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Tag: Retro-review
In The Inner Sanctum Vlog, Uncategorized
Editor's note: This first episode of Joseph's was uploaded on Youtube on 20 March 2018. The following is Joseph's personal introduction to his new series!
The Inner Sanctum: A Dark Ambient Vlog is a new video project series of mine where I'll be talking about/reviewing/nerding-out on various aspects of dark ambient music and it's related sub-genres.
In this first episode, I talk about two of my favorite albums, namely Seishinbyouin by Atrium Carceri and Inner Passage by Beneath the Lake.
This is my first time vlogging, but it's something that has always intrigued me, and I figured, like anything in life, this is as good as any time to try it out. Most of what you see in the following 25 minutes was highly improvised, and (for better or worse) performed without any special rehearsals beforehand. Comments are highly appreciated and feedback of any sort is welcome! Thanks to everyone that has been checking out and subscribing to this channel [Joseph's Youtube channel for his dark ambient project Noctilucant].
The Vlog itself is named after a Sabled Sun song — a project of Simon Heath (Atrium Carceri, Za Frumi, Abnocto, Cryo Chamber).
Episode Contents:
05:14 Atrium Carceri: Seishinbyouin
16:15 Beneath the Lake: Inner Passage
24:09 End Credits
25:19 Outtakes
In The Inner Sanctum Vlog
Editor's note: We are pleased to welcome Joseph Mlodik to This Is Darkness! His debut Noctilucant album, Back To The Mud, was one of the first releases I covered, when I started writing reviews for Terra Relicta in 2015. So, we've known each other for a few years now. After I saw his first vlog on Youtube last month (which you can watch here), I asked him to join This Is Darkness, officially partnering his vlog with our zine. So, this second episode will be the first of many covered here!
Here's what Joseph has to say about this episode:
"In this episode I briefly discuss the new Mortiis book, Secrets of my Kingdom, reactions from the first episode, as well as, my new partnership with This is Darkness zine. There's a full feature on a classic Northaunt album, and several shorter features on a few other dark ambient gems from years past.
Thanks for watching and enjoy the darkness!"
Episode 02 Contents:
00:00 Intro
00:30 Mortiis
02:46 Reactions
04:18 This is Darkness
06:37 Northaunt
21:59 Intermission
22:29 Dark Ambient Quickies
24:06 Netherworld
27:01 Antelogos
29:58 Ad Lux Tenebrae
32:58 Atomtrakt
35:54 Vond
39:43 Final Words/End Credits
Links to covered musicians:
Vond/Mortiis:
Here is an in-depth look at Vond – Green Eyed Demon from us last year.
downloadmusic.mortiis.com
Northaunt:
northaunt.com
Netherworld:
Glacialmovements.bandcamp.com
Antelogos:
antelogos.bandcamp.com
Ad Lux Tenebrae / Ad Lucem Tenebratum:
adluxtenebrae.bandcamp.com
https://blackmara.bandcamp.com/album/dusk-of-the-gods
Atomtrakt:
vinterriket.bandcamp.com
By Maxwell Heilman
In Retro Reviews
Artist: Depressive Silence
Album: Mourning
Original release label: Self-Released
Re-release date: 2016
Re-release label: Unborn Productions
Formats: Digital, Vinyl
01. Forests of Eternity
02. Depths of the Oceans
03. Spheres
04. Mourning
Depressive Silence's 1996 demo continues its influence.
Back in 1996, dungeon synth was not a recognised genre. The likes of Norway's Mortiis, Austria's Summoning and Greece's Lamentation existed in amorphous limbo between dark ambient, medieval music and the black metal scene it stemmed from. It was in this environment that the German musician Ral dropped a handful of releases under the moniker Depressive Silence. Together with the aforementioned artists, his self-titled demo helped found what would become a highly-trafficked avenue of independent music. Renamed Mourning, the album's return in LP form not only reestablishes its raw mysticism, but heralds its status as both a foundation and a benchmark for dungeon synth.
From the arpeggiated flute that begins the album, it becomes clear that Ral balances submersive atmosphere with acute musicality. No technical flaws and production limitations hold Mourning back as each song sports unique hues through a film of isolated melancholy. "Forest of Eternity," the first and longest track, spotlights Ral's meticulous layering and sound choices. Hypnosis coincides with orchestration as choral music and string trills punctuate shimmering chords and moving lines. On top of that, the vinyl pressing imparts warmth to the cold recordings, which increases their mesmerizing aura.
The following track "Depths of the Oceans" comes packed with swift single-note lines over washed out legato, traversing territory as vast as the aquatic catacombs it is named after. Ral balances the delicate and the stark, allowing his songs to breathe naturally within their brittle confines. Field recordings in these and other moments give the realm Depressive Silence conjures tangibility in the midst of otherworldly dreariness.
With such a multifaceted emotional palette, this album transcends the product of a man with a keyboard. The organ drones and wistful crescendos that drive "Spheres" definitely have as much of a synthetic quality as the other tracks, as do the timpany-esque percussion, but Ral's atmospheric ingenuity creates an indescribable suspension of disbelief. He uses his limited medium to his advantage and weaves a sonic tapestry of accessible mystery. He accomplished this without the brawn many of his contemporaries and successors often implement.
Unlike albums such as Født til å Herske by Mortiis, which tend to utilize bombastic fanfares via brassy synth, this album drifts along its 36 minutes with whimsical grace. The title track encapsulates Ral's knack for ornamenting his synthscapes with celestial melodies while founding them on swelling modulations. Coating individual timbres and tones sparingly, he keeps his work interesting in its minimalism. Bells, voices and piano creep in and out of the mix as the songs need — never as attention-grabbing gimmicks. Even the concluding "Dreams" finds its footing in echoing harpsichord and marching rhythm, something Ral wisely saved for last. Whether Mourning escalates to a wall of sound or a single instrument, intuitive orchestration makes every moment gorgeously dynamic, yet coy in its execution.
The return of Depressive Silence stands as testament to the longevity of Ral's two-decade-old album. Though many modern artists continue heightening the instrumental and thematic elements of dungeon synth, Mourning stands as a distant lighthouse beckoning back to the source — a reminder of the potential this vein of dark ambient had already realized merely three years after The Song of a Long Forgotten Ghost by Mortiis which sparked it into being.
Written by: Maxwell Heilman
Artist: Vond
Album: Green Eyed Demon
Re-release date: 10 January 2017
Original label: Cybertzara
Re-release label: Funeral Industries
01. My Dying Day
02. Living Among the Remains of Dead People
03. Satan at My Back
04. To the Dreamer Dead and the Dreamer Dying
05. Hell Starts Now
Green Eyed Demon is the third and final album by Vond, a side project of Mortiis. These three albums were created from 1994 through 1998. Green Eyed Demon was initially released on the Cybertzara label. Now, almost 20 years later, Mortiis has re-released this album through his own label, Omnipresence.
Many of our readers should be very familiar with Mortiis. Several of his Era 1 albums were released through the late, legendary Cold Meat Industry, which was the launch pad for many of the forefathers of the dark ambient scene. The main project of Mortiis started as what is now called dungeon synth. He would later transition into dark wave / goth rock / goth metal or whatever other classification would best describe his varied sounds. But the lesser known side-project Vond, is the one which would be best suited to fans of the dark ambient genre. Vond may not in every aspect fall perfectly into the framework of traditional dark ambient, but it is probably the closest genre to this music.
The album Green Eyed Monster consists almost exclusively of the manipulation and layering of cinematic samples. Throughout the album, Vond sets the foundation for each track with a blend of dense industrial soundscapes and noises. This is industrial in the literal sense of the word, not the genre. We can hear machinery humming, the crashing and hammering of metal, steam releasing through valves. On top of this foundation Vond pieces together a plethora of samples of various cinematics.
The opening track, "My Dying Day", focuses on descriptions of the early use of the electric chair in the United States prison system. The samples of a narrator describe the procedure in minute detail. Occasionally intertwined with these samples are Gregorian chants, which add a sort of perverse beauty to the composition. All this is placed on top of a thick foundation of industrial noises, which easily brings to mind early works of raison d'être, with particular similarities to the album Within the Depths of Silence and Phormations. As both artists were on the Cold Meat Industry roster during this period, it isn't hard to imagine that they were likely borrowing a bit of inspiration from one another. Though I should make it clear that these similarities are not nearly enough to warrant calling one or the other a follower or copycat of the other's style.
The following track, "Living Among the Remains of Dead People", incorporates large portions of an old film, which appears to be of a documentary format, though it is actually a horror film posing as documentary footage. The story follows the demented and evil deeds of a psychopath by the name of Ezra Cobb. The narrative explains the progression of Cobb's mental collapse from his initial attempts to cope with the death of his mother through his later acts of grave-robbing and necrophilia. Along with the narrative, Vond layers in samples of the man screaming "mother!" and other sound clips which add to the immersion for the listener.
My favorite track from the album, "To the Dreamer Dead and the Dreamer Dying", takes us closer to the sounds of Era I Mortiis than much of the other output on the Vond albums. There is much more prevalent use of the synthesizer on this track. Initially, we can hear a wind instrument, later it shifts to a sound which comes closer to a bass guitar that eventually is treated with distortion. As the track progresses the synth work moves into territory that would be very fitting on some soundtrack to a film, which is obviously a natural choice here, on an album that is full of cinematic samples. Aside from the synthesizer, Vond incorporates a variety of cinematic samples which seem to take us into some of the worst sagas of Christian history.
Green Eyed Demon has been given an impressive re-release. While it doesn't appear that there was any re-mastering done, the physical copies of this album will be a delight to the avid collector. Through Mortiis' web-store there is finally an official digital copy of the album. A limited edition LP is presented in several different variations, including: black, blue, testpress, and there are even some copies of the original 1997 pressing available. The album is also released for the first time on CD in an A5 digipak.
For long-time fans of Mortiis, there will be nothing new here aside from the beautifully crafted re-release editions. But, for newer fans, just recently discovering his older phases and side-projects, Green Eyed Demon, as well as the other Vond albums, should be a delightful discovery. Vond definitely shows off a side of Mortiis' talents that should be highly attractive to fans of dark ambient music. Its gritty production is a reminder of the old days of the dark ambient genre, back before everything could be done with a computer and midi controller. It's also a reminder of the varied nature of Mortiis' interests. I would love to see these old albums draw enough attention to maybe get Mortiis to consider opening the vaults of Vond for one more chapter.
Written by: Michael Barnett
Artist: Desiderii Marginis
Album title: Songs Over Ruins
Original release date: June 1997
Re-mastered release date: 27 January 2017
Original label: Cold Meat Industry (defunct)
Re-mastered label: Cyclic Law
01. Songs Over Ruins I
02. Scintillate II
03. Ephemeral
04. Chrism
05. Entombment
06. Ashes
07. Solemn Descent
08. The Core of Hell II
09. Embossed in Bones
10. Songs Over Ruins II
11. Chreston
Desiderii Marginis debuted back in 1997 with this monumental release of Songs Over Ruins. Desiderii Marginis took many of the concepts which had been established in the young but prospering industrial ambient genre. Yet, he made them his own, twisted them to his liking, and along the way he paved the foundations of a decades running career in the industrial ambient, later referred to as dark ambient, genre. There is a beauty to this album, a dark and devastating beauty, which can't be denied. His later career would build upon and often stray from these beginnings, but the fan-base and core mechanics of Songs Over Ruins would become a legacy of Desiderii Marginis ever after.
Original Album Art
So much has changed in the music world since 1997. Not only the landscape of the sounds themselves, or even the labels that presented the genre, but more than anything, there have been many technical innovations, which make a re-master of old releases so tempting. The demise of Cold Meat Industry was a slow one, and Desiderii Marginis had plenty of time to switch his home-base to Cyclic Law. Cyclic Law is a label that hit the ground running, building a reputation with some of the highest quality dark ambient of the genre, in a relatively quick progression. So after solidifying his position as a fore-front artist on Cyclic Law, it only made sense to look back to the classic which started his career. Cyclic Law offered the structure necessary to facilitate a proper re-master and a release on vinyl for the first time, not to mention a CD release, both of which feature new cover art.
For the loyal fans of the industrial ambient genre, fans that have followed this music through its many shifts over the decades, there will be no surprises in Songs Over Ruins, it is a tried and true classic, and album that goes down as one of the stand-out-greats in a genre which is arguably filled with masterpieces. But for the younger fans, this re-release of Songs Over Ruins will be a welcome history lesson, and a glaring example of how amazing this music was, even 20 years ago.
Songs Over Ruins will be noticeably different from the Desiderii Marginis that we know in 2017. It stands to reason that over two decades an artist will shift and morph with their personal life changes, as well as the technical progress of the equipment used to create this sort of music. Songs Over Ruins takes on an industrial feel throughout the album, with the sounds of metallic clangs and down-tempo martial drum sequences pervading through almost every track. But listening closely it is obvious that this is Desiderii Marginis. The changes to come over the decades did not necessarily make the artist better or worse, they evolved in a way which kept the artist relevant and firmly positioned as one of the most revered of the genre.
There is a melancholia, a despair to this album. The religious under-tones are constant. The listener can close their eyes and melt into the soundscapes, envisioning a world actively collapsing under its own arrogance. We feel the presence of dilapidated churches, mourning choirs. There is a sense of warfare, which is just outside the reach of the congregation. As if they sit in waiting, praying to a god which has lost interest in their blasphemies. Humanity is at the brink of destruction, but this is their story, these are the songs that now reflect their dying breed. When only the strong will survive, the weak and reverent will find themselves utterly devastated, struck from the history books, as raiding bandits find themselves relishing in a world without morals or repercussions.
Johan Levin
Songs Over Ruins is certainly an album of its time. It has many glaring similarities to raison d'être, a musical force that was carving its way into the collections of black metal and industrial fans, paving the path for generations of the industrial/dark ambient acts to follow. As one who can never get enough of a good thing, I find the beauty of these tracks to be first-class. The darkness of the music applies its umbra to the religious samples. What was once a beautiful church choir now becomes a chorus of the damned and dying, the devastation is bleeding through every note sung, every drumbeat hammered. Tracks like "Solemn Descent" and "Ashes" are brilliant examples of this comparison.
Don't confuse the meaning, Desiderii Marginis is by no means a raison d'être copy-cat. There was a brilliance and an originality to Songs Over Ruins that couldn't be denied. Cold Meat Industry already had one raison d'être, they didn't need two. Desiderii Marginis brought a cinematic edge to the sound, taking listeners on a sort of journey through these decaying ruins of western civilization. Tracks like "The Core of Hell II" and "Embossed In Bones" seem to be some of the true precursors to the cinematic dark ambient sound which has really blossomed since the mid 2000s, brought to prominence by artists like Atrium Carceri. While Desiderii Marginis may have moved away from this style himself, it is easy to notice the effect that was left on the genre of dark ambient, a lasting legacy, which proves the reason that Songs Over Ruins can so easily be described as a classic of the genre.
New Album Art
In later years, Desiderii Marginis surely evolved, leaving behind much of this style that originally brought him to prominence. Yet, there should never be a sense of regret, no artist should go on for two decades reproducing the same sounds over and over, ad nauseum. But, that also doesn't mean that these beginnings should be forgotten. In this remastered re-release of Songs Over Ruins the younger generations of dark ambient fans can learn much about the bygone decades of the genre. They can see where so many concepts came to fruition in the first place. As for the older crowd, here's your chance to have Songs Over Ruins on a fresh pressed disc of vinyl for the first time ever. It's a chance to have those magnificent sounds polished and renewed, to find their prominent position once again on the top shelf of any discerning dark ambient fan's collection. Songs Over Ruins is a classic, the beginnings of greatness from a musician who would never disappoint. It is highly recommended to anyone with any love for the genre of industrial/dark ambient.
Artist: Kammarheit
Album: The Starwheel
Label: Cyclic Law
01. Hypnagoga
02. Spatium
03. The Starwheel (Clockwise)
04. Klockstapeln
05. The Starwheel (Counter Clockwise)
06. A Room Between The Rooms
07. Sleep After Toyle, Port After Stormie Seas
08. All Quiet In The Land of Frozen Scenes
By now, Kammarheit is about as close to a household-name as one can get, within the dark ambient community. Over the last 15 years, Kammarheit has properly released three full-length albums, as well as the Unearthed 2000-2002 set, all through Cyclic Law.
Kammarheit first made waves on the scene with the Nord Ambient Alliance album. An album which was one of the very first releases on Cyclic Law. To this day it is unmistakably pertinent to dark ambient. Kammarheit released these tracks alongside with a few other artists, including Northaunt and Svartsinn. Nord Ambient Alliance, and its contributing artists, would help shape the face of the dark ambient scene. These three projects have since been referred to fondly as the face of the second wave of dark ambient. The cold, cinematic, and subtle sounds of Nord Ambient Alliance provided a template for future artists, that still to this day holds strong.
Asleep and Well Hidden immediately followed. This album would give listeners a taste of what a full Kammarheit album sounds like. Yet, it wasn't until The Starwheel that Kammarheit truly found his calling, and his audience. The Starwheel is named almost unanimously as one of the most important albums to the entire dark ambient genre, sharing this coveted position with other classics like Stalker by Lustmord and Robert Rich, as well as Prospectus I by raison d'être.
What could be so captivating about this album, putting it on a pedestal above so many other brilliant works in the genre? The answer is simple, Kammarheit was able to find that sweet-spot where subtlety, cinematics, and boldness all collide. I've used this album easily a hundred times to fall asleep, something that isn't possible with many dark ambient albums. The slowly sweeping drones match brilliantly along side the bold use of field recordings. These field recordings serve two purposes. They bring out the cinematic element, giving listeners thoughts of some massive clock tower, overshadowing a cold, misty landscape. They, simultaneously, give the album a punch, a direct and sometimes overwhelming sense of purpose.
As all the aforementioned elements come together, the listener sinks into a sort of trance-like state. In those moments when the mind is at its most vulnerable, just before sleep takes its grasp, The Starwheel shines the brightest. The mind is able to fall in synchronization with the album. The dreamy drones lull the listener to the very edge of sleep. Just as this happens some bold sounds push through the blanket of slumber. This collision can put the mind in tune with the music. Just as the notes from a guitar take on a celestial perfection as they are brought in tune, so the mind equally finds this perfection in these moments during The Starwheel. As the mind goes in tune with the music, the listener is able to feel an sort of out-of-body experience, a oneness with the music. A relationship is born herein which gives the listener a warm connection, a loving bond which may never be broken. Waking up hours later, reflecting on this phenomenon seems almost impossible. Yet, again, it arrives the following night in those moments before slumber.
What followed The Starwheel was an unexpected gap of roughly a decade before the release of its successor, The Nest. Yet, Kammarheit never lost relevance over this time. Fans pined over The Starwheel and Asleep and Well Hidden. They dug up, from the deep recesses of the internet, previously unreleased works by Kammarheit. These six unreleased albums took on such a life of their own that in early 2015 Cyclic Law released Unearthed 2000-2002, finally giving these albums a proper mastering and a beautiful presentation, in the form of a cloth-bound digibook.
Since the re-emergence in 2015 of Kammarheit, there have been a slew of releases from Pär Boström. The Nest marked the return of Kammarheit. It was a brilliant album full of foggy supernatural soundscapes, true to the form of previous Kammarheit works. Cities Last Broadcast, Pär's side-project, released its sophomore album The Humming Tapes on Cryo Chamber. Kammarheit joined up with Atrium Carceri and Apocryphos for two of the most compelling dark ambient releases to date in Onyx and Echo. Pär, joined by his sister Åsa, established their new label and printing press, Hypnagoga Press. On Hypnagoga Press, Pär and Åsa released their first cooperative project, Hymnambulae, an eerie, yet beautiful take on the more mystical side of dark ambient. Hypnagoga Press released its second album, Altarmang Void, months later, a mystical partnership between Pär Boström and Kenneth Hansson.
What comes next is anyone's guess. Among Cryo Chamber, Cyclic Law, Hypnagoga Press, and who knows how many more partnerships, Pär Boström seems to be on a roll with no end in sight. This is surely just fine with his die-hard fans, who were accustomed to waiting great swathes of time between releases. Yet, these die-harders are finding their company growing every day, as Pär Boström takes his career to new heights, and apparently the sky is the limit.
Links: Kammarheit Official Site, Kammarheit Facebook, Kammarheit Bandcamp, Pär Boström Official Site , Hypnagoga Press Facebook, Hypnagoga Press Bandcamp, Altarmang Facebook, Altarmang Bandcamp.
Artist: Atrium Carceri
Album title: Cellblock
Release date: 3 September 2003
Rerelease label: Cryo Chamber
01. Entrance
02. Black Lace
03. Machine Elves
04. Corridor
05. Blue Moon
06. Stir of Thoughts
07. Depth
08. Crusted Neon
09. Halls of Steam
10. Reborn
11. Red Stains
12. Inner Carceri
At this point, Atrium Carceri should be a well known name to any fan of dark ambient music. With 10+ albums under the moniker Simon Heath has built a brilliant labyrinth of story-lines, mythos, and protagonists. The Atrium Carceri mythos is one of, if not the most, impressive collections of music within the dark ambient genre. The depth and sheer volume of the material could honestly thrust Atrium Carceri out of the confines of dark ambient music and into some other varied media. With this much information to pick from, it would be absolutely possible to make a series of books or films just based on the information already revealed. Yet, back in 2003 when Cellblock first released, dark ambient wasn't really even a thing. Or at least, not in name.
Referred to by many at the time as "dark wave" it was really hard for fans and reviewers alike to even know how to classify Cellblock. There had been hints of music in the past which touched on the cinematic dark ambient experience, but no one had dedicated a whole album to this particular style. Atrium Carceri, as we now know, wasn't just an artist writing albums. Atrium Carceri was, and still is, a story, a mythos, a set of gods, protagonists, times, and locations across a devastated and dying planet. The world was being turned on its head. The fabric of reality itself was tearing as gods and men reversed their roles, became one, killed each other off.
There are so many questions to ponder when it comes to the Atrium Carceri mythos. Does this take place on Earth, the Earth we know? Maybe. Most likely. It is worth noting that, in Za Frumi, Simon Heath's earlier endeavor with Simon Kölle, he incorporated vocals in the orc tongue. So taking this into consideration, it becomes more clear that Cellblock must have taken place in Japan and U.S.A. As we can hear dialogues on Cellblock in Japanese and American English. If this were some foreign planet, I have to imagine Simon Heath would have used some other form of communication other than these two well recognized languages.
Having answered (or at least attempted) the question of where, we now must ponder the when. This one is much more problematic. I like to think of the when in Cellblock being in the near future, maybe within 50 years or so. There seem to have been structural changes to our cultures and planet hinted at in later albums, but on Cellblock, for the most part, things sound contemporary. Yet, the timeline of this album seems to lie in two separate time-frames. For the majority of the album we witness the environment and mental deterioration of a prison inmate. As we hear on "Crusted Neon" this is taking place in Japan. "Crusted Neon" appears to be a flash-back, a memory of some scene before the protagonist was imprisoned. Yet, 3/4 of the way through the album we reach "Reborn" a track which in name and sound seems to be a literal rebirth. Within the pages of the album the final line of text is "How many do we have to kill before they stop coming back?" This line seems to hint at the presence of reincarnation. Indeed it would seem that the original protagonist has died and has possibly been reincarnated in The United States. Yet, he still has the same thirst for blood, the hunger for murder is ever present. Coming back with his same desires, the reincarnated protagonist has returned to the murder spree which found his former self imprisoned. A detective on "Reborn" gives us an idea of the man's deeds, saying "She's been strangled, her throat's been slashed. There's jagged wounds running down the left side of her abdomen…".
The idea of the change of landscape and time seems to be compounded by the choice of sounds in the two sections of the album. "Entrance" through "Halls of Steam" seem to be very subterranean, murky, muddled in their sound. They seem to depict the prisoner from his initial entrance to the prison, a time of fear and sad realization. As the album progresses the isolation becomes more and more profound, the mind of the protagonist deteriorates as he lies in his filthy cell, devoid of all contact with the outside world, save for his jailer. On "Reborn" there seems to be a good bit more clarity, the sounds are less murky and more crisp and pristine. This gives a sense of being outside the prison walls. The use of the English in its American dialect helps us realize that we are not in the same country anymore. It is worth noting here, that this final section of the album may be nothing more than a dream, an attempt to live through the dreamworld outside the confines of the prison, in a foreign land.
However, this vacation from imprisonment is fleeting. "Red Stains" is a highly suspenseful track, built up by its brilliant handling of the synth arrangement. It feels as if we have followed the detective of the previous track to the scene of the crime. Or is this a second crime? Hard to say, but we do seem to still be on American soil. As the track reaches its close, we hear the sounds of a metal door squealing open and then closed. Is this a sign of entering a second prison? Or, has the original protagonist just been awoken by the sound of his prison cell door opening? Again, it is hard to say. By the final track "Inner Carceri" it seems the murderer has been caught. His reincarnated self is now again imprisoned. The subterranean sounds return, yet it appears to be less muddled than on the previous tracks. This gives a sense of the clarity of the mindset of the prisoner, he has not yet succumbed to the isolation, he still has his wits. The album ends on this note, but we will see in the second Atrium Carceri album, Seishinbyouin that there is still more to be told about the tribulations of the imprisoned.
The release of Cellblock was immediately recognized by many to be a genre defining moment. The attention to detail on Cellblock cannot be overstated. The use of field recordings, human voices, synth, piano, and percussion all come together to present a thoroughly intricate and enjoyable album which not only is a delight to the senses but also tells a story. This story is not easily decipherable. I have given my best interpretation here of what I believe has taken place, but for all I know, I'm totally wrong. Simon Heath has been extremely cautious in how much information to give fans about the story-line of Atrium Carceri. Now over a decade after this debut, we are seeing time-lines and more details of the story slowly surfacing. But, back in 2003 the journey was only beginning and the story was anything but clear to the listener. Simon Heath has hinted at some future possibilities for clearly defining the story, but for now it is totally up to the listener to put the puzzle pieces together, as best they can. The mystery is often half the fun, the other half being a line of brilliant albums to feast upon.
Written by: Michael Barnett (5 November 2016)
Band: raison d'être
Album title: Prospectus I
Re-release Label: Old Europa Cafe (physical), Yantra Atmospheres (digital)
01. Katharsis
02. Ordeal In Chapel
03. Ascension De Profundis
05. Mesmerized In Sorrow
06. Cenotaphium
07. Synopsis
08. Anathema / Apotheosis
09. Penumbra
Back in 1993, Peter Andersson unleashed an album on the world which would be one of the benchmarks for dark ambient, a genre that was still in its infancy at the time. Sure, other artists had been pushing slowly in this direction as well. Delerium was fresh off their release of Stone Tower an album which must have had a decent bit of influence on Peter Andersson, who followed closely to their template but took it into a darker and more subtle place. A place devoid of the front and center percussion heard in Delerium. The classic Heresy by Lustmord was still just making waves across the scene.
Into this landscape, enter raison d'être. raison d'être clearly can't be credited with starting the dark ambient genre. While still quite primordial, dark ambient already had about ten years worth of experimentation under its belt before Prospectus I hit the shelves, through the legendary Cold Meat Industry label. However, CMI did already have a name for themselves. So when Prospectus I released, it immediately found an audience. Fans ears perked up, maybe for the first time, as they heard an album which would change the face of the genre.
Lustmord through the proceeding years had been going for a sinister sort of feel. Heresy is wrought with some downright horrifying moments. raison d'être flipped the script, presenting an album which shared equal parts beauty and darkness. The sacral vocals incorporated throughout the album would not only become a trademark of the raison d'être sound. They would be tested and refined by many other artists even to this day. Whether any of them have ever reached the glory of this early release is a question that is absolutely debatable.
Adding upon the sacral vocals, which are such a defining part of their sound, raison d'être dug even deeper into this contrast between the light and dark. "Ordeal In Chapel" may be the most beautiful track on Prospectus I. On "Ordeal In Chapel" we hear and feel our surroundings in this chapel. Chanting is the dominate characteristic with a bell tolling in the background. Gently droning synths hold the majority of the track together, before fading out toward the end, as the track progresses further into the darkness. On "Ascension De Profundis" we are given a reasonably calm backdrop, with the sounds of church bells tolling. But these pleasant sounds are betrayed by the repeated phrase "The Holy Father", and a sacral chanting sample which repeats throughout the track in an unsettling and decidedly eerie manner. The icing on this cake is an extremely well placed industrial sort of drum beat, which, while being quite pronounced in the track, doesn't shatter the atmosphere, as is the case so often in dark ambient albums with percussion. Again on "Cenotaphium" we hear this brilliant use of industrial percussion, adding to the depth, yet allowing for continued immersion. Also of particular note, is the final track "Penumbra" which does break the immersion of the listener a bit, but not to a negative effect. Something that sounds almost like a violin, but is much more likely a heavily treated synth, cuts into the mix with its high-pitched notes. Following this is a clear and abrupt synth line, which meanders almost playfully through the track, taking on an Atomine Elektrine feel. Yet, with much of the album, this lighthearted side doesn't last forever. We are slowly inundated with a pulsating sound which could almost be a human voice, but sounds quite demonic. A dreamier, yet fear inducing, synth line falls into the mix. On its tail is some serious use of industrial field recordings, which become more dominant as the track proceeds. By the end of "Penumbra", we can hear a plethora of field recordings which all come together in a cinematic manner which might not be used so successfully again on a dark ambient album, until the coming of Atrium Carceri in the mid-2000s.
While raison d'être didn't form a genre with this album, he did succeed in bringing a more peaceful, yet simultaneously eerie and irreligious release to the forefront of the CMI scene. The sense of beauty within the darkness cannot be overstated. One gets a feeling of religious nostalgia, simultaneously with a sense of the corruption on the part of Christianity. Light and dark are two sides of the same coin, and raison d'être is one of the best at blurring the lines between these two sides. Prospectus I has proven over the last 22 odd years that it is indeed a classic. As a fan who came into the genre much later, it is absolutely necessary to look back to the beginning, not only to see where the genre came from, but also to realize that some of these classic releases truly stand the test of time and would be just as welcome to the scene today as they were two decades ago. Looking reverently back on the early albums of the 80s and 90s as if digging the dirt off the remains of an illustrious ancient civilization, there are few other artists that can bring out such emotion as raison d'être. Peter Andersson would refine and expand upon the template set in Prospectus I to build one of the most successful careers in the dark ambient scene. This album is an absolute must for any dark ambient fan who looks back over the history of the genre and doesn't know where to start. Prospectus I is truly a classic and an early masterpiece of dark ambient.
Written by: Michael Barnett (9/9/2016)
raison d'être has recently restored, re-recorded and mixed Prospectus I. Check the "Re-release Label" links at the top or click on the Bandcamp player for information on purchasing this redux version of Prospectus I.


In our April, 1994 Report, we discussed recent decisions by U.S. Courts of Appeal for the Eighth and Ninth Circuits (and two other, earlier cases) regarding the protectability and registrability of color alone as a trademark. One of those cases, Qualitex Co. v. Jacobson Products Co., Inc., 29 USPQ2d 1277 (9th Cir. 1994), is currently the subject of a petition for certiorari before the United States Supreme Court. A decision on whether the Court will hear the case is expected in October.
In a decision issued September 14, 1994, the United States Court of Appeals for the Federal Circuit affirmed a decision by the Trademark Trial and Appeal Board ("TTAB") sustaining an opposition to registration of the color black for marine outboard motors. Brunswick Corp. v. British Seagull Ltd., No. 94-1049,-1050, 1994 U.S. App. LEXIS 25150 (Fed. Cir. Sept. 14, 1994). The TTAB had sustained a competitor's opposition and refused registration on two basic grounds. First, the Board held that the color black was functional as used on outboard motors. Second, the Board found that the applicant's purported trademark was not distinctive because it was not shown to have acquired secondary meaning as a source indicator (despite the applicant's submission of survey evidence) and, also, the applicant's use of black on outboard engines was not exclusive.
On appeal, the Federal Circuit stated that it was not necessary to reach the issue of distinctiveness since it upheld the refusal of registration based on the purported mark's functionality. The Court further stated that functionality is a question of fact and, thus, should be reviewed under the "clear error" standard.
The TTAB was convinced by the evidence submitted by the opposer that black is functional for outboard motors for two reasons. First, it is more desirable to prospective purchasers because it is color-compatible with a wider variety of boat colors. Second, black objects tend to appear smaller than lighter colored objects, and this was deemed a desirable quality for boat engines, which would be perceived as smaller in relation to the size of the boats with which they are used.
The Federal Circuit found these findings of fact to have been supported by the evidence, and thus not "clearly erroneous." The Court went on to say that these facts showed that there was a competitive need for engine manufacturers to use the color black on boat motors. The Court emphasized that the "competitive need" analysis is the crux of a determination of de jure functionality, and stated that the standard had been properly applied by the TTAB.
The Court went on to explain that its decision was wholly consistent with its 1985 ruling and guidelines set out in In re Owens-Corning Fiberglas Corp., 227 USPQ 417 (Fed. Cir. 1985), which allowed registration of the color pink for fiberglass insulation. The Court explained that it was not reviving the doctrine of aesthetic functionality, because "color compatibility and ability to decrease aesthetic motor size are not in this case mere aesthetic features." 1994 U.S. App. LEXIS 25150, at 17-18. But this analysis seems rather stretched to us in view of the blatantly aesthetic advantages of the color black which were noted by both the TTAB and the Federal Circuit, but which were deemed "functional" advantages.
Similarly, the Court applied a bit of circular logic to attempt to explain away the TTAB's reference in its decision to "color depletion theory" to support its denial of registration of the proposed mark. That theory, which holds that colors should not be allowed to be appropriated as trademarks because that would deplete the limited number of colors in the palette available to competitors, has been used by other courts to deny protection to color trademarks. But the Federal Circuit claimed that the TTAB only referred to "color depletion" in support of its position that the color black was functional and thus anti-competitive in this case, rather than to put forth the notion that color depletion theory alone should support a per se denial of registration of colors. Such a limited reference to "color depletion" is not, said the Court, improper. Here again, the plain language of the TTAB decision appears to belie the Federal Circuit's interpretation.
This case is significant, despite the Court's protestation in its opinion that it was not backtracking from Owens-Corning. In fact, the Federal Circuit has cracked open the door to the possible use of both aesthetic functionality theory and the color depletion theory as grounds for denial of registration of color trademarks, and as defenses in cases where infringement of such marks is alleged. Since both of those theories were cited by the Ninth Circuit in support of its order of cancellation of the color registration in the Qualitex case, one hopes that, if the Supreme Court indeed grants certiorari in that case, the appropriate weight, if any, to be given to those theories will be clarified.


Come to This half-day Ambassador Training for education on global poverty, microfinance, Opportunity International and YAO, and network with like-minded local leaders. We'll have lunch and then hike up the Sleeping Elk Trail in Golden.
Registration fee includes Ambassador Training, lunch and a magnificent view of Denver and the entire front range! Don't miss it.


How to track your blog visitors?
As a new blogger(webmaster),it is always interesting to know how many people are visiting your blog/site,pageviews,where they are coming from,which sites are referring,how many are coming via Search Engines(google,yahoo,etc) and what they are typing in the search engines to visit your site.
If you search the google,you will find hundreds of sites which will track the visitors of your blog/site.But,some sites will provide more information about your visitors than the others.
Here are the best tracking sources interms of the feautures they provide.
Note:One thing is common for all the tracking sites.First you need to register,and provide the necessary information about your blog/website.Next,they will give you a html code and you have to embed it in your blog.
How to do that in blogger?
1.Sign in to your blogger dashboard.
2.Click on the 'layout' link next to your blog name.
3.Click on the "Add a Page element"
From then,your blog will be tracked and you can check your blog stats from time to time after logging in to your registrate's website.
Sitemeter.com:This one is one of the Most Popular tracking source.This is as simple as 123. Just create an account,copy the code from your account and paste it in your blog as suggested above.
You have also the option to keep your blog stats PRIVATE.
They will give you the stats on how many pageviews(hits) per day,unique visitors,geolocation of the visitors,how many users online,and much more...As it is simple(not much animation),you site will load as fast as it is before.Stats are updated hourly.
Histats.com:Unlike the Sitemeter which is very simple, this site will have very cool and animated counters.
this is also have the option to keep your site stats PRIVATE.
They will provide Animated graphs about your site visitors and fully animative.
Statcounter.com:Same here!As in the name,it is a stats counter.It is fast,free,and quick loading.
Invisible tracking is available and no ads on your site.All the stats are in real time and super fast.It is not much animated as histats.com.They will provide pageviews,unique vistors,visitors activity,search engine wars,keyword analysis,and many more..
I just started up my blog and after googling "tracking blog readers" found this blog! I went with sitemeter because it seemed pretty basic and that's all I needed. I can't wait to see what it can do! Thanks for this post.
Hey! man Thanks for your tips and tricks,I am a newbie... now i am using one of the templates, the "Field of Dreams" but i was wondering if there is a way to personalize the nav bar,(home, Pic, videos, contact) by this i mean how could add more pages,resources, etc..
Google Analytics is another great option for tracking stats on your blog.
i also searched for this and found your blog... great tips you got here. i used sitemeter cuz it seems easy to use. thanks!
Hi, I really really find your site very helpful... keep it up! btw, I linked you on my site.
Thanks a mucho. YOur a Genius!
Great ideas & hints, especially for this rookie blogger! Thanks!
I'm curious if these counters are better/worse/different goals than using Google Analytics?
thanks,it was a great help for new bloggers. I am very greatful to you.
but my blogspot do not have layout?
add me and put an offline message there.
Very helpful, thanks...installed StatCounter, seemed to be the best option with no ads.
I'm using Google Analytics for this same puprose, do you find this is a more effective method?
site meter is good but i think fredgit is the best for now- it will even tell your the referal link.
Hi I am a newbie, I know how to get to HTML on blogger but when you click it where exactly do you put the new HTML codes I am copying. I am trying to copy adding a pic with a link and make it open in a new page. I want the link in the side bar. I can not figure where to past it.
Hi, I am recently new to blogging and hope that you can help me. I set up my account with blogger but am hosting / feeding it through my website so its address is www.thorntonmpr.ie/blog/blog.html as i wanted it as part of my website. However because of this i have the basic version of the blog and dont have the upgrade my template feaure that allows me to do all of the things that you talk about here. My blog template is boring to look at, i dont mind that but i can customise it in any way, and dont know how to input metatags to improve search ranking, make it more user friendly or use the site meter, as these are all features of the latest version of blogger when you host with them and not on your own. Any ideas?
Want a fabulous idea for a website. I am so happy I found your website. It is sooooooo helpful. Thank you.
Thanks for the time that you took to provide this information. It is very useful.
As Billy Mays would say, "Wow! Amazing!!!"
Thanks for the plain, simple, and easy to follow steps to set up my counter! You rock!
Thanks for the step by step instructions. You rock!
Thanks for all the useful tips. I personally use Statcounter.com at my website and it is very helpful for me to track visitors via keywords.
Absolutely, utterly, precisely what I was looking for. Thanks so much! I went with Stat Counter and really like it.
you can check this one too..
thank for this post, but from my experience i feel statcounter is not completely free like google analytics..
I never knew so many web site counters were free!
Thanks a lot. It really helped me a lot. I have added metatags in my blog. Great jobs thx again.
What about google analytics would you use them?
I did this with Histats but can't get the counter to show up after pasting the code in. I put it in at the bottom and labeled it "counter". Any ideas what to do?
I got it, never mind. Thanks for how to do this.
thank's for info .. great artikel !!!
please check my site !!!
Thanks alot, it's very usefull information.
A good article for the new bloggers thanks mate!!!
I've despaired of continuing with my blog because I've never known if even one person ever visits, apart from the three who left comments when I first started in September/2008.
Thank you so much for providing this guide!!
Wow..I so glad I found your article. really helpful tips.
good article to track our blog. thank you!!!!
Thanks, helped alot my friend.
Site Meter provides me with just what I was looking for - thanks! It's too bad that Google isn't giving us our own metrics, but Site Meter is a great next-best thing.
Great blog, with awesome content.
Thanks for sharing all of your knowledge.
I noticed in this post you didn't mention Google Analytics, which is the one I use for all of my blogs.
Are the ones you highlight better, other than updating more frequently? I think Analytics updates daily.
Thanks for taking of your time and providing these cool tips. Thumbs up!!
thanks marvelous! for new bloggers like me!
i am using statcounter.its a nice tool.its nice to see the visitor counter in your home page.but currently i am new to blogging so the counter is very low.
Thanks a lot these counters work great.
Thanks for sharing. I need this.


text:
The Five Technological Forces Disrupting Security
START DATE: NOW AVAILABLE ON DEMAND
Start Time:REGISTER TO VIEW IMMEDIATELY
This webinar explores the major technological forces that are currently disrupting the security industry and what is coming in the foreseeable future. The presentation will provide both practical guidance on how to use the new technologies to deliver better solutions to customers and a perspective on how the industry is changing as a whole.
Explores the five major technological forces: Cloud, Social, Mobile, Big Data and IoT are driving digital change in commercial security
Shows practitioners how to align security strategies with these changes
Examines how the consumerization of security will change the vendor playing field
Illustrates how security professionals can leverage these changes in their own careers
Provides an adoption scorecard that ranks trends and timeline for impact
Can't attend live? Register to view the webinar on-demand!
Steve Van Till
Co-Founder, President and CEO
Steve Van Till is Co-Founder, President and CEO of Brivo, the leading worldwide provider of cloud-based access control and security solutions for commercial properties. He previously served in a variety of senior management roles in high technology companies spanning Web development, healthcare, and satellite communications. Steve is the author of The Five Technological Forces Disrupting Security, winner of the ASIS International 2017 Book of the Year Award. He currently serves as Chairman of the Standards Committee for the Security Industry Association (SIA), and served multiple terms on the SIA Board of Directors, which recently awarded him the 2019 Lippert Memorial Award. He holds numerous patents in the field of physical security, and was previously Director of Internet Consulting for Publicis Sapient, where he led strategy engagements for clients ranging from venture startups to the Fortune 500.
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A BNP Media Event. © Copyright 2018 BNP Media. All rights reserved.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Demarcation of Dhaka Rivers: 2,000 pillars misplaced
A third of the 6,000 demarcation pillars on the Buriganga and the Turag were installed inside the rivers and they would be reinstalled in their correct positions after a district administration survey. Bangladesh Inland Water Transport Authority (BIWTA), custodian of the country's inland waterways, had the pillars installed in the wrong places over the past few years, causing four major rivers around Dhaka city to lose nearly 2,500 acres to land grabbers. Yesterday, Shipping Minister Shajahan Khan, also the head of the national taskforce for monitoring the important rivers, during a spot visit told journalists that after the pillars had been installed in their correct positions, walkways and roads would be built to protect the rivers from land grabbers. Shajahan was aware of the incorrect placement of pillars all along and there was a huge public outcry, but he did little at that time to correct this error, said officials concerned requesting not to be named. According to them, land worth an estimated Tk 25,000 crore has been lost to grabbers due to the incorrect placement of the pillars. The damage to the environment was enormous, they added. During the visit yesterday, Shajahan said they would return the river land to the rivers, no matter how powerful the land grabbers were. He said they would take action if necessary against the grabbers and punish them. "During the visit of the taskforce we found many spots where land was grabbed and we will start eviction drive soon." The shipping minister said that in many cases they had failed to conduct continuous drives against the grabbers due to the lack of manpower and equipment. He said they were going to involve the Navy to reduce pollution and increase navigability of the rivers. "We have already proposed that the Navy form a coordination committee in this regard, and a proposal is waiting for the Prime Minister Office's approval," he said.Responding to a question about the Buriganga second channel, the shipping minister said there were many structures in the channel which were constructed illegally. Mosques were built to protect the illegal structures from demolition. "We will ask them to remove the structures or we will be compelled to remove those," he said. Housing and Public Works Minister Mosharraf Hossain accompanied Shajahan yesterday. He is also a member of the taskforce. Mosharraf recommended the widening of the Turag, which is 180 feet to 200 feet. He said he would recommend that the BIWTA and the taskforce take the initiative and increase the width to 400-500 feet. About the filling up of flood flow zones and other water bodies under Detail Area Plan (DAP), the housing minister said they would not allow anybody to fill up wetlands or flood flow zones and would take legal action against them. "We will evict the housing projects that have been constructed without permission and by filling wetlands on the river foreshore," said Mosharraf. The taskforce found many spots where land grabbers were filling up the Buriganga and the Turag. Many pillars were seen under the river water.
Read more: http://www.thedailystar.net/backpage/demarcation-dhaka-rivers-2000-pillars-put-faultily-1296718
Posted by admin on Oct 10 2016. Filed under Bangladesh Exclusive. You can follow any responses to this entry through the RSS 2.0. You can leave a response or trackback to this entry


text:
Q: to print the next line using pythons loop i matched a line using regex and now i wanna to print the line next to all the matched line.
import re
file = open(input("Input-file name : ") , "r")
fi = file.readlines()
f=file.readline()
pat=r'^[^\n(E|P):]:\s[EXINTF_DATA\d]\d'
for line in fi:
if re.match(r'^[^\n(E|P):]:\s[EXINTF_DATA\d]\d',line):
print(line.strip())#all the 'Startpoint:'s from the file is getting printed
s=line.strip()
for s in range(len(fi)-1):
if 'input port clocked by CLK' in fi:
print(s.strip())
i also tried last for loop part like this,
for s in range(len(fi)-1):
        l=line.startswith('input port clocked by CLK')

        print(l)#but this loop was running continoulsy

am trying to print till the string found after printing the next line. am also attaching my text file and how it looks like
am a very beginner in python. can someone help me on this, please.

redpajama_set_name: RedPajamaStackExchange


Richmond Sunlight » SB1463: DUI; installation of ignition interlock as condition of license restoration for second conviction.
SB1463: DUI; installation of ignition interlock as condition of license restoration for second conviction.
This vote on SB1463 was held in the . This vote ed .


text:
About TAFP | TAFP Career Center | Contact | JOIN TAFP
Members of the Month: Drs. John and Judith Egerton
Tags: egerton, austin, houston, friendswood, member of the month, physician of the day
Monday, December 9, 2013 11:59:00 AM
Physician couple follows golden rule in practice
posted 12.10.13
After meeting at The Welsh National School of Medicine in the United Kingdom in 1961, John and Judith Egerton married as medical students in 1964. John joined the Royal Air Force as a medical student, and after graduating and finishing a residency was stationed in Singapore until 1971. They felt "unsettled" after returning to the U.K., and decided to immigrate to America. In 1975, they moved with their four small children to Houston and established a joint practice in Friendswood in 1983.
Now active TAFP members, the Egertons retired in 2005 and currently reside in Austin, spending their days traveling around the world and enjoying time with their children and grandchildren.
Note: The Q&A is Judith answering for herself and on John's behalf.
Why did you choose family medicine, and what's your favorite aspect of it? Were you inspired by anyone?
Ultimately we became FPs because we bonded intimately with patients and we both wanted long-term relationships with families in our care. John had an internal medicine background, and I in community-based pediatrics, and also in women's health. We had both always wanted to be family doctors since early childhood, in difficult times in post-war U.K.
Our family lived in Friendswood as it grew from a population of about 4,000 to one of about 50,000. Our four children attended preschool to college with our young patients, and to this day, most of them and their aging parents are still in frequent contact with us. They all are the thread of our lives.
During that time we shared our life's work with many medical students from Baylor College of Medicine, UT, Houston, and UTMB in Galveston. Our Immediate Past President, Troy Fiesinger, was one of our favorites!
How would you define the mission of your practice?
In our practice our philosophy was to treat each patient as we would treat a member of our own family, or as we wish to be treated ourselves. We witnessed the National Health Service in the U.K. from its inception in 1948, until the present. It was a shaky start, and when we left in 1975, it was still not well run and very unsettled. Patients were not always contented, yet many received health care that they could never have hoped for previously. Now we mostly admire it. Our own parents received excellent NHS care during their failing years. But for all the pitfalls of socialized care, we feel, as doctors, that we should be ever mindful that the definition of civilization is our duty as human beings to care for the young, the aged, and the infirm.
We will never forget our Hippocratic Oath; FIRST DO NO HARM.
John and Judith Egerton's 1964 nuptials.
How do you spend your free time?
We are now retired and still seem to have little spare time! We travel; we spend time with our four children and five grandchildren, who all live in Austin. John has published four novels and is working on another.
It is important for us to be members of AAFP and TAFP because:
Membership of the AAFP and TAFP gives us a feeling of belonging to a family. The CME it provides is a great bonus. And we love to act as Physicians of the Day at our beloved State Capitol when it is in session!
If you weren't a physician, what would you be doing?
We would never rethink our decisions to become family doctors, nor to spend those many years in Texas!
What is the most interesting or memorable experience you have had when dealing with a patient?
Among many memorable experiences John remembers delivering a baby boy at midnight on Christmas Eve. It was a home delivery, in the vicarage next to the church. The father was taking the midnight mass and the church bells were ringing as if in celebration. Snow was just beginning to fall.
Among Judith's many memories is that of a surprise visit from a young man, a lifelong patient, until he and his mother moved out of state when he was 16. He had severe muscular dystrophy, and at age 20 he weighed just 22 pounds. He was carried into my arms just as I was attempting to console the mother of a young woman patient. She had been the same age, and she aspired to study medicine, because she was so fascinated by what I did. But depression overcame her one lonely night, and she took her own life. I gently laid him in the arms of her devastated mother, and we three women wept together. I marveled at the love, the sadness, the joy, and the pathos of my career.
TAFP's Member of the Month program highlights Texas family physicians in TAFP News Now and on the TAFP website. We feature a biography and a Q&A with a different TAFP member each month and his or her unique approach to family medicine. If you know an outstanding family physician colleague who you think should be featured as a Member of the Month or if you'd like to tell your own story, nominate yourself or your colleague by contacting TAFP by e-mail at swhite@tafp.org or by phone at (512) 329-8666. View past Members of the Month here.
Contact TAFP
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COPYRIGHT 2012, TEXAS ACADEMY OF FAMILY PHYSICIANS.


Yes, I know, I should have recapped this BEFORE recapping our Ironman but that's not how life has gone this year.
Back in June, Mike and I were supposed to race the Rev3 Quassy 70.3. Due to needing to get the old house on the market and my trip to California only being 3 days after the race, we decided to transfer to the Rev3 Cedar Point 70.3 (next weekend).
Unfortunately, that meant we only had one triathlon this year prior to our Ironman. We participated in the Musselman weekend for the fourth year in a row by doing the Mini Mussel sprint triathlon.
Luckily, our friend, Janell, was also racing Mini Mussel. She, her husband, Aaron, and their new dog, Macey, were our first visitors at our new house!
Friday night we went to packet pickup and then waited for Janell and Aaron to get to our house (also from packet pickup). We had dinner and talked with them before it was time to go to bed.
Geneva isn't too far away from Rochester, and thankfully, the sprint starts at 9am. We left our house and made the drive to the race start. We got there a bit later than we normally do, but not by too much. We all had plenty of time to get body marked, set up our transition areas and use the port-a-potties.
Mike was the first one to start off and then I went off a few minutes after him. Janell was two waves after me. I felt like we had been treading water for a long time, and later Aaron told us that my wave was in the water the longest, but finally the announcer said we had one minute until the start.
I started out a bit too fast, especially considering the swim leg of this race was our first open water swim of the year. Oops. I was able to slow down a little bit and then focused on getting to the turn toward the finish. A sprint swim is just so short!
I didn't have to fight for a position too much, and I did pass some people from the wave ahead of me. After a few minutes, I saw the buoy for the finish. I made sure to swim until my hand hit the bottom of the boat ramp a few times, and then I popped up out of the water.
I ran into the transition area, and got my biking stuff on pretty quickly. I felt slow, but that's probably because we also hadn't done very many bricks during training.
Again, like last year, I hated running over the cobblestones in my bike shoes but I made it to the mount line in a decent amount of time.
I just really don't like the beginning of this bike course. A few weeks prior to the sprint, Mike and I rode the 70.3 bike course which starts the exact same way. I struggle to push the speed on the slight incline the first few miles.
The bike was relatively uneventful, I felt like I was going somewhat slow but that was a given considering our lack of training at this point. I love when you get to the turn where the sprint bike course deviates from the 70.3 bike course. It is downhill and the only real place where you need to pay attention is when you ride over some railroad tracks, but of course the Musselman crew has everything clearly marked on the roads so you know what is coming up!
As I made my way back toward the transition area, I was wondering how the run leg was going to go. For some reason, running has felt the worst for me ever since my 50 miler back in November. I hoped that I would be able to get through it easily enough, but I knew that it was getting hotter out.
Finally, I turned back into the park and rode a little bit toward the dismount line. As I got there another participant was FLYING in to the dismount line. He really needed to calm down a little bit, it isn't worth it to hurt other people.
Normally I would take my bike shoes off, but I don't remember if I did or not at this point. I got to my bike and then put on all of my running stuff. As I ran out I felt heavy but I tried to push the pace as much as I could.
I am actually really, really disappointed in this run leg. I think I just gave in too quickly and I should have pushed myself harder (but to be honest that's where my mental state and view on my training was at this point in my life). I saw Mike about 1 mile in to the run leg, after I had been listening to someone who was just out for a run (not part of the race) yelling at everyone coming back toward the finish, "you're almost done!" I was not having it.
Luckily, she went away and I kept going. It was hot out and I grabbed some water at the aid station. I did walk a little before the turn around and I had seen our friend Mark making his way back toward the finish line.
When I started to make my way back to the finish, I saw Janell. She looked really strong!
I did walk a few more times (this is what I mean by pushing myself and staying stronger, oh well). As I got closer to the finish, I saw our friend Sarah! She looked great and I was really proud of her for doing the race!
As I made my way closer to the finish, our friends Kathy and Jamie were cheering me on (they had come to our rescue during one of our botched training rides, so thankful for them!) Then I saw Mike and Aaron on the side lines and I ran through the finish line. As I did, Mary Eggers (the announcer), said, "here's Jamie, no stranger to the finish line!"
And with that, our fourth year of the Musselman weekend was over!
Even though this was my slowest Mini Mussel time yet, I was alright with it. I knew that our training was lacking and I still had a great time being at a race that I love.
We hung around for the awards since Janell placed in her age group, and then we spent the rest of the weekend hanging out with Janell and Aaron. I was really happy to share this special race with Janell, and I hope she comes next year to race the Musselman 70.3 with us!
Congrats! I'm a long distance runner myself, but wouldn't be able to make it even two feet on a bike or in the water. I hope that a triathlon is something I can tackle someday. It looks like a rewarding experience, especially when done as a team!


text:
Julie Weir
Head of A&R Music for Nations, Sony Music
Turn It Up To 11! Making It In Rock And Alternative Music
Friday 9 November
Rock & Alternative Music
The Marquee Room
Julie (Head of A&R Music For Nations, Sony Music) has been in the industry for over 25 years from humble beginnings in a record store in Leeds, through to running club nights in the city. After moving to London to do an MA, she began to work in the industry as a merchandising manager for independent label Cacophonous, moving up to label manager. She set up Visible Noise (an independent rock label designed to support and nurture young UK guitar bands, as a reaction to the influx from the US) in 1998 and signed acts such as Bullet for my Valentine and Bring me the Horizon. Alongside Visible Noise, she ran Wiseblood management, worked across music sync, publishing and branding, and set up Subverse (the UK's first truly all ages rock and metal club with live bands…). In April 2016 she decided to take the leap and move to Sony Music to be the Label Head and resurrect the legendary Music For Nations, where she is currently working with Artists such as Bury Tomorrow, Killswitch Engage, Black Futures and Amon Amarth amongst others. Julie also works mentoring younger breaking artists and people wanting to break into the business side of music too.


Find a Brigitte Nielsen - Every Body Tells A Story first pressing or reissue. Complete your Brigitte Nielsen collection. A, Everybody Tells A Story, Find a Brigitte Nielsen - Every Body Tells A Story first pressing or reissue. Complete your Brigitte Nielsen collection. Shop Vinyl and CDs. Every Body Tells a Story is the title of the debut studio album by actress Brigitte Nielsen. It was released in , and was produced by Christian De Walden.
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In animal protection centers there are all kinds of dogs- from puppies to senior dogs. Each has their own history, but all of them equally need TLC.
Some dogs are abandoned because their owners got tired of them, got divorced, moved to another place, got sick or died. Others were abused, neglected or chained up for long periods of time. But the vast majority of dropouts have a common denominator: their previous owners had not thought seriously about the responsibility that comes with owning a dog.
Most dogs that are in animal shelters can be successfully trained. Especially if the new owner has experience or is willing to devote time and patience to the new family member. Always inform the staff at the shelter what kind of dog you want to have and the kind of lifestyle you have.
Puppy or adult? Have you had dogs before? Do you live in an apartment or townhouse? Are there children or elders in the family? Are you going to live with some other animal? How long do you have to train the pup for? What are his exercise and grooming requirements? Ideally, visit the dog chosen in the adoption center and take it for a little walk to get used to him and see how you feel.
If everyone thought about these things before adopting, adoption would be more happy and less miserable for dogs.
Decide in advance, if you want a puppy, a young dog, an adult or an older dog. Weigh the pros and cons of adopting a dog in each of these ages. Most people are reluctant to adopt adult dogs, when in fact their adaptation period is usually less than in the case of puppies.
Are you always busy? So best not to choose a dog that needs daily brushing.
Are you a sportsman and like to walk everyday? Then choose a dog that needs a lot of exercise.
Do you have children? Be sure to choose a dog that does well with children.
Do you have other animals? Consider the possibilities of coexistence between them before adopting a new animal. If possible, try to introduce them to gauge their reactions.
Take your time. A hasty election will hurt you and the dog. All animal adoption centers will be happy to give advise and answer any questions you have before you make the final decision.
Find out all you can about the past life of the dog and its temperament. Take him out for a short ride and see how he behaves.
Once adopted, the first thing you should do is take the dog to the veterinarian for a check-up.
Do not pick a dog from a shelter or a kennel just because it is cheaper. A dog from a shelter or a kennel will need the same attention and entail the same charges as a dog purchased.
Do not rush. Think of your commitment as a long-term commitment. Some dogs can live up to 15 years or more.
Do not choose the dog by looks alone. His behavior is much more important than outer beauty.
Do not overwhelm your new dog with cuddles and caresses, no matter how lovely he is. Note that he can feel harassed if you do. Give him time and space to get used to his new home.
There are many things you need to consider before adopting a dog. But if you ponder well, and get a dog suited to your lifestyle, you will have invested in an incredibly amazing companionship.


The Engineered Masonry Design Course (EMDC) is a professional course offered to practicing engineers in the local design community. It equips you with the tools and knowledge to design masonry confidently, effectively and efficiently. This course has been offered to more than 400 practicing engineers in Canada and is roughly equivalent to a 4th year undergraduate university course in both scope and workload.
Now offered in a condensed format!
The EMDC will include online components that can be completed on your own schedule. As a result, the instructors won't need to cover topics as quickly, allowing more in-depth discussion and design examples in the areas that matter most. There will also be optional lessons available for those who are interested in a deeper dive into some of the more niche topics.
This is the equivalent of a condensed, final year undergraduate university course with the workload and technical difficulty to match.
In order to pass the course and earn a certificate, participants must meet the minimum requirements which include submitting two assignments, a minor design project, and a final exam. CMDC is available to offer guidance and extra support to ensure that everyone who puts in the time and effort will have the tools to be successful.
Bennett completed his Ph.D. at McMaster University in 2013. His thesis was awarded the 2015 Best Doctoral Dissertation Award from The Masonry Society and contributed directly to major changes to the new seismic design chapter of 2014 Masonry Structures Design Standard CSA S304. He is a recipient of the NSERC Industrial Postgraduate Scholarship from 2007-2011 and was awarded a NSERC Industrial Research and Development Post-Doctoral Fellowship from 2013-2015. He has twice been awarded the Outstanding Reviewer Award from the ASCE Journal of Structural Engineering in 2016 and 2017, has contributed over 30 peer-reviewed journal and conference publications and served as the Chair of the Technical Committee for the 13th Canadian Masonry Symposium in 2017. Since 2012 Bennett has taught masonry design courses at McMaster University, University of Alberta, University of Toronto School of Continuing Studies and through CSCE's Professional Development Program. Bennett has worked at CMDC since 2012 and oversees industry funded research and education initiatives across Canada, codes and standards development and general technical related services of CMDC.
David is the Executive Director of CMDC. He is a graduate of McMaster University and started his career with OMCA in 1998. When the OMCA's technical services expanded to a national level in January of 2003, the CMDC was formed. David's background in engineering, in combination with his strong working relationship with masonry contractors, has facilitated the development of numerous seminars, advanced engineering courses and hands-on workshops for the effective design and construction of masonry structures. David was heavily involved with the development of the 2004 & 2014 CSA Standards. Under David's direction and extensive involvement, CMDC published the most comprehensive textbook available for Canadian designers, "Masonry Structures – Behaviour and Design". Most recently, David was involved with the development and launch of the MASS™ structural design software. David also continues to be involved with many masonry research programs across Canada.
Brad has been with CMDC since 2011 and has been hard at work developing and providing technical support for the MASS™ software (Masonry Analysis Structural Systems). Brad spends most of his time developing and providing technical support for the MASS™ software but also helps run design courses and seminars for senior year undergraduate university students.
Joe has been with CMDC starting in 2010 and in addition to working with various on-going projects, such as the development of MASS™ software, CMDC's Engineered Masonry Design Course, and CSA Standards development, Joe provides technical support to engineers, architects, and masonry contractor members.
which includes a complimentary copy of CSA S304-04: Design of Masonry Structures. Additionally, a suite of materials and construction standards are included ($480 value) as well as physical printed course material.
Note that a copy of the CMDC Masonry Design Textbook is included ($225 value) as well as additional construction material and standards ($480 value). This also includes lunch and dinner on both Friday sessions as well as breakfast and lunch on both Saturday sessions.
In order to reserve your spot for the upcoming edition of the EMDC, you can sign up by purchasing your seat online. Click the link below to visit the product page, add the course to your cart, and then proceed to checkout.
To begin the registration process, visit the product page and purchase the course. If you have any questions about how this can be done, click here to read the FAQ and contact our office with any questions.


text:
Q: netplan: ethernet preferred if available, otherwise wifi, but with same static IP address There is a similar question here :
Netplan - Ethernet when available, wifi when not. Reconnect if needed
But it has been down-voted, and the OP indicates it is obsolete. There is a long conversation with no clear outcome so I'm hoping for a consolidation/update to that question
AND
I want to assign a static IP through both options.

A: This is much easier with static IPs than with dhcp, because all you need to do is declare the route metrics for each interface and when the ethernet has no carrier, networkd will not bring the routes up.  E.g.:
network:
  version: 2
  renderer: networkd
  ethernets:
    enp2s0:
      addresses: [192.168.15.2/24]
      routes:
        - to: 0.0.0.0/0
          via: 192.168.15.1
          metric: 100
      nameservers:
        search: [mydomain, otherdomain]
        addresses: [192.168.15.1]
  wifis:
    wlx0013eff10948:
      access-points:
        "the-network":
          password: "the-password"
      addresses: [192.168.15.2/24]
      routes:
        - to: 0.0.0.0/0
          via: 192.168.15.1
          metric: 200
      nameservers:
        search: [mydomain, otherdomain]
        addresses: [192.168.15.1]

After running netplan apply, networkctl should then show output like:
$ networkctl
IDX LINK      TYPE     OPERATIONAL SETUP
  1 lo        loopback carrier     unmanaged
  2 enp0s31f6 ether    no-carrier  configuring
  3 wlp82s0   wlan     routable    configured

3 links listed.


text:
Falcon And The Winter Soldier: It's One Month Away And Marvel…
Falcon And The Winter Soldier: It's One Month Away And Marvel Won't Let You Forget It!
Nick Doll
Falcon and the Winter Soldier is still coming on March 19th… and don't you forget it!
I know we're all like, " Can you believe ______________ did _____________ and ___________ to ___________, _____________, ____________! WandaVision is _____________ crazy!" right now.
I also realize a lot of you are looking forward to A Zack Snyder Film: Zack Snyder's Justice League, Directed by Zack Snyder. After all, we're less than a month away on that one too (by a single day).
Which is why Marvel has released a 10 second spot on Twitter so ya'll don't forget that Falcon and the Winter Soldier is coming, amongst all this fantastic comic book adapted content!
The Falcon and the Winter Soldier, a Marvel Studios' Original Series, kicks off on @DisneyPlus in one month. #FalconAndWinterSoldier pic.twitter.com/BTklv2wrTA
— The Falcon and the Winter Soldier (@falconandwinter) February 19, 2021
Not really much to see here, folks. No new shots, but that score reminiscent of Captain America: The Winter Soldier does pump me up as the screen reads "One Month" and concludes with this classy logo.
RELATED: The Falcon And The Winter Soldier Showrunner Talks Progression From Black Panther
But, you know, it's enough. People seem to be far more excited about Falcon and the Winter Soldier than WandaVision. The second Disney+ show from Marvel Studios will start and end as classic Marvel for those perplexed by the style of WandaVision.
Don't get me wrong, I love WandaVision. But if I have two favorite characters currently active and the Marvel Cinematic Universe, it's certainly Sam Wilson/Falcon (Anthony Mackie) and Bucky/The Winter Soldier (Sebastian Stan).
Are you as excited for Marvel Studios' latest as I am? (Impossible). Will you be able to fit in this show and Zack Snyder's Justice League on the same weekend? Let's have fun discussing it on our discord channel or in the comments below!
Tags: Disney Falcon and the Winter Soldier Marvel Cinematic Universe
IFC Films Drops A Trailer For Their Upcoming Comedy 'Last Call' Starring Jeremy Piven
Trailer Drops For Robert Kirkman's 'Invincible' From Amazon Studios


Put your EZMount or clear stamps on the. They also have a universal hole punch so they fit into both European style and standard letter sized 3-ring binders. This package contains five white panels: 11-3/4''x8-1/2''. Made in USA.


Several months ago I had an idea for a little honey themed recipe project for Graziher . When I think about ingredients I think about the behind the scenes reality of producing food. I could easily go to the supermarket and buy generic ingredients but I chose not to because I would rather make the whole process more meaningful.
Honey of course makes me think about honeycomb so I set out to find a decent sized piece of this waxy, sticky, fascinating substance.
I emailed a beekeeper completely out of the blue and after several messages back and forth we had done a deal on a full frame of honeycomb with the offer of a tour of his honey factory and business next time we were in that part of the world. Just like that. Pure goodwill and generosity and he didn't know me from the proverbial bar of soap.
This is the second time this year that I have randomly contacted and visited a food producer and the second time that I have walked away feeling a tiny bit more connected with my fellow humans! I have found that when you show some interest in someone's passion they are more than willing to share their products and knowledge. Just as we are happy to share parts of our farming life.
We left the rumbling honey shed with a frame of perfect honeycomb and a bucket of creamed honey that is made using a closely guarded secret method. Our new friends told us to help ourselves to their fruit trees on our way out. On this occasion we couldn't swap back bread or lamb, but next time we will.
An added bonus to this expedition was some family time, testing a new to us cafe , catching up with an old friend and stocking up at the Farmer's Market. This morning it feels good to be back in the warmth of our home feeling re-energised and ready to face sheep farming again.
This week I will be researching some honey things and admiring the handy work of the bees and their clever keepers.
Bees in your back yard?
Thank you to Reece at Monson's Honey for your time and patience.
how perfect Jane ! I'm a big fan of honey from wayback.. perhaps pop is to blame for that.. he loved it too! Your photographic forays take you to some amazing places…….and meeting new and interesting people is such a bonus.
We have bees, just two hives, and they are absolutely wonderful to observe. It's lovely to be able to take a jar of honey when visiting friends as well. We always had the grand plan to sell our honey, but it never happened that way, so gift giving it is. As a fabulous result though, our mangoes and other fruit trees have great pollination because of the close proximity of the hives.
Having honey to give out as gifts sounds perfect to me Cathy. Thank you!
Looks fab Jane. Bees are fascinating and it amazes me how much honey they produce. We had a branch blown down in a winter storm that harboured some bees and it was fascinating to investigate the honeycomb structure (after the bees had left!).
The bees worry me too Anne, as much as I love the 'idea' of getting closer to them! I think I remember you sharing some photos of that hive. I was amazed at how heavy the honeycomb frame I purchased was, for its size.
Simply beautiful words and pictures Jane, as always.
Oh my goodness that is a thing of beauty!


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Kopecky: Drug for the Modern Age Review
By Holly Gleason | May 28, 2015 | 11:04am
Music Reviews Kopecky
Formerly known as the Kopecky Family Band, this Nashville sextet brings an eyes-open approach to the world of hooking up, checking out, disappearing into technology and eschewing actual human engagement. On the band's second full-length recording, they create sleek, rhythm-driven songs from the pain and betrayal they've endured. If plastic nihilism and self-involvement drive the bulk of Kardashian club culture, Kopecky waives that, preferring to look out and connect in ways that empower.
Embracing the Casio synths and programmed drums, the band harnesses machined pop music to both '80s idioms and the human touch within them. With concert strings rising atmospherically in the opening track, it's hard to imagine the full neo-disco that emerges from Kopecky's "Die Young." But six bars in, the bass fattens, machined beats drop and the disaffected voice of the guitarist Gabe Simon floats over it all, making alienation sound so welcoming.
The synth references continue throughout Drug for the Modern Age. "My Love" sounds like a young Madonna fronting Daft Punk in the 21st century. And later, "Better Luck Next Time" evokes both the Cocteau and Thompson Twins, as acoustic guitar trade spaces with very processed electric guitar lines. It's the lead single that's most startling, though. The columns of synth rising in the churning hit "Quarterback" give way to Simon's dry vocals, as romantic want turns to deliciously unabashed come-on.
Buffeted by life, friends who don't hold up, lovers who won't be there, Kopecky seems emancipated to find a new and better way to live. Easily the most hard-won, yet somehow confectionary song cycle of independence, Drug for the Modern Age inspires, drives and thrives right where it is.
drug for the modern age
kopecky
the kopecky family band
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