text:
Genres, Indie
Curated By: Justin Farrar
Post By: Justin Farrar
It's tempting to frame 2018's explosion of dark, industrialized sounds as a reaction to the election of Donald Trump, Brexit's passing, and the waves of nationalism currently rippling across the West, but ultimately it's inaccurate. After all, strains of mechanized dystopianism were emerging as early as the beginning of our current decade (perhaps as a response to the global failings of authoritarian neoliberalism, of which Trump himself is but an outgrowth). The early '10s were when we saw the first brooding recordings from Noah Anthony's Profligate project, as well as key technoid murk from Silent Servant and Dominick Fernow's more rhythmic cuts under his Vatican Shadow alias. Yet there can be little doubt that what started off as isolated pockets of activity has spread across experimental noise, avant-rock and -metal, and techno and coalesced into a full-blown movement. In terms of productivity and sheer inventiveness, this boom can rightly be compared to its predecessor scene of the late '80s, back when industrial seeped into club music, ambient, folk, rock, and beyond.
Indeed, many of 2018's most vital underground records come caked in industrial grime. First and foremost, there's Hiro Kone's Pure Expenditure. Released on Dais Records, arguably the label most responsible for documenting the modern scene, Kone collapses dark techno and DIY electronics in on themselves, resulting in shattered groove research that's both intensely complex and unapologetically visceral. Back in March, Dais also dropped Castration Anxiety, the debut full-length from HIDE. Featuring howler Heather Gabel, known for her unpromising stage performances, and Seth Sher, formerly of noise-rockers Coughs, the Chicago duo specialize in a slowly hammering take on rock-oriented industrial that, according to Gabel, transforms the illnesses plaguing modern society into violent catharsis.
Falling somewhere between Kone and HIDE in its balance of brute force with psychic despair is Lana Del Rabies' Shadow World, released on Deathbomb Arc, a California label that manages to document trajectories in both weirdo noise and outsider hip-hop. It's an apt album title as the musician's work seems to be forged inside a shadowy, liminal space that while informed by industrial also draws in elements of electronic music and an echo-drenched angst commonly associated with older styles of alt-rock. In fact, a lot of the artists found on our playlist share this very quality to varying degrees. If their '80s counterparts pledged allegiance to industrial as though it were a political movement, their 21st-century descendants tend to avoid labelling themselves so vociferously—an anarchist's devotion to Individual autonomy rather party solidarity, so to speak.
Another big difference between the current industrial/industrial-leaning scene and its forebears in the '80s is the sheer number of female artists now exploring these sounds. Back then, shit could get absurdly macho. (Strands of industrial rock even devolved into straight misogyny.) This time around, however, the most thrilling music is being made by women. In addition to Kone, Gabel, and Lana Del Rabies, there's Puce Mary, Boy Harsher's Jae Matthews, and Anna Schmidt of Milliken Chamber.
Add to them to key cuts and remixes from JK Flesh, The Soft Moon, Imperial Black Unit, Uniform and The Body, and you're definitely in for one hellishly immersive listening experience– yet liberatory, too. Yes, a lot of this music is despairing, but through its thick, gauzy bleakness you'll hear fresh, new voices burning with defiance and nonconformity, and that can only be an uplifting thing in the end.


Artisan-crafted in Bali since 1975. Through powerful design, dramatic detail and inspiring meaning, John Hardy jewelry collections represent the pinnacle of craftsmanship and quality. With no beginning and no end, the textured and symmetrical spheres of the Dot Collection epitomize boundless love and infinite possibility.


text:
Thomas Flavell & Sons offers a range of legal services to help you as an individual, family, or business organisation. Please choose from the services below for more information on each area of law that we specialise in.
Wills, Probates & Trusts
New Build Developments
Business Legal Advice
Founded back in 1809, Thomas Flavell & Sons has a long and proud history in providing legal services for businesses and Individuals. Our loyal in-house team offer the highest level of care for all clients.
About Thomas Flavell & Sons
Thomas Flavell & Sons has offices throughout Leicestershire and Warwickshire, providing legal services for businesses and Individuals since 1809. Please select any office for directions and contact information.
Hinckley 01455 610747 law@thomasflavell.co.uk
Earl Shilton 01455 842297 eshilton@thomasflavell.co.uk
Stoney Stanton 01455 244646 stoneystanton@thomasflavell.co.uk
Market Bosworth 01455 290203 marketbos@thomasflavell.co.uk
Leamington Spa 01926 887700 leamspa@thomasflavell.co.uk
Warwick 01926 400005 warwick@thomasflavell.co.uk
Becoming involved in a dispute is often difficult and costly. At Thomas Flavell & Sons we can help.
We will listen to you and advise upon the most beneficial way to resolve any issues and the prospects of winning any Court claim if necessary. We will agree a reasonable and transparent fee scale and provide realistic fee estimates to enable you to make an informed decision whether or not to pursue any Court proceedings or to consider Alternative Dispute Resolution. We also ensure that the advice we give to you is in your best interests, even if that means advising you against legal action.
Quote Me!
We will take your instructions, listen to your objectives and advise you accordingly.
We will do our utmost to ensure the matter can be resolved quickly and where possible, without recourse to litigation. Whilst negotiation and mediation should always be the first option for those who find themselves involved in disagreement, there will be times when Court proceedings are unavoidable. If a dispute requires legal action, Thomas Flavell & Sons will act in your best interests.
Thomas Flavell & Sons specialises in many types of contentious and non-contentious cases including the following:
Contentious Probate and Inheritance (Provision for Family and Dependants) Act 1975 claims
Court of Protection applications
Landlord and Tenant disputes
Debt recovery and contract claims over £10,000
Employment law advice concerning settlement or compromise agreements
We can assist with applications to the Court of Protection which is the specialist Court for all issues relating to people who lack capacity to make specific decisions.
We regularly advise landlords, tenants and managing agents. This includes action for rent arrears and eviction as well as lease breach and forfeiture proceedings. We also act for residential and commercial landlords.
Debt recovery and contract claims (over £10,000)
If you have or are facing a claim in excess of £10,000 we would be please to assist you.
Employment Law – Settlement
A sudden change in your working circumstances can be a worrying time.
If you are approached by your employer about a potential redundancy or voluntary redundancy, or if you have negotiated a withdrawal from the business for a sum of money, your employer may want all the agreed terms comprised within in a Settlement Agreement. This is a legally binding document designed to bring the employment relationship to an end on agreed terms so that each party can walk away on a clean basis.
It is fundamental for an employee to clearly understand the terms and effects of the Settlement Agreement their employer puts forward. It is always an express term of any Settlement Agreement the employee obtains independent legal advice. At first glance Settlement Agreements can be quite intimidating but with our help, we can guide your through the legal jargon. We will ensure you understand the practical and implied obligations that continue to bind all the parties after a Settlement Agreement has been signed.
At Thomas Flavell & Sons, we can expertly guide you on all aspects of Settlement Agreements and best of all, our costs are usually covered either entirely or in part by an employer's contribution.
If you require any further information on any aspect of a Settlement Agreement, please get in contact with Noel McNicholas on 01455 620805 or nm@thomasflavell.co.uk for a no obligation discussion.
TFS offers you a qualified and experienced team, and a personal approach
TFS employs experienced and personable professionals who will help you promptly and efficiently in whichever legal services you require. You are welcome to read a full biography for each member of our team and view their direct contact details.
Meet the TFS Team
Our Litigation & Dispute Resolution Team
Noel McNicholas
Related Knowledge
An Elderly Parent and an Age Old Problem
This dispute may strike a familiar chord to many. That is, where an elderly and increasingly fragile parent is looked after by one child without their siblings pulling their weight.
When a late claim isn't late…and back again
Recent developments in the Inheritance (Provision for Family and Dependants) Act 1975
Cowan v Foreman (2019) – Court of Appeal decision re late applications in claims under the Inheritance (Provision for Family and Dependants) Act 1975
The Court of Appeal considered whether a spouse, who has been generously provided for on a discretionary basis, would face difficulties raising a claim as having no reasonable prospects of success.
Request Service Information
Please take a minute to complete this form, noting the mandatory fields (marked *), and we will respond to you as soon as possible with a full response.
Please describe the nature of your enquiry here...
Which office would you prefer to speak to? Earl ShiltonHinckleyLeamingtonMarket BosworthStoney StantonWarwick
How did you hear about us? Search engines (e.g. Google)Directory website (e.g. Yell.com)Yellow PagesRecommendation from a friendRecommendation from a businessNetworking eventI saw your officeLocal sponsorshipFacebook, Twitter or LinkedIn
Thank you for submitting our service enquiry form. A member of our team will endeavour to respond to you promptly.
Authorised and regulated by the Solicitors Regulation Authority (SRA ID: 620030) · Registered Company in England & Wales. Registered address Church Walk, Hinckley LE10 1DN. Company No: 08882394 · VAT Reg. No: 207 0095 44 · DX716424 Hinckley. We would like to make you aware of the Online Dispute Resolution website for advice on resolving online disputes. If we refer to the term 'partner' or 'member' at any time during your matter this means a 'Director' of the company.
Notary Data Protection Policy
Wills, Probate & Trusts
Settlement Agreements for Employers
Settlement Agreements for Individuals
Conveyancing Costs
Powers of Attorney Costs
Private Client Costs
Stoney Stanton
© Thomas Flavell & Sons Ltd 2021. All Rights Reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Inherited Kentico MVC Widget not registering in the CMS Admin site I am registering a custom kentico widget.
When it was created, I could not locate it in the collection of other widgets on the page tab in the admin website of the CMS solution.
I also looked for my widget in the CMS_Widget Table with no luck. Is there another table which might house custom widgets?
My Controller
using System.Web.Mvc;
using Website.Contracts;
using Company.Views.FeaturedProduct;

[assembly: RegisterWidget(OptInOptOutWidgetController.Identifier, typeof(OptInOptOutWidgetController), "Opt In Opt Out List", Description = "Lists all products that are opted in", IconClass = "icon-bullseye")]
namespace Website.Controllers.Widgets
{
    public class OptInOptOutWidgetController : WidgetController
    {
        public const string Identifier = "Website.Controllers.Widgets.OptInOptOutWidgetController";
        public IApplyLoanService ApplyLoanService { get; }

        public OptInOptOutWidgetController( IApplyLoanService _ApplyLoanService)
    {
        ApplyLoanService = _ApplyLoanService;
    }

    public ActionResult Index()
        {
            List<StateInfo> stateInfoList = ApplyLoanService.GetStateDetails();
            List<SelectListItem> statesList = new List<SelectListItem>();
            OptInOptOutWidgetViewModel viewModel = new OptInOptOutWidgetViewModel();

            viewModel.StateList = stateInfoList.Where(x => x.StateName != null).Select(x => new OptInOptOutStateViewModel
            {
                StateName = x.StateName
            }).ToList();

            ViewBag.States = viewModel.StateList;

            return PartialView("Widgets/OptInOptOut/_OptInOptOutProductList", viewModel);
        }
    }
}

My View
@using Company.Models.Widgets
@model  Company.Models.Widgets.OptInOptOut.OptInOptOutWidgetViewModel

@if (Context.Kentico().PageBuilder().EditMode && Context.Kentico().PageBuilder().Initialized())
{
    @Html.Kentico().PageBuilderScripts()
}

    @if (Model.StateList != null)
    {

Select State

        <select>
            @Html.DropDownList("States", new SelectList(Model.StateList), "")
        </select>
    }
    else
    {

There are no states

    }

I referenced this post:
Unable to Create New MVC Widget in Kentico 12
I started making updates the code base but still nothing:

*

*The AssemblyDiscoverable was already where it was supposed to be

We have other widgets published to the CMS but there is no clear path on how to reproduce. Are there any suggestions?

A: The CMS_Widget table is used for Portal Engine Widgets, which are very different from MVC Page Builder Widgets.
Portal Engine Widgets are used to create the Administration UI which is still built on ASP.NET Web Forms technology.
MVC Page Builder Widgets are not used anywhere in the Administration UI, only on the Live Site.
There is no database table that records all Widgets (or any Page Builder components) defined in the Live Site. Instead, these are all discovered at runtime by the Xperience framework based on your [assembly: RegisterX(...)] component registration attributes.
Your Widget will appear in the Page Builder UI in a dialog that opens when you click the + button in a Widget Zone.
If your Widget is registered in the MVC Live Site application, you do not need the AssemblyDiscoverable attribute - that is only required when your Xperience components are in separate class libraries. AssemblyDiscoverable tells Xperience to scan the class library assembly for components - without it, scanning that assembly is skipped.

redpajama_set_name: RedPajamaStackExchange


Clothing stains are often tell-tale signs of a summer well enjoyed – Italian gelato served at an outdoor cafe, fresh strawberries from the local farmers' market, or chilled wine sipped at sunset. They also present a cleaning challenge with varied methods of removal recommended for different types of stains. Here's a quick guide to help you (and your wardrobe) look your best and ready for the next adventure.
Sunscreen. Most sunscreen products are greasy which requires pre-treating the stain with a clear color dish soap or a grease and stain remover like Lestoil. Gently dab it on with a clean, white cotton cloth or towel before machine washing in hot water (double check garment label to make sure this is safe for the fabric).
Perspiration. Sweat stains occur when the aluminum in your antiperspirant or deodorant combines with the salt in your sweat. To prevent them, the best defense is a good offense. Apply a stain remover (lemon juice works too) to the armpit area of your shirt or dress each time before washing. This will help stop the stains from forming, which are much more difficult to remove once they set in.
Grass. Most grass stains will come out on their own in the wash. To be on the safe side, or for ground-in grass, pre-treat any signs of green with a stain remover. Then very gently scrub the pre-treated areas before throwing in the wash.
Bicycle Grease. Baby powder is the perfect blotting agent for grease stains left by bicycle chains. First, sprinkle the powder on the stain and then gently blot with a paper towel to remove any excess grease. Next, pre-treat using dish soap on the front and back of the stain before machine washing. Be sure to wash it alone to prevent grease transfer to other garments.
Ketchup. As soon as you can, dab the stain with cold water, and then sponge with white vinegar before machine washing using a color-safe detergent with bleach.
Mustard. Use a blunt-edge knife, or the edge of a credit card, to scrape off any excess mustard. Then pre-treat with a stain remover and machine wash in hot water (as long as the fabric can tolerate).
Strawberries. Soak your shirt or pants for 30 minutes in a mixture of one quart of water, one tablespoon white vinegar, and ½ teaspoon liquid laundry detergent before washing as usual.
Tomatoes. Rinse the stain with cold water before using a sponge and white vinegar to buff out any remaining hint of color. If the stain is still there, use a stain remover to pre-treat before washing.
Avocado. First use a blunt-edge knife or the edge of a credit card to scrape off any excess green. Next, rinse the garment in cold water before pre-treating by rubbing dish soap into the stain. Then wash as usual.
Red Wine. Blot the stain with a clean white towel or cloth and then add table salt to absorb any excess liquid. Rinse thoroughly in hot water before machine washing.
Ice Cream. As soon as the stain hits your shirt, use cold water and a clean cloth to spot treat it. (commercial wipes like Shout Wipe also work.) Next, apply stain remover before soaking it in the sink with a teaspoon of an enzyme-based detergent (like Tide Stain Release) for 30 minutes. After that, you can machine wash.


Dental Assistants assist the dentist in providing patient care. They expose radiographs, set up and break down operatory, pass instruments to the dentist. With New York State License, there are many more responsibilities and opportunities for a dental assistant such as removing sutures, taking impressions, selecting and profiting provisional crowns and orthodontic brackets, placing amalgam, and composite restorations.
This is a Commission on Dental Accreditation (CODA) School and students will be eligible to sit for the Dental Assisting National Board examination (DANB) and apply for New York State License. They receive the right to call themselves a NY licensed "certified dental assistant" (RDA) and can perform expanded functions as decided by NY State Department of Education and the New York State Board for Dentistry.
Upon successful completion, students receive a Certificate of Completion from the State University of New York.
As a health care professional, you will be expected to adhere to accepted standards of appearance and hygiene in class. Hair must be pulled away from face and attached to back of head. Jewelry, any visible piercings (including ears), tongue rings/studs, and visible tattoos are not permitted. Nails must be short with no nail polish. Acrylic or fake nails are not permitted because of infection control precautions. Students are expected to dress appropriately for a school environment. Contact lenses are not permitted because of infection control precautions.
Required health forms must be completed and on file in the Dental Assisting Department and/or the University at Buffalo School of Dental Medicine. Make appointments medical records during the summer in anticipation of admittance into the allied health program. Annually: Influenza and PPD; within 10 years: Tetanus, Meningococcal vaccine, Varicella, Visual Acuity, and the entire HBV B 1, 2 and 3 series must be complete. A list of vacciniations and health requires will be provided upon acceptance to Dental Assiting Program.
Please make a copy of all required health forms for your personal records prior to submission to UB/EOC.
Must be submitted to UB Educational Opportunity Center Dental Assisting Department by July 11, 2019.
Daily attendance is mandatory. 100% is expected. You are expected to maintain attendance as if you were in an employment situation.
Be an adult who is at least 17 years of age or older. If you are 17, you are required to show proof such as a high school diploma or equivalency.
NOT hold any academic degrees -- associate's, bachelor's, master's, etc. -- or more than 33 college credits.
Have a limited household income and meet income guidelines.
Be a U.S. citizen, permanent resident, or refugee. You must provide a green card or I-94 document if you are not a U.S. citizen.
Attend STAR Orientation and meet the TABE placement test scores of 9.1 reading/7.0 math and obtain typing test scores of 25wpm 5 errors or less. Upon successful completion of STAR, you will be asked to provide a resume and 2 letters of recommendation (personal and professional).
Bring in the required documents listed on the "How to Enroll in UBEOC" sheet.
Q: Why is Medical Skills Prep Lab a prerequisite?
A: Medical skill prep lab will provide students with information regarding healthcare expectations (health physical requirements to include drug/alcohol testing, criminal background checks, healthcare professions, customer service requirements, and critical thinking and skills).
Q: What prerequisites are needed?
A: Infection Control Course, HIPPA and Corporate Compliance training, and CPR Health Care Provider Level.
Q: Why is time and attendance important to this program?
A: Within healthcare the patients rely on the caregivers to provide good quality care. Therefore, in order to meet the needs of the population that we serve, punctuality is essential. The program is designed to build these skills.
Q: Why must I submit a completed health physical examination form to include immunizations?
Q: What immunizations are required within healthcare?
Q: If I attend prerequisite classes during the summer will I be required to enroll in similar courses during the first quarter?
A: Yes, the prerequisite classes may not be all inclusive of the required courses; therefore, the student should contact the faculty overseeing the programs.
Q: Why are computer courses essential?
A: Computer skills are essential within healthcare professions due to the evolution of electronic medical records and patients' documentation.
Q: How essential are the prerequisite courses (Introduction to Healthcare, Professional Development and Introduction to Effective Communication)?
A: Due to the diversity population within healthcare students must have a basic understanding of the core values of each aspect of the job requirements and/or performance.
Q: Do I have the option in choosing my externship site?
A: No, the program faculty will assign based on the student's final performance assessment.
Prepare to work in a variety of healthcare settings and Dental offices.
Click here to see Certified Dental Assisting Salaries.


Yes. What you saw was consistent with what I said. The Apple window manager is passing drawRect the bounding rectangle for the entire NSView. We would like to get just a small damage rectangle covering the old mouse pointer. I would guess that X11 does something equivalent to that.
Change username to "Marc Culler"


A classic English pasta dish made using Glutafin Pasta. Use a mature Cheddar for the best flavour. Serve with grilled tomato halves and watercress for a complete meal.
1.Cook pasta in a large saucepan of boiling water following on pack instructions, rinse with boiling water and set aside to drain.
2.Meanwhile prepare the sauce. Melt the butter in a medium size pan and stir in the mix to make a smooth paste. Remove from the heat and gradually stir in the milk adding a little at a time. Return to a gentle heat and stir until simmering and thickened. Stir in crème fraiche , mustard, grated cheese (reserving a little for the topping) and seasonings. Add the pasta and spoon into a medium size oven proof dish.
3.Sprinkle with the remaining cheese. Grill as below for immediate serving or chill until required and oven heat as below.
4.If eating immediately place under a medium setting grill and cook for 10 minutes or until the cheese has melted to a golden bubbling brown. For reheating place in a preheated oven and cook for about 25 minutes until golden.


text:
Simon Lightman
simonlightman@eversheds-sutherland.com
Simon is a Partner in the Eversheds Sutherland company commercial team and advises on a wide range of commercial, technology and data transactions. His specialisms include the restructuring and renegotiation of legacy outsourcing arrangements and advising on complex outsourcing deals and procurements, software licensing, cloud and other "as a service" technology and technology enabled arrangements.
Simon also has a deep experience of advising clients on contracting for new and disruptive technologies including robotic process automation and artificial intelligence. He has acted for a diverse range of clients, with a focus on both customers and suppliers in the financial services sector, along with retail, telecommunications, FMCG and aviation businesses and a number of digital consumer service providers.
Simon previously served as a legal director and divisional commercial director for the largest business process outsourcing and professional services company in the United Kingdom, bringing a unique perspective, in particular when acting for customers in the procurement of new technologies and services.
His experience (including at previous firms) includes advising:
a provider of pensions administration services on the drafting and negotiation of a strategic, technology-led outsourced administration services.
a software developer on the design and implementation of its standard form licensing and partner agreements.
a leading insurer on the drafting and negotiation of the contractual arrangements for the outsourcing of insurance administration services.
an international investment bank on an IT outsourcing arrangement across multiple jurisdictions.
on the commercial aspects of a number of technology-centric corporate M&A and investment matters.
a Tier 1 BPO provider on its insurance intermediary and administration services agreement with a major UK Life & Pensions provider.
a UK financial services company on the outsourcing of its core desktop and data centre functions.
a Tier 1 IT vendor on the renegotiation of its agreement to provide software development and testing services to a UK government authority.
an insurer on the outsourcing of its core HR functions (including separate core HR system, payroll, benefits and resourcing outsourcings).
a major retail bank on the renegotiation of its global application development and maintenance agreements.
retail and investment banks on the outsourcing of their branch LAN and WAN and other network arrangements.
a UK retail bank on the renegotiation of its distributed computing environment.
Discussion Paper: proposals to regulate critical third parties to UK FS sector 03/08/2022
Dashboard compliance - a dash too much? 15/02/2022
Outsourcing and Third Party Risk Management Webinar 12/07/2021
How to manage relations with your scheme administrator 24/05/2021
A need to re-think law and practice on a change of contractor 30/03/2021
FCA review of outsourcing in the life insurance sector 14/04/2020
Coronavirus - A guide for global industrials reassessing their outsourcing requirements during coronavirus - Global 08/04/2020


You are visiting the placeholder page for Crystal Brown. This page is here because someone used our placeholder utility to look for Crystal Brown. We created this page automatically in hopes Crystal Brown would find it. If you are not Crystal Brown, but are an alumni of Shelby Valley High School Pikeville, KY, register on this site for free now.


text:
The Euthanasia Coaster is a hypothetical steel roller coaster designed as a euthanasia device to kill its passengers. The concept was conceived in 2010 and made into a scale model by Lithuanian artist Julijonas Urbonas, a PhD candidate at the Royal College of Art in London. Urbonas, who has experience as an amusement park employee, stated that the goal of his concept roller coaster is to take lives "with elegance and euphoria". As for practical applications of his design, Urbonas mentioned "euthanasia" or "execution". John Allen, who served as president of the Philadelphia Toboggan Company, inspired Urbonas with his description of the "ultimate" roller coaster as one that "sends out 24 people and they all come back dead".

Design
The concept design of the layout begins with a steep-angled lift that takes riders up  to the top, a climb that takes a few minutes to reach. For comparison, the tallest roller coaster in the world is Kingda Ka at . From there, a  drop would take the train to , close to its terminal velocity, before flattening out and speeding into the first of its seven slightly clothoid inversions. Each inversion would have a smaller diameter than the one before in order to maintain the lethal 10 g to passengers while the train loses speed. After a sharp right-hand turn the train would enter a straight, where unloading of corpses and loading of new passengers could take place.

Mechanism of action

The Euthanasia Coaster would kill its passengers through prolonged cerebral hypoxia, or insufficient supply of oxygen to the brain. The ride's seven inversions would inflict 10 g (g-force) on its passengers for 60 seconds – causing g-force related symptoms starting with gray out through tunnel vision to black out and eventually g-LOC (g-force induced loss of consciousness). Subsequent inversions or another run of the coaster would serve as insurance against unintentional survival of more robust passengers.

Exhibition
Urbonas's concept drew media attention when shown as part of the HUMAN+ display at the Science Gallery in Dublin from April through June 2011. The display, designated as its 2011 'flagship exhibition' by the Science Gallery, aims to show the future of humans and technology. Within this theme, the Euthanasia Coaster highlights the issues that come with life extension. The item was also displayed at HUMAN+ exhibit at Centre de Cultura Contemporània de Barcelona in 2015.

Popular culture
In 2012, Norwegian rock group Major Parkinson released "Euthanasia Roller Coaster", a digital single with lyrics alluding to Urbonas's Euthanasia Coaster.

Lavie Tidhar's short story "Vladimir Chong Chooses to Die" incorporates Urbonas's Euthanasia Coaster into the ending.

Glenn Paton's short film H Positive explores the motivations of a wealthy man who, upon discovering that he is dying, commissions an architect to build a Euthanasia Coaster identical to Urbonas's design.  Although Urbonas is not mentioned during the film, the end credits affirm that the film was based on Urbonas's project.

The novelist and short story writer David Leo Rice wrote a story called The Painless Euthanasia Coaster for Catapult Magazine.

The novelist Laura Maylene Walter wrote a story for Washington Square Review that uses the idea of a euthanasia coaster.

Author Amanda Saint wrote a flash fiction called Golden Glow which tells the story of people in the queue to get on the Euthanasia Coaster, and cites it as her inspiration for the story.

Sequoia Nagamatsu's novel How High We Go in the Dark includes a chapter that features a euthanasia theme park for terminally-ill children, where a final roller coaster kills them before the plague does. Nagamatsu has noted Urbonas' design as initial inspiration in interviews.

References

External links

Computer animated simulation of the ride
Urbonas explaining his design

2010 works
conceptual art
euthanasia
execution methods
Lithuanian inventions
suicide methods

redpajama_set_name: RedPajamaWikipedia


text:
Blizzard's first official World of Warcraft Classic esports tournament
World of Warcraft Classic released at the end of August 2019 and saw huge success. Despite this, Blizzard did not decide to create an esports tournament for its game. The video game publisher decided to let the community take it from here. However, months after WoW Classic's official release, Blizzard finally announced its participation in World of Warcraft esports. The company will host a "Summer Bowl" player versus player event featuring North American and European players.
WoW Classic Summer Bowl
The recently implemented War Game feature will be used for this event. It allows players to create groups that can compete against each other. Beginning on June 17, the competition uses the 10 vs. 10 capture the flag battleground Warsong Gulch set up. Qualifiers will be held during the last two weeks of June.
Potential participants are currently lacking information on how to qualify for the next step but the number of teams participating will change how the tournament will proceed. However, as this event is coming very soon, full details should be revealed in a few days. Only six teams from both NA and Europe will play the Summer Bowl Finals at the beginning of July. Both Europe and NA features a cash prize of $4 thousand.
Image credits to Blizzard
There are two requirements to attend the open registration event is to have a level 60 character and a team of 10 people. Nonetheless, as expected from a huge event, players should be prepared to face opponents with the best gear in the game. This is why any teams with real ambition in this tournament will wear maxed out Rank 14 gear. With the WoW Classic community being very competitive, fans are excited to see the best teams in the world finally fighting in an official event supported by Blizzard.
World of Warcraft's Turning Point
For World of Warcraft Classic fans, Summer Bowl is finally a dream coming true. Over the past few months, they have only seen two major tournaments organized by third parties. Both Classic Dueler's League and Twitch Rivals gathered an immense community around streamers. Blizzard stepping up to take its rightful place as WoW Classic official organizer is nothing but good news. This Summer Bowl will be Blizzard's first experiment on WoW Classic esports. Depending on the outcome, fans may see more and more events coming in the future.
EliteGamingLIVE Provides the Perfect Balance Between Gaming and Education
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Red Dead Redemption 2: The Last of Our Kind.
David Klemke
Here's How to do a Remake of Super Mario Sunshine
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City of Heroes Triumphant Return
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with any questions, or to order your yurt over the phone or e-mail.  See pricing and options in the table below.
Ready to buy? Purchase a Clean Air Portable Yurt online through PayPal.
Base Price – includes 1/4″ (10′) or 3/8″ thick solid ash lattice with Perfect Circle Technology™, double pane Lexan skylight, stainless steel tension cable, Perfect Circle™ Door Frame and Spreader Bars, steam bent solid wood compression ring, zippered fabric door, waterproof acrylic coated fire-resistant polyester fabric cover (Holiday or Oddysey IV).
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Being "responsible" with your money is often hard and boring, especially when you're trying to break bad habits or form new, lasting ones.
Your gift should always be within your personal budget.
Maybe you haven't been making progress toward your goal, or you want to up your savings even more, or make sure your student loan payments are on track?
Every financial expenditure means you're giving up something else, whether that be an appropriately diversified portfolio or employer-sponsored health insurance.
So next time you feel like ordering delivery, don't feel so guilty—and maybe look into getting a housekeeper, too.
There's the deal you want, the deal you'll accept, and what you'll do if you can't get either. Never enter a negotiation before you know all three.


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Graz Universität
Weather in Graz Universität, AT (Weather Station)
Precipitation: -
Avg. wind speed: 3.7 km/h
Wind gusts 13 km/h 15.1 km/h 20.1 km/h 20.4 km/h 15.3 km/h 13.3 km/h 13 km/h
Avg. wind speed 4.7 km/h 4.4 km/h 6.4 km/h 6.8 km/h 5.5 km/h 4.9 km/h 4.9 km/h
Wind gusts 13 km/h 13.3 km/h 14.1 km/h 16.6 km/h 21.7 km/h 24.3 km/h 17.2 km/h 13.3 km/h
Avg. wind speed 4.9 km/h 4.6 km/h 4.6 km/h 5.7 km/h 6.9 km/h 7.1 km/h 6 km/h 4.9 km/h
Avg. wind speed 4.9 km/h 4.4 km/h 4.6 km/h 5.5 km/h 8 km/h 8.8 km/h 6.9 km/h 5.1 km/h
Wind gusts 17 km/h 17.7 km/h 17 km/h 19.2 km/h 23.7 km/h 23.7 km/h 21.2 km/h 16.1 km/h
Avg. wind speed 5.7 km/h 5.5 km/h 5.7 km/h 7.1 km/h 8.2 km/h 8.8 km/h 7.1 km/h 6 km/h
Data provided by weather station Graz Universität, 366m
+6.1 km - Sankt Radegund
+9.3 km - Schöckl
+11 km - Laßnitzhöhe
+13 km - Graz
Weather in Graz Universität, 18.07.2019
On Thursday partly cloudy, partly sunny weather will dominate. In the evening it will be partly cloudy, partly clear. Later clear weather will prevail. Morning temperatures will be around 14 °C. During the day they will reach a maximum of 25 °C. Low temperatures at night will be around 15°C. Southeasterly winds are weak.
On Friday mainly cloudless weather will dominate. In the evening it will be mostly cloudy. Later mainly clear weather will prevail. Morning temperatures will be around 15 °C. During the day they will reach a maximum of 27 °C. Low temperatures at night will be around 16°C. Northerly winds are weak.


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Ali Sajjad Is Doing Feature Film 'Tevar'
Muhammad Umer Mirza
Ali Sajjad is doing another feature film titled as 'Tevar' a film which will be focusing on revenge. Tevar has been shot in Karachi and will be focusing on the incidents taking place in Pakistan. The film casts Sukaina Khan who will be making her debut in the films and we will also be seeing Mathira in a never seen before avatar alongside Taqi Ahmed, Shariq Mehmood will be playing the villain with 3 other actors from Lyari theatre and Akbar Subhani. Hemled by Ali Sajad Tevar will be hitting the big screens on 26th July.
Speaking to us Ali Sajjad revealed some details of of the film "This film has been made on very small scale and we want the film to be raw so that people could like the film along with the content."
He further added on "the story will be focusing on a story of a family of four who will face problems when a group of four thugs try to invade their house because of the bad situation caused in the city and what effects will it have on the certain family. This film has been made under a budget of 75 lacs and the film has been under pending since 1.5 years and now is the right time to release the film as Kataksha also got appreciation and I'm hoping that the same will be happening with this movie."
Tevar the revenge thriller will be coming out on 26th July 2019.
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Craig Barry Shipley (born 7 January 1963) is an Australian-born executive and former player in Major League Baseball.  On 16 November 2012, he was appointed special assistant to Arizona Diamondbacks general manager Kevin Towers.

Shipley was born and raised in Australia, attended Epping Boys High School in New South Wales and learned to play baseball from his father, Barry. He played college baseball at Alabama as a shortstop.

As a player, he was an infielder for the Los Angeles Dodgers (1986–87), New York Mets (1989), San Diego Padres (1991–94 and 1996–97), Houston Astros (1995) and Anaheim Angels (1998). He played collegiately at the University of Alabama.  Shipley batted and threw right-handed; he stood  tall, and weighed  (12 stone 7).

Shipley began switch-hitting in college at the suggestion of his coaches. Before the start of the 1986 season, after struggling offensively for two seasons in the minors, he reverted to batting exclusively from the right side of the plate.

He helped the Padres win the  National League Western Division championship, appearing in 33 games played – 21 after 31 July – and batting .315 with 29 hits, five doubles, one home run, seven runs batted in and seven stolen bases. In the field, he started at four different defensive positions: second base, third base, shortstop and right field. However, he did not appear in the postseason.

In 11 seasons, Shipley played in 582 games and had 1,345 at bats, 155 runs scored, 364 hits, 63 doubles, six triples, 20 home runs, 138 RBI, 33 stolen bases, 47 bases on balls, a .271 batting average, .302 on-base percentage, .371 slugging percentage, 499 total bases, 15 sacrifice hits, nine sacrifice flies and 7 intentional walks.

Shipley's post-playing career began in , when he was a roving minor league baserunning and infield instructor for the Montréal Expos. He then returned to the Padres as a professional scout, working for Towers, in –.

In , Shipley followed former Padres executives Larry Lucchino and Theo Epstein to the Boston Red Sox, where he began as special assistant to the general manager, player development and international scouting. He was named a vice president in , and was appointed senior vice president, international scouting, in . In February 2011, Shipley was promoted again, when he was named senior vice president, player personnel and international scouting. However, weeks after Epstein departed the Red Sox for the Chicago Cubs in October 2011, Shipley was dismissed in an overhaul of the Boston front office under the team's new general manager, Ben Cherington.

In 2012, Shipley was hired by the Arizona Diamondbacks as an assistant to general manager Kevin Towers. , he is still part of the Diamondbacks front office, assisting "the Baseball Operations Department in international and special assignment scouting, evaluating the D-backs' farm system and serving as an advisor to the GM."

See also
List of players from Australia in Major League Baseball

References

External links

1963 births
Living people
Alabama Crimson Tide baseball players
Albuquerque Dukes players
Anaheim Angels players
Arizona Diamondbacks executives
Arizona League Padres players
Australian expatriate baseball players in the United States
Boston Red Sox executives
Houston Astros players
Jackson Mets players
Las Vegas Stars (baseball) players
Los Angeles Dodgers players
Major League Baseball players from Australia
Major League Baseball shortstops
Major League Baseball third basemen
New York Mets players
People educated at Epping Boys High School
San Antonio Dodgers players
San Diego Padres players
San Diego Padres scouts
Tidewater Tides players
Vero Beach Dodgers players


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At The Movies: Labyrinth (1986)
July 1, 2016 June 30, 2016 / Clare	/ 4 Comments
★★★½☆
1986 • 102 minutes • TriStar Pictures
As a teenager, my love of the eighties was not particularly shared by the alternative scene kids I ran with. But during my deeply ill-fated tenure on my high school's debate team, I acquired a scene partner who loved Labyrinth. I'd heard of it—specifically, I'd heard of "Dance Magic"—but I'd never actually seen it. She gushed to me about David Bowie's ethereal beauty and other attributes (I was identifying as asexual at that point in my life, so I was unmoved), and I trotted off to our local Blockbuster to rent the film in question. To quote John Mulaney, that's a very old-fashioned sentence nowadays.
I enjoyed it, but it didn't particularly stick with me. (Nor did I stick with debate, transitioning instead to an even more ill-fated tenure in school theater.) Recently, though, I had an opportunity to revisit it when the Alamo Drafthouse Cinema hosted an outdoor screening in Brooklyn. To be honest, I mostly went to try and ferret out an official opening date for the Alamo Drafthouse Cinema Brooklyn (let me give you all of my disposable income, you monsters!). But I enjoyed the screening, despite the drizzle and despite being deep in the throes of the dissociative funk that Disaster Preparedness pushed me into. And now… I kinda get Labyrinth.
At The Movies: Bloodsport (1988)
June 24, 2016 June 23, 2016 / Clare	/ 2 Comments
1988 • 92 minutes • Universal Studios
When it comes to the two major bad movie podcasts, The Flop House and How Did This Get Made, I'm a Flop House woman through and through. It's always a delightful surprise whenever a new episode turns up in my Overcast app (my podcast application of choice), even though the podcast comes out every other Saturday. I listen to every episode twice, and some, especially the gutbustingly funny Labor Day episode, more than that. I've even been to a live show, which goes to show you the power of the hometown advantage.
Nonetheless, I am quite fond of How Did This Get Made, their rowdier Los Angeles-based counterpart, if only because of the infectious energy of Jason Mantzoukas. (The prim suspicion of June Diane Raphael is a close second in my heart.) I nearly cried laughing on the subway listening to Mantzoukas describe exactly how Xanadu went wildly overbudget. Despite their common genre, comparing the two podcasts is like comparing apples and oranges; the energy is just so different.
And that is nowhere more apparent than in their live episode on Bloodsport, which made me laugh so much that I had to seek out the film.
At The Movies: How to Marry a Millionaire (1953)
June 17, 2016 June 16, 2016 / Clare	/ Leave a comment
1953 • 95 minutes • 20th Century Fox
Have I ever mentioned how much I like Gentlemen Prefer Blondes? I like to think of it as the prototype for one of my favorite comedy duo archetypes—Bad Idea Friend and Idiot. It's sweet, daffy, bursting with Technicolor (which I adore), and features the amazing line, "Prithee, scat." I'll get around to revisiting it and reviewing some day (haha long term plans for my blog haha), but for now, let us have it inform my opinion of How to Marry a Millionaire.
At The Movies: Coming to America (1988)
June 10, 2016 June 9, 2016 / Clare	/ Leave a comment
1988 • 117 minutes • Paramount Pictures
Despite being an eighties freak, Coming to America long escaped my interest. Why? Well, because it's not really the eighties, is it? Coming to America lacks what I consider the classic eighties look. What we so often break down into discreet decades are really half-decades. Armpit decades, if you will, and I say that knowing full well that you will not. This is the late eighties/early nineties situation, full of oversized sweaters, dull color palettes, and the ugliest interior design. This is is the calm before the art of tailoring was briefly lost for a decade. This is the cultural context that birthed Licence to Kill.
I've also never been a particular fan of Eddie Murphy. As kid, my only exposure to Eddie Murphy was limited to broad, child-friendly comedy–and, of course, Shrek. It blew my mind to discover, as an older teen, that Eddie Murphy had once been cool. (It was kind of like discovering that your parents were once cool. It seems impossible, but the photo evidence that they once had hair as cool as yours is undeniable.) And not only cool, but one of the most popular comedians in America. But Delirious, which features an extended homophobic joke, obviously did not endear him to me.
Nonetheless, a mention in a recent(-ish. Y'all, I'm a busy lady) episode of the The Flop House convinced me to give it a shot. In an episode on The Golden Child, Elliott Kalan mentioned that he preferred Eddie Murphy in Coming to America, where he plays an idealistic romantic, rather than a smooth talker.
Review: The Raven Boys
June 1, 2016 May 31, 2016 / Clare	/ 8 Comments
The Raven Boys
by Maggie Stiefvater
2012 • 409 pages • Scholastic Press
I'm actually very punctual in real life, so it never ceases to amaze me how late I turn up to bandwagons. The book blogging community has been raving about The Raven Boys since 2012, and the final book in the quartet, The Raven King, was released this year. It was only seeing the (I'm assuming positive?) weeping and gnashing of teeth on Twitter that I thought, well, I really loved The Scorpio Races… and made an effort to collect it from the public library. I was briefly thwarted by others doing much the same thing—or fans trying to reread the whole cycle in one go, which I heartily salute—but finally was able to get my hands on it and read it.
So, if you, like me, are a little unfamiliar with The Raven Boys, let me catch you up. Continue reading →
Page to Screen: X-Men — Apocalypse (2016)
May 30, 2016 May 29, 2016 / Clare	/ Leave a comment
based on X-Menby Stan Lee and Jack Kirby
2016 • 144 minutes • 20th Century Fox
I've mentioned that seeing Batman V. Superman: Grimdark Grimdark Grimdark kind of broke my cinematic criticism—nowadays, if a movie doesn't actively make me weep in exhaustion for humanity, it's already streets ahead. A curse, true, but it's also a blessing. I'm starting to think of it like being deathly afraid of something and then finally experiencing it. No film will ever be that bad again. I can take anything that cinema can throw at me, because I actively sought out and paid for the worst. Cinematically speaking, I am now invincible.
I already had a similar attitude to X-Men: Apocalypse even before Batman V. Superman: Grimdark Grimdark Grimdark broke me like Bane breaking Batman's spine. After X-Men: Days of Future Past, it became obvious that the reason to go see an X-Men movie was to follow the continuing saga of Charles Xavier and the X-Men, see some great character moments, and have a giggle over some of the sillier aspects of the proceeding that are, nonetheless, endearing, like a deeply loose grasp of the concept of the passage of time.
You know, sort of reading X-Men comics.
At The Movies: Under the Cherry Moon (1986)
Under the Cherry Moon
1986 • 100 minutes • Warner Bros.
Losing Prince last month affected me the same way losing Bowie in January did—abstractly. I was saddened, of course, but not hurt enough to want to take 2016 back to the celestial customer service counter. I just didn't have a personal stake in either artist. For whatever reason, while Bowie and Prince's music is prime territory for queer weirdos of all stripes, I never landed there to take sustenance. It's certainly nothing they did. I just have a hard time connecting with music on that deep of a level.
Still, their passings into the Undying Lands were worthy of tribute from me. For Bowie, I lit my homemade David Bowie prayer candle for the first time (which I'd made last August, not, like, for the occasion) and saved a Best of Bowie Spotify playlist to my phone.
And for Prince? I watched Under the Cherry Moon with my comedy troupe from college.
Now, to be fair, Purple Rain was in contention as well, but, as a fan of the eighties, I wanted to watch Purple Rain for the first time in a different and slightly more worshipful context. A midnight movie crowd would be ideal, but I have lately discovered that my biorhythms are those of a medieval French farmer. My apparent biological directive to wake up at the crack of dawn (and, presumably, hike a mile up to the cheese cave to gently turn all those wheels of dairy forty-five degrees to the left) means that midnight movies are largely no longer an option. Je suis desolée.
So Under the Cherry Moon, Prince's infamous flop, it was. If you are unfamiliar with the plot of Under the Cherry Moon (and, honestly, who would blame you?), let me sum up. Against a backdrop of the toniest denizens of the Riviera, Prince attempts to seduce $50 million dollars out of Kristin Scott Thomas in her first major film role. (It's one she'd really rather you forget.)
Review: Between You and Me
by Emma McLaughlin and Nicola Kraus
★½☆☆☆
2012 • 272 pages • Atria Books
Between You and Me is, quite obviously, inspired by the story of Britney Spears, especially her well-publicized personal struggles in 2006 and 2007. Regular Jane Logan Wade is having a rough go at life in New York City, with a career that's going nowhere, a living situation she can't stand, and a man who will never commit to her. When her cousin, international pop sensation Kelsey Wade, reaches out to her, she jumps at the chance. But she ends up embroiled in the personal drama of Kelsey's life—her controlling parents, her tempestuous relationship with back-up dancer Aaron, and the secret, traumatic past they both share that eventually comes out…
Well, it comes out on Kelsey's family's end. I'm still wildly unsure what Logan's dad did.
It ends up reading like Poppy Z. Brite's Plastic Jesus meets Gossip Girl, but without the core transformative element at the core of Plastic Jesus that makes it at least an interesting premise. It even suffers from the same "inspired by real life" problem that Plastic Jesus does—it assumes that you know all about the inspiration, so it can glide and elide to the points in the narrative that are juicy without doing any of the legwork. (That's a Zack Snyder kind of move, people!) Continue reading →
Page to Screen: Captain America — Civil War (2016)
May 9, 2016 May 8, 2016 / Clare	/ 2 Comments
Based on Captain America
by Joe Simon and Jack Kirby
2016 • 147 minutes • Walt Disney Studios Motion Pictures
Are we ever going to be able to get back to Captain America: The Winter Soldier?
Don't get me wrong: I heartily enjoyed Captain America: Civil War. It is no less ideologically chewy, as one review delightfully put it, than The Winter Soldier. The difference is that The Winter Soldier is a Captain America movie and Captain America: Civil War is an Avengers movie. I often wonder when the wheels are going to come off the Marvel Cinematic Universe, because we're getting to a point where a Marvel film must do two things: be a good enough film and set up the board for the next film or films, depending on how many players are on this particular board. In my experience as a reader and viewer, serial plot structure is one of the most challenging things to do right. And Marvel, with the exception of Iron Man 2, has mostly been handling it well. But it's difficult to serve two masters at once, and we know which one takes precedent.
The Russos, to their eternal credit, pull that delicate balancing act off elegantly, but I don't know if we'll ever be able to get a wholly singular genre riff like Captain America: The Winter Soldier again in the Marvel universe.
At The Movies: People Places Things (2015)
May 6, 2016 May 5, 2016 / Clare	/ Leave a comment
2015 • 85 minutes • The Film Arcade
People Places Things is yet another retelling of that tired old story—a man in midlife crisis. The man? Will Henry, a graphic novelist and teacher of the same living in New York with his girlfriend Charlie and their twin daughters. That is until the day of their daughters' fifth birthday, when Will catches Charlie sleeping with another man. A year later, a still-healing Will tries to make some active life choices: asking for more time with his daughters, for instance, and trying to date again, with the mother of a student. As Charlie prepares to marry the man she cheated on him with, the two of them try to get a handle on life.
Men in midlife crisis films rarely interest me, so why did I even want to see People Places Things? Well, Jemaine Clement, that's why. At some undefined point in college, I mainlined the first season of Flight of the Conchords. My unwavering devotion to The Lord of the Rings and gentle, silly comedy meant that I was predisposed to love them. (Imagine my delighted shock when I discovered that Bret McKenzie was also the beloved Figwit—or Lindir, if you're playing by Hobbit trilogy rules, which you should never really do.) The trailer did well to play up his dry, affable, and witty charm, and the film does the same. People Places Things can feel like a movie about nothing, but it is about Will trying to sort his life out in a way that's fulfilling to himself, honest to others, and kind.


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Mo Salah statue mocked online
Mohamed Salah (AP)
Pirates jumped over the mental hill, says Sredojevic
Zlatan rules out January return to Premier League
Maboe enjoys being compared with Teko Modise
Cairo - A statue of Liverpool footballer Mohamed Salah has been met with derision online since going on display in his native Egypt, with many comparing it to an infamous bronze bust of Cristiano Ronaldo.
The statue was unveiled with pomp and ceremony at the World Youth Forum in the Egyptian resort of Sharm el-Sheikh in the presence of President Abdel Fattah al-Sisi.
With large ears poking out from under a huge Afro hairstyle, Salah is captured in the pose of his now iconic goal celebration.
A broad smile is etched across his face and his oversized head is tilted backwards as the arms on his pint-sized body are stretched out wide.
Salah is idolised in Egypt and Liverpool, after his goal-scoring exploits last season took his country to the World Cup finals and his English club to the final of the Champions League.
The statue of him been mocked widely on social media, with many likening its appearance to that of 1970s British singer Leo Sayer or his American counterpart Art Garfunkel.
"People thought Cristiano Ronaldo's statue was bad. Wait till you see Mo Salah's," one Twitter user wrote, referring to the bronze bust ridiculed for looking nothing like the Portuguese football superstar.
"Statue carved by Stevie Wonder by the looks of it!" tweeted another, in reference to the blind US musician.
One social media user said Salah's statue looked like a "bobble head" - the dolls placed on the dashboards of cars with oversized heads that nod incessantly.
"Oh god!!!!!! They made statute of dwarf Salah," tweeted another.
"Yes, it's a statue, but where is Mohamed Salah?" said a post on Facebook.
The Egyptian artist who sculpted the statue, Mai Abdallah, has defended her work.
Abdallah said the statue had been made of plaster but became disfigured when the forum's organisers poured bronze over it, much to her surprise.
She said the statue was originally only meant to be used teach sculpture to students, in a post on Facebook where she also shared her other statues of Egyptian celebrities.
Read more on: liverpool | english premiership | mo salah | soccer


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Le monde des musicals
«Fela!»
Monde des musicals
Musical (2008)
Musique: Fela Anikulapo-Kuti •
Paroles: Fela Anikulapo-Kuti •
Livret: Bill T Jones •
Généralités: Histoire, thèmes et particularités<
Synopsis complet
Fela! takes place around 1977, at the height of Fela Kuti's influence as a composer and performer in Nigeria. Kuti was an originator of the Afrobeat sound, and the musical opens with Kuti addressing the audience from a concert at his club, the Afrika Shrine in Nigeria's largest city, Lagos. Kuti indicates that the Afrika Shrine had become a hugely popular venue, and a gathering place for youth opposed to NIgeria's military dictatorship. As one critic describes much of the first half of the show:
It's part musicology lesson as Kuti explains how he discovered the Afrobeat sound by pulling together the drums from West African highlife and the ragged guitars from James Brown with traditional call-and-response vocals. As a front-man-in-training rambling around London in the early 1960s, he absorbed the influences of the two different shades of cool represented by Frank Sinatra and Miles Davis.
Kuti reveals how torn he is between his respect for the example set by his mother, Funmilayo, a teacher and Nigerian civil rights activist, and his quest for fame and sometimes hedonism. He gradually becomes more involved in open opposition to Nigeria's military regime, and his lyrics become overtly political. The regime responds to the provocation with increasingly violent retaliation. Kuti perseveres and releases Zombie (album), an international hit openly critical of the Nigerian government. The show depicts the army raid of Kuti's compound (a commune he called Kalakuta Republic), reportedly by 1000 soldiers, which followed the release of Zombie. The raid culminates with the torture of Kuti, his wives and other commune residents, and the murder of his mother. The show concludes with a protest staged by Kuti in October 1979, accompanied by his family and members of the Young African Pioneers. The protest was held on the day before General Olusegun Obasanjo was to retire from the Nigerian presidency for the first time. Kuti held Obasanjo responsible for his mother's death, and publicly defied the regime once again with his protest, leaving a symbolic coffin in front of Obasanjo's residence at the Dodan army barracks. The show concludes with symbolic coffins being laid on the stage to protest injustices suffered by the people of Nigeria and throughout Africa.


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As I said before i've import my forum Mybb to Discourse. My all users imported. I've problem with users trust levels. My old users is can't trusted, so they do not have normal member authorizations. How do I set it up for users in mass?
Just to clarify, you currently have all users set to TL0 and you want to change them all to another TL?
My all users (10k) seems in the trust_level_0 and trust_level_1 both No one seems in the trust_level_3. So users cant send more than 5 post in 24 hours (or somethhing like that). I want to fix that problem.
You could change the settings so that TL0s and TL1s can do the things that you want them to be able to do.
You could also change the thresholds so that they will all be promoted quickly and then revisit your settings.
Where will i use it? In the terminal?
and after that command, right?
Close, you need to do a rails c first then you can execute that command.
Is it possible you're hitting the "24 hour new user" restrictions? This is the case if the importer failed to fill created_at; if it is, the problem will magically go away tomorrow.
You probably just need to wait 24 hours – it does sound like your importer is broken, since it did not set the user join dates correctly, so all users are considered new.
Edit: Users registration date is seems normal on the profiles.


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Tagged: New Amsterdam	Toggle Comment Threads | Keyboard Shortcuts
Tags: Avant-garde ( 590 ), Classical Music ( 653 ), Jazz ( 538 ), Jazz Loft Project ( 80 ), John Schaefer ( 119 ), New Amsterdam, New Music ( 1,036 ), New Sounds ( 186 ), New York Public Radio ( 96 ), rewire festival, streaming audio ( 513 ), Vicky Chow ( 4 ), WPRB ( 154 ), WQXR ( 136 )
Vicky Chow at rewire
New Amsterdam Records is at the heart of the New Music environment
Saturday April 7 at the Rewire Festival, performing Tristan Perich: Surface Image in NL
Rewire 2018
6-8 April – The Hague, NL
Tags: "Dissections" ( 3 ), Avant-garde ( 590 ), Classical Music ( 653 ), Invisible Anatomy ( 3 ), Jazz ( 538 ), Jazz Loft Project ( 80 ), John Schaefer ( 119 ), New Amsterdam, New Music ( 1,036 ), New Sounds ( 186 ), New York Public Radio ( 96 ), streaming audio ( 513 ), WPRB ( 154 ), WQXR ( 136 )
From New Amsterdam Records: "New Amsterdam is with Ben Wallace and 5 others"
Out next week – debut album from Invisible Anatomy, Dissections!
DISSECTIONS
Pre-order available here: https://invisibleanatomy.bandcamp.com/album/dissections-2
Invisible Anatomy is a composer-performer ensemble that explores the human body as the most fundamental aspect of music creation and performance. Incorporating elements from classical, jazz, experimental rock, performance art and theater, Invisible Anatomy (IA) creates performances that combine an omnivorous stylistic palate, virtuosic physicality, and dramatic visual presentation. IA's inaugural show BODY PARTS dismembered, manipulated, and reanimated bodies in performance – creating a chattering chorus of woodblock teeth and screaming eyes on TV screens. After the group's 2015 debut concerts in New York City, they were invited to China for three shows, including a featured solo concert at the Beijing Modern Music Festival. IA's second season opened with an intimate house concert of BODY PARTS hosted by David Lang, followed by the world premiere of Dissections at Brooklyn's National Sawdust, which was the subject of a full-length feature in the Village Voice. IA performed DISSECTIONS at Pomona College and The Blue Whale in Los Angeles in February 2016, and appeared on Heartbeat Opera's Collaboret Series; at Roulette Intermedium in Brooklyn; at the Yale School of Music in New Haven; and at Ars Nova's ANT Fest in Manhattan. The group was the runner-up in the 2016 SAVVY Chamber Competition at the University of South Carolina School of Music, and recorded their debut studio album in June.
On Halloween 2016, IA produced FUNHOUSE, an immersive presentation of art installations and performances in a prewar Victorian Harlem brownstone. Upcoming engagements include a gala performance hosted by Pulitzer Prize-winning composer Aaron Jay Kernis, an evening-length show at Roulette in Brooklyn, as well as appearing on the Detroit Institute of Art's Friday Night Live series in March 2017.
IA's members have been awarded honors from the American Academy of Arts and Letters, ASCAP, American Composers' Forum, and the China National Arts Fund. IA is fiscally sponsored by Bang on a Can, and is the recipient of a 2017 Foundation for Contemporary Arts Grant.
IAN GOTTLIEB (CELLO)
PAUL KEREKES (KEYBOARDS)
BRENDON RANDALL-MYERS (GUITARS)
DANIEL SCHLOSBERG (KEYBOARDS)
BEN WALLACE (PERCUSSION)
FAY WANG (VOCALS)
richardmitnick 9:56 AM on March 13, 2018	Permalink | Reply
Tags: "Dissections" ( 3 ), Avant-garde ( 590 ), Classical Music ( 653 ), Invisible Anatomy ( 3 ), John Schaefer ( 119 ), New Amsterdam, New Music ( 1,036 ), New Sounds ( 186 ), New York Public Radio ( 96 ), WPRB ( 154 )
From New Amsterdam Records: "'Dissections' by Invisible Anatomy"
Incorporating elements from classical, jazz, experimental rock, performance art and theater, Invisible Anatomy creates performances that combine an omnivorous stylistic palate, virtuosic physicality, and dramatic visual presentation. Dissections is an album of works that premiered at National Sawdust in 2016, featuring six works created by the group's members from a collaboratively generated text and numerous workshops.
National Sawdust
Dissections explores intimacy and the potentially damaging experience of being vulnerable with others, but also the beautiful and unexpected results that can happen when that risk is taken. The close-knit group has experienced this first-hand, collectively and individually working through health issues, conflict, distance and more, and baring themselves to each other during the process. The pieces on Dissections reflect the deconstruction and reconstruction inherent in peeling away human surfaces.
Each piece on Dissections fixates on one element of a musical phrase or text, repeating — or dissecting — it until it becomes unrecognizable. Vocalist Fay Wang's piece "Facial Polygraph XVIA" is a poetic study of facial expressions, dissecting tics, "tells," and subtle changes of emotions. Guitarist Brendon Randall- Myers's songs "Permission" and "Othering" focus explicitly on the discomfort and dangers of opening up to someone — navigating difference and similarity, and the disconnect between who we imagine people to be and who they actually are. Musically, the pieces attempt to capture a feeling of beautiful discomfort in being pulled apart, splitting rock-derived phrases across multiple instruments playing at different tempos.
Cellist Ian Gottlieb's two-movement piece, "Threading Light", symbolizes the piano as flesh and the cello, guitar and vibraphone as the knife, teasing strands of notes out of decadent chords. Pianist Paul Kerekes's piece "Pressing Issues" explores the constant shuffling of small musical gestures into a kaleidoscopic listening experience.
Pianist Dan Schlosberg's piece "A Demonstration" is inspired by Leonardo da Vinci's relentless examinations of human cadavers in search of the human soul, exploring every facet of man he could think of along the way. Fittingly, the pieces features players coaxing sounds from the strings of a grand piano through inflictions from screwdrivers and knives, in a sense exploring a familiar body in new ways.
releases March 30, 2018
1. Facial Polygraph XVIA video
2. Permission
3. Threading Light (i)
4. Pressing Issues
5. Threading Light (ii)
6. Othering
7. A Demonstration i – the cause
8. A Demonstration ii – where the soul is
Invisible Anatomy is: Ian Gottlieb, cello; Paul Kerekes, piano/keyboards; Brendon Randall-Myers, guitars; Daniel Schlosberg, piano/keyboards; Benjamin Wallace, percussion; Fay Wang, vocals.
Dissections was recorded at Oktaven Audio in Mt. Vernon, NY by Ryan Streber, with additional recording by William Gardiner at Turtle Sound in Brooklyn, NY. The album was mixed and mastered by William Gardiner with additional mixing by Ryan Streber. Album artwork for Dissections was created by John Moore, with layout and design by Jordan Kasten-Krause.
William Gardiner provided additional arrangements and electronics on tracks 1, 6, and 7.
Tags: Avant-garde ( 590 ), Jazz ( 538 ), New Amsterdam, New Music ( 1,036 ), New Sounds ( 186 ), Subtle Degrees "A Dance That Empties", WPRB ( 154 )
From New Amsterdam: Subtle Degrees "A Dance That Empties"
Subtle Degrees A Dance That Empties |
New Amsterdam is excited to celebrate A Dance That Empties, the debut album from new two-musician ensemble Subtle Degrees, consisting of Travis Laplante (tenor saxophone) and Gerald Cleaver (drums).
The album is now available on digital + CD formats via NewAm, and on vinyl via NNA Tapes.
A Dance That Empties is the culmination of a very long musical relationship. In 2001, when he was only 18 years old, Laplante played a concert at New York's Knitting Factory, then a pre-eminent mecca for adventurous music of all kinds. Cleaver was in the audience, and came up to Laplante afterwards, handed him his phone number and said they should play together sometime. They soon did, "and I felt a very intimate and spiritual connection with Gerald that feels more alive than ever today," Laplante says. "I've learned a tremendous amount from Gerald and have long considered him one of my favorite living improvisers."
The two have performed together various times over the ensuing 17 years, but Laplante never felt he was quite ready to record with Cleaver. "It got to the point where I took a multiple-year break from playing with him because I felt like I didn't have enough to bring to the table," says Laplante. "I needed to practice so I could have more to give to our musical relationship." Then, in the fall of 2016, Laplante received a commission to compose a piece to be performed at Roulette in Brooklyn the following spring. "I knew that this was the perfect opportunity to return to this relationship with Gerald." And so Laplante began composing an epic-scale work work with Cleaver's rhythmic virtuosity in mind.
Inspired by the longer durational forms of spiritual ceremonies, A Dance That Empties is a continuous journey that unfolds over 43 minutes, with musical motifs that foreshadow, recur, and evolve. The piece refines sonic territory that Laplante has pioneered in his celebrated saxophone quartet Battle Trance, as well as his solo saxophone work, utilizing long passages of circular breathing and other extended techniques to create specific and yet ineffable emotional and sonic resonances. A Dance That Empties, as the title implies, adds the distinctly new element of complex rhythmic pulses precisely and expressively executed by Cleaver, that compel listeners to lose themselves in the hypnotically repetitive yet subtly shifting grooves.
With A Dance That Empties, Laplante and Cleaver throw themselves into unknown territory, delving further into the devotional intensity that has long distinguished both their work.
Travis Laplante on Subtle Degrees:
"Playing in this duo with Gerald is by far the most exposing musical experience I've ever had. I think it feels so raw and vulnerable because it has a similar nakedness to playing solo, while at the same time I'm completely relying on and needing to stay connected with Gerald, no matter what. It requires 100% trust in another person, as well as myself. Our respective parts in A Dance That Empties are so meticulously interwoven that it can potentially be disastrous if one of us makes even a tiny mistake. It feels like the riskiest piece I've ever written in terms of the psychological, emotional, physical and sensory demands."
Travis Laplante is a saxophonist, composer, and qigong practitioner living in Brooklyn, New York and southern Vermont. He leads Battle Trance, the acclaimed tenor saxophone quartet; he is also known for his solo saxophone work and his longstanding ensemble Little Women. Laplante has recently performed and/or recorded with Trevor Dunn, Ches Smith, Peter Evans, So Percussion, Gerald Cleaver, Michael Formanek, Buke and Gase, Darius Jones, Mat Maneri, and Matt Mitchell, among others. He has toured his music extensively and has appeared at major international festivals such as Moers Festival (Germany), Jazz Em Agosto (Portugal), International Jazz Festival Saalfelden (Austria), Hopscotch (Raleigh, NC), Earshot (Seattle, WA), and many others.
Popmatters hailed Laplante's compositions as "an achievement not just for the saxophone, but for avant garde composition as a whole" while the New York Times called Battle Trance's debut album Palace of Wind "mesmerizing… a floating tapestry of fascinating textures made up of tiny musical motifs, and a music that throbs with tension between stillness and agitation, density and light."
Laplante has served as guest faculty at the Royal Academy of Music (Aarhus, Denmark), Dartmouth College, and The New School. As a qigong student of master Robert Peng, Laplante has undergone traditional intensive training. His focus in recent years, under the tutelage of Laura Stelmok, has been on Taoist alchemical medicine and the cultivation of the heart. Laplante is passionate about the intersection of music and medicine. He and his wife are the founders of Sword Hands, a qigong and acupuncture healing practice based in Brooklyn, New York and Putney, Vermont.
Gerald Cleaver is one of the New York jazz scene's leading drummer and composers, who covers a wide range of stylistic ground. Having played with jazz masters Tommy Flanagan, Barry Harris and Ray Bryant as well as the leading lights of the AACM, Roscoe Mitchell, Muhal Richard Abrams, Wadada Leo Smith and Henry Threadgill, he is a product of many traditions within creative music.
Cleaver is known for his associations with Roscoe Mitchell, Charles Gayle, Miroslav Vitous, Mario Pavone, William Parker, Michael Formanek, Joe Morris, Jeremy Pelt, Craig Taborn and Yaron Herman. He is also the leader of the bands Uncle June (a reflection on the personal and familial challenges of Black Americans during The Great Migration featuring Tony Malaby, Andrew Bishop, Mat Maneri, Craig Taborn and Drew Gress), Violet Hour (a tribute to Detroit featuring Jeremy Pelt, JD Allen, Andrew Bishop, Ben Waltzer and Chris Lightcap), Black Host (a noisy avant-garde group featuring Pascal Niggenkemper, Cooper-Moore, Darius Jones and Brandon Seabrook) and Farmers By Nature (a free-improvising collective co-led with bassist William Parker and pianist Craig Taborn).
Tags: Ecstatic Music Festival ( 12 ), New Amsterdam, New Sounds ( 186 )
From New Amsterdam: Ecstatic Music Festival
2018 Ecstatic Music Festival®
presented by Kaufman Music Center at Merkin Concert Hall
featuring poets Imani Davis and Ramya Ramana
Buy 2 or more EMF concerts and save 20%!
No image caption or credit
The artists join forces for an incredible one-of-a-kind collaboration that exemplifies the spirit behind the creation of the Ecstatic Music Festival, now in its eighth year. On the first half of the show, the artists will perform their own works chosen for the occasion. Dronechoir Miracle, the second half of the evening, is a spontaneous set of powerful vocal performances addressing Black Lives, gender equity and racial equality. The work of celebrated poet and spoken word artist Mahogany L. Browne is central to the collaboration.
Dronechoir is the latest innovation by Arone Dyer of Buke and Gase, the band Pitchfork calls "never anything less than absolutely thrilling." Dyer has assembled a group of talented women from completely different musical backgrounds to engage in spontaneous performance that bridges the gaps between them. Mahogany L. Browne is Cave Canem Fellow and Programming Coordinator of Black Lives Matter Pratt @ Pratt Institute.
A collaboration between New Amsterdam Records and Kaufman Music Center, the acclaimed Ecstatic Music Festival® returns in 2018, bringing together composers and performers from different musical genres for nine one-night-only performances featuring world premieres, new arrangements and the exclusive opportunity to hear artists discuss their work. Starting Jan. 27 and running through April 26, 2018, the festival, hailed as "the alt-classical world's main showcase" (The New York Times), a will feature collaborations from more than 75 artists, including Kronos Quartet, the Bang on a Can All-Stars, Margaret Leng Tan, Glasser, Xenia Rubinos, Mantra Percussion, Mahogany L. Browne, Carla Kihlstedt, Patrick Zimmerli, Ethan Iverson, Buke & Gase's Arone Dyer, and many more.
Click here for more information and tickets to the 2018 Festival and for the complete festival line-up.
Tags: New Amsterdam, New Music ( 1,036 )
From New Amsterdam: "Strange Paradise"
ANNOUNCING:
Strange Paradise
album art by Devra Freelander and Gregory Wikstrom
sophomore album from
Tigue
out April 27
pre-order via Bandcamp
watch album trailer
Album Release Show:
featuring live performance of album
+ opening set by Operator Music Band
Sunday, April 27 – 8:00pm
LPR Presents at Elsewhere
MORE INFO & TICKETS
"…an imaginative, distinctive, hypnotic yet kinetic blend of
indie classical, minimalism, post-rock and drone music."
— New York Music Daily
New Amsterdam Records is excited to announce Strange Paradise, the sophomore album from Brooklyn-based composer-performer percussion trio Tigue. Co-released by NewAm (CD + digital) and NNA Tapes (vinyl), the album follows the group's widely-celebrated debut album, Peaks (2015) and is now available for pre-order via Bandcamp.
The band will also celebrate the album's release on Friday, April 27 with a performance at Brooklyn's Elsewhere, a new multi-room venue from the owners of the now-defunct venue Glasslands. The performance is presented by LPR Presents and Operator Music Band will open. Tickets are on sale now here.
Tigue is a group of three percussionists with a fluid musical identity. Praised for their energetic and focused performances, the members of Tigue (Matt Evans, Amy Garapic and Carson Moody) have continued to to develop their own language of instrumental minimalism while simultaneously performing in collaborative endeavors over the past five years. Strange Paradise sees them creating as a unit, pushing each other to transcend the limits and expectations of their percussion instrumentation through the construction of long-form, radiant hypnotic soundscapes described by the group as "rendered in ecstatic complexity."
The music on Strange Paradise flows directly from the hands and minds of the members, the result of a deep human connection that can only come from playing music together for nearly a decade. The group wrote the music with a sense of immediacy — everyone together in a room, with vibraphones, drums, synthesizers, gongs and garbage — with every sound maintaining an intimate connection to its creator. The members' distinct musical voices interlock seamlessly, and the pieces radiate with warmth.
As a result, Strange Paradise is a luminous, abstract, non-narrative world that funnels inspiration from patterns, objects, and relationships. Built on an intricate patchwork of tones where instrumental lines and textures shift in and out of alignment to produce a vibrating landscape, Strange Paradise is designed for a mode of "extended listening" — asking listeners to explore slow gradations of change between rhythm and texture. The album creates a sound environment that envelopes the listener but continually defies expectation — shapeshifting at each point it seems understood. Though the music floats from the serene to the uncanny, Strange Paradise is perhaps most notable for providing a distinct sensation of interconnectedness.
Strange Paradise was produced by Tigue & Seth Manchester, and recorded at Machines with Magnets in Pawtucket RI and Brooklyn NY. The album was engineered and mixed by Seth Manchester, and mastered by Heba Kadry at Timeless Mastering. Special guests on "Triangle" include: Benedict Kupstas (guitar); Seth Manchester (guitar); Tristan Kasten-Krause (bass); Trevor Wilson (Wurlitzer); and Eliot Krimsky (OP1).
Top to bottom: Matt Evans, Amy Garapic, and Carson Moody
Photo Credit: Catalina Kulczar
SUPPORT NEWAM
New Amsterdam Records is a registered 501(c)(3) not-for-profit organization.
Received via email.
richardmitnick 7:50 PM on November 9, 2011	Permalink | Reply
Tags: Avant-garde ( 590 ), Classical Music ( 653 ), New Amsterdam, New Music ( 1,036 )
New From New Amsterdam This Month – "Drawn Only Once" and "Requiem"
Due East Drawn Only Once
Erin Lesser, flute
Greg Beyer, percussion
"drawn only once represents the NewAm debut for accomplished duo Due East (Erin Lesser, flute; Greg Beyer, percussion) and innovative new music composer John Supko. The album contains two pieces, Littoral, written for the duo, and This window makes me feel, both coupled with cutting-edge videography by Kristine Marx and Don Sheehy, respectively. The pieces explore, among other things, Supko's interest in field recordings, and computer-generated randomness of harmonies and melodic material. The multimedia pieces are presented in both CD and 5.1 surround sound DVD formats.
Littoral melds the lustrous timbres of flute, electronics, and an impressive array of percussion with texts by contemporary Dutch writer Cees Nooteboom and 16th Century English writer Richard Hakluyt. Supko calls Littoral 'music of shifting terrains, each with its distinct sense of time and color and space… more alluring than any destination plotted on a timetable.' These impressions are realized by flute, alto flute, piccolo, an array of unorthodox percussion instruments, and synthesized field recordings of the sea, Supko's voice, and the voice of a poet. Marx's entrancing video accompanies the piece with rapidly changing geometric forms superimposed over transient oceanic landscapes. This window makes me feel is based on Robert Fitterman's brilliant poem of the same title, which makes use of completions of the poem's title based on hundreds of Google searches, chronicling a vast range of humane poetic sensibilities. The work includes pre-recorded mezzo-soprano (Hai-Ting Chinn), keyboards (David Broome), and other electronics. Sheehy's video accompaniment captures the hysteria of the congested cityscape with short clips clandestinely captured on the streets of New York that visually amplifies the pre-recorded poetic whispers of Fitterman's poem.
The album will be released November 15th, followed by a record-release performance of Littoral at Galapagos Art Space on November 21st, alongside a piece by composer Gregory Spears."
Purchase: Amazon | iTunes | eMusic
Gregory Spears Requiem
"Gregory Spears is a composer of refined and 'astonishingly beautiful' (New York Times) instrumental and vocal works. His recording debut is marked by Requiem, an otherworldly album-length composition scored for six voices, baroque viola, harp, troubadour harp, recorders, and electric organ, containing vastly eclectic influences. While the piece's title and instrumentation suggest a characteristically baroque structure, these indices are juxtaposed with Feldmanesque harmony, Reichian repetition, and motet-like vocal stylings, liberating the piece from a particular musical era. The music is wedded to an array of time- and place-exclusive languages, including Latin, Middle French, and Breton, allowing for further multi-referentiality and conceptual intricacy.
The piece premiered in in June 2010 as an opera an opera/dance collaboration with choreographer for Christopher Williams for his dance production Hen's Teeth. The performance enhanced the collage-esque sonic references with the disparate imagery of 19th century Breton fairy tales, Greek mythology, and middle age relics. The interdisciplinary realization was called 'splendid…' and 'the jangling together of singing voices, violin, harp, recorder, chimes, and electric organ is magical, like feathers stroking the back of your neck' (Village Voice). The New York Times called Spears' score 'the most distinguished component of the evening,' the instrumentation evoking a 'shimmering medieval aura,' and New Yorker critic Alex Ross described it as 'cooly entrancing.'
The album will be released November 15th, followed by a performance at Galapagos Art Space on November 21st, alongside a piece by composer John Supko performed by the dynamic duo Due East."
richardmitnick 8:00 PM on September 6, 2011	Permalink | Reply
Tags: Avant-garde ( 590 ), New Amsterdam, New Music ( 1,036 )
News From New Amsterdam Records
First, the New Am web site has been re-designed and it is really spiffy.
Second, there is a new site, New Amsterdam Presents, about which we are told, "…For up-to-date information about the New Amsterdam community, including our recording artists as well as our ever-expanding list of concerts and other events, please visit NewAmsterdamPresents.com.
And, oh yes, some music!!
Jody Redhage – of minutiae and memory
"As the recipient of the 2005 Hertz Grant, Jody began developing her "singing cellist" project–writing and also commissioning a repertoire for her voice and cello from some of New York's most talented emerging composers. All Summer in a Day, the CD culmination of this commissioning/recording project, was originally released in 2007 on New Amsterdam Records and has been called "a freewheeling, slightly edgy and altogether 'different' kind of musical experience…highly rewarding and worthwhile" (Dave Lewis, All Music Guide). Jody spent 2009 going in and out of the studio, recording more pieces for her voice, cello, and electronics. The updated album, of minutiae and memory (featuring a few tracks from the original 2007 release and many new compositions) is the compelling result.
The album includes eight immersive, nuanced premiere recordings of compositions from some of today's most talented young "indie classical" composers: Missy Mazzoli, Ryan Brown, Anna Clyne, Stefan Weisman, Paula Matthusen, Wil Smith, Derek Muro, and Joshua Penman. The tracks have been carefully curated by Redhage to flow effortlessly from piece to piece, and the album's extremely high production value lends an alluring sheen to each track."
itsnotyouitsme – everybody's pain is magnificent
"itsnotyouitsme consists of two prolific, highly regarded New York musicians: violinist/composer Caleb Burhans and guitarist Grey McMurray, each of whom has an extensive musical output in a variety of ensembles and musical idioms. They formed the ensemble itsnotyouitsme in 2003, fusing and distilling their eclectic mutual inspirations, including the likes of J.S. Bach, Brian Eno, and Pink Floyd. Since its inception, the duo has carved out a unique niche at the intersection of chamber music, jazz, and post-rock musical scenes with their breathtaking, genre-defying instrumental soundscapes.
Following itsnotyouitsme's first two critically acclaimed albums is everybody's pain is magnificent, an 88 minute double-disc album that serves as a mature and well-honed artistic statement. Like the duo's first two albums — walled gardens and fallen monuments — which were lauded by critics for their idiosyncratic ambient sound worlds generated by copious melodic looping, everybody's pain is magnificent enraptures the listener with its dense textural landscapes. The emphasis on slowly shifting harmonies and polished timbres represents a marked departure away from the group's earlier Philip Glass-inspired additive process minimalism and toward a more abstracted soundworld of flowing textures."
yMusic – Beautiful Mechanical
yMusic is a group of young performers who are actively engaged and equally comfortable in the overlapping classical and pop music worlds (Alex Sopp, Hideaki Aomori, CJ Camerieri, Rob Moose, Nadia Sirota, and Clarice Jensen). Its unique instrumentation includes a traditional string trio as well as the distinctive combination of flute, clarinet and trumpet. This exciting composite of sounds has sparked a burgeoning repertoire of commissions from some of today's most important artists.
Beautiful Mechanical, the group's focused and stunning debut album, features compositions by indie- classical all-stars Annie Clark (St. Vincent), Shara Worden (My Brightest Diamond), Ryan Lott (Son Lux), Gabriel Kahane, and New Amsterdam Records co-founders Sarah Kirkland Snider and Judd Greenstein. The compositions are assured and fervent yet tender and humane, the performances delicate yet fiercely virtuosic, making for a cohesive album that stands as a manifesto of what music-making in the 21st century can – and should – be."
Please give yourself a lift by visiting the new web sites.
richardmitnick 2:26 PM on August 20, 2011	Permalink | Reply
Tags: Avant-garde ( 590 ), Cued Up On Q2 ( 42 ), New Amsterdam, streaming audio ( 513 ), Terrance McKnight ( 4 )
From Cued Up at Q2: "Look & Listen Festival: Part III"
Toy Pianos, accordion, electronics and bandsembles take over the L&L Festival.
"Cease the last full month of Summer with the Look & Listen Festival running through August here on Cued Up. For the fest's third concert of four, enjoy two world premieres by the delightfully unclassifiable drummer/composer John Hollenbeck and his group The Claudia Quintet with Theo Bleckmann, a world premiere by past Q2 composer-portrait Angélica Negrón and works by toy piano wiz Phyllis Chen and textural magician Zibuokle Martinaityte.
You can enjoy the first two concerts here (Part I) and here (Part II) for more exciting new works from this year's L&L Festival, but tune in this Sunday to marvel at Part III's fireworks: The Claudia Quintet reconciles sputters of pointillist post-jazz with heartfelt lyricism via Bleckmann's crooning and Hollenbeck's writing; Chen plays a mélange of housewares, mixing bowls, and toy piano to produce a one-woman orchestra that winks at Gamelan music; Ms. Martinaityte teases at Eastern-Euro modality, while conjuring up some breathtaking swells that sound more like a synthesizer than the sax/bass trombone/accordion trio.
This edition of Cued Up is hosted by Terrance McKnight.
Terrance McKnight
richardmitnick 10:26 AM on August 13, 2011	Permalink | Reply
From New Amsterdam Records: Jody Redhage's of minutiae and memory
New Amsterdam Records is at the heart of the New Music environment.
"New Amsterdam is proud to announce the August 30th release of Jody Redhage's new recording project, of minutiae and memory. Praised for her "exceptional technical command," (Steve Smith, Night After Night), Redhage's album demonstrates her evolution as both cellist and vocalist, building upon what was represented in her first NewAm CD, All Summer In A Day. That disc, which first brought New Amsterdam Records to public attention, was the culmination of her original commissioning/recording project, heralded as "a freewheeling, slightly edgy and altogether 'different' kind of musical experience…highly rewarding and worthwhile" (Dave Lewis, All Music Guide).
Jody Redhage
Redhage's new album includes eight immersive, nuanced premiere recordings of compositions from some of today's most talented young composers: Missy Mazzoli, Anna Clyne, Stefan Weisman, Paula Matthusen, Wil Smith, Joshua Penman, and Derek Muro. The tracks have been carefully curated by Redhage to flow effortlessly from piece to piece, and the album's extremely high production value lends an alluring sheen to many of the tracks.
Redhage, fresh off a tour with Esperanza Spalding, will appear at the exciting new venue DROM in New York's East Village on 9/12/11 to celebrate the of minutiae and memory's release. Helping her in her cause will be art-pop composer Corey Dargel and violinist Cornelius Dufallo of ETHEL performing a short set of songs. Doors at 6:30, showtime at 7:30. DROM is located at 85 Avenue A between 5th and 6th."


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