text:
Six Strings with… Mr. Agitator [V Is For Villains]
Okay this is one of those bands that I stumbled upon on one of my conventions that I sometimes go to and this was one of the highlights of the whole convention. I would like to thank Mr. Agitator for his time, I am hoping to bring more of the group "V Is For Villains" to you... though they all seem a mystery.
-Jeremy [Retro-Zombie]
- How did each character come to pass, by personal design or told these shoes you have to fill?
Mr. Agitator: I had a very strong idea of what I wanted to do early on. I designed the Mr. Agitator costume at my office where I was working at the time and it just mad sense to me. It was different but felt familiar. I have always like the Steampunk and Super hero image so I wanted to combine them but I wanted it to feel more like a style of dress than an exact uniform. Maybe to accentuate Villainy as a fashion. I know that Fallon Flynn was designed with Analise Rahn and I felt like the two of them knocked it out of the park. I think that it is important to understand when designing a Villain that you are going to inhabit that and that it has to be an extension of yourself or it just doesn't feel authentic. I love looking at the pictures afterwards because there is so much of our real personalities and interests in them. If one of our Villains ever decided to leave the group their Villain identity would go with them, you would never see someone else try to wear the Fallon Flynn suit, for example, unless he passed it on by choice to someone he selected and trained.
- Playing many conventions, do you all enjoy that world of comic books [who do you personally like], fantasy or roll play?
Mr.Agitator: I feel like we have a HUGE love of comic books and the culture. I think we each have on passion that we are stronger on than the other so it evens out. I am a HUGE comic book fan and still read when I can. Fallon Flynn is really into Video games, The Pulse Loves Anime and Veronica Jade is a Steampunk fan. I feel like we all dabble in these interests together and enjoy all of these worlds but we each specialize in one. That's a pretty cool thing ultimately.
- How do you classify your music style and what were each of you doing musically before "V Is For Villains"?
Mr. Agitator: I would say musically it is a blend of electronic, rock and industrial. I like to borrow from those elements in the pursuit of crafting a new form of musical entertainment. It is an all encompassing experience for me. "Evolve or Die" was written without the idea of costumes. I like to separate the music in that way so that the music can stand on its on two feet without the visuals. Before Villains Jon and I were in a band called Digital Mindy that we started and played on for almost ten years. I think I was 16 on our first recordings. I felt like this was the natural progression. Carrie was in a band before and partial during Villains called Counting 10 and Richard played in various Chicago bands.
- The response to "V Is For Villains" has been very positive and you have a sizable fan base... how does this feel your out of costumed lives and what are your normal lives like?
Mr. Agitator: I feel like the separation can be a stark contrast. I think Villains is a way to wear that side of yourself that you have to repress in the office or at work, or in most social situations. It is a way to express the underbelly that society doesn't want to see. It is a fun and liberating. I think that we are all just hyper versions of ourselves when we put on the masks. I want to go into a sports bar in full costume and remind everyone on a Saturday night to stop taking themselves so seriously. We are all ticking on the same clock so let loose and have fun. Stop worrying about judgment. I feel like we are all very level headed and fun people. We get along REALLY well, I feel like we are all more than friends we are family.
- All groups get asked what are their musical influences, so I thought I would ask what is your favorite television theme song and why?
Mr.Agitator: Good question. My favorite television theme is probably Batman: The Animated series. It is epic. My favorite film score is probably Inception, though I love the score for Meet Joe Black.
- Where do you go from here, please tell us about your perspective of the newest release and what is the future hold on additional releases?
Mr.Agitator: I am excited to start working on the next release. I am starting to understand what I want to say. I really want to push the limits of the current musical formula and see what we come up with. I think we are honestly just getting started. You haven't seen anything yet.
- Bonus: You can ask me a question or tell us something you would like us to know about you or anything you want?
Mr. Agitator: If you are in the Chicago land area on Friday Oct 26th, join us at The Hard Rock Cafe Chicago when Digital Mindy will open for V Is For Villains. Thank you so much for talking with us!!
http://www.visforvillains.com/
Hosted by Unknown at 12:00 AM
Labels: Convention Coverage, Interviews, Six Strings with… Mr. Agitator, V Is For Villains
THE VIDEO DEAD: I think this movie tried to kill ...
October 31: Midnight Son [2012]
Midnight Son [2012] - Kays Al-atrakchi
13 Chills: Day 13 - October 31, 2012
October 30: BLACK SABBATH - Les Baxter
October 29: Silent Hill: Revelation 3D [2012] - Je...
Skylanders: Giants [2012] - Lorne Balfe
October 28: Killjoy/Scarecrow Box Set
Rise Of The Guardians [2012] - Alexandre Desplat
October 27: Screamworks Records [2012]
October 26 - Dexter Season 6 - Daniel Licht
STAGE FRIGHT THE WEB SERIES!!!
October 25: I Kissed A Vampire: The Rock Musical
October 24: The Comedy Of Terrors [2012] - Les Bax...
October 23: Dawn of the Dead - Tyler Bates [2012]
Merlin [2012] - Series III and IV - Rob Lane, Roha...
Cloud Atlas [2012] - Johnny Klimek, Reinhold Heil ...
Varese Sarabande Club Titles [10-22-12]
October 22: King Kong Lives [2012] - John Scott
The Sessions [2012] - Marco Beltrami
October 21: Puppet Master: Axis of Evil
The Good Doctor [2012] - Brian Byrne
James Bond's Skyfall [2012] - Thomas Newman
Lincoln [2012] - John Williams
October 20: Sinister [2012] - Christopher Young
October 19: Puppet Master: The Legacy
DREDD: Why didn't any of you go see this film?
Hot Potato [2012] - Guy Farley
Won't Back Down [2012] - Marcelo Zarvos
October 18: Cleanskin [2012] - Simon Lambros
October 17: Retro Puppet Master
Nobody Walks [2012] - Fall On Your Sword
High Plains Drifter [2012] - Dee Barton
Butter [2012] - Mateo Messina
October 16: Tall Man [2012] - Todd Bryanton, Joel ...
October 15: Bait 3D [2012] - Joe Ng & Alex Oh
October 14: Curse of the Puppet Master
October 13: Cockneys Vs Zombies [2012] - Jody Jenk...
THE CINEMA SNOB MOVIE: A film for people who love...
Compliance [2012] - Heather McIntosh
ARGO [2012] - Alexadre Desplat
Magic City [2012] (Score) - Daniele Luppi
Six Strings with… Mr. Agitator [V Is For Villains]...
The Mountain Men [2012] - Michel Legrand
Smashed [2012] - Andy Cabic and Eric D. Johnson
Bound For Glory [2012]
October 11: Puppet Master 5: The Final Chapter
October 10: The Fog (2Cd) [2012] - John Carpenter
October 9: Puppet Master 4: The Demon
SoundtrackGeek's Review: Bereavement
TEDDY, POPULARITY KILLER, and BLOOD BROTHERS!
13 Chills: Day 03 - October 8, 2012
October 8: [REC]3: Genisis [2012] - Mikel Salas
RESIDENT EVIL: RETRIBUTION is a good reason why yo...
October 7: Strippers vs Werewolves [2012] - Neil C...
October 6: Puppet Master III: Toulon's Revenge
Six Strings with… Nathan Johnson [Composer]
Looper [2012] - Nathan Johnson
October 4: Puppet Master II
October 3: Puppet Master
October 1, 2012... [100,000 Views]
Resident Evil V - Retribution [2012] - Tomandandy


text:
Rajd samochodowy – forma sportu samochodowego, w której rywalizacja odbywa się na drogach publicznych. Trasa rajdu składa się z zamkniętych dla ruchu odcinków specjalnych oraz otwartych dla ruchu odcinków drogowych, łączących kolejne odcinki specjalne. Celem zawodów jest jak najszybsze pokonanie odcinków specjalnych oraz przejechanie całej trasy rajdu w czasie określonym przez organizatora. Podstawą kwalifikacji jest suma czasów uzyskanych na odcinkach specjalnych, powiększona o kary czasowe nałożone przez sędziów.

W rajdach samochodowych rywalizują dwuosobowe załogi, składające się z kierowcy i pilota. Załogi startują w specjalnie przygotowanych samochodach rajdowych, które jednak muszą być dopuszczone do ruchu drogowego. Do rywalizacji załogi startują indywidualnie, w krótkich (najczęściej jednominutowych) odstępach czasu.

Trasa
Trasa rajdu przebiega w większości po ogólnodostępnych drogach publicznych. Dzielimy ją na zamknięte dla ruchu próby sportowe zwane Odcinkami Specjalnymi (w skrócie OS, OES), podczas których zawodnicy przejeżdżają jeden po drugim w odstępach czasowych celem dokładnego pomiaru czasu, oraz otwarte odcinki dojazdowe zwane dojazdówkami – bez pomiaru czasu, lecz w określonym czasie. Pomiędzy poszczególnymi fragmentami trasy znajdują się Punkty Kontroli Czasu (PKC) oraz Punkty Kontroli Przejazdu (PKP).

Ze względu na różnorodność miejsc, w których rozgrywane są rajdy, spotyka się różnego typu nawierzchnie. Mogą to być: szuter, asfalt, śnieg, lód czy błoto.

Rajdy rozgrywane są w każdych warunkach atmosferycznych bez względu na pogodę i porę dnia np. po zapadnięciu zmroku.

Zawodnicy
W rajdach biorą udział dwuosobowe załogi, składające się z kierowcy i pilota. Warunkiem możliwości startu w rajdzie jest posiadanie odpowiedniej do rangi imprezy licencji rajdowej. Aby ją uzyskać należy spełnić szereg ściśle określonych kryteriów wśród których można wymienić: posiadanie prawa jazdy odpowiedniej kategorii, udokumentowane uczestnictwo w imprezach motorowych niższej rangi, pozytywne przejście badań lekarskich oraz członkostwo w automobilklubie.

Przebieg rajdu
Właściwą rywalizację w rajdzie poprzedza rekonesans, czyli zapoznanie z trasą, podczas którego załoga sporządza notatki, za pomocą których będzie się nawigować już w czasie rywalizacji na odcinku specjalnym. Po rekonesansie, który w zależności od długości, trudności oraz rangi imprezy może trwać od jednego do trzech dni, na załogę czeka jeszcze odcinek testowy oraz badanie kontrolne startujących samochodów.

Walka na rajdzie rozpoczyna się często od startu honorowego oraz rzadziej tzw. Super OS'u, rozgrywanego wieczorem dzień przed pierwszym etapem rajdu.

Każdy rajd składa się z etapów, będących w przeważającej większości kolejnymi dniami rywalizacji. Dziś spotyka się głównie imprezy składające się od jednego do trzech etapów. W skład etapu wchodzą przejeżdżanie najczęściej dwa- lub trzykrotnie te same fragmenty trasy, rozpoczynające się i kończące parkiem serwisowym, zwane sekcjami lub pętlami. Każda pętla składa się z odcinka drogowego zwanego dojazdówką oraz odcinka specjalnego, podczas którego ma miejsca właściwa rywalizacja wśród startujących załóg. Jeżeli długość pętli jest spora, wówczas uzupełniana jest ona strefą tankowania, na którym załogi mogą uzupełnić ilość paliwa w swoim samochodzie. Pomiędzy poszczególnymi etapami znajdują się parki zamknięte.

Rajd najczęściej kończy się metą honorową, na której ma miejsce dekoracja zwycięzców oraz końcowym badaniem kontrolnym.

Klasyfikacje
W Rajdowych Mistrzostwach Świata (WRC) prowadzone są następujące klasyfikacje:
 Drivers World Cup – Puchar Świata dla kierowców rozgrywany w latach 1977-1978
 World Rally Championship – Mistrzostwa świata dla zespołów fabrycznych (od 1973 roku) i dla kierowców w klasyfikacji generalnej (od 1979 roku) gdzie rywalizowały samochody gr. 4 (1973-1981), gr. B (1982-1986), gr. A (1987-1996) i klasy WRC (1997-2010)
 F2 World Cup – Puchar Świata dla producentów samochodów o 2-litrowych silnikach rozgrywany w latach 1993-1999, w którym rywalizowały auta typu Kit Car (samochody gr. A o pojemności skokowej silnika do 2000 cm3 i napędem na dwa koła przednia oś FWD, silnik atmosferyczny, klasy A7 i A6)
 Production Car World Cup – Puchar Świata dla kierowców samochodów produkcyjnych rozgrywany w latach 1987-2001, w którym rywalizowały samochody gr. N
 Production Car World Rally Championship PWRC – Mistrzostwa Świata dla kierowców samochodów produkcyjnych rozgrywane od 2002 roku w którym rywalizują samochody gr. N o pojemności skokowej silnika powyżej 2000 cm3 i napędem na cztery koła 4WD, silnik turbodoładowany, klasa N4
 Junior World Rally Championship JWRC – Mistrzostwa Świata dla młodych kierowców samochodów o 1,6-litrowych silnikach rozgrywane od 2001 roku, w którym rywalizują auta typu Super 1600 (samochody gr. A o pojemności skokowej silnika do 1600 cm3 i napędem na dwa koła przednia oś FWD, silnik atmosferyczny, klasa A6)
 Super 2000 World Rally Championship SWRC – Mistrzostwa Świata dla kierowców samochodów o 2-litrowych silnikach rozgrywane od 2010 roku, w którym rywalizują auta typu Super 2000 (samochody o pojemności skokowej silnika do 2000 cm3 i napędem na cztery koła 4WD, silnik atmosferyczny, klasa N4)

Samochody rajdowe należą do kategorii samochodów homologowanych w danej grupie. Rozróżnia się następujące grupy podzielone na klasy w zależności od pojemności skokowej silnika:

 gr. N – samochody produkcyjne
 kl. N4 – powyżej 2000 cm3 (w tym samochody typu Super 2000)
 kl. N3 – powyżej 1600 cm3 i do 2000 cm3
 kl. N2 – powyżej 1400 cm3 i do 1600 cm3
 kl. N1 – do 1400 cm3

 gr. A – samochody turystyczne
 kl. A8 – powyżej 2000 cm3 (w tym samochody typu World Rally Car)
 kl. A7 – powyżej 1600 cm3 i do 2000 cm3 (w tym samochody typu Kit Car)
 kl. A6 – powyżej 1400 cm3 i do 1600 cm3 (w tym samochody typu Kit Car i Super 1600)
 kl. A5 – do 1400 cm3

 gr. B – samochody wielkiej turystyki

 gr. R – (napęd na dwa koła 2WD), samochody turystyczne (R3 i R2) lub seryjne wielkiej produkcji (R1):
 kl. R3D – do 2000 cm3 (silnik doładowany wysokoprężny)
 kl. R3T – do 1600 cm3 (sinik doładowany benzynowy)
silniki wolnossące benzynowe:
 kl. R3C i kl. R2C – powyżej 1600 cm3 i do 2000 cm3
 kl. R2B i kl. R1B – powyżej 1400 cm3 i do 1600 cm3
 kl. R1A – do 1400 cm3

W przypadku silnika doładowanego nominalna pojemność skokowa silnika jest mnożona przez współczynnik 1,7 dla silników benzynowych (lub współczynnik 1,5 dla silników wysokoprężnych), którego wynik ustala przynależność do klasy.

Samochody
 Dokładny opis znajduje się w artykule: Samochód rajdowy

Serie rajdowe
 IMC (International Championship for Manufacturers) – Międzynarodowe Mistrzostwa w rajdach dla producentów samochodów (1970-1972)
 WRC (World Rally Championship) – Rajdowe Mistrzostwa Świata (1973-do teraz), WRC zastąpiło IMC w 1973 roku. W klasyfikacji Junior WRC wicemistrzem jest Michał Kościuszko. W zespole fabrycznym jeździł Tomasz Kuchar. W roku 1973, 2009, 2014, 2015 i 2016 Rajd Polski był zaliczany do WRC.
 ERC (European Rally Championship) – Rajdowe Mistrzostwa Europy (1953-do teraz), mistrzami Europy byli m.in. Sobiesław Zasada, Krzysztof Hołowczyc, Kajetan Kajetanowicz,  wicemistrzami Marian Bublewicz, Janusz Kulig, Michał Sołowow a drugimi wicemistrzami Andrzej Jaroszewicz i Leszek Kuzaj
 IRC (Intercontinental Rally Challenge) – Międzykontynentalny Rajdowy Challenge (2006-2012)
 RSMP – Rajdowe samochodowe mistrzostwa Polski
 RPP – Rajdowy Puchar Polski zwany też Rajdowym Pucharem PZM, w którym rywalizują zawodnicy startujący samochodami spełniającymi wymogi bezpieczeństwa RSMP, lecz nie posiadającymi licencji na RSMP (tak zwana druga liga) (2009-2014).

Zobacz też
 Wyścigi samochodowe
 Wyścig górski
 Rajdy terenowe
 Rallycross

Przypisy

redpajama_set_name: RedPajamaWikipedia


text:
Home What Lies Beneath: The Iceberg Theory of Writing
What Lies Beneath: The Iceberg Theory of Writing
August 3, 2005 Chip Scanlan
Chip on Your ShoulderMedia Innovation
"If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them."
I vividly remember my reaction the first time I read this famous quote by Ernest Hemingway.
"Huh?" I said.
I didn't get it. You can leave things out and the reader will still get them? It made no sense.
Later, I found out there was a line missing from the quote. "The dignity of movement of an iceberg is due to only one-eighth of it being above water."
Ohhh, I get it now, Ernie.
Reporters always gather more information than they need. By the time we've finished a 15-inch story or a 60-second broadcast package, we may have interviewed a dozen people, read through sheaves of reports, press releases and statements, pored over a stack of clips.
And then, of course, we agonize about it. "I don't know what to cut. It's all great stuff," we moan when our editor says, "keep it short," or the desk sends word to "trim by a third."
What we've forgotten, as I first learned from writing coach Don Murray, is that we write best from "an overabundance of material."
Murray kept a large trash can by his desk when he was freelancing for Reader's Digest, The Saturday Evening Post and other so-called "slick" magazines of the 1960s. He noticed that when the trash can overflowed with discarded material, the stories were better. They were worse if he found himself diving in to find something — anything — to fill space.
That's because great writing, as Hemingway and Murray know — and I've belatedly come to accept — reflects the "iceberg theory."
When the lookouts on the Titanic sounded the alarm, "Iceberg right ahead," on April 14, 1912, what they feared was not the jagged tops of ice that broke the surface of the North Atlantic but the mountain beneath. That's because only about one-eighth of an iceberg floats above the water.
The same principle holds in writing. What makes a story powerful is all the work — the process of reporting and writing — that lies beneath. It isn't wasted effort, as many of us fear, but instead constitutes the essential ingredient that give writing its greatest strengths.
As someone prone to turning every story into a project (only because it lets me postpone publication, which will reveal all my inadequacies), I have to keep reminding myself that you can never over-report but you can under-think, under-plan, under-draft and — worst of all — under-revise.
Alix Freedman, an assistant managing editor at The Wall Street Journal, calls on another metaphor to make the case. Speaking to participants at a Poynter seminar on enterprise reporting in 2001, Freedman recalled an editor's description of journalism's essential challenge: "Distill a beer keg's worth of information into a perfume bottle."
That's why the Pulitzer Prize-winner catalogs her material on a yellow sheet of paper that lists all the quotes, examples, and themes she's uncovered in her reporting. Each gets a grade. Only those marked "A" make it into print.
Her aim, she says, is to "maximize impact," to use "not just an example but a telling example. Not just a quote but a quote on point."
Freedman makes these decisions before she writes. I'm more likely to rely on the iceberg at the end of the process, during revision.
"Get Me Rewrite: The Craft of Revision," my new course on NewsU produced with Casey Frechette, offers a list of strategies to help writers overcome the "first-draft culture" that dooms so much journalism to mediocrity. Write early. Read aloud. Diagnose, then treat.
I realize we've got to add another. "Look out for icebergs."
Too often, we sink our stories with information we can't bear to part with, even if it's not relevant. ("But I spent two hours interviewing the Assistant Under Secretary of State for Non-Essential Information," we wail. "It took me six months to FOIA that report." "I need four paragraphs to describe that room.")
Not true. What the reader should see is the glistening tip of a mass of information that never breaks the surface, but which allows the writer to select the material that is most telling.
The power of a story comes from what's not in it.
It's a paradox, one of many contradictions that lie in the writer's path.
But we ignore it at our peril.

redpajama_set_name: RedPajamaCommonCrawl


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Academy for Multimedia
Picasso said "learn the roles like a pro so you can break them like an artist." In the Academy for Multimedia, students explore a variety of mediums (film, photography, stop-motion animation, graphic design, digital art, 2D animation, site-specific art, mixed media, production management, lighting design, screenwriting, sound design and composition), concepts and technical programs to develop their skills and toolkits. Students evolve their career ready practices through independent and collaborative projects, participating in productions (as both cast & crew) and through guest artist workshops with industry professionals. It is highly encouraged that students complement their media studies with courses in drama and/or music.
Upcoming Multimedia Nights (film screening & gallery show):
January 17, 2020 at 7pm // MCST
May 29, 2020 at 8pm // MCST
@mcst_vpa
Mrs. Brianna O'Halloran
Brianna O'Halloran graduated as a Dance Major from MCST many moons ago. She went on to study dance and dance film at Bennington College, where she discovered her love of filmmaking and animation. At Bennington College, Brianna leapt into her video studies. By manipulating the mediums she was comfortable with, such as dance, costume, and lighting, and studying them further, she discovered that her imaginative visions could best be articulated through animation. Animation allowed her the freedom to bring to life the magical worlds she once created as a young girl with her dolls and enabled her to establish her imagination via film and performance. She understands that the core of any freedom is knowledge and knows the importance of learning about the history of the arts she loves. Mrs. O'Halloran recieved her BA in Visual Arts concentrating in Experimental Animation and Dance Film.
After graduation and a short stint as an art teacher, Brianna founded B. RUTH CREATIVE, a creative consulting company, and has since participated in many exciting projects. Brianna's time as a Terrytoons animation archivist gave her the privilege of holding film cells in her gloved hands, allowing her to explore root methods in animation and to be inspired by the magic in each frame. And while imaginative worlds are paramount to Brianna, she has learned much immersed in the reality of the documentary 40 Weeks as its Assistant Director. As she followed families during their 40 weeks of pregnancy, Brianna understood more fully that, while creative ideas give life to a project, it is the day-to-day work of film that allows an idea to grow and develop.
Upon completion of 40 Weeks, Brianna expanded B. RUTH CREATIVE. Brianna's exploration as a visual storyteller continues as she collaborates with fellow artists and works with new brands and companies. Her dream of being able to do what she loves and work with a variety of clients came true. Past clients include: Rosa Clará Bridal, Global Fund for Women, Big Belli, Robot Fondue, Hoboken Chiropractic + Wellness, Parkman Sunglasses, pas de deux Bridal, FemmeGod, Fortunate Bones, Country Fusion, Shine Yoga Studio, Sierra Noble, Czechoslovak-American Marionette Theater and more.
During this time, Brianna returned to her alma matter at MCST as the Dance Film Guest Artist. Halls of Ivy, a dance film created by the Academy for Visual and Performing Arts (VPA) Dance Class of 2018, was selected as the winning Capturing Motion NYC film at the 45th Annual Dance on Camera Festival at Lincoln Center. As the winning film, Halls of Ivy was screened at the Walter Reade Theater with the Experimental Shorts Program on February 7, 2017. This experience forged a path of educating the next generation of artists and ultimately, lead her to becoming the Multimedia Program Director at MCST.
Mrs. O'Halloran is thrilled to be guiding and teaching Multimedia students, providing them the same opportunity she cherished during her high school education: to grow, learn, explore and make work in an environment that fosters creativity, problem-solving and critical thinking.
Student Awards & Achievements
Career Field - Multimedia
Career Pathways in Multimedia (include but are not limited to):
Audio and Video Technology and Film: Video Systems Technicians ♦ Video Graphics, Special Effects, and Animation ♦ Audio-Video Designers and Engineerss ♦ Audio Systems Technicians
Performing Arts: ♦ Production Managers, Digital, Video, Stage ♦ Cinematographers, Film/Video Editors ♦ Dancers ♦ Play Writers, Screen Writers, Screen Editors, Script Writers ♦ Make-Up Artists and Costume Designers ♦ Stagecraft Designers, Lighters, Sets, Sound Effects, Acoustics, Painters ♦ Composers, Conductors, and Music Instructors
Visual Arts: ♦ Commercial Photographers, Digital, Still, Video, Film
Journalism and Broadcasting: ♦ Audio/Video Operations, Control Room Technician ♦ Publishers, Editors, and Journalists and Reporters, Print, Broadcast, Other ♦ Broadcast Technicians
2018-2019 Seniors in the Academy for Multimedia completed internships with (including but not limited to):
Barn Theatre
VRR Productions
Dreamcatcher Repertory Theatre
Aspire Performing Arts Company
The Growing Stage
JAM Theater Company
Jan Press Photo Media
PugKiss Production
Shakespeare Theater of New Jersey
Academy: Multi-Medium Foundations
The Arts, A/V Technology & Communications Career Cluster includes occupations and careers in designing, directing, producing, exhibiting, performing, writing, publishing multimedia content, including visual and performing arts and design, journalism, and entertainment serves. Multi-Medium Foundations, the first-year course for Multimedia majors, introduces students to the elements and principles of visual design and the tools and techniques needed to create a variety of projects. In this introductory course, students explore the roots of a variety of art mediums and the technical programs that give artists the tools they need to create. They learn the aesthetic/creative and technical aspects of the art form in a supportive and collaborative environment that promotes cooperation, mutual respect, personal creativity and technical learning.
By the end of this course, students will master the fundamental base skills of working with mixed media materials and technology including: cameras, lights, sound, Adobe Creative Cloud programs (Premiere, After Effects, Photoshop) and Soundtrap/Soundation music software. Creative projects, workplace simulations, work-based learning trips and master classes with guest artists and industry specialists provide opportunities to explore possible career pathways in the arts and production.
Throughout their Multimedia careers, students are expected and encouraged to develop their own artistic voice and vision, master the tools and techniques of their intended profession, manage their time and materials efficiently, collaborate with directors, designers, co-workers, and clients, as an effective, supportive, enthusiastic member of their VPA arts community and production company. In Multi-Medium Foundations, students begin to discover and express their personal vision and find their own voices as digital artists, mixed media artists, cinematographers, editors, motion graphics specialists, sound designers, lighting designers, production managers, and more. Students will begin to build a portfolio of work for future use.
Core Courses:
English 9*
Algebra I, Geometry* or Algebra II*
World History*
*Honors courses available and determined by placement testing upon acceptance to MCST
Academy: Sight, Sound & Storytelling
The Arts, A/V Technology & Communications Career Cluster includes occupations and careers in designing, producing, exhibiting, performing, writing, and publishing multimedia content, including visual and performing arts and design, journalism and entertainment services. Students gain experience and proficiency through projects, workplace simulations, master classes with guest artists and industry specialists and work-based learning trips. They learn the aesthetic/creative and technical aspects of a variety of art forms (sound, storytelling, documentary, abstract & narrative filmmaking, photography) in a supportive environment that promotes cooperation, mutual respect, personal creativity and technical learning.
Students express their personal vision and find their own voices as artists as they explore using their voices across different art mediums. Students discover that the art of storytelling involves not only operating technology programs and equipment but also solving visual, dramatic, technical and aesthetic problems to develop characters and mood, affect audience response and maintain narrative interest and unique perspectives. Throughout their Multimedia studies, students are expected and encouraged to develop their own artistic voice and vision, master the tools and techniques of their intended profession, manage their time and materials efficiently, and work as an effective, supportive, enthusiastic member of their art community.
By the end of Sight, Sound & Storytelling, students are able to analyze the structure and aesthetic attributes of digital media by professionals and peers, use camera/lighting/sound recording equipment safely and competently, understand the fundamentals of screenwriting, directing & editing, and develop technical and artistic skills needed to pursue occupational pathways in the film/video/creative art industry. Each students adds additional, more significant work, pieces to his/her multimedia portfolio, used for internship search and college applications junior and senior year.
English 10*
Geometry*, Algebra II* or Pre-Calculus*
Chemistry*
Health and Physical Education 10
US History I*
VPA Elective
*Honors courses available and determined by grades and teacher recommendation
Academy: Media Studies & Exploration
The Arts, A/V Technology & Communications Career Cluster includes occupations and careers in designing, producing, exhibiting, performing, writing, and publishing multimedia content, including visual and performing arts and design, journalism and entertainment services. Students gain experience and proficiency through projects, workplace simulations, master classes with guest artists and industry specialists and work-based learning trips. They continue to learn about aesthetic/creative and technical aspects of digital media and art in a supportive environment that promotes cooperation, mutual respect, personal creativity and technical learning.
The course of Media Studies & Exploration emphasizes several interrelated approaches to the study of media: multidisciplinary perspectives derived from the arts, humanities, and social and natural sciences; the historical study of various forms of communication and the representation of knowledge; theoretical and critical inquiry into how media shape our understandings of reality; the dynamic interrelationship of media industries, policies, publics, cultural texts, and communications technologies; examination of global media, including non-Western, indigenous, and oppositional media forms and practices; and practical work in media production and the use of media technologies. A central goal of the program is that all majors develop familiarity with the breadth of these approaches.
Media Studies encourages the understanding and critical evaluation of new and old media technologies; the centrality of media in politics, economics, social life, and global and local culture; and the contemporary and historical impact of media on individuals and societies. "Media" includes all forms of representational media (oral/aural, written, visual), mass media (print, television, radio, film), new media (digital multimedia, the Internet, networked media), their associated technologies, and the social and cultural institutions that enable them and are defined by them.
Multimedia students are expected and encouraged to develop their own artistic voice and vision, master the tools and techniques of their intended profession, manage their time and materials efficiently, and work as an effective, supportive, enthusiastic member of the MCST arts community. Throughout Media Studies & Exploration, students hone their individual voices as artists and dive deeper into project-based independent study in an area of special interest related to their collage and/or career plans. As a result, students will create complex, challenging design pieces and further develop and refine their individual portfolios.
Algebra II*, Pre-Calculus*, AP Calculus
Physics*
US History II*
12th Grade at MCST
Career and Technical Education (Academy):
Career and Technical Education Elective (i.e. Virtual Enterprises International, Computer Science Principles, Unmanned Aerial Vehicles)
OR CCM for Academy coursework
Structured Learning Experience (Graduation Requirement):
All Seniors must complete 120 hours of an approved internship in their respective career field.
English 12* (required)
Health and Physical Education 12 (required)
AP Calculus, Statistics, Foundations of College Math
Environmental Science, Anatomy and Physiology I
World Language*
12th Grade at County College of Morris
Eligible Seniors may complete their Senior coursework in full or in part at County College of Morris. See School Counseling Department for more information.
English Composition I (ENG111)
Lifetime Wellness (HED128) or PE (labeled HES)
Academy Course (1)
MED 113 Multimedia II
MED 210 Digital Video Editing
CMP 108 Game Design Concepts
PHO 115 Photography I
COM 104 Interpersonal Communications
COM 109 Speech Fundamentals
CMP126 Computer Applications (all but CIS students)
CMP128 Computer Science 1 (all but CIS students)
BUS 112 Introduction to Business (all but FIB students)
ACC 110 Elements of Accounting (all but FIB students)
English Composition II (ENG112)
PE or Lifetime Wellness (whichever was not taken in the Fall)
Academy Course (1) (see above list)
*See Guidance (School Counseling) Department for additional information on CCM courses
Structured Learning Experience
Academy Video - Class of 2019


Toronto, Ontario – Corsa Coal Corp. (TSXV: CSO) ("Corsa" or the "Company") is pleased to provide an update on progress at its Casselman underground mine, the extension of its US$25 million credit facility and met coal shipment schedule.
The previously announced delays due to the initial mining conditions encountered underground at the Casselman mine have been resolved. The Company expects to achieve normal production levels this month.
The Casselman mine is a long life underground metallurgical coal mine located in Garrett County, approximately two miles south of Grantsville, Maryland, USA. This project is approximately 31 miles by truck from Corsa's Wilson Creek coal preparation plant in Somerset County Pennsylvania.
The Company has a US$25 million senior credit facility (the "Facility") consisting of two separate loans, of which both have been fully drawn. The first loan is for U.S. $5.5 million with a term of 13 months to June 2012. The second loan is for US$19.5 million with an initial term to November 18, 2011, subject to an extension at the option of Corsa for a further 6 month term. The Company has exercised its option to extend the second loan of US$19.5 million for a further six months, until May 18, 2012. In accordance with the terms of the loan, the Company will issue 1.4 million common shares to the lenders.
The loans are evidenced by two separate debentures secured by a pledge by Corsa of the shares of its principal subsidiary Wilson Creek Holdings, Inc. No interest is payable for the initial terms of the loans. Should the loans remain outstanding after maturity (or in the event of a default), the loans will bear interest at a rate of 5% per annum payable semi-annually, which interest may be satisfied by the issuance of common shares of Corsa at a price equal to 95% of the market price (as determined in accordance with the policies of the TSX Venture Exchange) determined at the date of payment.
In connection with the Facility Corsa issued, in May 2011, 3 million two year warrants (the "Warrants") to purchase common shares in the capital of Corsa, and 1.6 million common shares, and will issue prior to November 18, 2011 an additional 1.4 million common shares. The Warrants are exercisable at an exercise price of $1.15 per share until May 17, 2013. There were no standby or commitment fees payable by Corsa in respect of the Facility. The lenders (each as to 50% of the aggregate principal amount of the Facility) are Zebra Holdings and Investments S.a.r.l. and Lorito Holdings S.a.r.l. Zebra Holdings and Investments S.a.r.l. and Lorito Holdings S.a.r.l. are two companies wholly owned by a Lundin family trust.
As indicated in its third quarter results, the Company's ability to hit targeted 2011 production was largely dependent on the frequency of rail trains to its Wilson Creek coal preparation plant. With what appears to be a general slowdown in met coal shipments, the Company has received fewer trains than expected from its buyers in October and does not expect to receive the expected number of trains for November. For October the expected shipments were to be approximately 70,000 to 75,000 tons, while actual shipments totalled 50,000 tons including train and truck shipments. The Company expects this situation to continue for November and December. While the Company has the production capacity from its surface and underground mines and purchased coal and the plant capacity to meet its expected delivery schedule, the Company will be temporarily reducing production to match the current expected shipment schedule. This does not change the Company's outlook for 2012.


text:
ESV Hear the Word Audio Bible
The Holy Bible, English Standard Version® (ESV®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers.
Jacob Flees from Laban
1Now Jacob heard that the sons of Laban were saying, "Jacob has taken all that was our father's, and from what was our father's he has gained all this wealth." 2And Jacob saw #ch. 4:5that Laban did not regard him with favor as before. 3Then the Lord said to Jacob, #ver. 13; ch. 28:15; 32:9"Return to the land of your fathers and to your kindred, and I will be with you."
4So Jacob sent and called Rachel and Leah into the field where his flock was 5and said to them, #ver. 2 "I see that your father does not regard me with favor as he did before. But the God of my father #ver. 3has been with me. 6#ver. 38-40; ch. 30:29You know that I have served your father with all my strength, 7yet your father has cheated me and changed my wages #ver. 41; [Num. 14:22; Neh. 4:12; Job 19:3; Zech. 8:23]ten times. But God did not permit him to harm me. 8If he said, #ch. 30:32'The spotted shall be your wages,' then all the flock bore spotted; and if he said, 'The striped shall be your wages,' then all the flock bore striped. 9Thus God has #ver. 1taken away the livestock of your father and given them to me. 10In the breeding season of the flock I lifted up my eyes and saw in a dream that the goats that mated with the flock were striped, spotted, and mottled. 11Then the angel of God said to me in the dream, 'Jacob,' and I said, 'Here I am!' 12And he said, 'Lift up your eyes and see, all the goats that mate with the flock are striped, spotted, and mottled, for #[Ex. 3:7]I have seen all that Laban is doing to you. 13I am the God of Bethel, #See ch. 28:18-22 where you anointed a pillar and made a vow to me. Now #ver. 3; ch. 32:9arise, go out from this land and return to the land of your kindred.'" 14Then Rachel and Leah answered and said to him, "Is there #[2 Sam. 20:1; 1 Kgs. 12:16]any portion or inheritance left to us in our father's house? 15Are we not regarded by him as foreigners? For #ch. 30:26; See ch. 29:15-20, 27he has sold us, and he has indeed devoured our money. 16All the wealth that God has taken away from our father belongs to us and to our children. Now then, whatever God has said to you, do."
17So Jacob arose and set his sons and his wives on camels. 18He drove away all his livestock, all his property that he had gained, the livestock in his possession that he had acquired in #ch. 25:20; 28:2, 6, 7Paddan-aram, to go to the land of Canaan to his father Isaac. 19Laban had gone to shear his sheep, and Rachel stole her father's #ver. 30, 34; [Judg. 17:5; 1 Sam. 15:23; 19:13; Ezek. 21:21; Hos. 3:4; Zech. 10:2]household gods. 20And Jacob tricked#31:20 Hebrew stole the heart of; also verses 26, 27 Laban the Aramean, by not telling him that he intended to flee. 21He fled with all that he had and arose and crossed the #Ex. 23:31; Ps. 72:8 Euphrates,#31:21 Hebrew the River and #2 Kgs. 12:17; Luke 9:51set his face toward the hill country of Gilead.
22When it was told Laban on the third day that Jacob had fled, 23he took his kinsmen with him and pursued him for seven days and followed close after him into the hill country of Gilead. 24But God came to Laban the Aramean #See ch. 20:3 in a dream by night and said to him, "Be careful not to say anything to Jacob, #ch. 24:50; Num. 24:13; 2 Sam. 13:22either good or bad."
25And Laban overtook Jacob. Now Jacob had pitched his tent in the hill country, and Laban with his kinsmen pitched tents in the hill country of Gilead. 26And Laban said to Jacob, "What have you done, that you have #ver. 20tricked me and driven away my daughters like captives of the sword? 27Why did you flee secretly #[See ver. 26 above]and trick me, and did not tell me, so that I might have sent you away with mirth and songs, with tambourine and lyre? 28And why did you not permit me #ver. 55; Ruth 1:9, 14; 1 Kgs. 19:20; Acts 20:37to kiss my sons and my daughters farewell? Now you have done foolishly. 29It is #Deut. 28:32; Neh. 5:5 (Heb.); Prov. 3:27; Mic. 2:1 in my power to do you harm. But the #ver. 42, 53; ch. 28:13 God of your#31:29 The Hebrew for your is plural here father spoke to me last night, saying, 'Be careful not to say anything to Jacob, #ver. 24either good or bad.' 30And now you have gone away because you longed greatly for your father's house, but why did you #ver. 19; Judg. 18:24steal my gods?" 31Jacob answered and said to Laban, "Because I was afraid, for I thought that you would take your daughters from me by force. 32#[ch. 44:9]Anyone with whom you find your gods shall not live. In the presence of our kinsmen point out what I have that is yours, and take it." Now Jacob did not know that Rachel had stolen them.
33So Laban went into Jacob's tent and into Leah's tent and into the tent of the two female servants, but he did not find them. And he went out of Leah's tent and entered Rachel's. 34Now Rachel had taken the household gods and put them in the camel's saddle and sat on them. Laban felt all about the tent, but did not find them. 35And she said to her father, "Let not my lord be angry that I cannot #[Lev. 19:32]rise before you, for the way of women is upon me." So he searched but did not find the household gods.
36Then Jacob became angry and berated Laban. Jacob said to Laban, "What is my offense? What is my sin, that you have hotly pursued me? 37For you have felt through all my goods; what have you found of all your household goods? Set it here before my kinsmen and #ver. 54your kinsmen, that they may decide between us two. 38These twenty years I have been with you. Your ewes and your female goats have not miscarried, and I have not eaten the rams of your flocks. 39What was torn by wild beasts I did not bring to you. I bore the loss of it myself. #[Ex. 22:12]From my hand you required it, whether stolen by day or stolen by night. 40There I was: by day the heat consumed me, and the cold by night, and my sleep fled from my eyes. 41These twenty years I have been in your house. #ch. 29:27, 28 I served you fourteen years for your two daughters, and six years for your flock, and #ver. 7you have changed my wages ten times. 42#Ps. 124:1, 2 If the God of my father, the God of Abraham and the #ver. 53 Fear of Isaac, had not been on my side, surely now you would have sent me away empty-handed. #See ch. 29:32 God saw my affliction and the labor of my hands and #ver. 29rebuked you last night."
43Then Laban answered and said to Jacob, "The daughters are my daughters, the children are my children, the flocks are my flocks, and all that you see is mine. But what can I do this day for these my daughters or for their children whom they have borne? 44Come now, #ch. 26:28 let us make a covenant, you and I. #Josh. 24:27And let it be a witness between you and me." 45So Jacob #ch. 28:18took a stone and set it up as a pillar. 46And Jacob said to his kinsmen, "Gather stones." And they took stones and made a heap, and they ate there by the heap. 47Laban called it Jegar-sahadutha,#31:47 Aramaic the heap of witness but Jacob called it Galeed.#31:47 Hebrew the heap of witness 48Laban said, #ver. 44"This heap is a witness between you and me today." Therefore he named it Galeed, 49#Judg. 11:29, 34and Mizpah,#31:49 Mizpah means watchpost for he said, "The Lord watch between you and me, when we are out of one another's sight. 50If you oppress my daughters, or if you take wives besides my daughters, although no one is with us, see, #Judg. 11:10; 1 Sam. 12:5; Jer. 42:5; Mic. 1:2; [Job 16:19]God is witness between you and me."
51Then Laban said to Jacob, "See this heap and the pillar, which I have set between you and me. 52#ver. 43, 44This heap is a witness, and the pillar is a witness, that I will not pass over this heap to you, and you will not pass over this heap and this pillar to me, to do harm. 53The God of Abraham and the God of Nahor, the God of their father, judge between us." So Jacob swore by the #ver. 42Fear of his father Isaac, 54and Jacob offered a sacrifice in the hill country and called #ver. 37his kinsmen to eat bread. They ate bread and spent the night in the hill country.
55 # 31:55 Ch 32:1 in Hebrew Early in the morning Laban arose and kissed #ver. 28, 43his grandchildren and his daughters and blessed them. Then Laban departed and returned home.
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1Now Jacob heard the words of Laban's sons, saying, "Jacob has taken away all that was our father's, and from what was our father's he has acquired all this #Ps. 49:16wealth." 2And Jacob saw the #Gen. 4:5countenance of Laban, and indeed it was not #Deut. 28:54favorable toward him as before. 3Then the Lord said to Jacob, #Gen. 28:15, 20, 21; 32:9"Return to the land of your fathers and to your family, and I will #Gen. 46:4be with you."
4So Jacob sent and called Rachel and Leah to the field, to his flock, 5and said to them, #Gen. 31:2, 3"I see your father's countenance, that it is not favorable toward me as before; but the God of my father #Gen. 21:22; 28:13, 15; 31:29, 42, 53; Is. 41:10; Heb. 13:5has been with me. 6And #Gen. 30:29; 31:38–41you know that with all my might I have served your father. 7Yet your father has deceived me and #Gen. 29:25; 31:41changed my wages #Num. 14:22; Neh. 4:12; Job 19:3; Zech. 8:23ten times, but God #Gen. 15:1; 20:6; 31:29; Job 1:10; Ps. 37:28; 105:14did not allow him to hurt me. 8If he said thus: 'The speckled shall be your wages,' then all the flocks bore speckled. And if he said thus: #Gen. 30:32'The streaked shall be your wages,' then all the flocks bore streaked. 9So God has #Gen. 31:1, 16taken away the livestock of your father and given them to me.
10"And it happened, at the time when the flocks conceived, that I lifted my eyes and saw in a dream, and behold, the rams which leaped upon the flocks were streaked, speckled, and gray-spotted. 11Then #Gen. 16:7–11; 22:11, 15; 31:13; 48:16the Angel of God spoke to me in a dream, saying, 'Jacob.' And I said, 'Here I am.' 12And He said, 'Lift your eyes now and see, all the rams which leap on the flocks are streaked, speckled, and gray-spotted; for #Gen. 31:42; Ex. 3:7; Ps. 139:3; Eccl. 5:8I have seen all that Laban is doing to you. 13I am the God of Bethel, #Gen. 28:16–22; 35:1, 6, 15where you anointed the pillar and where you made a vow to Me. Now #Gen. 31:3; 32:9arise, get out of this land, and return to the land of your family.' "
14Then Rachel and Leah answered and said to him, #Gen. 2:24"Is there still any portion or inheritance for us in our father's house? 15Are we not considered strangers by him? For #Gen. 29:15, 20, 23, 27; Neh. 5:8he has sold us, and also completely consumed our money. 16For all these riches which God has taken from our father are really ours and our children's; now then, whatever God has said to you, do it."
17Then Jacob rose and set his sons and his wives on camels. 18And he carried away all his livestock and all his possessions which he had gained, his acquired livestock which he had gained in Padan Aram, to go to his father Isaac in the land of #Gen. 17:8; 33:18; 35:27Canaan. 19Now Laban had gone to shear his sheep, and Rachel had stolen the #Gen. 31:30, 34; 35:2; Judg. 17:5; 1 Sam. 19:13; Hos. 3:4household idols that were her father's. 20And Jacob stole away, unknown to Laban the Syrian, in that he did not tell him that he intended to flee. 21So he fled with all that he had. He arose and crossed the river, and #Gen. 46:28; 2 Kin. 12:17; Luke 9:51, 53headed toward the mountains of Gilead.
Laban Pursues Jacob
22And Laban was told on the third day that Jacob had fled. 23Then he took #Gen. 13:8his brethren with him and pursued him for seven days' journey, and he overtook him in the mountains of Gilead. 24But God #Gen. 20:3; 31:29; 46:2–4; Job 33:15; Matt. 1:20had come to Laban the Syrian in a dream by night, and said to him, "Be careful that you #Gen. 24:50; 31:7, 29speak to Jacob neither good nor bad."
25So Laban overtook Jacob. Now Jacob had pitched his tent in the mountains, and Laban with his brethren pitched in the mountains of Gilead.
26And Laban said to Jacob: "What have you done, that you have stolen away unknown to me, and #1 Sam. 30:2carried away my daughters like captives taken with the sword? 27Why did you flee away secretly, and steal away from me, and not tell me; for I might have sent you away with joy and songs, with timbrel and harp? 28And you did not allow me #Gen. 31:55; Ruth 1:9, 14; 1 Kin. 19:20; Acts 20:37to kiss my sons and my daughters. Now #1 Sam. 13:13you have done foolishly in so doing. 29It is in my power to do you harm, but the #Gen. 28:13; 31:5, 24, 42, 53God of your father spoke to me #Gen. 31:24last night, saying, 'Be careful that you speak to Jacob neither good nor bad.' 30And now you have surely gone because you greatly long for your father's house, but why did you #Gen. 31:19; Josh. 24:2; Judg. 17:5; 18:24steal my gods?"
31Then Jacob answered and said to Laban, "Because I was #Gen. 26:7; 32:7, 11afraid, for I said, 'Perhaps you would take your daughters from me by force.' 32With whomever you find your gods, #Gen. 44:9do not let him live. In the presence of our brethren, identify what I have of yours and take it with you." For Jacob did not know that Rachel had stolen them.
33And Laban went into Jacob's tent, into Leah's tent, and into the two maids' tents, but he did not find them. Then he went out of Leah's tent and entered Rachel's tent. 34Now Rachel had taken the household idols, put them in the camel's saddle, and sat on them. And Laban searched all about the tent but did not find them. 35And she said to her father, "Let it not displease my lord that I cannot #Ex. 20:12; Lev. 19:32rise before you, for the manner of women is with me." And he searched but did not find the household idols.
36Then Jacob was angry and rebuked Laban, and Jacob answered and said to Laban: "What is my trespass? What is my sin, that you have so hotly pursued me? 37Although you have searched all my things, what part of your household things have you found? Set it here before my brethren and your brethren, that they may judge between us both! 38These twenty years I have been with you; your ewes and your female goats have not miscarried their young, and I have not eaten the rams of your flock. 39#Ex. 22:10That which was torn by beasts I did not bring to you; I bore the loss of it. #Ex. 22:10–13You required it from my hand, whether stolen by day or stolen by night. 40There I was! In the day the drought consumed me, and the frost by night, and my sleep departed from my eyes. 41Thus I have been in your house twenty years; I #Gen. 29:20, 27–30served you fourteen years for your two daughters, and six years for your flock, and #Gen. 31:7you have changed my wages ten times. 42#Gen. 31:5, 29, 53; Ps. 124:1, 2Unless the God of my father, the God of Abraham and #Gen. 31:53; Is. 8:13the Fear of Isaac, had been with me, surely now you would have sent me away empty-handed. #Gen. 29:32; Ex. 3:7God has seen my affliction and the labor of my hands, and #Gen. 31:24, 29; 1 Chr. 12:17rebuked you last night."
Laban's Covenant with Jacob
43And Laban answered and said to Jacob, "These daughters are my daughters, and these children are my children, and this flock is my flock; all that you see is mine. But what can I do this day to these my daughters or to their children whom they have borne? 44Now therefore, come, #Gen. 21:27, 32; 26:28let us make a covenant, #Josh. 24:27you and I, and let it be a witness between you and me."
45So Jacob #Gen. 28:18; 35:14; Josh. 24:26, 27took a stone and set it up as a pillar. 46Then Jacob said to his brethren, "Gather stones." And they took stones and made a heap, and they ate there on the heap. 47Laban called it Jegar Sahadutha, but Jacob called it Galeed. 48And Laban said, #Josh. 24:27"This heap is a witness between you and me this day." Therefore its name was called Galeed, 49also #Judg. 10:17; 11:29; 1 Sam. 7:5, 6Mizpah, because he said, "May the Lord watch between you and me when we are absent one from another. 50If you afflict my daughters, or if you take other wives besides my daughters, although no man is with us—see, God is witness between you and me!"
51Then Laban said to Jacob, "Here is this heap and here is this pillar, which I have placed between you and me. 52This heap is a witness, and this pillar is a witness, that I will not pass beyond this heap to you, and you will not pass beyond this heap and this pillar to me, for harm. 53The God of Abraham, the God of Nahor, and the God of their father #Gen. 16:5judge between us." And Jacob #Gen. 21:23swore by #Gen. 31:42the Fear of his father Isaac. 54Then Jacob offered a sacrifice on the mountain, and called his brethren to eat bread. And they ate bread and stayed all night on the mountain. 55And early in the morning Laban arose, and #Gen. 29:11, 13; 31:28, 43kissed his sons and daughters and #Gen. 28:1blessed them. Then Laban departed and #Gen. 18:33; 30:25; Num. 24:25returned to his place.
The Holy Bible, New King James Version, Copyright © 1982 Thomas Nelson. All rights reserved.


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"Atlas" is a song by Northern Irish electronic music duo Bicep from their second studio album, Isles (2021). It was released through independent record label Ninja Tune as the first single from the album on 24 March 2020. A 12-inch vinyl single was released on 3 April 2020. The song contains a vocal sample from Israeli singer Ofra Haza's 1988 a capella track "Love Song", written by Bezalel Aloni. "Atlas" peaked at number 91 on the UK Singles Chart and charted at number 90 in Ireland.

Background and production
"Atlas" originated from a vocal sample of Israeli singer Ofra Haza's a capella track "Love Song", written by Bezalel Aloni for Haza's album, Shaday (1988). Bicep discovered Haza while searching for Italo disco records at the Stoke Newington record shop, Lucky Seven, where they bought her 1986 album, Broken Days. After exploring the singer's back catalogue, the duo were overwhelmed by the "cathartic energy" of "Love Song".

Bicep produced "Atlas" using a combination of new and 40-year old equipment. The track was recorded at the newly built studio they used after returning from  tour in early 2019. The focus was to create a track that would translate memorably in a live setting, but also give them flexibility to play it differently from show to show. Multiple versions of the song were recorded with many changes made throughout the process. "It was one of those tracks that didn't come together quickly," the duo said. Bicep describe it as their attempt at summarising the euphoric experiences they had on the tour. According to them, "Atlas" achieved what they had long strived to create by introducing the storytelling element missing in their live sets. Mastered by Matt Colton at Metropolis Studios, it was the first song Bicep completed for their second album, Isles.

Music and structure
"Atlas" is a breakbeat and house song, composed in the key of G-sharp minor with a tempo of 129 beats per minute. It opens with an off-kilter drum beat, 1990s ambient-style pads, and the feint, floating Haza vocal sample which forms the foundation of the song. The layers and texture of the electronics, together with the breakbeat percussion and vocals from "Love Song" create a musical juxtaposition. After slowly building, the heavily modulated hook is introduced with arpeggios in low-frequency oscillation, and a skittering, trance synth line, setting the track's moody and melancholy tone.

The double pitched synth-percussion acts as the song's melody and the beat uses a woodblock and textural ride instead of hi-hats. The drums mostly stay the same throughout, but the track builds in tension by use of subtle dynamics without detracting from the central hook. As "Atlas" progresses, sub-bass and heavy bass drums are added. The beat is electronic, although the drums sound live mainly due to the timbre of its layers. According to Gareth O'Malley of Beats Per Minute, the song contrasts escapism with introspection.

Release
Bicep first teased "Atlas" during a performance at The Warehouse Project in Manchester in November 2019. The song premiered on BBC Radio 1's' Annie Mac show on 24 March 2020. It was released through independent record label Ninja Tune on digital and streaming platforms shortly thereafter as the first single from Isles. A "trippy" looped visualiser was shared on YouTube to accompany the release. The cover art for "Atlas" was designed by Degrau.

The single was initially planned to coincide with Bicep's Brixton Academy live shows later in 2020, but the release was brought forward following the postponement of the shows due the COVID-19 pandemic. On 3 April 2020, "Atlas" was released in a 12-inch vinyl format. It was also released as a bundle with a double LP of Bicep's 2017 self-titled debut album in a gatefold wallet with printed inners, a download code and one of four different cover arts (selected at random). In May 2020, the song was A-listed by British alternative music radio station BBC Radio 6 Music, and C-listed by BBC Radio 1, making it Bicep's first single to be playlisted by the latter popular music station.

Reception

Critical response
"Atlas" received positive reviews from music critics. Reef Younis of Loud and Quiet wrote that Bicep creatively channeled emotions into euphoria, describing the track as "slow-burn magic". Gigwises Sofie Lindevall highlighted the depth of layers and texture in the electronics, and said "waves of euphonic yet achingly nostalgic synths" instantly draw you in. Evening Standard critic David Smyth felt the breakbeats "kick with considerable heft", while Luke Pearson of Exclaim!  found them "expertly-crafted", and praised the agility of the lead melody.

In The Guardian, Alexis Petridis likened the combination of electronics, vocals and beats to The Future Sound of London's "Papua New Guinea" and Orbital's "Halcyon". In a review for Uncut magazine, Stephen Dalton agreed with the latter comparison, noting that the "galloping breakbeat euphoria and soaring vocals recall vintage Orbital." Some reviewers compared the song to the sound of Bicep's self-titled debut album, particularly the single "Glue". A critic from The Wire magazine regarded it as a reset of the formula of the aforementioned track, while Chris Taylor of DIY cited it as the nearest relative on Isles to the 2017 song, but argued that "Atlas" had its own distinct feel. Similarly, Resident Advisors Carlos Hawthorn, who called the track the "Glue" of Isles, said it refreshed the texture with a new energy and louder tone, deeming it "a modular earworm".

B. Sassons of PopMatters believed "Atlas" evolved Bicep's sound with maturity, hailing it as "a how-to guide on creating an expansive and highly developed piece with limited melodic material." O'Malley shared a similar view; he commented that the hook and sample provided a "bittersweet update of their established sound". On the other hand, Ben Cardew of Pitchfork wrote that although Bicep sound "miserable" on the song, it has "a wonderfully hangdog feel". "Atlas" won Best Track at the 2020 DJ Mag Best of British Awards.

Commercial performance
Upon release, the single debuted at number 33 on the UK Dance Singles Chart, and at number 90 on the Irish Singles Chart, becoming Bicep's first single to chart in Ireland. "Atlas" also entered the UK Vinyl Singles Chart at number three. Following the release of Isles in January 2021, "Atlas" re-entered the UK Dance Singles Chart at a new peak of number 25, and debuted at number 91 on the UK Singles Chart.

Charts

References

2020 singles
2020 songs
Ninja Tune singles


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[Question] Which terms should we use for "developing countries"?
evelynciara16 Nov 2020 0:42 UTC
Global health and development
"Developing countries" is the most common term I've seen for the countries that are less developed than other countries, both in the EA community and in broader discourse about international development. However, the term is controversial and vague. According to Abrahams (2019), "developing countries" doesn't refer to any particular criteria, and as the global development situation has changed, the category of "developing countries" has grown more heterogeneous:
If we look to other indicators, the picture has also become more complex as countries have advanced at different paces and in different ways, and we have come to acknowledge that the challenges of poverty and inequality are not restricted to specific corners of the world. Countries facing entirely different challenges are lumped together as "developing," while countries in the "developed" category are hardly free of challenges themselves. The US is classified as developed by all major intergovernmental organisations, for example, and yet there are countries classified as developing that beat it on indicators around health care and connectivity. Meanwhile, more people in extreme poverty live in middle-income countries than in low-income countries.… Last but not least, our understanding of the relationships between countries has changed. Just as the terms "first world" and "third world" were eventually cast off as inappropriate, the colonial baggage of the terms "developed" and "developing" is increasingly being acknowledged.
Because of this, the World Bank has started referring to countries as "low-income," "middle-income," and "high-income" countries. On the other hand, some advocates of the term "developing countries" like it because it implies that more-developed countries have an obligation to assist less-developed countries.
Which terms do you use to describe more- and less-developed countries? Which terms do you think the EA community should use?
No answers.
valence 16 Nov 2020 19:32 UTC
It's not catchy, but conceptually I like Hans Rosling's classification into Levels 1, 2, 3, & 4, with breakpoints around $2, $8, and $32 per day. It's also useful to be able to say "Country X is largely at Level 2, but a significant population is still at Level 1 and would benefit from Intervention Y."
A short review of Factfulness: https://www.gatesnotes.com/books/factfulness


I just moved my Telo from my summer home to my winter home. Before connecting the Telo device, I had these phones in question connected to my land line, caller id worked just fine. Connected the telo device to my DSL line, connected the base unit to the Telo device, all was well with outgoing and incoming calls, except callerid was now missing. Only thing displayed on the phone set was NO DATA. Proper info shows up in my OOMA call log's.
Disconnected the phone set from OOMA hooked it back up to land line, get callerid info just fine.
There are no splitters on the phone port on the Telo device.
There is no RJ11 cable running from the wall port to any phone jack.
I have 1 GE Dect 6.0 base unit plugged into Telo, and 2 other wireless devices that connect to the base unit.
Changed the RJ11 cables running from Telo to the base unit.
There are no fax machines, or any other devices hooked up to Telo, basic setup.
Support says they can't guarentee a phone set to work on the Telo device, but this is pretty simple.
MY OOMA contacts list is very well populated, with my callers.
I do not have a corded phone available to me that I can try.
I would like to get this working before I drop my land line, or go out and buy a new cordless setup.
Did the caller Id ever work with any phone connected to the Ooma Telo?
I don't know the answer to your problem, but if your Ooma Telo caller Id worked at your Summer home, but doesn't now at your winter home, it's been reported that some times to get your Ooma profile updated properly, you have to remove power from the Ooma device for 20 minutes, and repower Ooma device, up to three times before everything functions properly.
Is your Telo configured in Landline integration mode? ie. do you have your landline connected to the Telo's Wall jack and you are using your landline phone number?
If that is the case, caller ID will be problematic.
The solution is to call customer support and switch to standalone mode where they issue you a temporary (or permanent) phone number.
I have nothing plugged into the wall port of the telo, just the phone port, which is the base unit of my Dect 6.0 phone. Also verfied by using web browser to look at Telo status, states NO LANDLINE Detected.
I finally was able to borrow a corded phone, and callerid box, and to my surprise it worked. I then went out and bought a new cordless phone set, and it worked, so I have to assume it was my GE DECT 6.0 cordless phone that was the issue. I am now seeing my OOMA contact info on the phone display.


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You are here: Home / Archives for OpenDocument
OpenDocument
Taking Control of Your Documents
2009/03/24 By Rob 12 Comments
How to free yourself from Microsoft Office dependency in three easy steps
When you save a document in your word processor, your work is encoded in a particular file format. You often have a choice of formats that you can use, with names like DOC, DOCX, RTF, WPD or ODT. Your choice of format will influence whether others can easily read your document today, whether you yourself will be able to read your document ten years from now, and whether you will be able to migrate painlessly to another word processor or operating system if and when you choose to do so.
Although many users simply click "Save" and give no thought to which format is being used under the covers, this unthinking use of the word processor's default settings is a recipe for vendor lock-in. In fact, several vendors intentionally set their default format to be ones which will only work well with their own software, fostering dependency on that vendor's software and lessening the user's ability to take advantage of other options in the market. The more documents you save and accumulate in a vendor's proprietary format, the harder it will be for you to consider any other choices.
The objective of this paper is to show you, the user, how to extricate yourself from this cycle of dependency and take control of your documents. Specifically, we show how you can, in three easy steps, free yourself from a Microsoft Office dependency. In the end you may, of course, choose to remain on Microsoft Office. You may decide to migrate to an alternative word processor. That, in the end, is your choice. But by following the three steps outlined below, your freedom of action will be preserved, and your choice of word processor will be based on your priorities and your needs, and not forced on you by your current application vendor.
Step 1: Take control of the default format
The older versions of Microsoft Office, Office 97-Office 2003), by default save documents in a family of binary formats with the extensions DOC (Word), XLS (Excel) and PPT (PowerPoint). Although these formats are proprietary Microsoft formats, over the past decade 3rd party applications have developed the capability to read and write these formats.
However, starting in Office 2007 Microsoft suddenly switched the default format to something called Office Open XML (OOXML). This format is not widely supported outside of Office 2007. So if you save a document in the OOXML format you make it harder for anyone else to read your document unless they are also using Microsoft Office 2007. In almost all cases, the same document, if saved in the legacy DOC format will be more interoperable. Staying with the default choice, OOXML, only restricts your choices and make you more dependent on Microsoft Office. Of course, that is why Microsoft made OOXML the default format.
The first step to liberate yourself from Microsoft Office dependency is to change the default format in Microsoft Office 2007 away from OOXML and back to the early binary formats supported by Office 97-2003, which are widely supported by 3rd party applications. This is a neutral step that preserves the status quo. By making these changes you will still be able to read and edit any OOXML documents that are sent to you, but all new documents you create will be saved in the more widely supported DOC/XLS/PPT formats.
If you are using Microsoft Office 2003 or earlier, then you should skip this Step and move on to Step 2, since OOXML is not the default format in those earlier Office versions.
To change the defaults, you will need to load Word 2007, Excel 2007 and PowerPoint 2007 and follow the following steps.
Click the Office Button (the unlabeled logo button in the upper left of the program).
Click "Word Options" at the bottom of the dialog.
Go to the "Save" section.
For the "Save files in this format" setting, choose "Word 97-2003 Document(*.doc)".
Click "Excel Options" at the bottom of the dialog.
For the "Save files in this format" setting choose "Excel 97-2003 Workbook (*.xls)".
Click "PowerPoint Options" at the bottom of the dialog.
Go to the "Save" section
For the "Save files in this format" setting, choose "PowerPoint Presentation 97-2003".
Administrators should also note that these settings may be made directly in the Windows Registry, and automatically pushed out to a work group via a login script or group policy. The registry settings corresponding to the above changes are:
HKEY_CURRENT_USER\Software\Microsoft\Office\12.0\Word\Options
Add String DefaultFormat=Doc
HKEY_CURRENT_USER\Software\Microsoft\Office\12.0\Excel\Options
Add DWORD DefaultFormat=38 (Hexadecimal)
HKEY_CURRENT_USER\Software\Microsoft\Office\12.0\PowerPoint\Options
Add DWORD DefaultFormat=0 (Hexadecimal)
Step 2: Enable OpenDocument Format Support
Now that you've made the first steps towards taking control of your documents by preventing the lock-in effects of the OOXML default, it is time to take further control. You'll now want to enable OpenDocument Format (ODF=ISO/IEC 26300) support in Microsoft Office, so you can save and exchange documents using the free and open International Standard while remaining in the familiar Microsoft Office interface.
ODF is an XML-based, open document format standard, designed to be platform- and application-neutral and support interoperable use across applications, eliminating vendor lock-in. ODF is supported by many applications, including office suites from Sun, IBM, Novell and Google, as well as open source projects like OpenOffice, KOffice and AbiWord. Additional applications supporting ODF are listed on Wikipedia.
Microsoft Office does not currently support ODF "out of the box", but you can enable ODF support in Office by installing a "plugin", sometimes called an "add-in". A plugin will add additional options or menu items to the Microsoft Office UI, allowing you to open and save documents in ODF format. In some cases you can even set ODF as the default format for new documents.
There are three main choices for adding ODF support to Microsoft Office:
Sun Microsystems has published an "ODF Plugin for Microsoft Office" which supports Office 2000, XP, 2003 and 2007 SP1.
Microsoft has sponsored an open source project on SourceForge for an "ODF Add-in for Microsoft Office", which supports Office 2007, and also Office 2003 and Office XP if the Microsoft Office Compatibility Pack is also installed
Microsoft has announced that Office 2007 Service Pack 2 (SP2) will enable ODF support in Office 2007, but this code is not yet available.
Step 2 is to evaluate and adopt a plugin to add ODF support to Microsoft Office. Start using ODF now, saving your documents in the open standard document format. This allows you to remain in Office, for now, while building your familiarity and comfort level with ODF.
Step 3: Exercise your Right to Choose a Native ODF Editor
The plug-in approach is a transitional approach. It allows you to continue working in Microsoft Office while you enable ODF support side-by-side. But at some point you will want to consider your options. Maybe you find that converting back and forth to ODF format in MS Office is slow. Maybe you are using Office 2003 currently, but want to avoid paying for an Office 2007 upgrade when mainstream support for Office 2003 comes to an end on April 14th, 2009. At some point you will want to move to an application that supports ODF natively. You are free at this point and have a wide variety of choices.
You can stay on Windows or consider moving to Linux or the Mac.
You can stay with a traditional client editor, or move to a web based editor.
You can use commercial software, or use open source software.
The important thing is that you have taken control of your documents. You are no longer dependent on Microsoft Office and its file format. You have broken free of the vendor lock-in. You are free to choose an alternative word processor when you want to and if you want to. Until then, be comfortable in knowing that you are keeping your options open while remaining in control of your documents.
This paper is also available in ODF and PDF formats.
Filed Under: ODF Tagged With: Microsoft Office, ODF, Open Standards, OpenDocument


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Censoring
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PBS Artisodes: "Heavy Metal"
http://video.pbs.org/video/2365311247/
Ai Weiwei, artist, activist, visionary, and victim of censorship, is depicted with his head cut open as he lies on his back, trapped by the Great Wall and unable to leave the country, while Lilliputians watch his every move.
The Gulliver's Travels metaphor compares the People's Republic of China to a Lilliputian government, not governed according to rational principles. Ai Weiwei's enormous size (metaphorical and influential) makes him both expensive and dangerous for the government.
He lies on a piece of land in the shape of Sichuan Province, a nod to his sculpture "Map of China" and his role as activist following the Sichuan Earthquake which claimed 80,000 lives.
The band is made of sunflower seeds, each different and hand sculpted like his famous installation. Under the band is a 1 yuan piece, with the words Zhonghua Renmin Gongheguo, translated to the People's Republic of China.
The year 2011 is carved into the coin symbolizing when the Chinese Government first arrested Ai Weiwei among 50 other freethinkers labeled as dissidents. His detainment, lasting 81 days, was another hostile and aggressive attempt by the Chinese government to silence and censor Ai Weiwei.
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PharmAust Limited (ASX: PAA), domiciled in Australia, is a clinical-stage pharma company developing cancer drugs for both humans and animals. It lowers the costs and risks of development by repurposing the marketed drugs which are supported by Epichem. Epichem is a 100% owned subsidiary of PAA, situated in Western Australia, which is engaged in generating significant annual revenues by delivering products and services in medicinal and synthetic chemistry to the healthcare industry in 35 countries worldwide. Monepantel (MPL) is a newly formulated drug developed by PAA for the treatment of parasite infections in food chain animals.
Today, PAA has announced that it has entered into an agreement with a US Contract Research Organisation for the Phase I clinical trials with MPL tablet in healthy beagle dogs. The Phase 1 trial will start from 19 February 2019.
PAA has also announced that it has finalised the MPL tablet research, development and scaled manufacturing. It has produced the first batch of 2,000 tablets in collaboration with Catalent, San Diego Inc. for the Phase 1 trial.
Catalent is a US-based health care company engaged in providing solutions for biologics, drugs, and consumer health products. In FY18, it generated a revenue of approx. US$2.5 billion.
Under the Phase I trial, there are four stages. The first stage starts with validating the optimal dietary conditions for MPL administration, i.e., whether to take the drug in an empty or full stomach. The second stage is to determine the safety of MPL at single dose in a dose escalation study. The third stage starts with analysing the frequency of dosing required, i.e., every second day or third day, to achieve blood levels predicted to be compatible with anticancer activity. And finally, conduct a 28-day repeat-dose drug level study based on the other three stages to identify optimal tablet administration frequency as a prelude to start the Phase II anticancer studies in pet owners' dogs with cancer.
Dr Richard Mollard, Chief Scientific Officer of PAA, commented that PAA can now start with a standardised and regulatory compliant tablet for the Phase 1 trial to determine the dosage range compatible with anticancer blood level activity.
Moreover, he said that this trial would provide the information which is required for the upcoming Phase II trials to enable the best possible treatment for pet owners' dogs with cancer. The safety component of this trial design would potentially form part of the bridging component required for regulatory authorities such as the FDA for establishing an Investigative New Drug Application for clinical trials in humans.
Looking at PharmAust Limited's stock performance, it has generated a positive return of 22.22% during the past six months. It is currently trading at A$0.046 (as on 07 February 2019, 02:51 pm AEST) with a surge of 4.55 % in the price during the day's performance following the release of the updates. PAA has approx. 198.98 million shares outstanding with a market cap of circa A$8.76 million and 52-week high and low of A$0.069 and A$0.033 respectively.


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Bands like Sue Foley
About Sue Foley & The Artist's Music.
Looking for bands that sound like Sue Foley? You've come to the right place.
The band Sue Foley was founded in 1968. Before coming to fame, the band got it's start in Ottawa. Generally, music journalists would define Sue Foley's style within the genre/s of blues, and other rock music.
Bands that sound like Sue Foley:
Janiva Magness
Janiva Magness (born January 30, 1957) is a Grammy Award nominated American blues, soul, and Americana singer and songwriter. To date she has released twelve albums.The Blues Foundation named Magness the B.B. King Entertainer of the Year in 2009, becoming only... [wikipedia]
Find more bands like Janiva Magness
No biography for Ana Popovic yet.
Jimmie Lawrence Vaughan (born March 20, 1951, Oak Cliff, Dallas County, Texas, United States) is an American blues rock guitarist and singer based in Austin, Texas. He is the older brother of the late Texas blues guitarist Stevie Ray Vaughan.... [wikipedia]
Find more bands like Jimmie Vaughan
Charon Shemekia Copeland (born April 10, 1979) is an American electric blues vocalist. To date, she has released nine albums and been presented with seven Blues Music Awards.... [wikipedia]
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Samantha Fish (born January 30, 1989) is an American singer-songwriter and guitarist originally from Kansas City, Missouri. While often cited as a blues artist, Fish's albums and live shows feature multiple genres, including rock, country, funk, bluegrass and... [wikipedia]
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Joanne Shaw Taylor (born 1985, England) is a British blues rock guitarist and singer who was discovered by Dave Stewart of the Eurythmics at the age of 16. The British music publication Blues Matters! called Taylor "the new face of the blues".... [wikipedia]
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Doyle Bramhall II (born December 24, 1968) is an American musician, producer, guitarist, and songwriter known for his work with Eric Clapton, Roger Waters, and many others. He is the son of the songwriter and drummer Doyle Bramhall.... [wikipedia]
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Norman Jeffrey Healey (March 25, 1966 – March 2, 2008) was a Canadian jazz and blues-rock vocalist, guitarist, and songwriter who attained musical and personal popularity, particularly in the 1980s and 1990s. He hit Number 5 on the U.S. Billboard Hot 100 char... [wikipedia]
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Walter Trout (born March 6, 1951, Ocean City, New Jersey, United States) is an American blues guitarist, singer and songwriter.... [wikipedia]
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Colin James
Colin James (born Colin James Munn, August 17, 1964) is a Canadian rock and blues singer and songwriter.... [wikipedia]
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Danielle Nicole (born Danielle Nicole Schnebelen) is an American blues/soul musician from Kansas City, Missouri, United States. Her self-titled solo debut EP was released March 10, 2015 on Concord Records. The self-titled EP features Grammy Award-winning prod... [wikipedia]
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Susan Tedeschi
Susan Tedeschi (; born November 9, 1970) is an American singer and guitarist. A multiple Grammy Award nominee, she is a member of the Tedeschi Trucks Band, a conglomeration of her band, her husband Derek Trucks's the Derek Trucks Band, and other musicians.... [wikipedia]
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Mike Zito
Mike Zito (born November 19, 1970) is an American guitarist, singer, producer, and songwriter from St. Louis, Missouri, United States. He is a co-founder of Royal Southern Brotherhood that features Cyril Neville, Devon Allman, Charlie Wooton and Yonrico Scott.... [wikipedia]
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Aynsley Lister (born 14 November 1976 in Leicester, England) is a British blues-rock guitarist/singer and songwriter.... [wikipedia]
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Coco Montoya
Coco Montoya (born Henry Montoya, October 2, 1951, Santa Monica, California) is an American blues guitarist and singer and former member of John Mayall & the Bluesbreakers.... [wikipedia]
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The Fabulous Thunderbirds
The Fabulous Thunderbirds are an American blues rock band formed in Texas in 1974.... [wikipedia]
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What Genre is Sue Foley?
Sue Foley genre is not easily defined. Music magazines and journalists have different opinions on a clearly defined genre for Sue Foley. However, many describe the style within the genre/s of blues, and other rock music.
Similar music like Sue Foley includes artists and songs like Janiva Magness, Ana Popovic, Jimmie Vaughan, Shemekia Copeland, Samantha Fish, Joanne Shaw Taylor, Doyle Bramhall Ii, Jeff Healey, Walter Trout, Colin James, Danielle Nicole, Susan Tedeschi, Mike Zito, Aynsley Lister, Coco Montoya, The Fabulous Thunderbirds,


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Does Paramount's move away from Upfront Week signal a real trend away from traditional advance selling and buying?
December 21, 2022 | By Michael Bürgi
"Ask not for whom the bell tolls," goes the modern bastardization of John Donne's famous line. In this case it could refer to the first real death knell in years for the modern upfront marketplace, in which some $20 billion or so in marketing dollars are committed to be spent across the video spectrum by advertisers looking to secure better pricing and premier inventory.
News broke early Wednesday morning in Variety and elsewhere that Paramount, which represents CBS, MTV, Comedy Central, Nickelodeon and Paramount+ streamer ad inventory, will not present its wares during Upfront Week in mid May of 2023.
The media company will instead host a series of one-on-one meetings the month before with agencies and brand clients, in an effort to address a more complex media environment — which just got more crowded in the last month with the availability of premium inventory from Netflix and Disney+. In other words, Carnegie Hall, where Paramount (CBS) held its upfront for decades, is now available for other performances that Wednesday May 17.
That's not to say Paramount won't be trying to secure billions of dollars in upfront commitments — and many agencies and clients will comply, at the right price. But it's also quite possible that Paramount stepping away is the dislodged pebble that could start the landslide away from selling in the upfront marketplace.
Here's why: in a year that's widely expected to be economically uncertain, more and more advertisers are edging away from long-term commitments and toward media investments that provide them flexibility and the option to pull money out of the market.
"Demand for the upfront has been shrinking," said one major independent media buyer who declined to speak on the record. "We're now heading into 2023 getting ready for some accounts that are going to scatter and calendar-year [deals]. And while many people are trying to hold the line on the full broadcast upfront from 2022 to 2023, the reality is, that line is going to shrink — that line is going down."
Given the fact that some advertisers are still figuring out their 2023 marketing budgets — at a much later time in the year than usual — not only will there be fewer dollars, but those dollars spent will require greater flexibility.
"There will be less dollars in the marketplace — that goes without saying at this moment," said the buyer. "But when I say less dollars, there could be less in the upfront. It's all about flexibility. I don't think marketers do not want to market — I think they do want you selling their message to the consumer. When they do it, how they do it [and] where they do it is where they need the flexibility. Digital money can be cancelled any day — it's very flexible. Video money is not."
All that said, at this point the other major TV sellers — NBC Universal, Fox, Disney and, as of last year, Google/YouTube — are expected to still present during Upfront Week 2023. How they all adjust their offerings, and whether they incorporate more flexibility into commitments (perhaps for a higher price?) remains to be seen.
Trending in Business of TV
Netflix lets advertisers take their money back after missing viewership targets
Future of TV Briefing: Streaming ad sellers need supplementary inventory sources
Will advertisers care about Twitter's brand safety tools under new DoubleVerify deal?
Twitter's new measurement deal aims to assuage advertiser concerns, but some say it'll take more than tech partners to win a bigger share of their wallets.
Seems the days of The Trade Desk being agencies' BFF have faded, as media agencies complain it has become less transparent, more expensive to use — and so big they have begun to fear it.
Media Buying Briefing: Could virtual interns and brand safety bots be the future of AI for media agencies?
Artificial intelligence may not be taking over media agencies' jobs yet, but some of this technology is already sitting, and working, next to you.
Even large advertisers note that Google is asking them to work with third parties.
The media agency network is in the process of laying off up to 126 staffers across its North American and EMEA regions.


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And Then There Were None – Broadway World
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Reviewed by Petra Schulenburg
If, like me, you enjoy a good mystery and perhaps a murder or two, or three, or more, you will find an ample sufficiency in the latest offering from The Adelaide Repertory Theatre in their production of Agatha Christie's And Then There Were None.
The plot brings ten disparate characters together on an island off the coast of Devon. Each was invited by a mysterious U. N. Owen. Each has a skeleton hidden deep in their cupboard that keeps them beyond the reach of the law, but for which their murderous host is intent that they shall receive their just desserts. Each dies in turn, their death mirroring the somewhat gruesome children's nursery rhyme, Ten Little Soldier Boys.
The play is based on Christie's book of the same name, by all accounts one of her best-selling novels ever. (Ed. The original title of the 1939 novel and the 1943 play were changed as they are now deemed politically incorrect) My own introduction to it was at the tender age of 9, when our Grade 4 homeroom teacher read it to us in thrilling weekly instalments. Questions of age appropriateness aside, it was a roaring success with our class and, perhaps for the only time all week, we gave her our undivided attention. We sat, a rapt audience, listening to the grisly details of the passing of yet another character. Plenty of discussion was to be had over recess as to just whom the murderer might be, as the pool of suspects dwindled.
Veteran actor and director Adrian Barnes has assembled an ensemble cast of experienced performers to bring this classic story of mass murder to life on stage. David Haviland, as the revered Judge Lawrence Wargrave, keeps his head as, one by one, the other guests lose theirs. Rachel Williams is just perfect as the (mostly) level headed Vera Claythorne, the secretary whose new employer clearly wishes her dead. Lindsay Dunn plays the mild-mannered Dr Armstrong with a nervous disorder of his own. Simon Lancione, as the dashing rogue, Philip Lombard, makes no apology for his past actions or present intentions on the lovely Vera. Julie Quick inhabits the self-righteous, judgemental, and unbending Miss Emily Brent with a conviction that sees few audience members mourn her timely passing. Peter Davis plays William Henry Blore with appropriate bluster, and Wayne Anthoney delights as the slightly muddled General MacKenzie who is weighed down by the guilt of his long-ago transgression. Thomas Filsell and Kyla Booth play the stalwart servants, Thomas and Ethel Rogers, but whether upstairs or downstairs, our cunning murderer plays no favourites here and both meet their end in turn. Finally, Mark Drury is so convincing as the callous and superficial Anthony Marston that his early death drew applause from the opening night audience. Last, but not least, is the versatile Stanley Tuck, who not only plays Fred Narracott, the local man whose rescue boat mysteriously never arrives, but who also built and bumped in the set, and crews backstage when not onstage.
The set design is well executed, although perhaps an armchair or two would not have gone astray, the highlight being the feature wall above the fireplace with niches for each of ten little soldiers who mysteriously disappear at key points in the unfolding nursery rhyme. It can be deliciously distracting for the audience keenly waiting and watching to see if they can catch them being removed. The costumes, by Rebecca Jarratt, are excellent, particularly for the ladies. They are of the period, with hats and hair to match, lending an air of elegance and working well with the set to recreate a lost time and place, all complemented by lighting designed by Richard Parkhill and sound by Ray Trowbridge.
The pace of the piece is brisk and director, Adrian Barnes, keeps the action moving but, even though I am a huge fan of the story myself, I was often left wondering quite what is the point? The dialogue is of the era, regularly 'clanging' as ridiculous to the modern ear, and many of the characterisations are now almost caricatures of the British society of the times. We even get treated to the slapping of the hysterical young female. Perhaps, overall, a more tongue-in-cheek rendering of the script would have worked better, however, much fun was had by the opening night audience, and what more could anyone ask?
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Grey 2 piece handbag set; 2-in-1 bag in bag design.
Internal bag: Approx. 33L X 21H X 9W CM. Handle height approx. 20 CM.
We particularly love this handbag even more with the fact that the main tote bag has extra long straps to make wearing it over your shoulder a breeze. Plus, in such a practical and stylish shape, who could resist a tote handbag set their wardrobe this season?!
The bag set is very lightweight but I feel it would benefit with a long style strap which it doesn't come with. The back compartment on each bag is very handy (for travel card or phone) without you having to access the inside of your bag. Saves time! Aside from the strap im quite pleased with this set and would recommend!


Kasech is located in Bukedea District in the Eastern part of Uganda where consumption of contaminated water is the way of life and a number of children have been lost due to the consumption of dirty water. Before this borehole was drilled the community had been walking 1.5km to access this contaminated water from a swamp.
This borehole will benefit 240 households with an average of 9 people per house, therefore over 2,000 people will be able to access clean drinking water.
Thank you to Brooks McDonald for funding the Kasech Well.