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Labels: I may be gone some time . . .
Glen Campbell - Ghost on the Canvas reviewed by Terry Kelly
AMERICAN musical icon Glen Campbell announced to the world recently that he has Alzheimer's disease.
But although Ghost on the Canvas is being billed as his final studio album, Campbell is on top form on what is his finest release in years.
Emotional opener A Better Place sets the tone for a collection of songs looking back at life's joys and sorrows, while the title track is a real heart-tugging number about "looking at soul."
Campbell's voice remains a thing of beauty throughout an album tied together by subtle instrumental breaks.
Highlights are too many to mention on what is a fitting finale to a great musical career.
Glen Campbell - Ghost on the Canvas (Surfdog)
TERRY KELLY
Mr Angry gives Da a guitar lesson
Labels: Arrrrrrrrrrrrrrrrhhhhhhhhhh
Glen Campbell: still on the line
Glen Campbell: One last love song
In June, Glen Campbell announced that he had Alzheimer's. As he releases his final album, he talks about memory loss, drug addiction and telling Elvis he was too fat
guardian.co.uk
Friday 26 August 2011 23.01
When you first listen to Glen Campbell's new album, Ghost On The Canvas, nothing seems amiss. His voice is rich and clear, the songs intimate reflections on his 75 years. There is plenty to reflect on – the drink and drugs, the four wives and eight children, the fame and fortune, 50-odd years as one of the world's great singers and guitarists. It's only when you listen closely that a recurrent theme emerges – of confusion. In A Better Place, he sings:
Some days I'm so confused, Lord,
My past gets in my way.
I need the ones I love, Lord,
More and more each day.
On the sleeve notes he writes: "Ghost On The Canvas is the last studio record of new songs that I plan to make. I've been saying it to friends and family, but now that it's in writing it really seems final." In June, Campbell revealed he had been diagnosed with Alzheimer's disease six months earlier and that he was going to do a farewell tour before retiring. The announcement was shocking in its bluntness. Many of us still remember Glen Campbell as the eternally youthful hunk with huge shoulders or the naive boy-man who stars alongside John Wayne in True Grit. Glen Campbell wasn't made for growing old.
Malibu, California. The road winds round the hills until I reach a private estate. I am buzzed through the intercom and welcomed in warmly by a huddle of people and a couple of large dogs. After a few minutes a big, strong elderly man in shorts and T-shirt enters the room, doing a brilliant Donald Duck impression. He smiles, grabs my hand, says, "Well howdyado?" and makes good eye contact. "Well howdyalikeitoverhere?"
It's strange talking a man who is drifting in and out of the present. I'm waiting for his wife Kim to arrive – it feels wrong to start the interview before she does. We try to talk about the new album, which really is rather wonderful. "Well, thank you," he says. "Now, what album are we talking about?" I tell him it's called Ghost On The Canvas, and that he has said it's going to be his final record. "Well, I dunno about that," he says. "If I ran into five or six good songs, I would make another. Yeah, I'm sure I will. I dunno. Let me see how old I am now? I'm 75. Yeah, yeah, 75."
Before his successful solo career he was a member of the Wrecking Crew, a group of musicians that worked on numerous classic songs including You've Lost That Lovin' Feelin', Strangers In the Night and Viva Las Vegas. It was in the 1960s and 1970s that Campbell enjoyed his greatest success with songs such as Galveston, Gentle On My Mind, Wichita Lineman and Rhinestone Cowboy. And he did look like an all-American cowboy – blond as the sun, solid as a bale of hay, simple values. Classic beefcake. (In True Grit his character is called La Boeuf). Yet he was a supremely subtle, and surprisingly mournful, interpreter of songs, especially those by Jimmy Webb. In Wichita Lineman, which contains my favourite ever lyric ("And I need you more than want you/ And I want you for all time"), Campbell brings an incredible melancholy to the story of the lineman hearing the ghost of his absent girlfriend in the wires he's working on.
Campbell was one of 12 children born to a sharecropper father in Pike County, Arkansas. His Uncle Boo taught him guitar and at 16, he left for Albuquerque, New Mexico. Five years later he moved to Los Angeles as a session musician. He worked hard, lived hard, loved hard. By the time he married Kim in 1981 he'd been through three wives. They met on a blind date. She was a young dancer with the Radio City Music Hall Rockettes, he was a wreck. He had just come out of a tempestuous relationship with country singer Tanya Tucker, who claimed he had knocked her teeth out, an allegation he denied.
"JJ get outta here," says Kim, who has just joined us. She shoos the alsatian away. "Dog get outside. He's just a big old baby. Get outtahere dog."
She hands her husband the lyrics to A Better Place as a reminder. He looks at them and starts singing, falteringly at first, as he searches for the tune. "I've tried and I have failed, Lord." He slurps his cranberry juice through a straw with relish. "Yeah, that's a good one…" He's more relaxed with Kim by his side, but is still trying to make sense of why I'm here. Where did the album title come from? "I dunno. They just said that's OK." His voice is slurred, drunk-sounding, though he's been off the booze for an age. "They just said, 'Are you gonna put something on an album or'… what d'you call this thing here?" He looks at the CD cover and then to Kim for guidance.
Kim: "A CD."
"A CD, yes. It's cool."
Kim calls over to their daughter Ashley, who's in the kitchen. "Ash, do we have coffee over there for Daddy?" She talks about the personal nature of the album. "The songs reflect what he's been going through the last few years and the way he's felt."
Campbell mumbles incoherently as she talks. "I've always been very blessed. Well, not at first… I'm not going to do another song I don't like."
Kim gestures urgently to Ashley. "Coffee!"
Campbell sees this scene playing out in front of him.
"What what what?" he says in his Donald Duck voice.
Kim, by now frustrated and amused, shouts. "Ashley, get Dad a cup of coffee! Gosh. He's been playing golf and had a sleep, and he woke up right before you got here, and I feel like he needs a cup of coffee."
Campbell loves his golf. I mention Irishman Rory McIlroy recently winning the US Open, and he smiles. "Isn't that great?" he says. "That knocks me out, man. I'm Irish, too, you know. They really can play some golf."
I ask him what his handicap is. "I'm a white protestant – That's my handicap. I'm an eight handicap, it's OK…" The coffee is working. There are flashes of the old Campbell – jokes, anecdotes, rightwing one-liners, still there as reflex responses.
In their heyday, Campbell, Ronald Reagan and Charlton Heston – three proud Republicans – were close friends. Like Campbell, the other two were also diagnosed with Alzheimer's, but by the time the world knew about it they had quietly disappeared from public life. Kim says this is one reason why the family felt it was important to make the announcement – so he can live as normally as possible without having to feel shame.
We talk about the past, and soon it starts rushing back. The times he played with Elvis and Sinatra, and stood in for Brian Wilson in the Beach Boys. "I was a studio player in a group called…" He looks at Kim. "What were they called?
Kim: "The Wrecking Crew"
Campbell smiles affectionately. "Ah, the Wrecking Crew! They played on everything that came out of LA. Oh that was a good band. You really enjoyed going to work. You played for everyone, it didn't matter what it was. Pop, rock, crock…" Crock? "Country rock! What was his name? With the Beach Boys." Brian Wilson? "Brian went off and put his feet in the sand and wrote the Pet Sounds album, and what was I going to say? Ah! Forgot it. Oh, yes. I played the bass. Oh, that was hard. I had to do the high parts, too. Like patting your head and rubbing your stomach at the same time."
If there was one person from the old days who could join him on this tour, who would it be? "Oh Elvis. Course," he says instantly. "When we played at the Hilton hotel in Vegas, he would go in for a month, and I'd go in for a month. Then we'd switch. Elvis had more charisma in his little finger than everybody else put together. What d'you call it? Electricity. And he was a handsome guy." Didn't you used to do Elvis impressions on stage? "Yeah. Hehehehe!"
Kim: "Elvis came to see him one night, and he said something like, 'You better stop doing me, Campbell, otherwise I'm going to come and read the newspaper in the front row.' And you said, 'If I'm gonna keep doin' you I'm gonna have to gain some weight.'"
Campbell looks mortified at the memory. "I got booed. I wanted to bite my tongue after I said that."
We are sitting in a large sunlit villa looking over the Malibu hills and surrounded by memorabilia from Campbell's career. There are trophy cabinets and rooms full of photographs of Campbell with Elvis, Dean Martin, Ray Charles and Sammy Davis Jr and everybody who was everybody – permanent reminders of who he was. Huge leather-bound Bibles, far too heavy to pick up, lie on tables. Kim was brought up in the Methodist Presbyterian church, he in the Church of Christ, Baptist, but early into their marriage they joined a Messianic synagogue that follows the Old Testament but believes Jesus is the Messiah. The Campbells eat kosher and celebrate Jewish festivals. On Friday nights, Campbell blesses the bread and wine.
Kim: "Glen sings the prayers. Go on, sing a prayer. Barukh attah adonai…"
Campbell starts to sing quietly. "Barukh attah adonai eloheynu melekh haolom hammotsi lechem min haarets."
Has religion changed him? "Well, his relationship with God, whether it was going to the Baptist church or Messianic synagogue has definitely straightened him up," Kim says.
How important has God been in his life? "God saved me. I drowned once," Campbell says. I think he means metaphorically. But he tells me he was two years old, walked into a river and was saved by his brother who had just learned CPR.
Ashley, at 24, the youngest of his children, says he's great with ancient memories, it's the short-term stuff that's the problem. I find her in a side room, lined with acoustic guitars like a rifle range. "Wondering where the bathroom is in your own house, for example. He was aware he couldn't remember things and it was very frustrating for him. But he seems to be doing a lot better since getting a new treatment. He was having a lot of anxiety. We have to be around him more. Sometimes he'll go look for the grocery store, and that's very scary for us because that's a dangerous road."
When did she realise he had problems? "It started very subtly back when I was in high school, like he'd ask the same question twice, and it got worse and worse. When the diagnosis came it hit me hard – it's not just he's getting older."
Has it changed her relationship with him? "It's made me appreciate him a lot more, and the time I have left with him. It's made me want to spend more time with him and ask him about his life. Get to know him as a person as opposed to him as my dad. My favourite question is, 'How are you doing right now, are you happy?' And that usually gets him going. 'Ah, I've been a little tired lately'…" Then I'll ask him about the Wrecking Crew. He loves talking about the Wrecking Crew."
Ashley graduated in drama and has played banjo with her father's band for the past two years. She says she's been watching his old TV show, The Good Time Hour. "Seeing that side, when he was completely on top of things, and the best guitar player there was, it makes me so proud to be playing with him now."
What's his guitar playing like now? "It's interesting because with the disease he'll sometimes mess it up, but he never forgets how to solo. His old colleagues used to call it Campbelling. Sometimes he does long solos on Wichita Lineman or Galveston. And when he does something different now, it makes me excited; it makes me so happy when he's on stage and just kills it."
The biggest change in their relationship is probably professionally, she says. (All three children from his marriage to Kim are in the band). While he's still obviously the star, she finds herself caring for him, even mothering him. "When I'm on stage I don't just play out to the audience and smile, I'm watching him all the time. If he decides to go somewhere else with a song we have to be right there to go with him. And if he doesn't know the song I'll be like, 'Hey, Dad, this is Galveston."
Does she worry that people might feel the family is exploiting him – a concern Kim has expressed. She looks shocked. "No. He still brings joy to people's hearts. Sure it would be exploitation if he was really far on. Dance, monkey, dance, that's not right. But it's not like that at all."
Back in the main room, Kim tells me about when she and Campbell got together. "On our first date he took me to a restaurant at the Waldorf and before we ate he bowed his head and said a prayer and I thought, 'Oh good, he believes in God. Of course, as the night went on I also found out he had an alcohol problem. But he's always been such a great person; so generous, so sweet and loving and kind. It was just the alcohol that turned him into a monster."
A monster? "Yes. He was obnoxious."
Campbell: "Nooooh!"
Kim: "He was. He was mean. It wasn't the Glen I knew him to be. So we got involved in the church and started studying the Bible together and got some godly friends around who encouraged you. We started surrounding ourselves with family. His brother came to live with us and Shorty said, 'Glen, I don't want you to end up like Elvis, you really need to stop drinking.' Gene Autry called him and said, 'The booze is no good, Glen.' So a lot of people who loved him encouraged him."
She pauses. "He would fall down drunk five nights a week. Just pass out. I would never advise anybody to do what I did; go into a relationship knowing that someone is so messed up."
He was also addicted to cocaine at the time. "It's the devil, he wants you man!" Campbell says. But he ain't having you? "No! Campbell will go out there and kick him."
Did Kim ever think he was too big a challenge? "Yes, I thought, 'I can't take it any more.' We had tiny children, and I thought, 'I'm not going to expose my children to some drunkard coming home and being mean to me, you know, I'm not going to do it,' so I put my foot down." She slaps her hand on the table.
Did she give him an ultimatum?
Campbell: "Oh, yes."
Kim: "I gave him an ultimatum on the drugs, coz right after we got married he stayed out all night with a very famous rock group." Which one? "My favourite band of all time, Fleetwood Mac." Wasn't he given a special pass because it was Fleetwood Mac? She laughs. "I know. How could I be angry with him when they were my favourite band? But he came back and I said, 'I'm not going to be married to someone who does that.' He got teary-eyed and said, 'I make one mistake and you're going to leave me?' And that was it; that was the last time."
Well, not quite the last time. At least, not as far as the drink was concerned. "We've had a relapse or two," Kim says. In 2003 he was stopped for drink-driving after a hit-and-run incident. He told the officer who arrested him he wasn't drunk, he'd simply been over-served, before kneeing him in the thigh. "God allowed him to get caught and to get caught good," Kim says.
Does he remember that relapse?
Kim reminds him: "Hit and run. You got arrested. Kicked the police officer."
Campbell: "Oh, did I?"
Kim: "And they put you in jail."
Campbell: "That's right! They did."
Kim: "Then you had to serve 10 days in jail. I have the pink underwear upstairs to prove it. Sheriff Joe Arpaeo from Phoenix, Arizona is famous for making all the inmates wear pink underwear and I have a pair signed by the sheriff. Glen straightened up after that."
Campbell: "Yep. I finally got broke from sucking eggs, as they say."
Does Ashley remember her father's drunken years? "Mmm… yeah I remember him a couple of times. When he had that incident. He's not a very pleasant person when he's drinking." What's he like? "Just angry and annoys people and lies to make himself look good. 'Are you drinking?' 'No, course not.' 'What's in the Coke can?' 'Coke.' But he's totally past that now." Was he violent? "Never violent towards anyone. Just maybe furniture. "
Julian Raymond, the producer of Ghost On The Canvas, arrives. He and Campbell share song-writing credits on five songs on the album. How did the collaboration work? "We'd talk about stuff; things that were going on in his life, things that happened, and I'd nurse them into stories he could feel good about," Raymond says. "The classic one to me was we were hanging out in the kitchen, Kim was there, and he was talking about some of the more traumatic times in his life and he said, 'Look, there's no me without her.' So we changed it to 'There's no me without you'. It's about their relationship – he really wasn't expecting her to come along in his life. I'd keep a journal and we'd talk about the struggles of him being confused."
Although Campbell had not been diagnosed when they made the album, there were symptoms. But Raymond says once they were working it was almost like the old Campbell. That guy's never in the studio for more than 60 minutes. Never. On the way into the studio, he'd learn the song and have it by the time he got there. He might forget who he met five minutes ago, but he remembers lyrics and melodies really well."
As we chat, Campbell sits contentedly singing to himself, half listening. I ask him if he is worried about touring because of the Alzheimer's.
"Where did that come up? That Alzheimer," he says.
"You were diagnosed with Alzheimer's," Kim says gently.
Campbell: "Oh, I was? Well. No, no I don't worry."
What does Kim think touring does for him? "It inspires him and fills his life full of meaning, and it's who he is, it's what he's always done, and it keeps his mind fresh and it keeps him levelled out. It makes him happy."
Campbell: "What is Alzheimer? Forgetful."
Kim: "Uhuh."
Campbell: "Well, I definitely got that…"
Kim: "I noticed the difference at the last show since we announced it. They just gave him so much love after each song. It made all of us feel so good."
Was it a big decision to go public about the Alzheimer's? "Well, it was becoming obvious on stage," Kim says. "He always delivered flawless performances, and now he will flub a lyric here and there. He's always been totally open and honest about his life, and it felt like the natural thing for us to do; let everybody know."
Ashley found it distressing when they were gigging and nobody knew what was wrong. "When he messed up, people were coming up to me after shows and saying, 'Is your dad drunk or is he using again?' It upset me. Now this is out they're just going to be supporting and loving him rather than being angry that they paid to see him."
Is it important to help people understand the illness? "I think so. It's important because he's not just going into hiding. He's out there, and saying, 'I'm still going to try to do what I do, and I'm not going to let this disease beat me just yet.' "
Kim is convinced there is a change in his brain when he performs. "It's like a light switches on. When he walks out on stage, it's just BING! Wow!"
Campbell has been singing along as we've been talking, but it turns out he's been listening more closely than it seems. "You love music," he says. "You feel good. I get a kick out of it. Like the old Floyd Tillman song goes, 'I love you so much it hurts me, darling, that's why I'm so blue.' It's all I ever wanted – to play and sing." •
• Ghost On The Canvas is out on Monday on Surfdog Records. A UK tour starts in Salford, on 21 October; for tickets, go to flyingmusic.com
http://www.guardian.co.uk/music/2011/aug/26/glen-campbell-interview/print
Edgar P. Jacobs
Labels: Great Illustrators...
Labels: Don't ring me
Restoring Early Hitchcock
A Hitch in time: save the Hitchcock 9
Nine of the 10 films Hitchcock directed in the 1920s are getting a full restoration. Henry K Miller enters the dusty world of the archivists and learns about the race to save the silents
Henry K Miller
Thursday 18 August 2011 22.00
The audience at the Capitol cinema in London during the middle week of April 1926 witnessed an unusually bold declaration of authorship. The opening moments of The Pleasure Garden, touted in the fan magazines as the debut of "the youngest director in the world", contained, under the "directed by" credit, the slanted and underlined signature of the 26-year-old Alfred J Hitchcock. What followed was also – as it would become clear over the decades – signature Hitchcock film-making. The film's first scene gives us a voyeur's-eye-view of a dancer's legs; and then makes us share the voyeur's unease as the look is returned. The Spectator's influential critic Iris Barry scented the "new blood" desperately needed by the ailing British film industry, writing that Hitchcock had "astonished everyone with his freshness and power".
Despite the plaudits, and despite Hitchcock's self-confidence, there was no inkling that his films would be seen in five years' time, let alone 85. Three million Britons went to the pictures every night, and the turnover was fast. Most movies played for half a week before being replaced, with a favoured few lingering in circulation a little longer. Survival was a matter of luck and the market. But next year, if all goes to plan, nine of the 10 films Hitchcock directed during the 1920s will be seen as no one has seen them since their first release, restored thanks to the BFI National Archive's Rescue the Hitchcock 9 project.
Publicly launched a year ago, and yoked to 2012's Cultural Olympiad, the biggest single undertaking in the archive's history is global in scope, but has its nerve-centre on the edge of Berkhamsted, Hertfordshire, in what used to be – and from the road still resembles – a farm. Home to vast air-locked, low-temperature film vaults, and to the personal papers of the likes of Michael Powell and David Lean, "Berko" is a hive of white-coated, clean-handed, obsessive activity.
Now the largest film archive in Europe, it was among the very first. The National Film Library, as the archive was originally called, was launched in July 1935, a few weeks after the release of The 39 Steps. A lowly department of the young and deeply troubled British Film Institute, it started out, in the words of its first curator Ernest Lindgren, 24 years old when he took on the role, with "no films, no equipment, and no money". Most of the silent heritage had been destroyed since the coming of talkies at the end of the 1920s, and so the library comprised, said Lindgren, "scraps of flotsam and jetsam, the wreckage of a vast output of film, which purely by chance have survived the destructive storm of time".
Perhaps because of his success and talent for self-promotion, as well as pure chance, the Hitchcock oeuvre was among the scraps. His first talkie, Blackmail (1929), was one of the Library's cherished early acquisitions. When Iris Barry began to curate the film department of New York's Museum of Modern Art, also founded in mid-1935, Hitchcock's early productions were among the first British films she sought out. Only his second, The Mountain Eagle (1926), has been lost; and after the discovery in New Zealand of part of The White Shadow (1923), a film on which Hitchcock acted as assistant director and editor, one cannot quite write off the chances of it being found.
There was more than one reason for the great bonfire of silent movies. Cellulose nitrate film stock could be melted down for its silver content, it was expensive to store, and it was and is dangerous to keep: it is volatile, prone to spontaneous combustion and inextinguishable once aflame. Sometimes the capricious compound defied expectations and outlived its successor, "acetate" or "safety", which had a tendency to turn vinegary with age. But other times it didn't. Nitrate's unpredictable nature meant that no film, even once it had entered the library, was safe.
While Henri Langlois, director of the Cinémathèque Française – and Lindgren's arch-rival, would show anything that passed through a projector, leaving a trail of ashes in his wake, Lindgren's urgent priority was to copy the most vulnerable films and stabilise the rest. The principles of storage and preservation established by his deputy Harold Brown continue to underpin the work of the BFI at Berkhamsted and at its special nitrate storage facility at Gaydon in Warwickshire.
Whereas Lindgren, head of the archive till his death in 1973, became notorious for his aversion to showing the films in his care, forcing his colleagues at the National Film Theatre to go to Langlois or Barry to make up their programmes, the newly restored Hitchcocks will be seen in every kind of format, on any number of screens, in all imaginable places. Despite the feeling of safety in widespread duplication, however, the question of longevity still hovers over the endeavour. Apart from the ever more precarious originals, all of the many copies will derive from one painstakingly constructed new source, and while safer materials than nitrate and acetate have been devised to bear it, even the best preservation techniques can only hold back the inevitable.
Each reel of each film has its own story that the archivists have to unpick in their pursuit of authenticity. Though some films, such as The Lodger (1926), Hitchcock's first bona fide hit, have come down to the present in a solitary positive nitrate print, others exist in multiple versions, presenting mysteries that require international collaboration to solve.
The conservationists' first step is to establish the definitive opening-night cut. For example, the BFI's own copy of The Pleasure Garden, acquired in 1940, is incomplete, missing scenes that appear in the Dutch EYE Film Institute's print. But the British is longer overall; and the scenes aren't all in the same sequence. To construct a restored print, the conservationist examines the various versions together, frame by frame, on a "synchroniser". Clues are sought in contemporary print sources: the synopses printed in the trade paper Bioscope, held by the BFI Library in London, provide a detailed first-hand account of the film's narrative construction. For other titles, like Downhill (1927), there are holdings in the institute's invaluable Special Collections department – scripts and press notes, though sadly little by Hitchcock himself.
In parallel with this attempt to get the right frames in the right order at the right speed, the archivists also aim to minimise the marks of age and handling – shrinkage and smudges, bubbling and blotching, and the like – sometimes using techniques from the Lindgren-Brown era. One magnificent analogue contraption, the optical step printer, is used to copy damaged reels on to usable stock. It makes possible the removal of long scratches by rephotographing the offending strips through dry-cleaning fluid, a process the latest software cannot replicate.
But of course digital technology has transformed, and continues to transform, film restoration. In three cases – Champagne (1928), The Manxman (1929), and the silent version of Blackmail – the BFI has the fons et origo, the original "camera negative". The same strips of celluloid that passed through Hitchcock's camera at Elstree and across his cutting desk are now fed through a digital scanner, copied using a cold light source, with each of the 100,000 odd frames given a unique number. Once in the digital realm, stored as images of 4096x3112 pixels (about double the current release-print standard), the films are subjected to careful cleaning and minute analysis for colour balance. The object is not antiquarianism for antiquarianism's sake, but a cinematic experience unencumbered by surface noise. In some instances total clarity is unwelcome: great effort is expended making the written title cards consistent in quality with the pictures.
Not so paradoxically, the restored image is also the most modern. As is well known, Hitchcock regarded the silent film as "the purest form of cinema", and never abandoned its principles. The climactic chase sequence of Blackmail, shot at the British Museum with the feeling for architectural space for which Hitchcock's American work became renowned, will appear to audiences not as an "old" film to be condescended to but as a model of action staging.
While maximum fidelity has been the goal of the archivists, the ambition of the curators is to give contemporary composers a free hand in producing soundtracks. Though a tie-in record was pressed up for the release of The Manxman, the films' first audiences would generally have had to make do with whatever accompaniment their local cinema could stretch to. There is room for invention. So far Nitin Sawhney has taken on The Lodger, and Daniel Cohen has scored The Pleasure Garden; Tansy Davies has been commissioned to score as yet unspecified title. All three have named Bernard Herrmann, whose music was integral to Hitchcock's late masterpieces, as an inspiration, and the results promise at the very least to reveal connections between the silent films and the better known works that followed.
The scores are the best hope of making the films new, but as with the wider project, money is tight and will have to be sought from donors if the nine are to be completed. To date a major contribution has been made by Martin Scorsese's Film Foundation. Apart from their wide digital dissemination, the restorations will be preserved on polyester film negatives that, all other things being equal, will last over a hundred years. It is a wonder that the first attempt to produce definitive versions of the films in which Hitchcock honed his style has come in the original materials' twilight years – but that's not untypical of the archivists' world, where firefighting has always been part of the job.
• Details: http://www.bfi.org.uk/saveafilm.html?q=saveafilm
http://www.guardian.co.uk/film/2011/aug/18/hitch-in-time-hitchcock-9
Labels: Hitchcock...
Let's have a little jollity around here...
Last night's set list
At the Big Jug, Durham: -
Proceedings were temporarily halted by the inability of NUFC to dispose of Scunthorpe (the mighty iron!) in 90mins. Demba Ba is an absolute disgrace and isn't worthy of the shirt. Thanks to S Ameobi - that's Sammy - the desired result was finally achieved. I'm already expecting Chelsea in the next round.
So the open mic kicked off late, very late.
Labels: Beer footy and music what a combination
Lost Hitchcock Found!
Lost Alfred Hitchcock film found in New Zealand
In a twist the Master of Suspense himself would have been proud of Alfred Hitchcock's earliest surviving movie has been found languishing in a vault in New Zealand.
By Paul Chapman in Wellington and Nick Allen in Los Angeles
10:29AM BST 03 Aug 2011
All copies of The White Shadow, a silent feature film released by Hollywood in 1924, had been thought lost to posterity, and cinema historians have described the discovery as "priceless".
Three dusty reels containing the first half of the film – about 30 minutes of footage – had been stored deep in the bowels of the New Zealand Film Archive, where the search is continuing for the other three reels.
The acclaimed director was 24 when he worked on what was billed as a "wild, atmospheric melodrama" starring actress Betty Compson as twin sisters, one angelic and the other "without a soul". He was credited as assistant director and also wrote the scenario, designed the sets and edited the footage.
At the time silent Hollywood films were distributed worldwide and, while many prints were discarded and lost in the US, others survived abroad where they were kept after runs in cinemas had finished.
The White Shadow owes its survival to Jack Murtagh, a projectionist in the provincial New Zealand town of Hastings, who was regarded as an eccentric collector of films, cigarette cards, stamps and coins.
After his death in 1989 Mr Murtagh's private collection of highly flammable nitrate film prints was sent for safekeeping to the national archives in Wellington by his grandson Tony Osborne.
Mr Osborne said "He would be quietly amused by all the attention now generated by these important film discoveries." Other lost films rediscovered in the collection have included a copy of John Ford's 1927 comedy Upstream.
The Hitchcock film was discovered by an American archivist, Leslie Lewis, who was sent to investigate the New Zealand vaults.
She found two reels marked "Twin Sisters" and one with a label saying "Unidentified American film." On viewing the footage she immediately recognised them as something special.
She said: "I realised that this was more like a film that Hitchcock worked on." David Sterritt, chairman of the National Society of Film Critics and a Hitchcock expert, said it was known that production on the film was hampered by the director's "professional jealousy" of his gifted young assistant.
The following year Hitchcock went on to make his feature film directorial debut with The Pleasure Garden, followed by classics like Psycho, Rear Window, Vertigo, and The Birds.
Mr Sterritt said: "These first three reels offer a priceless opportunity to study his visual and narrative ideas when they were first taking shape. What we are getting is the missing link." The White Shadow will be shown publicly in what is being billed a "Re-Premiere" in Hollywood in September.
http://www.telegraph.co.uk/culture/film/film-news/8678748/Lost-Alfred-Hitchcock-film-found-in-New-Zealand.html
At The Habit, York: -
They're All In It Together*
There'll Never Be Anyone Else But You
Long May You Run
* a new song written on Monday. A political rant - not the usual wasted love song. Went down rather well.
Labels: Oh no - a protest song
Jerry Leiber RIP
Jerry Leiber dies at 78; lyricist in songwriting duo Leiber and Stoller
Leiber and Stoller's first No. 1 hit was Elvis Presley's 'Hound Dog.' They also wrote for the Coasters, the Drifters, Ben E. King and many other artists.
Jerry Leiber, who with his songwriting partner Mike Stoller, created a songbook that infused the rock 'n' roll scene of the 1950s and early '60s with energy and mischievous humor, has died. He was 78.
Leiber, the words half of the duo, died Monday at Cedars-Sinai Medical Center in Los Angeles of cardiopulmonary failure, said Randy Poe, president of the songwriters' music publishing company.
Inducted into the Songwriters Hall of Fame in 1985 and the Rock and Roll Hall of Fame in 1987, Leiber and his lifelong writing partner, Stoller, wrote hits that included Elvis Presley's rat-a-tat-tat rendition of "Hound Dog" in 1956 and Peggy Lee's 1969 recording of the jaded "Is That All There Is?"
But they may be best remembered for the ebullient, impudent hits written for black groups like the Clovers ("Love Potion No. 9"), the Drifters ("Ruby Baby"); the Cheers ("Black Denim Trousers and Motorcycle Boots"), the Robins ("Smokey Joe's Cafe," "Riot in Cell Block No. 9") and, especially, a Robins' spinoff group that Leiber and Stoller helped create, the Coasters ("Searchin'," "Yakety Yak," "Poison Ivy," "Charlie Brown," "Down in Mexico," "Little Egypt").
As Leiber-Stoller biographer Robert Graham wrote, the Coasters' songs "were arguably the most enduring and hands-down funniest records of the rock 'n' roll era."
They were barely 18 when they had their first brush with success with Charles Brown's 1951 recording of "Hard Times."
But it was a white singer who could sing R&B — Presley — who five years later gave Leiber and Stoller their first No. 1 hit on the pop charts, "Hound Dog," a song they had written several years earlier for Willie Mae "Big Mama" Thornton, whom Leiber described as "the saltiest chick we'd ever seen."
Leiber and Stoller — never were their names mentioned in the opposite order — were amazed that Presley chose a song told from a woman's point of view about kicking out a no-account man. They didn't like the way Presley sang it — too fast and nervous. And Leiber was not pleased that Presley picked up some erroneous lyrics: "You ain't never caught a rabbit, and you ain't no friend of mine."
Labels: All those songs . . . .
Jimmy Sangster RIP
Jimmy Sangster obituary
Screenwriter behind Hammer films such as Dracula and The Curse of Frankenstein
Kim Newman
Sunday 21 August 2011 15.33 BST
In 1957, Hammer Films revived gothic horror – in abeyance in a decade that offered nuclear or cosmic horrors which made the classic monsters seem tame – with The Curse of Frankenstein, directed by Terence Fisher and starring Peter Cushing and Christopher Lee. To hear him tell it, Jimmy Sangster, who has died aged 83, wrote the script because no one else would, and simply typed it out and turned it in.
Yet Sangster came up with a new story – owing as little to Mary Shelley's novel as to James Whale's earlier film – and a radical depiction of Frankenstein as a determined, charming yet corrupt dandy who could still chill in an era of nuclear proliferation. Sexually amoral (he uses his monster to murder the maid he has impregnated), rigidly dividing his life (making a bloody hash in the laboratory; prissily refined at the breakfast table) and intent on his "higher calling", this Victor Frankenstein was as ruthless, fascinating and yet remote as the social climber of Room at the Top or the early James Bond.
The same team – Sangster included – then created the even more successful Dracula (1958). Sensing a formula which worked, or in a hurry, Sangster reused the template of The Curse of Frankenstein: Cushing's visionary character is repeatedly thwarted by the ineptitude and small-mindedness of everyone around him, although here Cushing is Dr Van Helsing, and his goal is not the creation of Lee but his destruction, with Lee cast as an unprecedentedly active, virile Dracula.
These two credits alone would establish Sangster as a major creator, though he often professed little interest in the gothic, and was more taken with putting together twist-driven thrillers such as Intent to Kill (1958), directed by Jack Cardiff. He wrote The Revenge of Frankenstein (1958), The Mummy (1959), The Brides of Dracula (1960) and other Hammer gothics, but handed over his spec script Taste of Fear (1961) only on the condition that he be allowed to produce. As writer-producer, he specialised in psychological crime, most notably in the Oliver Reed melodrama Paranoiac (1963) and the Bette Davis vehicle The Nanny (1965).
When Hammer wanted to remake The Curse of Frankenstein, Sangster agreed to write it if he were also allowed to direct. The Horror of Frankenstein (1970) isn't a terribly good black comedy, and Sangster was similarly deprecating about Lust for a Vampire (1971), a troubled production he helmed when his old colleague Fisher was sidelined by a road accident. The suspense movie Fear in the Night (1972) is his best work as director.
He was born James Henry Kinmel Sangster in Kinmel Bay, north Wales. His estate agent father was persuaded to put in the town's name because he was supposedly the first baby born there. He was educated at Ewell Castle school, in Surrey, and entered the British film industry at 16 as a production assistant. After service with the RAF, he worked as a third assistant director on Ealing Studios productions (The Captive Heart, Pink String and Sealing Wax). He joined Exclusive Studios, which would become Hammer Films, in 1949, and worked as assistant director and production manager on many of the B-pictures the studio turned out before gaining success and prominence in horror.
His first script was for a short (A Man On the Beach, 1955) and his first feature script was X the Unknown (1956), a science-fiction film planned as an entry in Hammer's Quatermass series until Nigel Kneale refused permission to use the character. In the late 1950s and early 60s, other companies imitated Hammer. The producer-directors Robert Baker and Monty Berman hired Sangster to write historical horrors (Jack the Ripper, 1959), a science-fiction film (The Trollenberg Terror, 1958) and even the based-on-fact drama The Siege of Sidney Street (1960), in which Sangster appears in a non-speaking role as Winston Churchill, puffing a cigar and ducking bullets during the climactic siege.
Private I, his first novel, was published in 1967, and adapted as an American TV movie (The Spy Killer) in 1969. This led to more work in American TV, as story editor or scriptwriter on shows such as Banacek and Wonder Woman. He contributed supernatural scripts to Kolchak: The Night Stalker and the anthology show Ghost Story. Though retired from the late 80s, a shelved Sangster script was filmed in Germany as Flashback in 2000. His memoirs (Do You Want It Good Or Tuesday? was the characteristic title) were published in 1997.
In recent years, he recorded DVD commentaries in which he affected total surprise that anyone would be interested in his work. The screenwriter Peter Atkins describes him as "a very self-effacing writer who was better than he thought he was and who gave all of us, I think, moments of genuine pleasure with his work".
He was married to Monica, a hairdresser on the early Hammer films, from 1950 to 1968; they had a son, James. He is survived by his second wife, the actor Mary Peach, and his son.
• James Henry Kinmel Sangster, screenwriter, producer, director and novelist, born 2 December 1927; died 19 August 2011
http://www.guardian.co.uk/film/2011/aug/21/jimmy-sangster-obituary
Neil and Bruce
Yesterday's set lists
At the Fulford Arms, York: -
Mid afternoon, following a +ve result against the unwashed in the Windmill with Mr Toole: -
Out On The Weekend
8pm or there abouts: -
Is It Only The Moonlight?
I Don't Want To Talk About It
A long day but an enjoyable one. 1st set was a stop-gap due to 2 acts not turning up. Tom & Maureen attended.
Natural order is restored. Begone ye demons back to the darkside.
Jon Whitcomb
Glen Campbell - Ghost on the Canvas reviewed by Te...
Natural order is restored. Begone ye demons back ...
He didn't believe a word of it.
Vaudeville Lives.
The sun shines on the Righteous One.
Robert Robinson RIP
THE YOUNG FORMBY: A forthcoming Friday Boys produc...
Paul Simon and Toots Thielemans
Listen To Me (Peace and Love...)
Bob Dylan and Philip Larkin go antiquing - John C...
Adios amigo
Billy Grammer 1925 - 2011
FRIDAY BOYS MEETING AT LADY GREYS - FORMERLY THE A...
Last night's set lists
Da drives a choo-choo
Bob, Elvis and Andy
The Great Man speaks (and sings) - again!
Loudon Wainwright - The Great Man interviewed
Leopard and spots.
Eric Pickles. Why?
Sign of the Harp
Swedish Madness
Miles Apart
The balloon's gone up
Men of Letters
It's Rough Out There
HANK REBORN
Tonight's set list
Lost Weekend in the Lit and Phil (His booze is alw...
In an English Country Garden
A lesson . . . .


A lot of previously vacant storefronts appear to be the site of activity—the "for lease" sign has been taken down and/or the windows have been papered over. Here are nine where I suspect that something is moving in. I'm not including storefronts that are getting used as pop-ups/event spaces (or cleaned up so they can be used that way), such as 371 Broadway and 42 Hudson.
If you know anything about any of these, please let me know! Email tribecacitizen@gmail.com or text 917-209-6473. Anonymity guaranteed.
On the plaza between Park Place and Barclay.
There had been a rumor that Luke's Lobster was interested in one of the plaza retail spaces, but the rep says it's not so.
Between Church and W. Broadway.
Previously: Bela Brazil salon (before the building was converted to condos).
At the southwest corner of Duane.
Previously: TD Bank. The interior is undergoing a serious demolition. A nearby resident heard that One Medical might be expanding into the space, but a staffer there had heard nothing of the sort. (Also, the window frontage seems like something One Medical wouldn't value—or want to pay the premium for.) UPDATE: James dug up DOB permits that say it'll be a dance studio, but Elizabeth said it's a "national yoga company." Anyone know more?
At the southwest corner of Staple.
At the northwest corner of Worth.
Previously: Boomerang Toys, before the building was converted. Technically, this is different from the rest, in that nothing has changed (and no work is currently happening). But it's still high on my list of storefronts to keep an eye on, because the build-out was pretty thorough—everything but the floor—and the location is so prime.
There's a tiny room to the right of the building's residential entrance; in the past, the window was not part of it. But perhaps that's changing? Why else would they bother papering the window? UPDATE 2/5: Someone at 78 Franklin confirmed that the window on is papered over for elevator work, as James surmised.
Between Sixth Ave. and W. Broadway.
Previously: Sales office for 11 Beach. Could this be a sales office for 14 White or 100 Franklin? The latter is less likely because developer DDG doesn't tend to do sales offices. UPDATE: As James discovered, Ales Ortuzar is opening a gallery there.
Previously: Built out as a Foundrae jewelry boutique (the name is embedded in the floor), the space was most recently used an an office for the misbegotten Fyre Festival. Peeking over the paper, you can see a desk and a fig tree that someone appears to be watering.
And what about the other seven? Just kidding. Thanks for these—I've found that DOB paperwork rarely offers such specifics.
A "national yoga company" is moving in to 25 Hudson.
Harrison St. is Alton Lane…a men's clothing store that also as an outpost in Flatiron.
78 Franklin is going to be the new home of twenty first gallery. They are a design gallery.
Twenty First Gallery is at 76 Franklin, where George Taylor Specialties was (https://tribecacitizen.com/2018/01/02/twenty-first-gallery-is-moving-to-tribeca/). The "storefront" at 78 Franklin that I mention in this post is wedged between it and Aqua.
78 Franklin St is not a new storefront but apparently merely a construction enclosure for a rebuild of an existing elevator shaft.
I saw that, but I still think it's strange to paper the window.
It may be strange, but as I read the floorplans they all show an elevator in that location, with the shaft slightly set back from the window.


text:
Jean-Yves Chalangeas, né le  à Paris, est un acteur, scénariste, réalisateur et producteur délégué français.

Biographie
Dans les années 1990, Jean-Yves Chalangeas crée le groupe Les Mauvaises Graines qui réalise une série de sketches parodiques diffusée sur Canal+ entre 1995 et 1996.

En 1997, Jean-Yves Chalangeas reçoit le soutien de la Fondation Beaumarchais (SACD) pour son projet de RealityToon qui donne lieu, en 2005, au film Dr Kill & Mr Chance, le 1er RealityToon

Filmographie

Acteur
 1989 : Les Aventures de Franck et Foo-Yang de Jean-Louis Bertuccelli - Cinétévé - FR3
 1991 : Le Put 320 décembre de Marcel Angosto - Artichaut films
 1995 - 1996 : Les Mauvaises Graines - Canal+
 Tribal Pursuit
 Ces Gars
 Panzhouse
 Freddy 7
 Danger Contrôle
 Village de Gens
 Foutrex
 Revenons à nos moutons
 2000 : Innocent% de Fred Journet et Bernard Shoukroun
 2005 : Dr Kill & Mr Chance, le 1er RealityToon de Jean-Yves Chalangeas et Fabrice Mathieu - Be TV

Réalisateur
 1994 - 1995 : Les Mauvaises Graines - Canal+
 2005 : Dr Kill & Mr Chance, le 1er RealityToon - Be TV

Scénariste
 1994 - 1995 : Les Mauvaises Graines - Canal+
 2005 : Dr Kill & Mr Chance, le 1er RealityToon - Be TV

Producteur délégué
 1994 - 1995 : Les Mauvaises Graines - Canal+
 2005 : Dr Kill & Mr Chance, le 1er RealityToon - Be TV

Distinctions
 Jury Jeunesse Cannes 1985
 Lauréat Fondation Beaumarchais 1997 (SACD)

Notes et références

Liens externes

 Interview de Jean-Yves Chalangeas par Le Mague

Acteur français de cinéma
Producteur français de télévision
Scénariste français de cinéma
Réalisateur français
Naissance en février 1967
Naissance à Paris

redpajama_set_name: RedPajamaWikipedia


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What else can I do to promote my game?
Start by telling everyone you know about it. Tell them what it is, play it with them, and tell them where they can buy it. Start with friends, family, classmates, co-workers, etc as they will be instantly interested your game, because they are interested in you. Consider using crafter points to purchase additional promotional opportunities on The Game Crafter site too!
Publish your game out on Board Game Geek. They have millions of users, and if you're not already using that site, you should. You should be reviewing other games on the site, talking in their community, and maybe even purchasing ad space on their site to promote the sale of your game.
Buy copies of your games and send them out to people who review games. If your game is good they'll review it in their magazine, blog, newsletter, etc and drive buyers directly to your game.
Attend game conventions in your area. You don't need a booth. Just register and demo your games in the board game area. If you can afford to, do get a booth as well, but it's not required. Bring extra copies of your game so you can sell them on the spot. That way people will take the game home with them, and the word will spread even further.
Your local game store is your friend. Most game stores will have a board game night where you can pitch your game. This works a lot like setting up in the game area at a convention, but on a smaller more intimate level. If you work with the game store in advance they may even promote you on their website letting people know in advance to come check you out. In addition, some game stores will either buy copies of your game to sell in their store, or sell your games on consignment. They'll do this because you're local, so when you go in, explain that you are local.


From 1975 -1978 Parousia didn't have a professional manager or booking agent. Most of our gigs came by way of friends who were on a student council or by one of us calling a club and talking directly with the manager. That all changed in February of 1979 when the band met Phil Christopher of Multi-Media attractions. Phil became our first formal booking agent, signed contract and all. Phil's entertainment experience came mostly by way of performing in a popular 50's cover band known locally as "Big Wheelie & the Hubcaps".
Phil was a big help to us when we were just starting out. He let us rehearse our songs in his garage on Voorhees Avenue near Hertel Avenue… in the dead of winter with no space heater. Our hands were so cold that even with gloves on it was nearly impossible to play our instruments but we did the best we could.
Phil claimed that the reason he booked our band way-out of town in Chaffee, NY was to give us a chance to refine our show while keeping us away from the tougher competition in the big city of Buffalo. We agreed with that philosophy to some extent but what else what could we say… we were content to finally perform at a club that wasn't McVan's.
Phil didn't invest a lot of money in Parousia and he printed our promotional materials on a Sears Mimeograph machine (remember the smell) …and it really bothered me that Al, (Phil's "assistant") spelled our name incorrectly as "Perousia" arrgh!
I remember Phil asking our band to "pick a musical direction". He thought that our choice in music was "all over the place" and needed to be fine-tuned. And so we were faced with a curious choice… Should we pursue our music career as a pop band, a progressive rock band or a hard rock band?
Well, we thought about it and if we were going to have a category forced upon us we chose progressive rock. Bob hugged and kissed his bass when we all agreed and then we shivered like icicles in that damn garage while we completely ignored what Phil said and continued to play the songs that we wanted to play.
That summer we got a break when our band performed live on the late night WBFO college radio station "Oil of Dog" hosted by D.J. Gary Storm. Phil was hoping we would go in a more pop direction with our music but we did our own thing and it seemed to be working. It wasn't long before Phil moved on to other projects and after six months of performing and recording around town we were picked up by two new agencies, Adventure Productions and Backstage Productions.
In December of 1979, Eric Scheda, (keyboard wizard) joined PAROUSIA and we were ready to step it up a bit musically and visually. We began to take on songs that were more challenging and worked on presenting the songs in a unique way. We wove together songs from our set list to form a mini "rock opera" based on the theme "Good vs. Evil".
It was known among us as "the show set" which we started to perform in clubs in the summer of 1980 not long after our first recording session at Filippone sound where we laid down "Malmedy", "Revelation", "Miss Ogyny" and "Oh My Love".
While we were rehearsing in Keith Gregor's Music Mall in Cheektowaga, there was a band across the way from us in room #6 called JDM Hybrid. They were managed and booked by Adventure Productions who we immediately became interested in.
We met with Georgine Tramontana in July of 1980, shortly after she attended our performance at a little club called the Plant-6 on Niagara Street.
Georgine liked our band and wanted us to sign an exclusive deal. No one else could book us into clubs, schools or parties not even one of our own band members. This was exactly the kind of thinking we were trying to avoid with companies like Great Lakes Booking and its various tentacles like Starstruck Entertainment. BUT…we really wanted her help and she really wanted Parousia to be on her roster and so we struck a deal. We didn't have to sign exclusive but Adventure would take a higher cut.
We premiered the show-set on July 20th at Melanie's where Backstage Productions saw us and heard us for the first time.
Almost immediately after, Parousia entered into a booking and management agreement with Dave Buffamonti and Rick Falkowski which helped our band gain a much stronger presence in Buffalo and the surrounding cities.
When Georgine saw that we were working well with Dave and Rick at Backstage she didn't put forth a lot effort into managing us, although Adventure Productions did continue to book us on and off for the next two years, the last time being September 11, 1981 where we performed with JDM Hybrid in the Buffalo State College Social Hall.
With the help of both Backstage Productions and Adventure Productions we were propelled upward onto a new level and suddenly we were playing everywhere all the time through 1980 and 1981.
In 1981 I knew Jim Couch from Tops Supermarket and I introduced him to Dave Buffamonti who took on his band called Future History. Many of the band members were "Kenmorons" from Kenmore, NY.
Our relationship with Backstage Productions and its various subsidiaries lasted many years and even when Parousia broke up and reformed, Rick was there to help us out. When Parousia remade itself in 1982 as a band playing all of our own music, we really appreciated Rick's help in bringing us back into the limelight.
Rick was great at working deals. Like the time the entire band got free professional haircuts at Santangelo's and free recording time at Loft Studios.
In exchange, Rick gave them free advertising space in his local music magazine Buffalo Backstage. Rick put us on stage at the first Buffalo Backstage Music Awards show and we were taped live and aired later on TV.
Rick booked Parousia into a concert performance at the Port Colborne arena in Canada when the local super-group Talas had to suddenly cancel their appearance at that venue. Rick helped out with equipment too and lent us his personal ARP synthesizer because we couldn't afford to buy a keyboard that made a realistic string and chorus sound.
Rick's wife, Marsha Falkowski pitched in with photography and shot some very cool 35 MM photos of the band at Forest Lawn Cemetery in August of 1980.
Parousia Mailing List sign-up card.
After recording four new songs at Loft studios and creating a music video in 1984, we hit the recording studio three more times in 1985, starting in July at Filippone sound, (where we recorded six songs) and then in October, at Select Sound (where we recorded 'Place your Bets').
About this time the band was itching to get onto a college circuit tour and as luck would have it, we drew interest from an interesting fellow from England, Mr. Colin Hilborne.
Colin Hilbourne. Parousia Manager from 1985-1988 Bob's Big Boy, Culver City, CA.
Colin had a great deal of experience in the music industry and was an ex-roadie for Elton John & the Faces. Back in England, he knew many of the British Invasion bands from the 60's and 70's and had many interesting stories to tell about some of them like Ronnie Wood, Keith Richards and Elton John (who according to Colin was particularity fond of being called 'Elsie' by his band mates backstage). Colin recognized talent and we were flattered to know that he saw that in us.
Colin suggested he produce three new songs to compliment the "Place your Bets" track we had just recorded over at Select Sound and then put it all together to release an EP. We agreed and in November we began recording at the studio of his choice, Mark Studios in Clarence, NY where we laid down, "Turnaround," "Tiffany" and "Graduation" – The result of which formed our first commercially released Cassette EP, titled "Turnaround".
Turnaround was released in October of 1987 on the 'Rock Dog Records' label in Hollywood, CA. The Hollywood release is credited much to the urging of our mentor Colin, who convinced us that if we were serious about our music we should take the band out west in a market where there was a better chance to be seen by someone who could take it to the next level, get us a record deal and start a tour to promote it. Out in California, Colin continued to mentor us and encourage us to find someone who could put us on tour.
When I was working for Crawford & Company I handled claims for various Entertainment Brokers. AON was one of those and I met Marianne there, an underwriter at the brokerage. She handled live recording artists. Many were touring bands and she became involved in personally managing some of the acts. She formed relationships with the local rock clubs like the Troubadour, the Whisky and the Roxy on the sunset strip.
When she saw what Patt and I were putting together, she wanted to be a part of it. Patt and I recorded a demo tape with keyboards, drums and vocals. We used that demo to attract like-minded musicians who could act and then booked a dress rehearsal at Uncle Studios in North Hollywood.
From that very first rehearsal Marianne took the promotional reins and started creating press and connections for our band.
She was a true friend to the band and had us over for food and drinks on many occasions. She mothered us and mentored us and invested heavily in our production of Virtual Reality by providing up front financing for shows at the Troubadour, the Whisky and the Roxy Theatre.
We couldn't have carried all that weight by ourselves and Marianne did a fantastic job of promoting and managing our act. We couldn't have done it without her.


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The meeting opens on the evening of Wed 29th August for Welcome drinks and nibbles, followed by two full days of oral communications including a symposium session on Medicinal Cannabis or Cannabis as a Medicine?
Jen Martin, University of Newcastle, NSW, Australia.
Early bird registration closes on 13 July.


text:
Jalil Che Din (27 July 1934 – 15 November 1992 born in Gelugor, Penang) was a Malaysian football player and coach.

As a centre-half, he represented the Penang, Perak and Malaysian national football team in the 1950s. With the national team, Jalil winning the first 2 Merdeka Tournaments in 1958 and 1959. After injury cut short his playing career, he turned into coaching. He was assistant coach of Malaysia under Dave McLaren from 1970 to 1971, and they guided Malaysia to success in the qualification to the 1972 Munich Olympics football competition. In the final tournament, Jalil takes over from McLaren and oversaw 1 win (3-0 against United States) and 2 defeats (0-3 against West Germany, 0–6 against Morocco) from 3 group games.  Nevertheless, this remains one of the greatest achievements of Malaysia football as it is the only appearances of the national team in the Olympics.

Later, Jalil returned to coach Malaysia in 2 other stints: which he helped the team won in 1974 Merdeka Tournament and won bronze medal in the 1974 Asian Games. The last stints, he make a comeback to trained national team in 1981 after the failure of Malaysia in the 1982 FIFA World Cup qualification under Karl Heinz Weigang.

By profession, Jalil was a prison officer under Malaysian Prisons Department, and for most of his life was working in Taiping Prison, and was Prison Director at Simpang Renggam Prison. Jalil died in 1992 aged 59, caused by heart attack while playing golf in Batu Pahat.

References

External links
 Profile at Sports Council, Prison Department of Malaysia

1930s births
1992 deaths
Year of birth uncertain
Malaysian footballers
Malaysia international footballers
Malaysia national football team managers
People from Penang
Penang F.C. players
Association football midfielders
Malaysian football managers


text:
Arizona basketball's 2018 recruiting class is going to be massive
It's already ranked No. 1 in the country, but Sean Miller expects to add at least two more players
By Ryan Kelapire@RKelapire Aug 9, 2017, 9:45am PDT
Share All sharing options for: Arizona basketball's 2018 recruiting class is going to be massive
The Arizona Wildcats picked up their third commitment in their 2018 recruiting class Tuesday, landing five-star point guard Jahvon Quinerly.
With Shareef O'Neal and Brandon Williams already in the fold, the Wildcats now have the No. 1 recruiting class in the country, per 247Sports.
But they're not done adding to it yet. In fact, they're not even close.
Head coach Sean Miller said Tuesday that Arizona has signed an average of about five recruits per class, but that number continues to trend upward, and likely will do so in 2018.
"I would say that we will sign a minimum of five players by the time we get into the spring, but I would say probably six maybe seven," he said.
The Wildcats are set to lose seniors Dusan Ristic, Keanu Pinder, Parker Jackson-Cartwright, and Talbott Denny at the end of the 2017-18 season. Additionally, DeAndre Ayton, Rawle Alkins, and Allonzo Trier are likely to head to the NBA, which is why Miller's claim that Arizona could bring in seven players makes sense.
"That's just the way it is," Miller said. "I wish it wasn't I think there's a lot of coaches, and fans, everybody associated with college basketball that wishes maybe the turnover wouldn't be like that, but that's the way it is."
After landing Quinerly, the Wildcats now have two point guards in their 2018 class and will likely shift their focus toward landing wings and big men.
At the top of the list of targets are forwards Zion Williamson and R.J. Barrett, along with 7-foot-3 center Bol Bol.
Those three are the second-, third-, and fourth-ranked players in the 2018 class, respectively.
Williamson said he will "probably" take an official visit to Arizona, while the Wildcats are reportedly one of the leaders for Barrett.
Zion Williamson will 'probably' take an official visit to Arizona
Arizona among leaders to land Canadian phenom R.J. Barrett
Bol, a friend and AAU teammate of O'Neal, is seen as the likeliest of the three to commit to Arizona, and of course, there are several other prospects Arizona is after aside from just those three.
Either way, Miller and company are just getting started in 2018, despite already owning the nation's No. 1 class.
"I think we'll sign five players in November if we can pull it off," Miller said.
Follow Ryan Kelapire on Twitter at @RKelapire

redpajama_set_name: RedPajamaCommonCrawl


text:
function varargout = v_DisplayLUTinversion(varargin)
%
% Validate display calibration lut inversion against PTB.
%
% The two don't give exactly the same results, as the inversion methods
% are not identical.  In particular, the PTB routines, the way we are calling
% them here, fit the gamma function with a power function, which smooths things
% out.  (The PTB functions have many other options for how they fit gamma functions,
% but we are not exploring those here.)  The isetbio functions do not do the smoothing.
%
% In the graphs, the comparison is ballpark good and we are happy enough with that.
% We've saved out what the two do, after comparing the graphs here.
%
% See also v_IrradianceIsomerizations, v_DisplayColorConversion

    varargout = UnitTest.runValidationRun(@ValidationFunction, nargout, varargin);
end

%% Function implementing the isetbio validation code
function ValidationFunction(runTimeParams)

    %% Initialize ISET
    close all; ieInit;

    %% Some informative text
    UnitTest.validationRecord('SIMPLE_MESSAGE', 'Compare isetbio and PTB display lut inversion.');

    %% Remove the Brainard lab PTB overrides folder from the path
    %
    % Uncommentnig this code from using the new BL object oriented PTB
    % overrides.  We could include these inside of isetbio, but the risk is
    % that whether this program worked or not would depend on whether isetbio
    % was before or after PTB on the user's path, something we don't want to
    % have to deal with.  Elsewhere (not in isetbio), we have established that
    % the PTB and BrainardLab routines do the same thing (which is not
    % surprising, as the actual calculations are done by the same underlying
    % code in each case, just accessed differently.)
    %
    % But, we don't think we need this.
    % [removedFolderFromCurrentPath, originalPath] = removeBrainardLabPTBOverrides();

    try

        %% Compare PTB vs ISETBIO LUT inversion for three different displays
        % and four different gamma table lengths
        displaysToTest = {'OLED-Sony', 'LCD-Apple', 'CRT-Dell'};
        gammaTableLengthsToTest = [128 256 1024 2048];

        % Loop over displays
        for displayIndex = 1:numel(displaysToTest)

            % Create a display object
            d = displayCreate(displaysToTest{displayIndex});

            % Retrieve key properties of the display
            %
            % Gamma table, remove 4-th primary, if it exists,
            % for testing purposes.
            gammaTable = displayGet(d, 'gamma table');
            if (size(gammaTable,2) > 3)
                gammaTable = gammaTable(:,1:3);
            end
            originalGammaTableLength = size(gammaTable,1);
            originalSettingsValues   = linspace(0,1,originalGammaTableLength);

            % Primary SPDs
            % Remove 4-th primary, if it exists, for testing purposes.
            wave = displayGet(d, 'wave');
            spd  = displayGet(d, 'spd primaries');

            % Screen size and DPI
            dotsPerMeter = displayGet(d, 'dots per meter');
            screenSizeInPixels = [1920 1080];

            % Generate PTB-compatible calStruct describing the display
            PTBcal = ptb.GeneratePsychToolboxCalStruct(...
                'name', displayGet(d, 'name'), ...
                'gammaInput', originalSettingsValues, ...
                'gammaTable', gammaTable, ...
                'wave', wave, ...
                'spd', spd, ...
                'ambientSpd', zeros(length(wave),1), ...
                'screenSizeInPixels', screenSizeInPixels, ...
                'dotsPerMeter', dotsPerMeter ...
            );

            for resolutionIndex = 1:numel(gammaTableLengthsToTest)
                % Compute the inverse gamma table with desired resolution
                nInputLevels = gammaTableLengthsToTest(resolutionIndex);

                % PTB-solution
                PTBcal = CalibrateFitGamma(PTBcal, nInputLevels);
                gammaMethod = 1;
                PTBcal = SetGammaMethod(PTBcal, gammaMethod, nInputLevels);
                PTBinverseGamma       = PTBcal.iGammaTable;
                settingsValues        = PTBcal.gammaInput;

                % ISETBIO solution
                % Normalize to max of 1 for comparison with PTB
                ISETBIOinverseGamma = displayGet(d, 'inverse gamma', nInputLevels);
                ISETBIOinverseGamma = ISETBIOinverseGamma / (originalGammaTableLength-1);

                % Log the data
                dataStruct = struct( ...
                    'displayName', displaysToTest{displayIndex}, ...
                    'originalSettingsValues', originalSettingsValues, ...
                    'gammaTable', gammaTable, ...
                    'nInputLevels', nInputLevels, ...
                	'settingsValues', settingsValues, ...
                	'PTBinverseGamma', PTBinverseGamma, ...
                	'ISETBIOinverseGamma', ISETBIOinverseGamma ...
                 );

                data{displayIndex}{resolutionIndex} = dataStruct;
            end
        end

        UnitTest.validationData('ValidationDataStructArray', data);

    catch err
        % Restore original path and rethrow error
        %if (~isempty(removedFolderFromCurrentPath))
        %    path(originalPath);
        %end
        rethrow(err);
    end

    %% Restore original path
    %if (~isempty(removedFolderFromCurrentPath))
    %   path(originalPath);
    %end

    %% Save validation operations
    UnitTest.validationData('inversionData', dataStruct);

    %% Plot
    if (runTimeParams.generatePlots)
        h = figure(1);
        set(h, 'Position', [10 10 1704 1196]);
        clf;

        subplotIndex = 0;
        for displayIndex = 1:numel(displaysToTest)
            for resolutionIndex = 1:numel(gammaTableLengthsToTest)

                dataStruct = data{displayIndex}{resolutionIndex};
                subplotIndex = subplotIndex + 1;
                subplot(numel(displaysToTest),numel(gammaTableLengthsToTest),subplotIndex);
                hold on;

                % Plot results for RED channel only
                channelIndex = 1;

                % original gamma
                plot(dataStruct.originalSettingsValues, dataStruct.gammaTable(:,channelIndex), 'g.');

                % PTB-inverted
                plot(dataStruct.settingsValues, dataStruct.PTBinverseGamma(:,channelIndex), 'r.');

                % ISETBIO-inverted
                plot(dataStruct.settingsValues, dataStruct.ISETBIOinverseGamma(:,channelIndex), 'b.');

                % ISETBIO-inverted
                plot(dataStruct.settingsValues, 0.5+dataStruct.PTBinverseGamma(:,channelIndex)-dataStruct.ISETBIOinverseGamma(:,channelIndex), 'k-', 'LineWidth', 2.0);

                hold off;

                h_legend = legend('Orig. LUT', 'PTB inverse', 'ISETBIO inverse', '0.5+(PTB-ISETBIO)', 'Location', 'NorthWest');
                set(h_legend,'FontName', 'Menlo', 'FontSize',12);

                set(gca, 'XLim', [0 1], 'YLim', [0 1], 'XTick', [0:0.1:1.0], 'YTick', [0:0.1:1.0], 'FontSize', 12, 'FontName', 'Helvetica');
                xlabel('gamma in','FontSize', 12, 'FontName', 'Helvetica', 'FontWeight', 'bold');
                ylabel('gamma out', 'FontSize', 12, 'FontName', 'Helvetica', 'FontWeight', 'bold');
                axis 'square'; box on; grid on;
                title(sprintf('%s - (%d levels)', dataStruct.displayName, dataStruct.nInputLevels), 'FontSize', 16, 'FontName', 'Helvetica', 'FontWeight', 'bold');
                hold off
            end
        end
    end

end

% Helper method to remove the BrainardLabPTBOverrides folder if it exists on the current path.
% We want to remove this override, so we can use the original PTB functions
% without the CalStructOBJ (which is found only on our computers).
function [removedFolderFromCurrentPath, originalPath] = removeBrainardLabPTBOverrides

    removedFolderFromCurrentPath = '';
    originalPath = path;

    % Folder to remove the Overrides/PTB-3 folder from the current path, if the folder exists on the path
    PTBoverridesDirToRemoveFromPath = '/Users/Shared/Matlab/Toolboxes/BrainardLabToolbox/Overrides/PTB-3';

    % determine if the PTBoverridesDirToRemoveFromPath is in the current path
    pathCell = regexp(path, pathsep, 'split');
    onPath = any(strcmpi(PTBoverridesDirToRemoveFromPath, pathCell));
    if (onPath)
        rmpath(PTBoverridesDirToRemoveFromPath);
        removedFolderFromCurrentPath = PTBoverridesDirToRemoveFromPath;
    end
end

redpajama_set_name: RedPajamaGithub


text:
Procedure Homeless Students: Enrollment Rights and Services
The district will consider the best interest of the child in enrollment decisions;
The district shall not deny or delay enrollment of homeless students;
The district's need for student contact information shall not be in a form or manner that constructs a barrier for homeless students. For example, homeless students may not be excluded for failure to have a mailing address or emergency contact information;
The district's liaison shall:
Ensure that public notice is disseminated where homeless children receive services;
The district's liaison shall assure that students are identified by school personnel, enrolled in school and have a full and equal opportunity to succeed; and
The district liaison shall inform parents and guardians of educational and related activities and inform parents of transportation services.
Homeless Children and Youth means individuals who lack a fixed, regular, and adequate nighttime residence. This includes children and youth who are sharing the housing of other persons due to loss of housing, economic hardship or a similar reason, living in motels, parks, or campgrounds; or children or youth who have a primary nighttime residence that is a public or private place not designed for or ordinarily used as a sleeping accommodation by human beings; or children or youth living in cars, abandoned buildings or substandard housing or similar situations; or migratory children because they are living in circumstances like those described above.
Unaccompanied Youth means a youth not in the physical custody of a parent or guardian and includes youth living on their own in any of the homeless situations described in the McKinney-Vento Homeless Education Act.
Dispute Resolution Procedure
The District shall ensure that the child/youth attends the school in which they sought enrollment while the dispute process is being carried out.
Notification of Appeal Process
If the district seeks to place a homeless child in a school other than the school of origin or the school requested by the parent, the school district shall inform the parent or the student if such student is not in the physical custody of a parent or guardian, of the right to appeal. The district shall provide the parent or student not in the custody of a parent or guardian with written notice including:
An explanation of the child's placement and contact information for the district and the OSPI homeless liaison, including their roles;
Notification of the parent/student's right to appeal(s);
Notification of the right to enroll in the school of choice pending resolution of the dispute;
A description of the dispute resolution process including a petition form that can be returned to the school to initiate the process and timelines; and
A summary of the federal legislation governing placement of homeless students (McKinney-Vento Act).
Appeal to the School District Liaison – Level I
If the parent/student disagrees with the district's placement decision, the parent/student may appeal by filing a written request for dispute resolution with the school, the district's homeless liaison or a designee. If submitted to the school, it will be immediately forwarded to the homeless liaison. The request for dispute resolution must be submitted within fifteen business days of receiving notification of the district's placement.
The liaison must log the complaint including a brief description of the situation and reason for the dispute and the date and time of the complaint was filed.
A copy of the complaint must be forwarded to the liaison's supervisor and the superintendent.
Within five school business days of receiving the complaint, the liaison must provide the parent, or student in the case of a student not in the physical custody of a parent or guardian, with a written decision and notification of the parent/student's right to appeal.
The district will verify receipt of the Level I decision;
If the parent/student wishes to appeal, notification must be provided to the district liaison within ten school business days of receipt of the Level I decision. The liaison shall provide the parent with an appeals package containing:
The complaint filed with the district liaison at Level I;
The decision rendered at Level I; and
Additional information provided by the parent, student and/or homeless liaison, unaccompanied youth and/or homeless liaison.
Appeal to the School Superintendent – Level II
The parent/student may appeal the district liaison's decision to the superintendent or the superintendent's designee using the appeals package provided at Level I.
The superintendent will arrange for a personal conference to be held with the parent or student not in the physical custody of a parent or guardian within five school business days of receiving the Level I appeals package.
Within five school business days of the conference, the superintendent will provide the parent/student with a written decision with supporting evidence and notification of their right to appeal to the OSPI.
The district will verify receipt of the Level II decision.
A copy of the superintendent's decision will be forwarded to the district's homeless liaison.
If the parent or student not in the physical custody of a parent or guardian wishes to appeal to the OSPI, notification must be provided to the district homeless liaison within ten school business days of receipt of the Level II decision.
Appeal to the Office of the Superintendent of Public Instruction – Level III
The district superintendent shall forward a copy of the Level II decision and all written documentation to the OSPI homeless liaison within five school business days of rendering a decision. The district will submit the entire dispute package to the OSPI in one complete package by U.S. mail.
The OSPI's homeless education coordinator or designee, along with the appropriate agency director, and/or agency assistant superintendent shall make a final decision within fifteen business days of receiving the appeal;
The OSPI's decision will be forwarded to the district's homeless liaison. The liaison will distribute the decision to the parent/student and the superintendent.
The OSPI's decision will be the final resolution for placement of a homeless child or youth in the district.
The district will retain the record of all disputes, at each level, related to the placement of homeless children.
Interdistrict Disputes
If districts are unable to resolve a dispute regarding the placement of a homeless student, either district may submit a written request to the Office of Superintendent of Public Instruction (OSPI) seeking resolution. OSPI will resolve the dispute within 10 business days of notification of the dispute and inform all interested parties of the decision.
RCW 28A.225.215
Title 1, Part C
42 U.S.C. 11431


UPDATE - Monday 15th September: Confirmed by Adam Bhatti, this year's demo will allow users to choose between 7 and 10-minute matches.
Konami have confirmed the teams list for the Pro Evolution Soccer 2015 demo.
Available on PS4, Xbox One, PS3 and Xbox 360 from Wednesday 17th September, the demo will feature the following sides: Athletic Bilbao, Atlético Madrid, Barcelona, Real Madrid, Bayern Munich, Juventus and Napoli.
How excited are you for this year's demo? And are you happy with the teams chosen? As usual, let us know by posting your comments below.


text:
English Language Learners Stack Exchange
Tag: past-tense
37 Why is 'The Chinese have invented the printer' wrong? 2015-04-12T16:40:05.103
26 "Rollbacked" or "rolled back" the edit? And what about "double-click"? 2016-10-14T16:40:56.747
26 Why do native speakers use the present continuous tense when talking about people in a picture? Why not the past continuous tense? 2020-06-01T03:47:04.273
25 When to use "drank" and "drunk" 2014-10-20T20:06:18.270
20 "My boss was furious with me and I have been fired" vs. "My boss was furious with me and I was fired" 2019-04-24T14:10:29.500
19 Past tense: learned/learnt, dreamed/dreamt? 2013-04-03T21:26:29.347
18 When is using the past perfect tense not necessary? 2013-04-16T04:55:49.520
16 17 billions of bottles VS 17 billion of bottles 2015-01-06T05:09:11.017
14 Is there a simple and clear way to explain the difference between past simple and present perfect? 2014-12-13T19:19:07.653
14 Past form of "make do" 2016-06-02T14:57:27.547
13 "I saw a dog" vs. "I have seen a dog" 2014-12-14T03:15:38.117
13 "Tea drinking" vs. "tea drunk" in this context 2019-01-13T22:07:11.053
12 "She never saw a bear before she moved to Alaska." Why incorrect? 2013-12-26T18:44:13.673
12 I was wondering vs. I am wondering vs. I wonder 2016-02-01T20:07:51.190
11 Why "Would you mind if I asked you something?" is correct? 2013-12-12T20:40:19.433
11 "I built a giant house of playing cards an hour ago" 2015-02-12T08:18:05.467
10 Tense agreement: "Before he 'had come'/'came' to the factory, Tom 'was studying'/'had studied' at the university of London" 2013-03-10T14:54:06.290
10 Is Present Perfect used in real life? 2013-03-29T10:00:26.480
10 "My wife and I have been living here since we have been married." is the tense correct? 2014-09-24T14:08:07.437
10 Can I use future tense and past tense in one sentence with "if"? 2017-07-07T13:38:05.673
10 Had Begun vs Began 2018-07-17T01:29:06.163
9 "asked" as past tense and "asked" as past participle 2013-02-04T18:59:09.187
9 "Have had" versus "had" 2013-05-22T02:53:14.540
9 Present-perfect-tense vs. Simple-past-tense 2014-05-09T13:16:18.887
9 "I heard the clock strike ten": why not "striked ten"? 2014-10-19T12:20:29.583
9 Is "I never saw him yesterday" grammatical? 2015-02-07T17:22:11.423
9 I didn't ('go' or 'went') to party? 2015-05-27T04:38:40.280
9 English's imperfect tense and its imperfection 2016-01-09T19:18:20.857
9 Confusion about the use of the present simple in a story 2017-01-17T10:53:43.717
8 May "since" be used with simple past verbs? 2013-02-15T19:18:46.480
8 Should I always use the perfect present, when the sentence uses "never"? 2013-02-16T16:38:28.810
8 "could not [verb]" might strictly imply that attempts were made 2014-03-25T12:42:13.483
8 "I'm born and brought up in India" - I don't want to use the 'past' tense here 2014-05-20T05:23:18.370
8 Should I use the past tense with did? 2014-09-19T22:06:10.410
8 "We have sold nearly everything he owns to make the down payment!" 2014-10-02T18:38:45.683
8 Which tense should be used? 2015-04-04T12:33:12.247
8 I win or I won right after the end of a game 2015-12-11T14:40:43.650
8 Which is the correct tense to use with 'by'? 2016-07-26T02:51:35.800
8 Why is past continuous wrong in this sentence? 2017-04-15T15:29:41.183
7 Mistaking versus mistaken 2014-01-28T14:52:55.867
7 Bit or Bitten - which is correct usage? 2014-09-07T07:36:04.177
7 Past simple vs used to vs would 2015-02-15T21:10:11.580
7 How should I use 'must' in past tense? 2015-02-25T00:34:06.960
7 Which tense to use in an academic paper when referring to past research? 2016-05-23T11:39:20.030
7 Is adjective "backuped" correct? 2016-12-21T12:19:04.157
7 Using did +verb instead of the past form of the verb 2017-03-08T14:23:24.380
7 Past and future linked 2017-07-18T11:32:48.740
6 Is it possible to be grammatically correct without using past perfect? 2013-04-17T03:20:47.767
6 Simple past vs past progressive in as/while/when-clauses 2014-01-06T16:10:09.007
6 Past Simple or Present Perfect: Tried or Have Tried 2014-01-23T07:57:52.497
6 after she had her baby; after she had had her baby 2014-08-11T06:29:21.350
6 "I did try" or "I have tried"? 2015-01-12T18:09:17.397
6 My grandpa died 30 years ago. I "have never met" / "never met" him. - Which one? 2015-03-14T10:48:13.633
6 Should I use the past simple "I learned", or the present perfect "I've learned"? 2015-03-27T18:51:58.583
6 How do I decide which of two past events took place first? 2015-04-03T06:21:49.597
6 Does 'Was' necessitate a situation which no longer holds? 2015-04-17T15:37:06.380
6 Using "Had Born" in English sentences 2015-06-12T16:18:54.223
6 Repeated present perfects 2015-07-19T12:11:36.960
6 Why is 'I saw her cry' correct, but 'I saw her cried' isn't? 2015-09-14T11:08:01.787
6 past tense + potential (could + [verb]) 2015-12-15T08:11:20.657
6 Past perfect and Past perfect continuous 2016-09-16T16:47:32.730
6 My leg got most tired 2017-12-02T09:00:41.753
6 Does the past perfect tense make sense in this sentence? "Sent from an "is" to a "was" before he'd had his breakfast." 2017-12-08T19:24:12.867
5 At the time of speaking, no relation to present 2013-03-24T11:36:59.823
5 Using the past perfect in a simple sentence 2013-03-24T14:06:41.617
5 How many was it or is it 2013-03-27T15:55:40.607
5 "got" vs. "have got" 2013-04-02T15:54:56.663
5 "it wasn't" vs "it isn't" 2013-04-02T17:18:03.503
5 Does "will" always become "would" in the past? 2013-06-23T22:51:37.613
5 "Had" vs. "had been" 2013-07-03T07:34:32.043
5 Can "some day" be used to refer to past time? 2013-10-31T16:10:12.297
5 I received vs. I've received your mail 2013-11-21T01:52:58.577
5 Past Simple vs Past Continuous (with for/because) 2013-12-30T23:03:41.973
5 Subject + Verb + being... vs Subject + Verb + having been (past tense) 2014-01-01T15:13:00.833
5 How do you used to feel / How did you use to feel 2014-05-29T13:50:19.303
5 What is the difference between these sentences using past perfect tense? 2014-06-02T10:44:51.487
5 Difference between "he kissed me" and "he had kissed me" 2014-06-06T13:18:29.427
5 Past Simple vs. Present Perfect 2014-11-02T13:50:20.530
5 Don't speak until I [tell, told, have told or what?] you? 2015-03-31T21:01:21.470
5 Can "revolution that would transform" be rewritten as "revolution that transformed"? 2015-09-07T13:06:29.743
5 hanged or hung? 2015-10-28T06:21:00.717
5 Reference to dead people in past or present tense? 2016-06-02T00:17:52.197
5 What is the difference between these two sentences ("I was told" vs "I had been told")? 2016-08-09T19:53:10.213
5 She said the train left at 8 pm 2016-10-02T09:44:02.230
5 Used to or past simple with the adverb 'When' 2016-10-10T12:55:37.043
5 HSBC also pointed out it managed to increase 2017-02-21T05:53:29.637
5 Do I use 'was' or 'did' as an auxiliary in an interrogative clause? 2017-02-21T17:42:50.583
5 This photo {has been taken vs. was taken} in Okinawa 2017-09-22T08:54:27.313
5 Past tense substitute for "current" or "actual" 2017-12-19T21:49:21.977
5 Difference between did and does 2019-04-26T12:55:15.783
4 What's the purpose of 'for'? 2013-02-15T11:21:29.757
4 Present perfect in a past-tense context 2013-03-27T00:34:07.400
4 "Was going to" versus "would be" as the past tense of "will" 2013-04-18T02:27:50.180
4 Should I say "the reason is" or "the reason was"? 2013-04-18T03:15:16.230
4 "Sarah has climbed the Matterhorn, sailed around the world" 2013-06-11T06:17:42.323
4 Can past tenses in a sentence have different time reference? 2013-07-20T07:44:20.740
4 Tenses: Chronological Events in fiction 2013-10-24T22:09:50.750
4 "I would rather did it myself" or "I would rather do it myself"? 2013-11-15T06:19:37.887
4 It's been a long time since I (went/have been) to Canada 2014-01-02T15:05:51.993


text:
Fitness Cyclopedia
Cyclopedia Fitness Studio
Are Conservative States' Sex Ed Programs Failing to Make the Grade?
The birth rates among adolescents tend to be higher in the states that change correctly, but are the most conservative sex education programs the culprits?
9.1 per 1,000: This is the number of adolescent girls born in 2009 in the United States, according to CDC statistics.
In the United Kingdom, 24 out of every 1,000 adolescent girls were born that year, and only 4 out of every 1,000 had a child in the Netherlands, Life Science reported. But what is here in the United States? Do birth rates vary from one state to another?
Yes, research suggests that this may be the general rule: the more conservative the state, the higher the birth rate in adolescence. In a new study from the University of Washington published in the Archives of Pediatrics and Adolescent Medicine, the researchers studied the birth rates of girls aged 15 to 17 who lived in 24 states between 1997 and 2005. Interestingly, Arkansas (which recently ranked as the tenth most conservative state). The country by Gallup) has the highest rate of births in adolescents (with 34.8 births per 1,000 adolescents). Texas, Mississippi and Oklahoma (all above the provincial average) are at the top. However, New Hampshire, which tends to turn to the left, had a lower rate during this period (in 9.7).
While these statistics seem to contradict the logic (conservative children are less sexual, is not it?), Researchers point to a series of problems that may be at play and may be related to gender programs in the states.
Is Sex Education Unsatisfactory?
"The birth of adolescents in the state varies widely, and these state disparities must be recognized as a major public health problem," said researcher Patricia Cavazus-Rege, PhD, of Life Sciences.
While researchers studied birth rates for each state, they also looked at state sex education practices (if schools were considering things like STD prevention and condom effectiveness), as well as the county level in each state, religiosity and abortion policies.
Not surprisingly, conservative states tend to adopt a more conservative stance on sex education; some still focus on exclusive abstinence programs for marriage instead of sex-based programs (14 of the 16 southern states, which also tend to be the most conservative) continued to focus on abstinence programs, according to a 2010 report from the Sexual Education and Information Board. "Our findings provide evidence that the increase in sex education in school programs is associated with lower birth rates in adolescents," the researchers wrote.
However, sexual programs exercised by the correct states may not be the only factor: the fact that these states are more conservative and tend to be more religious suggests that rates may also be associated with more conservative views on abortion. "Can girls in both conservative and liberal states maintain the same rate, despite sex education, and girls in Arkansas carrying their children for a while, possibly as a result of greater religiosity, lack of access to abortion services, or both? " Ask Live Science.
The researchers say they need more research before they can answer this question, but these results can help shape decisions about future educational programs. "Although it is still unclear what sex education is really effective, what we now know is that any future evaluation of sex education must take into account the effects of social and political characteristics in comprehensive analyzes," said Kavazos-Reegh.
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text:
The 1956 Invention of the Micro-rotor
The advent of the self-winding watch ushered in a new age of design in watches. It also increased the thickness of watches. In most designs, the rotor was concentric with the movement, and stacked below the gears. But there was a way to limit the increase in thickness, as Universal Perret Freres (later Universal Geneve) said eloquently in their 1956 patent application:
According to a primary feature of our invention, the rocking weight has its axis arranged eccentrically with that of the watch and it is arranged in superposition with the winding mechanism above the watch plate within the space left free on the latter by the mainspring, the movement and the balance wheel while the total height of said weight and winding mechanism is at least approximately equal to that of the movement.
This concept, of having the rotor co-planar with (at least part of) the movement, is what we now know as a micro-rotor. This patent (really, this one is worth a read) goes into some depth as the problems with alternative low-height winding mechanisms.
The micro-rotor is still something of a niche item, but it's very interesting to see a patent describing it as early as the mid 50s.
MicroRotor
Latest from Ben
Rolex's Better Springs
Omega's Electric Indices
Ball's Fine Adjust Clasp
Swatch's On-Case Fine Adjust
Patek's Twin Spring Single Barrel Watch
Gruen's Day-Date Complication
Blancpain's Adjustable Snooze
Audemars Piguet More Accurate Moon Phase
Rolex's Cheap Alternative to a Chronograph
Rolex's Ceramic Lume
More in this category: « Zenith's 1921 Patent on a Winding/Setting Stem Patek's Twin Spring Single Barrel Watch »


Seeing your work and creations flying in the breeze up a flag pole, or on a long stick, encourages a whole new view of the world – the sky, the clouds, the parapet of trees, the shapes of roofs and buildings all around. As adults, making space to support children to see the world from as many new angles as possible is one of our most important roles.
This colourful pack helps educators understand how to play with light and shadow, colour and shape on a big scale so that we can support children to think differently and more deeply about how to use the resources around them. Ideal for children who need more support with communication and speaking skills in the Early Years Foundation Stage (EYFS).
Each pack has between 16-24 pages, in full colour, and comes in an easy to download PDF version.


The Deutscher Forschungsrat (GermanResearch Council) attempted to anchor scienceadvising and science policy in West Germanyafter the Second World War. Promoted by acircle of élite scientists, the councilaimed to establish institutions and mechanismscomparable to those in Great Britain, theUnited States, and other scientific powers.After a two-and-a-half year existence, iteventually failed. The reasons for its failure,some local, some global, display thedifficulties facing research policy in theearly years of the Federal Republic.


Yes I know , the way he's talking about me as if I'm a deeply unhealthy and disturbed person and he broke up with me a month before his divorce was finalized. Like, ok, that really did a lot of good. I still love him though. It was a 6.5 year relationship . It really hurts.
If he broke up with you a month before getting divorced, he had no business to get engaged. He was still married. Also if he didn't see you for three years, how did he propose? Over the phone? Sent you a ring by mail? This dude is out of his mind to say the least. It's a blessing he is gone. Do you see a therapist to help you through?


It's the first day of August, so let us take a look at last month's posts on mathematical proofs. We have had 6 theorems proved, three theorems on triangles, two theorems on circles, and one on prime numbers. We also discussed the ABCD theorem. If you missed some of them, take a look at the complete list of post below.
To view posts by month, visit the Post List page.
To view posts by category, visit the Categories page.