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reviews and reports
Andy Irvine & Paul Brady at Vicar Street, 20 May 2017
6 Jun 2017 Jay	2 Comments
"Apparently there are 102 strings on stage," quips Paul Brady as he tunes one of the impressive array of instruments ranged behind him and Andy Irvine. Dónal Lunny has a couple of string instruments to go along with his bodhrán and keyboard. Kevin Burke seems comparatively modest with his violin's four strings.
The more unusual instruments, like the bouzouki and the hurdy-gurdy, and the guitars in various tunings, are a testament to the restless curiosity that culminated in the 1976 album 'Andy Irvine and Paul Brady'. Tuning between songs allows time for stories to flow, and Irvine and Brady give background to the original compositions ("from the mad brains we had back in the 70s"), and to those songs sourced from others such as Eddie Butcher, Andy Mitchell, Shirley Collins, Paddy Tunney, and Sam Henry.
The wounded soldier's love song, Bonny Woodhall, from Sam Henry's collection, has a beautiful accompaniment that swirls around Irvine's clear vocal. The instrumentation builds throughout, drawing the listener into the story as it unfolds. Most of the instruments are picked up by microphones so there is a wonderful immediacy as every pluck and bow is amplified.
The two Sligo tunes that follow, Fred Finn's Reel and Sailing Into Walpole's Marsh, are lead by Brady and the reflective mood of the previous song is chased away by the banter between the four musicians ("drain that marsh!"). Lunny picks up the bodhrán for these, lending a very satisfying, full bass sound to the melody instruments.
Brady tells of receiving a letter while "languishing in the US in the early 70s", from Liam O'Flynn asking him to join Planxty. The only song he had was a version of Arthur McBride and the Sergeant. Irvine recalls the first time Brady sang it for them in Donegal, and we are treated to a genuinely moving performance of this treasured favourite. The crowd burst into prolonged applause after the final "…for it being on Christmas morning", and as the assembly settle back into their seats, Lunny confirms with a smile that "…they let him into Planxty!"
Irvine's plaintive Autumn Gold follows, preceded by his amusing recollection of singing it in a barn to the girl he wrote it for "…just the two of us there…she never said a f**king word!"
After these two moving songs comes The Jolly Soldier, sung by Brady. His voice is in fine form, rich and strong. Andy Irvine's excellent harmonica playing leads the charge in the jig that follows out of the song, The Blarney Pilgrim. Brady can't resist lilting along.
It's forty years since the album's release. The performers and the audience are older, this music now a precious thread woven into all their lives. There is deep joy and exhilaration shared in Vicar Street tonight as it is spun out again through the hands of these four master musicians.
This review appeared originally on GoldenPlec.com.
David Rooney's scraperboard picture appeared originally in Hot Press magazine. Check out some of the other pieces he's done for Hot Press over the years.
GoldenPlec.com
Joey Dosik at The Sugar Club, 17 April 2017
5 Jun 2017 Jay	Leave a comment
One of the reasons that The Sugar Club is such a beloved venue is its layout. The cabaret-style tables step down from the back wall bar to the front and, unlike most venues, patrons enter right by the stage.
Tonight it's a fairly simple setup for the first of Joey Dosik's two nights at the club. (He was first in Dublin in September, supporting Vulfpeck at Vicar Street. Later, Dosik asks how many people were at that "crazy show" and, when answered with enthusiastic cheering, remarks "I'd forgotten how loud ya'll are!") A microphone, a Fender Rhodes, a Fender amp, and a Korg Univox drum machine are the only things on the stage. As the room fills up, a playlist gets us in the mood: Save The Last Dance For Me, Tequila, God Is Love, Tracks Of My Tears, Say A Little Prayer, Doesn't Really Matter (Janet Jackson), At Your Best (Aaliyah), Adorn (Miguel), and some more subtle jazz that my phone's Shazam app can't discern…
Dosik comes on shortly after nine dressed in a grey suit, white shirt, and reddish patterned tie. Nice shoes, too. Beaming a smile to the audience, he settles down behind the Rhodes. Opening with Van Morrison's Into The Mystic, which he bashfully introduces as one he likes to warm up with, it's immediately apparent that there is a lot of love in the room for this man. His soulful, sunny delivery of the song proves too irresistible a groove for us and as we joyfully match his stamping backbeat in the outro he riffs "I like the way you clap". ("C'mon yo, clapping on the first song?!")
The tone of the evening is set and, in all but the quietest of songs, Dosik's fans clap along and sing harmony and generally exude warmth towards him. One song, Simply Beautiful, he does with the guitar completely off the mic. It's difficult to pull that off in this venue because, even with the most supportive crowd, the bar is still operating at the back. His guitar playing isn't quite on the same level as his keyboard playing, but this just lends these songs a charm of a different sort. Together with the completely acapella version of Bill Withers' Stories, they do serve to vary the dynamics of the evening, as does the use of the drum machine. He operates the device with a foot pedal, to greatest effect on the EP title track Game Winner.
The other songs from the EP – Competitive Streak, Running Away – and the title track of his forthcoming album, Inside Voice, are particular highlights, as is his cover of Marvin Gaye's What's Happening Brother.
There is such a sense of style and fun and genuine love from Dosik, it's easy to see why he inspires such enthusiasm in his crowd tonight. As we leave the empty venue there are still easily twenty people queuing to meet him and to buy merch. Hopefully he'll be back (with a band!) to charm us again soon.
First published on GoldenPlec.com
Dinosaur at The Sugar Club on 21 February 2017 | Review
23 Feb 2017 Jay	Leave a comment
Laura Jurd has a real talent for composition and Dinosaur is a really exciting group to witness. They groove hard together and there is an easy chemistry between the four musicians. Parallels are inevitably drawn between Jurd and Miles Davis – trumpeters, confident band leaders, composers, embracing electronic instruments. Jurd's command of the instrument is unquestionable, her tone is wonderful across the whole range. I was reminded of a Duke Ellington quote: "as a result of a certain musician applied to a certain instrument, you get a definite tonal character".
The second half of the concert opened with a melodic trumpet and drums duet. The musical language of the piece – a solo instrumental line with rhythmic accompaniment – was very much in the folk tradition. Having overcome a 'trumpet malfunction' in the middle (a valve became blocked, strangling the sound until she cleared it after a few attempts), Jurd joked afterwards that it was just as well they were playing improvised music and it hadn't happened in the "23rd bar of the Haydn trumpet concerto"! Her demeanour on stage is so relaxed and assured, and she dealt with the problem with a wry smile.
The next composition, Extinct, followed straight on, trumpet and drums being joined by keyboard and bass for a very funky contrast. Elliot Galvin's organ solo was a highlight, an exploration of tonal variations on the drawbars and delightfully inventive. Galvin was using a Nord Stage as his main keyboard, augmented at some points by an Arturia Microbrute, both of which he manipulated expertly, searching inside the sounds whenever possible to find something new.
Corrie Dick's opening drum solo to Primordial continued the spirit of exploration as he seemingly extracted every sound possible from his kit. His cymbal set up was interesting – lovely dark-sounding hi-hats, a riveted crash (giving it an extra 'sizzle' effect) and a smaller cymbal overlaid on the ride cymbal, giving it a denser, less resonant sound. His use of different sticks and brushes throughout the evening allowed for much variation.
Tonight the group finish out their set with Interlude, the final track from last year's Edition Records release, 'Together, As One'. On the album this track is quite contained, but Dinosaur present an extended treatment, Conor Chaplin's progressively deeper bass guitar quarter notes providing a foundation for the others to scurry around. Jurd's chorale-like melody at times floats serenely above the crackling energy. Chaplin lets loose some very tasty playing in the piece's climactic jam section.
A joyful samba encore sends us off home, the odd souvenir LP under the odd arm. The group tour around Ireland this week supported by Music Network: Sligo, Castlebar, Letterkenny, Tinahely, Dún Laoghaire, Clifden, and Cork.
[Originally published on Goldenplec.]
composers, reviews and reports
Nathalia Milstein @ St Ann's Church, Dublin (11 October 2016)
17 Oct 2016 Jay	Leave a comment
Last year she won the Dublin International Piano Competition, in February she gave a recital at The National Concert Hall, and tonight Nathalia Milstein ("mill-shtyne") begins a ten-day tour of Ireland with this concert in St Ann's Church on Dawson Street.
Her wide-ranging programme takes in Bach, Mozart, Bartók, Liszt, Ravel, and the piece commissioned from Gráinne Mulvey for the Dublin International Piano Competition. The insightful programme notes, written by classical journalist and reviewer Pat O'Kelly, supply background and context for the diverse pieces: Bach walking for ten days to hear an inspirational keyboardist, Mozart as a busy 18-year-old musician performing his latest sonatas in Munich, and of course a few hints about the composers' love lives. It is necessary (and frequently fascinating) to have these human reference points alongside an art form that can so easily become rarified.
Milstein gives a riveting performance of Gráinne Mulvey's Interference Patterns, drawing on the lyrical style of the Liszt that preceded it, and also the intense energy of The Chase from the Bartók suite. Mulvey's piece is inspired by the work of 19th century Irish scientist John Tyndall on the behaviour of waves when they meet an obstacle. A most vivid expression of this is achieved towards the end of the piece. It was as if Milstein sent two shockwaves through the piano – a remarkable gesture, the sound almost visibly emanating from the instrument.
(A very effective transition is achieved between the prayerful ending of Liszt's Sonneto and Interference Patterns. Having consistently stood up to receive applause at the end of each of the pieces in the first half, the pianist remained seated at the end of the Liszt. This meant the audience didn't applaud, and Milstein could begin the next piece without breaking the atmosphere just created.)
Maurice Ravel's suite, Le tombeau de Couperin, was written one hundred years ago and remains one of the most delightful pieces of solo piano writing in the canon. Beginning with her head up, her demeanour calm as the delicate machinery of the opening Prélude flutters into life, Milstein's performance of the six movements is a joy to behold. Ravel's extraordinary writing for the piano is brought to life in her hands and the luminous shimmer in the last bars of the Prélude is a beautiful moment. Ravel dedicates each of the movements to friends and colleagues killed in World War I. Behind the piano, the ornate rolls of honour that flank the altar in St Ann's serve as a reminder of its congregation's own grief at the loss of their sons during that war. The Forlane carries itself with swagger and Milstein gives an assured reading of this courtly dance, gracefully partnering with Ravel's melancholy harmonies and finely-wrought invention. There is something personal and intimate in Ravel's writing. It's there, too, in Bartók's The Night's Music, sometimes stellar and sometimes scrabbling, and in the Bach Toccata that opened the concert. Witnessing the artistry and technique of Nathalia Milstein's playing tonight in the hushed church is a sublime experience.
Johann Sebastian Bach – Toccata in C minor BWV 911
Wolfgang Amadeus Mozart – Piano Sonata No 3 in B flat K 281
Béla Bartók – Out of Doors Sz 81
Franz Liszt – Sonneto del Petrarca No 104 S 161
Gráinne Mulvey – Interference Patterns
Maurice Ravel – Le tombeau de Couperin
Nathalia Milstein at St Ann's church, Dublin / photograph by Frances Marshall
Click the photo for more of Frances Marshall's photos from the night.
This review was done for GoldenPlec.com
GoldenPlec.comNathalia Milsteinpiano recitalRavel
Brilliant, composers, reviews and reports, Technical, togetherness
Dublin Brass Week concert (29 June @ TCD chapel)
13 Jul 2016 Jay	Leave a comment
I was invited along to this concert by my violin-playing friend, Feilimidh (pronounced FELL-uh-mee). I've just come on board with GoldenPlec.com as a classical reviewer, so I was happy to have a reason to write something before I get my first assignment from them!
Dublin Brass Week is now in its fourth year and, despite not receiving any public funding, is going from strength to strength. The calibre of guest players in evidence at this concert, the palpable enthusiasm from the attendees, and the remarkable energy and capability of its organisers will hopefully mean that funding can be secured for next year and beyond.
The concert was in the beautiful chapel in Trinity College. It's an odd venue in some ways, with its rows of stepped pews facing each other across the central aisle. As the night went on, the various performers processed down the aisle, providing lovely moments of interaction for the audience. I sat up near the front, on Feilimidh's advice, since the acoustic was rather reverberant for some of the crisper, rhythmic music in the programme. Best seat in the house!
The concert opened with one piece that was perfectly suited to the chapel's acoustic – a sonata by Gabrieli, performed by eight players from the choir balcony. Four players stood on each side, forming two distinct groups that showed off the composer's echoing and overlapping musical ideas.
Of all the amazing musicians performing at the concert, trumpeter Reinhold Friedrich stood out for me, utterly connected with the music and his fellow musicians. In the bars when he wasn't playing he couldn't help but 'conduct' with his free hand. Music of this period – the Baroque era – is usually not conducted in the modern sense, but is rather led by a communal language of gestures. This makes it wonderful to watch. I do think Baroque music represents a pinnacle in music as a beautiful artform. Music of later periods seems to move away from the togetherness of the Baroque (necessitating a conductor) and also into a celebration of a hero pitted against an orchestra. A generalisation, to be sure, but there is truth to it. Reinhold Friedrich's 'conducting' was a reminder of just how enjoyable this music is.
Listen to him playing the Telemann concerto in D major that he played that night – tracks 6-9 on this 1996 album (link to Spotify).
If the trumpet sounds high it's because it's a clarino trumpet – a teeny tiny trumpet that Herr Friedrich made sing more beautifully than I've ever heard before. My friend Pat Morris, who was sitting beside me, turned to me after the first movement and whispered "I could listen to him all day!"
The backbone of Baroque chamber music is the continuo – usually a harpsichord and a cello. Both instruments play the bass line and the harpsichordist improvises an accompaniment, following the 'figured bass' notation on their part. David Adams is a master of the keyboard and it was a real pleasure to hear the sparkling flourishes of his playing underpinning the excellent ensemble. Yseult Cooper Stockdale, the cellist, almost stole the show with her sublime playing in the middle movement of the Vivaldi double horn concerto. The two soloists in this piece, the world-class French horn player Richard Watkins and (making her professional solo debut) Hannah Miller, stood on either side of the group, a choice that again gave an interesting manifestation to the musical interplay.
Reinhold Friedrich and his fellow musicians after a triumphant rendition of Bach's Brandenburg Concerto No. 2 in F
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composition, performance, reviews and reports, songs
Review | Flecks – Girl
12 May 2016 Jay	Leave a comment
What a thoughtful review! It's so exciting to see this EP making its way into the world. Can't wait to play the songs live again soon, can't wait to write more (we're aiming for another few singles over the summer).
Have a listen. We'd really appreciate a 'follow' on Spotify — click the three dots beside any of the song titles and click 'Go to Artist', then click the 'follow' button.
We're also on iTunes (your purchase would help pay for the mastering and uploading).
You can find us — @weareflecks — on Facebook, Twitter, Instagram, SoundCloud, YouTube…
Drop us a comment and say hi 🙂
The Last Mixed Tape
The Last Mixed Tape reviews Girl, the debut extended play from Dublin based synth-pop act Flecks.
Atmosphere is a word I often use in reviews, and the thing about atmosphere is that it's incredibly difficult to build one and even more difficult for it to be believable. Such is the case with a the dramatic synth atmosphere of Flecks' Girl.
"Nothing's every gonna feel like it was when you were that stupid girl at the back of youth hall crying" sings vocalist Freya Monks during the E.P's opener and title track. I'd like to take a moment to point out exactly how important this lyric is the rest of the record's success. In the space of one line, we get a sense of where we are, where we were and where we don't want to be. This made all the more relatable by the inclusion of "girl at…
FlecksGirl EPSpotifyThe Last Mixed Tape
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David Rooney, whose album I've been recording piano and vocals for, and his striking portraits of 1916
25 Apr 2016 Jay	Leave a comment
Arminta Wallace interviewed David the other week and her article appeared in this weekend's edition of The Irish Times — this weekend was the actual anniversary of the 1916 rising.
Here, from David's forthcoming album, and with me on piano, is 'The Rising':
1916 as you've never seen it before
Arminta Wallace, The Irish Times — Saturday, 23 April, 2016
By his own account David Rooney was an unlikely person to be asked to illustrate a book about the men and women of 1916. "For me growing up, everything associated with 1916 was coloured by the Troubles," he says.
"My dad grew up near Enniskillen, and came down here to join the guards, getting away from the poisoned land, as he saw it, of sectarianism in the North. And I wouldn't be alone in this: many people of my generation would have a real repugnance about the continuation of violence."
But when Rooney got into the nitty-gritty of his research for the project he was fascinated by what he discovered.
"I've been reading the 1916 stories for more than a year, and there are so many instances where everything changed in people's lives – and the lives of everyone around them. They fragmented, altered, spun off in all sorts of directions. Maybe the anvil of an event like this produces really extraordinary arcs of story – or maybe the stories always happen, and we just don't register it. But when war happens, when conflict happens, the natural trajectory of things is altered. Like the refugee situation now. And we're still living in the broken mirror of 1916."
Rooney's 42 thoughtful black-and-white drawings give the book 1916 Portraits and Lives, a collection of biographical essays published by the Royal Irish Academy and based on the academy's Dictionary of Irish Biography, a visual – and, indeed, emotional – heft that helps it stand out from this year's 1916 publications.
Originally the plan was to use photographs of the characters concerned, but in some cases the available imagery was of poor quality or simply nonexistent. So the academy's graphic designer, Fidelma Slattery, had the idea of using original artwork. Its managing editor, Ruth Hegarty, ran with the idea, and Jackie Moore of the Office of Public Works – "the third part of that triumvirate of powerful women", as Rooney puts it – came on board to support the project by buying the originals for the State.
How did Rooney get so up close and personal with his subjects?
"A friend of mine told me to read James Stephens's The Insurrection in Dublin. That had a huge impact on the colour of it, because Stephens's account is really what a journalist would do now. "It's moment by moment. 'Here I am on the corner of Abbey Street . . .' It's amazing – and an amazingly neglected document."
The 1916 Portraits and Lives project has taken off to such an extent that it now has a life of its own. The book won a design award and was shortlisted for the 2015 Bord Gáis Energy Book of the Year. The ebook was made available for free download, and such was the uptake – more than 65,000 copies downloaded worldwide – that the offer has been extended until the end of April.
Limited-edition prints of the portraits are available to buy from the Royal Irish Academy's website, and the originals will be on display at an exhibition in Kilmainham Gaol from May 12th.
As for Rooney himself, after 30 years as a visual artist, the illustrator with the highly distinctive visual "voice" is now developing another voice – as a singer-songwriter.
"There have always been guitars around, and I liked the idea of writing songs but didn't know where to go to find them."
A chance meeting with Glen Hansard changed all that. "I went over to his house, and I saw him working on the songs that became his Grammy-nominated album [Didn't He Ramble]. To see them as pencil sketches – well, I recognised something in that. I thought, I know where to find my songs. They're in the same well as the drawings, but much further down – and much harder to get at."
Hansard has become a close friend and a constant source of musical inspiration. And with Declan O'Rourke producing and a band that includes the jazz drummer Conor Guilfoyle and the pianist Jay Wilson, who plays with James Vincent McMorrow, Rooney has now recorded 10 songs for an album due to be released this autumn. "It has been an absolutely incredible journey. With the drawings the best ones come if I get out of the way and let it flow. With music I have to be totally present at all stages of it."
As for recording and performing, that's a collaborative process that is a shock to a perfectionist who is used to working at home alone. "I'm in total control of the images. With the music I have to let go. Take that de Valera image. If that was music, okay, I get to do de Valera, but I've to get you to do the swan, because you're the person who can do swans. While we're rehearsing, the swan is exactly like it's going to be here. And then comes the day of recording, and you're thinking more of a goose. 'Why does it have to be a swan,' you say. 'Can't it be a cormorant or . . . a shag, maybe'?" He laughs. "Yeah. And you have just to say, 'Okay. Let's try that'."
1916 PortraitsalbumartistDavid RooneyDeclan O'RourkeGlen Hansardpianorecordingscraper boardsession musiciansongwriter
Brilliant, composers, reviews and reports, togetherness
I started off today resenting Jimmy Fallon and went on a glorious journey
31 Mar 2016 Jay	Leave a comment
I thought I knew what I was going to do this morning. There are definitely things that I *should* have done, but I got terribly, wonderfully sidetracked.
I saw a tweet to a Joe.ie article about Michael Stipe performing 'The Man Who Sold The World' on The Tonight Show. I was intrigued – I perform that song when I play in The Candlelight Bar. If you haven't already watched it, take a look:
I wondered who the piano player was. I wondered even more when I realised that he was accompanying Michael Stipe as an equal, with an obviously classical sensibility, not as some background chord player supporting a star. There was a notated arrangement on the music stand of the piano, it was a nice piano, it was a beautifully played, sensitive accompaniment.
A quick Twitter search gave me the answer, it was a composer called Paul Cantelon. His name wasn't mentioned at all on the show, which really irked me. The various 'articles' that attach themselves to pieces of content like this did their usual job of contributing nothing. Jimmy Fallon is obviously a music fan, too, but it was an unusual moment for his show. The pop world has taught us not to acknowledge the musicians that accompany singers (either solo artists or band members). I felt bad for Cantelon when Fallon came over at the end and just impolitely ignored him.
Paul Cantelon is a fascinating character, as I just discovered by listening to a wonderful podcast conversation between him and Joseph Arthur. (I hope you can listen, as it's on SoundCloud, which is currently changing its access model…) It's a remarkable series of stories over two and a half hours(!), and what emerges is a picture of a fascinating life and the gracious, humble musician who has lived it. He grew up as a child of an evangelical preacher, was publicly shamed by Pierre Boulez at the age of 11, spilled hot chocolate over sheet music notated by Ravel, swung a piano into a 12th century Parisian church window, attended the 1st Church of the Surf, had an awkward encounter with Nina Simone, was in a coma for three weeks… Funny, charming, poignant, and profound. I thoroughly, thoroughly recommend you take a listen.
In a weird way, Jimmy Fallon's rudeness did me a great service. If Paul's name had just been noted in the blurb at the bottom of the video, I'd not have found out about him. Such is the world we live in. "Oh right, that's that bit of information, I'll hurry on." This might not be that moment for you – it's supremely unlikely that you will have anything like the connection and experience I've had this morning with this person I never knew before. That's the joy of life, the joy of autobiography, of story-telling, of honesty, of seeking meaning and beauty and creativity.
Here's a Spotify link to one of his compositions for the film 'Effie Gray'.
accompanimentaccompanistarrangementconversationcover versionDavid BowieinterviewJimmy FallonJoseph ArthurMichael StipePaul CantelonpianopodcastThe Tonight Show
San Fermin at Whelan's, Dublin (28 April 2015)
7 May 2015 Jay	Leave a comment
My friend Andrew sent me a link to 'Sonsick' last year while I was in the U.S. on tour. I remember listening to it backstage at the venue we played in Mill Valley, CA — playing it loud through the JBL desktop speaker as we celebrated after the gig. I've listened to it many, many times since then — it's one of my top five songs of last year. (My research led me to discover Lucius, whose lead singers Holly and Jess sing on San Fermin's first album.) I missed them the last time they were in Dublin, so I was determined to catch them this time.
After a short instrumental track that played as the band walked onstage, they started with the first three songs on their newly released second album, 'Jackrabbit':
Allen Tate's voice softly sets the scene in this disquieting tale of a boy and a girl and the dark and the deep. The instrumentation gradually grows in menace and Tate sings the last verse an octave higher, the change in tessitura bringing out a more impassioned timbre in his voice. The song culminates in a snarl from the most unusual instrument in the ensemble, the baritone sax.
LADIES MARY
This short song introduces Charlene Kaye's voice, weaving one of the many great melodies that we'll hear tonight. The band's composer, Ellis Ludwig-Leone, stationed at the side of the stage, plays the bass line on a Moog synthesizer.
The crowd relaxes into this song's backbeat and we travel further 'down the rabbit hole' to the sound of John Brandon's trumpet. This is a cracker and will grace many a festival stage this summer, I hope.
From here, we hark back to a song from the first album:
CRUELER KIND
I'm listening to the album version as I write this. It's cool to hear the various musical themes from the album appearing in the long instrumental section. Such a rich and rewarding work. Charlene Kaye and violinist/vocalist Rebekah Durham harmonise beautifully, Durham also employing a really great tremolo effect that caught my attention. Ludwig-Leone acknowledges Kaye's great performance (the songs from the first album are seriously difficult to sing!) and comments that it's a year since her first show with the group.
Back onto the Jackrabbit playlist now with these next two songs. Astronaut is one that I was curious to hear live, as it features a virtuoso soprano line at the end that emerges and floats away from the other instruments. Wisely, they've elected to put that line on violin for the live shows — it just isn't a practical thing to try and do live in a sweaty club. You should definitely take a listen to it on the album, though. Beautiful singing. The acoustic guitar part on this song is also really lovely.
This must be great fun to sing — a strong lyric that Kaye *owns*.
Two from the first album now, Methuselah giving the enthusiastic Dublin crowd a chance to sing along with its infectious, breezy chorus. Again, Tate's emphatic higher range is used to great effect in the last round.
Chamber math rock — again, this must be class to play, because it's certainly class to watch!
WOMAN IN RED
…when you go to sleep don't close your eyes…
Another brilliant vocal from Tate in this rocking tune from Jackrabbit.
Kaye leads off in this, a warped bluegrass duet with a choral cadence in the middle that leads onto some more awesome sounds from the baritone sax and the kind of dense ensemble work that makes San Fermin such a brilliant band to experience.
SONSICK
My favourite! (And, at close to 4 million streams on Spotify, beloved by many others it seems.)
…when you think you're thinking clear / you're really tied up and committed / but it's an awful lot of talk…
I noticed the lovely celeste sound on this song (that, on listening back, I can hear a lot on the first album, too). Ludwig-Leone uses a Nord Electro — I wonder if it's the sampled instrument from that?
TWO SCENES
Charlene rocks out on Telecaster for this…
BILLY BIBBIT
These three complete the Jackrabbit run through, but for the title track which is kept until last.
I asked Ellis to sign the vinyl record I bought afterwards and, when I complimented him on the artwork, he said an artist friend had done both album covers. He mentioned wanting to relate the Jackrabbit image to the first album's menacing bull, but to hint at something unnerving, too. Listening to the track now, it strikes me that this effect is achieved in the music, too. The song is at once a joyous expression and a reflection on life's brevity and humanity's cyclical existence. This idea could be extrapolated to a sorry conclusion, but Ludwig-Leone's music and his band's wonderful performing leaves us with a fiercely life-affirming message:
…better run for the hills…
DAEDALUS (WHAT WE HAVE)
This tune, which permeates the first album, is coupled with a lyric that muses poignantly on mortality and remembrance ("…when it's going quickly and it's like we're half asleep…"). It begins whimsically and gradually squeezes shut its eyes and clenches its fists and crys out to seek some catharsis. Beautiful work.
This pretty faithful cover of the Weezer song acts as an antidote to the intensity of the last. Brilliant gig 🙂
DublinreviewSan FerminWhelan's
Brilliant, composers, My favourite things, reviews and reports
RTE Concert Orchestra (NCH, 25 March 2015): Ravel's piano concerto in G
26 Mar 2015 Jay	3 Comments
RTÉ Concert Orchestra: Essential Classics
John Wilson conductor
Jean-Efflam Bavouzet piano
RTÉ Contempo Quartet
Eric Coates Dancing Nights
Ravel Piano Concerto in G Major
Vaughan Williams Fantasia on a Theme by Thomas Tallis
Gershwin An American in Paris
"What links all these pieces?" began conductor John Wilson, biding time as the stage was reset after the Vaughan Williams piece.
"Maurice Ravel."
Lucky for #johnwilson the @rte_co came back for the Gershwin! A great evening at @NCH_Music pic.twitter.com/K9RbMgqdRX
— Scott Hayes (@Swift1713) March 25, 2015
With a raconteur's fluency, leaning casually on the podium, Wilson then gave a fascinating programme note. (I had been, shall we say, just in time for the concert, and so hadn't availed of a printed programme.) Ravel was teacher to Vaughan Williams for an intense period that marked a transformation in his style; Gershwin adored the composer but Ravel famously recognised that the world would benefit more from a first-rate Gershwin than a second-rate Ravel; Coates was one of the few composers that Ravel sought out, on account of his command of the modern instruments (e.g. vibraphone, saxophone).
Coates's 'Dancing Nights' was the only piece that I hadn't heard before, but its stylish gaiety — with such glorious melodies and harmony! — was immediately familiar and just thoroughly enjoyable. It's the music from this period that John Wilson has championed in his career and it is one of the very best things to do in Dublin to hear him conduct the RTÉ Concert Orchestra.
Onto Ravel. I fell in love with this piece of music when i first encountered it at university. (The conductor of the Edinburgh University Chamber Orchestra at the time, Richard Jeffcoat, conducted it from the piano. I was on clarinet.) It may say 'piano concerto' on the cover, but it's an incredible piece of work that treats the orchestra more as a chamber ensemble. The writing for each and every instrument demands extraordinary technique. Perhaps this is why it's so exciting to hear: it's just so interesting! Jean-Efflam Bavouzet, the piano soloist, was such fun to watch — his remarkable abilities allowing the jazzy energy of the music to shine. There's a thundering piano run in octaves in the first movement that he played rather differently than I've heard on recordings and that was the moment for me when I knew something really special was happening.
The second movement is one of the most perfect things ever committed to paper. It is simply one of the best things in my life; one of those things that I can't even really recommend to you because, to me, it's so completely mine.
After a stunning Ravel, Jean-Efflam Bavouzet casually sits down & blows us all away with the Pierné Étude in C minor. pic.twitter.com/MF9w30gwkO
— RTÉConcertOrchestra (@rte_co) March 25, 2015
(If you look very closely you can see me sitting in the balcony, directly above the harp!)
There's a gem of a book by the brilliant fiction writer Jean Echenoz that I read, and loved, a few years ago. Echenoz uses the facts of Ravel's last ten years to create a wonderful, charming work.
best things to do in DublinJean-Efflam BavouzetJohn WilsonpianoRavelRTÉ Concert Orchestra
performance, teaching, composition & reviews


Painted Smiles is the name of a small record label run by Ben Bagley (1933-1998) and based in New York City. The first of this set of stereo albums were of the songs of his often satirical Shoestring Revues which were performed off-Broadway starting in the late 1950s. The main series of albums were anthologies of the songs of the top Broadway musical lyricists and composers from the 1920s through the 1940s, though the albums were produced during the 1960s and 1970s. Many of them are now available on CD.
All these albums were artistically of a series, being white with watercolors of showgirls on the cover - and notes filled with double-entendres beside the small photographs of the performers on the back.
Some of the artists featured on the Painted Smiles record label include Bobby Short, Blossom Dearie, Kaye Ballard, Cab Calloway, Barbara Cook, Richard Chamberlain, Anthony Perkins, Rex Reed, Dorothy Loudon, Katharine Hepburn, Elaine Stritch, Jerry Stiller, Chita Rivera, Ann Miller, Phyllis Diller, Alice Playten, and Gloria Swanson!
Some of the lyricists and composers include Richard Rodgers, Cole Porter, Kurt Weill, Irving Berlin, Noël Coward, Vincent Youmans, Vernon Duke, Johnny Mercer, Jerome Kern, Ira Gershwin, Harold Arlen, Alan Jay Lerner, Arthur Schwartz, Lorenz Hart, DeSylva, Brown and Henderson.


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ONE TREE HILL "Holding Out For a Hero" Review
One Tree Hill, Reviews
ONE TREE HILL "Holding Out For a Hero" Season 8 Episode 14 – Sorry to say One Tree Hill fans, but this week's episode was pretty awful. And I am a fan. Although I really wanted to like this episode, it was hard because it felt like it was written by a child. In fact, the writers should have made it from Jamie's viewpoint or a dream Jamie had. That would have made more sense. Instead, we had the whole episode driven by Brooke who dreamt she was a superhero called B Dazzle. Seriously.
Here's the thing. The adults in Tree Hill need to get jobs. Fast. Aside from Chase and Julian, no one really works. Brooke is currently doing absolutely nothing other than designing and making crazy superhero outfits. Quinn, although claiming she has been getting a lot of calls for photography work, has nothing going on. Clay, who actually owns a sports agency, hasn't been shown working since he signed that one athlete. Nathan is taking one class and whining the entire time about his one tough professor. Haley is pregant so she gets a pass. Heck, even Mia isn't working and she is an actual musician. I wanted to just reach through the TV and shake these characters.
Now I know that this episode had a message. The message was that there are bullies in every avenue of life. The other message appears to be that everyone has a hero inside them and everyone needs a hero. It was the poor execution of these messages that irked me. Aside from the actual teenage girl about to be beat up at the end, who were these bullies? A really tough college instructor who we are now led to believe is too busy teaching to know how things are done practically in life? Chuck, who has always been a bully, but now we learn has no father in his life and just needed some love? Mia who would not let Alex record in the studio because she cannot get past her personal jealousies? I am not sure that I would really call any of these bullies.
My other major complaint about this episode, and one that I have voiced before, is Haley's misuse of the crisis center. Haiey is a great character. She is sensitive, caring, wise, supportive and calming. In no stretch of the imagination should she ever violate the terms of the crisis center, yet she has done so twice. The first time was so that she could sign that Irish singer even though it was against Erin's wishes initially. Coincidentally Erin was mentioned this episode presumably to prove that Haley did the right thing. Tonight Haley breached confideniality yet again so that she, Brooke and Quinn could play dress up and rescue a girl that was being bullied because she was adopted. If I were in charge of the crisis center, Haley would be fired.
Putting aside all of my criticisms of the episode, there were some good moments. The highlights for me were when Haley told Quinn a/k/a Shutterbug, "The last villian you took on shot you and put you into a coma" and then Brooke responded, "She is right. You are indestructible." It was cute how they whimsically turned everything into a positive for them. Aside from the superhero stuff, I loved that Mouth and Millie are back living together again and that Mouth got the opportunity to get back behind the camera again, even if it was for a commercial. I think the true lesson of the episode was right there. Make do with what you've got. Julian used to direct movies and now he is reduced to directing commercials so he can stay in Tree Hill with Brooke. Yet, he is still doing something. The same is true of Mouth. It would behoove the other characters to follow in their footsteps.
What did you think of this episode of One Tree Hill? Was it as juvenile as I thought it came across? Tell us what you thought in the comment section below.
Follow me on Twitter @danimari
CWOne Tree HillReviews
Dani Bradford
In addition to her almost obsessive love for horror movies, Dani also spends a lot of time in front of the TV. She has been known to get caught up in almost any TV marathon and can lose herself in any show that involves vampires. She spends the rest of her free time on the internet talking about TV or blogging, or reading a good book.
'DC's Legends of Tomorrow' Season 3 Winter Finale: One Christmas and A Viking Funeral

redpajama_set_name: RedPajamaCommonCrawl


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Francisco Pizarro Biography
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Francisco Pizarro (Trujillo, Spain, circa 1476 – Lima, Peru, June 26, 1541). Spanish military leader, explorer and conqueror, recognized for accompanying Vasco Núñez de Balboa in the first sighting, by Europe, of the Pacific Ocean, as well as for his foray into the Peruvian territory.
He commanded the invasion of the Inca Empire, the subjugation of his people and the execution of his emperor Atahualpa.
It is believed that he was born on March 16 between 1471 and 1476, in a very humble family, being the son of a nobleman named Gonzalo Pizarro Rodríguez de Aguilar and Francisca González Mateos, who was a lady of the chamber that his sister.
However, Pizarro was born outside the marriage union, so he did not enjoy the rights of a legitimate son. When he reached his youth he decided to enlist as a soldier, and follow in the footsteps of his father, who had served in the wars of Italy. Wonderful with the stories that came from the New World, determined to embark on an expedition.
Journeys to the New World
In 1502, he finally left for the Americas, as part of the crew under Nicolas de Ovando, who had been appointed by the New Governor of Hispan. Very little is known about his early years on the Continent.
In 1508, he undertook an expedition with Alonso de Hojeda, which led him to San Sebastián de Urabá, located in present-day Colombia. However, the Spaniards encountered strong resistance from the indigenous people, who confronted them, producing significant casualties.
In 1510, when men and resources were not sufficient, the same Hojeda moved to Santo Domingo, in search of reinforcements. However, he did not return. After 50 days, Pizarro and the other men decided to take the journey to Santo Domingo themselves.
On the way back, they met Vasco Núñez de Balboa, joining him on his quest to conquer and subdue the Darrién region, located in present-day Panama. Pizarro assumed power as second-in-command of the expedition.
Incursion into the Inca territory
For the next few years, Pizarro accompanied Vasco Núñez de Balboa through the isthmus of Panama, and was with it when he first saw the Pacific Ocean. After Pedro Arias de Avila's arrest of its leader, Pizarro remained in Panama, where he was appointed mayor and managed to make a small fortune.
Enthusiastic about the legends about gold and riches that Hernán Cortés had found in the Aztec territories, Pizarro partnered in 1524 with Diego de Almagro and the priest Fernando de Luque, in order to depart on a new expedition to the southern territories of the Continent.
They explored the banks of the San Juan River and continued to explore the west coast of South America. The second expedition departed in 1526, this time, Pizarro and his men arrived in the Inca city of Tumbes.
The conquerors were astonished at the gold they found in this city, where they heard its inhabitants refer to a powerful emperor, who ruled in a city located in the mountains. Believing it to be a powerful Aztec metropolis, Pizarro decided to venture into his quest.
Aware that he would need more men and resources, Pizarro set out for Spain, to meet him personally with King Charles, to ask for his support. The sovereign granted him the position of Governor on the lands he conquered and the help he requested. In 1530, under the command of some 160 men, he undertook his third expedition, reaching the territory near Guayaquil.
In 1532, they gained access to Tumbes, which they found destroyed, as a result of the Inca Civil War, which led to the clash between the forces of Huáscar and Atahualpa, sons of Emperor Huayna Cápac, who clashed for power, after the death of this one. The Incas did not consider the Spaniards a threat. Without facing them, they continued on their way.
Conquest of Cusco
In 1532, during the month of November, Pizarro and his men arrived in Cajamarca, where Atahualpa reigned, who had won the war and power of his brother Huáscar. On November 16, Atahualpa and Pizarro gathered to meet.
However, in the face of Atahualpa's refusal to accept the Catholic religion and the King's authority, the Spaniards attacked the Incas, in what turned out to be a trap, which resulted in the deaths of hundreds of indigenous people.
Atahualpa was taken hostage, and despite giving the Spaniards the amount of gold and silver requested, he was sentenced to death, being hanged on August 29, 1533, resulting in the surrender of the Incas of this city.
Pizarro continued on his way to Cuzco, the main city of the Inca empire, which he was able to easily invade in November 1533. From that moment, he devoted his work to accumulating wealth for the Crown and for his own profit.
Final years and legacy
On June 26, 1541, Pizarro was killed, during the uprising of the followers of his partner Diego de Almagro, with whom he had broken relationships because of differences in the wealth to be distributed. Some historians point out that before he died, Pizarro drew with his blood a cross on the ground, which he kissed, before expiring.
As for his legacy, as with the other conquerors, there is an ambiguity, because if on the one hand he is responsible for producing the encounter of Spanish culture with the Inca, one cannot fail to take into account the hundreds of original inhabitants killed and enslaved, as well as the massive extraction of natural resources.
However, in general terms, Pizarro is considered one of the most influential men in history, due to the great economic, cultural and social implications of his expedition.
Image source: biografiasyvidas.com
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Universities are merging to form enormous regional centres, the larger ones have over 300,000 students. They are largely self-funded and have one main centre with hubs across the region, the world even, with global connectivity. By now some of the once well-known universities have disappeared altogether while others that became less and less financially viable have seen the profitable parts taken by other universities leaving the rump to fail.
The nature of higher education and what it does has changed. While there is still some 'traditional teaching', the real focus is on the development of skills with much more focus on creating links with business to create long-term programmes for industry. To do this long-term universities have developed the idea of learning contracts that support people throughout their careers – not only with tailored courses but mentoring too. This grew out of the realisation that universities could offer far more than courses and training. The advantage of universities is that they can facilitate the creation of knowledge and generation of ideas because they allow space – both physical and mental – to research areas of interest without the distractions of life, or business.
Academics spend much of their time now creating online courseware – this is rated by students and something that universities have to be alert to as they will stand or fall by such ratings. The courseware must be updated every year to stay ahead of the game – a bit like producing a new season of a TV series. While producing such courseware demands intense research and partnership with industry producers or material, academics have become storytellers more than they ever were.
Research itself has become much more a partnership with industry, much of this is happening outside the university. This relationship with business means that you will now find businesses based inside the university buildings cheek-by-jowl – therefore creating space with high levels of data security is key. You will also find more researchers based in business organisations, even though they are not employed by those businesses. This is not like the old business park model where the once isolated enclaves of high-end research and incubators on the edge of towns near once prestigious research universities have had their day.
First, the power of regional economies. It's less and less about national economies – it's about the regions. Wherever you are in the world the focus is on the importance of the co-creation of knowledge. Higher education and the private and public sectors have come together. Regional business, and so the university business is global, yet local remains critical.
Second, the focus on holistic skills development. The focus of all education is on preparing young people for collaboration, creativity and innovation. People must be able to communicate and empathise. Such interpersonal skills will have become the essential assets that modern-day workers must have. The routine manual and cognitive skills of yesteryear are handled by computing technology. And even, technology has begun to tread on some of the non-routine analytical work as artificial intelligence has developed. Learning skills requires a totally different approach to just accumulating subject based knowledge which can easily be done online.
Third, students and academics value health and well-being in their work and learning environments – of course we already know this as it's been the case for a while now that . But the places that we create for them must recognise this , not just as physical environments but more so as social environments.
You may ask why, if we can use technology to do our research, deliver access to more information, teach people, communicate with the world, why do we need built space at all?
The reason is simple! Still in 2029 – and perhaps more so now because of the relentless rise in social media – people need to be together in physical space. The business of education, research and work remains ultimately a social process.
So what, for the buildings and space used in the world of 2029 when people interact is even more fluid. How they interact in time and space is more varied, and where they interact shapes social relationships.
In 2029 we talk about space curation as universities don't necessarily own it, or much of it, even though we are so large – we need to provide more of it because we have so many people who come together in various ways, but we have to reduce the amount we have to keep our costs down. So there are a lot more discussions about ownership, sharing or leasing. How much? What sort? Why? Security? These questions not only pre-occupy universities but designers too – just who is the client or customer now?.
Some universities have even set up property trusts with other organisations so that they can better manage the space together – they can all use it when they need it.
Since so many buildings have some connection with learning or research, the distinction between what is private and what is public has become blurred. People have unlimited access to the lower floors of most buildings as well as external spaces at ground level. Often more private activities take place one or two floors above – where you as the public might occasionally be invited but the core teaching and research happens often in higher levels.
Sharing space with business raises obvious questions of data security – particularly as here where you have lots of different small organisations and research groups renting space by the hour, working on sensitive projects.
The focus is on creating places for interaction – we see it happening now. The key though is variation – varied space. Many fewer classrooms – that presentation stuff is done on line.
Yet bringing people together is still important – the seminal 'lecture' with the renowned speaker is still important.
In 2029 of course, students want to live near their university which necessarily sees a growth in the service economy – healthcare, retail and leisure. But universities still have to provide accommodation from apartments and rooms, to the surge in 'learning hotels' where groups of students stay for a couple of weeks on residential courses.
There have been some downsides to all of this. University campuses seem fragmented: How do you manage this?
Large numbers of students in one place can lead to social exclusion. Particularly though, what do you do with the unwanted buildings?
Public looking, but factually private spaces may become prominent parts of the urban landscape. The line between inclusive and exclusive space is thin but significant.
The power of the university is clear, but the fragility of the link to its host community is equally clear.
The university has become the power behind the throne of the regional economy!


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One Direction's Liam Payne meets fans at Sainsbury's Knaphill as romance with Cheryl blossoms
One Direction's Liam Payne, who lives near Guildford, has become a regular customer in the aisles of the Knaphill supermarket
Beth Duffell
One Direction star Liam Payne chatted to fans and took selfies during a recent shopping trip to Sainsbury's in Knaphill.
Merrist Wood College student Charlotte Lux spoke to the 23-year-old singer and took a photo on Thursday March 3, which she later posted on her Instagram account.
The 17-year-old told Get Surrey: "When he came over he said 'hi' and I said thank you for the photo.
"I told him that I have been to his concerts and his words were 'ah thank you babe'. He was on his own. Then he had a photo with my friend and went."
One Direction singer Liam Payne with Merrist Wood student Charlotte Jux, 17, at Sainsbury's
It was the first time Charlotte had met the One Direction singer, who found fame after appearing on the ITV programme, The X Factor.
Liam is dating Cheryl Fernandez-Versini, 32, who he has reportedly moved into his £5.1m mansion.
Charlotte, who lives in Mytchett added: "I wouldn't say I'm a big fan but I'm certainly a fan."
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The star has been driving his £260,000 matte black Lamborghini to the store to stock up on groceries.
But the fans aren't the only ones getting excited about Liam's food shopping. The store is thrilled to be welcoming its celebrity customer and his lover through its doors.
A spokesman for Sainsbury's said: "Liam, you light up our world like nobody else, the way you carry our bags gets us overwhelmed. You and Sainsbury's got a whole lot of history."
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Students from Woking College have bumped into Payne during his regular shopping trips.
Gill Hurst, the college's marketing manager, said: "Many people have said he is just the nicest guy and does selfies and video messages when the students ask.
"There was a student who asked him to send a Christmas video message to her nephew and he was really happy to do."
Last month, a photo was shared on Twitter showing Britain's newest and hottest celebrity couple shopping at Tesco in Guildford.
The picture of Liam and Cheryl was captured on February 27 at around midnight in the pet food aisle.
The picture reportedly of Cheryl Fernandez-Versini and Liam Payne in Guildford Tesco
Sainsbury's in Redding Way, Knaphill , is just over the road from The Nag's Head Inn where Liam was spotted with friends in December 2014.
Dominic Marjoram, the pub's manager, confirmed the singer enjoyed a bite to eat with his pals at the Bagshot Road drinking hole.
Liam Payne has also enjoyed the shopping delights of Woking having been seen there in 2014 and at Woking Garden Centre in Egley Road.
He was supposedly seen getting out of a white Land Rover with his former girlfriend, Sophia Smith, before buying lots of flowers.
READ MORE:One Direction's Liam Payne snaps up £5.1m Surrey home
As well as becoming a regular at Sainsbury's in Knaphill, Liam is also being welcomed into the local community with open arms.
Ade Jones at The Crown in Knaphill High Street has tweeted both Cheryl and Liam, telling the loved-up duo they would be very welcome in his pub.
While @jonkersSanne invited Liam Payne to the Crown and Anchor pub in Old Woking with this tweet.
And if Liam fancied supporting the local football teams, Vanessa Storey suggested that Liam could watch the Aldershot v Woking FC game, adding he could meet her in The Crimea Inn in Aldershot.
Shooting Star Chase voluntary fundraiser Karen Woodger, who will be helping run a St George's Day Street Festival on April 23, met Liam while shopping at Sainsbury's.
She grabbed the opportunity to ask the singer if he would support the event. Karen, who lives in Knaphill, said: "I parked right next to his Lamborghini on Friday (March 4).
"I had seen the car in the newspaper and in OK! magazine. Everyone was looking at it but I had a good idea it was Liam from One Direction's car."
She continued: "There were three girls by the car and they all had pictures taken with him. When the girls finished having their pictures taken I spoke to him.
"I said about the event we are having for Shooting Star Chase and I told him it's a children hospice in Guildford.
"He asked if I had a business card but I told him I didn't have one as I am a voluntary fundraiser. He took my email address and wrote it onto his phone."
Liam posted another selfie of the couple on Instagram (Image: @fakeliampayne)
Karen, who has supported Shooting Star Chase for the past nine years with a variety of fundraisers, has also tweeted the star a reminder and is waiting to see if he supports the event.
She added: "Apparently Cheryl was in there on Thursday, one of the staff said. We would like him to come along to our event and support the children's hospice."
Have you spotted Liam (or Cheryl, for that matter!) in Surrey? Let us know in the comments section below.
Shooting Star Chase


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Eagles Mourn Loss of Another Legend
David Weinberg
David Weinberg Published: April 10, 2020
Sports Illustrated via Getty Ima
The Eagles lost another legend Friday.
The team announced Hall of Fame tight end Pete Retzlaff passed away at age 88 from natural causes. One of Retzlaff's teammates on the 1960 NFL champion squad, wide receiver/kick returner Timmy Brown, passed away last Saturday.
Retzlaff, considered one of the best tight ends in league history, played 11 seasons with the Eagles. His No. 44 is one of only nine jerseys to be retired by the franchise.
"Pete was a revolutionary tight end and one of the most productive players in the history of our franchise," Eagles owner Jeffrey Lurie told the team's web site. "He was a five-time Pro Bowler, a key contributor on our 1960 Championship team, and of course his number 44 was retired after he established numerous receiving records over his 11-year career. But Pete's legacy goes far beyond the success he was able to achieve on the field. He gave so much to this organization and to our sport as a player, general manager, broadcaster, and leader of the NFLPA."
Retzlaff also had a local connection. According to Kona Sports owner and New Jersey Surfing Hall of Fame member Mike Sciarra, Retzlaff was a co-owner of the old All Star Motel in Wildwood Crest in the 1960s with former Phillies Whiz Kid Curt Simmons and late Wildwood Crest legend Scoop Taylor.
Retzlaff was drafted by the Detroit Lions in the 22nd round in 1953 from South Dakota State - the same school that produced current Eagles tight end Dallas Goedert - but never played for them. He served two years in the U.S. Army, then joined the Eagles in 1956.
A fullback who never caught a pass in college, Retzlaff was converted to tight end and finished his career in 1966 as the team's leader in career receptions (452) and receiving yards (7,412). He still ranks third in receptions behind Hall of Fame wide receiver Harold Carmichael (569) and current tight end Zach Ertz (525) and second in receiving yards behind Carmichael (8,978).
"Pete was proud to have played his entire career in Philadelphia," the Retzlaff family said in a statement to the team's web site. "Our family can't thank the Eagles and the wonderful fans enough for their support that bolstered his playing years and beyond.
"Pete set lofty goals for himself. He believed in hard work, honesty, and always giving 100 percent effort. Throughout his life, he believed in giving back to the community as a thank you for what they gave to him. Thank you to all of Philadelphia."
Retzlaff, a five-time Pro Bowler, enjoyed his best season in 1958, when he tied Hall of Fame wide receiver Raymond Berry (Baltimore Colts) for the NFL lead with 56 receptions. Two years later, he led the team with 46 catches and averaged 18 yards per reception in helping the Eagles win the NFL title in 1960. That remained the Eagles' last league championship until they won Super Bowl LII in 2017.
Retzlaff was known for his versatility. He averaged 16.4 yards per reception, lost four fumbles and was known as a solid blocker in his 11 seasons.
"He was a great route runner, more like a wide receiver than a tight end," former Dallas Cowboys safety Mel Renfro told the team's web site. "Many times, I had to grab his shirt as he ran by me."
Upon retiring after the 1966 season, Retzlaff stayed connected with the team, serving as the Eagles' general manager from 1969 to 1972.
He is survived by his wife of 66 years, Patty; four children, 10 grandchildren and 12 great-grandchildren.
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Filed Under: Philadelphia Eagles


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April 24, 2020, 8:27 PM PDT|
Project Xandata Closed Beta Begins
The closed beta for the free online 3v3 competitive arena shooter, Project Xandata has begun. Available on the IDC/Games platform the Secret6 Inc developed title's beta test will last for two weeks until May 7.
In the FPS, players become a Xandat, one of the best soldiers the world of Xandaigdig has to offer. Combing the strength, technology and weapons of the Seven Great Nations brings a new breed of warriors. These soldiers have beaten back other-worldly enemies saving the world from extinction. Players now need to gear up and fight to prove themselves against other Xandats.
There are three game modes at this time. Skirmish pits Xandat teams against each other in a time-limited battle where each kill earns points. Whichever team reaches the point goal or has the most points at the end wins.
Annihilation mode pits teams against each other where the goal is to completely wipe out the opposing team. Each team has a set number of revives and the first to win 5 rounds is declared the victor. Corruption mode is where fallen opponents drop shards. Collecting the shards gains points, but if a player is killed, they will drop their shards. The team that reaches the point goal or has the most at the time limit wins the match.
Future beta tests will include with localizations in English, Italian, German, Spanish, Polish and Turkish.
Project Xandata closed beta has begun and is available for PC users at the IDC/Games platform. To play for free players will need to log into their IDC/Games account or create an account and install the game client. For more information visit the Project Xandata website here or follow @PXandataIDC on Twitter.
Project Xandata Closed Beta Teaser Trailer | IDC/Games
Project Xandata | IDC/Games
Secret 6 Inc. (@secret6inc Twitter) is a veteran game development based in San Francisco, the Philippines, and Madrid. The studio specializes in 3D art for AAA titles, 2D art, and full game production across all platforms.
IDC/Games (@IDCgames Twitter) is a game publisher for PC and mobile games that is based in Spain. The company is a part of Nvia Group and specializes in taking games to the global marketplace with over 10 years of experience.
Tagged with: 3v3, Arena Shooter, Closed Beta, FPS, Free-To-Play, IDC/Games, Project Xandata, Secret6 Inc
Blazing Sails Icy Caverns Winter Update
By Nanocyde // 1 month ago


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Twitter now allows you to tweet videos up to… 140 seconds long.
Will this never stop? Are the 140s going to dominate everything and everywhere?
Ζϰι
Welp. Just like Twitter's 140 character limit, we've got another one following in the footsteps of it's cousin. Enter @video.
Now, everyone can post videos up to 140 seconds long! We can't wait to see the amazing videos you create and share.https://t.co/DFsuvnXkuL
— Twitter Video (@TwitterVideo) June 21, 2016
Yup. At least it is bigger than the old 30 second full stop.
Video is becoming increasingly central to the real-time conversations happening on Twitter – video Tweets on Twitter have increased by over 50% since the beginning of 2016.
Also, if you're a professional, you can utilize the professional tools available at Twitter, and will still be able to upload videos which are up to 10 minutes long. The feature is now live on Twitter for iOS and Android, with macOS and Windows soon to follow. Also, the company introduced an analytical app called 'Twitter Engage', which will provide real-time data so users can understand and engage with their audience in a better way; it also gives stats for tweets.
So, what videos will you lot be posting? Link us to them in the comments below!
VIANeowin
SOURCETwitter


On April 10, 1971, USS Marvin Shields (FF-1066), a Knox-class frigate, was commissioned at Puget Sound Naval Shipyard with Commander William J. Hunter in command. Marvin Shields was built at Todd Shipyards in Seattle, Washington. With a design based around the large AN/SQS-26CX sonar, she was armed with an eight round ASROC (anti-submarine rocket) launcher forward. She also carried a Mk 42 5"/54 caliber naval gun for air and surface targets. The Shields and her sisters were designed to provide the US Navy with a potent anti-submarine warfare platform. While designed to carry the QH-50 DASH anti-submarine drone, the cancellation of the program led to the class carrying the SH-2 Seasprite Helicopter. This helicopter included LAMPS (Light Airborne Multi-Purpose System) an advanced anti-submarine and anti-ship scouting and attack system, which added to the already potent anti-submarine warfare suite contained on the ship.
Insignia of the I MEG. It consists of a Castle to symbolize the Army Corps of Engineers and the Marine Corps Combat Engineers, the Eagle, Globe, and Anchor of the USMC, and the Seabee insignia to symbolize that the bulk of personnel assigned would be Seabees.
On March 21, 2003, Seabees crossed the Line of Departure into Iraqi territory as part of the First Marine Expeditionary Force Engineer Group (I MEG). According to "Forward Together!": I MEG in Operation Iraqi Freedom, "This marked the first time that Seabees crossed into enemy territory in Regimental strength as members of a Marine Expeditionary Force order of battle." The First Naval Construction Division provided the bulk of personnel for the I MEG. This unit consisted of four Seabee Battalions (NMCBs 4,7, 74, and 133), three reserve Heavy Air Detachments, a Naval Construction Force Support Unit (NCFSU 2), a Construction Battalion Maintenance Unit (CBMU 303), an Underwater Construction Team, two Army Engineer Battalions (478th and 1092d Eng Bn), and a Korean Engineer Battalion (1100th ROK Eng Group).
When the North Vietnamese Army and National Liberation Front (Viet Cong) launched one of the largest military campaigns of the Vietnam War, the Tet Offensive, the Seabees were not immune. 1968 was the peak of Seabee activity in Vietnam and their bases and camps throughout the coutry came under attack.


text:
Bill Nye is the anti-science guy when it comes to global warming and hurricanes
"Bill Nye is the anti-science guy when it comes to global warming and hurricanes" (2011-08-30). Dr. Ryan Maue seems annoyed with how little traction with his denial science is getting, so he's going to give political whining a try at his Policlimate blog. Why? Because as he says "Anthony typically avoids political issues" (I still rubbing my eyes over that). Luckily Anthony Watts seems willing, this one time, to dabble in politics by cross-posting Ryan's rant about Bill Nye's recent appearance on Fox News.
You know the denialists have had their asses publicly handed to them when they try to re-write an event after the fact by nit-picking someone's live TV responses intended for a general audience (and when we talk about Fox audiences we're talking really general) and then declare post facto victory because of imperfect grammar or getting a measurement wrong. They can also be reliably expected to complain about "tone".
The title of this YouTube copy is "Bill Nye insists the earth is warming though data shows it is not." and has comments disabled. Denialism writ tiny.
Seems Bill Nye didn't play along with Fox News "Freedom Watch" guest host Charles Payne's attempt to describe concern about our changing climate as "apocalyptic", "irresponsible", or to assert that there's a bit of warming "but that's not from man". When Payne realized that Bill Nye wasn't serving as a fig-leaf for Fox News' preferred scientific assertions he pulled out the patented Fox News escape hatch of but… Al Gore! ending thus:
"We brought you on because we knew you could connect the dots," Payne interrupted. "Although the route you've taken is still confusing some of the viewers." – Fox Business Host Accuses Bill Nye of 'Confusing Viewers' with Science
So six minutes of interrupted reality-based answers to leading questions balances endless hours of Glenn Beck conspiracy theories? That's "Fair and Balanced" for you.
This entry was posted in Anti-Science, Gore Derangement Syndrome, Tone and tagged Fox News, Hypocrisy by Ben. Bookmark the permalink.
6 thoughts on "Bill Nye is the anti-science guy when it comes to global warming and hurricanes"
BillD on 2011/09/02 at 1:24 PM said:
Bill Nye is a well-informed, mainstream science guy. The Fox News people were misinformed if they though otherwise.
[Surely by "well-informed, mainstream science guy" you mean "part of the conspiracy"? – Ben]
Chris Smith on 2011/09/02 at 8:58 PM said:
Programs like this are not serious. They are just fillers to pretend that issues are being discussed in between the sport and celebrity gossip.
The white guy with those eye-brows got side tracked into talking about racism and what he said about it was a bit confusing and very irrelevant to hurricanes and global warming.
The black guy is not an expert on climate and even said that he didn't bother to research anything. He just took some guys word for it that temperatures had risen.
It's not a serious debate, discussion or conversation. Programs like these are an insult to the viewers. They probably have a regulatory requirement to include some "science" content.
[You know, you might be on to something. – Ben]
otter17 on 2011/09/03 at 12:59 AM said:
I always figured Bill Nye would be a lover, not a hater. The host brings up racism, and he counters with talk about sex. Haha.
Seriously, though, this interview ticks me off. The caption "Al Gore Likens Global Warming Skeptics to Racists" is complete BS. If you listen to it all, the man was using an analogy to explain how cultural change can happen. Remarks like this and one I heard from a clip of "The Five" borders on the slanderous/libelous.
More importantly back to the interview, why does the racism thing even need to come up at all when talking about science with Bill Nye?!?!?
[I wish he'd said "breed" instead of "have sex". but that's live TV for you! – Ben]
Heystoopid on 2011/09/03 at 3:57 AM said:
I am sad to say, this variety of "Murdoch Propaganda Churnalism" is not isolated and flourishes down under in Oz, where he legally owns 70% of Australia's print media!
The Conversation – Event horizon: the black hole in The Australian's climate change coverage
otter17 on 2011/09/03 at 7:31 AM said:
Wow, I can only imagine going to the newsstand only to find over 70% of the papers to be tabloids.
[70% of viewers/readership. Other media are out-spent and out-promoted I think. – Ben]
merf on 2011/10/21 at 12:15 PM said:
Not to interrupt your ongoing orgy of self-congratulation… but do you know if Nye has given any response to Watts' re-creation of his "Climate 101" experiment (and presumed falsification)?
replicating-al-gores-climate-101-video-experiment-shows-that-his-high-school-physics-could-never-work-as-advertised/
[You mean like here a month ago? You don't know the difference between an experiment and a demonstration, do you? In future, please don't interrupt my orgies. – Ben]


SDS Financial Technologies, a provider of trading and electronic marketplace solutions for institutions, exchanges and hedge funds, yesterday announced that Man Financial, a broker, has licensed the SDS Alternative Trading System (ATS) from SDS Financial Technologies to launch the Man E-Finance Fixed-Income Marketplace to its clients in the United States.
Man Financial will initially use the SDS ATS solution to transact US Treasury repurchase agreements (Repo) electronically for its clients and expand to other fixed-income products to meet the evolving needs of its clients.
SDS ATS provides Man Financial with the technology, supporting functionality and network connectivity it requires to implement the Man E-Finance Marketplace. The SDS ATS is designed to match high-volume, high-velocity order flow on a scalable platform that supports a broad range of standard industry FIX interfaces for order routing and price dissemination.
The current Man E-Finance trading platform was implemented in less than six weeks and is currently available to 20 clients in the United States. There are plans to develop a European version for release in late 2007.


text:
You are here: Home › Learning home page › Module 3: Governance in a multi-level Europe › The United Kingdom and the European law
The United Kingdom and the European law
The supremacy of European law poses a problem for the United Kingdom, a state with a long tradition of parliamentary sovereignty.
Read about parliamentary sovereignty in the UK
Notice the developments that are said to have affected parliamentary sovereignty?
Why does it say that these issues (including membership of the EU) do not ultimately affect the principle of parliamentary sovereignty?
The 1972 European Communities Act and the Great Repeal Bill
The 1972 European Communities Act created a provision into UK law for the adoption of European law. By means of the European Communities Act, all treaties deriving from the EU became UK law enforceable in the UK courts. However, following the result of the 2016 European referendum in the UK, the new government led by Theresa May triggered the procedures for the UK's exit from the EU. Thus, the government is set to introduce the so-called Great Repeal Bill, which will automatically cancel the 1972 European Communities Act and will let the Parliament decide which parts of the EU law to keep and which to scrap. At the time of writing, it is rather unclear which elements of EU law will be maintained, as it largely depends on the future composition of the Parliament following the snap general elections in June 2017.
Click here to read more about the Great Repeal Bill.
Government, Governance and 'Hollowing-out'
European Government and European Governance
The principle of subsidiarity
A Europe of the regions – What is EU Regional Policy?
The 2020 Strategy
Cohesion Fund or Cohesion Policy?
Accessing regional funds
The sources of EU law
Primary law
Secondary law
Supplementary law
The supremacy of European law
Direct applicability and direct effect
And now for something a bit lighter. . . EU myths


text:
#ifndef __ml_PerceptronNeuronBankFactory__
#define __ml_PerceptronNeuronBankFactory__

#include "NeuronBankFactory.h"

namespace ml
{
class PerceptronNeuronBankFactory : public NeuronBankFactory
{
public:
    /*! \brief returns an instance of type PerceptronNeuronBankFactory
     *        (this class) on the heap.
     */
    static NeuronBankFactory * CreateInstance();
    /*! \brief retires an instance of type PerceptronNeuronBankFactory
     *        (this class) on the heap.
     *  \param instance the pointer to the instance of this class. It is
     *        expected that instance is in fact an instance of PerceptronNeuronBankFactory.
     */
    static void RetireInstance(NeuronBankFactory * instance);
    virtual NeuronBank * operator () (int NumInputs, int NumOutputs,
                                      Rand * r, double learn, double momentum);
    virtual void Destroy(NeuronBank * instance);
private:
    void free();
    PerceptronNeuronBankFactory();
    virtual ~PerceptronNeuronBankFactory();
};
}

#endif // __ml_PerceptronNeuronBankFactory__

redpajama_set_name: RedPajamaGithub


text:
About Morgantown
Leadership Monongalia
Generation Morgantown
Women-Owned & Minority-Owned Businesses
Veteran-Owned Businesses
2022 Annual Dinner
2022 Golf Classic
NCWV Business Summit – Bridges without Boundaries
Member Calendar
The Ward Building – Professional Offices & Meeting Space
Community & Demographics Data
Incentives & Assistance
Transportation & Utilities
Advanced Business Services
Healthcare & Bioscience
Manufacturing & Contracting
Mining & Energy
Neighborhoods Revitalization
TIF District
Read the latest happenings and media releases directly from our members.
See the latest happenings from the Partnership and members.
A nationally recognized leader in health care services, research and physicians, the Morgantown area offers several state-of-the-art facilities to complement its growing community.
Mon Health System
Mon Health is the "parent" company of Mon Health Medical Center in Morgantown, WV; Mon Health Preston Memorial Hospital in Kingwood, WV; and Mon Health Stonewall Jackson Memorial Hospital in Weston, WV.
Mon Health Medical Center is the flagship member of Mon Health. The 189-bed hospital has a strong commitment to providing personalized care and service with compassion and respect to North Central West Virginia, southwestern Pennsylvania, and the surrounding region. The more than 250 physicians with privileges at the hospital have a long history of dedication to the community and hospital, with a wide range of specialties including Cardiology, Cardiothoracic Surgery, General Surgery, Oncology, Orthopedics, and Obstetrics/Gynecology.
Mon Health Preston Memorial offers a wide range of services including a 24-hour physician staffed emergency department, critical care, laboratory, imaging, respiratory therapy, physical therapy and a diagnostic sleep laboratory.
Mon Health Emergency Medical Services is located just below Mon Health Medical Center. Equipped with rescue trucks and ambulances, it provides rescue and emergency transport services to Monongalia County, offering paramedic and rescue services consistent with the highest levels of emergency services in our region.
Mon Health is also affiliated with Mon Health Equipment & Supplies, The Village at Heritage Point, HealthWorks Rehab and Fitness, HealthSouth Mountain View Rehabilitation Hospital, Morgantown Hospice, and the Surgical Eye Center of Morgantown.
WVU Medicine is West Virginia University's affiliated health system. Through its eight hospitals, three institutes, and more than 800 physicians, specialists and sub-specialists, WVU Medicine provides comprehensive healthcare services to all of West Virginia, Southeast Ohio, Western Maryland, and Southwest Pennsylvania.
In the Morgantown area, the WVU Medicine flagship facility, Ruby Memorial Hospital, is a 531-bed tertiary care center. Ruby Memorial provides the full range of clinical services needed to complement the work of its healthcare providers. As a place for teaching and learning, future doctors, nurses, pharmacists, and other healthcare professionals are trained here.
Ruby Memorial Hospital has been named the number one hospital in West Virginia by U.S. News & World Report. Ruby Memorial Hospital is the first and only West Virginia healthcare organization to achieve the prestigious Magnet designation, which recognizes nursing excellence; the organization has maintained this designation since 2005.
Morgantown is also home to many WVU Medicine outpatient clinics and WVU Medicine Children's, which provides maternal, infant, and pediatric care to high-risk mothers, premature infants, and children with life-threatening conditions through adolescence to adulthood.
In addition to its facilities in the Morgantown area, WVU Medicine includes locations in Bridgeport, Martinsburg, Ranson, Parkersburg, Buckhannon, and Keyser.
Thank you to our Investor Partners
The Morgantown Area Partnership (The Partnership) is a coordinated alliance to pursue holistic strategies for the betterment of economic, business, and community development.
info@morgantownpartnership.com
Email Sign Up @ Bottom of Website
[+] View Site Map
©2023 All Rights Reserved. Designed By
RFP/Bids


text:
Study casts doubt on plans to scale up preterm birth treatment in low resource settings
Robert Bock or Katie Rush
Intervention of no benefit, could increase newborn death risk, NIH funded study finds
A study by a National Institutes of Health research network calls into question plans to increase access to steroid treatment for pregnant women in low resource settings at high risk for preterm birth. The study concluded that the treatment — a standard, life-saving practice in high income countries such as the United States — could potentially cause harm in low resource settings where many births take place outside the advance care hospitals that are standard in high income countries.
"Our results do not support offering this therapy to women in low resource settings who do not have access to hospital care."
—Dr. Koso-Thomas
Pediatrician and Medical Officer, Pregnancy and Perinatology Branch at NICHD
The researchers are uncertain as to why the therapy did not offer the clear benefit in the low income countries that it provides to preterm infants in high income countries. Potential reasons range from some unknown aspects of the intervention itself — the methods the researchers devised to teach local birth attendants how to administer the drug outside hospital settings — to the possibility that, despite enhanced lung function, preterm infants may simply be in greater need of the advanced hospital care common in high income countries.
The steroid therapy works by triggering the lungs of a preterm infant to mature so that he or she can absorb oxygen. The treatment has been proven to increase the survival rate of preterm infants in high and middle income countries. Steroid treatment is routinely prescribed to women at risk of giving birth before the 34th week of pregnancy in the United States and in other high income countries. Because of its proven effectiveness in the high income countries, health care workers have begun efforts to increase access to women in low resource settings in low and middle income countries. Many health experts have called for increasing access to the drug so that it is routinely provided in underdeveloped countries as well. The study was undertaken as a test to determine the feasibility of providing the treatment in low resource settings.
For the study they conducted in low resource settings, the researchers devised an intervention to teach local birth attendants how to identify women who might benefit and to provide the drug to women who frequently deliver without the advanced hospital care facilities that are common in higher income countries.
The study enrolled women considered at risk for preterm birth, in several countries in Africa, Asia and Central and South America.
Compared to a control group, there was no difference in survival rates among infants considered to have been born preterm, regardless of whether or not their mothers took part in the intervention, the study found. Moreover, combined death rates for infants born to all of the women in the intervention group were slightly higher, as was the mothers' rate of post-birth infection.
"Many public health experts had believed steroid therapy before birth would save as many lives in low resource settings as it does in high income countries," said study author Marion Koso-Thomas, M.D., M.P.H., pediatrician and medical officer in the Pregnancy and Perinatology Branch at NICHD. "These results are extremely disheartening, but they underscore the critical importance of studying even an established treatment before introducing it to a new setting."
The study, appearing online in The Lancet, was conducted by researchers in the Global Network for Women's and Children's Health Research at the NIH's Eunice Kennedy Shriver National Institute of Child Health and Human Development (NICHD).
Additional support for the study was provided by the World Health Organization.
For the intervention, community health workers were taught to recognize the signs and symptoms of impending preterm birth. The workers were provided with measuring devices to help them estimate gestational age and boxed kits containing the drug and all the supplies needed to administer it. They were also instructed to inform women at risk of preterm birth that they should deliver in a hospital or higher-level care facility if at all possible.
The researchers were unable to determine why the intervention did not improve survival rates among the infants in the study, Dr. Koso-Thomas explained. Similarly, they could not determine whether it was the drug itself that led to the higher death rate, or some other aspect of the intervention.
"Our results do not support offering this therapy to women in low resource settings who do not have access to hospital care," Dr. Koso-Thomas said.
The study's first author was Fernando Althabe, M.D., of the Institute for Clinical Effectiveness and Health Policy in Buenos Aires, Argentina. The effort also involved researchers from several institutions in the United States and abroad. The 18 month study enrolled more than 100,000 pregnant women in Argentina, Guatemala, India, Pakistan, Kenya, and Zambia.
The authors noted that a large number of studies conducted in the United States and other high income countries have shown that giving corticosteroids, like dexamethasone, to women at high risk for delivering prematurely is one of the most effective means for reducing newborn deaths associated with preterm birth. The treatment causes the fetus' lungs to mature, thereby reducing the chances for respiratory problems that would otherwise occur in a preterm infant's underdeveloped lungs. The authors added that although other studies had also shown similar benefit for steroid use in higher resource settings in middle-income countries like Brazil and South Africa, no studies had been undertaken in low resource settings. Moreover, all of the previous studies had been undertaken in hospitals with newborn intensive care units and the capacity to provide support for respiratory problems in the infant.
Dr. Althabe said that, because of the success of steroid therapy in high-income countries, many public health experts have been interested in extending the therapy to low income countries.
According to the study authors, 80 percent of women at high risk for preterm delivery in high-income countries receive steroid therapy, in contrast to 10 percent in low-income countries. Also, less than half of births in low-income countries occur in hospitals in which steroid therapy is available. In many low-income countries, health care providers lack ultrasound equipment and other means to assess accurately a woman's gestational age, an important prerequisite for steroid therapy. In addition, many women in these countries don't keep track of the date of their last menstrual period, which further compounds the difficulty in estimating gestational age. In low-income settings, many birth attendants lack the training to administer steroid therapy, and health care facilities may not have supplies of steroids on hand.
In the study, women were given the steroid treatment only if they had signs and symptoms that indicated a high risk of delivering before the 36th week of pregnancy. For cases in which the date of the last menstrual period was not known, health care workers were provided with a specialized tape measure to record the height of the uterus — an indication of gestational age.
The intervention was provided in specified geographic areas. Women were assigned at random to either the steroid intervention group or to receive standard care only (the control group). Because it was difficult, in many cases, to obtain a precise estimate of gestational age at birth, the researchers considered an infant to have been born preterm if he or she had a birth weight lower than the 5th percentile, among all the infants born in a study location. Although some term infants are born at low birth weight, most infants who are born at low birth weight are preterm.
Of the more than 47,000 births to women in the intervention group, 5.2 percent were below the fifth percentile. Of the more than 50,000 births in the standard care group, 4.3 percent were below the fifth percentile. In the intervention group, 45.2 percent of the women delivering infants below the fifth percentile had been given steroids. For the standard care group, 10.4 percent who gave birth to infants below the fifth percentile had received steroids. The women in the standard care group, Dr. Koso-Thomas explained, did not receive steroids as part of the study, but may have received the treatment from local health care workers as part of the local standard of care.
For all the infants below the fifth percentile, newborn deaths by the 28th day of life did not differ significantly between the intervention group and the control group: 225 per thousand, compared to 232 per thousand. However, among all the infants in the study, more deaths at 28 days occurred among the intervention group than the control group: 27.4 versus 23.9 per thousand. Similarly, perinatal mortality — stillbirths and infant deaths in the first week of life — were also higher for the intervention group: 48 versus 42.9 per thousand.
For mothers in this study, the rate of post-birth infections was higher in the intervention group (2.5 percent) compared to the control group (1.7 percent.)
Based on their results, the study authors recommended that, given that previous studies have proven that the steroid therapy is beneficial in advance care hospital settings, efforts to increase use of steroid therapy in low resource areas should be limited to women who are able to give birth in hospital settings.
The study authors added that the findings do not apply to how prenatal steroids are administered in advanced care hospital settings, in which they have been demonstrated to save the lives of preterm infants.
About the Eunice Kennedy Shriver National Institute of Child Health and Human Development (NICHD): The NICHD sponsors research on development, before and after birth; maternal, child, and family health; reproductive biology and population issues; and medical rehabilitation. For more information, visit the Institute's website at http://www.nichd.nih.gov.


Yeah I just read that too. Coincidentally I aced my screen last week (my phone fell at smacked concrete) so I am lucky--I qualify for the upgrade subsidy. The lack of MMS and tethering due to AT&T being caught with their pants down needs to be resolved.
AT&T Said MMS is coming "later this summer at no addl cost to users with a texting plan." Thats fine with me. Ill wait a month or 2 for a free service. Why its not ready now? Who knows.
Tethering also was said to be coming by AT&T at WWDC, just not yet. Since i got my new macbook id love to have this, but i wonder what their costs are. Their laptop connect costs are pretty outrageous(60 bucks a month for 5gb of transfer). If its a reduced cost since we have a data plan, ill be happy.


text:
Whitechapel Crossrail c510
November 19, 2012 /in Civil Infrastructure
BLP were involved in a major D&B project undertaken by the BBMV Consortium.
BBMV (Balfour Beatty, ALPINE BeMo Tunnelling, Morgan Sindall and VINCI Construction)
Foundation design
Crossrail will provide a high frequency, high capacity urban metro service to 37 stations linking east and west London. A new Station will be in deep tunnels beneath existing London Overground Lines. Two new shafts will be used to provide ventilation and emergency access to the platforms.
BLP provided design assistance for the temporary foundations for the batching plant. Raft slabs were designed for a range of different pile stiffnesses to allow for ground movements which will occur during construction.
BLP also carried out a detailed design of the muck shed foundations and up-stand wall. An independent ground bearing slab and pile foundations will be used. The foundations were analysed for the initial conditions (i.e. no settlement) and then for settlement due to shaft and tunnel excavation.
Michael Looby – dublin@blpge.icom
https://i0.wp.com/www.geoscience.ie/wp-content/uploads/Whitechapel-crossrail-2.jpg?fit=800%2C291&ssl=1 291 800 GSI Editor 1 https://www.geoscience.ie/wp-content/themes/master/images/geoscience-logo-v1.png GSI Editor 12012-11-19 13:58:192020-01-15 15:18:15Whitechapel Crossrail c510