much else to say about it other than it was cool to see it on a huge movie screen with a loud 5.1 surround sound mix. An infomercial played before the movie began indicated that CD, DVD and Blu-ray audio and video packages of Sunshine Daydream are available for pre-order.
This was my second time seeing Dotsero play at the annual Cushman and Wakefield free summer concert series held at the Hilton Antlers Hotel plaza in downtown Colorado Springs. The band played so well that the crowd brought them back for an encore, which is unusual for this venue.
The highlight of the set was a more than 25 minute long version of the Bob James classic "Westchester Lady." The Dotsero version featured a section that references Tito Puente's "Oye Como Va" which was popularized by the group Santana in the 1970's. I made a nice recording of the performance but I have not yet received permission from the band to upload it to this site.
I did take some pictures, which can be viewed by accessing the link below.
I'm a Wilco fan and that lead me to listen to Uncle Tupelo and eventually to Jay Farrar and Son Volt. So, when I saw that Son Volt were playing in town this week I decided to go check them out.
Son Volt's music still has a lot in common with Uncle Tupelo's alternative-country sound. When Jeff Tweedy formed Wilco, he expanded the Uncle Tupelo sound far beyond alternate-country. Farrar has stayed much closer to it from what I heard on Tuesday night.
The opening band, Colonel Ford, consisted of Son Volt, without Jay Farrar. So, they were a great opening band for Son Volt fans. Their ten song set was comprised of country standards, including Gordon Lightfoot's "(That's What You Get) For Loving Me", Freddie Fender's "Wasted Days and Wasted Nights" and the Johnny Cash penned, "Train Of Love."
I was talking to someone just after Colonel Ford left the stage about how much I liked the set when Mark Spencer the very talented multi-instrumentalist and singer for both bands came by and told me he didn't like the way they played and asked me not to upload my recording. It's still somewhat surprising to me how musicians perceive what transpired on stage so differently than how the audience perceived it. So, you won't hear my Colonel Ford recording.
Son Volt got up on stage about twenty minutes later and played a great set, with lots of songs from the newest album "Honky Tonk". Unfortunately, Colorado Springs must not have a lot of Son Volt fans, as the 400 capacity venue had approximately 75-90 people in it at most.
Son Volt didn't want any photos to be taken during the performance, so I don't have any to share. But, I did get some photos of Colonel Ford, and I did record the Son Volt set and uploaded it to this site. Unfortunately there wasn't much of a crowd on a this Tuesday night in Colorado Springs. So, the recording has that empty venue sound to it.
Jam band moe. played a real barn burner of a show at the Boulder Theater on July 3, 2013. From the first notes of the keyboard introduction to "Tubing the River Styx" through the encore, the song selections and playing were excellent. Some in attendance even called it an old school moe. show.
There were probably less than 750 in attendance, at the venue that holds 1,000, which made it nice and comfortable compared to other shows I've seen at the Boulder Theater.
The band took the stage at a little after 9 PM and played the last notes of "Mexico" at around 12:45 AM. We all left very satisfied after that show!
The first set was great, but the second set was even better. Starting the set with the very short introduction to "Meat" they played a nearly perfect seamless second set, coming back to "Meat" again twice before the encore.
By far the highlight and most surprising song they played was a set closing cover of the RUSH classic, "Tom Sawyer" with multi instrumentalist Jim Loughlin singing lead. It was only the third time the band had ever played that song. It just came out of nowhere and it was well received by the crowd. I didn't know Jim could sing so well!
"Silver Sun" also had some great dynamic and often subtle playing by the whole band. Listening to Chuck and Al trade off guitar leads before the lyrics was sublime.
"Mexico" was a great choice to end the night of otherwise hard jamming music.
One more thing I have to mention is that the lights for moe. get better every time I see them. They really are spectacular. I tried to capture them with my budget camera, but I couldn't do them justice. Though I have added some of the photos to my moe. images page.
Local bluegrass favorites Grass It Up played two one hour long sets at Stargazers Theatre on Friday, June 28. They drew a large, mostly older crowd for the free Friday concert in one of Colorado Springs most popular music venues.
I hadn't seen Grass It Up since they added vocalist and banjo player Jim Marsh to the line-up. He is a great addition to the band. His playing is excellent and his voice fits in perfectly with veteran lead singers Shannon Carr and David Jeffrey.
Grass It Up played a good mix of original songs, traditional bluegrass standards and a few cover songs. I liked the original "Westside" and the instrumental cover of "Over the Rainbow." The cover was a very cleaver re-arrangement of the classic song from the motion picture The Wizard Of Oz. Also, worth noting is Marsh's brush work on his banjo skin during the group original "Westside."
Jake Loggins, Colorado Springs resident electric blues guitar master, gave us a great set of electric blues classics in Acacia Park on Saturday, June 22.
With prolific local drummer Dewey Steele and "Fingers" Farrell playing bass Jake Loggins entertained the crowd of around 150 on a beautiful Saturday afternoon in the park.
I have to say I was mesmerized by "Fingers" Farrell's bass playing during the 63 minute long set of blues songs. Loggins was the star attraction, but the rhythm section was stellar.
The highlight of the set was the Bill Wither's classic "Use Me" which featured a blistering guitar solo from Loggins and a tasteful drum solo by Steele. The song, the longest of the set, stood out from the rest for it's intensity.
Also on the bill was the J. Miller Band which I had not seen before. Their "Folsom Prison Blues" > "Deep Elem Blues" > "Folsom Prison Blues" medley early in the set caught my ear during their performance. It felt to me like they were just getting warmed up when their 50 minute long set was over at around 8:15 PM.
The Lazy Spacemen played at the Acacia Park band shell on Friday, June 15. They were on a double bill with Austin, Texas band Estelline for the free afternoon concert in the heart of Colorado Springs.
I've know Chuck Snow and I have recorded his bands often through the years, but I hadn't seen his band the Lazy Spacemen before. As the band was setting up on the outdoor band shell it started to rain lightly. But, we got lucky and the clouds moved and the weather was nice for the rest of the evening.
I set-up next to the soundboard and used AKG C-480 condenser microphones fitted with CK-63 hyper-cardioid capsules with heavy windscreens aimed at the speakers to supplement the mono soundboard feed for the recording.
Snow played his locally famous "The Uncle Wilbur Fountain" song, solo, while the rest of the band were making their way onto the stage. It was hilarious and the few of us that were paying close attention to the lyrics kept laughing harder as the song went on.
I liked The Lazy Spacemen set very much. "Fishdriver" was the song that caught my ear from the 50 minute long performance.
I can't say I'm really happy with the recording. I should have been closer, but I wanted to try the soundboard feed for this recording. Also, when I've recorded up front at this venue in the past, the drums were a little overpowering because of the acoustic interaction with the band shell.
The last song The Spacemen played was an original titled "Crumbs" which reminded me of the night before recording Cracker at the Bluebird Theater.
Follow the link below to listen to the recording.
Crumbs. That's what Cracker fans call themselves. So, I was a Cracker crumb on Friday night, June 14. I've seen both Cracker and Camper Van Beethoven many times. I like both bands equally. So, I should say I am really a David Lowery fan primarily.
Both bands, fronted by Lowery played great hard driving sets at the Bluebird Theater in Denver Friday night. The two sets were up there with the best I've seen both bands play over the years.
I want to give a special shout out and thank you to Cracker & Camper Van Beethoven audio archivist morst. When I arrived at the venue I had tickets waiting for me. Inside the venue, the venue staff went out of their way to accommodate me. Including roping off an area that I was able to set-up in at just the right spot to make the best recording. Morst, band manager Bobbie Conner and the venue staff made me feel like a VIP, which is quite unusual in my experience but very much appreciated.
Camper Van Beethoven played first and performed a very good set that included some songs off the their latest album, La Costa Perdida. I hadn't heard any of them before. I liked all of them and I think they fit in with the bands repertoire very well.
Cracker with Victor Krummencher, from Camper Van Beethoven, playing bass in place of Sal Maida played a flawless set that included the somewhat rare Grateful Dead cover of "Loser" opening the set and the band's biggest hit "Low" following that.
Both bands played so evenly I can't pick out any highlights. Lowery didn't address the crowd with stories or any extra commentary on the songs which I am accustomed to hearing, but that left more time for them to play music.
They played the Sister Sweetly album in it's entirety in the middle of the set. I hadn't seen them play live with Jeremy Lawton before. I think he is a great addition to the band. His lap steel playing adds so much to the overall sound. Hazel Miller also lent her voice to the songs "Sister Sweetly" and "Please Don't Tell Her". It's always good to hear Hazel Miller sing with the band.
Boulder's Big Head Todd & the Monsters are celebrating the 20th anniversary of the release of their breakthrough album Sister Sweetly this summer.
AXS TV will be broadcasting the band's June 8 concert at Red Rocks live tomorrow night. I've seen quite a few of the Red Rocks concerts AXS TV has broadcast and I think they do a good job with the audio and video.
If you are a Big Head Todd & the Monsters fan it will be worth tuning in. You can check out the audience recording I made of the band before they made it big here on the Live Music Archive.
Kings Of Space is a collective between four bands. Grant Sabin, The Flumps, Briffaut, and We Are Not A Glum Lot. Three separate acts billed together as Kings Of Space played at the Acacia Park band shell to open the 2013 Acacia Park Summer Concert Series on Saturday, June 1.
First to play was Daniel James Eaton solo, then Charioteer and Grant Sabin & the Full Moon closed the show at 8 PM. Eaton played a good set to open the evening. This was the first time I had heard Eaton play solo and he did a good job. I didn't know any of his original songs, so I wasn't totally engaged, but I enjoyed his opening set.
Charioteer was up next. It was interesting to see Alex Koshak front the band, singing and playing electric guitar. I had only seen Koshak play drums (with the Grant Sabin Band) previously. Sam Erickson who I've only seen play electric guitar (again only with the Grant Sabin Band) played the drums. Grant Sabin rounded out the band on bass. I was reminded of early '60's rock-n-roll bands when listening to Charioteer.
Grant Sabin & the Full Moon closed the evening, playing hard driving electric blues for the 200 plus people in attendance in the park.
The fourth annual Denver Day of Rock - Concerts For Kids was held on May 25 in downtown Denver. I recorded The Railbenders and Roger Clyne and the Peacemakers performances on the Welton Street stage. Roger Clyne, of course, was the leader of the disbanded Arizona band The Refreshments. The band plays originals as well as songs from The Refreshments catalog.
It was great to see The Railbenders play together again. They don't get together to play as often as they used to since Jim Dalton became the lead guitar player for Roger Clyne and the Peacemakers. I really enjoyed their set. Unfortunately the crowd was more interested in chatting and partying than listening to the band play. Highlights of the Railbenders set included the rocker "Black Chrome Horse" and an extended version of "Drivin' Back To Denver".
The audience was more attentive for the Roger Clyne and the Peacemakers set. Roger never fails to be thoroughly entertaining. His energy is infectious and he held the crowds attention for the entire set. The vocals were slightly under mixed for the RCPM set, and that is evident on my recording. But, other than that the recording I made is enjoyable. I really enjoyed the songs Jason Boots plays trumpet on, which were "Lemons" and "Mexico". "Green & Dumb" was dedicated to some friends of Jim Dalton's who were married that day. The song was very well played and was another highlight of the 70 minute set.
Colorado Springs mainstay musician Chuck Snow opened for Junior Brown at Stargazers Theatre on Saturday May 18. It was one of the best sets I've ever seen Chuck play. With George Duncan accompanying him on pedal steel Chuck gave us a great mix of originals and classic country covers.
I multi-track recorded his set and have made MP3's available for live streaming and download below.
I had never seen Junior Brown and I really enjoyed his performance. That Guit-Steel guitar Junior plays is really something. It allows him to move from the electric guitar sounds to pedal steel guitar sounds in an instant. He's got a great country voice and he has a lot of songs to sing in his repertoire.
Having enjoyed hearing Built To Spill the last time I saw them, I decided to head over to the Black Sheep Friday, May 10, to see and record them again. I was not disappointed.
I was there for sound check and I saw Built To Spill do a cover of the Blue Oyster Cult classic rocker "(Don't Fear) The Reaper". It sounded very good. Even better than the cover versions of the song I've heard another band I like, moe. do.
The opening band Junior Rocket Scientist left me cold. I didn't really get what they were doing and couldn't relate to their music. Their set sounded very disjoined to me.
The Black Sheep holds 400 people. It looked to me around 3/4 full. So I'd guess there were 300+ people there. I've been to sold out shows at the Black Sheep and those were very crowded and packed in. So, 300+ people felt like a nice comfortable sized crowd. I enjoyed the Built To Spill set and got a reasonably good recording. The sound was a bit muddy to my ears. But, the vocals were bright and clear and were actually sibilant at times.
I can't say there was a real musical highlight for me during their set. All the songs were played well by the band and the crowd was very enthusiastic. If pressed, I'd say "Hindsight" was my favorite song of the night. They played "(Don't Fear) The Reaper" as the first encore song and it was well received by the crowd. Mostly all of them were still there at the end of the show. The lead singer for Junior Rocket Scientist played cowbell on "(Don't Fear) The Reaper", which I thought was (SNL skit... lol) funny.
I rode up to Garden City, Colorado on Saturday, April 20 with Rick and Kevin (the rhythm section) from the Davenport Band. Rick had to leave his floor tom at home to accommodate me riding in the car.
They were the first band to play at the now, Annual 4/20 Music & Culture Festival at Nature's Herbs and Wellness Center dispensary. I recorded their short, mostly uninspired set. I'm not really happy with the recording. So, I probably won't upload it. But, it was really good to see them play. I took some photos which can be found at the link below.
The Grant Sabin Band, Briffaut and Dog Days played a benefit concert on March 19 to raise money for Colorado Springs gal Molly Harris who was injured in an automobile accident and needs help paying the bills. Inaiah Lujan's Dog Days played first and I enjoyed their set the most. Their music reminded me of the Beatles. They even played an excellent cover of the Beatles "Don't Let Me Down." Parts of Lujan's performance on "Don't Let Me Down" were reminiscent of John Lennon's vocal performance during the Apple building rooftop concert in 1969. I got chills hearing it sung so well live.
Briffaut played next. Their set was very good too. As it happened, Grant Sabin was a member of every band that played. He played bass in Dog Days and Briffaut and played guitar and sang lead in his own band.
The Grant Sabin Band played last and played an intense set of authentic blues music. Sabin's band is expert at riding the dynamics of the blues and they played a memorable mix of blues rock songs. His blues vocals and guitar playing sound like the real thing.
I haven't been using my Naiant littlekit pre-amp as much as I'd like, because the NiMh 9v batteries I bought to power it are not convenient to re-charge, and some of them are not holding a charge very well anymore. So, I found a nice clean ~6v to 48v voltage converter that I can use to power the pre-amp with just 6v - 9v DC.
Furthur started a four night Colorado run on February 21 at the Ogden Theatre in Denver. I had a ticket but was unable to go. I attended the next two shows on February 22 & 23.
I set-up to record the concert centered behind the soundboard on February 22 at the 1st Bank Center. The sound was a bit muddy and the band didn't seem very inspired at this Friday night show. The song choices were good and there were some nice moments including well played covers of "Dear Prudence" and "Knockin' On Heaven's Door". But, it was the next night, Saturday, that the band really shined.
It was cold and windy out on Saturday night and it was a relief to get into the warm venue at 6:30PM. I was able to set-up in the exact same spot I was on Friday to record this show. From the opening notes of the Saturday night show everything was better than Friday night. The sound was clearer and band had more energy and the crowd responded with enthusiasm after the "The Music Never Stopped" > "Standing On Shaky Ground" > "The Music Never Stopped" opener. "Althea" kicked the first set into a hyper-drive. One taper commented that "Althea" this night was better than any single song from the Friday night show. I agreed.
But, as is often the case, it was set two that shined brightest. The set was a "Help On the Way'" > "Slipknot" > "Franklin's Tower" sandwich! The opening notes of "Help On the Way" to open the set fueled the crowd. A great version of "Cassidy" followed a quote from "Slipknot".
The band was playing very confidently now. Unexpectedly Phil sang "Mountains Of the Moon" next. After that, a strong "Let it Grow" > "Slipknot!" > "Standing on the Moon" > "I Know You Rider" followed. Hearing "I Know You Rider" without "China Cat Sunflower" first was strange, but I liked it. The crowd predictably gave the loudest cheer for the "I'd shine my light through the cool Colorado rain" verse in "I Know You Rider".
On this night, Weir's harsh and biting guitar tone was not as annoying as it was on Friday night. Joe Russo was a monster, as is usually the case, on the drums and Phil sang "Mountains Of the Moon" very well. I also have to comment on the back-up singers. Sunshine Becker and Jeff Pehrson really do a great job of sweetening the vocals for Furthur. They just elevate songs like "Let It Grow" and "I Know You Rider" to a new level in my opinion.
I thought the set was good enough up to this point to just end with the expected "Slipknot!" > "Franklin's Tower" combination. So, I was pleasantly surprised to hear a strong rendition of "Uncle John's Band" next. Then came the closing "Slipknot!" > Franklin's Tower" pairing to finish the sandwich and the set. Again, Becker and Pehrson's vocal contributions to "Uncle John's Band" were appreciated.
Phil Lesh came out and did his donor rap. Since it was Saturday night, it was no surprise that they ended the show with "One More Saturday Night" as the encore. It was a strong finish to a great night of music.
The three band reggae throw down at the Black Sheep on Thursday, January 31 was great fun. Iration supported by Passafire and Pacific Dub sold out the 400 capacity venue and played a solid night of good vibes, jammin' music. I thought all the bands played well.
I used AKG CK63-ULS (hyper-cardioid) capsules > Naiant AKG Actives w/ PFA's to record the show from the soundboard area . I also had a soundboard feed for the opening two bands.
My recording of the Passafire set can be downloaded and streamed from the link below.
The Wendy Woo Band and Nina Storey performed at Stargazers Theatre in Colorado Springs on Saturday, January 19. A pleasantly unexpected surprise was Katie Cole, who was not on the bill, but opened the show as a duo with bass player Matt Reyes. Cole had some nice songs, especially her opener "Lay It All Down." Her voice was very good and the songs were quite catchy.
After Cole's five song set, Nina Storey was next. Her energetic set was very good. I had not seen Storey play before and I was impressed. She's got a great voice and an excellent stage presence.
But, it was Wendy Woo's set I enjoyed the most. The highlight was the "Surprise Me" > "Drunk In Love" combination toward the end of her set. The band got into a nice groove and jammed it out.
I listened to the Furthur New Year's Eve live show broadcast live via SiriusXM (internet) on Saturday night. I thought it was a great show. The song selection was very good and the band members were in a jamming mood, as many of the songs were nicely extended.
The first set "Scarlet Begonias" > "The Music Never Stopped", second set "Playing in the Band" & "Let It Grow", third set "Help on the Way" > "Slipknot!" > "Franklin's Tower" and Encore "Terrapin Station" > "Brokedown Palace" were the highlights for me. Three full sets of music and the two song encore made it the longest Furthur show of 2012.
Jeff Chimenti's jazzy keyboard playing along with John Kadlecik's sweet guitar licks and vocals propelled Furthur to new high heights. The back-up singers really help sweeten the vocals, making for a group vocal performance that is better than any of the individual singers alone. Joe Russo's "Help on the Way" > "Slipknot!" drum work was sublime. Weir's guitar was a little too high in the mix in my opinion, since he has been using that ultra-sharp, biting and aggressive tone almost exclusively lately. Phil's vocals are getting better all the time and the mix had plenty of his bass in it.
I thought David Gans did a good job hosting the SiriusXM broadcast. He didn't interrupt the music at all while the band was playing and his between set chat with live callers was amusing.
Furthur is really playing well now. I'm really looking forward to seeing and recording the Denver and Broomfield shows in February.


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Louis Raphaël I Sako, född 4 juli 1948 i Zakho, Irak, är en irakisk kardinal och ärkebiskop. Han är sedan 2013 kaldeisk-katolsk patriark av Babylon.

Biografi
Louis Raphaël I Sako studerade vid Urbaniana i Rom. Han prästvigdes 1974.

År 2002 valdes Sako till ärkebiskop av Kirkuk och biskopsvigdes den 14 november året därpå av ärkebiskop André Sana. År 2013 efterträdde Sako Emmanuel III Delly som kaldeisk-katolsk patriark av Babylon.

Den 20 maj 2018 tillkännagav påve Franciskus att han ämnar upphöja ärkebiskop Sako till kardinal den 28 juni samma år.

Referenser

Noter

Webbkällor

Externa länkar

Personer från Zakho
Irakiska kardinaler
Kaldeisk-katolska patriarker av Babylon
Irakiska ärkebiskopar
Födda 1948
Levande personer
Män


Developer Quote: "Reflection is a photo app which can easily add a realistic water reflection and ripples to any photo."
Apps are extraordinarily helpful at turning your everyday snaps into stunning work of art photos. For almost all apps, no instructions are necessary. That is the beauty of photo apps in particular. Point and shoot then turn that pic into a stunning creation. You can do this with Reflection, a photo effects iPhone app.
Select to either take a new pic with the camera or upload one from your photo album. Place the dividing reflection line where you choose, then under that line you will immediately see a pool of "water" with the reflection of your subject above it. This is such an engaging illusion! I did this with my puppy running on the lawn, and the final picture appeared as though she was looking down at her reflection in the water. Very adorable indeed.
There are in-app purchases available such as InstaFX Pack, Color Splash, TtV Pack, LOMO Pack, Tones Pack and more. Each of these provide original themes for your pics. The key thing to notice about Reflection is its simplicity of use, yet the finished result is wonderful. Check it out while it's free!


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Ittai Shapira (born December 18, 1972) is an Israeli-American violinist, composer, and curator. Described by the NY Times as "an Israeli dynamo with a flourishing solo violin career", he regularly performs as a soloist with prestigious orchestras. His compositions include Concierto Latino, a concerto for Solo Violin, and seven Double Concertos. He is the founder and artistic director of Sound Potential, Inc., an artistic consultant for the Weill Cornell Music and Medicine Program, and is co-founder of the Ilona Feher Foundation with violinist Hagai Shaham.

Early life and education
Ittai Shapira was born in Rochester, NY, but grew up in Israel. He first studied with Rima Kaminkovsky, and later with renowned pedagogue Ilona Fehér. He continued his studies at the Juilliard School with Dorothy DeLay, Robert Mann, and Naoko Tanaka.

Performing career
Engagements include performances with the BBC Concert Orchestra, Belgrade Philharmonic under Sir Neville Marriner, Cape Town Philharmonic, Czech National Symphony under Libor Pešek, Detroit Symphony under Yoel Levi, English Chamber Orchestra with Yuri Bashmet at the Barbican Centre, Israel Chamber Orchestra, Israeli Virtuosi at Alice Tully Hall, hosted by Itzhak Perlman, the Philharmonia, Polish Chamber Orchestra, Rochester Philharmonic,  Royal Philharmonic, Russian Philharmonic with Thomas Sanderling, and the Symphony Orchestras of Budapest, Harrisburg, Jerusalem, Omaha and Shanghai.

Ittai Shapira made a critically acclaimed Carnegie Hall debut in 2003 with the Orchestra of St. Luke's, performing the world premiere of the Violin Concerto written for him by compatriot Shulamit Ran. His live recording of this concerto is featured in a compilation of Ms. Ran's works, performed by Daniel Barenboim and the Chicago Symphony Orchestra. He returned to the world-renowned stage as a soloist, with the American Symphony, and Glenn Close.

Other performances include a tour of Finland and Sweden with the Oulu Sinfonia, a tour of Shapira's Violin Concertos Concierto Latino, with the Key West Symphony, and The Old Man and the Sea with The Knights.

He continues to tour as a soloist, with his own compositions, with orchestras in Austria, Brazil and the United States.

Compositions
Ittai Shapira's first composition was a concerto for Solo Violin, Concierto Latino, recorded in 2011 by the London Serenata under the baton of Krzysztof Chorzelski.

He went on to compose seven Concertos:

 The Old Man and the Sea, a Violin Concerto inspired by Ernest Hemingway's short novel, released in 2012 by Champs Hill Records with the Royal Liverpool Philharmonic. The work was co-commissioned by the Madison Theatre at Molloy College for the inaugural season of the "Innovative Classics" series.
 Magyar for two Violins, dedicated to colleague Hagai Shaham, was performed and recorded in Austria in 2014 with the dedicatee and the Arpeggione Orchestra, conducted by Robert Bokor.
 The Ethics was composed for the 70th anniversary of the Theresienstadt camp. It is inspired by Brundibár, a Children's opera performed at the camp and was written  in collaboration with anthropologist Natasha Zaretsky. The work premiered at Zankel Hall at Carnegie Hall in May 2015, written for Humanity in Action and co-sponsored by the Blavatnik Family Foundation.
 Sephardic Journeys, for Violin and Cello, is a musical story of the Sephardi Jews. It is a composition which examines questions of diaspora and migration, its inspiration originating from a desire to rebuild Identity, Empathy and collective memory through Music. Co-commissioned by the Krueger Foundation, it was recorded in September 2017 by the BBC National Orchestra of Wales, with cellist Thomas Carroll and conductor Rumon Gamba.
 Midnight's Children, a multidisciplinary project in close collaboration with Sir Salman Rushdie and visual artist Alexander Klingspor. The two works are coupled on a recording with the BBC National Orchestra of Wales, released by Champs Hill Records.
 Chunhyang for Violin and Soprano, a collaboration with philosopher Laureen Park.
 The Stolen Generations is a concerto for Flute and Violin inspired by music of the Métis, Inuit and First Nations.

He is also the creator of a set of Solo Violin Caprices.

Discography
Ittai Shapira's discography of over 20 CD's (for labels including Champs Hill Records, EMI, Meridian Records, Sanctuary Classics, Quartz and Sony/BMG) includes both standard and contemporary repertoire. Shapira's playing is featured in the soundtrack of a film made about Daniel Pearl, The Journalist and the Jihadi, and a children's project with Brooke Shields, The Runaway Bunny. The performance was hosted by Larry King and reached an audience of 55 million on the Jerry Lewis Telethon, and was nationally televised in the US.

Fourteen concertos have been dedicated to him by composers such as Avner Dorman and Dave Heath, the most recent being the Katrina Violin Concerto by Theodore Wiprud. He has recently premiered a Violin and Mandolin Concerto with Avi Avital, Tikkun Olam composed by Ariel Blumenthal and conducted by Florin Parvulescu, a special project he curated as a soloist in a joint project between the San Francisco Symphony and Conservatory.

Awards and recognition
A recipient of the prestigious Clairmont Award, he has served as Classical Advisor at Molloy College and the Weill Cornell Music and Medicine Program, and has given concert lectures about Music and the Brain at the University of Cambridge (UK), Mount Sinai Hospital, and New York University. He has also given a concert lecture about the healing potential of music at One to One Global Forum, co-sponsored by the UN Foundation and Chabbad.

He was selected to be the first Affiliate at the Royal College of Music in London.

He is a recipient of the Victor Herbert Foundation award in recognition of his innovative projects as Soloist, Composer and Curator.

Further work
Ittai Shapira co-founded the Ilona Feher Foundation with violinist Hagai Shaham. The foundation is dedicated to the nurturing and promotion of young Israeli violinists.

Shapira performs regularly for charitable causes, sharing the stage with performers such as Sandy Duncan, Cady Huffman, Donna McKechnie and Martin Short.

He is the founder and Artistic Director of Sound Potential, Inc., a non profit foundation dedicated to medical, educational, and societal healing through music.

Violin
Ittai Shapira plays a 1745 Guadagnini Violin.

References

1972 births
American violinists
American people of Israeli descent
Musicians from Rochester, New York
Juilliard School alumni
Living people


A useful travel accessory can make all the difference between a smooth and convenient trip. These travel essentials are definitely worth packing!
TELL US YOUR FAVOURITES !
Compression socks, power bank, quick dry underwear.


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First Baptist has always been a church dedicated to missional living. We encourage members to pursue their calling to be the presence of Christ among their family, friends, neighborhood, and beyond. A portion of our offerings is sent to the Cooperative Baptist Fellowship, Cooperative Baptist Fellowship of Virginia, the Virginia Baptist Mission Board (BGAV), and the Augusta Baptist Association. These monies are used to further the mission efforts of those organizations.
We Shelter
First Baptist Church has a very active Habitat For Humanity group. This group travels each year to Morgantown, NC, to participate in a week of building and fellowship. Anyone is welcome to participate in this once-a-year mission opportunity.
WARM House
First Baptist is a big time supporter of the Waynesboro Area Refuge Ministry, Inc. (WARM). WARM is a 501c3 nonprofit organization. The purpose of WARM is to provide support, temporary shelter or housing, and community development for adults and families in the Waynesboro & Augusta County areas of Virginia. WARM's services are delivered through a winter rotating (thermal) shelter for homeless adults and a beautiful transitional housing facility for homeless women with children. WARM is a non-denominational, faith-based, and community driven organization that strives to help its community through experienced, professional and compassionate care and support for the homeless.
WARM Rotating Thermal Shelter
During the winter months, First Baptist opens up the Fellowship Hall for homeless families and individuals. This ministry is conducted as a part of the WARM ministry. Contact the WARM House for information on signing up for shelter.
We Feed Those who are Hungry
First Baptist Church, as partners with Christians United, delivers Meals on Wheels to some of Waynesboro's homebound citizens during September and March. We have been assisting in this ministry since 1976. Meals are prepared at the Waynesboro Senior Center and picked up at 10:50 am. Delivery usually takes 1 to 1 1/2 hours to complete.
Disciples' Kitchen
Alongside neighboring churches, we participate in a collective that partners with 2nd Presbyterian Church to provide a free lunch to anyone and everyone on Mondays, Tuesdays, and Thursdays. Contact the church office to get more information about the Disciples' Kitchen.
On the first Wednesday night of each month (during the fall and spring semesters) we invite anyone and everyone from the community in for a free dinner and Bible Study. Come as you are and be prepared to eat well.
Blessing Box
Right outside our church offices is a two-shelved box containing donations from the community for the community. The idea is simple, "Give what you can; take what you need." This Blessing Box serves families in need 365 days of the year and is supported by the local community.
Middle School Food Drive
Over 60% of the students in the Waynesboro School District are on free or reduced lunches. Some of the middle schoolers have been identified as kids who do not get fed on the weekends. Several Sunday School classes partner with the guidance counselors at the middle school to bring snack bags for these at risk kids.
On Christmas Day, we host the community for lunch. On average, over 300 community members come out for a wonderful meal with all the Christmas fixings.
We Clothe
First Baptist partners with a local nonprofit, Foster Love Ministries. Twice a year we collect items to be donated to families who are fostering children for the first time. These item are placed in backpacks called Journey Bags. We also are a "first responder" church for families fostering who are in crisis. If a car seat is needed or a food, we offer that
Angel Tree with Waynesboro School System
Each year our congregation participates in an Angel Tree gift with the Waynesboro School System. Families pick up an angel with the names, sizes, and wishes of a family in the community in need. Families purchase and wrap the gifts and return them to the church for delivery.
We Educate
Part of our 2020 Visioning Process included seeing education as an important form of mission to the community. Since 2016, we have dedicated space to help educate the community by hosting forums on Senior Adult Abuse, Financial Management, Foster Care, and Poverty. Look on a church calendar for more forums in the future.
Love, INC
First Baptist partners with Love, INC out of Fishersville to help educate and support families near the poverty line. Through the Love Your Neighbor program, Love, INC is able to offer valuable resources to families through a a two-year curriculum that gives families the education and support needed to thrive.
For more information about Missions, contact the chair of our Mission Action Committee, Noelle Owen at elizabeth.noelle.owen@gmail.com.


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Q: Proving sequence converges to a Riemann-Stieltjes integral Consider the following question:

Let $f \in \operatorname{RS}_a^b (\alpha)$, that is, the function $f$
  is Riemann-Stieltjes integrable over the interval $[a,b]$ with respect
  to $\alpha = \alpha(x)$, and let $\alpha$ be continuous. Prove that
  $$\left\{ \int_a^{b-\frac{1}{n}} f(x) d\alpha(x) \right\}_{n\in\mathbb{N}} \to \int_a^{b} f(x) d\alpha(x)$$

What I tried to do was to consider an arbitrary $\epsilon > 0$ and show that
$$\left| \int_a^{b-\frac{1}{n}} f d\alpha-\int_a^{b} f d\alpha\right|=\left| - \int_{b-\frac{1}{n}}^b f d\alpha\right|=\left|  \int_{b-\frac{1}{n}}^b f d\alpha\right|< \epsilon$$
Now, intuitively this last term tends to zero as $n \to \infty$, so we could always pick a big enough $n$ to make it smaller than $\epsilon$. How can I argue this formally?  Is this the correct way to proceed? I feel like I am missing something.


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Hi my name is George Maciver, am a beginner blogger at wordpress . I have a strong niche in computer design that keep me feeling right staying on the internet . Am a serious gamer, I use photoshop and premier pro over the years , before diving into blogging, and i hope to serve you better.


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Season FW 16 Men Kiton Valentino Louis Vuitton
Male Fashion's Heritage
At the menswear shows for autumn/winter 2016, one thing was crystal clear: they were all about the past. About each brand's heritage. About the large fashion houses' inexhaustible archives that have become sources of inspiration for new trends and new perspectives this autumn.
Where is Saint Laurent? This was a question that kept bothering the front row at the menswear shows in Paris: Saint Laurent was nowhere to be seen. They say that the new collection will be presented in LA, which leaves a lot of room for speculation as to what star designer Hedi Slimane is up to next. He'll no doubt keep us wondering a while. Slimane can even count fashion god Karl Lagerfeld among his most enthusiastic fans. The latter even lost 45 kilos just so that he could squeeze himself into one of Slimane's characteristically slim suits when Slimane had taken over the reins at Dior.
Louis Vuitton Kim Jones has analysed the heritage of Louis Vuitton and decided to intertwine the old Paris with the new, thereby further entrenching the company in its hometown. (Which he also talks about in our interview "Keep up with Kim Jones".) "Future Heritage" was the fitting title he gave the show. It is all about what lies ahead for heritage, turning your mind to what is already there and making it future-proof with a sort of creative rejuvenation. With new materials or surprisingly distorted quotations from art deco or the applied arts that defined the tastes of the 1920s. You can find work jackets and blousons, jackets turned inside out and trench coats here, as well as navy blue Louis Vuitton suitcases that point to the company's origins as a manufacturer of high-quality luggage. The suitcase as an accessory is very much in for A/W 2016. From the briefcase to the micro case, it is the bag to wear this autumn.
Kiton The pieces on display are but the tip of the iceberg in the realm of this luxury Neapolitan men's tailor. Bespoke tailoring that even comprises T-shirts and jumpers – and now sportier outfits, too – without ever becoming too loud. 350 tailors sew here by hand. Kiton is synonymous with perfection paired with an understanding of Italian fashion that has evolved over several decades, as well as a level of comfort that is simply beyond the reach of machine-manufactured clothing.
Valentino The designer duo Chiuri and Piccioli is taking a trip into the world of the wild and the nonconformist, right through the fringes of society: the existentialists, the punks, the Beat Generation, the Burroughs – all the way to the Pearly Kings and Queens (a London charity whose members sew mother-of-pearl buttons onto their clothes to attract attention). From polo neck jumpers to embroidered suits, from punk checks to studded woollen coats, this collection is about men being the protagonists of their fashion, about fashion as an expression of men's histories, say the designers. Even if Valentino's version is a rather more reserved retelling of the original.
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A Breath of Fresh Air on the London Catwalks
At London Fashion Week the labels presented their collections for autumn/winter 2016. We observed not only the fashion, but also the changes that are coming along with the changing of the season.
Chanel: The Spirit of the FW 2016 Collection
New York Fashion Rebels
Frosty temperatures in New York. The perfect weather to prepare your fashion senses for winter 2016. The question on everybody's lips at the Big Apple's fashion week: whose runway show will be the greatest spectacle this year?


Imagine what could happen if we all began to feel that we are good, and that society is good—and to have confidence in ourselves that way.
When I am teaching in the West, people talk about self-loathing and self-aggression. That is coming from a sense of unworthiness. There seems to be a lot of evil in the world, and many of us experience great skepticism about human nature. In addition, we may have been taught at home, school or church that simply by having been born, we are inherently faulty or incomplete.
Without a feeling of worthiness, human society and communication naturally become vehicles of manipulation and deception, and we use every activity to shore ourselves up or to outdo someone else. Through this false sense of power, life becomes a perpetual unfolding of doubt, which only confirms the inadequacies we perceive and elicits a feeling of alienation.
My father called it "the setting sun." This term describes a time when humanity's sense of dignity and purpose is diminishing, like sunlight at the end of the day. What is setting is our ability to recognize our goodness.
If humanity is to survive – and not only that, to flourish—we must be brave enough to find our wisdom and let it shine.
We uncover it by beginning to examine our assumptions. We may never before have considered human nature, but in order to move forward as a global community, it is vital that we do it now. Is it really our nature to be fearful and aggressive, or could it be that we are actually gentle and fearless at heart?
Underneath the stress and anxiety, is it possible there is peace?
If our self-reflection turns up an inkling of that, we can draw power from it, daring to shift our destiny. In this way, the Shambhala principle is a socially transformative process through which confusion about human nature becomes confidence in human worthiness.
The above is an excerpt from Sakyong Mipham Rinpoche's new book, The Shambhala Principle (Harmony, May 2013). the Sakyong will be teaching on this topic in New York City in November.
Lovely comment Joe! I would extend your edict to "…… eliminate every form of humans harming ANY LIVING BEING" Why not? We share kinship with every living creature on this earth – our responsibilities to them are arguably just as important as they are to other humans. Wouldn't it be grand if we could move from the entrenched and toxic and anthropocentric biblical "great chain of being" to the enlightened and sensible recognition of the interconnectedness of all beautiful life? Thank you and cheerio!
Humans, free of distress, would automatically care deeply about the universe around them and seek to work to build a just society, clean up the environment, and pursue all other desirable goals. Here is a commitment I use to contradiction my feeling of unworthiness. " From now on I will inspire, lead,and organize all people to eliminate every form of humans' harming humans. This will mean_____________. I fill in the blank and say the first thing that comes to mind and continue to repeat the phrase over and over. Each time I sense my true nature and humanness. This is one thing that really helps me re-claim my goodness and self-worth. I am noticing my life is changing as I keep making this decision, over and over again.


How to pick fabric for your zipper pouch!
We LOVE zipper pouches at Honey Hill! Especially when they're made in the hoop in our embroidery machine. We all get stuck sometimes choosing fabrics for our pouches. So here's a few questions to ask yourself that can help guide you during the audition process.
Are you embroidering on it? If yes, then choose something that won't hide your embroidery. We have made this mistake (or call it "design choice," we know they're still functional and awesome, but definitely learned what not to do). It doesn't have to be solid or a blender or Grunge, but consider your design. Is it a bold one with outlining that will stand out because it has colors contrasting your fabric choice? Or is it a delicate design or words that could be lost in your favorite busy feline print?
Let's pause and talk thread choice. Even if you choose a solid fabric for your zipper pouch, but don't choose a thread with enough contrast your design could be camouflaged. Now, tone on tone subtly could be what you're going for, and in that case you're golden. But if you're looking for everyone to know that this is Mrs. Smith's Pencils from across the room, choose wisely (don't forget that handy color wheel you picked up ages ago but forget to reference).
Not using embroidery? No problem! Pick whatever makes your heart sing. And what coordinates with your zipper supply. Of course. The sky is your limit, you can line it with a coordinating fabric or a bright surprise of neon. Your choices are truly endless, they aren't all good ones but there sure are lots of them!
Whether you pick solid or printed or a combination we hope you enjoy making zipper pouches as much as we do. Drop by our Facebook page and show us your favorites!
Coming soon! A machine embroidery retreat that you cannot miss! There will be projects, food and fun.
Visit the Machine Embroidery page to get more details!
Hey I'm Kim. I quilt. Join me.


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News and MediaNews ReleasesHealth Alerts & AdvisoriesNews UpdatesDSHS CommissionerNews Release Archives
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New Data Refutes Inflated Texas Maternal Mortality Rate
Study finds true maternal death count less than half the number previously reported
A new study by researchers at the Texas Department of State Health Services has found the number of maternal deaths in Texas in 2012 was actually less than half the number previously reported. The peer-reviewed research, published in the journal Obstetrics & Gynecology, determined there were 56 maternal deaths among Texas residents compared with 147 reported in national statistics.
After a 2016 publication asserted a dramatic increase in the number of maternal deaths in Texas from 2010 to 2012, DSHS developed a rigorous method to verify maternal deaths, beginning with 2012, and will continue to use it to find more accurate maternal death counts for additional years.
The study shows dozens of women were identified on their death certificates as being pregnant at the time of their deaths, when they were not. The misclassification most likely occurred because people certifying the deaths selected the wrong pregnancy option in the electronic system used to register deaths. That may have become a bigger issue between 2010 and 2012 as the proportion of death certificates submitted electronically in Texas increased by more than 40 percent.
"Other academic research has shown issues with the quality of death data, nationally," said Sonia Baeva, DSHS maternal mortality and morbidity epidemiologist and the study's lead author. "Death data can be a rich source of information, but our work shows that identification of rare events, such as maternal deaths, should be supported with additional evidence."
The standard method of calculating maternal deaths relies solely on cause of death codes from death certificates. The enhanced method used by DSHS verifies those deaths by matching them to records of births and fetal deaths and by reviewing medical and autopsy records for any evidence of pregnancy, including miscarriage. Researchers also identified some maternal deaths missed by the standard method by matching the death records of all female Texas residents against birth and fetal death records.
"This more accurate, verified data is an important part of our ongoing work to improve maternal health in Texas," said Dr. Manda Hall, DSHS Associate Commissioner for Community Health Improvement. "Better data will improve our ability to implement and assess ways to reduce maternal deaths and other severe pregnancy complications."
Maternal mortality has been a priority for the Texas Legislature since it established the Texas Maternal Mortality and Morbidity Task Force in 2013. DSHS continues its efforts to reduce the number of maternal deaths by supporting the work of the task force, rallying hospitals to implement best practices to reduce pregnancy complications, joining other states to develop new guidelines for treating opioid use in pregnancy, and encouraging parents-to-be to improve their preconception health.
The agency is also implementing legislation aimed at improving the quality of death data by developing best practices for investigating and reporting maternal deaths and creating new training for medical certifiers like doctors, justices of the peace and medical examiners. A new registration system being developed will prompt certifiers to confirm the pregnancy status before allowing a death record to be submitted.
The study is available at https://journals.lww.com/greenjournal/Abstract/publishahead/Identifying_Maternal_Deaths_in_Texas_Using_an.98097.aspx.
(News Media Contact: Chris Van Deusen, DSHS Director of Media Relations, 512-776-7119)
DSHS Press Office on Twitter