"The man who wins is the man who thinks he can"
Hadley Racing, LLC is a coaching company that helps athletes of all abilties achieve their goals in triathlon by supplying them with high performance personalized training programs.
Originally from England UK - Hadley Racing owner and Head Coach James Hadley has been an athlete for the past 28 years. James has achieved professional status in Triathlon where he has raced internationally on the "pro" circuit for the past 12 years. During this time he has been taught by some of the best coaches in the world whilst also training and racing alongside some of the greatest athletes triathlon has ever seen.
Hadley Racing sets every training program individually and personally for each client via an online performance training platform called Training Peaks. Each week every session is scheduled and assessed upon completion via heart rate and power analyses in order to help all athletes perform at the very best of their ability.
Head Coach James Hadley says "Although I am a firm believer in getting the hard work done it's also essential to have a holistic approach to performance. To do this I monitor and assess each session based off of Heart Rate and/or bike Watts data. This way each client has the best chance possible to acheive their goals and perform at their potential. The key to success is the balance of consistency, old school hard work and an optimal amount of recovery by analysing scientific feedback...all whilst staying respectful to everyday demands of the athletes lifestyle".
All Hadley Racing schedules have been personally written and performed by professional triathlete and coach (James Hadley) during many years of his own personal first hand experience as a professional triathlete. Hadley Racing also allows full time contact via cell phone or email on any day so minor adjustments can be made at any time to help maximise and improve the clients training experience.
Hadley grew up as a swimmer from the age of 8yrs old training twice a day accomplishing around 60,000 yds a week at the City of Bristol National squad in England UK. He has won countless races around the country throughout a decade of swimming racing representing his county at the English County Championships and for the City of Bristol swim team at the English National Championships in freestyle, backstroke and breastroke events.
James competed at galas and open meet swimming competitions almost every week-end for 8yrs straight!
Hadley Racing biking programs have been developed from years upon years of James' cycing experience ranging from mountain biking, BMX-ing and Time Trialing as a professional triathlete. He has trained and raced alongside some of the best cyclists and triathletes in the world.
2016 saw James run a 1:14hr half marathon off the bike in Racine 70.3. His run schedules come from many legendary running coaches that have been slightly adjusted to suit the individual needs of his athletes.
James has represented the South West of England at cross country and track events all across the UK. He also represented his county at the English Schools National Cross Country Championships.


text:
News & Thinking
Home / Our Work / Restaurant Association of Ireland
Restaurant Association of Ireland
The Restaurants Association of Ireland was formed in 1970 with the initial goal of forming a strong lobby that would represent the industry at the Government-level on issues of importance to the Irish restaurant industry. The Association now represents in excess of 2,500 members, with establishments representing full-service restaurants, coffee shops, hotel restaurants, gastropubs, golf clubs, and cookery schools. They also represent over 150 trade partners and businesses that are approved suppliers of products and services for restaurants. We caught up with them to learn about their experience of moving from Quickbooks to Accounting Seed.
The Restaurant Association of Ireland implemented Quickbooks in 1994 as its accounting software. Over the years, the association's team grew to 16 people and manual processes were making scaling harder and more inefficient the more successful they became.
As their membership grew, more and more forms were being manually filled out to capture new member details and then passed up to accounts to be manually inputted into Quickbooks. The sales team at the Restaurant Association of Ireland had started using Salesforce and naturally, a question the team had asked was, 'Can you integrate Salesforce with Quickbooks.
Tony Dalton, an accountant for the RAI explained to Prodigy, "We were told 'yes' they integrate, but in reality, the integration left a lot to be desired and didn't really solve the problems we needed"
Another bottleneck the association faced was empowering reps on the ground to be able to help out with fee collection. "Fee collection was centralised to accounts creating a bottleneck and making more manual work in chasing. We know that the first year is a critical year for any association as you pay to acquire a new member, so it's critical to keep them on. We needed to be able to give reps more control over this, so they could collect membership renewals when engaging with members on other issues. We knew this was something we really needed to get to, but with Quickbooks it was going to be hard".
The team at Prodigy helped the association and Tony in the process of moving from Quickbooks to Accounting Seed.
"Accounting Seed helped us implement some more challenging finance policies. For example, membership is only recognised on payments received whereas other areas such as tickets for events, were recognised on invoicing."
One of the true benefits of Accounting Seed is it's not 'integrated' with Salesforce, but built natively on Salesforce, to ensure reporting around the same objects in Salesforce creates one true view. More on that here
"Using Accounting Seed made our data cleaner. We had no more duplicate records. The level of reporting is also highly customisable and powerful".
"If it wasn't for Accounting Seed, we would have hired another person for manual data input. It has definitely helped the Restaurant Association of Ireland to be more efficient."
On Prodigy
"Prodigy's response times are excellent. They were always back with an answer straight away and on the rare occasion they couldn't answer straight away, they'd always acknowledge your email."
"You can tell they genuinely care about the customer. I never heard the clock ticking when I was working with them. I would highly recommend them."
Project Snapshot
Accounting on Salesforce

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: cleartool: Error: Permission denied: not VOB owner or priveleged user. cleartool: Error: Trouble loading versioned object base Performed fix_prot on a VOB database dump from Linux into Windows. Fix_prot said the re-protection was complete. So, I tried to run a cleartool reformatvob - load and receive the following: cleartool: Error: Permission denied: not VOB owner or priveleged user.
           cleartool: Error: Trouble loading versioned object base .
Don't understand why it's still not letting me load the VOB.

A: It is one limitation of the cleartool reformatvob command:

You must have one of the following identities:

*

*VOB owner

*root (UNIX and Linux)

*Member of the ClearCase administrators group (ClearCase on Windows)

I usually perform a load as root (on Linux), or, in your case on Windows, as a member of the ClearCase admin group.
Then I do a cleartool protectvob to change the vob ownership.
In that order, it works.

redpajama_set_name: RedPajamaStackExchange


text:
Sony's Web TV Pitch: Old TV, New Wrapper
It's like cable TV, but you get it on the Web.
By Peter Kafka Nov 13, 2014, 10:01am EST
Share All sharing options for: Sony's Web TV Pitch: Old TV, New Wrapper
Sony has finally announced details of its upcoming Web TV launch — beta soon, a real launch next year, with a bunch of major programmers signed on.
But if you're trying to figure out what this means for the TV business — or for you, the TV watcher — ignore everything except for this quote from Sony executive Andrew House talking about the price he's going to charge for his pay-TV service: "I'm not looking at it in terms of a substantial discount," he told the Wall Street Journal. "I'm looking to offer a better sense of value for money."
That is: You know how cable TV networks are bundled together, and if you want to watch any of them you have to pay for all of them, even if you don't watch the other ones? That's what we're doing, too.
This isn't surprising to people who follow the would-be Web TV business. But my hunch is that it's going to be awfully disappointing for Sony's would-be customers — youngish dudes who spend a lot of time with their PlayStations and either don't pay for TV or are dissatisfied with the pay-TV service they have.
Again, we don't know the price Sony is going to end up with, but guesstimates put it in the $60-$70 a month range for a bundle of shows from networks like Viacom, Discovery and CBS — Disney's ESPN is a critical omission, at least for the time being.
But remember that anyone who watches TV on the Web is going to have to pay for Web access, too — so add on another $35 or so (that's what Time Warner Cable is offering me for a broadband-only service at 50 mbps today).
So, to recap: Sony plans on selling its customers the same TV they can already get from a traditional pay-TV service — at effectively the same price — though perhaps without some crucial channels. And it will stream it over the Web, via their game devices. This is a different tactic than the one Dish plans to take: Chairman Charlie Ergen wants to sell a "skinny" bundle of Web TV — including ESPN — priced at $30 a month.
Sony thinks its service will be compelling because of the user interface it's going to wrap that programming in. Talking to the New York Times, House plays up the notion that Sony is going to offer an awesome discovery and recommendations service, so it can end TV-watchers' "frustration of not being able to really access and surface the content that they really want to see."
And he does have half a point — the traditional TV guides the cable guys provide are awful, and have been awful for a long time. It's telling that it's 2014 and Comcast* is just beginning to do a wide rollout for a non-awful guide, via its new X1 box. This is also why many tech-oriented folks fantasize about what Apple could do if and when it gets into the TV business.
But the market also tells us that in the real world, real people don't have a problem "discovering" video. They watch an enormous amount of it, both on TV and on the Web, with the crummy systems they have now. And while lots of video discovery startups have insisted they could provide value by solving this problem, almost all of them have failed or are failing. See: Fan TV.
So if Sony is going to sell old TV, at an old price, with a new interface, that interface is going to have be very, very dazzling to find lots of customers. I'm doubtful.
* Comcast owns NBCUniversal, which is a minority investor in Revere Digital, Re/code's parent company.


text:
Dina Asher-Smith
Club: Blackheath & Bromley
Lead Coach: John Blackie 2010-
Previous Lead: Paul Patten -2009
Age Group:SEN
Region: London
Nation: England
2013 - England Athletics U20
Domestic Championships Recordchampionships & European Trials 100m gold, 200m gold; England Athletics U20 championships 200m gold; English Schools' championships 200m gold; England Athletics U20 indoor championships 60m gold. British Athletics European Indoor Trials & UK championships 60m 5th
2012 - England U17 indoor championships 60m gold; Aviva England Athletics U20championships 100m silver, 200m silver; England U17 championships 100m gold, 200m gold; 200m gold; Sainsbury's School Games 200m gold
2011 - England Athletics U17 indoor championships 60m gold; English Schools' championships 200m gold
2010 - Aviva England Athletics U15 championships 100m gold, 200m gold; Aviva English Schoolschampionships 200m gold
2009 - England U15 championships 100m gold, 200m silver; Aviva English Schools' championships 200m 5th; England Athletics U15 indoor championships 200m 5th
Major Championships and International Record
2018 - Commonwealth Games 200m bronze; 4x100m relay gold
2017 - IAAF World championships 200m 4th; 4x100m relay silver
2016 - Olympic Games 200m 5th; 4x100m relay bronze; European Athleticschampionships 200m gold; 4x100m relay silver
2015 - IAAF World championships 200m 5th; 4x100m relay 4th
2014 - IAAF World Juniorchampionships 100m gold
2013 - IAAF Worldchampionships 4x100m relay bronze; European Athletics Junior championships 200m gold; 4x100m relay gold
2012 - IAAF World Junior championships 200m 7th
2011 - Commonwealth Youth Games 200m gold; 4x100m relay gold
2011 - Aviva SIAB U17 International 200m gold


One year ago 'Wot Do You Call It' was born. To celebrate their 1st birthday, they linked up with Radar Radio last month in a secret London location and got over 50 MCs to come down and bless a set with me and DJ Argue running the riddims.
You got Big Zuu, Jammz, Mic Ty, AJ Tracey, Ghostly, Mez, Snowy, Kyeza, Snoopa, Grim Sickers, Row.D, K Wing, J Wing, Pawz, C Cane, Rage, Majicall, Hitman Hyper, Rhimez, Desperado, Izzie Gibbs, Rampage, Discarda, Shizz, Villain, Grimey, Saint, PK, Blakie, Deejillz, Syder, Lyrical Strally, 2 Face, Royal, Shivz Dotz, So Large, RD, Jammin, Blaze, Lady Shocker, Ten Dixon, Mr X along many more!
Check the video footage below and stream or download the audio from the Soundcloud.
Gonna be documenting my Mode FM shows from now so here's my 'Night Shift' on Mode FM from Wednesday 3rd June 2015 alongside Mic Ty, Big Zuu, Capo Lee, Nico Lindsay, Big H, Milli Major, Pauly Papers, Rocks, Jammin, RD, Eklipse, Dubz D & Blaze.
Also, get a glimpse of what went down with the video footage below shot by F Velody.
Here's my 3rd appearance on GetDarker. This time for the White Peach Records Takeover alongside Impey, Zha, Grandmixxer & Novelist.
Watch as I mix, blend, drop, chop & juggle my way though a bag of riddims just short of an hour. Expect to hear some Trends, Rude Kid, Kahn, Neek, Scruloose, Jawside, Arctic, Dubzta, Incipe, Solo 45, Arma, Moony, Soloman, Mr Dubz, Murlo, Wiley, Nomis & Maribor & more!
Watch me live in action above or stream & download from the Soundcloud below.
In the run-up to my 3rd appearance on GetDarker TV, they have unleashed audio & video of my 1st appearance with Darkside & Cluekid.
Stream or download from the Soundcloud & watch the full show below.
Here's the 'Grimey Mondays' 8th December 2014 show with myself Spooky b2b Big Mikee alongside Invasion (Hitman, Sox, Tazzle, Tana, Villain, Izzie Gibbs), Full Force (Webster, Genos, Brutez, Breeza, Tony Touch, Reload, Trapz, CS), Big Shizz, Cadell, Jammin, RD, Jammz, Grimey MicPol, Rampage & more + the 'Golden Oldie' of the week by Wiley! So click here or the Deja Vu FM logos for the download or you can stream the whole set in FULL recorded LIVE straight from the Deja HQ below!


Bloss Task Chairs by Martin Ballendat.
An elegantly minimalist ergonomic seating solution, Bloss Office Task Chair is available in translucent mesh and features automatic back tension adjustment and a horizontally adjustable seat, with optional clip-on fabric or leather covers for the seat and backrest. As a further option, the seat back is available with a height adjustable lumbar support, the front side of which is padded with PU to provide comfort to the user's back while leaning on it.
All the design elements of Bloss Task Chairs are created in an organic and personable way while keeping the essence of straightforward timelessness. Of great importance in this context is the frame covered with mesh, which exudes an air of translucence on the space around it. The entire product Bloss family has a special lightness to it, and use of the high-tech mesh gives it a futuristic flair.
The well thought-out mesh concept ensures optimal support of the user's body while seated. All frame elements are recessed to avoid any discomfort for the user as his/her body is only supported by the mesh. The frame construction of the seat has a futuristic "spider" form that gives a levitating impression to the mesh. The seat depth adjustment lever is embedded neatly on one of the armrests; the adjustment range is up to 60 mm.
Bloss works with a specially developed mechanism that is regulated automatically by the user´s weight. No spring pressure regulation is required. The seat inclination adjustment is limited by a special mechanism.
An optional cover can be easily clipped onto the seat and/or back of the chair. This concept allows for high breathability of the upholstery, and when taken off, the covers can be easily cleaned.
Bloss Office Chair can be equipped with adjustable armrests as an alternative to the organically designed fixed ones. The range of height adjustment is up to 100 mm, in addition to width adjustment within the range of 25 mm.
The plastic components of Bloss are available in black, while the seat frame is aluminium. The base is available in polish or white finishes.
You are requesting a price for the "Bloss Task Chairs"
To create a new project and add "Bloss Task Chairs" to it please click the button below.
To add "Bloss Task Chairs" to an existing project please select below.


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Enter this discount code at checkout to save 11% on all orders at Dell Alienware.


text:
Most people were charmed by the Italian-born writer and journalist Gaia Servadio, who died in Rome in 2021, at the age of eighty two. At her London home on the Chelsea-Pimlico border she hosted one of the last notable literary salons; Homeric meals were laid on for, among others, Italo Calvino, Salman Rushdie, Philip Roth and Bernardo Bertolucci. Witty and cultivated company seemed to thrive under Gaia, who happened to be the mother of Boris Johnson's first wife. From an early age she had proved a capable and fiercely independent reporter for the Turin daily La Stampa; Primo Levi, for one, had followed her career admiringly, and called on her in London in 1986 during one of his final book-signing tours.
La cucina in valigia (Cuisine in the Suitcase) is the last of Gaia's 40-odd books; it rounds off a life driven by curiosity and a sensuous appreciation of opera, art, archaeology and, not least, food. In the course of her many travels round China, Israel, Syria, Russia and her adored Sicily, Gaia was keenly attentive to the foodstuffs on offer, and always made a point of visiting street markets. This book, an amalgam of travel and gastronomy, is tinged with an autumnal sense of loss and the self-examination of an older woman looking back on an extraordinary life.
As a journalist in Israel in 1967 during the Six Day War, Gaia had eaten hummus for the first time, and she never forgot the taste of the chick pea dish that is now a supermarket staple. On the Sicilian island of Lampedusa in the early 1970s she was served spaghetti in the company of a group of mafiosi. (The London Sunday Times had commissioned an interview with one of them). Along the way, recipes are offered for cooking pasta with handfuls of Tuscan "monk's beard" – a relative of chicory – and roast pork in Calabrian bergamot orange sauce.
Orlando Mostyn-Owen, the youngest of Gaia's three children, relates in his foreword to the book that his mother saw Terence Conran as the "catalyst" who brought a taste of Italian design (not to mention duvets) to a newly affluent postwar British public. After he opened his first Habitat store in London in 1964, Italian food became more readily available in the capital and Italian restaurants up and down the country began to adopt a Pop minimalist décor. (Out went the Kodachrome photographs of Vesuvius and Sophia Loren; in came Warhol.) Conran was, in a sense, an early Mod figure, beholden to the Italian fashion and design he had seen displayed in Federico Fellini's La dolce vita. Gaia, who arrived in London from Italy in the mid-1950s, generally had little time for British food or cooking (though she did like haggis).
Published posthumously, La cucina in valigia can be read in tandem with Gaia's fine 2014 autobiography, Raccogliamo le vele (Lower the Sails). Both books share a dry, droll humour and an unmistakable verve and love for life. Gaia was an adored friend and I will miss her.
A version of this review appeared in the Times Literary Supplement on 14 October 2022


text:
require 'thor'
require 'readline'

module Wpconv
  class CLI < Thor
    desc "convert WP_XML_PATH", "convert wordpress export xml to markdown."
    option :output_dir, :type => :string, :aliases => '-o', :banner => '/path/to/output_dir'
    option :template, :type => :string, :aliases => '-t', :banner => '/path/to/your_template.erb'
    option :filename_format, :type => :string, :aliases => '-n', :banner => 'date-name(default), name or id'
    option :filter, :type => :string, :aliases => '-f', :banner => 'markdown(default), none or /path/to/your_filter.rb'
    def convert(wp_xml_path)
      Wpconv::Converter.new.run(wp_xml_path, options)
    end
  end
end

redpajama_set_name: RedPajamaGithub


World travel health alerts for 6th of February 2019.
On Jan 31, the ECDC published its updated map on Brazil's yellow fever risk areas which is based on the WHO's 2018 Yellow Fever Vaccination Recommendations in the Americas.
It is mid-flu season with reports 23 states and New York City were experiencing high rates of influenza-like illnesses (ILI) up to the end of week 4 and a further 10 states and Puerto Rico reported moderate ILI rates. According to the CDC's FluView, 'the majority of influenza viruses characterized antigenically and genetically are similar to the cell-grown reference viruses representing the 2018–2019 Northern Hemisphere influenza vaccine viruses'. Influenza A viruses predominate. In Canada, the influenza vaccine has been 72% effective this season against the predominant circulating virus, influenza A(H1N1)pdm09, offering "substantial" protection, researchers said. See more at healio.com. Influenza reporting in Japan has spiked with record numbers of flu diagnoses – more than 7.6 million cases this season. As with North America, influenza A viruses are most common.
WASHINGTON State health department is now reporting 49 confirmed measles cases and a further 11 are probable - at least 42 of the confirmed cases were unimmunised. Read more. On the east coast, Rockland County's reported measles cases have risen to 130 since October while in Brooklyn, 64 cases have emerged among the Orthodox Jewish community living in four neighbourhoods. This local outbreak began after several unvaccinated children returning from Israel and the virus then spread locally.
The latest WHO External Situation Report, published yesterday, provided details on 12 of the 18 affected health zones in the provinces of North Kivu and Ituri which continue to report ongoing active Ebola virus transmission. The Health Ministry's daily newsletter puts the case count as of Feb 5 at 788 cases (734 confirmed and 54 probable), 191 suspected cases under investigation and the locations of three new confirmed cases - Katwa, Kyondo and Oicha. Read the update here.
Lassa fever is a low risk for most travellers. Rodents shed the virus in urine and droppings and it's then passed on to humans through direct contact, touching objects or eating food contaminated with these materials, or through cuts or sores. While Lassa fever is mild or has no observable symptoms in about 80% of people infected with the virus, the remaining 20% have a severe multisystem disease. Read more on Lassa fever.
Of the 707 dengue fever cases reported since September last year ((99% were DENV2), 435 were recorded over January and almost half of those in the capital Noumea - an epidemic alert was declared by the DASS on Dec 21, 2018. The neighbourhoods of Rivière Salée and Vallée des Colons have been hardest hit. Read more. And in an update of Palau's dengue outbreak: from Dec 1 to Feb 3 there were 77 cases – the southern state of Koror recorded 75 percent of all cases.
Two batches of falsified rabies vaccine (Verorab®) have been found to be in circulation, leading to notification of the WHO and its subsequent release of Medical Product Alert N° 1/2019. A falsified medical product is one that 'deliberately/fraudulently misrepresents their identity/composition/source. The WHO-approved cell culture vaccine is used for both pre- and post-exposure vaccinations to prevent rabies, an infection that kills between 200 and 300 Filipinos every year. The Philippines is in the top 10 of rabies incidence countries worldwide.
A viral infection, tick-borne encephalitis (TBE) can cause fever, vomiting, cramps and paralysis, which can be prolonged. In rare instances, infection can be fatal. Travellers who spend time in regions where TBE is endemic – mainly forested areas of Central and Eastern Europe, Russia, Northern China, and Mongolia – may be at risk. The highest risk is during the warmer months from April to November, especially when hiking or camping in areas below 1500m. While safe and effective vaccines are available in Europe, none are licensed in Australia. However, vaccination can be obtained by doctors through a Special Access Scheme.


Comfort rules in these delectably soft French terry pants, space-dyed in a special technique. Fashioned with a pull-on elastic waist, cord drawstring, side slits and raw-edge hems, they're ready for lounging, errands or naps. Poly/cotton. Misses 29-1/2" inseam. Sits just below natural waist.


text:
U2 Feedback > Your Blue Room > Everything You Know Is Wrong > Everything You Know Is Wrong Archive
negativland
Location: Zaireeka
In June of 1992 U2's publicist in L.A. contacted Mondo 2000 magazine on behalf of the group's guitarist, The Edge, with the idea of doing a rare interview concerning the group's Zoo TV tour and its use of technology. Mondo editor R. U. Serius then, without The Edge's knowledge, contacted Don Joyce and Mark Hosler of Negativland with an invitation to participate in the interview. On June 25th Negativland joined R. U. Serius to await the following call from The Edge in Dublin.
R. U. Serius: So you had some stuff you wanted to talk about?
The Edge: Well, I just like the magazine. I've seen a few issues. And it's just so boring, the usual magazine kind of angles, so well-trodden. I just thought you might have an interesting angle on what we're doing which would be a little bit more imaginative.
Mark: I got the idea from talking with R.U. Serius that you were interested in talking about the impact technology is having on people and cultures.
E: Our position is a very unique one. We are a very big band. We have access, technology, access to the airwaves, be they TV, radio, or whatever. We're a little more relaxed at this point in time about being a big band, because we've turned it into a part of the creative process. We're actually using our position in a way that gives us a certain amount of amusement. It's turned it into part of what we do. A few years ago we were almost uncomfortable with the idea of being a big band. It seemed like maybe coming from where we did and being interested in the things we were interested in, it seemed like a bit of an anomaly, a bit of a contradiction.
M: Was it like you were trying to reconcile what you were trying to do when you started and what music was to you then, and then look what it's turned into?
E: It was so different. When we started out we were very influenced- this was '76- the whole punk thing of start again, wipe the slate clean, and vitality was where it was at. No one was really thinking very much. It was really about making the statement now.
M: If you look at the equivalent, you're the next big thing that a bunch of kids could say, "Let's tear that down."
E: Sure, yeah, I think that's part of the whole regenerative thing of rock and roll and I think that's really important. We were that then, and now we're in a position where we are big, and we want to do something with this position that's interesting, and that's imaginative, and I suppose that's the right amount irreverent, and we're not taking our position seriously in that sense. We're actually in a way being kind of subversive, and just manipulating it. The whole Zoo TV thing, the access that being where we are gives us, has given us a lot of enjoyment. We're playing around...we've got TV specials coming up which are really hilarious. We did this satellite link-up with MTV where we beamed our show into somebody's front room. The possibilities are only beginning to present themselves.
M: I think what you're saying sounds great. If you get to a position where you've got the power, the money to do something, and you still maintain this idea of exploring and doing something interesting and fun, that's really great. But it seems like when you get to be a certain size- you're an international cultural phenomenon- and it seems like a lot of what you're doing, when you look at it and analyze it, might be pretty subversive...but it ends up being lost on a huge number of the people who are following what you're doing. They're more following it as a surface thing: What's the new Top 40 hit from U2? I don't know if that's something you just realize, and it's part of what it is...
E: Yeah. We're not shy about being big anymore. I think rock and roll should be big. It's about mass communication. The idea that it's kind of a cult thing and that it's underground is all very well, but it's shame if that's all it ever is...that the majority of the airwaves are dominated by music that's purely commercially motivated and does not go beyond that, but is essentially one-dimensional. We're in a position where we can do some more wild things and I would think it would be a shame if we just accepted the standards and the way that most bands go about their business, and didn't use this position in a different way.
M: I wanted to ask you something more about the Zoo TV tour. One thing that wasn't really clear to me- you have a satellite dish so that you can take stuff down live off of various TV transmissions around the world?
E: Yeah, essentially the system is, like we've got the big screens on the stage which are the final image that's created. Down by the mixing board we've got a vision mixer which mixes in, blends the images from live cameras, from optical disks, and from live satellite transmissions that are taken in from a dish outside the venue. So the combination of images can be any of those sources. We've also incorporated telecommunications. We've got a telephone onstage that Bono occasionally makes calls from the stage and occasionally calling the White House or ordering pizza or whatever...um, phone sex...
Don: So you can kind of sample whatever's out there on the airwaves...
E: Yeah, it's kind of like information central.
M: One thing I'm curious about- there's been more and more controversy over copyright issues and sampling, and I thought that one thing you're doing in the Zoo TV tour is that you were taking these TV broadcasts- copyrighted material that you are then re-broadcasting right there in the venue where people paid for a ticket- and I wondered what you thought about that.
D: And whether you had any problem, whether it ever came up that that was illegal.
E: No, I mean, I asked the question early on- is this going to be a problem?, and apparently it, I don't think there is a problem. I mean, in theory I don't have a problem with sampling. I suppose when a sample becomes just part of another work then it's no problem. If sampling is, you know, stealing an idea and replaying the same idea, changing it very slightly, that's different. We're using the visual and images in a completely different context. If it's a live broadcast, it's like a few seconds at the most. I don't think, in spirit, there's any...
D: So you would say that a fragmentary approach is the way to go.
E: Yeah. You know, like in music terms, we've sampled things, people sample us all the time, you know, I hear the odd U2 drum loop in a dance record or whatever. You know, I don't have any problem with that.
D: Well, this is interesting, because we've been involved in a similar situation along these lines...
RUS: In fact, maybe it's time for me to interject here. The folks that you've been talking to, Don and Mark, aside from being occasional contributors to Mondo 2000, are members of a band called Negativland.
E: Ahhhhhh!
RUS: And I figured- I know they've been sued by your record label, but they hadn't been sued by you. So I thought we could engage in a conversation. And I know you might feel like we're out to surprise you or sabotage you, but just to engage in...
D: But anyway, we were sued by Island for a very fragmentary sample of one of your records.
E: Yeah.
M: We ended up sending some packages of stuff along to you and some letters, and I don't know what kind of communications you personally ever got about it.
E: Yeah, well from what I can remember, I can't remember the exact sequence of events, but as it was presented to us, you know, "Here's the record, here's the album sleeve, Island are already on the case here, and they've objected because they feel it's, because of the artwork, this is at a time where a lot of people are expecting a new U2 record," and they felt that, from their own point of view, in a pure business sense, nothing about art, I just think they felt there was a chance that people would pick up the record in a record shop and think, "Oh, this is the new U2 album."
M: But that actually was...I mean, in the context U2 is in, you have an idea of doing something that's subversive, and we're scurrying around way down low in the underground of music, and we're doing things that we also think are somewhat subversive...but the thing that we did was- You know, the lawsuit from Island dealt with this as if it was a consumer fraud that was intended to rip off innocent U2 fans, and that we were somehow gonna make millions of dollars by selling these records. And of course it didn't acknowledge that there was any- they may not like the artistic intent of the record, you know, you and your band might be offended by what we did, but no one ever in any way acknowledged that the record was anything else. And yet, actually, when you look at the cover and you listen to the record, look at the whole package, there's a U-2 spyplane on the cover and stuff- it's pretty obvious that this is actually an artistic statement...again, you may not like it, but it's a statement about something.
E: I wasn't, I didn't have any problem with it. I think Casey Kasem could have. I mean the problem really was by the time it really, by the time we realized what was going on it was kinda too late, and we actually did approach the record company on your behalf and said, "Look, c'mon, this is just, this is very heavy..."
D: Oh, what did they say?
E: But at that point, on the point of principle, their attitude was, "Well, look, OK, we're not gonna look for damages but we, we're not about to swallow our own legal costs." The way it ended up, they were looking for costs, not damages.
M: Right, but what happened, we didn't get a phone call from Island saying, "Look, we're pissed. We don't like what you did. Our band has a new album coming out and you better pull this thing or we're gonna smash you." They didn't give us any chance to do anything. The first thing we heard was, ten days after the record was out, there's a 180-page lawsuit.
E: Wow.
M: So it was like there was no negotiation and they went ahead and were spending, you know, they've got 400-dollar-an-hour lawyers.
D: See, you're quite right about their main concern being the cover rather than the content, we always felt that and I think that was obvious from their lawsuit, the way it was worded, but they never came to us in the first place and simply said: "Change the cover."
D: And instead they just smashed the whole thing including the content...
E: Yeah, really. I think we would have reacted in a different way, but the lawsuit was not our lawsuit. Although we have some influence, we weren't in a position to tell Island Records what to do.
M: Well, that's one thing we were always wondering: Is that really true? Or: OK, if U2 sells 14 million copies of an album for a label, and you're the main thing that keeps Island Records in business economically, then don't the artists?... You could see how we would think that you would certainly have the leverage to...
D: Yeah, why can't the artist have more influence over the label, do you know?
E: What may have happened is that theirs was a knee-jerk reaction at a moment when they were expecting the album to be delivered, and they were probably, maybe after the event, they were way down the road before they really took a proper look at what it was, but I think they felt...
D: You know, we've had contact with Island throughout this, trying to get them to adjust their position or pull back or not go any further, and actually they did keep on this right up to the point of...
M: Yeah, one of the things we tried to make clear actually to- we sent some faxes to [Island V.P.] Eric Levine and [Island President] Chris Blackwell and [U2 Manager] Paul McGuinness- we said: Look, ya know, it's one thing, we could have canned the cover, that's one thing, or we could have even stopped making the record and Negativland would have paid SST for the costs of destroying the copies that are still in the warehouse, but then what happened, of course, is they went after not only all these records, but they kept using the lawyers, and then they went after the money. We made it very clear to Island and to Paul McGuinness that our label was going to turn around and come after all that money out of us, that in the end Negativland would pay for absolutely every cent of it, and SST says it's $90,000. You know, you may spend $90,000 on ordering pizza at a show for your fans, but for us...
E: Ha ha ha ha...
M: We haven't made that much money in 12 years as a band, right? So there's a difference between just sort of putting a stop to something, or a smashing attack with a sledge hammer.
E: I know...
M: And that's the thing we were trying to communicate.
E: Well, listen, when we heard this idea that you and SST had fallen out, and that this was no longer record company to record company, that it was like you were losing money, so we actually discussed the message that you wanted the records given back to you, I mean I was up for that, but then I heard that Casey Kasem was not, that he actually wanted to stop it...so it's all become a big mess.
M: The thing that was interesting about Casey was that Casey in public was questioned about our single and he said, "Well, I don't like what they did, it's embarassing to me, but I'm for free speech..."
M: "...I'm against censorship, I'm for the First Amendment, and I think people should be able to do what they want," and then privately he said: No, I'll sue your ass if you try to put it out.
M: So the thing that's been interesting to us in this whole thing is that we were working for a record label that was very much outside the mainstream music industry, so we're dealing with SST, with U2, with Casey Kasem, all people who- we're really looking at what people's public persona is versus private, and we've been of course always wanting to somehow have some contact with U2 to find out what really happened.
E: You know, you should have tried to make contact first...
D: But we can't get to you!...
M: That's the thing. You are insulated behind so many layers of management and publicity firms, and SST actually did, they told us they contacted Warner/Chappell Publishing anonymously before the record came out about possibly even sampling clearance rights and they were told, "No, U2 simply never grants that..."
E: Ah, that's complete bollocks, there's like, there's at least six records out there that are direct samples from our stuff.
D: But they may not have been granted by Island.
E: Well, they must have been, because some of the records...There's a thing called New Year's Day which is a dance group, basically around the New Year's Day bass part and drum part so that's not just a sample...[i.e. the producers must have had access to the multitrack master tape to get those parts separately]
M: The other feeling we had, which we were kinda talking about earlier with the Zoo TV tour, was we said: Look, a long time ago when artists were- artists are always reacting to their environment right? You're always doing something that's reacting to the world you're in, so what are the tools or the technology you had a few hundred years ago to do that? Well, maybe you had a paintbrush, you had a piano, a lute. You could interpret things that way, and the way we see it now, and it sounds like perhaps you agree, is that now the technology is simply different and now it happens that instead of just making a painting of something I can take a photograph, a video, I can make a xerox, I can make a sample...
D: It's capturing...
M: ...And you can capture it, and our environment is- and it's something you're suggesting in the Zoo TV tour too- the environment is this media-saturated thing that we live in.
E: Yes.
M: And to us it was like, on the one hand I know that U2 is a bunch of guys just trying to make some music, but at another level, U2 is part of the media environment we live in, you know, I hear your songs playing in the shopping mall in the background when I'm shopping, whether I want to or not.
M: And so for us to ask permission to do something that's in response to the environment we're in, which is something McGuinness said to us very early on: "Oh, you should have asked us"- and we sort of felt from a business standpoint, that's one way- but from an artistic standpoint, we felt that No, we don't need to. This is just the world that we're in.
D: See, your response to sampling is the absolutely correct one, I think, which is: if it's fragmentary it's OK, no one should really worry about fragmentary appropriation of anything.
D: You know, the public domain is actually, literally the public domain and if it's in it, let's use it. And we're against bootlegging entire works completely- that is ripping people off- but the idea that all this stuff is out there surrounding us, and we're swimming in it, the idea that it could become part of your own work is perfectly appropriate and, in fact, necessary as a kind of self-defense against the coercion that media has become...and yet the business end of it, your label and every other label, has an archaic view of this, based on their own ownership of all that culture.
D: And so part of what we're about now, especially since our own lawsuit, is to bring all this out in some way, even to the point of changing the copyright laws, which is what I'm onto right now- I would really like to relook at the copyright laws in this country and the way that you can't even sample two seconds of something because it's owned. I think it's totally wrong, and has to be changed in this age of new technologies that are basically about capturing things.
E: Yeah, well, technology has really paved the way for this. We're in a new era. The technology is the means to create in music...
D: But the laws have not caught up with that at all.
E: Absolutely, yes. I mean ultimately it does no one any good if creativity is stopped because record companies are losing money. I suppose the fine line is between where a sample or using somebody else's work is pure theft and plagiarism, and where it becomes a legitimate new thing, and that I suppose is where whatever new legislation, that's where it's really going to be difficult to be clear.
D: I think it's going to be akin to deciding whether something is pornographic or not, it's going to be the same kind of tricky definitions there, but I've come to the conclusion that, actually, I would make the defining guideline in the law be whether or not it's, in effect, a bootleg of a complete, self-contained performance, or whether it's a fragment, any part. I would just say using any part, but not the whole, is OK. Now of course you'll get to the point where someone would try to exploit that definition and use all but the last ten seconds of a song, but that's a case for the judge to say "No, you're really just pushing it there and that's wrong." Like pornography, they can make a decision about that. But to me, I'd like the law to say that any fragmentary use of another person's work is free- absolutely free, and they don't have to pay royalties, and they don't have to pay rights, and they don't have to get permission. They can just use it because it's there.
E: Yeah, I'd be up for that.
D: And that would just be part of working in the public domain. If you're going to be a public person and put things out, you can make all the money you can off your own work, but you don't control it to the extent that no one else can make any use of it. That's what I would do.
E: Yeah. I mean, I know of dance records, you know, I've heard them in clubs and on cassette, that can never be released because the bills that would have to be paid...
D: That's true with us, too.
M: We've been doing stuff using bits of, not so much music really at all- actually the U2 thing is actually one of the only times we've really used a lot of someone else's music and then it was only because it was part of the concept- but we've always used lots and lots of voices from radio and television and stuff found in used record stores, and we realize the way that we work- I mean, on our records we literally have hundreds of different little bits of voices all put together- and how could we take the time, or ever have the money, or the ability to find out where they're all from, and pay everybody? And what's happening lately with all these lawsuits, now I guess all the labels are becoming even more scared about sampling infringement. It's like they're totally clamping down on a whole way of working with sound.
D: They're all caving in, absolutely caving in. Anytime a lawsuit comes up, the label apologizes and capitulates and says, "We're sorry," and no one is fighting the law, saying the law itself is unreasonable.
E: Yeah, well, I don't know what to say really, I mean I'm only interested in the spirit of what it is, not the legality.
D: Here's the thing, though: you are hooked up with the legality. You are in partnership with someone who's taken an opposite point of view, and I'm wondering: What the hell can you do with your influence and your power as a group to effect some changes? Because this has destroyed us as a band, we're now absolutely with no label, and with no money, and with no opportunity to put out anything else.
M: One thing that's happened is that our label is turning around and is taking the royalties from every record we've ever done, so we're not making anything. The last six or seven years of work is down the drain. There's no money, there's nothing. And now they're going to sue us. And of course Island isn't responsible for what SST Records decides to do, but we did make it clear all along in letters to Levine and Blackwell that, look, these are the repercussions of what's happening, and do you want to be in that position with what you're doing? Because you're not just stopping a record, you're actually economically destroying a band.
D: And the really stupid thing is, it was done about the cover but they succeeded in crushing the art- and they didn't seem to know the difference or care about the difference.
E: Yeah. What interests me then is whose responsibility is the cover. I mean you provide the music, but...
D: We did the cover. We designed the cover and it's true, we were very naive, and we were trying to actually make it look like a U2 cover to an extent. They're absolutely right on that count. It is a deceptive practice, no doubt about it, and we wouldn't have argued that. We would have changed the cover if they'd asked us to, but they never did. They never even asked about that. They just had this sledgehammer approach which is based on being so big and so rich that no one can fight them. And that's exactly what they did. They threatened to go to court, we couldn't afford to go to court, so actually, it's just a question of money winning. Not points, no principles, it's just that they had more money to waste then we did, so they could win. That's what they did. That's what really bothers me about this. The whole issue of the content, and the integrity of the art, and the integrity of the idea that free speech is part of art, and that no matter how offensive, it should be able to be out there- none of that was able to even be brought up because they didn't like the cover, so they squashed the whole thing, as if it was all the same, just a matter of money.
E: Yeah, well, you're dealing there with a company. That is their thing, it is about business. As it happens, Chris Blackwell is a great supporter of young bands and he generally would be on your wavelength. So, I mean, I can't speak for Chris because, although I read his letters, I didn't speak to him personally about this. But I got the impression that it was difficult to understand quite why he jumped the way he did.
D: I don't either, and I got the impression that even after we had explained some of this to him it didn't make any difference. They were committed, the wheels were rolling, the paperwork's been done...
M: I had the feeling that it was like some executive made the decision and once it was decided, that executive couldn't lose face by turning around and saying "Oh, I guess I made a wrong decision."
D: A typical bureaucratic mish-mush there, but that's... Here's my point: Artists hook up with these people, in my mind unfortunately, and so: How do you correlate your attitude, which is about the spiritual imperatives of music, with the company's attitude which says, "Oh yeah, that's fine," and then actually...
[Phone disconnects]
All: Hello?
E: Hi, we got cut off there.
D: Thanks for calling back.
M: Alright, good points for you!
D: Oh, so I was making the point about the artist and the company, and how they're inevitably linked up in the way that the business is set up...and yet their motives and their priorities are completely opposite, and how do you reconcile that? Do you just say "Well, we really can't control that," or why the heck can't we say, you know, "I'm going to try to control that, I'm going to try to get in there and have some influence and change that attitude and have some effect" ?
E: Uh, this has never come up. Obviously there's a conflict there, but in the way that you set up your dealings with the record company, you protect what you think is important and you leave them to take care of the aspects of their business that they need to be in control of.
D: Yeah, but you see what happened now?
E: You protect yourself in your, what you're trying to do, but, you know, we've never, until now, felt like we have to also be in control of situations that didn't involve us. It's never come up before.
M: One thing is that the sheer size of your group and the scale at which you're working means that just to be able to function from day to day you're gotta have a lot of different people working for you, and I assume that Paul McGuinness is a big part of filtering things out and communicating what he thinks you need to know and keeping out what he thinks you don't.
E: There's a bit of that, um...
D: Edge, I think there's a lot of that.
M: It seems like, yeah, there could be more layers around than you realize when you're in the middle of it. From our perspective, trying to get through to you...
D: It can't be done.
M: Yeah, it was made out to be- Blackwell and McGuinness were acting as if this was a simple thing, you know...
E: Well, to be fair to ourselves, we do spend hours and hours dealing with requests and connections that have been made. So we do see most of the things that come into the office.
M: Well, that's good.
E: I think if you had made a direct approach I'm sure we would've, it would've come to our attention. I know something like Negativland, it would've needed to have been pitched in some way for us, or for any of our people to fully understand what was going on.
D: Edge, what if you went to Island and you said: "From now on, I want you to let anybody sample our work who wants it, for nothing." What do you think they would say?
E: Well, I'm not sure we can make a judgement like that...
D: It's your music...
E: The deal that we have is that we sell or we rent the use of the copyrights to somebody else. That's the whole idea of having publishing and record deals. They have the right to exploit our work.
D: But you sign a contract to do that. What if in the next contract it said you're going to allow sampling?
E: OK, maybe in the next contract...
M: But right now what that means, Don, is it means that they not only have the right to exploit it, but that gives them the right to protect it...
E: They would see it in very simple terms as they're just protecting their own property.
D: Yes, I know, and yet it...We aren't the only ones, it's happening all over, all these sampling lawsuits have essentially the same effect. They crush an entire work for some two- or three- or ten-second thing that's within it, and so the whole thing goes down because of this...
E: Again, I'm not sure, I don't imagine Island was upset about the sampling aspect.
D: Well, they said they were.
M: But the thing you do in a lawsuit, you throw in everything you can think of. They even accused us of defamation of character by associating this foul language with the clean-cut image of the group U2!
E: Ha ha ha hee hee ha.
M: They did!
E: Wow...
M: Actually, if you ever read the original lawsuit, it's actually quite funny.
E: Yeah. I mean lawyers are a completely different breed, aren't they?
D: Yes, but they're running the show! Those lawyers are running these record companies...
M: Have you ever heard of the book called Hit Men by Frederic Dannen?
E: Yes, I actually have a copy but I haven't read it yet.
D: Read it.
M: You should. I've always basically known that the music industry was fairly corrupt, but this book is terrifying...
D: The artist is a victim in the music business.
M: Cannon fodder.
D: He's the last guy to know and the last guy to have any recourse. These business people have it all their own way.
D: It's always been that way and it hasn't gotten any better.
E: The funny thing is, though, and this is what's kind of ironic and annoying about this situation, is that Chris Blackwell is kind of, has always been the opposite to most major corporate record labels. His style of business is more personal and not at all that kind of...So that's why the fact that it's Island is so kind of annoying and ironic.
D: Yeah, but you know I've heard this about Chris Blackwell too, but I think even a guy like that is still working under a lot of assumptions about cultural ownership and never even gave it a thought, perhaps like you haven't, that: Hey, this whole concept of the private ownership of culture- there's something wrong here. It's too big to ever really have it occur to you maybe, but it certainly has occurred to us since this has happened. And we're actually on something of a crusade to bring this issue out for public debate, and start talking about: Wait a minute, what are we doing here, and what are the deleterious effects on culture itself by having it all privately owned to this degree where no one can touch anything else? An example is folk music. Folk music is dead. It's impossible now because folk music used to be based on stealing lyrics and music from previous stuff and incorporating it into what you're doing, and a constant evolving of things based on other things.
D: You can't do that today because everything is privately owned. You can't use music lyrics that exist today because they're privately owned, and so the idea, the very essence of folk music per se is impossible now because of this situation.
E: It's a pretty big thing you're taking on there.
D: Yes.
E: There's a lot of money involved and I think it's pretty clear that in terms of the creative process, if you're sampling momentarily, if you're just borrowing you know, little sonic things from someone else's piece and you're creating something completely new, I mean it shouldn't really be a question of getting permission, but when you're talking about actual songs and ownership of copyrights and all that, I mean it's, you know, you're getting into a whole different area, and I don't think that that's going to change.
D: Well, I think ownership should extend to the entire work only. In other words, copyright and ownership of a song means that no one else can use that song, or cover that song, without paying the artist- because that's the artist's work, that's the artist's entire work- but, like you say, any fragmentary use, I would totally eliminate any concept of ownership. That's what I would do.
E: You know, we've actually suffered in the past ourselves with this where we got sued for Bono quoting someone else's lyrics in a live album of ours.
D: Really?
E: And, at the time, we were actually quite shocked that the law was so stringent about it, you know, a quotation of one phrase or two phrases was a very big deal and there was a big cash settlement or whatever, so we've been on the other side of this.
D: I know, it's just a natural artist's inclination I think, to just use stuff like that, and it is shocking when you find out that you can't even do that.
E: Yeah. We learned pretty quick though. Maybe I never questioned this kind of thing, is this right, I just said, "Well, this is the situation so we have to live with it."
D: No!
E: Whether you have a chance of actually changing it, I don't know.
M: Yeah, I don't think we actually have a real chance, but what we are trying to do, in our own very miniscule kind of way, is just get information out.
E: Well, one thing I would say is, really being fair, you guys at Mondo should talk to Island about it, because my understanding of the sequence of events and what happened is a bit cloudy because it all happened quite a while ago, but also I wasn't really kept informed very much, once every couple of months I would get the latest installment, whenever we got a letter from Negativland asking us to do something, and the benefit concert was I thought quite an insane idea...
M: That was actually our record label's idea, and we thought that was kind of a silly idea. By that time we weren't even working with the label anymore and we thought that our label was doing that mostly as kind of publicity stunt or something.
E: Uh huh.
D: It didn't really make any sense. We were also against the Kill Bono T-shirt.
E: Yeah, I like that, I want one, ha ha.
M: At the time it seemed to us it was SST reacting against U2, but we weren't being sued by U2, we were being sued by Island.
M: But at a certain point, not hearing anything directly from your band, we started thinking, well, where do you draw the line of responsibility here? And of course there's been a million unanswered questions, which you've answered a lot of. I've tried to call Eric Levine and he never returns my calls.
E: But again, the problem is it wasn't U2 that were being affected, it was Island.
D: I don't know whether you know this or not, but there has actually been a lot of press about this situation, the Negativland record and the lawsuit...
E: I know you've really taken a kicking and I'm really sorry about how it's all come out, Island Records hasn't been affected, but we have gotten so much shit in the media about all this, and it's really annoying.
D: That's what I think, and that's why it was really, from your band's perspective, a totally wrong move that the label took.
D: And I'm wondering, well, in the future are you going to take more care about who your label sues in your behalf?
E: That's actually not accurate, they weren't suing you on our behalf. They were suing you on their behalf.
D: No, I'm saying the public perception is that they are suing us on your behalf.
M: The thing that was interesting was, we thought: why wasn't it obvious to somebody at Island Records that the amount of money they're going to make from us is nothing, and that in the end they're only going to- whether U2 is involved or not, it's going to, in the press it's going to end up reflecting badly on the band. And we thought that's so obvious that you'd think they would've just dropped it. But also it felt as if they thought we were so tiny and infinitesimal that no one would even care, we would just sort of drop off the face of the earth once it was over.
E: I don't know, quite, I mean you really have to ask them. I know that they probably reacted quickly and then, maybe on the matter of principle, felt like, "Well, we shouldn't be out of pocket for this. Of course damages may be inappropriate and we'll forget about that, but why should we be out of pocket?" And that's again the lawyers' thing. Once you press that button...
D: Well, I think they should be out of pocket because they made a mistake and they should pay for it.
E: Ha ha ha. I'm sure they wouldn't see it like that...but again, I can't talk for them, really.
M: I wanted to ask you a question which I feel very strange doing, and we hadn't planned to ask you this at all, but: We used to put out our records ourselves on our own label. We did the whole do-it-yourself thing, and then we were working with this much larger independent label, SST, but we've decided now, looking at everything that's happened and weighing the various- what we think is going on in the world of music in general, we've decided to go back to our own record label and doing it ourselves.
M: And what we're trying to do now is, we've been trying to find someone who will lend us money to get started, and we've been trying to borrow 15 or 20 thousand dollars. We've figured out on paper with the amount of records we could sell and the distribution we'll get, we could pay people back with 10% interest in about 9 months.
E: Right.
M: So I'm asking you if you'd be interested in lending us some money.
E: Ha ha ha, great! That's the first time I've ever been asked for money during the course of an interview. Ha ha ha.
M: Well, it's not a gift, it's a pure loan and we'll give you your 10%.
E: Yeah, I know, I know what you're saying.
D: And the publicity would be great.
E: Ha ha. I have to say, this is probably the most surreal interview I've ever had in my life.
All: Ha ha ha.
E: Well, listen, I feel sort of put on the spot but, yeah, I'm, I'm interested...
M: We're not trying to put you on the spot at all, and that's why I said I feel funny asking the question...
D: We feel funny doing everything. We're really desperate, that's all.
E: OK, well...Look, put something on a piece of paper and send it to- what's the best person to send it to...
M: Yes, please.
E: (Gives address)
M: Well, I'm amazed. We were afraid you would just hang up the phone.
E: Ha ha ha.
M: You've been in amazing good humor about it.
E: Well, it's been good to talk to you and sort of figure out where you're coming from- it's a little hard to tell from the record, quite what your intentions were.
M: Do you want to know what inspired the whole thing, though?
E: What?
M: It was getting the tape of Casey Kasem. We heard that tape and we thought, this is so amazing, we cannot be the only people to have this. We have to share this with the whole world. It's too great.
M: And then he was talking about U2, so we said, "Let's use some music by U2," and the idea grew. That was sort of the seed of the idea and it just grew and grew. It was the Casey Kasem tape, and U2 wasn't the target.
E: Yeah, yeah. Well, it's been really good talking to you, and I'll think about that request.
I had never seen the full interview. I just heard the song yesterday actually for the first time.
I remember at the time that this happened, the media was kinda blaming U2 for going after this underground band, but in reality it's completely their fault. They shouldn't have put the record out without permission. Maybe Island records over reacted, but they have the right to do so.
U2 went through something similar when they Quoted Bruce Cockburn in Ratle&Hum. Even The beatles went through the same thing when they had to give royalties to Chuck Berry for a word that they used in the song Come Together. And more recently The verve had to give royalties to the Stones for the song Bittersweet Symphony.
Anyways, thanks for posting the interview.
u2loopy
Location: Bronx, NY
I remember when all that happened. Negativeland achieved what they tried to do because I remember seeing the album cover in a magazine and flipping out thinking that it was a new U2 album.
The interview you posted was cool to read, but also infuriating. How annoying that the editor allowed the two guys from Negativeland to AMBUSH edge. Edge was completely polite and courteous throughout the whole interview. It seemed they kept drilling him for answers he couldn't give them.
Like he repeated over and over, it was Island's lawsuit, not U2's.
Work like you don't need to
Love like you've never been hurt
Spiral_Staircase
Location: Knoxville, TN, USA
This is just another example of how amazingly cool Edge is. I can't believe how well he handled that situation.
Can anyone point me to where I can hear this song or see the album cover. I'll do a little searching, but if somebody already has it, I'd appreciate it.
on a slightly related side note: Can Seconds or someone else explain to me the relationship between the Stones and Bittersweet Symphony? Did they write the song or what? Thanks.
-Spiral Suitcase
"The Edge is a great singer. Let's get the Edge up here." - Bono, 9/23/97, Sarajevo
"Brian Eno. Edge." - Bono, 09/12/95, Modena
"Edge." - Bono, 05/01/2001, Minneapolis
"You made my day, now you have to sleep in it." - TMBG
Originally posted by Spiral_Staircase:
Can Seconds or someone else explain to me the relationship between the Stones and Bittersweet Symphony? Did they write the song or what? Thanks.
I think the symphony part is originally from a Stones Tune. I'm not really sure which one. I know that they had to give full royalties from the single to The Stones' and/or their manager/promoter. Maybe someone else knows the full story.
barlowdog
Location: PA, USA
I have a vinyl copy of that record and it's really quite humorous. There's also a book called "The Letter U and the Numeral 2" that Negativland put out a few years back that tells the whole story. It's got all kinds of articles and detail including the Mondo interview as well as faxes sent by everyone from Paul McGuiness to Negativland to the music publishers on down to Island's lawyers, etc. In the end, Negativland sued their label(SST, which was owned by Greg Ginn who played with Henry Rollins in Black Flag) for the money they lost in the lawsuits. Negativland doesn't seem to hold a grudge against U2. In fact, the villain appears to be Casey Kasem who is the only party who still won't allow them to have the rights to their record back because they include some outtakes of him cursing during the taping of his American Top 40 program. Bad for the image, I suppose, though the only people who are likely to hear it probably don't care about Casey Kasem anyway. In fact, if this whole thing hadn't turned into one big messy lawsuit, this record would likely have quietly disappeared having been heard only by a few hundred Negativland fans. There's a lot of detail to this whole thing and I recommend getting the book and/or finding out whatever one can to make up one's own mind. Gotta go listen to 7 now. Bye!!
Bono's pet Frog
Location: Reading, Berkshire, U.K
Originally posted by Seconds:
I think the symphony part is originally from a Stones Tune.
If i am correct, The song your looking for, is, This Could Be The Last Time. Although it was from an orchestrial compilation and sounded nothing like the original song.
Blast From The Past Echo PLEBA Archive 8 12-22-2001 12:48 PM


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A Word from RightTurn
Quizzes/Survey/Trivia
What's Driving New Technology in the Auto Industry?
By Jake Posted May 2, 2017
Modern automobiles have come a long way in recent years when it comes to autonomous safety features and adaptive driving capabilities. Whereas power door locks and windows were a pretty big deal just 20 years ago, automotive technology continues to outpace itself. Compared to the following five innovations, however, even the back-up cameras and anti-collision braking systems of today can be considered to be rather low-tech.
Self-Driving Systems
In literal answer to this article's leading question, there actually may be no one driving your car within the next couple decades. You'll still have to keep your eyes on the road, but your role will be more of an assist to the vehicle's fully adaptive onboard technology. At this year's Consumer Technology Association convention, better known as CES 2017, automakers such as Nissan, Toyota, and Volkswagen exhibited their own futuristic conceptions of driverless cars to great acclaim. Meanwhile, cities like Sacramento, California and Portland, Oregon are already trying to get some self-driving cars on the road ASAP to ease traffic congestion and improve overall safety.
3-D Mapping
This idea goes hand-in-hand with self-driving tech. As its own driver, your car will need to know more than just which roads will get you to your destination fastest, but also what condition those roads are in, including how many potholes or stopped vehicles are along the way. However, the potential for 3-D positioning goes beyond enabling autonomy—for instance, you could use a 3-D map generated at the time of a traffic incident to prove with a high degree of accuracy that the road was too slick for you to stop safely when the light changed from yellow to red.
Human-Car Interaction
Imagine a future where not only are you not your car's driver, but you're instead referred to as its 'user.' Currently, most of us think of our vehicles as more machine than computer, so phrases like 'user interface' don't tend to make too much sense in the context of driving.
Well, what if your windshield doubled as a transparent computer screen so that you'd never have to look away from the road? And what if your car could talk and get to know you personally? Toyota has already begun to imagine this future with its Concept-i, and the artificial intelligence (AI) envisioned for it called Yui, which the automaker has showcased at CES 2017 and auto shows across the country this year.
Automated Ride-Sharing
As more and more ride-sharing companies and apps keep popping up these days, there have been complaints from both customers and drivers, usually conflicting, about pricing. One way that this issue might go away in the future involves the ability for vehicle owners to contract out their driverless cars when not in use. That's right—while you're at a party or working at your day job, your car could be bringing home the bacon, too. Plus, you'll save on parking.
Nissan's concept car this year features what the carmaker calls 'Intelligent Mobility,' which would enable the future automobile to communicate on its own with its driver as well as potential ride-share clients. That means that you won't even have to be a 'people person' to participate in the future ride-share market.
Zero Emissions and Beyond
A number of all-electric cars have made it to the market in recent years, including the Nissan Leaf and Chevrolet Bolt EV. While these battery-powered automobiles go a long way in reducing the environmental footprint of driving, there's still plenty of room for improvement. As long as the car needs to be plugged in, then it'll still impact the environment—unless you're also generating your own electricity off the grid.
New technology seeks to make the zero-emissions vehicles, or ZEVs, of the future completely independent of external energy sources. While the possibility of a car that can self-charge throughout its lifecycle remains controversial, those doubts haven't stopped big names like Volkswagen from attempting it. VW's I.D. Crozz concept car, achieving a whopping 311 miles per charge, moved the milestone ever closer to that goal this year.
Even if you've got plenty of friends and don't need that kind of relationship with your car, the future of the automotive industry looks bright. And we haven't even touched on what's been happening in tire technology. In fact, tire manufacturers are supporting these futuristic visions by adapting their tech to autonomous cars and developing environmentally friendly additives, among other improvements.
Tags: 3d mapping, electric cars, ride-sharing, self-driving cars, zero-emission vehicles
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Place paper cake liners into gem cups. during a little bowl, stir along crust ingredients. equally divide mixture among the twelve gem cups, regarding one tablespoon in every. victimisation rock bottom of a spice jar, press the crust mixture firmly into rock bottom of every gem cup. Set aside.
during a giant bowl, beat along softened cheese, sugar, eggs, and vanilla till sleek. Pour mixture equally over crusts.
Bake at 350 degrees for fifteen – seventeen minutes or till simply set within the middles, don't overbake. permit cheesecakes to chill. Serve flat-top with cherry pie filling.
0 Response to "Best Ever Mini Cheesecakes Recipe"


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Tales of an 8-Bit Kitten: A Call to Arms
PREVIEW Tales8-Kitten_02_int.indd Tales8-Kitten_02_int.indd Tales8-Kitten_02_int.indd
Age Range: 7 to 12
Lexile Measure: TBD (What's this?)
Series: Tales of an 8-Bit Kitten (Diary of an 8-Bit Warrior)
Type: Illustrated Novel
Best-selling author, Cube Kid, introduces the second book in his series about Eeebs the kitten who lives some incredible adventures in the world of Minecraft. Fans of the Diary of an 8-Bit Warrior series will find familiar, emblematic characters here in the Nether.
Now that Eeebs knows he's part of the Prophecy and the coming war against the Eyeless One, he has one goal: find Runt and help him in his quest. While stationed at Villagetown, the little cat tries to find his place among the Lost Legion and learn more about his hidden powers. But life in Villagetown never stays quiet for very long!
Cube Kid is the pen name of Erik Gunnar Taylor, a 33-year-old author who lives in Alaska. A fan of video games—and particularly Minecraft—he started writing fanfiction at a very young age. His first novel, The Diary of a Minecraft Villager, was self-published as an ebook in February 2015 and quickly became tremendously successful in the Minecraft community. The novel was acquired by the French publisher Édi8, and was published for the first time in France in February 2016 under the title LE JOURNAL D'UN NOOB, with new illustrations by Saboten. The Diary of a Minecraft Villager sparked worldwide interest.
When he is not writing, Cube Kid loves travelling, fixing his car, voraciously reading fanfiction . . . and gaming!
Also Part of This Series
written by Cube Kid
Diary of an 8-Bit Warrior: Forging Destiny
Tales of an 8-Bit Kitten: Lost in the Nether
Diary of an 8-Bit Warrior: Quest Mode
Diary of an 8-Bit Warrior: Path of the Diamond
Diary of an 8-Bit Warrior: Crafting Alliances
Diary of an 8-Bit Warrior: From Seeds to Swords
Diary of an 8-Bit Warrior
jingram2019-12-12T15:25:07+00:00


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Exposing human rights abuses associated with Russia's filtration operations in Ukraine
U.S. Ambassador to the United Nations Linda Thomas-Greenfield briefs reporters ahead of the Security Council meeting on maintenance of peace and security of Ukraine. (Loey Felipe/United Nations)
By Noelani Kirschner
"Filtered. The word does not begin to convey the horror and the depravity of these pre-meditated policies," said U.S. Ambassador to the United Nations Linda Thomas-Greenfield during a September 7 U.N. Security Council Meeting.
Thomas-Greenfield detailed for the council the numerous mounting and credible reports of the Russian government's filtration sites in parts of eastern Ukraine that are controlled or occupied by Russia and relocation centers within Russia. Some of these sites were documented in a recent report from Yale's Humanitarian Research Lab.
Human rights abuses in eastern Ukraine
The Yale report identified 21 credible filtration sites in Ukraine's Donetsk oblast alone, though more may exist across other Russia-controlled parts of Ukraine. Thomas-Greenfield explained that at these filtration locations, Russian authorities or proxies will reportedly search, interrogate, coerce and sometimes reportedly torture Ukrainian citizens.
"But these horrors are not limited to the centers that have been set up," she said, "filtration may also occur at checkpoints, routine traffic stops, or on the streets."
Sources including the Russian government indicate that Russian authorities have interrogated, detained, or deported between 900,000 and 1.6 million Ukrainian citizens, including children, from their homes to Russia.
The United States estimates that in July alone, more than 1,800 children were transferred from Russian-controlled areas of Ukraine to Russia — some separated from their families or taken from orphanages and then put up for adoption in Russia.
Adults considered by Russia and its proxies to be threatening — because of perceived allegiance to Ukraine — are "disappeared" or detained in conditions where human rights abuses run rampant. Thomas-Greenfield recounted how a Ukrainian witness said she overheard a Russian soldier say, "I shot at least 10 people" who did not pass the filtration process.
Russia's motives for filtration
Why is the Russian government engaging in filtration operations in Ukraine? Thomas-Greenfield says it's because they're preparing to annex additional territory in Ukraine. "The goal is to change sentiments by force," she said. "To provide a fraudulent veneer of legitimacy for the Russian occupation and eventual, purported annexation of even more Ukrainian territory."
The United States calls on the United Nations and its allies to urge Russia to give independent observers, including international and nongovernmental organizations, and humanitarian organizations access to observe filtration sites and relocation centers in Ukraine and Russia for themselves.
"Until Russia provides that access, we will have to rely on the evidence we have accumulated and the brave testimony of survivors," she concluded. "The picture they paint, alongside the mounting reports, is chilling."
Human Rights, Russia, Ukraine, United Nations


Yesterday we reported on a Windows Phone device by Alcatel Mobile, a joint venture between French-based Alcatel-Lucent and Chinese-based TCL. Well the same device has been dubbed the 'TCL View S606′, it is running Windows Phone 7.8 and headed to China soon.
Written by: Hyde13 on October 10, 2012.


Yup, here's another energy balls recipe. I totally just did it, I jumped on that wagon and I'm not ashamed of it!
I've made these a few times, every time I've changed or added something, but, BUT THESE I made for my photoshoot and they turned out to be THE batch annndd I got professional pictures of them. The universe was telling me something here!
Packed with protein, nutrients and healthy fats, these protein balls make the perfect snack and will satisfy any sweet tooth craving or peanut butter craving!
They are gluten free, dairy free(if you use dairy free chocolate) and free from refined sugar. Packing in about 10g of protein per ball, these balls are high in fibre, healthy good fats, omegas and of course peanut butter!
In a large bowl mix all ingredients except for the water. Once it is well combined, the mixture will be crumbly, add water and mix. The batter should start to stick together, if it's still crumbling add 1tbsp of water at a time until it sticks together. The batter should be dry and not to wet, you want it to stick together but not be overly wet.
Once it is all combined, using about 2 tbsp of the batter for each ball, roll into balls and set on a baking sheet.
Leave the balls in the fridge overnight or freeze.


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Best and Worst of 2016 Pop Culture
This was a rough one, ya'll, but for those of us who are still standing come January 2017 — we did it! We made it out of one hell of a year. An Olympian lied, a lot of icons died, and when it came to the odds, a reality star defied. If 2016 was an episode of Friends, it'd be "The One Where Americans Made a Questionable Decision." It'd also be the year we saw the best and worst of pop culture when it came to the following…
Worst: Creepy Clowns
What started out as a seemingly isolated event got too big, too fast. Clowns were popping up all over the place, and while those who make a living in the vibrant makeup urged them to stop because it was messing up their careers, you have to admit it was pretty weird. Wouldn't it be funny if that was all just to pump us up for the It remake coming in 2017?
Best: Chicago Cubs
Cursed for like a century, no one thought they'd ever live to see the day this team won anything grand. Even people who could care less about sports were happy to see these underdogs finally have their day.
Worst: Chewbacca Mom
Who doesn't appreciate Star Wars? Well, when it came to this woman, it was funny at first but then we just wanted her to go far, far away.
Best: First Male CoverBoy
People are always talking about women breaking glass ceilings, but what about men when it comes to realms they aren't known for? I'm all for equality on all levels and that's why it was amazing to see a guy become CoverGirl's first male representative.
Worst: Snapchat
I don't care if you are all about this. This has to be the most annoying. Have you ever watched how much effort someone puts into one of these things, just for it to disappear?
Best: Beyoncé's Lemonade
We just didn't want her Beyhive to come after us.
Worst: Harambe the Gorilla
We were sad to see this guy taken down, but when it became a viral sensation, you had to wonder about the sanity of some people.
Best: Stranger Things
You got Netflix? You definitely fell in love with this show at some point since it was released for consumption.
Worst: Politics
Donald Trump is the President of the United States of America. Enough said.
Best: Pokémon Go
Remember back when this came out and people were LOSING THEIR MINDS? Then two weeks went by and it was like it never happened. While the craze was short, it was strong enough to become a very memorable moment from 2016.
2016, Lists
Geek Music and Videos for January 2017
Fandomania's Favorite TV Shows of 2016
Geek Music Episode 90: Best of 2016 (Explicit)
Fandomania's Favorite Video Games of 2016
Fandomania's Favorite Movies of 2016
Kendra lives somewhere in between reality and believing she'll marry Backstreet Boy Nick Carter. After two years of stress thanks to a job she grew to hate, she left and focused 90% of her attention on the one thing that had been her right hand man since she was 13: writing. Currently she writes often for Fandomania, Roni Reports, MTV Geek, and her own music blog, Golden Mixtape.


Mindstuff team are all amazing & buzzing with new ideas & positive energy. Each one is distinct and differently skilled. Our work culture is all about learning, working, having fun & growing together.
You can choose to join us if you want to build an extraordinary future for yourself. We are focused & ambitious and in a process of building a great company of future.
Looking for candidates having 2+ years of work experience in sales & business development.


Cinderella Love On The Run - Ücretsiz Oyna PacoGames.com'da!
Cinderella has been waiting for the king's ball for months and it seems the fairy godmother is a no show. So Cinderella must take matters into her own hands and create herself an outfit. Choose one of her dresses in the wardrobe, although all of them are pretty much just dirty old rags. A duster will make a good enough hand fan, take some flowers from the vase to put in her hair and the round knob on the door could be a bracelet. You didn't really believe this would hold up, did you? The prince was totally not impressed and she turned back home ashamed. But now the fairy godmother has finally decided to make an appearance. She is impressed by Cinderella's bravery, so she rewarded her with a dreamy new outfit. Can she get prince's heart after all these struggles? Have fun.


We are not like other banks. At Pacific Western Bank, relationship banking is not the exception, but the rule. For more than 30 years, we have helped growing and established companies succeed by listening, asking thoughtful questions, and responding with a tailored approach. Pacific Western Bank is a Los Angeles-based commercial bank with over $24 billion in assets. Pacific Western provides commercial banking services, including real estate, construction, and commercial loans, to small and medium-sized businesses through 74 full-service branches throughout the state of California.
Rebecca H. Cordes is Executive Vice President of Human Resources at Pacific Western Bank. Previously, Rebecca held various senior HR leadership roles in the industry.


Festive events marked the start of TÜV SÜD's new Digital Academy in India and Singapore. Instead of exclusively providing on-site face-to-face training, TÜV SÜD now also offers online training which allows students to study at their own pace. Germany-based TÜV SÜD Academy is invested in the project, providing strategic support and technical know-how. India and Singapore benefit from the proven expertise and experience of the large-scale training specialist.
Acting on behalf of Spanish civil engineering and consulting firm ESTEYCO, TÜV SÜD is supporting the design and development of an innovative foundation for offshore wind-energy turbines in the ELISA and ELICAN projects funded by the European Union. A pilot turbine was installed off the eastern coast of Gran Canaria in June 2018. TÜV SÜD experts have accompanied the project from design examination to pilot-turbine installation.
Holger Lindner (50) is the new CEO of the Product Service Division at TÜV SÜD. The Product Service Division focuses on providing testing and certification services aimed at ensuring quality, reliability, and marketability of products in the consumer goods, food, medical, industrial, energy and transport sectors. Lindner succeeds Dirk Eilers, who is retiring. Holger Lindner is based in Singapore.
While all of us have already heard of salmonella and E.coli, TÜV SÜDs current consumer survey shows that the general public is largely unaware of Campylobacter, the number one food pathogen. TÜV SÜDs food experts explain how Campylobacter spreads and how to avoid food poisoning.
TÜV SÜD Zacta, a member of one of the world's leading technical service organisations, has been accredited by EMVCo for PCD Contactless L1 Interoperability. This adds a new service to the international service provider's already extensive portfolio of products regarding payment systems.
TÜV SÜD informs: Where does our grain come from?
Agricultural products are traded intercontinentally and internationally. Where exotic food products are concerned, this comes as no surprise. However, raw materials for staples are likewise part of global commodity flows. Using the most important types of grain as examples, TÜV SÜDs food experts explain which countries supply most of the raw materials for staples consumed in Germany.


As you get ready to celebrate our country's freedom next week for the 4th of July, take time to celebrate the fireworks inside all the fabulous entrepreneurs running fashion-forward boutiques on Main Street. They take the time to research, follow trends, and travel to buyers shows to find you all the lastest styles from jeans to jewelry. The shopping scene downtown Stillwater continues evolve with new shops popping up, so come stay for a shopping getaway.
You are beautiful, you work hard, and you have fierce female independence to celebrate as well, so treat yourself to fashion. Life is short, buy the dress, right!
July 1st-7th is national "Celebrate Your Independents" week honoring locally owned shops – if you live in the Midwest, Stillwater is your destination to shop local and shop small. We hope to see you soon. Featured in this photo shoot is a small taste of all the shops in downtown historic Stillwater, so be sure to check DiscoverStillwater.com/Shopping for a complete list of the 50 boutiques!
Get these looks and accessories downtown Stillwater right NOW.
Psst: We are the gals behind #discoverstillwater! Thank you for following us.


text:
Sången om Allvis (Alvíssmál) är diktsamling  i den Poetiska Eddan . Troligen härstammar den från 1000-talet. Dikten handlar om ett samtal mellan Tor och en dvärg som heter Allvis.

Handling
Allvis kommer till Tor att kräva att han får Tors dotter Trud som sin brud. Trud har av allt att döma blivit lovad till honom tidigare. Tor vägrar, eftersom han inte var hemma när överenskommelsen gjordes. Han säger att först måste Allvis besvara alla de frågor som Tor framställer. Han frågar vad olika saker såsom jorden, himlen, havet, ölen, elden och vinden heter i de olika nio världarna, de världar där människor, asar, vaner, jättar, dvärgar och älvor bor, bland annat.

Alvis har svaret på alla Tors frågor, men blir ändå överlistad. När solen stiger upp i slutet av dikten förvandlas Allvis till en sten, eftersom han är en dvärg. Det är den enda kända episoden i den nordiska mytologin där Tor överlistar en motståndare. Han förknippas annars med rå muskelstyrka.

Det finns ingen handling i dikten, som står helt på egen hand. Den innehåller ord som inte finns någon annanstans, en del av dem utan tvekan skapade av diktens poet.

Referenser

Vidare läsning

Externa länkar

Poetiska Eddan
Litterära källor till nordisk mytologi

redpajama_set_name: RedPajamaWikipedia


Dr. Jolene Brighten is Functional Naturopathic Medical Doctor and nutritional biochemist with a focus in women's endocrine health. She is recognized as a leading expert in Post-Birth Control Syndrome and the long term side effects associated with hormonal contraceptives. Dr. Brighten is also the author of, "Beyond the Pill: A 30-Day Program to Balance Your Hormones, Reclaim Your Body, and Reverse the Dangerous Side Effects of the Birth Control Pill." She is a speaker and a women's health advocate.
141 episodes available. A new episode about every 6 days averaging 38 mins duration .


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Santiago Luis Copello (7 de janeiro de 1880 - 9 de fevereiro de 1967) foi um cardeal argentino da Igreja Católica Romana . Ele serviu como arcebispo de Buenos Aires de 1932 a 1959, e foi elevado ao cardinalato em 1935. Copello serviu como o primeiro cardeal argentino e o primeiro cardeal da América hispânica.

Biografia
Nascido em San Isidro, Buenos Aires , Copello estudou no seminário de La Plata e da Pontifícia Universidade Gregoriana , em Roma antes de ser ordenado ao sacerdócio em 28 de outubro de 1902. Ele então fez pastoral trabalho em La Plata 1903-1918.

Em 8 de novembro de 1918, Copello foi nomeado Bispo Auxiliar de La Plata e Bispo Titular de Aulon . Ele recebeu sua consagração episcopal em 30 de março de 1919, do bispo Juan Terrero y Escalada, com os bispos Francisco Alberti e José Orzali servindo como co-consagradores . Depois de se tornar Bispo Auxiliar de Buenos Aires em 15 de Maio de 1928, Copello foi nomeado Vigário Geral da mesma ver e Vigário do argentino Ordinariato Militar no seguinte dia 12 de junho, foi eleito Vigário Capitular em 2 de Agosto de 1932, e foi nomeado Arcebispo de Buenos Aires em 20 de setembro daquele ano.

O Papa Pio XI criou Copello Cardinal-Priest de San Girolamo dei Croati no consistório de 16 de Dezembro de 1935, tornando-se o primeiro cardeal da Argentina e América espanhola . Criado na categoria de Primaz da Igreja na Argentina, em 29 de janeiro de 1936, Copello foi um dos cardeais eleitores do conclave papal de 1939 que selecionou o Papa Pio XII . Em novembro de 1945, proibiu os católicos argentinos de apoiar partidos ou candidatos que promovessem a separação da Igreja e do Estado , removendo a religião das escolas públicas.ou legalizar o divórcio civil nas eleições de fevereiro de 1946 . Copello até teve um pároco removido de sua posição por criticar o presidente Juan Perón . Depois de assistir à primeira conferência geral da Conferência Episcopal Latino-Americana em 1955, ele foi temporariamente forçado a estabelecer residência na Cúria Romana como conseqüência da queda do regime peronista .

O cardeal Copello participou do conclave de 1958 , que resultou na eleição do papa João XXIII . Ele renunciou, depois de vinte e seis anos de serviço, como arcebispo de Buenos Aires em 25 de março de 1959, e foi nomeado chanceler apostólico na mesma data (permanecendo naquele posto até sua morte). Copello tornou-se, assim, cardeal-sacerdote de San Lorenzo in Damaso, em 14 de dezembro de 1959. De 1962 a 1965, freqüentou o Concílio Vaticano II , durante o qual serviu como cardeal eleitor no conclave papal de 1963 que selecionou o papa Paulo VI .

Copello morreu em Roma, aos 87 anos. Ele está enterrado na Basílica do Santíssimo Sacramento, localizada atrás do Edifício Kavanagh, na área de Retiro , em Buenos Aires.

Link Externo
Catholic-Hierarchy

Referências

Cardeais da Argentina
Cardeais nomeados pelo papa Pio XI
Sepultados na Catedral Metropolitana de Buenos Aires
Alunos da Pontifícia Universidade Gregoriana


Bulletin | News | EXCLUSIVE!
The R71 between Polokwane and Tzaneen is ranked as the tenth most dangerous road to travel in the country. This is according to the Road Traffic Management Corporation (RTMC) who released their list of the top 20 most dangerous routes in South Africa, in March this year.
Realistically though, if one takes into account that the top seven spots are occupied by various sections of the N1 and N2 highways, Magoebaskloof pass could be seen as the third most dangerous route.
There have been 91 accidents on the Magoebaskloof pass and 18 on the R528 Georges Valley road since the start of January 2018 to last week Friday alone. In total 18 people have died in these accidents – the majority of which were caused by heavy transport trucks.
This means that on average there are 11 accidents and two deaths a month on these two routes only. Friday's accident claimed the life of a driver when the interlink he was steering along the R528 capsized and spread his load of approximately 38 tonnes of bricks across the tarmac. Emergency services had to use the Jaws of Life to extract the body from the completely demolished cab. It took them more than an hour and a half.
According to the Limpopo Department of Transport however, these roads are open for use by transport trucks despite the very obvious dangers they pose to general traffic commuters. We managed to speak to Matome Moremi Taueatsoala, the spokesperson for the department, after we were unable to reach him on any of his cell phone numbers and finally managed to pry a response out of him over WhatsApp.
He then stated that the roads are open for use by "all types of vehicles". We found this strange as there are large cautionary signs along the R71 (one in Haenertsburg and one in Polokwane) which clearly state that heavy vehicles should not travel on these routes.