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Badly Drawn Boy–It's What I'm Thinking, Pt. 1
Reese Tuesday, November 30, 2010 CD Review No comments
It's been four year's since Badly Drawn Boy's (Damon Gough) last release, Born in the U.K. Prior to that release, he had admitted going through a period where he lacked inspiration. As that album gathered only passing interest, might the interim between releases suggest he has recovered his inspiration or collected, over time, a superior set of songs?
Alas, no. As it turns out, his latest album came from a creative period during which he rushed to the studio to capture his inspirations, rather than refining good ideas later when he risked being flat. This works for some, certainly.
BDB gained notice with his first release in 2000, Hour of Bewilderbeast, which remains one of my all time favorites. If not a steady decline, his subsequent albums were comparatively a distant shadow of his first work. Either the lyrics were ho-hum, the melodies sub par, or the instrumental mix too forced, but each paid homage to his greater work while falling noticeably short. Both the critics and his audience noticed. Even still, there were a few nuggets from album to album which pointed to a hope for something better next time.
It's What I'm Thinking (Part One: Photographing Snowflakes) is a title that seems apt. The lyrics do not seem to be overly word-smithed and read as if they might be an extenuation of whatever thoughts he had entering the studio. They're not embarrassingly shallow nor particularly enriching. They might qualify as observational but not rising to the philosophical, or conversational without any intent of ever being spoken. Lyrics are included in the CD, but they don't really matter, because…
… they all fade away in the mist. Or, rather, as soon as each song ends. Why? The first two songs are a fine example. They can be viewed a couple of ways. The charitable would suggest that BDB is restraining himself from his over-produced and over-complicated past errors, and this CD reflects a more mature approach that strips away the eclectic assault of any and all instruments in a studio. Those opposed might offer that his vocal range is limited, he's prone to use one of about 3 phrasings in all of his songs, and that the sparser instrumentation (keyboard orchestration and piano, mainly) only highlights the absence of memorable melodies.
There are some decent melodies, and several decent songs (listed below) but when it's all said and done, none of them fill an emotional need, echo any particular personal meaning, or strike the auditory nerves in such a pleasing manner that demands repeating. Only "You Lied" might be considered a musical departure from the tried and tired, but, it too, doesn't resonate. The iPod doesn't beg for anything here.
BDB has indicated that the next two phases of this proposed trilogy are likely to include a larger number of collaborators/artists. That may help, or it may hinder. What he needs to focus on is finding the musical enthusiasm he first shared on Bewilderbeast.
Suggested Songs: "Too Many Miracles," "I Saw You Walk Away," "This Electric," This Beautiful Idea"
Street Preachers
Reese Saturday, November 27, 2010 opinion , theological No comments
I'm constantly amazed at how music is intertwined with so many aspects of my life.
Recently, as I was entering the venue for what turned out to be a fantastic Jeff Beck concert, I was confronted by several zealous proselytizers shouting that I and everyone else will be going straight to hell. Unless we repent. They had accompanying signs, of course.
A friend was angered, resentful of being judged and found wanting. I didn't like it either, and I'm a Christian. And I said as much. But this incident keeps coming to mind, and, well, here's my forum.
Regardless of religion, political fervor, or other dogmas, I do respect those who believe what they believe strongly enough to take a stand, regardless of whether or not I agree with them (the caveat is that those actions do no harm to others). I get more frustrated with people who do not seem to think fairly deeply about the things that should matter in their lives. In sorting the existential questions of origins, morals, meaning and destiny, I find my faith to be quite a reasonable thing, but "evangelism" such as this does not resonate as an engaging method of persuasion. For me, at least.
My reaction, then and now, is that this type of confrontational "witnessing" does far more harm than good. To give credit, such people do put themselves in positions where they risk very adverse responses. It is notable that the Greek root for "witness" is "marturia," from which the word "martyr" is also derived. While my reaction, I think, lies within the majority, it's at least worth asking why street preachers do what they do.
For those acquainted only with the bumper stickers of the Christian faith, they should understand that churches are full of sinners. There is no magic "belief" button that changes a person to be a good, virtuous person. Over time, people who truly believe in Jesus are supposed to "grow in the faith" and sin no more, but it's granted in the Bible that even believers will continue to sin. The central belief is that God loves us enough to provide a way out of the many ways we fall short of His expectations, and once received, our response should be an attitude of gratitude. Those who are forgiven much should likewise forgive. Much.
On topic, how does shouting at passersby fit within a reasonable context of an abiding faith, or of a faith that anyone would want a part?
It doesn't. And yet it does.
Watch any pro football game on TV, and there's usually someone holding a John 3:16 sign (curiously, usually in the end zone). Great verse. If you aren't familiar with it, Google it. It promises the good news of Christian belief.
As often, there are signs that read, "Jesus Saves." The question that should arise is, "from what?" The next several verses in John (and in other contexts and places in the Bible), point out that we (all humans) are judged already – our hearts are far from God or anything to do with Him. It's not a matter of a scale of justice where we hope the good outweighs the bad at the end of lives. It's a pervasive condition. In about everything, we'd much prefer to do things our own way, thank you very much. Adam and Eve take all sorts of ridicule by pundits who scoff at the simplicity of the story but miss the moral point. A more straightforward story for demonstrating our desire to be autonomous (or a law unto ourselves) would be difficult to find.
Regardless of the Christian doctrine of God, many have their reasons for turning away from anyone's "God" idea. A few common objections include the presence of evil and suffering in the world, lack of visible miracles or presence, "believers" who are judged to be hypocrites, rejection of any notions of ultimate accountability, etc. My suspicion though, is that most of these are secondary to an innate understanding that if there is a God, then he/she/it may actually have some obligations upon the way we live our lives.
For the Christian, this is okay. God holds us accountable because we count. In the grand scheme of things, I find that comforting. I am not, however, a believer because I simply find it preferable to the implications of the great nothing to come.
Faith is life changing. The Christian cannot boast of being a believer. If it were not for God's grace, we would never turn our hearts towards him. His grace is in the little things – nature, the birth of a child, the coincidences of life that speak to love, charity, goodness, and the scriptures if they're studied – that call us to recognize that something larger than our DNA is at work here. Why do we have a conscience? Why should anyone struggle with guilt for a transgression against another person? Why does physical matter (humans) seem to be born with a built in moral compass?
Any truly held beliefs grow. They have costs in some regards and benefits in others. For Christians, faith grows, and it abides and ultimately becomes life changing. And, at some point, it demands to be shared.
Many get very frustrated with Christians who "witness" to them, regardless of the manner. Some are just as offended when a friend mentions their faith casually as when they're subject to the more confrontational curbside condemnation.
The apostle Paul proclaimed the gospel publicly in the streets, but that was the customary method of the day to introduce and debate philosophies. And Jesus? The only judgmental attitude he demonstrated was for the self-righteous. Otherwise? He showed love and compassion for those in the lowest rungs of society and those who had moral failings, the same people that were shunned by the religious leaders. Most modern churches have not forgotten this, but those that have make the news, in a bad way.
If faith (or any belief or non-belief system) is to be spread, it has to be talked about. It has to be shared. It's not a burden, but rather a natural outworking of belief. If the devil is in the details, it's in the how. St. Francis of Assisi said, "Witness at all times, and if necessary, use words." That's not a biblical imperative, but the point is that no one should be surprised to find out when a person they know says that they're a Christian. Why? Because the Christian message is best shared relationally and by actions, not at loud volumes to passing strangers.
But, you ask, who am I to judge the effectiveness of shouting the "saving message" of hell and damnation? I would wager (not biblically approved, I know) that the corner "preachers" would consider it well worth the aggravation, the time, the derision, the stress on their vocal cords, civic fines and whatever other costs they incur if but one person is drawn towards their message. Because they believe.
The Beatles at the Washington Coliseum
Reese Thursday, November 25, 2010 Beatles , music 1 comment
Reports today indicate that since becoming available on iTunes last Tuesday, Nov. 16, the Beatles have sold over 450,000 albums and two million individual singles worldwide. That probably makes the whole advertising blitz worthwhile, but there were also comments that, by releasing their entire catalogue at once, sales might have been muted by too many spending decisions.
If you're a Beatles fan, or if you have just a passing interest, I'd encourage you to go to iTunes while this opportunity lasts. The banner features The Beatles, so go ahead and click on that. On the next screen, shown below, is a link to a viewable movie at the left – "Live at the Washington Coliseum, 1964."
It's free to view and well worth the time. After all the fairly shoddy performances trotted out over the years (the horrible audio/video from The Cavern club in England, or the over worn Ed Sullivan show appearance, or the mass hysteria of the Shea Stadium recordings) it was quite a surprise to find that a complete performance had been captured, with excellent video quality (for the time), and as good an audio quality as can be expected. It runs 41 minutes long, which includes an introduction before getting to the good stuff. Added bonus: It's unedited. It's not just the music, but everything that happened between the songs.
My takeaways?
1) McCartney was much more of the band leader, for this show at least, than I would have been led to believe based on various biographies that generally attribute that mantle to Lennon. It's surprising he relinquished virtually all of the audience banter to McCartney.
2) Sure, there's some cloying postures and practiced delivery, but there is more at work than playing because it's a big moment or due to built up expectations. They're enthusiastic about what they're doing, and it shows. They wrote and sang great songs, and the commercial packaging certainly played a huge role in building their celebrity. What packaging? How about in-the-round staging (a boxing ring) and professional recording - of their first American concert? But beyond all the interview quips and the "long" hair fascination, if they came off as being inauthentic or unlikable, they would have been a footnote in music history. Watch. They're having fun.
3) Ringo has a very basic drum kit, and he may not have been the most imaginative drummer through the subsequent years, but I gained some respect watching him perform.
4) To see The Beatles move their stage equipment around wasn't expected, and it certainly may have been borne of necessity. But, they played for years before making it big, usually in dumps. Their suits notwithstanding, you know they've done this before and they're not above doing it again. Beyond that, there's a sense that they really wanted to give a great show to everyone, regardless of where they sat.
5) How can they play so well when they can't hear? In addition from the audience noise, they rarely have their stage monitors set to where they can hear them.
6) There is more than a little irony of playing "black music" to a very young, all white crowd ("Roll Over Beethoven," "Twist and Shout," "Long Tall Sally"). It's well known that McCartney's vocals borrowed quite a bit from Little Richard. His delivery of "Long Tall Sally" seems beyond his years. Attention establishment: You tried to contain Elvis. Give it up. Rock and roll is coming, and fast.
7) It's no wonder that a generation of teenagers went out and bought guitars. With that kind of energy, and that kind of fan response, would you rather be a pop star or go work in the factory?
8) Fans had cameras. I like that in a concert.
More about the concert, including the set list, can be found HERE.
John McLaughlin – Live at the Rialto Center
Reese Monday, November 22, 2010 Concert Review 1 comment
This was my first trip the Rialto Center for the Arts, a performance venue at Georgia State University. The 833 seat theater literally does not have a bad seat in the house, and the acoustics are wonderful. But, it has more going for it than just that.
As compared with the sterility of ordering tickets through Ticketmaster, the Box Office personnel were very helpful in recommending the best seats – on the wings down low left of the stage, or towards the middle but a good number of rows back? My concert buddy and I were very pleased with the 4th row seats in the wing, which, as advised, had no site line issues at all to see the depth of the stage. That said, we likely would have been nearly as happy anywhere in the venue.
The Rialto is also to be commended for their volunteers. Their greeter was warm and friendly and made eye contact with us entering and leaving, and if very short impressions can be trusted, seemed like a very genuine person happy to be there and happy for you to experience the venue.
But wait! There's more! The Rialto even provides complimentary parking arrangements in a nearby deck – a rarity in downtown Atlanta, or other places where there are bucks to be made.
The lobby features some artwork as well as photos and information on songwriter Johnny Mercer. As expected, the souvenir table was provided for T-shirts, CDs and DVDs, but, rather unusually , McLaughlin's guitar (likely a backup) was also on display. It's obvious that he's promoting the Godin brand to anyone who who favors his playing and sound, and it was a beautiful guitar.
The only off-putting element was the ban on cameras… which, for once, I respected. This was the type of venue where LCD screens are visibly distracting to others and just not appropriate.
Oh yeah, this is a concert review, not a venue review.
John McLaughlin and the 4th Dimension opened on time and played for two hours. This has been a very fortunate year in that my interest in McLaughlin started years ago upon the release of "Saturday Night in San Francisco," featuring McLaughlin, Al Di Meola and Paco Delucia on very fleet fingered acoustic guitars. Thirty years later, it is somewhat ironic to have finally seen both Di Meola and McLaughlin in the same year.
McLaughlin is not a household name. His career became highly visible in the late 1960's with key contributions to Miles Davis' In a Silent Way, Bitches Brew and A Tribute to Jack Johnson, among others. He went on to contribute in significant ways to the "jazz fusion" form and has heavily influenced many other guitarists.
McLaughlin delivered pretty much what I expected – tremendously fast guitar technique and utter control over the sound of his instrument. The music was what I had expected, as well. Intelligent, versatile, complex, challenging and largely inaccessible to someone not schooled in music theory. His beautiful guitar lived up to its looks, rigged very much for a rounder jazz tonal quality as opposed to the higher pitched expressions found in rock.
McLaughlin usually plays with his eyes focused on nothing, very intense on… method? math? leaps between scales? I don't know. He visibly finds emotion in what he and his band mates are doing, but it doesn't translate as well to someone who favors a melody for its sound rather than for its potential transitional directions.
And I suppose that is what jazz, in its higher forms, is all about. Even though the music itself didn't translate well, watching talented artists is always a pleasure.
Bassist Etienne M'Bappe was a treat. There were no basic bass lines to be heard. His fingers were, like McLaughlin's, a study in movement. Better, they were highlighted by wearing black gloves which, against the lighter wood of his 5 string electric bass, looked like an equalizer graphic. He had some great solos.
Gary Husband played keyboards, primarily. He provided texture to the band's overall sound, and as much as anything, gave McLaughlin a break. Again, in the absence of identifiable tunes, he's obviously very gifted but, like the band leader, fails to keep a recurring tune in favor of too many notes. Why too many notes? Because they can.
Primarily coming to see a guitarist, I walked away with the greatest appreciation for drummer Mark Mondesir, who has played with many artists of whom I've heard. He was a study in fluid kinetics, a seemingly effortless drummer who was both the anchor for what the band was doing and, I think, an inspiration.
Keyboardist Gary Husband also plays drums and settled in for two extended drum jams with Mondesir. His style was much more aggressive and labored, but these were the highlights of the night as they competed with variations of rhythms, sounds, and styles.
It was obvious that others in the crowd were more in tune with live jazz and music theory, as heard by various laughs, giggles, or affirmative nods through the performance. For me, it was an enjoyable evening to watch amazingly talented musicians do their thing – a good night, indeed.
Roger Waters – The Wall Live, Atlanta, GA
Reese Friday, November 19, 2010 Concert Review No comments
"Music to get stoned to." This was a friend's answer to my English teacher's question when asked to describe Pink Floyd's The Wall, way back in 1980. I have never been stoned, but if I was, I don't know that the resulting "trip" from listening to this album would necessarily put me in a better place. Themes of control, isolation, anger, exhaustion, repression, infidelity, withdrawal, and insanity (I won't pretend to have deciphered them all) are challenging enough with a clear mind, never mind any artificial sweeteners. In any case, The Wall, primarily an introspective outworking of singer/bassist Roger Waters' mental breakdown, certainly invites interpretation.
And it has. First was the 1982 live action/animated film starring Bob Geldof, followed by a live performance in 1990 in Berlin featuring cameos by other notable musicians. Thirty years after its release, Roger Waters has determined that the time is right to reinterpret the work, again.
My first observation upon entering Philips Arena is that it's unusual to see binoculars offered for rental ($10). As a relatively modern arena, coupled with the technological sophistication available to concert producers (ex. Backdrops for videos for zooming in on band members), the question would be, "Why?"
The second is that while the ticket says clearly "no cameras or recording devices," the sign upon entering the seating area (long after passing "security") were "no flash photography." Aha! That is very much of a relief to those of us, and there were many, who brought their cameras anyway.
The third observation is one that I frequently ask: "Who chooses the pre-concert music?" In this case, I'd wager that Roger Waters had a hand in it, as John Lennon's "Mother" and "Imagine" both have themes which relate to this music more than tangentially. Another inclusion, Billie Holliday's "Strange Fruit," I doubt would be risked by anyone without some authority, as the lyrics again relate but risk being politically incorrect anywhere, hopefully including Atlanta. Not that anyone was listening.
To say that I've seen "The Wall" in concert would be misleading. Rather, I have seen it performed live. There are minimal nods on Waters' part towards playing the role of himself in the songs, but the artistic reinterpretation is literally on the wall itself.
Before the show begins, elements of the wall, large white bricks with presumably a lightweight plastic structure, form a foundation at the outer wings of the stage. As arenas are not duplicates, one wonders about the art and mechanics of making stage parts fit correctly from venue to venue.
The Wall is played in its entirety, with extended musical sections. The band opens standing behind the line formed by the bricks, with video projection on a circular screen above them. That circular screen does not, however, offer any views of band members. It is used solely for visual effects tied into the subject matter of each song. The wall, which is gradually completed through what is Disk 1 on either LP or CD, becomes the defacto backscreen for the creative elements of the entire performance.
Oh, except for the explosion.
This is quickly apparent on "Another brick in the wall (part 1)," where the lyrical focus on the loss of Waters' father in the war is expanded to include a virtual wall of remembrance as pictures of combatant and civilian casualties are displayed. On Waters' website, he invites people to send photos of "Fallen Loved Ones" to be exhibited during his performances. In addition to armed conflicts, this also includes the victims of the 9/11 terrorist attacks.
At this point and elsewhere, visuals are tweaked in an anti-war (but refreshingly non partisan) commentary that fit the lyrics, though not as originally intended. Waters moves beyond the war sentiment to social justice, reflecting on a quote from Dwight D. Eisenhower:
Every gun that is made, every warship launched, every rocket fired, signifies, in the final sense, a theft from those who hunger and are not fed, those who are cold and not clothed.
Visually, still images of faces projected onto the bricks was impressive, but this was only the beginning as the wall took larger form, showcasing five synchronized video projectors on a "screen" extending an estimated 150' wide by 25' high. Amazing and wonderfully entertaining, to the point of you hardly notice the band. Performance, yes. Concert… not really.
The wall continues to be built during the songs, often providing just enough room for the intended graphic projections. At the end of "Goodbye Cruel World," the wall is complete, the band is hidden from view, and Intermission is declared… just long enough for one to use the restroom, buy a drink, or buy a souvenir (choose one).
The opening of Disk 2, "Hey You" has to be one of the more ironic experiences in concertdom. Sure, the band is playing, and, yes, Waters is singing, but darned if you can't see anything except a completed wall looking like a completed wall. Still, it's louder than you can play the music at home, and that's something.
Shortly thereafter, the band migrates to the front side of the wall, and we arrive at "Comfortably Numb," a great song featuring what is likely the fan consensus for "Favorite Pink Floyd Guitar Solo." The guitarist copied almost note for note the famous Gilmour licks, but… yeah. Those $10 binoculars might have been a good option. There were no frets to be seen from where I was sitting, or, as he played from atop the wall, likely anyone's.
The last quarter of the performance included many graphics from "The Wall" movie. This is okay but was somewhat disappointing following the highly imaginative and fresh graphics for what preceded. Still, some of the Nazi-ish symbols remain relevant for oppressive elements, and The Wall wouldn't be the Wall without some familiar icons. That said, the trial and insanity segments were a bit stale unless, of course, you've never seen them before.
It all builds to the deconstruction of the wall, which after some graphic trickery earlier in the show, literally collapses suddenly. Funny how I didn't notice all the band members and their instruments disappearing from the stage, so I guess the "old" animations must still hold interest. It was another mechanical marvel as the tumbling bricks fell on both sides of the wall, but none appeared to even come close to falling forward of the stage. Well done.
After now having examined my many pictures, the ongoing filming of the performance by many cell phones, cameras, or video cameras is quite conspicuous by LCD screens scattered throughout the crowd… to which I contributed. However, given the enormity of the set, I'll be interested to see how Waters chooses to capture the graphic backgrounds, which change very quickly at times, whilst keeping some attention on a band which really wasn't to be seen, but heard. A tour Bluray/DVD is inevitable given the production costs involved (the local newspaper referenced $60 Million). Ouch.
Many additional photos can be viewed by Clicking Here.
If you have an opportunity to see Roger Waters perform The Wall…
Paul McCartney – Band on the Run
Reese Tuesday, November 16, 2010 CD Review 1 comment
Pessimism begets cynicism. I know, it's a strange sentiment with which to begin a CD review. My pessimism results from the retreat of physical music media in favor of digital media, from whatever sources. Apple announced today, after years of negotiations, that they would begin selling The Beatles' songs through i-Tunes. I suppose that's a good thing.
My cynicism is that it should be no surprise that the details have been worked out a year after the spectacularly remastered Beatles' catalog has been available on CD shelves. It is indeed the perfect time for artists to remaster their older works for a final push on cashing in on CD sales...
….before they go the way of the 8-track tape.
Which brings us to Paul McCartney, who recently re-released Band on the Run, his 1973 album now digitally picked apart and rebuilt with the same meticulous care recently given to the work of his previous band. For those that have an earlier CD version, is it worth buying a new copy?
Well, if you're a McCartney fan, the answer is "yes." Whether you buy "just" the remastered album, the Deluxe edition (extra CD and DVD), or the box set (a book and other goodies), there's enough to whet your appetite varying with your desire to part with money.
If you like his songs but haven't tried one of his albums, again "yes." If you're in any other category… of course not.
Those who have compared the new CD to the remastered 25th anniversary edition generally give this version an edge. Whether it's a noticeable one depends upon the equipment that you play it upon and how closely you listen. I have an earlier release from when it was first converted to CD, and the sound is vastly improved. Each of the instruments is more vibrant with fuller, richer sounds. As expected. And I'm very pleased.
But, I can't let the opportunity pass to comment on the contents themselves, as was an album that I frequently played, which may not seem like much, but I had plenty of options from which to choose.
Much has been written around the circumstances of the recording of Band on the Run(recorded in Nigeria, the drummer and lead guitarist quit before the recordings, the demo tapes were stolen…), and it seems that whenever someone mentions this album as McCartney's finest hour, these factors are pulled into the equation… overcoming adversity, that kind of thing. Well enough.
The fact was that George Harrison and Ringo Starr were having more commercial success than either Lennon or McCartney after the Beatles ceased, the latter of which were handling their post-Beatles careers differently. Lennon was political and bitter, and McCartney was lacking a partner or a band to give him honest feedback and save him from his saccharine tendencies. He retreated from fame, and he underwhelmed.
His initial release, McCartney, was an intentionally informal affair with the outstanding "Maybe I'm Amazed," the very good "Every Night," and a couple of nice tunes. RAM was a fully produced affair, but one which didn't satisfy expectations for hit songs (but one which I'm very much looking forward to in remastered format). Wild Life was the first Paul McCartney and Wings album, and although it does have its charm, it remains a footnote in his catalogue (one critic called it "an audition"). Red Rose Speedway featured the syrupy #1 hit "My Love" and elsewhere had an abundance of tunefulness, McCartney stressing his vocal chords in all the right ways, and some of the worst lyrics ever heard from a major songwriter.
Band on the Run, then, finally met public expectations with three hit songs, strong vocals, and passable to good lyrics. It remains a prime example of why I fear the loss of albums in favor of "single" downloads. Radio stations, back when they had DJs who played what they wanted rather than what they were told to play, often had "deep cut" hours when they would play the gems that were never intended for radio airplay.
Band on the Road is loaded with these. It's one of those albums where the listener grows in affection for the "other" songs or the entirety as a set. "Mrs. Vanderbilt," surprisingly played on McCartney's recent tours, packs a great tune, "Let Me Roll It" is a slow rocker, and "Bluebird" is a less poetic but worthwhile cousin to "Blackbird." The only suspect lyrical casualty might be "Mamunia," but despite it's title (an African word? Or nonsense?), the song is good and is a favorite of many.
But my favorites are the final two tracks. "Picasso's Last Words" puts together a hodgepodge of musical ideas to good effect, an aural translation of Picasso's fragmented painting style. The closer, "Nineteen hundred and Eighty Five" doesn't exactly shine lyrically, put it remains a great example of McCartney doing his thing. Beginning with perhaps "Hey Jude" or "Oh Darling," Band on the Run had numerous examples of what he seems to have been working towards, an unleashed vocal showcase. Unfortunately, from this point on, his recorded vocals would settle into Top 40 temperaments, with the good or bad that may imply. (It should be noted that in concert, he continues to push his voice as far as it will go.)
If you should buy the Deluxe edition, an accompanying audio disk includes "Helen Wheels," a popular single which was included on the US version of the album, plus songs from a TV show/studio performance, One Hand Clapping. The songs here are stunning in that, compared to the current era of lip-synching and digital embellishments, McCartney nailed the vocals live. The treat, though, is "Nineteen Hundred and Eighty Five," a jaw-dropping version where McCartney plays solo piano for the first half and lets his vocals rip. If only his later solo work carried that enthusiasm…
Crowded House - Intriguer
Reese Thursday, November 11, 2010 CD Review No comments
I really don't know how professional CD reviewers have their reviews ready on the date of release. Obviously get promotional copies in advance, but how far in advance? Maybe they also get a full artist bio and talking points to help form their opinions of what is going on with band members, wha t inspired the music, what thematic elements can be found, etc. But how many spins do they give a CD before they form their opinion?
Intriguer is one of those CD's that I've listened to regularly since its release 4 months ago, and I'm only writing a review now to get it done by a self-imposed deadline of year end. Neil Finn, the chief lyricist and songwriter, basically is the band. I wasn't a Crowded House fan back in their 1980's heyday, but I became a Finn fan over the last 10 years on the strength of his solo releases. When he resurrected Crowded House in 2005, I was okay with that, especially as the resulting CD, Time on Earth, was a "band" product only in the sense that the band accompanied what he had already worked out as a solo release. I took to that one immediately.
Sounding definitely more of a band effort, Intriguer sounds like a more fully involved project in that there's continuity to it in the way that it sounds. Or maybe I only come to that opinion because I watched the band play the songs on the DVD that accompanied my copy. I do know that I like it less, but I'm not certain how much Finn's parodying moustache influenced that opinion. Hey, at least I recognize the possible influence. Dude, razor.
The CD opens with "Saturday Sun," which begins with a plodding intro that somehow gets rescued by Finn's propensity for musical hooks. Still, it's a failed single, and it was soundly thrashed by the hordes who downloaded it as an iTunes free single of the week. "Archer's Arrows" does a better job of exemplifying what intelligent pop can be, with a tune full of captivating turns but with lyrics that would defy pop radio interest. "Amsterdam" is trademark Finn, telling a narrative story within a tune tailored to suit it.
Many of Finn's observations are observational about priorities and the activity of living this life. "Either Side of the World" is a good entry in this vein – "when you're in luck / the world moves with you / whatever they want, you'll turn yourself into / then you're in hell / luxury and leisure never meant pleasure / we like it different / passion & commitment"
"Isolation" detours the musical direction, with shimmering guitars and an other-worldly sound before devolving at the end into something more raucous. It's a fine example of what is both the best and worst of this set of songs. Finn has an abundance of melodic shifts that rarely let a monotonous section take hold. On the other hand, there are a good number of passages that need those sparks.
And after this realization comes "Twice if You're Lucky," the only song that strikes a great hook and works it throughout to a satisfactory ending.
Concluding the set is "Elephants," a song that pokes at an impartial universe to those living in it. This is indicative of the depths that Finn can mine in his lyrics, but it is hampered by the unfortunate inclusion: "when elephants go down/ to the water hole at dusk / they feel the same as us about life / we'll all take a drink / as the sun begins to sink." I'm not going to speculate about what elephants feel, but I can understand that they get thirsty.
It's fair to say that this isn't a CD that can just be played and enjoyed. Aside from "Twice if You're Lucky," none of the songs have real traction after they're heard. They require close attention to the lyrics, or, better, reading the lyrics as you listen before you can really "connect" with them. And, if you're a download junkie, that's too bad, because they're included in the accompanying booklet.
Recommended Songs: "Archer's Arrows" and "Twice if You're Lucky"
Reese Monday, November 08, 2010 just thinking , music , theological No comments
Which came first? The rose or the thorn?
This is the preoccupying question of someone who semiannually trims a rosebush (not a big deal) and then is forced to tend to the debris (a big deal). I wore leather gloves rather than cotton (wise, borne of experience), jeans (ditto), and a T-shirt (foolish…). With arms subsequently scratched and pricked, it's no wonder that I would question the wisdom of combining thorns and rose flowers on a single plant. I know I'm not the first, and I won't be the last, to desire the idyllic "Rose Without a Thorn."
I have read quite a bit of literature over my life, but absent a tune, I find it very difficult to quote passages. If a catchy phrase is going to come to mind, it would be in music. "A rose without a thorn…" No, not Miley Cyrus or Poison, thank you. The lyric I'm thinking of is, of course, a bit more obscure but far more rewarding than those two "artists." Mike Scott released a fantastic CD in 1998 called Still Burning, in my opinion far better than a much wider body of work he has released as the leader of The Waterboys and one that continues to provide as much listening pleasure as any I own. He's at his best when he writes with humor, such as in "Rare, Precious and Gone," where he is being a comfort to a friend whose girlfriend just left.
She's a queen among women, a child among queens,
the finest thing that your lovesick eyes have ever seen
She's a rose without a thorn
She's a peach, she's a prize,
a gift in disguise
She's graceful and colourful
and when she grows she'll be wise
But most of all, my friend, she's gone.
Gone gone gone!
Hey, what are friends for?
But the point is rather that the rose (with thorns) has long served as a metaphor for falling just short of perfection. How many have waxed poetic of a beautiful woman who is flawless… except for a slight physical imperfection or an undesirable personality trait (cruelty, selfishness, condescension, arrogance, etc.)
In life and art, we're constantly reminded of imperfection. If someone actually were perfect, we would risk being impossibly overwhelmed or feeling entirely inferior. We're more content knowing no one is perfect, after all.
Mother nature spent gazillions of years putting roses and thorns together. And what have we (modern plant breeders…) done? We've made the thornless rose. What are the implications (besides less painful yard work)?
Imagine, if you will, a rose bush, without any thorns. Well, I know. You don't have to imagine it; you can buy one now.
But just go with it. Pleasant isn't it? It's sitting there in the perfect soil, moisture and sunlight, doing what a rose pedal does best. Looking flowery.
But wait! (insert foreboding music in background). The evil Mr. Rabbit comes hopping up, inhales of its sweet fragrance and decides that it's suitable to eat. And he does just that. I know. It's very sad.
Now, imagine the opposite. Call them briers or brambles, but give them ample prickly spires, only with no flowers or fruit to tantalize or tempt. Yes, it's a weed with malicious intent. The evil Mr. Rabbit comes hopping up, considers his palate, and says, "No thank you! You don't appear very tasty or pleasant to digest!" This is a much happier ending for subject (the brier, not the rabbit).
And this is the evidence of me having too much time to think.
Roses and thorns were smart enough to pair up, and what do we do? We split them up so that they're friendlier to beholders when stuffed into a vase. Nicely done.
Consider what we've undone: Some untold millions of years ago, an unfortunate flowering rose was found defenseless against the scavengers of the forest. So it thought to itself, "Self? If you want your progeny to live beyond the bloom, best set up a defensive network. It's time to reorder some DNA and make that happen."
Presumably, some bumps grew on the formerly smooth stem after many years of self-help exercises and good intentions to do better, but… Mr. Rabbit still had his way. The roses that somehow survived redoubled their efforts, and the bumps, in time, became knobs. That's real progress for people who demand change. But, still, Mr. Rabbit was not deterred.
Eventually, after exhausting all available self-help exercises, tutors and grand thinkers, a single remaining rose (one would have to imagine that all the others had been digested after millions of years of being DQ treats) finally sprouted appropriate siege defenses and passed the trait on to all its ancestors that we enjoy today. I know it's a lot to expect an unthinking plant without self-control over its DNA to just sprout thorns for self preservation, but what other choice do you have?
Oh, of course, we can go the other way and start with the weed with malicious intent. Briers were so despondent about their lots in life that they adapted, over millions and millions of years, to eventually produce flowers and their sweet aromas to otherwise adorn their meaningless existence. As a plus, then they could also count on third parties to pollenate the new flowers so they could multiply! Smart thinking!
Got a better idea?
Well, here's the rub. However they came about, what if the birds and bees help our "improved" version of the rose replace it's thornier cousin. Oh, I know, it's not likely. But isn't the concept of a rose without a thorn more important than a rose without a thorn? Isn't the metaphor precious? Will it become rare? Might it someday possibly be gone?
Roses need thorns.
Otherwise, let's make a stretch goal of breeding roses until they grow naturally in clusters of twelve suitable for ready-to-cut bouquets on February 14th, thereby sparing man both the pain and the expense.
Bad video. Good song.
Mike Scott – Rare, Precious, and Gone
Belle & Sebastian – Write About Love
Reese Friday, November 05, 2010 CD Review No comments
I was initially disappointed with Belle & Sebastian's Write About Love, but after repeated listening, I found much to like. B&S have routinely assembled a wide variety of instruments to orchestrate songs that sound similar to all those 60's pop songs that filled the radio but never made a splash. It's reminiscent, tuneful, jangly stuff. But, after having achieved a state of "liking it better," I started liking it less.
Why? Foremost is the disappointment of the band not picking up where they left off from 2006's splendid The Life Pursuit, which finally saw the band put some step into their tunes after years of a narrow diet of aural cotton candy. The layover, alas, was too great to sustain what seemed to be a new enthusiasm at the time.
Secondly, the lyrics rarely excel. Lead songwriter and singer Stuart Murdoch, now 42, remains somehow preoccupied with school age trials between boys and girls. As the CD title suggests, there is a continuing theme of romance, and Murdoch's voice remains perfect for it. But the lyrics are often obtuse, and the disk is lacking in his trademark metaphors and pensive humor. A master at creating characters to play roles within his songs, aging would suggest a transition to more adult observations of life.
He's clearly capable. The liner notes include some philosophical musings that could be translated to song, such as:
In moments of quiet I feel a sort of maturing. I'm mature enough to realise that life is racing away, that it's going to run out too soon, and that there's nothing I can do about it except live now and contemplate later. And that's gong to involve a degree of discomfort.
There's a difference between what you want to do and what you have to do…
What you want to do is an illusion. What you have to do is heavenly. Heavenly purpose, and therefore blessed…
What I want to do is… all over the place. It comes thick and fast – as ideas, desire, and daydreams. It's inspired by lust, by pride, and by a false sense of entitlement.
But then want turns to must… it's a fine line sometimes; it's probably happened to you already today. A fork in your own metaphysical road in which you are aware of the two choices. You hesitate and listen for a small voice to whisper in your ear…"
The only hint of that is one of the more subtle songs musically, "The Ghost of Rockschool."
I've seen God in the sun, I've seen God in the street / God before bed and the promise of sleep / God in the puddles and the lady's sad eyes / I've seen God shining up from her reflection
But that's not the focus here; writing about love is.
Love is like a novel / Read the blessed pages / Did I do my best dear / That is all you ask
All the songs here are listenable. Sarah Martin sings on two of the better entries, "I Didn't See it Coming" and "I Can See Your Future." Murdoch pens a strong lyric with "Little Lou, Ugly Jack, Prophet John," but the surprise inclusion of Norah Jones on the one hand emphasizes how thin Murdoch's voice is, and on the other changes the CD's tone. I like the song; it's just misplaced here. "I Want the World to Stop" is catchy, but lyrically fails to anchor. "I'm Not Living in the Real World" is decent, but it tends towards the frenetic amongst the pop sensibilities of the remainder.
And how does it sound now? I like it "okay." This isn't my "go to" Belle and Sebastian album, but it has its moments.
Recommended Songs: "Come on Sister," "Write About Love," "I Didn't See it Coming"
Reese Monday, November 01, 2010 Movie Review , theological No comments
With enough previews seen to qualify as "might be interesting," I went to see Hereafter yesterday. The movie starts with a splash. One of the three central characters, Marie, a French TV journalist, is concluding a vacation with her producer when the sea withdraws and rushes back as an incoming tidal wave. The special effects capture what many probably tried to imagine what it would have been like to be on the streets when seeing the footage of the 2004 Indian Ocean tsunami. Despite making the most of her limited option (run!), Marie has a taste of the afterlife before being resuscitated, which alters her priorities and focus.
The second major character is that of George, played by Matt Damon. His character has the gift, or burden as we are reminded, of being a reluctant psychic who can relate messages from the deceased. Two issues are involved. 1) He can sense a depth of details and emotion from a casual touch of the hands and 2) it impairs or inhibits his relationships with the living.
Another major character is that of a London school boy, Marcus, whose lot in life is already challenged amply before losing his twin brother in an accident. His role is to tie the other two character threads together and to otherwise explore the world of "Talk to the Dead" specialists. He gives cursory glances at mainline religions, but they don't meet his need of talking to his lost brother. The remaining options provide a comic look at the charlatans that practice within that trade while giving testament to a world that desperately seeks consolation by those or any means.
Firm answers to the hereafter are hard to come by, and the film doesn't commit itself to any real answers. Were it not for George, there would be no story other than the search.
What this translates to is a slow movie. It should be telling that Marie's character could have touched death by any number of tragic events, but without a tsunami, there would be very little to grab the attention of prospective audiences.
Matt Damon carries the movie by his understated portrayal, but acting vehicles to establish "range" can be tedious. To be fair, all of the actors are likewise credible – as they should be. In the absence of any plot demand for a pace, there is ample time for character development. But tedious remains an apt description. We don't get to see the characters choose their clothes each morning or clip their fingernails, but one wonders if such details might have been left on the editing floor.
It's not a bad movie, by any means. The ending provides a long coming and appreciated resolution to the characters' needs. Clint Eastwood directs, but if there are any trademark clues to that (slow pacing?), I wouldn't have known. After all, the story doesn't lend itself to energizing screenplay options. In short, it's done well for what it is. But it's slow. Did I mention that?
It's also one of those movies that could be enjoyed just as well in 6 months over Netflix, as there is no real reason to see this in a cinema or to fork over cash for a DVD, never mind a Bluray. As further discouragement, clocking in at two hours and begging to be a half hour shorter, I'd hope that the studio refrains from any "extended footage." When it comes to repeated views, this clearly falls under a worthwhile "one and done," a philosophy with which Marie's producer would agree in answer to an awkward dining topic, "What do you think happens when we die?"
Me? I trust in more.


Lots of short loops branching off of the main trail with jumps, steep drop-offs, creek crossings. To impress the ladies, take the long staircases down in front of the women's dorm. If you want a steep climb, take the sidewalk from university dr. to college dr., then up Sunkist Terrace. Get ready for granny gear. Once at the top, go through the gate and look for a trail at the end of the clearing on the right.
Enterprise South Nature Park aka Volkswagen Trails..right down Apison Pike.
New trails are well built and now suitable all experience levels and catered to mountain bikers more than they were before. Trails are clearly marked with difficulty ratings. New trails now give access to the top of the ridge where there was previous little to no bike access before.
Only negative is that popular trails are heavily used by hikers and sections of trails are quite short.
New trails are currently being constructed! There will be around 12 miles of NEW trail when completed - projected to be April 1, 2011! There will be everything from beginner (5% grade) to expert; climbs, jumps, berms, everything! Trail is almost completely machine cut (Sweco dozer, ditch witch, and mini excavator) and are also being compacted. For more info please visit www.friendsofwhiteoakmountain.com please visit the site and join the Google group to find out info and volunteer on trail work days!
As Kathie from Cleveland suggested, this is a very good training trail. There are numerous, steep climbs with the payoff downhills that follow. There are enough roots and rocks to keep you focused and with the addition of the latest section that runs close to the ridge top there is greater longevity than ever before. This is a good choice for during-the-week tuneups and it will keep you in shape for the weekend epics. I have given it a "4" aerobic rating which is accurate for those who choose the right paths. MUCH poison ivy this year as well as mosquitoes and deer flies. My overall rating of three would be higher if there were simply more distance to be covered.
I like the entrance by the married dorms. From there, follow your instincts.
The loop of the Trail is about 2.5 miles when ridden out and back. It is not very tough and good for beginners. There are a number of trails that spur off the main trail and some are very tough. There is a map to this trail at http://fly.to/tnmtb under the trails section. If you are in the Ooltewah or Collegedale area this is a good ride for all levels. You can get the full 6 miles out of it. There are a couple of good downhills too.
Ride the route from the main entrance beside the Colledge Apartments.
There are many little cool shuts. great for short interval trianing:) And also the main trail is great for begginers. Have fun and go Hard.
behind the College, as your riding up the road behind the college you will see a decent hill about halfway off into the woods is the trial. have fun.
I ride this trail 1-2 times weekly. It is a great training/endurace trail. Beginners will probably want to stay on the main trail (it runs straight thru - you can either ride the road back to your car or turn around and go back. There are MANY trails to choose from that shoot off the main one. Many great, technical downhills and killer uphills. Most trails loop back into the main one but be careful - you CAN lost!
Start behind the education building at Southern College (trail marked there)for a good downhill beginning or go to the entrance behind the married student dorms for a long uphill beginning.
Either Chilhowee or the trails behind the Ocoee Whitewater Center.
It a good trail, lots of people bike it, it has lots of up hills and DH's...If you take the main trail there are lots of Jumps that were made, watch out for the root that sticks up really high, u might endo.
go into collegedale, and go to the dorms that say Tennessee, colorado etc.... its on the right. Or go to 'robinson farm estates' behind Ooltewah middle, drive down the main road till it dead ends, and ride a short single track trail till u get outta the woods, then go on the main road goin in to collegedale.
good ride besides all the fallen trees. Good riding.


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Q: AngularJs my View is not loading angular.module('starter', ['ionic', 'starter.controllers', 'starter.services'])

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A: In tabs.html you need to apply at ion-nav-view element the name="tab".
And then in your app.js try this:
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redpajama_set_name: RedPajamaStackExchange


The On-Campus Interviewing (OCI) program at NJIT provides employers the opportunity to recruit from over 11,400 diverse STEM, Business, and Design candidates. As one of the nation's leading public polytechnic universities, we look forward to assisting you in identifying talent for your internship, co-op, and full time hires.
To get started, establish a free Handshake account and add NJIT as one of your schools.
Requests should be submitted via Handshake approximately four weeks prior to the preferred interview date. If you have a more immediate opening, we are happy to discuss a customized solution to your recruiting needs.
Select "Interviews" under the "Campus" section.
Job Posting: You can create, copy, or use an existing job to link to your interview schedule.
Candidates will have until the resume submission deadline to submit their resumes.
Once the deadline closes please review the candidates' resumes.
In Handshake identify the candidates you would like to interview, along with any alternates.
Selected candidates will sign up for interview times one week prior to your on-campus interview date.
Completed schedules will be emailed prior to your interview day.
Information sessions are a great way to brand your organization on campus and build your on-campus interview applicant pool. We advise scheduling an information session several weeks prior your interview date. Request your date through Handshake under via the "Events" link. Questions can be directed to Patrick Young at pyoung@njit.edu or 973.596.3246.
Interview Location: Interviews are held in the Career Development Services office - Fenster Hall, Room 200 (# 8 on the Campus Map).
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Staying on Schedule: Please make every effort to stay on schedule. Keep in mind candidates may have class/work commitments and may not be able to stay beyond the interview time period.
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We request that companies utilizing our services adhere to our job offer policy.
On-campus interview questions can be directed to Casey Hennessey at chenness@njit.edu or 973.596.3219.
We are pleased to announce that NJIT Career Development Services is now part of the Handshake platform.
Handshake is a service provided by the Division of Career Development Services to our valued employers. This service allows you to register with us on-line, create and maintain your organization's profile and contact information, post jobs and volunteer opportunities for student and alumni to view, and request On-Campus Interviewing dates.
Information provided by this free web services is based entirely on the information provided by the employers/nonprofit agencies. NJIT and the Division of Career Development Services does not endorse any employers and has not verified the authenticity of any job offer and/or compensation agreement. Participating employers and nonprofit agencies are responsible for being aware of the laws pertaining to their job ads and volunteer opportunities. Candidates are responsible for verifying the information contained in these ads.
Join our Recruitment Partner Program for benefits and services from NJIT Career Development Services (CDS). This invitation-only program is designed to strengthen the relationship between NJIT and your company. The program is free. Enrollment is easy.
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NJIT's top employers are organizations which consistently hire substantial numbers of full-time graduates, co-ops and interns. We are pleased to list our most recent top employers below.
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SUMMER PROGRAM INFORMATION
Roy Program
The Youth Summer Program runs nine weeks from (TBD). The Summer Program is designed to reduce the effects of summer learning loss by engaging youth in academically-enriched activities. The hours of the Roy Youth Summer Program are from 8:00 AM to 5:00 PM. Registration opens (TBD) at 3:00 p.m. for Current Members, April (TBD) for Past Members and (TBD) for all New Members. Registration will remain open until all slots are filled. For more information about registration and pricing please call Karlee Stoker at 801-627-2071 EXT. 2
Please print the Summer Youth Application from the link below and bring it to the club you plan to enroll your child at on the due date mentioned above.
SUMMER YOUTH APPLICATION
Full: $540 or 2 monthly payments of $270
Reduced: $362 or 2 monthly payments of $181
Free: $184 or 2 monthly payments of $92
Registration: During operation hours (3:00p-6:00p)
Current Members: April 17th-19th
Former Members: April 19th-20th
Public: April 20th-21st
Sunrise Program:
Maximum of 30 kids can be enrolled in this program. The Sunrise Program is first come first serve on Registration.
Sunset Program:
Maximum of 30 kids can be enrolled in this program. The Sunset Program is first come first serve on Registration.
Odyssey Elementary Summer Program
The Odyssey Elementary Summer Program runs seven weeks from (TBD). The Summer Program is designed to reduce the effects of summer learning loss by engaging youth in academically-enriched activities. The hours of the Odyssey Elementary Summer Program are from 8:00 AM to 5:00 PM. Registration opens April 17th at 3pm for Current Members, April 19th for Past Members and April 20th for all New Members. Registration will remain open until all slots are filled. For more information about registration and pricing please call Karlee Stoker at 801-627-2071 EXT. 2
Ogden City Resident Pricing:
Please Note: Odyssey Elementary Summer Youth Registration priority and pricing are only reserved for Youth residing in Ogden City. Residents from the surrounding areas can still register to participate in the Odyssey Elementary Summer Program. However, the pricing will be different and priority registration will only be given for Ogden City Residents. Please see surrounding community Pricing Structure below:
Non-Resident Pricing:
The Roy Youth Club was founded in the Spring of 2010 in partnership with Roy City and Weber County RAMP as part of the Roy Hope Community Center. The Hope Center is located adjacent to the Roy City Administration Building and Fire Department, and is frequented by police officers, fire fighters, and community leaders. The Roy Youth Club serves approximately 300 youth per year from surrounding Weber School District elementary schools. Programming at the Roy Youth Club is focused on academic enrichment, character building, and the development of 21st Century Skills, and is made possible though our partnerships with other community non-profit organizations and government agencies. For information on how to register your children as members of the Roy Youth Club, click on the Registration & Payment tab on the left of this page.
Roy Youth Afterschool Program
The Roy Youth Afterschool Program operates from August to May each year. The program serves 120 youth per day from Weber School District Elementary Schools. Registration for the Afterschool Program begins at the end of each July. For information about registration and pricing, click on the "Registration & Fees" tab at the left of this page.
Registration: Registration for the Roy Youth Club will be on Saturday, July 30 at our Roy Facility (5051 S 1900 W, Roy, UT 84067). Times are as follows: 9:00 AM: Current (Summer) members 10:00 AM: Former Members 11:00 AM: Public Please arrive during your assigned time slot. To save time, bring one completed registration packet per child. Program fees are detailed on the font page of the registration packet. First-month's fees are due at registration (no exceptions). Reduced price registration is available for those who qualify for Free or Reduced Lunch. For the most up-to-date registration information, visit our Facebook page
Pricing: $65 per youth per month. Tiered/discounted pricing and scholarships are available (see below).
Registration: Registration for the Roy Youth Summer Program will open to the public during the second week of April. Specific registration information will be released as it becomes available. For the most up-to-date registration information, visit our Facebook page
Pricing: $540 per youth. Tiered/discounted pricing and scholarships are available (see below).
Tiered/Discounted Pricing & Scholarship
We strive to serve all children and families, regardless of income. Elementary youth who qualify for Free or Reduced Lunch through the National School Lunch Program are eligible to receive Tier 2 (66%, must qualify for Reduced Lunch) or Tier 3 (33%, must qualify for Free Lunch) pricing. Tiered and reduced pricing are not available for teen programs. Reduced pricing will be made available upon receipt of the Utah Household Application for Free and Reduced-Price Meals during program registration. Full scholarships may be available to individuals in need and may be requested in writing through the Director of Operations. Proof of income will be required. Discounted pricing and scholarships are limited, and are distributed on a first-come, first serve basis
Roy Hope Community Center
Roy, UT 84067
Roy Program Manager
Allie Johnson
Site Coordinator
Lana Pettit

redpajama_set_name: RedPajamaCommonCrawl


text:
PedidosYa é uma companhia de delivery de comida online da América Latina que conecta milhões de pessoas com mais de 15.000 restaurantes com entrega a domicílio em 400 cidades da Argentina, Bolivia, Chile, Panamá, Paraguai e Uruguai. O app do PedidosYa para iOS e Android conta com 8 milhões de downloads.

História
A ideia teve sua origem quando três jovens universitários, Ariel Burschtin, Álvaro García e Ruben Sosenke decidiram criar uma plataforma que reunisse a maior quantidade de provedores gastronômicos disponíveis e dividi-la por endereços e tipos de comida a totalidade da oferta. Assim, em 2009 nasce PedidosYa como uma plataforma que permite aos consumidores fazer pedidos pela Internet (através de seus telefones ou computadores) a restaurantes com delivery. A ideia iniciou no Uruguay e rapidamente se expandiu na América Latina.

Serviço
PedidosYa permite encontrar restaurantes com delivery e realizar pedidos de comida em linha (online) através do seu sítio web e apps com grande variedade de opções gastronômicas e facilidade de meios de pago. O serviço do PedidosYa é de uso gratuito e o pedido se realiza de maneira fácil, simples e prático. Conta com mais de 1 milhão de pratos disponíveis para escolher. O sistema de comentários e qualificações aos restaurantes permite orientar e ajudar aos usuários a realizar seu pedido. Em 2017 PedidosYa mudou a imagem da marca mudando sua logo. Em Julho de 2017, Delivery Hero um grupo econômico associado a PedidosYa anunciou seu lançamento na Bolsa de Frankfurt.

Ligações externas

Empresas fundadas em 2009
Empresas do Uruguai

redpajama_set_name: RedPajamaWikipedia


text:
The Green Papers: 2020 General Election
Senate Seats by State
Incumbents (brief)
All Incumbents and Candidates
100 Incumbent Senators
52 Republican
46 Democratic
2 Independent
35 Senate Seats up for election in 2020 (35 = 33 plus the 2 special elections: AZ Senate Class 3, GA Senate Class 3)
35 Elected
1 Democratic, Independent Party of Oregon, Working Families
1 Democratic-Farmer Labor
67 Senate Seats not up for election in 2020
7 Open Senate Seats (voluntary retirement, seeking other political office)
5 Republican
2 Democratic
29 Incumbents renominated by same party
283 Candidates seeking a Senate Seat (Candidates may run under the banner of multiple parties. Hence, the number of parties may be greater than the number of candidates.)
50 Write-in
27 Independent
21 Libertarian
19 Scattering
5 No Party
3 Constitution
3 Unaffiliated
2 No Party Affiliation
1 Alaskan Independence
1 Alliance Party
1 Approval Voting
1 Grassroots - Legalize Cannabis
1 Green Independent
1 Independent Party Of Delaware
1 Independent Party of Oregon
1 LaRouche was Right
1 Legal Marijuana Now
1 Natural Law
1 Non Affiliated
1 Nonpartisan
1 Of, By, For!
1 Pacific Green
1 Progressive
1 U.S. Taxpayers
1 United Party
1 Unity
1 Willie Wilson Party
1 Working Families
1 Your Voice Hard
This is a list of the current Senate seats and the incumbents occupying them. Not counting special elections, 33 Senate Seats are up for election on 3 November 2020.
There have been 0 deaths, 1 resignation, and 0 changes re: party breakdown in the 116th Senate.
Senator Martha E. McSally (Republican, Arizona Class 3) was appointed on 31 December 2018 by Governor Doug Ducey (Republican) and was sworn on 3 January 2019.
Senator John Hardy "Johnny" Isakson (Republican, Georgia Class 3) resigned on 31 December 2019.
Senator Kelly Loeffler (Republican, Georgia Class 3) was appointed on 4 December 2019, to fill the seat once it becomes vacant, by Governor Brian Porter Kemp (Republican) and was sworn on 6 January 2020.
Senator Mark Kelley (Democratic, Arizona Class 3) was sworn on 2 December 2020. He was first elected in a Special Election on 3 November 2020. This seat was previously held by former Senator John McCain who passed away on 25 August 2018, appointed Senators Jon Llewellyn Kyl (Republican), and Martha E. McSally (Republican).
Legislative Links Senate Electoral Classes
Alabama 6-year term. No Term Limit. Senate Electoral Classes
Partisan Composition: 1 Democratic, 1 Republican
Democratic Senator Doug Jones
• First elected in a Special Election 12 December 2017 [re: resignation of Senator Jefferson Beauregard "Jeff" Sessions, III (Republican) who was confirmed as Attorney General in the Trump administration.]
• Seat up for regular election: Tuesday 3 November 2020
• Renominated
Senator Jefferson Beauregard "Jeff" Sessions, III (Republican) who was first elected in 1996 and re-elected in 2002, 2008, and 2014 was confirmed as Attorney General in the Trump administration on 8 February 2017 by the U.S. Senate, 52-47.
9 February 2017: Governor Robert J. Bentley (Republican) named state Attorney General Luther Strange to the seat.
On 9 February 2017, Governor Robert J. Bentley (Republican) called a special election concurrent with the regular 6 November 2018 election to fill the remaining 2 years of the term.
18 April 2017: Governor Kay Ivey (Republican) called a Special Election for Tuesday 12 December 2017. The primary is Tuesday 15 August 2017. If no candidate receives at least 50% of the vote in the primary, a Tuesday 26 September 2017 runoff will be held between the top two vote-getters.
12 December 2017: Doug Jones (Democratic) is elected in a Special Election.
28 December 2017: Doug Jones (Democratic) is certified as the winner.
3 January 2018: Doug Jones (Democratic) is sworn.
Arizona 6-year term. No Term Limit. Senate Electoral Classes
Partisan Composition: 2 Democratic
Class 1 Democratic Senator Kyrsten Sinema
• First elected: 2018
Class 3 Democratic Senator Mark Kelly
• First elected in a special election [caused by the passing of Senator John Sidney McCain (Republican), resignation of appointed Senator Jon Llewellyn Kyl (Republican), and replacing appointed Senator Senator Martha E. McSally (Republican)]: 2020.
19 July 2017: Senator McCain has brain cancer (glioblastoma).
24 August 2018: Senator McCain's family announced he is ending medical treatment for cancer.
25 August 2018: Senator John Sidney McCain, 81, passed away. He was first elected in 1986 and re-elected in 1992, 1998, 2004, 2010, and 2016. He also served in the U.S. House being elected in 1982 and 1984. State law requires Governor Doug Ducey to appoint a person from the same party as McCain to fill the seat. The newly appointed Senator will serve until a Special Election in November 2020.
4 September 2018: Governor Doug Ducey (Republican) appoints former Senator Jon Llewellyn Kyl to fill the remainder of Senator McCain's term. Senator Kyl was sworn on 5 September 2018 and will not run for election to this the Seat. Senator Kyl was first elected to the U.S. Senate in 1994 and re-elected in 2000 and 2006. He was not a candidate for reelection in 2012. He also served in U.S. House being elected in 1986, 1988, 1990, and 1992.
28 November 2018: A lawsuit is filed in Federal District Court claiming that Arizona must hold a special election to fill this seat. Ref: Tedards v Ducey, 2:18cv-4241.
14 December 2018: Senator Kyl will resign on 31 December 2018. Governor Doug Ducey (Republican) will fill the seat by appointing a new senator.
18 December 2018: Governor Doug Ducey (Republican) has selected Member of Congress Martha E. McSally (Republican) to fill the seat.
31 December 2018: Senator Jon Llewellyn Kyl (Republican) resigns.
Governor Doug Ducey (Republican) has called a 3 November 2020 special election to fill the seat.
31 December 2018 Governor Doug Ducey (Republican) appointed Senator Martha E. McSally (Republican) to fill the vacant seat until the special election.
3 November 2020: Mark Kelly (Democratic) is elected in a special election.
2 December 2020: Mark Kelly (Democratic) is sworn.
California 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Dianne Feinstein
• First elected to finish out the term in a Special Election: 1992 [held to fill vacancy caused by the resignation of Senator Pete Wilson (Republican): 7 January 1991- which John Seymour (Republican) had been appointed by Governor Pete Wilson (Republican) to fill, 10 January 1991];
Elected to full term: 1994; re-elected 2000; 2006; 2012, 2018.
Class 3 Democratic Senator Kamala D. Harris
• Open Seat - 11 August 2020: Former Vice President Joe Biden chooses Senator Kamala D. Harris as his Running Mate.
7 November 2020: Apparently elected Vice President.
Governor Gavin Newsom (Democratic) will appoint a replacement to fill the remainder of the term ending in 2023.
22 December 2020: Secretary of State Alex Padilla (Democratic) is chosen by Governor Gavin Newsom (Democratic) to fill the Senate Class 3 Seat Senator Kamala D. Harris (Democratic) who has been elected Vice President.
Colorado 6-year term. No Term Limit. Senate Electoral Classes
Partisan Composition: 1 Republican, 1 Democratic
Class 3 Democratic Senator Michael Farrand Bennet
• Appointed to fill the vacancy caused by the resignation of Senator Ken Salazar on 21 January 2009 after entering upon his duties as Secretary of the Interior; appointed 21 January 2009 and sworn 22 January 2009. First elected: 2010, re-elected: 2016.
• 2 May 2019: "We cannot be the first generation to leave less to our kids, not more. That's why I'm running for President. Let's build opportunity for every American and restore integrity to our government."
4 April 2019: Senator Michael F. Bennet announced he has prostate cancer. The prognosis is good.
Connecticut 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Christopher Scott "Chris" Murphy
• First elected: 2012; re-elected: 2018.
Class 3 Democratic Senator Richard Blumenthal
Delaware 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Thomas R. "Tom" Carper
• First elected: 2000; re-elected 2006, 2012, 2018;
[also served in U.S. House- elected: 1982, 1984, 1986, 1988, 1990;
elected Governor: 1992; re-elected: 1996]
Democratic Senator Christopher A. "Chris" Coons
• Re-elected Tuesday 3 November 2020
• First elected in a special election: 2010 (to fill the vacancy caused by the resignation of Senator Joe Biden [Democrat] in January 2009 in order to accede to the Vice-Presidency of the United States; he replaces Senator Edward E. "Ted" Kaufman [Democrat] who had been appointed by the Governor of DELAWARE to temporarily fill the vacancy.). Re-elected: 2014
Hawaii 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Mazie K. Hirono
16 May 2017: Senator Mazie K. Hirono announced she has kidney cancer and expects a full recovery.
Class 3 Democratic Senator Brian Emanuel Schatz
• Appointed: 26 December 2012 (re 17 December 2012 death of Senator Daniel K. Inouye [Democratic]). First elected in a special election: 2014; re-elected: 2016.
Illinois 6-year term. No Term Limit. Senate Electoral Classes
Democratic Senator Richard J. "Dick" Durbin
• First elected: 1996; re-elected: 2002, 2008, 2014
[also served in U.S. House- elected: 1982, 1984, 1986, 1988, 1990, 1992, 1994]
Class 3 Democratic Senator L. Tammy Duckworth
• First elected: 2016. Previously served in the U.S. Congress (2013-2017).
Maryland 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Benjamin L. "Ben" Cardin
• First elected: 2006; re-elected: 2012, 2018.
Class 3 Democratic Senator Christopher "Chris" Van Hollen, Jr.
• Previously served in the U.S. Congress elected: 2002-2014. First elected to the U.S. Senate: 2016.
Massachusetts 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Elizabeth A. Warren
Democratic Senator Edward John "Ed" Markey
• First elected in a Special Election: 25 June 2013 (re: resignation of Senator John Forbes Kerry (Democratic) to become Secretary of State); re-elected: 2014
Michigan 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Debbie Stabenow
• First elected: 2000; re-elected 2006, 2012, 2018.
[also served in U.S. House- elected: 1996, 1998]
Democratic Senator Gary C. Peters
• First elected: 2014.
Previously served in the U.S. House: 2009-2015.
Minnesota 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Amy J. Klobuchar
10 February 2019: "I stand before you ... to announce my candidacy for President of the United States."
2 March 2020: Dropped out of the President contest and endorsed former Vice President Joseph Robinette "Joe" Biden, Jr. after coming in 6th place in South Carolina.
Democratic Senator Tina Flint Smith
• Appointed: 13 December 2017 [re: resignation of Senator Al Franken (Democratic)]; first elected in a Special Election: 2018.
Montana 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator R. Jon "Jon" Tester
Nevada 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Jacklyn S. "Jacky" Rosen
Class 3 Democratic Senator Catherine Marie Cortez Masto
New Hampshire 6-year term. No Term Limit. Senate Electoral Classes
Democratic Senator Jeanne Shaheen
• First elected: 2008; re-elected: 2014
Class 3 Democratic Senator Margaret Wood "Maggie" Hassan
New Jersey 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Robert "Bob" Menendez
• Appointed by Governor Jon S. Corzine to fill the vacancy caused by Corzine having resigned this seat 17 January 2006 upon taking the Oath of Office as Governor of the State; first elected: 2006; re-elected: 2012, 2018
[Previously served in the U.S. House to which he was first elected in 1992: subsequently re-elected in 1994, 1996, 1998, 2000, 2002 and 2004]
Democratic Senator Cory A. Booker
• First elected: 16 October 2013 in a Special Election re: passing of Senator Frank R. Lautenberg (Democratic). Re-elected: 2014
• Renominated - 1 February 2019: "I'm Cory Booker and I'm running for president of the United States of America...." New Jersey law allows candidates to concurrently run for President and Senator simultaneously.
13 January 2020: "It's with a full heart that I share this news -- I've made the decision to suspend my campaign for president."
New Mexico 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Martin Trevor Heinrich
Previously served in the U.S. House elected 2008, re-elected 2010
Open Democratic Senator Tom Udall
• Open Seat - 25 March 2019: "... I'm announcing today that I won't be seeking re-election next year."
** Open Seat (no incumbent) **
New York 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Kirsten Elizabeth Gillibrand
• 23 January 2009: Appointed by Governor David Paterson to fill the vacancy caused by the 21 January 2009 resignation of Senator Hillary Rodham Clinton in order to enter upon her duties as U.S. Secretary of State. Sworn 27 January 2009 to serve until a Special Election was held in November 2010 for the remainder of the term ending 3 January 2013. First elected in a special election: 2010; re-elected: 2012, 2018.
Class 3 Democratic Senator Charles E. "Chuck" Schumer
• First elected: 1998; re-elected: 2004, 2010, 2016.
Ohio 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Sherrod Brown
Oregon 6-year term. No Term Limit. Senate Electoral Classes
Democratic Senator Jeffrey Alan "Jeff" Merkley
Class 3 Democratic Senator Ronald Lee "Ron" Wyden
• First elected to finish out the term in a Special Election: 30 January 1996 [held to fill vacancy caused by the resignation of Senator Robert Packwood (Republican): 1 October 1995 (Oregon state law does not permit the state's Governor to make temporary appointments to fill vacancies in the United States Senate)]; elected to a full term: 1998; re-elected: 2004, 2010, 2016.
Pennsylvania 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Robert P. "Bob" Casey, Jr.
Rhode Island 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Sheldon Whitehouse, II
Democratic Senator John F. "Jack" Reed
Previously served in the U.S. House: First elected: 1990, re-elected: 1992, 1994.
Vermont 6-year term. No Term Limit. Senate Electoral Classes
Partisan Composition: 1 Independent, 1 Democratic
Class 3 Democratic Senator Patrick J. Leahy
• First elected: 1974; re-elected: 1980, 1986, 1992, 1998, 2004, 2010, 2016.
Virginia 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Timothy Michael "Tim" Kaine
Democratic Senator Mark Robert Warner
• Renominated -
Nominations-- Democrats unopposed. Republicans will nominate by Primary.
Washington 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Maria E. Cantwell
Class 3 Democratic Senator Patricia L. "Patty" Murray
• First elected: 1992; re-elected: 1998, 2004, 2010, 2016.
West Virginia 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Joseph "Joe" Manchin, III
• First elected in a special election to a partial term to fill the vacancy caused by the 28 June 2010 death of Senator Robert C. Byrd (Democratic): 2 November 2010. He replaces Senator Carte P. Goodwin (Democrat) who had been appointed by Governor Joe Manchin (Democratic) to temporarily fill the vacancy. Won the special election for the term ending in Jaunary 2013 and the the concurrent regular election for the term ending January 2019: 6 November 2012, re-elected: 2018.
Wisconsin 6-year term. No Term Limit. Senate Electoral Classes
Class 1 Democratic Senator Tammy Baldwin
[Previously served in the U.S. House: First elected: 1998; re-elected: 2000, 2002, 2004, 2008, 2010]
Political Parties Parties appear in parenthesis and italics when a candidate receives the endorsement of a given Party and/or official sources indicate a candidate's association with a particular Party but only where the Party in question does not appear on the actual ballot as such.
Major Parties
• Democratic
• Democratic-Farmer Labor
• Republican
Major Third Parties
• Constitution
• Green
• Green Independent
• Libertarian
• Pacific Green
Other Third Parties
• Alaskan Independence
• Alliance Party
• Approval Voting
• Grassroots - Legalize Cannabis
• Independent Party Of Delaware
• Independent Party of Oregon
• Legal Marijuana Now
• Natural Law
• Progressive
• U.S. Taxpayers
• United Party
• Unity
• Willie Wilson Party
• Working Families
• Your Voice Hard
• Independent
• LaRouche was Right
• No Party
• No Party Affiliation
• Non Affiliated
• None
• Nonpartisan
• Of, By, For!
• Unaffiliated
Write-in/Scattered/otherwise not readily classifiable
• Scattering
• Write-in
Candidates for office appear on this page in italics where 'The Green Papers' does not yet have independent confirmation from a legal election authority that the person has been officially certified to appear on the ballot.
"FEC" indicates the Federal Election Commission (FEC) Campaign Finance Summary.
When available, we post each candidate's FEC identification number, the date of their most recently filed Report of Receipts and Disbursements, their "Tot" [Total Receipts (contributions received or what came in: FEC Form 3, Line 16, Column B)] and their "Dsb" [Total Disbursements (expenditures or what was spent: FEC Form 3, Line 23, Column B)]. A link is provided to the Federal Election Commission's Summary Report for those who might wish to explore the details.
If a candidate raises or spends $5,000 or less, he or she is not subject to FEC reporting requirements.
Senate Class
Class 1 seats begin their terms at noon on 3 January 2019 and end their terms on 3 January 2025. The next regular election for these seats is in 5 November 2024.
Class 2 seats began their terms at noon on 3 January 2015 and end their terms on 3 January 2021. The next regular election for these seats is 3 November 2020.
For more information on Senate Classes refer to UNITED STATES SENATE: Electoral "Classes".
Article I, Section 3, clause 2 of the Constitution of the United States reads as follows:
"Immediately after [the Senate of the United States] shall be assembled in Consequence of the first Election, they shall be divided as equally as may be into three classes. The Seats of the Senators of the first Class shall be vacated at the Expiration of the second Year, of the second Class at the Expiration of the fourth Year, and of the third Class at the Expiration of the sixth Year, so that one third may be chosen every second Year..."
Pursuant to this Constitutional provision, a three-Senator Committee was appointed by the Senate on 11 May 1789 to come up with a plan to carry out the requirements of that provision; this Committee reported to the Senate on 14 May 1789 a plan to divide the then 20 Senators (there were 10 of the 13 original States represented in the Senate at the time- each having 2 Senators: North Carolina and Rhode Island had yet to ratify the U.S. Constitution, while New York had so ratified but had failed to elect Senators as of that date) into the requisite three electoral Classes: under this plan, three groups of Senators (set up in such a way so as no State had its two Senators in the same group) were to be listed and the first Senator on each list (a list which was set up geographically north-to-south in the manner in which the Electoral Vote for President was counted before Congress at that time, so that two of the first Senators on these lists were from New Hampshire and the third was the first Senator in alphabetical order from Massachusetts) was to each blindly draw a piece of paper numbered either "1", "2" or "3" out of a box in the possession of the Secretary of the Senate. This plan being agreeable to the Senate and so approved, the drawing of lots in this manner was carried out the following day (15 May 1789)- such lot drawing ultimately determining that, to start with, Classes 1 and 2 were to have 7 Senators each and Class 3 was to have only 6 Senators.
When New York finally seated its two Senators during the ensuing Summer, there was another lot drawing (actually a double-lot drawing) on 28 July 1789 to determine the Classes for these seats: since one of the seats had to be Class 3 to make it equal in number to that of the other two Classes so far, the two New York Senators each blindly drew between two pieces of paper, one marked "3", the other which was blank- after this, there was a second lot drawing in which the New York Senator who had drawn the blank paper blindly drew again between two pieces of paper marked "1" and "2": he drew "1" so that New York would henceforth have Senators of electoral Classes 1 and 3.
When North Carolina seated its two Senators after ratifying the Constitution on 21 November 1789, there was yet another lot drawing (on 29 January 1790) in which North Carolina's two Senators each blindly drew between pieces of paper marked "2" and "3" (since there were now 12 States and, thus, 24 Senators: 24 being equally divisible by 3, there would now have to be 8 Senators in each of the three Classes to fulfill the Constitutional provision that, as nearly as was practicable, one third of the Senate be elected every second year).
After Rhode Island- the last of the 13 original States- finally ratified the Constitution on 29 May 1790 and subsequently seated its two Senators that Summer, there was yet one more lot drawing in the First Congress (on 25 June 1790) in which Rhode Island's two Senators blindly drew between pieces of paper marked "1", "2" and "3": one Senator drew "2", the other drew "1"- thereby determining electoral Classes 1 and 2 as those for the Senators from this State. When Vermont was admitted to the Union as the 14th state on 4 March 1791, there was again a double lot drawing as there had been for New York. From that day until this, whenever a new State has been admitted to the Union, these types of lot drawings (the type determined by the necessity of keeping the number of Senators in each electoral Class as close to one third as possible at the time of said lot drawing) between the new State's first Senators is held before the Senate to determine in just which of the three electoral Classes that State's Senate seats will be placed from then on.
2020 General Election Home
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Length of Terms of Office of STATE Governors throughout American History
Dates of U.S. Presidential Election "Events": 1789 to present
Complete Constitutional provisions for the election of the President and Vice-President
Complete Federal Law governing the election of a President and Vice-President and filling of vacancies of the same


Omar Gooding went ballistic on a guy who called him out for allegedly treating a restaurant employee poorly because his pizza was taking too long ... according to witnesses on the scene.
Cuba's bro went on an angry and homophobic tirade around 3 AM at a food court/bar area of Rio in Vegas, and in the vid -- obtained by TMZ -- he's seen challenging the man, who claims to be a cop, to arrest him.
The "Family Time" actor drops some very anti-family friendly F-bombs and shouts the other homophobic F-word twice -- and also calls him the offensive term "retard" -- while security shows up to diffuse the situation.
We're told Gooding was getting pizza, but began degrading the worker for taking too long with his order. That's when the man with the hat stepped in and told Omar to calm down ... which set him off.
Omar tells us ... it was late and his food was late, so "who wouldn't be a little impatient?" He says apologies were handed out from all sides, including from the guy who tried to be peacemaker, and "by no means am I a hater or homophobic." Omar adds ... "My apologies for the offensive language, but that does not define who I am ... we calmly communicated, worked it out and all was forgiven."
We're told though security checked in on the situation, no report was taken and there were no arrests.