text:
'Riverdale' season 6, episode 3 review: Veggie's game
Riverdale season 6, episode 3 had us asking why the devil can't just vacation on the beach like everyone else.
Admittedly, Mr. Cypher made a pretty good call showing up in Rivervale, because these souls have never been more lost. This smooth-talking fallen angel claimed a lot of lives in Riverdale season 6, episode 3, but he should have known not to mess with the true soul of the town, Pop's Chock-Lit Shoppe!
I was definitely surprised when Mr. Cypher came to take Pop Tate, of all people, but it was a brilliant way to raise the stakes of the episode. It also made perfect sense that Pop Tate would bargain his soul to save someone else's. When Pop went down, I found myself channeling Molly Weasley and yelling, "Not Pop Tate, you bitch!" at the screen.
That being said, I love Pop, but he was part of an infuriating trend in Riverdale season 6, episode 3. What's with these men making wild promises to the literal devil and just expecting the women in their lives to figure it out?
First, Pop gave Tabitha the impossible task of sacrificing neither herself nor the diner to save him while offering no ideas on how to accomplish that. Then, Reggie oh-so-casually mentioned that he bargained a soul for the casino's success because he knew Veronica could figure out how to get them out of it. A head's up might have been cool? Also, if Jughead's promised soul causes him any grief past this episode, he will 100% be turning to either Tabitha or Betty to save him. Get it together, guys!
Other than that, I liked how we actually got to see Tabitha and Pop together in Riverdale season 6, episode 3, and I would've liked to see even more of it. They were the only ones to outsmart Mr. Cypher with the help of their guardian angel, so I just hope that doesn't come back to bite them.
Most of Riverdale season 6, episode 3 took place in Veronica and Reggie's newly opened casino, the Babylonium. Mr. Cypher quickly identified it as a place that would be crawling with lost souls, and if Kevin was any indication, he was completely correct.
Kevin has been truly lost for a while now, so it makes sense that he was the first to eagerly sign over his soul. I don't know if it was the moderate fame, the promise of performing, or the fact that he and "Finn" were back together that sold him, but I honestly think he would've taken any change from the life he was currently living. I'm very interested to see where this leads Kevin going forward in Riverdale.
I predicted in my review for the previous episode of Riverdale that Veronica or Reggie would be the next body thrown on the ever-growing Rivervale pile, and I'd hate to say I told you so, but…
This storyline was full of backstabbing. It began when Reggie, whose soul is a "miserable, paltry thing" (line of the episode), stabbed Veronica in the back by promising her soul to the devil. You know, as lovers do. Then, Veronica gave Nick his due. Finally, Veronica took Reggie's knife and stuck it right back into him!
Through all of this, I appreciate that Veronica stopped short of selling Alice out. Even though she'll now be handing the devil one soul per week, which is insane to think about, but at least she has some boundaries and won't be sacrificing truly innocent people. Or at least not innocent people she knows? I don't know. It's all a little bit uncomfortable.
Riverdale season 6, episode 3, made me think that Veronica and Reggie might actually be too similar to make it work together. It might always be a slippery slope that leads to one choosing success over the other. I think they both need a more earnest, less shrewd presence in their lives to keep them in check.
Man, Betty has now gone three for three in seriously scaring me in these Rivervale episodes! And this one was by far the worst. When Glen told her that the TBK wasn't actually in custody, I got chills! Well done, Rivervale. You got me again.
Of course, those chills paled in comparison to the ones I got when Betty accidentally full-on murdered Glen. That is, after I realized that I wasn't being vindicated for predicting that Glen was the TBK. It was all just a scheme by Mr. Cypher, and now I fear that dark Betty is mere moments away from returning. Murdering a colleague would mess anyone up, but it could be the thing that finally pushes Betty over the edge.
Finally, one soul whose bargain did surprise me was that of Jughead Jones. I was honestly shocked that he would trade acclaim for the ability to write. However, this could just be because we haven't really checked in on how Jughead is feeling about writing in Riverdale season 6.
Alas, it looks like it wasn't worth it, because he ended up trading his soul to get his ability back. As with all the characters, I'm so curious to see how this affects Jughead when we return to normal episodes of Riverdale. At least he has his trusty, taped-up typewriter from Betty to keep him busy until his eternal damnation!
Two Rivervale episodes, likely two deaths, and countless more crazy occurrences to go in this five-episode special Riverdale event. I can't wait to talk about whatever comes next!
Kendra Cleary December 1, 2021 December 1, 2021 riverdale, riverdale season 6, veggie
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text:
Indian Worker Found Dead in UAE Home, Police Probe Suicide Angle
The victim's roommate found him hanging at the accommodation in Al Sajja and tried to cut him loose, but he was already dead.
Updated:November 9, 2018, 3:11 PM IST
Image for representation
Sharjah: A 25-year-old Indian worker was found hanging in his accommodation here, a Sharjah Police official said.
The worker is believed to have committed suicide, Gulf News quoted the official as saying on Thursday.
The victim's roommate found him hanging at the accommodation in Al Sajja and tried to cut him loose, but he was already dead, he added.
The police have launched a probe into the case.

redpajama_set_name: RedPajamaCommonCrawl


text:
package Thread.Concurrent.Synchronization;

/**
 * Created by Defias on 2017/8/27.
 *
 * 交换器
 *
 */
public class ThreadExchanger {
}

redpajama_set_name: RedPajamaGithub


text:
Q: Fixing error message that results instead of a line plot I am trying to run the function to perform a plot but instead, I am getting the error:

Message[With::lvset, {dt = 0.01, tfinal = 100., \[Gamma] = 1, k = 1,
  Subscript[\[Sigma], 1] = 1, Subscript[\[Sigma], 2] = 2},
 Subscript[\[Sigma], 1] = 1, Subscript[\[Sigma], 1]]

The function, which is a for loop that stores the values in a list and plots them is :
With[{dt = 0.01, tfinal = 100.0, \[Gamma] = 1, k = 1,
  Subscript[\[Sigma], 1] = 1, Subscript[\[Sigma], 2] = 2},
 x = {0, 0};
 a = 0.0;
 alist = {};
 dtsqrt = Sqrt[dt];
 M = ( {
    {1 + 1, -1},
    {-1, 1 + 1}
   } );
 \[Sigma] = ( {
    {1, 0},
    {0, 2}
   } );
 Do[
  dx = -M.x*dt +
    dtsqrt*\[Sigma]. RandomVariate[NormalDistribution[], 2];
  a += x[[1]] dx[[2]] - x[[2]] dx[[1]] ;
  x += dx;
  AppendTo[alist, {t, a}], {t, dt, tfinal, dt}];
 p1 = ListPlot[alist, Joined -> True];
 Show[p1]
 ]

Could you tell me where the error emerges from or perhaps how to stop it from occurring?

A: Don't use Subscript to name your variables. Name them $a1$ and $a2$ for example. This would solve the problem.

redpajama_set_name: RedPajamaStackExchange


text:
« Chinny Reckon
Pocketeers »
Worzel Gummidge
Posted by Big Boo on January 21st, 2008
For many Jon Pertwee will be best remembered for playing Timelord Doctor Who, but given that he handed over to Tom Baker when I was only one year old, I will forever remember him best as the scarecrow that came to life, Worzel Gummidge.
Worzel Gummidge was one of my favourite shows as a kid, and was one of those TV programmes that got the whole family together regardless of their age. Worzel was a scarecrow who was made by The Crowman, a strange old man played by Geoffrey Bayldon of Catweazle fame. The Crowman's scarecrows were very special as they could come to life, although they were supposed to remain lifeless whenever a human was around.
Worzel's head was made from a Mangelwurzel (a root vegetable, a bit like a large turnip), although more properly, I should say "heads". Worzel had a number of different heads he could switch between. A sharp twist removed his normal head, and a different head could then be slotted onto his shoulds. Each of these heads looked slightly different, and gave Worzel different abilities. Most often used was his Thinking Head, which gave him an intelligence boost, but he also had a Counting Head and a Brave Head, amongst others.
Worzel was supposed to live in 10 Acre Field, a part of Scatterbrook Farm. Instead he often left his perch behind and went off on an adventure, normally getting into mischief in his quest to either woo Aunt Sally (played by Una Stubbs), or purloin himself "A Cup pa Tea and a Slice o' Cake". This also usually meant that he got John and Sue, the two children who lived at Scatterbrook, into plenty of trouble, and it was often up to the kids to help Worzel out. John was played by Jeremy Austin, whilst Sue was Charlotte Coleman, who also played troublemaker Marmalade Atkins when she was older. Charlotte sadly died in 2001 from an asthma attack.
Aunt Sally was a fairground attraction doll that was supposed to be part of a coconut shy. She too could come to life, but she was not a very nice person when she did. Worzel was besotted with her, and you wondered why as she always treated him like dirt, except when she thought she might be able to trick poor old Worzel into helping her do something.
There were also a couple of other potential love interests for Worzel. One was Dolly Clothespeg (Lorraine Chase) who was a shop window dummy and genuinely did appear to have a sweet spot for Worzel. The other was The Sauncy Nancy (Barbara Windsor) who was the figurehead of an old ship.
There were a total of four series of Worzel Gummidge that were based at Scatterbrook Farm made between 1979 and 1981. Between 1987 and 1989 there were two more series made, entitled Worzel Gummidge Down Under, where Worzel made his way to New Zealand (or Zoo Kneeland has he pronounced it) in order to follow Aunt Sally who had been bought by an antiques collector.
The thing I shall always remember most about Worzel Gummidge was the very end of each episode, where Worzel would return to his perch accompanied by the jolly theme music. Upon settling down at the end, the perch would then collapse, but sometimes he would fall forwards, sometimes backwards, and sometimes straight down. This became a family guessing game in our household, with everyone shouting out which way they thought he would fall.
Search for Worzel Gummidge items on Amazon.co.uk
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This entry is filed under TV - Kids	and was posted on January 21st, 2008. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Last reply was 5 months ago
Warning: Declaration of Social_Walker_Comment::start_lvl(&$output, $depth, $args) should be compatible with Walker_Comment::start_lvl(&$output, $depth = 0, $args = Array) in /homepages/40/d211339488/htdocs/childofthe1980s/wordpress/wp-content/plugins/social/lib/social/walker/comment.php on line 60
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Tracey Stokes
View January 21, 2008
Excellent website, excellent emails. Great!!
SuperTed | Child Of The 1980's
View May 12, 2008
[…] from Play School provided the voice of SuperTed, whilst the great Jon Pertwee of Doctor Who and Worzel Gummidge fame was the voice of Spottyman, SuperTed's alien […]
gary wharton
View August 29, 2012
For fans of the classic show, you will love my book Worzel Gummidge:A Very Special Scarecrow. Find it on mazon or Ebay.
Update Fail – The stupidest timeline – The Stick of Doom speaks
View 5 months ago
[…] has a new Prime Minister. I was not expecting to see Worzel Gummidge's stupidest head running the country but here we are. Of course he's calling himself Boris Johnson […]


text:
Tributes List
NPR Playhouse and WBAI
Somewhere Out There
Joe Frank Online
KCRW's UnFictional
Series Membership
Joe Frank - The Official Website JoeFrank.com - The Official Website
Warheads (30 min)
Product Media Type Choose an option… CDDigital Download (.mp3)
Weapons dealers and a low level terrorist participate in a conference call. They discuss the latest weaponry: hair gas, electromagnetic and sterility warfare, boomerang missiles, uniforms that look like civilian clothing, psychological warfare by placing speakers under children's pillows. This is followed by a description of a visit to Katmandu. Then Joe tells the story of being picked up by a hippie while hitchhiking across the country, and a disagreement with a burly truck driver that leads to a high speed chase.
Series: NPR Playhouse and WBAI
Cast: Joe Frank
Air Date: 1983
Digital Audio Bit Rate: 128kbps
Category: NPR Playhouse and WBAI.
1 review for Warheads (30 min)
Rudy Miller – September 19, 2014 :
This is a great show for the uninitiated. I usually pass this one on to friends who are not yet Frankophiles but who I see as potential converts. You get a taste of Joe's sensibility without drifting too far into the absurd. There's a classic improvised talk radio bit about warfare from the point of view of military leaders and a domestic "terrorist," and there's a random tale about Joe and friends trying to find a cheap hotel while traveling in the Himalayas. Joe's haunting diction and pacing keep you riveted. This was one of the first episodes I stumbled upon on years ago while looking for a good tune on the radio. I found myself waiting in my car not ready to go inside, wondering, "Who is this guy and how can I hear more?"
Decline Of Spengler, The
2-Pack: Joe Frank :: Selections Vols 1 and 2
Call In The Night, A
Member & Shop Login
Become a Member of JoeFrank.com
Subscribe for instant access to Joe's entire radio catalog - over 225 shows, plus more!
Search JoeFrank.com
Follow Joe Frank Online
Joe Frank Newsletter
Reviews of Joe's Work
"In an arena in which formats are sacrosanct, Joe Frank has charted new territory with his literate, frequently bizarre, wildly funny essays and parodies... He can be funny, poignant, serious and off the wall - sometimes within the framework of the same piece. Unique is one word to describe it. Brilliant is another."
"Although commonly categorized as radio drama, Frank's work bears very little resemblance to the stagy artifice of plays performed over air. Frank wanders deeply into the unconscious, producing Dionysian stories with a fairy-tale intensity whose effect is often funny, disturbing and deeply memorable."
"[Frank] travels in the emotional landscape of Bergman and Fellini; there's a tension and sense of mystery halfway between Kafka and Chandler... and a satiric edge worthy of Firesign Theatre and Woody Allen... No one else in radio is doing what Frank does."
"To me, he's what radio is really for... his show makes me think he's getting to some great truth... so completely captivating and just unlike anything else."
David Sedaris, writer
"Joe Frank is a singular voice in radio. What he has done is hypnotic, psychotic, neurotic, sad, terrifying, and some of the funniest stuff I have ever heard anywhere. I can't think of another radio performer who has come close to achieving this kind of alchemy."
Charlie Kaufman, filmmaker
"I came upon Joe Frank's work by accident a number of years ago while driving to my home in the Napa Valley late at night. I couldn't believe the originality and sheer brilliance of what I was hearing. From that moment on I became a dedicated Joe Frank fan. Joe Frank's shows raise the most interesting and enduring questions in new and original ways and are consistently thought-provoking and very funny."
Francis Ford Coppola, filmmaker
"The world of Joe Frank is a wildly entertaining surrealistic universe...hilarious, unsettling, zany, powerful, moving and perhaps the most unique, inventive and effective use of radio since Orson Welles convinced much of America there was a War of the Worlds."
The L.A. Weekly
"Mixing bizarre monologues, multi-sequenced dramatic vignettes and mock-solemn critiques, [Joe Frank's work] is both sophisticated and surreal. A sizable cult has been growing around Frank...a rare radio talent."
"Joe Frank is an invaluable warrior who stands in defense of our fears, our vanities and our forever-eroding sense of ourselves. He transforms the everyday banality of the human comedy into an inspired weirdness that feeds on pathos and irony, and feels a lot like revelation. Sartre would have called it nausea; Frank makes it art."
"Joe Frank is an original whose work has helped form some of the most eccentric, dark and interesting parts of public radio's personality. "
Terry Gross, Fresh Air
Copyright © 2015 Joe Frank


text:
TODO: Write a gem description

## Installation

Add this line to your application's Gemfile:

```ruby
gem 'ruby-iptables'
```

And then execute:

    $ bundle

Or install it yourself as:

    $ gem install ruby-iptables

## Usage

TODO: Write usage instructions here

## Contributing

1. Fork it ( https://github.com/[my-github-username]/ruby-iptables/fork )
2. Create your feature branch (`git checkout -b my-new-feature`)
3. Commit your changes (`git commit -am 'Add some feature'`)
4. Push to the branch (`git push origin my-new-feature`)
5. Create a new Pull Request


Peel plays a Cure track backwards for a request from a listener. At the end of the show he plays it forwards at regular speed to make amends, after an initial wrong speed moment.
Peel mislabels The Five Star's "Atom Bomb Baby" as Skip Stanley's "Satelitte Baby".
An Eddie Grundy single is played. Grundy was a character in The Archers radio series, a Peel favourite.
Older material from Rosco Gordon (from a newly-issued compilation of his work) and a Modern Jazz Quartet track recorded in 1956.


We are getting these beautiful rainbows quite often lately. This one, seen from our patio, is a bit brighter than most of the others we have seen.
A multi day bicycle race through Costa Rica held annually since 1965.
We were in town yesterday when the race came through Grecia.
We met up with a friend who lives here on our ridge (the next bus stop down from ours). We took the bus together into town to meet up with a couple of other friends for breakfast.
Students are out of school in December, starting their long "summer vacation" until February. Rainy season has ended, It's time to celebrate!


Charlotte's Web Rom/Emulator file, which is available for free download on RomsEmulator.net. You can use emulator to play the Gameboy Advance games on your Windows PC, Mac, Android and iPhone. The size of this Charlotte's Web Emulator/ROM is just 6.7MB only and around 445 people already downloaded and played it. If you like this Charlotte's Web, we request you to give suitable ratings. Happy Gaming!!


text:
Larry Norman - Gathered Moments (Somewhere In This Lifetime)
Saturday 1st August 1998
STYLE: Rock
OUR PRODUCT CODE: 9963-22913
LABEL: Howling Dog HDR701
Reviewed by Mike Rimmer
In the early '80s a mate of mine bootlegged the occasional Larry festival performance and some of the stuff on this album reminds me of those tapes and the many Larry performances I witnessed. Larry and an acoustic guitar had such a wide repertoire, you never knew what he'd pull out of the hat! There are only 2500 copies of 'Gathered Moments' in existence and it resonates with rare renditions caught rough and ready in the spotlight. Compiled from bootlegs, rare soundcheck recordings, in hotel rooms whilst composing, this is a fascinating memento of live performances and the uncharted genius of some songs that will probably never make it to full studio adulthood! Highlights include "You Got The Blues", a humorous spontaneous piece of acoustic blues to check his sound in front of an audience! There's the 1976 original full band demo version of "Watch What You're Doing" and a couple of songs from the mid '70s which were intended for projects long since abandoned. Moving to the '80s, there are a couple of gems, the studio demo version of "Stop This Flight" and one song I've been wanting to get hold of for 15 years, the original, definitive and wild version of "If You Don't Love The Lord" which originally appeared on a special Greenbelt tape I lost 14 years ago! There's also the Belfast version of "Unlucky Blues" from the '80s which I've had on a bootleg for a while complete with the crazy "Twist And Shout" intro! This is a feast of intriguing low-fi recordings for Larry Norman anoraks (like me!) everywhere. If you've never checked out the man's music, whatever you do, don't start here! Buy something on the Word catalogue, he's worth investigating! If you're a rabid Norman completeist and a "break from the Norm" is the last thing on your mind, this is a must!
Care for other people and shake heaven in our Intercession Room


text:
Yaarana or Yaraana may refer to:

 Yaarana, a 1981 Indian musical drama film directed by Rakesh Kumar
 Yaraana, a 1995 Indian romantic thriller film
 Yaarana, a 2015 Indian Punjabi-language film

See also
Yaar? (disambiguation)

redpajama_set_name: RedPajamaWikipedia


Yesterday — Memorial Day — some people asserted, once again, that you are "defending our freedoms" overseas.
Nothing could be further from the truth. Those people are just repeating tired old mantras. The reality is that you are not defending our freedoms with your actions overseas. In fact, it is the exact opposite. Your actions overseas are placing our freedoms here at home in ever-greater jeopardy.
Consider your occupation of Iraq, a country that, as you know, never attacked the United States, making it the defender in the war and the United States the aggressor. Think about that: Every single person that the troops have killed, maimed, or tortured in Iraq had absolutely nothing to do with the 9/11 attacks.
Yet, the countless victims of the U.S. invasion and occupation of Iraq have friends and relatives, many of whom have become filled with anger and rage and who now would stop at nothing to retaliate with terrorist attacks against Americans.
Pray tell: How does that constitute defending our freedoms?
It was no different prior to 9/11. At the end of the Persian Gulf War, the troops intentionally destroyed Iraq's water and sewage facilities after a Pentagon study showed that this would help spread infectious illnesses among the Iraqi people.
By "it" she meant the attempted ouster of Saddam Hussein from power. You will recall that he was a dictator who was the U.S. government's ally and partner during the 1980s, when the United States was furnishing him with those infamous WMDs that U.S. officials later used to excite the American people into supporting your invasion of Iraq.
The truth is that 9/11 furnished U.S. officials with the excuse to do what their sanctions (and the deaths of all those Iraqi children) had failed to accomplish: ridding Iraq of Saddam Hussein and replacing him with a U.S-approved regime.
That's what your post-9/11 invasion of Iraq was all about — to achieve the regime change that the pre-9/11 deadly sanctions that killed all those children had failed to achieve.
No, not mushroom clouds, not freedom, not democracy, and certainly not defending our freedoms here at home. Just plain old regime change.
In the process, all that you — the troops — have done with your invasion and occupation of Iraq is produce even more enmity toward the United States by people in the Middle East, especially those Iraqis who have lost loved ones or friends in the process or simply watched their country be destroyed.
In principle, it's no different with Afghanistan. I'd estimate that 99 percent of the people the troops have killed, maimed, or tortured in that country had absolutely nothing to do with 9/11.
Why did you invade Afghanistan or, more precisely, why did President Bush order you to do so?
President Bush ordered the troops to invade Afghanistan — and, of course, kill Afghan citizens in the process — because the Afghan government – the Taliban — refused to comply with his unconditional extradition demand. You will recall that the Taliban offered to turn bin Laden over to an independent tribunal to stand trial upon the receipt of evidence from the United States indicating his complicity in the 9/11 attacks.
Bush responded to the Taliban's offer by issuing his order to the troops to invade Afghanistan, kill Afghans, and occupy the country. In the process, U.S. officials installed one of the most crooked, corrupt, and dictatorial rulers it could find to govern the country, one who is so incompetent he cannot even hide the manifest fraud by which he has supposedly been elected to office.
Was there another way to bring bin Laden to justice? Yes, the criminal-justice route, which was the route used after the 1993 terrorist attack on the World Trade Center.
That's right. Same target, different date. In fact, the accused terrorists — Ramzi Yousef in 1993 and Osama bin Laden in 2001 — were ultimately located in the same country, Pakistan.
In Yousef's case, he was arrested some three years after the attack, brought back to the United States, prosecuted, and convicted in federal district court. He's now serving a life sentence in a federal penitentiary.
No invasions, no bombings, no occupations, no killing of countless innocent people, no torture, no war on terrorism, and no anger and rage that such actions inevitably would have produced among the victims, their families, and friends.
In bin Laden's case, we instead got a military invasion and occupation of Afghanistan, where the troops have killed, maimed, tortured, and hurt countless people who had nothing to do with the 9/11 attacks.
How in the world have your invasions and occupations of Afghanistan and Iraq defended our freedoms here at home? Indeed, how have the assassinations and bombings in Pakistan, Yemen, Libya, and who knows where else defended our freedoms?
All these things have accomplished is keeping foreigners angry at us, thereby subjecting us to the constant and ever-growing threat of terrorist retaliation here at home. As I have pointed out before, the U.S. military — that is, you, the troops — have become the biggest terrorist-producing machine in history. Every time you kill some Iraqi or Afghan citizen, even when accidental, ten more offer to take his place out of anger and rage.
How does the constant threat of terrorist retaliation arising from your actions in Iraq and Afghanistan make us freer here at home, especially when you — the troops — are responsible for engendering the anger and rage that culminates in such threats, owing to what you are doing to people over there?
Consider also what the U.S. government does to our freedoms here at home as a direct consequence of the terrorist threat that you, the troops, are producing over there. It uses that threat of terrorism to infringe upon our freedoms here at home! You know what I mean — the fondling at the airports, the 10-year-old Patriot Act, the illegal spying on Americans, the indefinite detention, the torture, the kangaroo tribunals, Gitmo, and the entire war on terrorism — all necessary, they tell us, to keep us safe from the terrorists — that is, the people you all are producing with your actions over there.
In other words, if you all weren't producing an endless stream of terrorists with your invasions, occupations, torture, assassinations, bombings, and Gitmo, the U.S. government — the entity you are working for — would no longer have that excuse for taking away our freedoms.
This past Sunday, the Washington Post carried an article about American wives who were recently greeting their husbands on their return from Afghanistan. Newlywed Anne Krolicki, 24, commented to her husband on the death of one of her friends' husband: "It's a pointless war," she said.
That lady has her head on straight. She's has a grip on reality, doesn't deal in tired old mantras, and speaks the truth. Every U.S. soldier who dies in Iraq and Afghanistan dies for nothing, which was the same thing that some 58,000 men of my generation died for in Vietnam.


"That's causing a public nuisance, Ms. Tinsdale, violation 23.453.2, window 18. See Miss Johnson, she can assist you with that matter. That's her area," she said, dismissing me, swiveling her chair squarely under her desk as a man dressed in camouflage and cradling a Teacup Poodle hurriedly took my place.
I turned the envelope over in my hand, but didn't open it. Instead, I placed it on the mantle along with all the other mail to be ignored. I didn't have time for pumpkin chucking neighbors, not with hungry Minnesotans on the way. Unsure what to do next, I called Benny.
This morning Benny had a hangover. And as was his way, he didn't feel the least bit guilty that he hadn't put in an appearance at the small Cajun/Creole-style restaurant his parents had owned forever. This restaurant, Miss Lottie's Way, was the very same restaurant he received a considerable salary from his parents, Loretta and Ben Sanderson Sr., to manage.
"Hey, how about you come to Baltimore then?" I said, attempting to sound calm, not calm before the proverbial storm me, but the new and improved, isn't life grand, calm me.
He arrived forty minutes later wearing tan khakis, a salmon polo shirt, and loafers, no socks. He was about to fall onto the sofa, when I motioned for him to follow me upstairs. "I just fluffed those cushions," I said, taking a passing glance back at him. Most times, he would've made some smart remark. This day, he didn't. Even hung-over he looked extraordinarily handsome, much as he had when I first saw him that day in Mr. Creighton's 5th period drama class. Holding me captive, transfixed as he lazily talked, almost as if to himself, to Shirley "Monkey-face" Montgomery.
She nodded, gnawing at her Oh Henry! bar not unlike a little monkey.
"Monkey Girl, I don't know," he sighed, pulling at a lock of hair that only just grazed his forehead. Then he looked over at me, mouthed, "Hey you," and winked.
My Little Ponies and their unicorn play cousins. Back then I was crushed. Today, not so much.
"So, how's Lottie—your mom, not the restaurant?" I asked, taking a squat on the chaise at the foot of the bed.
"OK. Where do you want me to start?" I said.
Benny ran his hand over the chenille spread, lightly massaging the tuffs in the double wedding ring pattern with the tips of his fingers.
"Well, like I said, your choices are limited. You've put a lot of money in this little enterprise," he said, rolling his eyes. It was a common gesture on his part, one I found easy to ignore. I had spent most of my high school years being eye rolled. Both the pom-pom and cheerleading squads perfected their technique on me. Shoot, all four tone-deaf members of the madrigals felt free to roll their eyes at me.
"Wherever. Estella, you've got way too much banking on this to have those Minnesotans Trip Advisor you with 2 lonely stars.


This is a crime against condiments.
The human mind will go to great lengths to develop the easiest, laziest method to doing pretty much anything. Now, it has turned its attention to the messy problem of ketchup. And boy is the end result weird: an unnatural, sticky-looking "slice" of solidified ketchup meant to layer on sandwiches and burgers.
This could be the worst thing since sliced bread.
According to the Slice of Sauce Kickstarter page, this "all-natural, no mess, flavor-packed" strip of ketchup has a posse: the fundraising campaign is already more than $3,000 over its $15,000 goal.
But according to my eyeballs, it's a hard pass. Does it more resemble rotten beef jerky, a bad prank pulled on a slice of tomato, or as many people on Twitter have pointed out, the worst Fruit Roll-Up you've ever seen? Difficult to tell.
Look, we'd all be saved this disgusting entry into condiment lore if we ditched ketchup altogether and accepted mayonnaise as the best burger topper. Oh god, now they'll start selling mayo by the slice, too.


text:
Johann Nepomuk Hofzinser (19 June 1806 – 11 March 1875) was an Austrian-Hungarian magician and illusionist. He used the moniker "Dr. Hofzinser" as a stage name after retiring in 1865.

While he was a conjuror, Hofzinser became well for his inventions, in particular his automata, as well as for card manipulation.

Ottokar Fischer spread the story that upon his death in 1875, Hofzinser's wife destroyed many of his manuscripts to honor her husband's instructions though there is some dispute about this.  Many of his mechanical plans and card-handling methods may forever remain a secret. Several of Hofzinser's pupils preserved portions of their teacher's notes and instructions.  There are still about 270 manuscripts and letters of his own and of his pupils in various collections.

He is portrayed by Philip McGough, in the 2006 movie The Illusionist, starring Edward Norton, Jessica Biel and Paul Giamatti.

References

 Randi, James. Conjuring. 1992.

External links
 www.hofzinser.info
 Magic Apparatus of Johann Nepomuk Hofzinser and essay by Magic Christian at the Library of Congress

19th-century Austrian people
Austrian magicians
Entertainers from Vienna
Card magic
1806 births
1875 deaths


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CASE STUDY #6 — TEACHER'S PET
When the discussion is about unfair situations where they have benefited, it hits a bump in the road.
WHAT YOU TAUGHT ME
All I knew were two things: I wanted to be happy, and I wanted to be of use.
WHAT DOES "SERVICE" REALLY MEAN?
In order for Community Service Learning to be truly effective, it must be selfishly motivated.
IS IT REAL IF IT'S NOT REQUIRED?
"We did something bigger than 'helping the community.' It was a mutual connection with part of MY community."
CSEE CONNECTIONS, OCT 2003
"I know I changed things today and that's enough for now."
Speeches and writings by and about Prajna Consulting
DAILY DILEMMA — GoodCharacter.com
True case studies exploring ethics & integrity and geared toward adolescents & youth educators
"We learn things that we will be using for the rest of our lives."
Case Study #6 — Teacher's Petadmin2016-12-03T06:57:20+00:00
By Charis Denison, Prajna Consulting
Lea is a sophomore in high school and a member of a local theater group in a nearby city. She likes school, but her passion for singing and acting is huge.
Lately there has been talk going around that some members have been exempt from auditions for the last few productions. Leah knew in the "real world" that can happen sometimes. Some productions have such huge numbers of applicants and so little time that the more experienced, well known actors and singers sometimes get bumped up into the cast without having to try out. But, this wasn't Broadway, this was a local teen theater group and the whole idea was to give everyone a chance to prove him or herself. She and her friends talked about the rumor and how, if it was true, how unfair it was. It's one thing to know someone probably deserves to be cast in the production, but another to just put that person in without letting others compete for the same role. They felt close enough to their choir director to talk to him about it. He said he couldn't imagine that applicants were being exempt. Lea's friends talked about going to the director, but didn't want to jeopardize their relationship with him. He was intimidating and, after all, what if he took offense or got mad? Their future chances for good roles could be compromised.
The first week of tryouts for the next musical production Lea was called into the director's office. He told her she was in for one of the main singing parts. She was ecstatic at first. It was the role she had wanted more than any other. It was a starring spot and would set her up for amazing roles in the future. Then, she realized the director meant she didn't have to audition. He explained that they simply didn't have enough time to see every performer's audition. They knew her work and knew she was right for the role.
Lea was conflicted. What would she say to her friends? How would she explain this to them? What's more, the choir director agreed with her and her friends that everyone should audition. What would she tell him? She decided she would raise the question to the head director before she left his office. She asked, "What do I tell my choir director or the rest of the cast?" He replied, "They don't need to know. This is often done with the strongest performers. Just skip the audition and we'll take care of the rest."
Now what was Lea supposed to do? What if her choir director asks her how her audition went? And what about her friends? She was the one who talked about how unfair it was to do this exact thing. But, what if she insisted on auditioning? First, she might not get the role. There were over thirty kids that wanted her role. Second, the director might not want to work with her again. You don't rock the boat and keep a good reputation with directors. Everyone knows that.
Notes for the Facilitator
This is a helpful case to get kids to talk about dilemmas they know are unfair when the odds are stacked in their favor. My students love to talk about what's unfair. They can do it for hours. It's when I make them argue the other side, or come up with a personal experience where they have benefited from an unfair situation, that the discussion hits a bump in the road.
What is interesting however is that once you get them headed in that direction, they often feel liberated to really get into this idea of being on the "winning" side of an unethical situation. Young people are incensed at unfairness. So, if they know they don't have anything to lose, they will still enjoy sharing experiences where they had the upper hand. From that point, it is a small step to get them talking about what this has to do with ethics and how ethics get slippery depending on one's position in the outcome and how it becomes that much more important to hang on to them … or does it?
Discussion Questions (& Debate Topics, Writing Assignments, etc.)
What should Lea do? What would you do?
What position did the director put Lea in? Do you think it was fair of him?
Do you think she should tell her choir director about all this? What about her friends?
What do you think are the possible outcomes if Lea were to tell her choir director? What if she were to tell her friends?
Would you talk to your parents about this if you were in Lea's place? What do you think they would do? Would you agree?
Have you or someone you know ever been put in an uncomfortable position by an adult where you were supposed to keep something quiet? What was the situation? Were you happy with how you handled it? Would you handle the situation in the same way again?
Daily Dilemmas
Case Study #31 — Ethical Compromise
Case Study #30 — The Dilemma of Us and Them
Case Study #29 — Where's the Line?
Case Study #28 — Leave the Adults Out of It
Case Study #27 — The Tattle-Taler
Case Study #26 — A Really Costly Choice
Case Study #25 — Can One Action Define You?
Case Study #24 — The Power of Words
Case Study #23 — How Far Should a Student Leader Fall?
Case Study #22 — Is Dad's 'right' really right?
Case Study #21 — On-Line Flirting
Case Study #20 — Good Touch/Bad Touch
Case Study #19 — Is the Prize Worth the Lie?
Case Study #18 — Who's the Adult Here?
Case Study #17 — What If It's Wrong, but I Win?
Case Study #16 — Who Disappointed Whom?
Case Study #15 — Technology Crosses the Line
Case Study #14 — Smart Kid, Bad Choice
Case Study #13 — Wouldn't You?
Case Study #12 — To Tell or Not to Tell
Case Study #11 — The Power of a Rumor (Forgiveness)
Case Study #10 — Mean Girls
Case Study #9 — No Good Choice
Case Study #8 — Everyone's Doing It
Case Study #7 — The Hook Up
Case Study #6 — Teacher's Pet
Case Study #5 — Corey Was Drunk
Case Study #4 — Cliques & Bullying
Case Study #3 — Who Gets Hurt?
Case Study #2 — Honesty
Case Study #1 — Loyalty
PRAJNA: active compassion based on wisdom.
Youth Advocacy • Teen & Family Coaching • Parent Groups • Teaching • Workshop Facilitation • Curriculum Development • Teacher Mentoring • Program Development • Speaking Engagements
ABOUT PRAJNA
About Charis Denison
Issues & Practices
ARTICLES & ARCHIVES
Girls & Sex
© Copyright 2002 - | Prajna Consulting | All Rights Reserved | +1 415 / 819-2272 | Site Map


text:
Pledge to support the racial justice movement
Sign the pledge to support the racial justice movement.
173 HAVE SIGNED!
The state of our nation is inviting hate and division. We have a president that seems to want to continue to divide us, who refuses to call out the racist bigotry that has swelled with his nomination and election.
Law enforcement is corrupt and biased. Police stand by while white supremacists organize violent demonstrations and attack peaceful protesters.
Many different people are being targeted. Individuals from Middle Eastern countries are being attacked because of "terrorism," even though the vast majority of the terrorism that happens on American soil is carried out by white men.
Black people are being targeted by police and members of the white supremacy movement. NationofChange witnessed a young black man being beaten to a pulp by white supremacists next door to a law enforcement building, and he is still awaiting justice.
Failure to indict the people responsible, many of them law enforcement, for these horrendous acts of violence as well as the president's continued call to restrict the rights of individuals of Middle Eastern descent is dividing our country and making things worse.
The root of the danger comes from the elite – Congress and big corporations – that continue to divide us by telling white people that they are in danger from other races. They weave a narrative that supports vacuous claims, like dark skinned people are coming for your jobs, committing acts of terrorism, and taking advantage of government assistance programs.
It is time to stop this racial divide and stand in solidarity with all Americans. We must declare that Black Lives Matter. We must take a stand and call out the white supremacy movement for what it is: domestic terrorism. And we must help put an end to the mentality that those from Middle Eastern countries are our enemies who must be oppressed.
Help us take a stand! Pledge to support the racial justice movement by organizing, occupying, demonstrating, marching, and chanting to create a better future for the United States. Most of all, pledge to challenge yourself and loved ones to see people from other races and cultures for what they really are: human beings, just like you.
We need to prepare for ongoing insurrectionary violence and address its root causes
Capitol attack underscores white supremacist infiltration of police, military
Assange extradition: Justice denied or just delayed?
Former firefighter arrested for throwing fire extinguisher at Capitol police
2 Virginia police officers arrested for participating in Capitol riots
"No one took us seriously": Black cops warned about racist capitol police officers for years
Former Michigan governor and others in his administration face charges in Flint water crisis
'Absolutely chilling': House Democrats briefed on disturbing assassination, coup plots by Trump supporters
Violent right wing forces have been activated, it requires strategic action to stop them
RECENT SIGNATURES
signed 1 year ago


text:
Q: Inconsistent behavior when getting app role assignments for a Service Principal using Graph API/SDK/Portal I am trying to get the app role assignments for a Service Principal in my Azure AD and seeing inconsistent behavior.
Background
I created an application in my Azure AD and defined some app roles for the same. The application is a single-tenant application. A Service Principal (SP) was created for this application.
I then assigned an app role to some of the users and a group for that SP. This all worked very well.
When I go check the properties of the users and the group for app role assignments, I can see there that proper app role assignments are returned.
Inconsistency #1
When I go to "Users and groups" under my SP in Azure Portal, it only lists the users that are assigned app roles. It does not list the group that has been assigned an app role.
I see same behavior when I invoke the Graph API directly. The API I am calling is List appRoleAssignments granted for a service principal. Only users are returned and not the group. The URL I am calling here is https://graph.microsoft.com/v1.0/servicePrincipals/<service-principal-id>/appRoleAssignedTo.
I also see the same behavior when I use Microsoft.Graph .Net SDK (version 4.41.0). Here's the relevant snippet of my code:
var authProvider = new TokenCredentialAuthProvider(new DefaultAzureCredential());
var graphServiceClient = new GraphServiceClient("https://graph.microsoft.com/v1.0", authProvider)
var request = graphServiceClient.ServicePrincipals["my-service-principal-id"].AppRoleAssignedTo.Request();
var response = await request.GetAsync();//response only contains users

Inconsistency #2
Then I tried the answer provided How to get appRoleAssignedTo for Microsoft Azure Applications? and called the Get servicePrincipal with $expand=appRoleAssignedTo query parameter. The URL I am calling here is https://graph.microsoft.com/v1.0/servicePrincipals/<service-principal-id>?$expand=appRoleAssignedTo
I am able to get the SP details and I also see appRoleAssignedTo attribute in the response however this time I only see the group in the response and not the users.
I am wondering why I am seeing this inconsistent behavior and what I can do to get proper app role assignments for a SP.
To Summarize:

*

*List appRoleAssignments granted for a service principal API only returns users and not groups.

*Get servicePrincipal API with $expand=appRoleAssignedTo only returns the group and not the users.


text:
Home - Events - Calendar of Events - Stories at the Museum
Stories at the Museum
Saturday, June 6, 11:00am – 12:00pm
Children Included with admission
Part of the Stories at the Museum category.
This family friendly program features special educator-led readings of children's history books and themed craft activities. Stories at the Museum programs are open to all ages and included with suggested admission, no reservations necessary. Programs take place every month on select Saturdays at 11:00 am.
Every Stories at the Museum program will include:
group reading of the selected history-themed picture book
a make-it-and-take-it craft activity related to the text
Each month will feature a different theme:
2020 Dates and Themes
January – National Bird Day // MLK, Jr. Day
Jan 4th - I Took a Walk
Jan 18th - A Sweet Smell of Roses
February – Black History Month
Feb 1st - Ella Fitzgerald
Feb 15th - Milo's Museum
March – Women's History Month
March 7th - You Forgot Your Skirt, Amelia Bloomer
March 21st - Fearless: The Story of Racing Legend Louise Smith
April – National Poetry Month
April 4th - Johnny Appleseed
April 18th - Visiting Langston
May – Asian Pacific American Heritage Month // International Museum Day
May 2nd - The Lotus Seed
May 16th - My Museum
June – Pride Month // Immigrant Heritage Month
June 6th - And Tango Makes Three
June 20th - We Came to America
Come join the fun at the Virginia Museum of History & Culture!
Hidden Figures by Margot Lee Shetterly
Explore the story of four female African American mathematicians at NASA and how they overcame gender and racial barriers to succeed in a highly challenging STEM-based career.
A stirring, dramatic story of a slave who mails himself to freedom by a Jane Addams Peace Award-winning author and a Coretta Scott King Award-winning artist.
Thomas Jefferson Grows a Nation
In this meticulously researched picture book for older readers, author Peggy Thomas uncovers Jefferson's passion for agriculture and his country
George vs. George: The Revolutionary War as Seen by Both Sides
The narrative of George vs. George introduces anew the two enemies, both named George: George Washington and George III.
The Case for Loving: The Fight for Interracial Marriage
This is the story of one brave family: Mildred Loving, Richard Perry Loving, and their three children.
Freedom on the Menu: The Greensboro Sit-Ins
There were signs all throughout town telling eight-year-old Connie where she could and could not go. But when Connie sees four young men take a stand for equal rights at a Woolworth's lunch counter in Greensboro, North Carolina, she realizes that things may soon change.
The event also occurs on:
View more events in the calendar
Join the VHS today and receive free admission to our special exhibitions, the Banner Lecture Series, Virginia House, and much more.


Fees and surcharges at U.S. hotels are expected to hit a record $2.93 billion this year, according to analysis from Bjorn Hanson, industry consultant and adjunct professor at the New York University School of Professional Studies Jonathan M. Tisch Center for Hospitality and Tourism.
The forecast follows the record $2.7 billion reached in 2017, marking an 8.5 percent increase from 2017 to 2018. This year's climb is driven by a 2.5 percent year-over-year increase in occupied hotel rooms, plus additional fee and surcharge categories.
Hanson detailed the emergence of urban hotel fees in his recent report about 2019 corporate rate negotiations. These fees, he said, are similar to resort fees and are now common in major cities, averaging between $20 and $40. "The practices for disclosure are evolving, different than for most resorts charging resort fees," the report stated. "Sometimes these are shown as part of the 'total' cost of occupancy to a guest rather than as a specific extra charge. The services related to these fees and surcharges range from no new services to planned or unscheduled activities such as visits to local attractions, receptions, and printing, copying, overnight package delivery, 'complimentary' bottled water, newspapers and early or late check-out if not in conflict hotel occupancy, and others."
Urban resort fees account for the largest share of the this year's fee and surcharge increase, despite the industry's adoption of harsher cancellation penalties. In 2017, a number of hoteliers, including Marriott International, Hilton and Hyatt Hotels Corp., put in place 48-hour to 72-hour cancellation penalties. Enforcement of these penalties varies by market and hotel, Hanson said. Though U.S. hotel fees and surcharges have increased every year since 2010, recent additional fees appear to be linked to a lack of pricing power in the industry, as rate increases fail to keep pace with higher costs for hotels.
Other fees that have emerged or accelerated in recent years include charges for early check-in, most common at resorts and particularly in Las Vegas, as well as fees for unattended surface parking in suburban locations and for holding checked luggage.
Hanson expects 2019 will mark another record year for fees and surcharges, with the largest percent increase to come from service and amenities fees, i.e., urban resort fees. The report is based on discussions with lodging industry executives and corporate travel executives, analysis of industry financial data, press releases and information available on hotel and brand websites.


text:
Why Tesla is getting rid of its cheapest model
Tesla to stop selling its Model S trims with 60 kWh battery in April
A Tesla Model S is inside a Tesla store in San Francisco.
Tesla Inc. announced late Friday night that it is killing off the cheapest models of its Model S sedan. The news comes ahead of the launching of the Model 3, the sedan the company aims to sell to the masses.
Customers who want to own a Model S 60 and 60D, which sport a 60 kWh battery, will have until April 16 to order one, Tesla TSLA, -2.23% said.
These are the cheapest Teslas currently available, starting at $68,000 before destination and document fees for the Model S 60, and $73,000 for the Model S 60D, which is all-wheel drive and has slightly longer battery range.
Tesla hopes to start selling the Model 3, an all-electric sedan expected to cost around $35,000, later this year, with limited production starting in July.
Related:Tesla raises $1.2 billion in slightly enlarged stock, debt deal
The company last week raised $250 million in common shares and $850 million in convertible notes to help cushion the Model 3 launch. The capital raise was widely expected, with the deal on the low end of Wall Street expectations.
Tesla Model Battery range Top Speed Base price
Model 3 215 miles ? Estimated at $35,000
Model S 60 210 miles 130 mph $68,000
Model S 60D 218 miles 130 mph $73,000
Model S 100D 335 miles 155 mph $92,500
Model S P100D 315 miles 155 mph $134,500
Model X 75D 237 miles 130 mph $85,500
Model X 100D 295 miles 155 mph $98,500
Model X P100D 289 miles 155 mph $135,500
Some analysts deemed the smaller deal a sign of confidence in the Model 3 rollout, while others were still concerned about Tesla's spending and whether the company would have to tap the capital markets again if the vehicle launch doesn't go as planned.
The Model 3 is a key element in the company's expansion goals, which include ramping up its production to a rate of half a million vehicles by the end of next year.
See also:Tesla shows confidence in Model 3 rollout by 'only' seeking $1.15 billion
The company introduced the Model S 60 and 60D models "as a more affordable option to accelerate the adoption of electric vehicles," the company said in a statement about the soon-to-be discontinued models. Most customers ended up going for pricier Model S options, however, so Tesla is removing the 60 kWh versions from its lineup to "simplify the ordering process for our customers."
After April 16, the cheapest Tesla available to order will be the Model S 75, with a 75 kWh battery, with a $74,500 base price. That Model S with all-wheel drive, the 75D, starts at $79,500.
The cheapest Model X, the full-size SUV Tesla launched in 2015, starts at $85,500.
The Model X P100D, a 100 kWh-battery model with a range of 289 miles between charges, is the most expensive vehicle in the Tesla lineup, starting at $135,500 and quickly zooming past $150,000 with accessories such as enhanced Autopilot, Tesla's suite of advanced driver assistance systems, an upgrade for its charger, and others.
Read more:Tesla's huge stock move pushes its market cap closer to Ford's, GM's
Tesla shares are on track to gain more than 5% this month, compared with gains under 1% for the S&P 500 index SPX, -0.72%. The stock has risen more than 12% in the past 12 months, to gains around 16% for the benchmark.
SpaceX Dragon cargo spacecraft returns to Earth
Barron's: Welcome to the Roaring '20s, but Maybe Not for Stocks


text:
<?php
namespace MOC\PhpUnit;

use MOC\MarkIV\Api;

class ApiTest extends \PHPUnit_Framework_TestCase
{

    /** @runTestsInSeparateProcesses */
    public function testBootstrap()
    {

        Api::runBootstrap();
    }

    /** @runTestsInSeparateProcesses */
    public function testGroupFactory()
    {

        $this->assertInstanceOf( '\MOC\MarkIV\Api\Core', Api::groupCore() );
        $this->assertInstanceOf( '\MOC\MarkIV\Api\Module', Api::groupModule() );
        $this->assertInstanceOf( '\MOC\MarkIV\Api\Extension', Api::groupExtension() );
        $this->assertInstanceOf( '\MOC\MarkIV\Api\Plugin', Api::groupPlugin() );

        $this->assertInstanceOf( '\MOC\MarkIV\Core\Update', Api::runUpdate() );

        Api::registerNamespace( 'NotAvailableNamespace', Api::groupCore()->unitDrive()->apiDirectory( __DIR__ ) );
        Api::registerNamespace( '\\', Api::groupCore()->unitDrive()->apiDirectory( __DIR__ ) );

        $this->assertFalse( Api::loadClass( '\NotAvailableClass' ) );
        $this->assertFalse( Api::loadInterface( '\INotAvailableInterface', '\INotAvailableInterface' ) );
        $this->assertFalse( Api::loadNamespace( '\NotAvailableClass' ) );
    }

    protected function setUp()
    {

        \BufferHandler::obSetUp( __CLASS__ );
    }

    protected function tearDown()
    {

        \BufferHandler::obTearDown();
    }
}


NEW PAPER: Force-induced on-rate switching and modulation by mutations in gain-of-function von Willebrand diseases.
Mutations in the ultralong vascular protein von Willebrand factor (VWF) cause the common human bleeding disorder, von Willebrand disease (VWD). The A1 domain in VWF binds to glycoprotein Ibα (GPIbα) on platelets, in a reaction triggered, in part, by alterations in flow during bleeding. Gain-of-function mutations in A1 and GPIbα in VWD suggest conformational regulation. We report that force application switches A1 and/or GPIbα to a second state with faster on-rate, providing a mechanism for activating VWF binding to platelets. Switching occurs near 10 pN, a force that also induces a state of the receptor-ligand complex with slower off-rate. Force greatly increases the effects of VWD mutations, explaining pathophysiology. Conversion of single molecule kon (s(-1)) to bulk phase kon (s(-1)M(-1)) and the kon and koff values extrapolated to zero force for the low-force pathways show remarkably good agreement with bulk-phase measurements.


want ; having that, they will let us go free." This advice Was adopted, and on a parley being held, the chief of the Arabs, with a small body of seventeen men, consented to enter the fort and come to terms. The Bishop of Mayence, who was the stateliest and handsomest man among the Christians, was chosen to speak with him. He proposed, in return for freedom and safety, to hand over to the Arabs all the treasure in the hands of the Christians. " It is not for you," replied the Arab, " to make terms with your conquerors !" And taking off his turban, as we are told, as a modern Bedawi would do with his head-dress under similar circumstances, he threw it, like a halter, round the neck of the bishop. The Christian prelate was not prepared for a reception so rude, and fairly knocked him down with a blow from his fist, upon which the knights set upon the whole eighteen Arabs, and bound them tightly. The news of the detention of their chief quickly spreading outside, the Arab army commenced-a furious attack, which would have been fatal to the Christians but for a stratagem which procured them some little delay. For the Christians, holding swords to the throats of their prisoners, promised to fight with their heads if the attack was continued ; and the chieftain's son, in alarm for his father, hastened from rank to rank, imploring the men to desist. And at this juncture arrived the Emir of Bamleh with troops, at sight of whom the Arabs turned and fled. The Arab chieftain remained a prisoner. " You have delivered us," said the emir, " from our greatest enemies." And so, with congratulations and in friendship, they marched to Jerusalem, which they entered in a kind of triumph by .torchlight, with the sound of cymbals and trumpets. They were received by the Patriarch Sophronimus, and made the round, next day, of the sacred places, still bearing the marks of the destruction wrought by Hakem fifty years before. And now approached the period of the first Crusade.


Coca-Cola Enterprises selected Jones Worley to create a logo and collateral materials to introduce the company's new corporate beliefs program to senior management at Coca-Cola's annual North America Business Units (NABU) meeting.
Working with the theme "Unite the Passion of Our People With the Power of Our Brands," Jones Worley designed and produced the logo and type treatment that reflected the caring, family relationship at CCE. The firm also produced a brochure that outlined the new beliefs program, a CD of materials for management to use to introduce the program to staff, a corresponding sleeve for a video, and a unique kit to package all the materials together.
Jones Worley successfully completed the extensive project in just six weeks.
For four consecutive years, Jones Worley produced the company's "Close to Home" brochure highlighting the bottler's community investment and charitable giving. JW coordinated the design, production and print management of this 24-page, pocket folder that is both elegant and reader-friendly with a scrapbook theme.


text:
By Kassondra Burtis, SportsEngine, 01/04/22, 12:15PM CST
See who fans voted as the top performer from Dec. 27-Jan. 1.
Athletes are considered for the weekly top performer poll only if their stats are entered on the MN Hockey Hub by 10 a.m. on Sundays. If coaches or members of their staffs need access to enter stats, please email mnhubs@sportngin.com.
Top performer winner
Louie Wehmann, Providence Academy. The sophomore forward recorded an impressive seven points in the Lions' 9-2 victory against Sauk Rapids-Rice on Dec. 28 at the Granite City Classic in St. Paul. Wehmann, who is recording an average of 2.55 points per game this season, tallied two assists in just over one minute's time mid-way through the first period before scoring five goals, including his final three within a five minute, 15 second span early in the third period. Two of his goals were on power plays.
Top performer candidates
Andy Larson, Duluth Denfeld. The junior forward led the Hunters' 3-0 run at the Heritage Holiday Classic in Duluth last week with 14 points through three games. The Hunters outscored opponents 22-1 between Dec. 28-30. Larson scored nine goals and added five assists through the three wins, including two points on power plays and three shorthanded.
Parker Mitchell, Mora/Milaca. The senior forward produced back-to-back five-point games during the Bill McGann Holiday Classic Dec. 28 and 29. The Mustangs defeated Ely 8-1 on Dec. 28 as Mitchell recorded a hat trick—including one goal shorthanded—and two assists. The next day, the Mustangs defeated Minnehaha Academy 9-2 behind Mitchell's five goals—including two goals within 22 seconds and another just four minutes later—and two on power plays.
Owen Santiago, Minnehaha Academy. The Redhawks earned their first win of the season on Dec. 28, backed by a strong game from their senior goaltender. Santiago allowed just one goal on a season-high 45 shots, posting a .978 save percentage in the 3-1 victory against University School of Milwaukee.
Luke Sawicky, Osseo. The junior forward helped the Orioles open their Hockeytown Holiday Classic showing in Warroad with an 8-4 victory over International Falls on Dec. 29. Sawicky tallied a season-high five points to lead the Orioles to their first win of the season. He scored two power-play goals to open the game's scoring in the first half of the first period before closing out the first with a shorthanded assist with one second on the clock. Sawicky added another goal mid-way through the second period before recording his final point, a shorthanded goal, early in the third.
*Stats and records as of Jan. 2.
MN Hockey Hub polls are for entertainment purposes only.
Max Strand, Roseau. Dec. 20-23
Nick Erickson, Hill-Murray. Dec. 13-18
Matt Filippi, Little Falls. Dec. 6-11
By Kassondra Burtis, SportsEngine 12/28/2021, 12:30pm CST
See who fans voted as the top performer from Dec. 20-23.
By Kassondra Burtis, SportsEngine 12/21/2021, 11:00am CST
See who fans voted as the top performer from Dec. 6-11.
Day 1 boys' hockey All-Tournament Team
By Loren Nelson and David La Vaque 03/30/2021, 11:45pm CDT
Dodge County's Brody Lamb, Hermantown's Zam Plante headline top Class 1A quarterfinal performers.
Tag(s): Home IMAC Minnehaha Academy Providence Academy Lake Superior Duluth Denfeld Northwest Suburban Osseo Two Rivers Mora/Milaca


text:
Roaring Fork Beer sets grand opening, shows off flagship beers
A first look at one of Roaring Fork Beer Co's flagship cans — the Freestone Extra Pale Ale.
Beer selections should revolve like the seasons — at least Chase Engel thinks so. The long-time professional brewer has announced plans to open the taps at his Roaring Fork Beer Co. in March, culminating a similarly long dream of producing creative beers that match the ever-changing seasons and ever-changing tastes. He's also focused on making those craft beverages very approachable.
"I wanted to make our three mainline beers as session-able as possible," said Head Brewer and CEO Engel in a recent press release. "Between the hopped up Extra Pale Ale, and the roasty and dark Nitro Pub Ale, I think we covered our bases between the hop heads and those who prefer maltier beers. And in the summertime, I'm very excited to make one of my favorite styles, which is an invigorating and crisp American lager."
That's the main menu folks. When the Roaring Fork Beer Co. has its grand opening celebration on March 28 and 29, it will be serving up trademark beers like its Freestone Extra Pale Ale and Nitro Pub Ale — and then experimenting throughout the year with seasonally inspired one-off batches. The full production brewery and tasting room is located less than one mile southeast of downtown Carbondale, Colo., at 1941 Dolores Way, near Carbondale's Park and Ride and Ajax Bike and Sport.
"It's been a long year trying to get this brewery off the ground," Engel said. "I can't wait to try that first RFBC beer, and more importantly, to be able to share them with the people in this valley."
The party will have two main sessions. Tickets to each session will need to be purchased in advance through the brewery's website starting March 6 at 7 a.m. with limited quantities available. A BBQ pig roast and eats provided by Mark Hardin of Craft Catering, and a commemorative glass with bottomless beer tastings are included in the $30 ticket.
A ribbon cutting will be held Friday at the tasting room at 4 p.m. to kick off the grand opening. Then sessions will run on Friday from 5 to 8 p.m. and on Saturday from 5 to 8 p.m. Raffles will be held each night for a chance to win special items such as a custom RFBC skateboard handcrafted by Meier Ski's, a seasonal membership to the brewery and a keg. RFBC's seasonal membership program will be revealed at the grand opening.
Engel has been what he calls "marathon brewing" around the clock to ensure that several choices will be available for guests at the grand opening. In addition to the Freestone Extra Pale Ale and Nitro Pub Ale, beers on tap for the opening will include a Belgian blonde and a Spring IPA. Beer styles will be ever changing with the seasons, the brewer's inspiration and available local ingredients, but the Freestone Extra Pale Ale and the Nitro Pub Ale will be available year round as RFBC's dominant beers, with the Slaughterhouse Lager being available June to November.
Grand opening kick-off parties will be held throughout the valley, including a "first tasting and can release party" at Sopris Liquor and Wine on March 21 from 4 to 7 p.m. and a beer dinner at Town in Carbondale on March 24. Tickets for the Grand Opening sessions will be available for purchase at the Sopris Liquor and Wine tasting on March 21st as well as online. Grand Opening tickets and more information on the kick off parties will be released on the RFBC website this week.
Roaring Fork Beer Co. uses its Batch tasting room as a local art gallery
Five beers to know this week: From collabs with Dirty Heads to tributes to van Gogh
Roaring Fork Beer Co. reflects on four years in craft beer
Colorado's Roaring Fork celebrates three years with birthday bash on April 1 (assuming it's not an April Fools' Day gag)
RoaringForkBeer says
@CraftBrewingBiz Thanks guys! Hope to get you at #RFBC soon!
RT @CraftBrewingBiz: Roaring Fork Beer sets grand opening, shows off flagship beers. http://t.co/cm2o3my4Hk @RoaringForkBeer


Billing details: Your membership will automatically renew each month unless you cancel. If you use a coupon code you will still need to enter your credit card. You will not be charged until the promotional period expires.
Billing details: Your membership will automatically renew each year unless you cancel. If you use a coupon code you will still need to enter your credit card. You will not be charged until the promotional period expires.


text:
Guardians Of The Glades (Season 1B)
The Presidents' Gatekeepers
Featuring exclusive interviews with all 20 living White House chiefs of staff and presidents Jimmy Carter and George H.W. Bush, The Presidents' Gatekeepers explores the fascinating and untold story of this unique fraternity and the presidents they serve.
Stonehenge: Secrets of the Stones
Stonehenge is one of the most iconic monuments in the world, standing as a beacon of early civilization for over 4,000 years. But mystery still remains: how did people move 90 multi-ton stones 200 miles across land and sea to the ancient circle?
9/11 Firehouse
This is the extraordinary story of the FDNY firefighters from Ten House, the firehouse right next to the Twin Towers, during the September 11, 2001 terrorist attacks against the US. Its firefighters were the first ones in and the last ones out.
Cruise Ship Disaster
What does it take to lift a ship bigger than the Titanic? Follow this major salvage operation and see the inside story told by the elite team of engineers tasked with the seemingly impossible: rotating the massive ship and eventually removing it from the sea.
JFK: The Lost Tapes
Newly released audio recordings from Air Force One, combined with digitally remastered audio from the Dallas Police Force, and testimonies and radio recordings of on-site reporters, reveal the riveting, behind-the-scenes story of the Kennedy assassination in JFK: The Lost Tapes.
The Kennedy Detail
For years the men of President John F Kennedy's Secret Service detail have kept silent about that terrible day in Dallas, but now they've gathered back at the scene of the assassination, and are speaking out for the first time.
How Booze Built America
Join Mike Rowe on the ultimate bar crawl through America's beer- and liquor-filled past.
Based on actual events, Klondike tells the story of the last great gold rush in history. In 1897, two friends make the perilous journey through the wilderness to the Klondike boomtown of Dawson City, "the Paris of the North," where murder, revenge, riches and redemption await.
Outlaw Empires
Each episode of Outlaw Empires tells the complete story of an iconic American outlaw dynasty directly from the mouths of people who were on the inside.
Solving History with Olly Steeds
Journalist Oliver "Olly" Steeds travels to the ends of the earth to investigate the truth behind some of the world's biggest mysteries.
As NASA turns sixty, we look forward to seeing what the future holds on our planet and in space. What is the next step beyond Earth? Will it be a voyage to Mars, a return to the moon, or are astronauts and researchers looking even further into the beyond.
Liberation Heroes: The Last Eyewitnesses
Heroic veterans vividly share their World War II liberation experiences in their own words, drawing parallels between the past and the present, sharing their cautionary tale of what can happen when insidious hatred remains unchecked.
Expedition Unknown: Search for the Afterlife
Explorer Josh Gates traverses four continents in search of the answer to mankind's greatest unsolved mystery - what happens in the afterlife?
Expedition Unknown: Hunt for Extraterrestrials
Josh Gates conducts a worldwide search of life outside our planet. During his extraordinary 50,000-mile journey, he explores ancient signs of aliens, uses futuristic technology and hunts for meteorite fragments.


text:
LED BIB
RIO/Avant-Prog • United Kingdom
Tour & shows updates
Press & news updates
Led Bib biography
Formed in 2003, Led Bib are one of the forerunners of the new British Jazz scene that is turning the genre on its head. With their quirky playfulness, punk rock aesthetics and avant-garde stylings they've garnered recognition around the Jazz world. In 2005 they won the Peter Whittingham Jazz Award for their debut Arboretum and in 2009 they earned a nomination for the Mercury Prize for Sensible Shoes. Taking influences from Ornette Coleman, John Zorn and New York experimentalism, they have earned a reputation for putting on energetic live shows. Performing in such high profile events as the reopening event for the Royal Festival Hall, a 1 hour session on BBC 3, and the 12 Points festival in Dublin where they represented Britain.This quintet, which consists of bandleader Mark Holub on drums, Liran Donin on electric/stand up bass, Toby McLaren on Rhodes Piano, and the dual saxes of Chris Williams and Pete Grogan are carving their own niche into the music world with their unique and energetic take on avant-garde jazz.
Thanks to Evolutionary Sleeper for the biography.
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LED BIB discography
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LED BIB top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
Sizewell Tea
Sensible Shoes
Bring Your Own
The People In Your Neighbourhood
Umbrella Weather
It's Morning
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Led Bib Live!
The Good Egg
Live at Vortex Jazz Club - May 3rd 2014
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LED BIB Reviews
Showing last 10 reviews only
Studio Album, 2019
Led Bib RIO/Avant-Prog
Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team
— First review of this album —
Led Bib is a RIO/Avant Prog band that was founded in the UK in 2003. Their music takes on an experimental jazz style that has been recognized in the past by winning the Peter Whittingham jazz award for their debut album in 2005. Their 7th full length album, released in September of 2019, is called 'It's Morning' which consists of 9 tracks and has a total run time of just over 40 minutes. The core band for this album consists of 6 musicians, namely Sharron Fortnam of North Sea Radio Orchestra on vocals, Chris Williams on alto sax, Pete Grogan on alto and tenor saxes, Elliot Galvin on keys and piano, Liran Donin on bass and Mark Holub on drums. Guest musicians also include Jack Hues on vocals, Susanna Gartmayer on bass clarinet, Irene Kepl on violin and Noid on cello. This is the bands first time using vocals on their albums.
'Atom Story' (2:47) begins with oscillating keys playing a slow and sustained melody that almost sounds hymn-like and warped. Sharron's beautiful mezzo-soprano voice comes in half way through, maintaining the pensive softness of the track with the addition of more keys and piano, a bit of unsettling dissonance in the peaceful track. 'Stratford East' (5:32) contrasts the beauty of the first track by starting with a low frequency synth melody, thumping drums and a fast violin which echoes the melody and then embellishes on it. Soon the drums start to echo the notes of the violin, then a linear sounding vocal comes in following the violin note for note. The music takes on an eclectic jazz style showing off the bands penchant for the art jazz sound they are famous for. After the vocals break, a wild sax comes in spurred on by bass and wild drumming, and then another sax joins in takes a turn, while later they play together in contrasting and resolving lines. This continues when the vocals come in and the saxes begin to protest while another one follows the vocal melody note for note. It turns out to be quite a rousing affair of contrasts by the end.
'It's Morning' (0:39) consists of a tonic poem with bass clarinet and vocals. This short track is followed by the longest and most epic piece on the album 'Fold' (11:07). A simple melody from the synth is joined by a fuzzy drone and soft effects giving everything a pastoral and minimal feel. Unsettling effects start to threaten the simple tones. Contrasting layers build as bass notes and piano flourishes encourage the odd effects, and things turn full-on avant-garde as individual layers fight for control. The brassy sounds of the reeds fade in together sounding like they mean business, but instead of trampling on everything, they just take over meandering about. Soon, the other lines come back in as they all mix together again. The music remains quite loose and improvisational sounding, several lines of music where there is no one in particular in control, and this soon leads to a more chaotic sound as it goes on. This goes on until the 8 minute mark when things suddenly quiet down and vocals come in for the first time on the track. The non-melodic vocal starts a bit quiet and hesitant, but then gets support from instruments as they add in one by one, now following the vocal line and making sense out of it all. The vocals end but the music continues feeling now like it has had guidance from the vocal line, and that ends the track.
'Cutting Room Floor' (3:53) begins with a rat-a-tat percussion sound that gets joined by keys and sax, then vocals later. The track is a bit more melodic, in a traditional sense anyway, but is still anything but traditional. Then a spoken word section starts with male and female vocals speaking layered on each other as the music flows along underneath. The vocal melody returns later, and the music remains mostly soft and minimal, but then increases for a more climactic ending. 'To Dry in the Rain' (6:43) begins with slow piano and soft, jazzy vocals. The music takes its time and stays quite laid back as the vocals wander around a bit accompanied by a more rhythmic feel from the keys. Percussion provides a stable foundation after 3 minutes and that brings in the reeds. Layers upon layers build and the peacefulness turns into chaos taking the vocals along with them until they are swept away completely while the music continues, and then calms down leaving only a piano playing a lovely interlude by itself for the last few moments of the track.
'O' (4:39) takes the piano chords from the previous tracks and continues with them creating high-pitched shimmering sounds and oscillating synths to lay a foundation for new vocals. The piano-led track soon builds as drums and saxes come in and follow the vocal melody. The music thickens and teeters on the line of becoming chaotic, but not quite tipping over before it calms again and ends quickly. 'Flood Warning' (3:30) uses simple tonal percussion and a more upfront vocal. Odd drumming and other percussive instruments and saxes build the music without really solidifying it and avant jazz improvising cause the reeds to swirl around. This one becomes a bit more chaotic as the same melody continues in the vocals while the chaos rules the horns. 'Set Sail' (1:28) ends the album as it began, with a short, lovely vocal track underlayed by oscillating minimal synths.
This album is full of quirkiness and avant-jazz style minimalism interspersed with chaotic outbursts. The music is definitely progressive and different, following the impressionistic style, but adding good doses of improvisation based on modern- classical modes and scales. It all becomes a very unique sound, and the addition of Sharron's vocals in all of the tracks only add to the excellence of the entire package. Those that like their music dissonant and experimental will enjoy this, but it is probably a little too left of center for lovers of traditional sounds. I find it quite intriguing and am attracted to it's quirkiness, and the musicianship involved definitely make this a strong 4 star album.
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Posted Sunday, September 29, 2019 | Review this album | Report (Review #2264944)
Review by kev rowland
Special Collaborator Honorary Reviewer
Released in the same year as the limited edition live 'The Good Egg', this 11 song seventy-two-minute long album is quite different. Although still incredibly avant-garde, progressive and insane, there is a far greater feeling of structure and control. The album title was inspired by a song from Sesame Street where the Muppets take people from different walks of life, from Ralph Nader to Martina Navratilova, and sing a song about how they are people from your neighbourhood. "Hey, an avant-jazz band are also the people in your neighbourhood," band founder Mark Holub says.
With their unusual line-up, the guys have managed to capture the essence of bands as diverse as Can and Art Zoyd, with Zappa also being thrown into the mix. This is not easy listening music, and was never meant to be, but has taken improvisation as a base and have then built on that to create something that is full of energy and is twisting and turning as it burrows its way into your mind like a corkscrew. Many people will find music as challenging as this to be something that needs to be avoided at all costs, yet I find myself being drawn to it like a moth to a blowtorch. This is all about upsetting the considered norms and taking the music when it needs to go, like a living breathing snake that is shifting its coils as it tries to decide whether to bite you and put you out of your misery quickly, or to constrict you until all breath leaves the body.
Jazz and RIO are combining to create something very special indeed, and musical explorers should seek this out.
Posted Thursday, May 25, 2017 | Review this album | Report (Review #1726214)
Live, 2014
Drummer Mark Holub founded Led Bib in 2003 for his MA project at Middlesex University in North London, and the band made its auspicious debut on Feb. 24, 2004 (which happens to be Holub's birthday). Various players cycled through the band that first year, but by December the quintet's current line-up had solidified. Joining the Holub is bassist Liran Donin, keyboardist/pianist Toby McLaren and the potent alto sax tandem of Pete Grogran and Chris Williams. The unique instrumentation "makes us think differently about how the music's structured," Holub says. "You don't want to have two alto solos on every tune. We're more about group improvising, and developing tunes with sections that may or may not open up."
Musically, Led Bib sound quite unlike any other jazz band I have ever come across, with the rhythm section concentrating on one musical area, the twin sax something quite different, and Toby trying to keep it all together. His role is quite different to the normal keyboard player, as it feels that he more of the gel that keeps everything in place while the mayhem goes on around him, although he also joins in as well. This four-track thirty-three-minute-long album captures the band in their home environment, namely live in front of an audience where they can experiment and build from each other. Exciting and vibrant this 2014 album certainly won't be to everyone's tastes, but if you enjoy your jazz to be improvisational, avant-garde and progressing, then this could well be for you.
Review by Syzygy
Special Collaborator Honorary Collaborator
Led Bib's fourth studio album, and second Cuneiform release, is an enjoyable slice of contemporary jazzy avant prog that never disappoints but which holds few surprises.
The London based quintet have made a few refinements to their formula. There are no cover versions this time around - previous releases have included interpretations of Talking Heads, David Bowie and Erik Satie - and drummer Mark Holub is no longer the sole composer, with three contributions from Tony McLaren and Chris Williams. They've also tightened up a little, with most of the pieces lasting from four to seven minutes and Hollow Ponds clocking in at just 2.41. Otherwise, though, it's business as usual. The heavier passages see the Fender Rhodes and bass drenched in distortion, while the more reflective moments feature Liran Donin on double bass (occasionally bowed), while Mark Holub is equally comfortable driving the beat forward or providing an almost featherweight pulse (but there's a definite preference for the former). The twin saxes provide sweet harmony, intricate counterpoint or discordant squalls as appropriate, and at its best there is an exhilerating rush underpinning everything. For all the dynamic range and instrumental dexterity, though, there aren't that many truly memorable hooks to be heard in these ten compositions; there's superlative riffing, dazzling ensemble playing and splendid flights of improvisation, but the melodic themes aren't necessarily going to stick in your consciousness for that long afterwards. For me the stand out track is Toby McLaren's Service Stop Saviour which, as on some their earlier albums, could almost be an out take from a particularly wild Soft Machine session circa 5 or even Henry Cow circa Leg End.
If you're new to Led Bib, this album is an excellent place to start, and if you're an established fan you'll know what to expect. This is a genuinely enjoyable and exciting album which serves as proof that jazz in the 3rd millennium is in rude health with an exciting future.
Posted Tuesday, March 22, 2011 | Review this album | Report (Review #419651)
Review by snobb
Two years after the were released debut album, Led Bib recorded and released 4- compositions short live album. Three songs came from debut album (one of them is is heavily reworked David Byrne's composition), and - " Stinging Nettle " will open band's second studio album ,released same year).
Comparing with same compositions on their debut album, the difference is really big. If their debut was in general avant-jazz band's album with elements of post-punk and some rock flavour, same material there sounds as explosive and noisy avant-rock mix on this live release. And it's really for good - musicians energy add to quite complex material drive it needed to be better accepted. Saxes sounds more aggressive, almost hysterical in moments, Rhodes passages return you back to the time of great progressive rock concerts. Quite clever and well invented music got there its blood and flesh.
Good if not too short release for fans of heavy avant-jazz based sax/Rhodes attacks filled modern avant prog. There band shows its real face and the sound will be exploited for some years to come.
My rating is 3,5, rounded to 4.
Posted Monday, December 6, 2010 | Review this album | Report (Review #344568)
Debut album from this London band wasn't very popular, but was noticed by many fans and critics. Guitar-less modern jazz quintet with two saxophones, acoustic/electric bass, drums and Rhodes,playing free jazz with strong punk-influences was really important new name on London's jazz scene.
In fact,looking from few years distance, it's easier to say they became one of cornerstone of London-based new wave of modern avant-jazz: half acoustic free-jazz with dirty punkish energy and aesthetics.
Fame came to the band in 2009, after " Sensible Shoes" album was released. Looking from now, their debut is much more jazzy, openly free-jazz oriented, with dominated energetic double saxes sound and space full of vintage Rhodes keyboards. It's still a very jazz album, with feel-able roots in Wynton Marsalis and John Zorn both. But by their simplistic and catchy melodies, angular rhythm structures and minimalistic aesthetics, they are influenced by London's decades of post-punk culture for sure.
Very significant and interesting release, important for understanding of some future years of all London's modern jazz scene. Recommended not only for avant jazz lovers, is accessible enough to be loved by jazz-rock fans as well.
My rating is 3+.wasn't very popular, but was noticed by many fans and critics. Guitar-less modern jazz quintet with two saxophones, acoustic/electric bass, drums and Rhodes,playing free jazz with strong punk-influences was really important new name on London's jazz scene.
My rating is 3+.
Review by Triceratopsoil
Some very tasty and interesting progressive jazz, especially for the first few (dozen) listens, but once you've heard it enough times that it has been memorized, I find that the two softer songs - Water Shortage and Early Morning - stand out above all the others. Those two are exceptionally beautiful, and both are exemplary cases of build-ups in music; they both (and this is a trait that is also found to a lesser extent in other songs on the album) gradually reach states of near-insanity-like layering, where the individual instruments don't QUITE seem to fit together, and yet in not fitting together perfectly they fit together...perfectly! Such is an enigma I can handle in my avant-jazz.
Posted Wednesday, May 19, 2010 | Review this album | Report (Review #282695)
Third British quintet album "Sensible Shoes" is possibly one of the most interesting post jazz-rock releases of 2009. They are playing electric jazz rock with two alto saxes, electric bass, heavy drumming and Fender Rhodes passages. The music is combination of jazz improvisation and complexity with rock energy.
Having their roots in Ornette Coleman and John Zorn music, mixing it with progressive rock and some dose of psychedelia, the band is playing one of most interesting jazz-rock you can imagine in the end of first decade of new century. Very recommended for jazz- rock lovers searching for complex but accessible new sounds. Not less than 4,5.
Posted Monday, January 25, 2010 | Review this album | Report (Review #262372)
Review by Epignosis
Special Collaborator Eclectic Prog Team
Jaunty and lively, Led Bib's sophomore release is a fun little album. While there's a lot I am partial to on this album, there's also a lot that gives me a damn headache, so it is a collection of instrumentals that I appreciate somewhat selectively. But when it's good, it's great.
"Stinging Nettle" The album kicks off with a great saxophone riff that pops in and out of the piece, which consists of heavy dissonance and quick transitions. Foot-stomping bass work and drumming pound out a solid basis, even as the saxophones are screaming and raising hell over it.
"Battery Power" The dual saxophones sound like a swarm of disgruntled bees making their way toward the listener before stopping just short, allowing for a nice horn cadenza very early on in the piece. The remainder of the track is much more difficult to follow, and therefore for me, to enjoy.
"Shower" A soft, descending beginning offers a delightful basis for a stark piano. Even when it picks up, it maintains a warm feeling despite going from melancholy to cheerfulness. This, along with the final piece, is my favorite work on the album.
"Manifesto For The Future" After a blaring introduction, the music becomes something more akin to traditional upbeat jazz, complete with a rollicking rhythm section.
"Spring" A static piano riff brings in low brass, all of which erupts into another static riff and a wild saxophone duet. The piano solo has a "falling-down-the-stairs" quality to it, even when playing ascending riffs; along with the percussion, it really sounds like someone is making a mess!
"The Keeper" Following a brief, psychedelic run on electric piano, more discordant brass bounces over a steady rhythm. The electronic grating is a nice addition, and the two saxophones play off each other well, even when their individual riffs don't pair up melodically.
"Forest Fire" The easygoing bass riff, piano, and light lead instruments fading in somewhat remind me of "Flamenco Sketches" by Miles Davis, even though this piece has very little in relation to that one. There is a lengthy, unaccompanied upright bass solo in the middle.
"Chocky" A bizarre electronic tone begins the lengthiest work. The electronic aspect remains throughout, mostly serving to provide the conflicting melody under the howling saxophones. No, I really can't say I care for this one at all.
"Lichen" Led Bib once again shows that they can be discordant and yet maintain a rich melody, even though I'm certainly not fond of either the high-pitched squealing or the rampage of a hundred random notes by all the instruments. The piece suddenly becomes rather eerie before turning into another barrage of noise.
"Heroes" Great drumming begins the final track, which features a remarkable melodic theme and a bass that sounds "in a hurry." As such, this wonderful work reminds me quite a bit of old Buddy Rich pieces. The music is full of both great textures and remarkable melodies- the conclusion to the album is excellent.
Posted Thursday, December 24, 2009 | Review this album | Report (Review #257616)
Thanks to padraic for the artist addition.


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For an authentic Western-style horseback riding experience, hire a local outfitter to take you and yours on a trail ride in the breathtaking Aspen-area backcountry.
Numerous private outfitters offer adventures for both noviced and experienced horseback riders.
Grizzly Lake and Capitol Creek Trails, among many others, are popular trails into the backcountry.
White River National Forest offers nearly 2000 miles of public trails, most allow horseback riders, in addition to hikers and bikers. Call (970) 925-3445 for more information.
Grab a wide-brimmed hat, your best worn-in boots and your sturdiest pair of jeans! Get yourself ready for Western-style riding in the Roaring Fork Valley. Afterall, riding horses might be one of the longest-held traditions in the American West, and Aspen, along with its neighboring towns, has kept up that tradition in proud fashion.
Capitol Creek Trail - Located in the Maroon Bells-Snowmass Wilderness, this trail sees fairly heavy use from both horseback riders and other recreationists. To trailhead: drive 14 miles west of Aspen on Highway 82. Take a left at Snowmass Creek Road. Drive 2 miles until you reach a "T" intersection. Take a right and drive another 5 miles. The road turns to dirt at mile 2 and demands 4WD for the last mile.
Grizzly Lake Trail - Located in the Collegiate Peaks Wilderness, this trail offers high altitude views of its beautiful surroundings. To trailhead: drive 11 miles east of Aspen on Highway 82 to Lincoln Creek Road. Follow this road, which necessitates a high-clearance vehicle, for 6 miles to Grizzly Reservoir. Trailhead is on the left after passing the reservoir.
For more suggestions on where to ride, contact Aspen Ranger District at (970) 925-3445 or visit the White River National Forest homepage.
Considering the wealth of possibilties for trail rides in the Aspen area, hiring a guide through an outfitter or ranch is certainly the way to go. These professional, experienced businesses pride themselves on being able to fully outfit anyone interested in travelling in the backcountry on a horse. Whether you are an experienced rider or trying it for the first time, explore the options the many area-businesses have to offer. You won't regret it.
Generally, you should expect to find that less than $100 will get you 1-2 hours on a trail ride. For around $250, you should be able to arrange an all-day trip. Prices for multi-day trips vary, depending on distance travelled and accomodations provided.
Way of the Horse is a "horse whisperers" site on how to improve a horse/human relationship.


Cars were moving at speeds well below the school zone limit near Franklin Township Middle School East on Wednesday afternoon.
Wednesday was the first day of classes at all Franklin Township schools — and also the first day that a Franklin Township student couldn't ride district buses without paying a fee of $40 or more after the district made deep cuts to its transportation budget.
The cuts have offered district parents two unenviable options: pay at least $600 per year to bus their kids to school or brave long drop-off and pick-up lines and traffic snarls to drive their kids to school themselves.
But fielding dozens of calls from peeved parents today is just the beginning of Franklin Township superintendent Walter Bourke's frustration. He's mad about state policy changes which he says caused the traffic headaches outside schools across the district.
Bourke says he's not sure who deserves blame for revenue losses that led to the cuts to district busing. He expressed particular frustration, however, about property tax caps voters approved last November, which he says have effectively cut off a $16 million revenue stream to the Franklin Township schools.
"Now, families have to pay for the services that were once paid by property owners through property taxes, and you're going to find that more and more and more in the future of Indiana," Bourke said.
Bourke says the district was forced into the cuts after voters rejected a district-wide levy in May. He said in public meetings leading up to the vote, he was explicit in saying a failed levy would mean charging parents for busing.
"This is us doing more with less money," Bourke said.