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Tag Archives: Carl Stone
Long past the point when its cultural context receded into antiquity, mediaeval plainsong remains a ready grab for musicians seeking to bridge classical ideas with (in the broadest sense) pop ones. It's easy to recall the Gregorian chants stapled to dance loops and succubus exotica pioneered by Enigma at the start of the '90s, in the wake of which waddled a million chillout chant albums: though to pick some more inspiring examples from past 'Misfit City' coverage, there's also the post-plague requiem of Jocelyn Pook's 'Deluge' and the acapella-versus-disintegrating-granular-noise of Soaring On Their Pinions.
Perhaps plainsong's draw is in its sparseness, its directness – the way in which its emphasis on a soloist (or at least a monophonic group line) initially seems like a direct personal meditation or plea, a kind of ecclesiastic monastic blues. It could also be the way in which that sense of vulnerability mixes with a sense of ancient history (the early steps of Christianity, with the classical Hebrew and Greek temple music sources still evident, unobscured by the later agglutinating harmonies of the Renaissance). Or, to be a little more cynical, maybe it's just that that same sparseness and built-in antique provenance has made it an easier cold sell to an audience in the age of recordings.
Ariadne could probably provide a better and more interesting explanation than I can. They've certainly got the background to enable them to understand it – electronicist/visual specialist Benjamin Forest and fellow electronicist and mezzo-soprano Christine Papania first formed an allegiance at the music school of the University of Indiana: and Christine also explores various strands of classical in her solo voiceloop project Lanx as well as singing for the Manhattan Chorale. Since around 2015, Ariadne have been investigating and altering plainsong and its relations in a succession of albums, EPs, concerts and installations.
Their 2015 album 'Tsalal' was based around Hebrew texts and was about plummeting into darkness, physical and psychological; the same year's 'Ex Tempore' was a psalmic "dialogue between the physical and the ethereal in a languished and dense atmosphere." Their newest work, 'Stabat Mater' is a "twenty-movement cycle of audio/visual ecstatic visions, heavily inspired by the visions of female Christian mystics Hildegard von Bingen and Teresa of Ávila." The latters' writings are rearranged and transmuted for the sung texts, with a third source coming via text from the surrealist poet Aase Berg.
Hildegard's work, of course, has regularly blended in nicely with contemporary concerns of spirituality, pain and the female perspective: only last year her work was programmed in underground New York/London arthouse concerts by Daisy Press and Filthy Lucre, juxtaposed against Bowie, Byrne, Charlie Looker's anguished hard-rock analyses of toxic masculinity and fascism, and the morbid queer romanticism of Claude Vivier… all of which I'm sure is just the tip of an associative iceberg. Hildegard's ecstasies were paralleled by the rather more masochistic ones of Teresa (who also suffered a particularly grotesque fate-of-a-saint post-death postscript as her corpse was gradually disassembled and traded about by quarrelling groups of nuns, dukes, Popes and priests for open mercantile advantage).
As for Aase, still very much alive, she's an often-bewildering overturner of expectations with a marked disdain for the "patriarchal… male sexuality" restrictions which she sees applying to standard chronology ("time passes and things have to happen and there has to be a narrative"). Her own work upends this in favour of polymathic siftings of "science, math, probability, string theory, etc." in weird-fiction settings of post-environmental catastrophes and reconstructed worlds in which standard human perspectives are slipping away, being superseded or disintegrated by impassive, inevitable processes of change. Notably, Aase has also worked as a translator for the horror-struck, pessimistic fantasy texts of H.P. Lovecraft which, though they have an empurpled baroque verbosity which her texts avoid, often operate in similarly blasted philosophical territories.
While I'm sure that Ariadne too are paying plenty of attention to all of this, text is secondary to what they're putting it through sonically. While experimenting with eerie pitchshifting, reverberation and sound chopping, their earlier work backgrounded it in favour of the traditional purity of Christine's voice. Now they're bolder, more assured and disruptive: while delivering perverse auto-destructive lyrics like "put my fist through my mouth and pull the roots out of the ground", Christine's voice retains its classical beauty but also negotiates its way through a far more confrontational path of distortions, subversions, doppelganger mockings and simple sequences of compline giving ways to gorgeous vomitations like a hopelessly poisoned Kate Bush. The electronically-generated sound, too, keeps its previous haunted/spinning chapterhouse atmosphere while rearing up like a briar thicket destroying a pathway, with distressing organic splatters, acidic treble rills, liquid-sword shatterwhooshes and nightmare distortion-belfry sounds breaking things up; plus vocal capture/turns like the obscene Pachucho squelch that chokes through Burning Sphere.
Like the last-act works of Scott Walker, though, 'Stabat Mater' manages to be disturbing and ear-opening without relying on shock-schlock. It hints at and flickeringly reveals dysfunction, confusion and horror without quashing or sneering at the beauty, structure or aspiration of the source materials. Benjamin's video work, too, makes mesmerically beautiful optical scapes out of disruption, data corruption, trippy fetish hints and perspective explosions.
An upcoming Ariadne tour takes 'Staber Mater' around selected spots in America and Europe – as well as assorted arts centres, venues include an avant-garde-sympathetic bar at home in New York; an accommodating church crypt in Bristol with a patience for the heretical; a preserved grand Tudor chamber in London; and the marine guts of a permanently harbour-bound Hamburg merchant ship.
That New York hometown concert is taking place at metal/experimental hangout bar Saint Vitus, accompanied by Ideal and Dasychira (with records spun by DJ Clone). Dasychira is a platform for some brilliantly inventive experimental dance music from transplanted, intriguingly alienated South African sound artist Adrian Martens. Adrian explores and celebrates his own psychological vulnerability and resilience via industrial detonations and scatters of mbira chops, alarming darkwave pop interjections and bursts of monastic chorale. Scurrying underneath are thematic undertows of insect regeneration, building new lives from nothing. He debuted with 2017's 'Immolated' EP, while last year saw the 'Razor Leaf' single and the 'Haptics' EP consolidate his work. The gig's worth attending for his sake alone. As to whom Ideal are, I'm less sure. I'm assuming that they're not these German New Wavers from 1982, but within the ever-refreshing and surprising Brooklyn ferment, I probably shouldn't assume anything.
In Bristol, there'll be slots featuring a pair of duos from the town's Avon Terror Corps underground label, whose artists draw their loose inspirations and guidelines from""medieval visions of the future, breakcore, 'Westworld' (the original film), industrial, the psychogeography of Castlemead, the legacy of shoegaze, the legend of Goram and Vincent, the total destruction of "deconstructed club"…" Both are best judged by their contributions to the 'Avon Is Dead' compilation, which amasses sundry ATC cloud uploads from 2018.
Salaċ – bewildering, serious-playful aural occultists – create long-spooling jump-cut soundscape ceremonials, the outcome of their "sculpting séances of sound with tape machines." These are aggressive dirtbass rumbles, spasms of object-rolling across metal sheets, complaining recitations of disassociation, punctuated by watertank booms, data-screech waterfalls and a certain amount of dry psycho-geographist's humour (as in fucked-up cheesy drum machine beats they occasionally summon up and put through the soiling chamber). So far, it's best to judge Bokeh Edwards and Jade Hybou, a.k.a. "esoterrorists" Java Java Wetware by their track Even Cowgirls Get The Blues – a fragmentary aural story via a dreamy harmonica-assisted trudge through ruined domes and shattered glass, set further off-kilter by lapping folk soprano vocals and ending with secretive whispers and a handful of reverb-muffled gunshots.
In Manchester, support acts include obscure local psych/alt.folker and "veteran astral wanderer" Lazy Bones. Whether solo meanderer or journeying band, he/they have been at it for at least a decade and a half, coming up with "gentle melodies hid(ing) strange shadows, hidden yearnings and the promise of the transcendental" with a "whimsical '70s edge" following the lysergic thicketry of Cope, Barrett and Jansch: some of it may be found on this cobwebbed MySpace site, if you can find your way in. Working in a similar vein (but easier to track down) is the bouzouki-driven power pop and stoner beat of The Peace Pipers, enthusiastic '60s hippy-punk throwbacks with a taste for dressing up and dancing down the garden paths of The Move, early Pink Floyd and Dave Mason. The evening's real wildcard is sometime ILL member Sadie Noble, a.k.a. Nummo Twin: generator of woody, baffling dream pop and abstracted yet covertly clever chucking-mud-at-the-wall collages of glitchy electronics, woodworking noises, and half-heard vocal mumbles.
The Todmorden show features raffishly arty tenor sax duo Wolf Scarers (Simon Prince and Keith Jafrate) and thrumming audio-visualizer Anna Peaker. With printmaking, DJing and gig promotion as part of her activity alongside the sound and graphics designer (and with an eye on branching out into dressmaking and ceramics.) Anna is an impressive DIY/do-anything character. Across her artwork she takes inspiration from Yorkshire weaving mills, witchcraft, old record sleeves and film posters; from ancient pathways and the millennia-spanning architectural layers of her base in Leeds. By itself, her music is skirling Yorkshire-Germanic variations on assorted psychedelic-chapel organ drones, billowing in and out of focus and sometimes including autoharp and field recordings – for the full effect, though, it's tied into the cascade of her live visuals.
With Wolf Scarers, Simon and Keith blow a free-brewed stewing of various ingredients and inspirations from the multiple genres each has played individually (and sidestepping the temptations to baffle the acoustic tones any further with computer processing). The results range from "gentle meditations that almost become chamber music across to full-blown shout-ups in the true tenor sax tradition, via, possibly, messed-up marching band funk and deconstructed jazz strut." Larger Wolfscaring lineups are rolled out when the music necessitates, but on this occasion it'll be the core duo at work.
In Berlin, Ariadne are slotting in at the bottom of a mixed bill in the Kiezsalon series run by Michael Rosen. At the top is American sampling-and-computer-music pioneer Carl Stone, whose 1970s loops and repurposing of library records drew a kind of academic-based parallel to hip hop's turntablism, and who's subsequently kept pace with technological collaging possibilities while maintaining an accessible sense of found/captured/manipulated melody, plus a continually expanding taste for incorporating suggestions and content from other cultures' music (in particular Asian cultures) and a disarmingly bonkers vocal quality. In the middle is French wind instrumentalist/synthesist Ariel Kalma, who's been dwelling on the borderlines of process music, Paris experimentalism, New Age and electrophonic minimalism since the mid-'70s.
Over at Prague's Punctum venue, the first of two listed support acts is the acousmatic Sound Situation trio: domestic New Music exponents with electronicist Michal Rataj (electronics), Jan Trojan (more electronics, plate-bashing) and Ivan Boreš (prepared guitar) Veterans of academic music and live improv, as definition they spit out a host of word associations as definition: "sound design, freshly baked bottle in the fridge, movie soundtracks, radio art, pieces of sheet metal, flamenco, sirens, spectral transformations, Kvok!, teaching at the university… Ostrava new music days, abandoned sea beach, Contempuls, Noise Assault Agency Budweiss, BERG Orchestra, Gride".
Unpick and reassemble that little lot if you wish; but note that Punctum have spent far less time expounding on who second Prague support Julia Dyck might be. To be frank, they've spent no time at all on it so far… but evidence points towards it being this woman. If so, you can expect to see or hear anything pulled from a bewildering, inspiring rack of potential directions and from a mind seething with forma drawn from feminist/queer/gender theory, from technological awareness and from Julia's formidable polymathic curiosity about the world. It might be radiophonics, or synth minimalism, or voice-and-fx constructions, or ambient noise; it might be ideas drawing from her time as radio producer, writer and broadcast media artiste; or general conceptual experiments like the miked-up fruit-and-body performance she recorded for a batch of film festivals earlier in the year.
There are a few tasters below – the krautrock-in-the-frying-pan of Passenger, the ambient goo of Changes Made – but there's too much to Julia to summarise in a paragraph or two or a handful of audio clips. Even briefly looking into what she does is like cracking an eggshell and finding an expansive, challenging pocket universe within, which then maps inexorably back onto your own and changes it behind your back.
Full tour dates and details are still being assembled, but here are the ones I know about so far:
Saint Vitus Bar, 1120 Manhattan Avenue, Greenpoint, Brooklyn, New York City, NY 11222, USA – Friday 7th June 2019 (with Ideal and Dasychira) – information here, here, here and here
Blah Blah, via Po 21, 10124 Torino, Italy – Wednesday 12th June 2019, 8.00pm – information here
Le Brin de Zinc, 3 ZA Route de la Peysse, Chambery, 73000 Barberaz, France – Thursday 13th June 2019, 8.30pm – information here
St Paul's Church Southville, 2 Southville Road (junction with Coronation Road), Bristol, BS3 1DG, England – Saturday 15th June 2019, 7.00pm (with Salaċ + Java Java Wetware) – information here and here
The Golden Lion, Fielden Square, Todmorden, OL14 6LZ, England – Sunday 16th June 2019, 7.30pm (with Wolf Scarers + Anna Peaker) – information here
The Peer Hat, 14-16 Faraday Street, Manchester, M1 1BE, England – 17th June 2019, 7.30pm (with Lazy Bones + The Peace Pipers + Nummo Twin) – information here
Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England – Tuesday 18th June 2019, 7.00pm – information here and here
Muziekcentrum Kinky Star, Vlasmarkt 9, 9000 Ghent, Belgium – Wednesday 19th June 2019, 8.00pm – information here
MS Stubnitz, HafenCity, Kirchenpauerkai 26, Umfahrung Versmannstraße, Baakenhafen/Baakenhöft, 20457 Hamburg, Germany – Friday 21st June 2019, 8.00pm – information here, here and here
Komplex, Zietenstr. 32, 09130 Chemnitz, Germany – 22nd June 2019, 8.00pm – information here
Punctum, Krásova 27, Žižkov, 13000 Prague, Czech Republic – Sunday 23rd June 2019, 7.00pm (with Michal Rataj/Ivan Boreš/Jan Trojan + Julia Dyck) – information here and here
Wolskie Centrum Cultury, Wolskie Centrum Kultury, ul. Obozowa 85, 01-425 Warszawa, Poland – Monday 24th June 2019, 8.00pm – information here
Kiezsalon, Greifswalder Strasse 23a, 10407 Berlin, Germany – Wednesday 26th June 2019, 8.00pm (with Carl Stone + Ariel Kalma) – information here and here
Macao, Viale Molise 68, 20137 Milan, Italy – 28th June 2019, time t.b.c.
Tags: Anna Peaker, Ariadne, Ariel Kalma, Benjamin Forest, Berlin (Germany), Bristol (England), Carl Stone, Chambery (France), Chemnitz (Germany), Christine Papania, Dasychira, Ghent (Belgium), Hamburg (Germany), Ideal, ILL, Ivan Boreš, Jan Trojan, Java Java Wetware, Julia Dyck, listening to women, London (England), Manchester (England), Michal Rataj, Milan (Italy), New York City (USA), Nummo Twin, Prague (Czech Republic), saxophone music, Sound Situation, The Peace Pipers, Todmorden (England), Torino (Italy), Warsaw (Poland), Wolf Scarers, women of heart and mind
Categories 2019 music, ambient music, ceremonial music, chamber music, classical fusion, cross-cultural music, dance, DIY music, DJ sets, drone music, electro-acoustic music, electronic, electronica, experimental music, field recordings, film & cinema, free jazz, IDM, improvisation, industrial music, instrumental music, jazz, kosmische & Krautrock, New Music, noise, performance art, post-classical, previews, process music, psychedelic ambient music, psychedelic rock, radiophonics, rock, singer-songwriter, song cycles, sound collage, spoken word, vocal music
December 2015 – upcoming gigs, London & elsewhere – Serafina Steer & Bas Jan at Kings Place; assorted Others cabaret from punk to accordiana with The Bohemianauts and Bad Fractals; a Lost Map afternoon with The Pictish Trail/Seamus Fogarty/Tuff Love/Kid Canaveral at Daylight Music; Thumpermonkey, The Mayors Of Miyazaki and Lolita Laytex hit The Albany in Deptford; and the 2015 London Contemporary Music Festival part 1 (sounds for and from London, West Coast America and the time continuum). Plus the return of Mark Mulholland and Craig Ward in a Scottish village hall; Olga Stezhko in a Staffordshire chapel; and Rocket From The Tombs in London and Leeds.
The end of the month, and the year, is nigh – so what are we looking forward to this week?
Mark Mulholland, Craig Ward, Yacouba Sissoko & Hannes D'Hoine (Ford Village Hall, Ford, Argyll, Scotland, Tuesday 8th December 2015, 7.30pm) – £5.00 minimum – information – tickets on the door
Back in 2012, two wandering Scottish singer-songwriter-guitarists – Mark Mulholland (ex-Two Dollar Bash) and onetime dEUS member Craig Ward – quietly released one of the finest records of the year. A compelling murmur of acoustic guitar folk, 'Waiting For The Storm' was soaked in the Scottish and British folk-baroque of Davey Graham, Pentangle and John Martyn but, in its settings of moist heat, tin roofs, typhoons and dark forces, it was also informed by the Haitian setting of Port-au-Prince, Mark's home for the previous two years. Some of you may remember that I liked it.
With Mark now relocated to Mali and Craig settled in the little Argyll village of Ford, the duo are collaborating on a follow-up (provisionally called 'The Darkness Between The Leaves') on which they'll be joined by Flemish double bass player Hannes D'Hoine – who played the Danny Thompson anchor-cable role on 'Waiting For The Storm' – and by Mark's newest collaborator, the Malian djely and multi-instrumentalist Yacouba Sissoko, a master kora and ngoni player. The quartet have been preparing and recording in a number of different countries, and the end of the Scottish sessions will be marked by a Ford performance both taking place in and raising funds for Ford Village Hall, with prices set on a pay-what-you-like basis starting from five pounds.
In its quiet way this should be one of the gigs of the year, so if you're in western Scotland and have a free Tuesday evening, consider heading over to Ford (at the south-western end of Loch Awe, north-west of Glasgow, with the nearest substantial town being Kilmartin.) If you miss this one, they're playing again in Glasgow at 7.00pm on Wednesday 9th; a low-key gig at the Hidden Lane Gallery in Finnieston.
After that – for me – the week doesn't pick up until a very busy Friday and weekend. Too subjective, probably. Here we go, anyway.
Serafina Steer & Bas Jan (Hall Two @ (Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England, Friday 11th December 2015, 8.00pm) – £9.50-£12.50 – information & tickets
The hitherto independent worlds of contemporary harp music and experimental kraut-pop will collide – or at least bump each other – in this concert of two halves by harpist/songwriter Serafina Steer and her new band Bas Jan.
After a few years of mainly only using the harp for her own writings, Serafina went on a roadtrip around Eastern Europe busking, discovering and rediscovering pieces along the way. The result of this experience will form the first half of the programme, which will feature compositions by Richard Barratt ('tendril'), Benjamin Britten ('Suite For Harp'), Stephen Dodgson ('Fantasy'), Rhodri Davies ('Aqcua Alta') and Serafina's own father Michael Maxwell Steer ('Grovelly Wood')
The second half of the show will be a performance by Bas Jan, Serafina's latest collaborative project in which she plays bass guitar and keyboards and writes minimally arranged songs about the Essex coast, the Anglo-Saxons, sex, part-time work and love; with sound artist Sarah Anderson playing violin and OP1 mini-synthesizer and performance visual artist Jenny Moore playing drums (all three women also sing). Bas Jan's first gig was to six thousand people at Brixton Academy and since then they have gone on – via support slots for Xylouris White and The Decemberists – to entertain smaller and smaller audiences.
On the same night, one of 'Misfit City's favourite classical musicians is spreading her own particular musical gospel up in Staffordshire:
Olga Stezhko (Abbotsholme Arts Society @ Abbotsholme School Chapel, Rocester, Uttoxeter, Staffordshire, ST14 5BS, England, Friday 11th December 2015, 8.00pm) – information – limited number of tickets available, phone 01543 263 304 for details
Following up her recent debut performances at both the Wigmore and Bridgewater Halls (at which she performed full or partial versions of her 'Lucid Dreams' assemblage, a programme of music exploring people's changing perception of reality from childhood through to adulthood), classical pianist and multi-disciplinary thinker Olga Stezhko is bringing her sophisticated, metaphysical perspective and repertoire to the audience at Abbotsholme.
On this occasion, her choice of music is a little more conventional (leaning on well-established favourites by Mozart, Bach and Prokofiev rather then stretching to the Sophia Gubaidulina pieces she was playing last month). However, there's still room in the programme for work by one of her compositional touchstones, Alexandr Scriabin; and you can be assured that whichever pieces Olga plays will have been carefully thought out and put into context as part of a programme intended to inspire thought and broader conceptual connections as well as straightforward musical enjoyment.
Wolfgang Amadeus Mozart – Sonata in B flat major, K.570
Johannes Brahms – Six Pieces, Op.118
Alexandr Scriabin – Two Dances Op.73; Five Preludes Op.74; Vers la flamme Op.72,
John Adams – China Gates
Sergei Prokofiev – Sonata no.4 in C minor, Op.29
Back in London, meanwhile, there's cabaret afoot, plus breathless press releases.
The Bohemianauts + Bad Fractals (Bohemiocracy @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Friday 11th December 2015, 8.00pm) – £8.00-£10.00 – information & tickets here and here
An epic face-off between two amazing, unique and bizarre bands.
Bad Fractals are shaman gangsters shooting bullets of love, tearing their way through acid punk, malevolent music hall and trailer-trash blues in a world gone mad. Join us at the crossroads, in a theatre of the absurd: hear story and song shift with the wild wonder of fractals! Watch psychedelic punks get drunk with clown kings! Glare at artificial angels dancing with deadbeat demons! Gasp as astral travellers gather in galactic taverns!
The Bohemianauts are decadent divas of demi-monde carnivalism, playing weird waltzes, pithy polkas and rollicking rhumbas: they will take you on a theatrical musical journey through strange landscapes with absurd humour, exquisite noise and songs of unrequited dread. Tonight they will unleash their female alter-egos, as they parade in their geezer-bird finery, performing for your pleasure as the rarely-seen Bohemianauts – Drag-ed on Stage. (Trigger warning: Bearded Drag.)
PLUS – Visuals and projections from Jaime Rory Lucy's Rucksack Cinema and half-time performance interventions from Oleg the Mystic.
Friday also sees the start of the London Contemporary Music Festival, which (as if it were part of a conspiracy theory) is lurking in a giant underground bunker near Baker Street…
LCMF 2015: 'Collective Capital' (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Friday 11th December 2015, 6.30pm) – £11.25 – information – tickets
London takes centre stage in our opening night, as we celebrate the exploratory fringes of the city's music scene and the collective imperative that has been a spur to some of the capital's greatest experiments. The proliferation of collectives among young musician-composers is reflected in new commissions from some of the most adventurous of these musical laboratories. The night will include premieres from Charlie Hope and Jamie Hamilton (a.k.a. Topophobia), Neil Luck (performing with his Squib Box ensemble) and John Wall & Tom Mudd (Utterpsalm and Contingent Events). We hear recent work by composers Edward Henderson (Bastard Assignments), Shelley Parker and the artist duo Claudia Hunte. We welcome an iconic figure and chronicler of London's musical edgelands, David Toop, and offer a live improvisation from Poulomi Desai (Usurp), who started the Hounslow Arts Co-op at the age of 14.
We also offer a world premiere from artists Richard Wilson and Anne Bean. In the 1980s, Anne, Richard and Paul Burwell formed the legendary Bow Gamelan Ensemble, enthralled by the aural poetry and parallel visions of the Thames. Now, Wilson and Bean enter the territory as W0B. Theirs is a world that cracks and splinters and grinds into being as it races backwards and forwards through friendships of forty years. 'NALEMAG' becomes the totemic incarnation of their endless scrabbling around boat-yards, scrap-yards, gas depots, pyrotechnic munitions, voyages on many rivers in countless vessels and a frenzy of carrying, welding, investigating and making across the planet. The trajectory culminates with a landmark new AV performance from south London's Visionist, whose singular language emerges from the fragmentation of dubstep and grime.
David Toop – Many Private Concerts
Anne Bean/Richard Wilson – NALEMAG (world premiere)
Poulomi Desai – Vermillion Sands (world premiere)
Neil Luck – Via Gut (world premiere – LCMF commission)
Jamie Hamilton/Charlie Hope – New work (world premiere)
Edward Henderson – Tape Piece
Claudia Hunte – The Elephant In The Room Is Afraid Of Dying
Shelley Parker – Live set
John Wall – Live set
Tom Mudd – Live set
Visionist – Live set (AV)
On Saturday, there's what looks like a particularly engaging Daylight Music afternoon, with the return of a familiar face…
Daylight Music 210 – The Pictish Trail + artists from the Lost Map label: Seamus Fogarty + Tuff Love + Kid Canaveral (Union Chapel, Saturday 12th November 2015, 12.00pm) – free (suggested donation £5.00) – information
Wrapping up this season of Daylight Music are Lost Map; a loose-knit DIY label/collective from the Hebrides founded by alt-folk troubadour, Johnny Lynch, a.k.a. The Pictish Trail. For this special Christmas show, Johnny will be ice-skating back to the mainland, bringing a selection box of pals from his Lost Map roster, for a cosy festive afternoon of stripped back acoustic merriment, frost-bitten Casio hymns, and mulled-tea fuelled carols.
While The Pictish Trail often comes across on record as an eerie digifolk creation (like a Scottish oil-town-and-fishing-port David Lynch, with that surreal supernatural undertow suffused by Gaelic angst rather than Americana), anyone who's caught one of the live acoustic shows will know that Johnny has an altogether more joyous side as unplugged strummer. Many of his tales may be based on shyness, grief and confusion, but I've seen few people who take such unalloyed pleasure in warming up and including an audience the way he does. For a reminder of this, have a read of my review of his last Daylight Music appearance back in January… and see below.
Mayo-born but London-based, Seamus Fogarty plays and sings his own soulful version of contemporary Irish folk, dabbled with electronic found sound. His output's been described as "songs about mountains that steal T-shirts, women who look like dinosaurs and various other unfortunate incidents" and as "summoning all manner of odd noises and audio ghosts". Taken from his current album 'God Damn You Mountain', here's Rita Jack's Lament, which showcases all of his various tendencies to the maximum.
Glaswegian fuzzy-pop duo Tuff Love represent Lost Map's more-out-and-out indie rock side, although their cottage-industry approach (recording and producing everything at home themselves rather than chasing studios and jaded professional engineers) reflects the label's d-i-y philosophy. Julie Eisenstein and Suse Bear (augmented for concerts by Phantom Band drummer Iain Stewart deliver "dazzling, sun-streaked guitar pop songs with mesmerising lyrics, heart-wrenching vocals and dreamy melodies like the sound of pure summer." Over a scant few years of existence, they've already supported Paulo Nutini and Ride and played several overflowing handfuls of rock festivals. 'Resort' – a not-quite-debut album pulling together the three EPs that Tuff Love have put out so far – is out in January, but meanwhile here's what will either be a reminder of their existing delights or an introduction to their world: somewhat shoegaze-y but with mischievous glimpses up through the eyelashes.
Edinburgh four-piece Kid Canaveral (whom Lost Map described as "ADHD pop splendour") met at university in St Andrews and have been playing together ever since. Imaginative alternative pop, they manage to recall the early-'80s cleverness of Postcard Records pop or the ramshackle poignancy of Belle & Sebastian without actually sounding much like either. It's more a matter of spirit, a discreet but inclusive sophistication which reaches out, brushes your arm and invites you along. Two albums in, with a third in preparation, they're a delightful discovery whenever you happen to encounter them. Their clever videos are a treat, too – here are a couple of tastes below, the first of which had my four-year-old son continually tapping the replay button.
(For anyone who wants a more substantial dose of Kid Canaveral, note that they're playing a full set at the Shacklewell Arms on the evening of the same day.)
On the Saturday evening, you've got your pick of twisty London rock and West Coast American art music (plus Rocket From The Tombs, but I'll come to them shortly…)
Thumpermonkey + Mayors Of Miyazaki + Lolita Laytex (Something's Gonna Happen @ The Albany, Douglas Way, Deptford, London, SE8 4AG, England, Saturday 12th December 2015, 7.30pm) – £3.00-£5.00 – information – tickets on the door
Welcome back everybody: and once again we have two superb outfits centre stage, Thumpermonkey (heavy progressive music) and Mayors Of Miyazaki (DIY 3-piece based in south London, guaranteed to spit and sweat on us at close quarters). The lovely Lolita Laytex will be joining us to add the flavour of burlesque. Yes, people of the universe, with all those ingredients in store, you know the score: £3.00 concessions and a fiver on the door. Bring ya skin!
I've said quite a bit about Thumpermonkey over the course of the year. Grand, clever and atmospheric, they also have enough sly, self-aware wit and humour to undercut all of the previous. They're also tricky to pigeonhole – a band who create intricate catastrophe epics (part Radiohead, part Van der Graff Generator) but also trill the occasional Mastodon cover in the style of early Kate Bush; a prog band with a singer who sounds like an old-time theatrical knight, but also a noise band who happen to wrap their wildness into tightly-composed structures; geeky popcorn information omnivores drawing from Jodorowsky to Lovecraft to William Gibson, but salting it with Chomsky and science magazines before whipping it up into artful tornados of song. This little sample here is both characteristic and unique within what Thumpermonkey do, which in itself probably tells you all you need to know.
I don't think Mayors Of Miyazaki have been in here before, but they should have been. In their way, their music's as grand and complex as that of Thumpermonkey and even more enthused by its options. It's punk with all the chains blown off, joyriding math-rock, de-Ritalined bratprog. A typical song sounds like both chase sequence and protracted explosion: spiky, switch-and-swap assemblages of guitar parts doubling back through alleys and charging halfway up walls, over which sibling team Gareth and Claire Thomas declaim a punky boy-girl barkathon, a speaky-drawl of sparking thoughts. Fugazi and The Fall both might be in there, though you could also pull Bis and long-lost '90s psych tanglers The Monsoon Bassoon out of the root cluster.
I don't know much about Lolita Laytex except that she's a fetish model as well as an alternative burlesque performer and fetish model. Not much information about a third-stream digression into music: so perhaps you should expect something sensual and mobile, which squeaks a little when it flexes. (UPDATE, 10th December – Well, that's that laboured gag wasted. Lolita's off the bill, replaced by Deptford punk-poppers The Kill Raimi's. Some video evidence below…
The second London Contemporary Music Festival night sees the series take a broad stylistic and historical sweep across twentieth and twenty-first century California (with one digression to Alaska, so it's not all sun.)
LCMF 2015: 'West Coast Night' (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Saturday 12th December 2015, 6.30pm) – £11.75 – information – tickets
The second night of LCMF 2015 is dedicated to the music of the American West Coast, an exploration of 100 years of musical non-conformism, from the piano insurrections of Henry Cowell to the deep listening of Pauline Oliveros (performing her own music on v-accordion). Oliveros is joined by another founding legend of the pioneering San Francisco Tape Music Center, Morton Subotnick, who presents a solo Buchla set and the UK premiere of a 1960s Tape Center composition with a film by Tony Martin. Another composer associated with the Tape Center was Terry Riley, whose 'Keyboard Study No. 2' gets a rare outing.
Alongside this we zig-zag through the experimental landscape, calling on John Cage's concussive 'First Construction (In Metal)', which premiered in Seattle in 1939, John Luther Adams's monumental 'Among Red Mountains' and Catherine Lamb's subterranean 'Frames'. We excavate two gems from California's 1980s computer music scene, Maggi Payne's 'Flights Of Fancy' and Carl Stone's 'Wall Me Do'. On the fiftieth anniversary of the Watts Uprising we present an extremely rare performance from Otis O'Solomon, whose collective The Watts Prophets emerged from the rubble of that uprising and helped lay the foundations for hip-hop.
Henry Cowell – The Banshee (for piano) – performed by Gwenaëlle Rouger
John Cage – First Construction (in Metal) (for percussion ensemble) – performed by PERC'M and Serge Vuille
Morton Subotnick/Tony Martin – PLAY! No. 3 (1965) (UK premiere)
Terry Riley – Keyboard Study No. 2
Maggi Payne – Flights of Fancy
Carl Stone – Wall Me Do
John Luther Adams – Among Red Mountains (for piano) – performed by Gwenaëlle Rouger
Catherine Lamb – Frames for cello & bass recorder (UK premiere) – performed by Anton Lukoszevieze/Lucia Mense
Otis O'Solomon – Selected poems
Pauline Oliveros – Pauline's Solo (1992)
Morton Subotnick – solo Buchla set
On Sunday, the third LCMF event has a polycultured and temporal feel:
LCMF 2015: 'Five Ways To Kill Time' (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Sunday 13th December 2015, 6.30pm) – £11.75 – information – tickets
Time is stretched, bent and finally dissolved in 'Five Ways To Kill Time'. Sound artist Ellen Fullman opens the night with a UK premiere of The Watch Reprise, which will be performed on her 50-foot Long String instrument that one writer compared to "standing inside a giant grand piano." Ethiopian composer, pianist and nun Emahoy Tsegué-Maryam Guèbrou makes her first visit to the UK to perform a selection of her intimate piano miniatures that seem to drift through space. Plus Minus Ensemble, meanwhile, offers up the intricate and disorientating world of Bryn Harrison's 'Repetitions In Extended Time' (conducted by Mark Knoop and featuring strings, organs, piano, guitar and clarinet). Mixing spoken text and music, theatre maker Tim Etchells (Forced Entertainment) and violinist Aisha Orazbayeva offer a set of fragmentary improvisations in 'Seeping Through', a work fresh from a critically acclaimed run at the Edinburgh Fringe. We end with a time-obliterating live set from doom pioneer Stephen O'Malley, whose work within and beyond his seminal group Sunn O))) exists in a kind of transcendent stasis.
Emahoy Tsegué-Maryam Guèbrou – selected piano works
Bryn Harrison – Repetitions in Extended Time
Tim Etchells/Aisha Orazbayeva – Seeping Through
Ellen Fullman – The Watch Reprise (world premiere)
Stephen O'Malley – live set
Rocket From The Tombs + Luminous Bodies (Baba Yaga's Hut @ The Brewhouse, @ London Fields Brewery, 369-370 Helmsley Place, South Hackney, London, E8 3SB, England, Saturday 12th December 2015, 8.00pm) – £19.25 – information – tickets
Rocket From The Tombs (Brudenell Social Club, 17 Brudenell Road, Leeds, LS6 1HA, England, Sunday 13th December 2015, 8.00pm) – £17.60 – information – tickets
In their initial lifetime they never got past a series of scorching mid-'70s gigs in their Cleveland hometown (plus a handful of demos and radio sessions). Yet Rocket From The Tombs have long been counted as proto-punk ancestors, kicking up a frumious Velvets-and-Stooges racket long before every other garage band was doing it. These days, onstage rock rage is quotidian; when Rocket From The Tombs brought it to the gig, it was a revelation. Following a headstrong and punchy split, they even spawned several other key bands. Main ranter David Thomas, doomed-and-driven guitarist Peter Laughner and soundman-turned-bass-player Tim Wright would create the first lineup of Pere Ubu. Second guitarist Cheetah Chrome and drummer Johnny Blitz hooked up with Stiv Bators and others to form hardcore punk pioneers Dead Boys. The rest was bootlegs and rumbling mythology. Rocket From The Tombs became one of the ur-bands, a surviving impression holding its ghostly mark but pushing onwards, providing inspiration above and beyond its initial ideals.
By the ex-members' accounts, being in the band had been a short, brutal and vivid experience; but it seems that there may also have been an unspoken, slow-burning sense of unfinished business. Twenty-eight years later, in their grizzled early fifties, and with plenty of other experience clocked up, most of the surviving band members (minus the retired Blitz and the long-dead Laughner) reunited for piss-and-vinegar-fuelled gigs, a long-delayed debut album and an actual afterlife. Although Laughner's initial replacement (ex-Television guitar star Richard Lloyd), left in 2011 and a tour-burned Cheetah Chrome is now opting to sit out the live gigs, Rocket From The Tombs are still going – very much the garage end of Cleveland's infamous avant-garage, making the most of this ornery self-driven second shot while bleeding in lessons learned from Pere Ubu and elsewhere.
The band have never played in Britain before, something which is being remedied with these two gigs in Leeds and London. In an interview with 'The Guardian' earlier this year, a currently chair-bound David Thomas growled "I'm approaching the end of my life, I've got my foot to the floor and I'm going to be going full speed ahead when I hit the wall." It's probably worth your while coming to one of these shows to check out his main accelerant.
There'll be no support band at the Leeds gig, but in London things will be warmed up by Luminous Bodies, a "knuckle-dragging rock & roll" supergroup stealing members from Part Chimp, Terminal Cheesecake, Ikara Colt and others. See below.
And that's that. More coming shortly with the remaining December gigs and the seasonal parties… keep warm…
Tags: Abbotsholme Arts Society (event), Aisha Orazbayeva, Alexandr Scriabin, Ambika P3, Anne Bean, Anton Lukoszevieze, Arctic Circle (promoter), Bad Fractals, Bas Jan, Bastard Assignments (event), Benjamin Britten, Bohemianauts, Bow Gamelan Ensemble, Bryn Harrison, Buchla electronic musical instrument, Carl Stone, Catherine Lamb, Charlie Hope, classical harp music, Claudia Hunte, Contingent Events (event), David Thomas, David Toop, Daylight Music (event), Edward Henderson, Ellen Fullman, Emahoy Tsegué-Maryam Guèbrou, Gwenaëlle Rouger, Henry Cowell, Jamie Hamilton, Jenny Moore, Johannes Brahms, John Adams, John Cage, John Luther Adams, John Wall, Kid Canaveral, Leeds (England), listening to women, London (England), London Contemporary Music Festival (event), Lucia Mense, Luminous Bodies, Maggi Payne, Michæl Maxwell Steer, Morton Subotnick, multi-instrumentalists, Neil Luck, Olga Stezhko, Otis O'Solomon, Pauline Oliveros, PERC'M, Pere Ubu, Phantasmagoria, piano music, Poulomi Desai, Rhodri Davies, Richard Barratt, Richard Wilson, Rocester (England), Rocket From The Tombs, San Francisco Tape Music Center, Sarah Anderson, Seamus Fogarty, Serafina Steer, Serge Vuille, Sergei Prokofiev, Shelley Parker, Something's Gonna Happen (event), Squib Box, Stephen Dodgson, Stephen O'Malley, Sunn O))), Terry Riley, The Kill Raimi's, The Mayors Of Miyazaki, The Pictish Trail, The Watts Prophets, Thumpermonkey, Tim Etchells, Tom Mudd, Topophobia, Tuff Love, Usurp, Utterpsalm (event), Visionist, W0B, Wolfgang Amadeus Mozart
Categories 2015 music, 20th century classical music, 21st century classical music, acoustic music, alternative folk, alternative pop, alternative rock, art pop, Baroque music, cabaret, cabaret rock, chamber music, chamber pop, classical (Western art music), classical fusion, Classical music, club music, cross-disciplinary pop, crossover, dance, drone music, drum and bass, dubstep, early 20th century neoclassical music, electro-acoustic music, electronic, electronica, experimental music, experimental pop, experimental/avant-garde rock, folk music, folktronica, glitch music, hard rock, hip hop, IDM, improvisation, instrumental music, interactive performances, loop music, math rock, minimalism, New Music, noise, pop, post-dubstep, post-progressive rock, previews, process music, progressive rock, psychedelic folk, psychedelic pop, psychedelic rock, rapping, rock, Romantic music, sampledelia, singer-songwriter, sound collage, tape loops, West Coast classical music


text:
The explosive Robert Langdon thriller from Dan Brown, the #1 New York Times bestselling author of The Da Vinci Code and Inferno—now a major film directed by Ron Howard and starring Tom Hanks and Felicity Jones.
An ancient secret brotherhood. A devastating new weapon of destruction.
When world-renowned Harvard symbologist Robert Langdon is summoned to a Swiss research facility to analyze a mysterious symbol—seared into the chest of a murdered physicist—he discovers evidence of the unimaginable: the resurgence of an ancient secret brotherhood known as the Illuminati...the most powerful underground organization ever to walk the earth. The Illuminati has now surfaced to carry out the final phase of its legendary vendetta against its most hated enemy—the Catholic Church.
Langdon's worst fears are confirmed on the eve of the Vatican's holy conclave, when a messenger of the Illuminati announces they have hidden an unstoppable time bomb at the very heart of Vatican City. With the countdown under way, Langdon jets to Rome to join forces with Vittoria Vetra, a beautiful and mysterious Italian scientist, to assist the Vatican in a desperate bid for survival.
Embarking on a frantic hunt through sealed crypts, dangerous catacombs, deserted cathedrals, and even the most secretive vault on earth, Langdon and Vetra follow a 400-year-old trail of ancient symbols that snakes across Rome toward the long-forgotten Illuminati lair...a clandestine location that contains the only hope for Vatican salvation.
An explosive international thriller, Angels & Demons careens from enlightening epiphanies to dark truths as the battle between science and religion turns to war.
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Angels & Demons (Paperback)
Publisher: Kadokawa Shoten/Tsai Fong Books $22.20 3 copies from $29.53
Publisher: Washington Square Press $18.00 139 copies from $2.99
Angels & Demons Special Illustrated Edition (Paperback)
Publisher: Washington Square Press $26.00 69 copies from $2.99
Publisher: Peoples Literature Publishing $31.95 1 copy from $181.20
Angels & Demons (Audio MP3 CD - Unabridged)
Publisher: Simon & Schuster Audio $19.99 7 copies from $3.59
More About Angels & Demons by Dan Brown
Publisher: Atria Books
Imprint: Atria Books
Seller Statement: Sold by Simon and Schuster

redpajama_set_name: RedPajamaCommonCrawl


text:
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redpajama_set_name: RedPajamaGithub


These Matte Lime Pop Up Gift Card boxes have a white interior with a subtle, silver swirl design, as well as an insert for writing the giver's and recipient's information and gift amount. These boxes are made from 80% recycled paper products and are 100% recyclable. These boxes are unprinted only.


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With the fast pace of modern living, it is important to protect against the possibility of unforeseen situations. One simply cannot determine what will happen tomorrow and therefore effective measures need to be put in place for protection against sudden death. With pre plan funeral coverage, it is possible to provide loved ones with peace of mind that finances will be settled when facing such difficulty.
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All of us at Temescal Associates, the How Kids Learn Foundation, and the Learning in Afterschool & Summer Project wish you a peaceful and restful holiday! On our part, we are most grateful to all of you who work hard to support our youth in out of school time.
What Can You Do to Implement a Strategy for Racial Justice in the Next 7 days?
My plan for the next 7 days was to have a few meetings, do a bunch of busy work on the computer, attend a local theater production, see some friends, read a little. Certainly engage in some Netflix. Pretty standard stuff. Nothing world changing.
Then last week, I attended the How Kids Learn Conference in San Francisco. I heard Dr. Shawn Ginwright of San Francisco State University speak about how youth programs can and should address racial justice. This was one of those paradigm-changing speeches that you remember forever.
At the end of his speech, he left us with this challenge - "What can you do to implement a strategy for racial justice in the next 7 days?"
Now, I have a new agenda for the week.


text:
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Contributors [ 167 ] | View All Responses [ 166 ]
Professor, Oxford University; Director, Future of Humanity Institute; Author, Superintelligence: Paths, Dangers, Strategies
Game of Life — And Looking For Generators
The Game of Life is a cellular automaton, invented by the British mathematician John Horton Conway in 1970.
Many will already be acquainted with Conway's invention. For those aren't, the best way to familiarize oneself with it is to experiment with one of the many free implementations that can be found on the Internet (or better yet, if you have at least rudimentary programming skills, make one yourself).
Basically, there is a grid and each cell can be in either of two states: dead or alive. One starts by seeding the grid with some initial distribution of live cells. Then one lets the system evolve according to three simple rules.
(Birth) A dead cell with exactly three live neighbours becomes a live cell.
(Survival) A live cell with two or three neighbours stays alive.
(Death) Any other cell dies or remains dead.
"Gosper's Glider Gun"
Why is this interesting? Certainly, the Game of Life is not biologically realistic. It doesn't do anything useful. It isn't even really game in the ordinary sense of the word.
But it's a brilliant demonstration platform for several important concepts — a virtual 'philosophy of science laboratory'. (The philosopher Daniel Dennett has expressed the view that it should be incumbent on every philosophy student to be acquainted with it.) It gives us the microcosm, simple enough that we can easily understand how things are happening, yet with sufficient generative power to produce interesting phenomena.
By playing with the Game of Life for an hour, one can develop an intuitive understanding of the following concepts and ideas:
• Emergent complexity — How complex patterns can arise from very simple rules.
• Basic dynamics concepts — such as the distinction between laws of nature and initial conditions.
• Levels of explanation — One quickly notices patterns arising that can be efficiently described in higher-level terms (such as "gliders", a specific kind of pattern that crawls across the screen) but that are quite cumbersome to describe in the language of the basic physics upon which the patterns supervene (i.e., in terms of individual pixels being alive or dead)
• Supervenience — This leads one to think about the relation between different sciences in the real world… Does chemistry, likewise, supervene on physics? Biology on chemistry? The mind on the brain?
• Concept formation, and carving nature at its joints — how and why we recognize certain types of pattern and give them names. For instance, in the Game of Life one distinguishes "still lives", small local patterns that are stable and unchanging; "oscillators", local patterns that perpetually cycle through a fixed sequence of states; "spaceships", patterns that move across the grid (such as gliders); "guns", stationary patterns that send out an incessant stream of spaceships; and "puffer trains", patterns that move themselves across the grid leaving debris behind. As one begins to form these and other concepts, the chaos on the screen gradually becomes more comprehensible. Developing concepts that carve nature at its joints is the first crucial step towards understanding, not only in the Game of Life but in science and in ordinary life as well.
At a more advanced level, one discovers that the Game of Life is Turing complete. That is, it's possible to build a pattern that acts like a universal Turing machine. Thus, any computable function could be implemented in the Game of Life — including perhaps a function that describes a universe like the one we inhabit. It's also possible to build a universal constructor in the Game of Life, a pattern which can build many types of complex objects, including copies of itself. Nonetheless, it seems that the structures that evolve into Game of Life are different from the ones who find in the real world: Game of Life structures tend to be very fragile in the sense that changing a single cell will often cause them to dissolve. It is interesting to try to figure out exactly what it is about the rules of the Game of Life and the laws of physics that govern our own universe that accounts for these differences.
Conway's Life is perhaps best viewed not as a single shorthand abstraction, but rather as a generator of such abstractions. We get a whole bunch of useful abstractions — or at least a recipe for how to generate them — all for the price of one.
And this, in fact, points us to one especially useful shorthand abstraction: the strategy of Looking for Generators. We confront many problems. We can try to solve them one by one. But alternatively, we can try to create a generator that produces solutions to multiple problems.
Consider, for example, the challenge of advancing scientific understanding. We might make progress by directly tackling some random scientific problem. But perhaps we can make more progress by Looking for Generators and focusing our efforts on certain subsets of scientific problems, namely those whose solutions would do most to facilitate the discovery of many other solutions. On this approach, we would pay most attention to innovations in methodology that can be widely applied; and to the development of scientific instruments that can enable many new experiments; and to improvements in institutional processes, such as peer review, that can make many decisions about whom to hire, fund, and promote more closely reflecting true merit.
In the same vein, we would be extremely interested in developing effective biomedical cognitive enhancers and other ways of improving the human thinker — the brain being, after all, the generator par excellence.


The smell of chemically burnt skin and screams wake me up. I look out my bedroom window and see three people getting smaller and smaller as they run away, mom seeping out of the glass shed. Find a glass repair and call them, I yell as I run past Mitch at the breakfast table, his mouth full of breakfast cereal.
I walk over to the part of the glass shed mom seeps from, notice four rocks on the ground. I pick up one of them and see a hint of glass on the stone. I just wanted to thank them, mom says. I put layer after layer of duct tape over the crack, ask mom to stay calm, to stay put. Mom calms down and she thins herself down to a fine mist.
They should be here this afternoon, I hear Mitch say behind me, his voice not muffled by a containment suit. I'm hoping whoever threw those rocks doesn't live in this neighborhood, doesn't have parents old enough to believe their version of what happened.


Once again, MaxSea International is happy to be one of the official suppliers of the 2012 edition of Normandy Sailing Week 2012.
For this 7th edition, that is going to take place in Le Havre from June 8th to 10th, MaxSea provided the event with MaxSea TimeZero maritime navigation software, charts and a Routing module, to be used by the race direction.
Last year, the event featured 4 days of races, 112 participants, 106 yachts ranked, 89 races launched across 11 series, 3 race zones in a single day, split between 4 different fleets, harbor courses, one long coastal course around the Seine Bay and one offshore course for the M34s.


text:
NYtize | Daily source of news
Home Celebrities Ashley Graham strips naked and claims her body changes with pregnancy
Ashley Graham strips naked and claims her body changes with pregnancy
The model Ashley Graham, in New York, last June.
The model, who has broken taboos in the world of beauty and fashion, has been married for nine years to film director Justin Ervin and announced last week that she expects her first child
The model Ashley Graham has published a photograph on her Instagram account in which she appears naked showing her stretch marks. The top of big sizes already announced last week in the same social network its advanced state of gestation with a fun video with her husband, film director Justin Ervin, whom he married in 2010. Graham has accompanied the image of her body, in which the changes are seen after several months of gestation, with the following message: "The same, but a little different."
Graham, 31, refers in these words to the changes that his body has gone through, which he shows without filters or touch-ups, and to the idea that he is still herself but, now, with a life inside. Photography has reached more than a million likes on the social network, which has been flooded with messages of support and admiration for a gesture that, especially among the models, remains a show of courage.
The supermodel has shared her future motherhood accompanied by her husband, 30, with whom she has been married since 22. The couple has given the news in a video in which the image was expanding the plane until you can see Graham's whole body and you can see its obvious pregnancy. "Surprise!" Says the model smiling as much as her husband. Both have always shared their love on social networks, and the news of their first child has followed the same path. "Nine years ago today, I married the love of my life. It has been the best trip with my favorite person in the world! Today we are blessed, grateful and excited to celebrate it with our growing family! Happy anniversary, @mrjustinervin . Life is about to improve, "the model wrote in the text that accompanies the publication. Meanwhile, Ervin has chosen to share several photos on his Instagram account. Among them, one of both with an ultrasound of the baby.
same same but a little different
Објава коју дели A S H L E Y G R A H A M (@ashleygraham) дана 18. Авг 2019. у 9:07 PDT
In 2009 Graham, who was the most popular curvy model of the moment, met Ervin in a church. First they were just friends, but only a year later the couple said "yes, I want". In a 2016 interview with the Canadian edition of Elle magazine, the model said they both waited to get married before having sex. And he added not having had the feeling of wasting time, quite the opposite, he maintained that his marital life is "incredible." "My husband and I wait. Call me crazy, but it worked. Now the sex is amazing! When we were dating, I felt that it was I who had the power. He respected me more because he was not willing to give me easily," she said. "I always tell my friends to wait three months before bed with someone, and if that person can wait, then in a good boy. I want to make it clear that it is not a rule that should apply to everyone, but for me it was well, "he stressed.
In 2017, the top directed four women in a photo shoot, in which they agreed to show off their body covered only by lingerie for a video of Glamor magazine. "To not feel self-conscious when I am in a photo shoot I never touch the parts of my body that I don't like. Otherwise, I put my hands on my breasts or torso. That makes me feel more comfortable in front of the camera," he explains. Graham on the recording. In that same graphic session, the women who appear – and who do not engage in the model profession – claimed diversity with phrases like these: "I should stop worrying about what other people think" or "I should be more motivated. Never I had felt this way. I always feel too big, "while they were gaining security and confidence.
Graham ends the video with a message: "There are people who believe that the revolution of the body and the way we see it is just a trend. But is not. If we continue to promote the topic, if we put into check what society has long called ugly, then things will begin to change. This is how a declaration of intent is made, this is how we normalize things that we had been told before that were not right. " At the end of the powerful message, the model that has occupied covers in renowned magazines such as Vogue or Sport Illustrated breaks into tears, excited for what they have experienced and for the challenges that still lie ahead.
Since the beginning of his career, the top has added outstanding achievements in the fashion industry: covers of large headers, parades, campaigns for important firms. Thus, it has consolidated its own revolution regarding the acceptance of different canons of beauty and measures on the catwalk. He was even part of the Forbes list of the 30 most influential children under 30 in 2016, in addition to working on television and writing a book about the true face of trust, beauty and power.
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text:
Q: JasperReport cannot find symbol JREvaluator in WildFly, works without server Recently I've been working on report generation with Jasper. I have created a simple program to test it and when running it via IDE it did work fine.
Then I moved the (very short) class to WildFly sever application and despite having the exact same code and library generation fails with cannot find symbol. Those symbols it cannot find are JREvaluator, JRFillVariable as well as packages such as net.sf.jasperreports.engine
In so far I have confirmed that:

*

*Project builds (meaning those classes are visible for javac, but not jvm)

*jasperreports-6.13.0.jar is added to war (it's present in /WEB-INF/lib folder alongside other libraries, like gson and hibernate

*jasperreports-6.13.0.jar contains the missing classes

It looks to me like the problem doesn't lie in library not being loaded or missing classes (because in testing environment it works), but like something was preventing JBoss class loader from loading those classes
Attempted (and failed) solutions

*

*Clean and Build

*Adding -Djava.awt.headless=true to VM options - this did not changed anything

*Adding -Djava.awt.headless=false to VM options - also didn't change a thing, but once caused NullPointerException inside jasperreport library. For testing program - worked in both cases

*Adding commons-beanutils-1.9.4.jar, commons-digester-2.1.jar, commons-collections4-4.4.jar and commons-loggin-1.2.jar - with no changes

*Adding jasper-compiler-jdt-5.5.23.jar - this caused a different error, namely NoSuchMethodError for org.eclipse.jdt.internal.compiler.ICompilerRequestor and few others. This library however should not be necessary as - from what I understand - jasperreport-6.13.0.jar already contains it's compiler and separate library for compiler is not required since a long time.
What has not been attempted:

*

*Forcing the classes to load (http://www.java2s.com/Code/Java/Reflection/Forcethegivenclasstobeloadedfully.htm)

*Dynamically loading jar during Runtime or using custom class loader

Update: after looking at this answer and applying the suggestion the missing class was different. Which suggests that the dependencies inside jasperreport.jar are not being loaded properly

A: I have figured it out
For some reason in server project libraries used by jasperreport.jar were not loaded, but in the testing project they were (might be due to WildFly, might be due to differences between IntelliJ and NetBeans)
Here is the list of libraries, based on pom.xml file in jasperreport.jar that I have added. Some might not be necessary and the list might not be exhaustive (I basically stopped adding libraries once report started generating) but it's good enough base if someone else runs into this problem:

*

*commons-beanutils-1.9.4.jar

*itext-2.1.7.jar

*poi-ooxml-4.1.1.jar

*commons-collections4-4.4.jar

*jcommon-1.0.23.jar

*xalan-2.7.2.jar

*commons-digester-2.1.jar

*jfreechart-1.0.19.jar

*xmpcore-5.1.3.jar

*commons-logging-1.2.jar

*poi-4.1.1.jar

redpajama_set_name: RedPajamaStackExchange


Crystal Therapy is non invasive and extremely relaxing. Crystals are placed on the body and surrounding area to create a wonderful sense of calm, stillness and well being in a relaxed and caring environment. Sensations such as tingling, temperature changes can sometimes be felt as the body gently realigns itself.
Crystals emit tiny electrical impulses which are received & recognised via the body's neurological system. Conscious recognition of the energy exchange is not always apparent as it can be quite subtle. Each crystal has its own unique signature of energy, for example Tigers Eye will promote feelings of confidence, courage, pride, success and combat any negative sensations regarding these strengths which may be causing imbalance or restriction within the mental or emotional well being of the individual.
Correct placement of crystals on the body will promote emotional and mental harmony. During this state of equilibrium, inner harmony, the body has the perfect conditions to naturally heal itself, producing healthy regrowth of tissue and cells.


In most religions, devotional images are not inanimate objects; they are responsive presences with feelings and personalities. They console, reprimand, give directions and, for believers, carry an emotional charge mingling awe with affection.
This dynamic is the subject of an exhibition titled ''Images in Procession: Testimonies to Spanish Faith'' at the American Bible Society. The works include Baroque sculptures, 19th-century paintings from New Mexico and documentary photographs of religious pageants taken in the 1920's in Spain, where the public ceremonial display of religious art has a long and fervid history.
Almost all the works on view are from the collection of the Hispanic Society of America, one of the world's most comprehensive repositories of Spanish and Latin American culture, in Upper Manhattan. They range from a grief-drenched relief of the dead Christ surrounded by mourners, carved by an unknown 16th-century Castillian sculptor, to a sunshiney depiction of the Virgin of Guadalupe done around 1835 by a New Mexican painter called the Quill Pen Master.
The least familiar entries are the 55 photographs taken by Ruth Anderson (1893-1983). Anderson was born in Nebraska and studied at the Clarence White School for Photography in New York. After receiving her degree, she took a job as photographer -- and later as curator of costume -- with the Hispanic Society and made several documentary trips to Spain during the 1920's.
Among the things that intrigued her, in part because they had been little studied, were religious festivals and, specifically, the elaborate street processions and performances involving large-scale portable sculptures. Based on late medieval traditions, they offered a vivid blend of Roman Catholic orthodoxy, civic pride and edifying entertainment.
Anderson kept a daily journal when she was in Spain, and excerpts from it appear throughout the show, which has been organized by Patrick Lenaghan and Ena Heller. Her words convey a cool ethnologist's remove from what she was seeing, but also a sense of engagement and wonder. And these attitudes come through in her pictures.
The earliest are of Holy Week activities in northwest Spain. In the provincial city of Zamora, Anderson photographed processions of large floats, called pasos, bearing sculptural tableaus of scenes from the Passion. Winding through the streets on Good Friday, they were accompanied by penitents, members of local confraternities dressed in face-concealing robes and high peaked caps.
In the nearby town of Villalcampo, she recorded a dramatization, performed on an outdoor stage hung with quilts and blankets, of Jesus's final days. Local citizens play all the parts. And a few years later, in the village of La Alberca on the Feast of the Assumption, she saw another pageant, in which the devil made a literally explosive entry, followed by the Archangel Michael, portrayed by a young girl wearing a white gown and wings.
Anderson often photographed processions from a high window or rooftop. This distance can give a sense of choreographic symmetry, as in her shot of a formation of white-clad penitents with the trains of their robes spread out behind them as if they were brides. In many cases, though, it makes specific activity hard to read and gives little for the eye to fasten on.
She was at her best when she moved in close. Her stage-side shots of the Villalcampo Passion play feel as direct and unaffected as the performance itself. And her pictures of costumed children -- miniature pentitents looking shyly into the camera -- are wonderful. Here, one feels, she connected most comfortably with the intensely emotional events that were her subjects.
Such intensity is all but impossible to distill in an exhibition, and this one doesn't capture it. As Mr. Lenaghan relates in his catalog, no Spanish processional figures of the kind seen in Zamora are to be found in American collections; and the sound and sights of the festivals themselves can only be experienced on the spot.
At the same time, nothing Anderson depicts is really foreign to New York, where religiously based processions of all kinds are still common. One on 14th Street honors the Virgin of Guadalupe. Another in East Harlem observes the day of the Three Kings with colorful sculptures and costumes. And far downtown near Wall Street, hundreds of people wend their way with candles on the night of Good Friday to the tiny Greek Orthodox church of St. Nicholas, dwarfed by the towers of the World Trade Center.
There are many other such events annually in the city; perhaps information on them will be available at a free public symposium that is to take place today at the American Bible Society. Titled ''Religious Rituals in Europe and the Americas,'' it will address the same interaction of faith and festivity that Anderson did in her pictures, and may well do so with her combination of objectivity and tenderness.
''Images in Procession: Testimonies to Spanish Faith'' remains at the American Bible Society, 1865 Broadway, at 61st Street, through April 29. A free symposium, ''Religious Rituals in Europe and the Americas,'' is to be held today at the American Bible Society from 10 a.m. to 5 p.m.


Abandoned car wreck yard in deep in the sweedish woods where old cars rusting away.
This place is a vintage car collector's dream which has been left to rust and die. The forest have taken over and trees growing around bodywork and moss covering seats and steering wheels.


text:
British, Harold Shipman, committed suicide in his prison cell. He was a serial killer, possibly the most active serial killer of all time, who allegedly overdosed approximately 250 of his patients. He had been sentenced to life imprisonment.
The musical show ''The Fantasticks'' was performed for the last time, after almost 42 years and more than 17,000 performances.
A strong earthquake hit San Salvador, El Salvador, killing more than 1000 people.
Soviet Union troops killed 14 and injured almost 200 Lithuanian independence supporters in Lithuania's capital, Vilnius.
An Air Florida passenger flight crashed into Washington, DC's 14th Street Bridge shortly after takeoff resulting in the death of killing 74 passengers and 4 people on the ground.
English actor, Orlando Bloom, was born in Canterbury, Kent. He was catapulted to fame after staring in the hit movies, The Lord of the Rings films, and Pirates of the Caribbean.
A military coup took place in Ghana. Colonel Ignatius Kutu Acheamphong became the new Head of State until 1978 when he himself was deposed after another coup.
American actor, Patrick Dempsey, was born in Maine. He was prominent actor of the late 1980s and 1990's, and star of the popular television medical drama, Grey's Anatomy.
American actress, Penelope Ann Miller, was born in Los Angeles.
Irish writer, James Joyce, died at the age of 59. He is widely recognized as one of the most important writers of the 20th century.
The first issue of the 'Daily Universal Register' was published by John Walter. In 1788 the newspaper was renamed to 'The Times', the name under which it is still published today (2006).


text:
FREE FALL:
(U.S. Air Force photo by Technical Sergeant Michael Cossaboom)
A U.S. Pararescumen, assigned to the 82nd Expeditionary Rescue Squadron, jump from a KC-130 Hercules cargo aircraft during airborne operations over East Africa, on November 12, 2021.
Pararescuemen have to maintain their jump proficiency to enable them to complete their mission, which include, the rapid recovery of U.S. and allied personnel from battle zone and behind enemy lines. They also provide secure, reliable, flexible combat search and rescue capabilities. They can also rapidly deploy to austere locations to support U.S. and partner forces within the Combined Joint Task Force – Horn of Africa area of responsibility.
Since 9/11, these elite warriors have executed over 12,000 life-saving, combat rescue missions, according to the Air Force. They've also eliminated and captured numerous enemy combatants during the execution of these missions. Additionally, because of their unique capabilities, they have been called upon to rescue over 5,000 civilians worldwide during catastrophic natural disasters and other responses.
When one looks at this photo for the first time, it wouldn't be unheard of to think: Where's the plane they jumped from, or are they all X-Men? The low-key caption (below), the Pentagon placed on this photo anticipate that question, — sort of — but in answering, it raises additional questions.
Airmen jump from a KC-130 Hercules, not pictured, during airborne operations over East Africa, Nov. 25, 2021.
December 17, 2021 at 9:23 pm Leave a comment


Two Frangipani flowers. 80mm diameter, flat backed and are about 6mm thick. These ceramics are hand made in our Tauranga studio and are glazed and fired to a high temperature which makes them tough and weatherproof. They are flat backed, so are fantastic as feature pieces in mosaics, and have hanging hooks so are also great as wall hangings. They can also be set into concrete or glued onto almost any surface.


UnityEngine.JsonUtlity is enough. It is necessary to selectively output property. UnityEngine.JsonUtlity is not enough.
A library to deserialize Unity3D Assets and AssetBundles files (*.unity3d). Most extractors for Unity3D files (such as Disunity) deal with the format as a "file store", treating it as one would treat a zip. This is not how the format actually works.
UnitySocketIO - socket.io client for unity3d.
The project is the socket.io client for unity3d, written in C#. It's based on socketio4net.Client (http://socketio4net.codeplex.com/). However, socketio4net.Client only provides a .NET 4.0 C# client, and does compatible with unity3d. We've done a lot of works on supporting unity3d. The project was initially designed for unity client of pomelo framework, which is a powerful, scalable game server framework.
Game prototype made in Unity3D.
Unity3D Utilities provides additional functionality to Unity3D (3.0+) via extensions, utilities, mini-frameworks, etc.
C# wrapper around XInput, works with any Mono or .NET application (eg. Unity3D).XInput is a DirectX API to manage the controllers connected to a PC (the same API is also used on Xbox 360). It allows an Xbox 360 controller to be used on a Windows PC.
VRTK - A productive VR Toolkit for rapidly building VR solutions in Unity3d.
A productive VR Toolkit for rapidly building VR solutions in Unity3d. The API documentation for the project can be found within this repository in API.md which includes the up to date documentation for this GitHub repository.
Unity3D library for importing and exporting GLTF 2.0 assets. The library will be modularized such that it can be extended to support additional capabilities in Unity or support additional extensions to the glTF specification. The library is designed to work with Unity 5.6 and above.
If you have ever wanted to transmit data from Arduino to Unity3D the main issue is INSANE LATENCY. We didn't find any free, optimized, and customizable solutions to tackle this problem. So I built wrmhl. You can now connect any Arduino interface to Unity3D. You can use the default protocol, or implement your own without having to deal with thread just by changing wrmhl/Assets/WRMHL/Scripts/Thread/wrmhlThread_Lines.cs.
When I started with Unity3d development I needed to use SQLite in my project and it was very hard to me to find a place with simple instructions on how to make it work. All I got were links to paid solutions on the Unity3d's Assets Store and a lot of different and complicated tutorials. At the end, I decided that there should be a simpler way and I created SQLite4Unity3d, a plugin that helps you to use SQLite in your Unity3d projects in a clear and easy way and works in iOS, Mac, Android and Windows projects.
State machines are a very effective way to manage game state, either on your main game play object (Game Over, Restart, Continue etc) or on individual actors and NPCs (AI behaviours, Animations, etc). The following is a simple state machine that should work well within any Unity context. Most state machines come from the world of C# enterprise, and are wonderfully complicated or require a lot of boilerplate code. State Machines however are an incredibly useful pattern in game development, administrative overhead should never be a burden that discourages you from writing good code.
Generic C# GOAP (Goal Oriented Action Planning) library with Unity3d examples and helpers classes. This library is very generic, if you don't include the Unity folder you can use it in any game engine.


The Best Home Ranch Agency in Wake Village Texas – Service Insurance Group Company.
Hunting For The Best Home Ranch Agency In Wake Village Texas?
Everyone has particular needs at home - a setting to call home and the comfort of recognizing that should an accident or some unforeseen event take place, you have The Best Home Ranch Agency in Wake Village Texas to manage almost any ensuing material damage or accidental injuries. Anywhere you call home - town or country, south or north - you must have some type of protection for that place you call your home. Exactly what kinds of losses can happen to your home?
Storm devastation from hail and the wind!
Payment of hospital bills for someone wounded on your premises!
Nobody wants to give up any possessions they have worked very hard to get. This is the reason getting The Best Home Ranch Agency in Wake Village Texas is indeed so crucial. It is also crucial for you to obtain an insurer that knows the various kinds of insurance found in the current market - and has the skills to suit your requirements with the right policy and policy coverage. You should have the knowledge and working experience of the qualified personnel with Service Insurance Group.
Offer many selections for The Best Home Ranch Agency!
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text:
HealthBlawg
David Harlow's Health Care Law Blog
Awards/Reviews
Health Insurance Exchange regulations are out, and they make me feel like a visitor from the future
Health Insurance Exchange regulations were released by HHS yesterday — in a DC hardware store, for local color and homespun truths — with a go-live date of January 1, 2014, per the Affordable Care Act, and a key interim approval deadline of January 1, 2013, by which date each state needs to demonstrate that it has its act together and is on a glide path to the go-live date. Despite the rancorous opposition to the ACA (consider, for example, the views of the Virginia Attorney General — who is leading a multi-state charge against the individual mandate — expressed at the American Health Lawyers Association Annual Meeting last month, where he was an invited keynote speaker, and later tweeted a tone-deaf assessment of the audience and an unkind skewering of a questioner who didn't share his perspective), 49 states, D.C. and four territories have accepted health insurance exchange planning grants. Thus, it seems unlikely (for now) that the federales will have to make use of the "Do I have to do everything for you?" clause which would allow HHS to step in and set up an exchange for a state.
Here in the People's Republic of Massachusetts, the health insurance exchange established by the Commonwealth's 2006 health reform law has been up and running for quite some time now. As a Visitor from the Future I have to remember that the exchange — or as we call it here, the Health Connector, or just the Connector, does not exist in every state. It is a boon to the people of Massachusetts, who have availed themselves of this tool, among others, in achieving near-universal coverage. (I'd encourage you to check out the Connector website, and see how it works.)
Since passage of the ACA, folks 'round these parts (and in other states ahead of the curve) have wondered whether the federales would write rules that would require the early adopters to rip out what they've built and start over. The issue has even risen to the level of a bill that would amend the ACA to let the early adopters alone. (See discussion of Wyden-Brown bill.) The regulations address this issue head-on, in a fairly reasonable manner. Subject to certain exceptions,
a State operating an exchange is presumed to be in compliance with the standards set forth in this part if: (1) the exchange was operating before January 1, 2010; and (2) the State has insured a percentage of its population not less than the percentage of the population projected to be covered nationally after the implementation of the Affordable Care Act.
CMS Office of the Actuary says 93.6% of the population will be covered in 2016; CBO says 95%. Comments are invited. Massachusetts would meet either standard. Such a "deemed" state is also supposed to "work with HHS to identify areas of noncompliance" with the exchange standards. Unclear what we're supposed to do with this understanding of noncompliance.
Stepping back from the details, the naysayers will say that the state subsidies built into the exchange for eligible residents will break the camel's back — universal coverage is a pipe dream we can't afford. The counter-argument, of course, is that we can't afford widespread uninsurance. While the Massachusetts experience is not necessarily representatitive, so we can't extrapolate success from Massachsuetts to the US, there's much to be learned from the experience here as implementation of the ACA continues.
David Harlow
The Harlow Group LLC
Health Care Law and Consulting
Filed Under: Health care policy, Health Law, Health Reform, Massachusetts
Health Insurance Exchange Regulations and the Health Reform Challenge
Health Exchange Enrollment: Speed of Light or . . . Molasses
Health care insurance reform notes from South Carolina
« Healthcare Associated Infections: What is the Message, and What Can We Do About Them?
Health Care Social Media: Getting Health Care Providers off the Dime »
TCoughlin says
It's really starting to feel more real now, isn't it? As if the state exchanges are actually something tangible, rather than just an abstraction to put off until later. From the vantage point of Massachusetts, it must be like deja vu all over again.
Kudos for your restraint in commenting on the VA AG's tweet. Tone deaf indeed. Out of curiosity, I visited his Twitter stream and not entirely surprised to see he only follows 2 others – one of which is his campaign director. Guess the whole back-and-forth engagement thing of social media is primarily for those who like to play fast and loose with the Constitution 😉
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text:
namespace org
{
namespace w3c
{
namespace dom
{
namespace bootstrap
{

bool XMLHttpRequestOptionsImp::getAnon()
{
    // TODO: implement me!
    return 0;
}

void XMLHttpRequestOptionsImp::setAnon(bool anon)
{
    // TODO: implement me!
}

}
}
}
}


Naperville Roofing & Construction: a superior Roofing Contractor! Naperville Roofing & Construction has earned several accolades for customer satisfaction with the inclusion of being awarded an excellent A+ standing with the ANGIESLIST.
Naperville Roofing & Construction: Deerfield Naperville Roofing & Construction in Deerfield Illinois will provide quality personal as well as commercially aware roof services. To get a totally free estimate get in touch today!


text:
GoDaddy (NYSE: GDDY) Sign Share Repurchase Agreement with Goldman Sachs
GoDaddy Inc
GoDaddy Inc. (NYSE: GDDY) has announced that it has inked a share of an accelerated repurchase (ASR) agreement with Goldman Sachs & Co. LLC to buy back $250 million of GoDaddy's common stock.
GoDaddy Inc. (NYSE: GDDY) has announced that it has inked a share of an accelerated repurchase (ASR) agreement with Goldman Sachs & Co. LLC to buy back $250 million of GoDaddy's common stock. The ASR has inked following GoDaddy's share repurchase program, under which nearly $750 million share repurchase approval will remain available upon the conclusion of the ASR.
GoDaddy disclosed that accelerated repurchase strengthens its trust in the long-term opportunity for GoDaddy and its dedication to creating shareholder value. GoDaddy Inc. (NYSE: GDDY) shares were trading up 0.59% as the firm has gained +0.28 at the time of writing on Thursday.
GoDaddy Inc.'s share price went from a low point around $68.66 to briefly over $93.75 in the past 52 weeks, though shares have since pulled back to $70.93. GDDY's market cap has stayed high, reaching $12.13M at the time of writing.
Furthermore, after the execution of the program, GoDaddy will have bought back a total of roughly 6.9 million shares year-to-date. It signifies 4% of total shares outstanding. Since January 2020, GoDaddy will have bought roughly 16.9 million shares, which signifies more than 9% of total shares outstanding. The final agreement of the ASR is scheduled to be finalized in Q3 of 2021.
Vasta Platform Limited
Vasta (NASDAQ: VSTA) Announces Acquisition of Educational Marketing Solutions Firm EMME
Vasta Platform Limited (NASDAQ: VSTA) has announced the acquisition of educational marketing solutions EMME. EMME has garnered attention as a provider of educational marketing solutions for schools.
Rimsha Khan 13 Aug 2021 • 1 min read
Public Service Enterprise Group Incorporated
Public Service Enterprise (NYSE: PEG) to Divest PSEG Fossil Generating Portfolio
Public Service Enterprise Group Incorporated (NYSE: PEG) revealed that it has decided to divest Fossil Generating Portfolio to ArcLight Capital. The firm has inked an agreement with ArcLight Capital after which the Fossil Generating Portfolio will be acquired by ArcLight.


1. Apply an eyeshadow primer all over the lid.
2. Begin by using a dark turquoise colour (Number 7 shown above) as a base, one that is quite transparent. Don't worry too much about how neatly you apply it, this step is just to create a canvas for the other colours to layer on top of.
3. Take a deep purple (Number 6 shown above - preferably one that has a cool undertone) and apply this to the inner half of the lid. You still want a purple that has some colour to it, otherwise the look will turn out too dark.
4. Now take a dark blue (Number 5 shown above) and apply it to the outer half of the eye.
5. Use a warmer purple colour (Number 4 shown above) and apply this to the crease.
6. Apply a dark matte blue colour (Number 3 shown above) to the outer half of the crease.
7. Take a snowy blue colour (Number 2 shown above) and brush it across the brow bone.
8. Add a white shimmer (Number 1 shown above) to the inner corner of the eye and the outer half of the brown bone.
9. To line under the lower lashes, use the matte dark blue (Number 3) on the outer half, and the dark purple (Number 6) on the inner half.
10. Comb and curl your eyelashes.
11. Apply black pencil liner to the waterline, and 2-3 coats of mascara. If you'd like to enhance the darkness of this look you can also add liquid liner above the upper lashes.
Just a side note: a nice light berry lip colour really complements this look :) Thanks for reading, hope you enjoyed the tutorial!
Nice tutorial! That's such a delicate color too. I'm a big fan of eye makeup. Usually I wear eye liner with a tiny bit of eyeshadow and of course, mascara :) It's fun to see what looks other people sport.


text:
Леонід Михайлович Гончаров (, село Грачевка, тепер Грачевського району Оренбурзької області, Російська Федерація — , полігон Емба) — радянський воєначальник, кандидат військових наук, професор, генерал-полковник артилерії. Депутат Верховної Ради УРСР 10—11-го скликань. Кандидат у члени ЦК КПУ у 1981—1986 роках. Член Ревізійної комісії КПУ в лютому — травні 1986 р.

Біографія
Народився в родині службовця. Трудову діяльність розпочав із сімнадцятирічного віку.

З 1943 року — в Червоній армії. У 1944 році закінчив військове училище. Брав участь у німецько-радянській війні у складі військ 2-го Українського фронту та радянсько-японській війні у складі військ 2-го Далекосхідного фронту. Член ВКП(б) з 1945 року.

У 1959 році закінчив Військову командну академію Протиповітряної оборони СРСР. Служив у Військах ППО СРСР на посаді начальника штабу, командира зенітного ракетного полку, начальника зенітно-ракетних військ корпусу. Брав участь у війні у В'єтнамі в період активних бойових дій при відбитті масованих нальотів авіації США на Ханой, Хайфон у 1967 році.

З жовтня 1968 по серпень 1970 року був командиром 21-ї дивізії ППО (Одеса); з серпня 1970 року — командир 28 корпусу ППО (Львів); з 1973 по 1977 рік — командувач 4-ї окремої армії ППО (Свердловськ); з 1978 по 1983 рік — командувач 8-ї окремої армії ППО (Київ).

З 1983 по травень 1986 рік — начальник Військової академії протиповітряної оборони Сухопутних військ імені Маршала Радянського Союзу Василевського О. М..

Раптово помер 21 травня 1986 року від серцевого нападу на полігоні Емба. Похований в Києві на Байковому кладовищі.

Звання
 генерал-полковник артилерії (30.10.1978)

Нагороди
 орден Жовтневої Революції
 орден Червоного Прапора
 два ордени Червоної Зірки
 орден Вітчизняної війни І ст.
 орден «За службу Батьківщині у Збройних Силах СРСР» ІІІ ст.
 медалі

Джерела
 Сайт ветеранів 8-ї окремої армії ППО

Уродженці Грачевського району (Оренбурзька область)
Учасники Другої світової війни з СРСР
Радянські військовики В'єтнамської війни
Депутати Верховної Ради УРСР 10-го скликання
Депутати Верховної Ради УРСР 11-го скликання
Члени КПРС
Генерал-полковники артилерії
Померли в Актюбінській області
Військова академія протиповітряної оборони Сухопутних військ імені Маршала Радянського Союзу Василевського О.М.

redpajama_set_name: RedPajamaWikipedia