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Tag: Captain Blood
Captain Blood, Rafael Sabatini
Comic by William Steig, The New Yorker, August 30, 1952.
I've seen myself in comics before — Calvin & Hobbes, Bloom County, Peanuts, Shoe, Hagar the Horrible, Popeye, and even in an imagined sense in Buz Sawyer, Prince Valiant, and The Phantom — but never so closely as in the image above. This is my dream of glory as a child! And likewise many friends and acquaintances of mine, particularly those who've lived lives of real or armchair swashbuckling from childhood onward.
The comic was drawn by William Steig, best-known today for Shrek. However, he drew a series of "Dreams of Glory" comics in the 1940s and 50s (I hope I have the dates correct) for various upscale magazines, primarily The New Yorker. Most if not all of the comics were published in a single volume in 1953.
I've updated this post due to my examination of the 1953 volume, entitled Dreams of Glory. I discovered that the original comic, shown below, included two figures in the shrouds: a defender stabbing an attacking pirate in the heart. For the life of me I can't understand why this was removed for publication in a magazine, not when there are already dead pirates everywhere on the deck, clearly dispatched by a child in his daydreams, not in reality.
This is akin to a Disney Pirates of the Caribbean book my kids and I love, a reiteration of the attraction and its song: it shows pirates attacking and plundering and water torturing, guns (cannon!) firing, a Spanish town in flames — but there are no firearms anywhere. They've been replaced by slingshots &c.
I understand the de-emphasis on firearms given the horrific rise in school shootings in the US, but I'm not sure that replacing firearms with slingshots, or deleting an actual act of violence while leaving the immediate effects of violence lying all around as in the comic above and below, is anything more than mere window dressing or facade that doesn't alter the substance at all, much less provide a solution. It's much easier to alter an illustration than to reasonably limit access to firearms and the evil corners of the Internet, not to mention delve into the development of other possible parts of the solution.
"Captain Blood" as published in 1953 in Dreams of Glory by William Steig. The artist's preface is worth reading too!
Text copyright Benerson Little 2022. First posted October 12, 2022. Deleted and re-posted October 19, 2022 (unable to reblog, thus…).
October 19, 2022 October 19, 2022 Armchair Adventuring, Captain Blood, Childhood, Comics, Dreams of Glory, Rafael Sabatini, William Steig1 Comment
Captain Blood, Halloween, Moby Dick, Rafael Sabatini
"Captain Blood" by Jim McDougall, 13 April 2021. Courtesy of and copyright by Jim McDougall.
A vampire — surely Lugosi himself! — riff on Captain Blood, with a Moby Dick reference no less, by friend and arms historian Jim McDougall. 🙂
Is the ship the Arabella, the Pequod, the Demeter, or the Vesta? 🙂
Comic copyright by Jim McDougall, 2021-2022. Blog copyright Benerson Little 2022. First posted October 17, 2021.
October 17, 2022 October 30, 2022 Bat Guano, Bela Lugosi, Captain Blood, Dracula, Jim McDougall, Moby Dick, Queequeg, Rafael Sabatini, Transylvanian Soil1 Comment
Buccaneers, Captain Blood, Captain Blood 100th, Captain Blood 100th Anniversary, Rafael Sabatini, Uncategorized
Captain Blood: His Odyssey and Its Mass Market Paperback Covers
A brief chronology of mass market paperback covers from various publishers of Captain Blood: His Odyssey. The cover art ranges from mere pro forma to quite elaborate. Book cover art, including dust jackets, has one principal purpose beyond identifying the book and author: to entice readers into buying the book. Historical accuracy is secondary at best, and often entirely ignored–and sometimes even the actual text of the book itself is ignored, with tropes substituted instead. In any case, enjoy. 🙂
Pocket Books edition, UK, 1940, with color restored from a faded copy. The artwork is intended to represent the duel on the beach between Peter Blood and Levasseur.
Undated US Armed Forces edition printed during WWII by arrangement with Houghton Mifflin. The cover of the book depicted was never actually published except on the cover of this edition. A pirate with cutlass, a flag of skull and bones–this is all that's necessary to lure the reader in.
Pocket Books edition, UK, fifth printing, 1943. The scene is not tied any specific one from the book, and was likely inspired by the dustjacket of Captain Blood Returns, see below. The sword hilt is entirely fanciful.
Cover art by Dean Cornwell for the dustjacket of Captain Blood Returns (1930). The same illustration in blue and white was used in "The Expiation of Madame Coulevain," a 1930 magazine short story later published as part of Captain Blood Returns.
US Pyramid edition, 1961. Again, the cover is tied to no specific scene in the book, and includes anachronistic Hollywood Spaniards in morions, and the obligatory damsel in distress at the hero's feet. The cover is intended to entice, not to accurately illustrate the novel.
UK Arrow edition, undated. 1950s or early 1960s? Sharp-eyed readers may note the black swan figurehead: the image was taken from a Hutchinson hardcover edition of Rafael Sabatini's The Black Swan.
UK Pan edition, second printing 1963, original 1961. Again, the cover does not depict a scene from the book, but instead evokes its atmosphere. As in many Captain Blood illustrations, the protagonist has a mustache, unlike in the book (although he did have one in the original magazine series). The cutlass is both anachronistic and incorrect for Peter Blood. Unusually, the Spanish ship on the left is flying the correct flag.
US Pyramid edition, third printing, 1967. This is the first edition I ever read, and its cover remains one of my favorites.
Publicity still for The Sea Hawk, 1940. The cover above was inspired by this photograph, and probably by publicity stills from Captain Blood and The Sea Hawk showing Errol Flynn on the gunwale during a boarding action.
UK Pan edition, 5th printing, 1974. Although the woman resembles Arabella Bishop, she is in fact, given the scene, the daughter of Governor d'Ogeron. And again, the mustache and, incorrectly (although common in Hollywood and fiction illustrations), riding boots.
Without doubt the most elaborate and artistic of mass market Captain Blood covers. US Bantam edition, 1976, one of my favorites. See the image below.
Inside cover art, highly unusual in mass market paperbacks but occasionally found in trade paperbacks.
Much-abridged and simplified edition by E. F. Dodd for middle school / junior high school readers, published by Macmillan originally in 1964. This is the 1991 printing. These "Stories to Remember" editions were intended to make novels accessible to ESL readers and as to provide an easy introduction to novels for native speakers. I'm of two minds regarding such abridgements: on the one hand, they may encourage readers to try the full-length novels they might not otherwise attempt. On the other hand, I first read Captain Blood at 12 or 13, and I've a natural aversion to abridgement in any form, considering it destructive to the author's work.
Most editions after the 1970s are larger trade paperbacks lacking original cover art. Publishers try to spend as little money as possible, often leaving cover art either simple or taken directly from artworks in the public domain. Howard Pyle's pirate art is a common source for Captain Blood editions, and for the cover art of many books on the subject of piracy as well (including one of my own, The Buccaneer's Realm).
Copyright Treasure Light Press LLC, 2021. First posted March 4, 2021. Last Updated October 9, 2022. Text by Benerson Little.
March 4, 2021 October 9, 2022 Captain Blood, Mass Market Paperbacks1 Comment
Captain Blood, Captain Blood 100th, Uncategorized
"Excalibur and Taunton Castle Gate" by Ken Grainger, 2009. At Taunton Castle was Dr. Peter Blood tried and convicted of treason.
"Perhaps there ought to be a chapter about the coronation. The barons naturally kicked up a fuss, but, as the Wart was prepared to go on putting the sword into the stone and pulling it out again till Doomsday, and as there was nobody else who could do the thing at all, in the end they had to give in. A few of the Gaelic ones revolted, who were quelled later, but in the main the people of England and the partizans like Robin were glad to settle down. They were sick of the anarchy which had been their portion under Uther Pendragon: sick of overlords and feudal giants, of knights who did what they pleased, of racial discrimination, and of the rule of Might as Right."
—T. H. White, The Once and Future King
January 20, 2021 Captain Blood, Excalibur, Inauguration, T. H. White, Taunton Castle, The Once and Future KingLeave a comment
Buccaneers, Captain Blood, Captain Blood 100th, Captain Blood 100th Anniversary, Rafael Sabatini
Rebel-Convict Dr. Peter Blood Arrives at Barbados!
"The Emblem of the Shipp Cadiz Marchent that was in the yeare 1682. The Cadiz Merchant was likely similar to the Jamaica Merchant. From Edward Barlow's manuscript of his seafaring career. Barlow made two voyages to Jamaica in the this ship, from 1680 to 1682. National Maritime Museum.
"Towards the middle of December the Jamaica Merchant dropped anchor in Carlisle Bay, and put ashore the forty-two surviving rebels-convict." Rafael Sabatini in Captain Blood: His Odyssey.
The Jamaica Merchant was in fact a real ship home-ported in London. Commanded by Captain Charles Gardner, the ship took sixty-eight rebels-convict aboard, probably at Weymouth, and set sail in late October or early November 1685 for Barbados. Only one rebel-convict died en route. More died on other voyages, and the desperate conditions the rebels-convict were subjected to on the voyages were much as Sabatini describes them in his famous story.
Studio publicity still for Captain Blood (Warner Bros., 1935) suggesting the conditions aboard the Jamaica Merchant. In reality the space would be much more cramped and the ceiling would be much lower (probably five to five and a half feet). One period account describes conditions as appalling as those shown above.
In the novel, it's implied that the rebels-convict are brought ashore immediately for sale, or more correctly, for the sale of the contracts for their sentences of indentured servitude for rebellion against their rightful king.
The reality was a little different. The rebels-convict were kept aboard for at least several days before being brought ashore, and it was not until March 12, 1686 before the Jamaica Merchant convicts were sold, in part to permit them to recover their health. Many after their contracts were sold were worked hard and abused, but most still had far better lives than African slaves did.
A rather fanciful representation of what is perhaps meant to be–and should be–a sugar mill. In reality in Barbados the wheel would be for pressing sugar cane and would be driven by a windmill, "water mill," or a team of oxen (or occasionally mules). Further, nearly all of those doing the work would not be white servants, as shown here, but African slaves. Publicity still from Captain Blood (Warner Bros., 1935).
French sugar mill for pressing sugar cane. From Histoire naturelle et morale des iles Antilles de l'Amerique by Charles de Rochefort, 1665. John Carter Brown Library.
Although the term "slaves" is often used, and many rebels-convict were abused as if they were slaves, they were in fact indentured servants with a limit of ten years, not life, on their servitude, and they had many rights that slaves lacked. At bad as it might be, indentured servitude was by no means equivalent to the enormity of the enslavement of Africans or Native Americans in the Americas.
Copyright Treasure Light Press LLC. First posted December 20, 2020.
December 20, 2020 January 20, 2021 Barbados, Captain Blood, Rebels-Convict, Slavery, Sugar PlantationLeave a comment
Captain Blood, Captain Blood 100th, Captain Blood 100th Anniversary, Swordplay
Olivia de Havilland's Fencing Poses
Olivia de Havilland, star of Captain Blood, The Adventures of Robin Hood, and numerous other films, posing with stage rapiers and smallswords, fencing masks, and star-to-be Errol Flynn in a series of Warner Bros. publicity stills for Captain Blood (1935). Ms. de Havilland passed away two months ago at the age of 104.
First posted September 21, 2020. Last updated November 27, 2020.
September 21, 2020 November 27, 2020 Captain Blood, Errol Flynn, Fencing, Olivia de Havilland, SwordplayLeave a comment
Dr. Blood on Trial in Film!
A very quick look at the trial of Dr. Peter Blood as depicted in two film versions.
In support of the 1924 Captain Blood starring Walter Kerrigan, Vitagraph issued a series of advertisements in the form of newspaper headlines and articles, with text credited to author Rafael Sabatini:
Peter Blood is a bit too well-dressed in the scene, given his more than two months in a crowded jail. Sabatini's original line is far more effective than the line in the film (see the image on the left above). From The Film Daily, Sunday August 31, 1924.
Detail from the advertisement above.
The sets in the 1935 Captain Blood were intended to be more figurative than entirely accurate, reflecting more the psychological impact of the trial. The sense of law-run-amok under the guise of patriarchal law and order is inescapable. The downside is that the set appears more theatrical than authentic.
The Bloody Assize courtroom in the Great Hall of Taunton Castle as depicted in the 1935 Captain Blood starring Errol Flynn. From the blog The Blonde at the Film.
The prisoners at the bar; Dr. Blood looks as if he has indeed been jailed for more than two months. From the blog The Blonde at the Film.
Copyright Treasure Light Press LLC, 2020. First published September 20, 2020.
September 20, 2020 September 20, 2020 Captain Blood, Captain Blood 100th Anniversary, TrialLeave a comment
Dr. Peter Blood Tried for Treason!
Taunton Castle as it appears today, much as it did in 1685. Wikimedia Commons: photograph by Simon Burchell.
The 19th of September: On this day in 1685, Old Style, fictional Dr. Peter Blood was tried and convicted of treason at Taunton Castle, in spite of his having done nothing more than obey the dictates of his conscience and his profession in treating a wounded rebel.
The trial was in fact quite real. From a draft end note to the forthcoming annotated Captain Blood: His Odyssey:
The 19th of September was the second day of the Taunton Assize in Somerset, the "chief seat of the rebellion." Held in the Great Hall of Taunton Castle and presided over by Lord Chief Justice George Jeffreys, more than five hundred prisoners–514 to 534–were tried over two days. Four pleaded not guilty the first day; three of these men were sentenced to death but the fourth was set free. Approximately three hundred fifty more pleaded guilty the first day and were convicted. On the second day, many of the remainder pleaded guilty and were convicted. One hundred forty-six of those convicted at Taunton were sentenced to hang. Two were reprieved, but the rest were distributed among thirty-six nearby towns where they were hanged, dismembered, tarred, and their dismembered quarters hung from gibbets and various other convenient objects as a warning. Fifteen others sentenced to death were by accident left off Warrant for Execution. Two hundred eighty-four were condemned to transportation, and roughly seventy-seven were variously freed on bail, remitted to jail, recommended for mercy, or otherwise avoided the noose or transportation.
Peter Blood was one of the fortunate–or should we say, less unfortunate–ones, for he was, like the very real Henry Pitman who helped inspire his story, sentenced to be transported to Barbados for ten years in servitude.
Lord Chief Justice George Jeffreys attributed to William Wolfgang Claret, circa 1678 to 1680. Wikimedia Commons.
Copyright Treasure Light Press LLC. First published 19 September 2020.
September 19, 2020 Bloody Assize, Captain Blood, Dr. Peter Blood, Judge Jeffreys, Taunton AssizeLeave a comment


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The Growths on This Child's Tongue Led to an Extremely Rare Medullary Thyroid Cancer Diagnosis
The growths singled to doctors that the kid had a genetic condition—that's associated with a fatal cancer.
Maggie O'Neill
By Maggie O'Neill Updated March 05, 2020
The growths on a 7-year-old boy's tongue signaled to doctors that the child had a genetic condition—that led to an extremely rare cancer diagnosis.
The child was taken to a pediatric ENT clinic to have the painless but firm, slow-growing nodules looked at, according to a case report published today in the New England Journal of Medicine. The nodules had been observed in the patient for three years, the case report says.
When doctors examined him, they decided to cut the nodules out. They then discovered those nodules on his tongue, made of nerve tissue, were actually a symptom of a condition called multiple endocrine neoplasia (MEN) syndrome, a rare endocrine system disorder that can be associated with medullary thyroid cancer, which the patient was later diagnosed with.
So, what is thyroid cancer—specifically, medullary thyroid cancer?
Thyroid cancer affects the thyroid, a small, butterfly-shaped gland situated below your voice box. The thyroid produces thyroid hormone (TH), which regulates your body's metabolism, heartbeat, temperature, mood, and other important processes—reaching out to nearly every single cell in your body.
Thyroid cancer isn't all that rare. In fact, more than 50,000 people are diagnosed with it each year in the US, according to estimates from the NIH. But the specific type of thyroid cancer the patient had, medullary thyroid cancer, accounts for only 1 to 2% of thyroid cancer diagnoses in the US, the American Thyroid Association says.
health tongue infection virus condition
Credit: NEJM
RELATED: Valley Fever Fungus Caused the Huge Lesion on This Man's Tongue
Medullary thyroid cancer can be fatal and is typically worse than the two most common types of thyroid cancer (papillary and follicular), Sam Huh, MD, chief of otolaryngology at Mount Sinai Brooklyn, tells Health. It usually presents as a nodule or lump in the thyroid. "The medullary cancer is very aggressive. Usually [patients with it] need surgery."
The patient featured in the new case report underwent what sounds like an intense surgery to treat his cancer. "They removed the whole gland. Because it's very aggressive, you would do a lymph node dissection. They removed all the lymph nodes in his neck," Dr. Huh explains.
RELATED: This Is What Happens When an E-Cigarette Explodes in Your Mouth
While that seems pretty severe to those of us who didn't go to med school, it's actually not as bad as you might think. "You can eat and talk the same day [of the procedure]. If you catch thyroid cancer early enough, the surgery goes pretty well. Complication rate is probably less than 5%."
Thankfully, the patient in the new report has healed well. The report said that just nine months after surgery he had "recovered well and was growing normally."
RELATED: Rare Skin Infection Caused This Man to Have a 'Double Tongue'
A Man Developed 'Restless Anus Syndrome' After Contracting COVID—Here's What You Need to Know
A Teenage Girl Developed 'Rapunzel Syndrome' After Eating Her Own Hair—Here's What That Means
This Woman Found Out She Had Tapeworm Larvae in Her Brain After Suffering Painful Headaches
Doctors Found a Live Worm in a Woman's Tonsil 5 Days After She Ate Sashimi

redpajama_set_name: RedPajamaCommonCrawl


🙂 Besides their beautiful smiles, these 2 boys are about the best behaved kiddos to boot, a photographers dream!! Thanks for another great session Hanf's!!! To see more of this sweet family, just click on the gallery tab, then families, and finally Hanf 2015.


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Category: Public Law
by Nick Kotzman
Vindication, but no value: no substantial damages where no provable loss or injury
In a decision with broader public law implications, the High Court held that, absent actual loss or injury, successful plaintiffs can expect no more than an award of nominal damages to vindicate an infringement of their rights, and that 'vindicatory damages' have no place in Australian common law.
Protection visas can be refused under s 501 on character grounds
In a joint judgment, a Full Court of five members (Allsop CJ, Kenny, Besanko, Mortimer and Moshinsky JJ) held that the power in s 501 of the Migration Act 1958 (Cth) to refuse to grant a visa can be used to refuse an application for a protection visa, even if the applicant otherwise satisfies the protection visa criteria.
by William Newland
Apprehended Bias and the Fast Track Review of Visa Refusals
A unanimous (five Justice) High Court approval of the apprehended bias test in Ebner v Official Trustee in Bankruptcy. Three Justice majority conclusions about the application of the Ebner test, and the requirement of materiality in a jurisdictional error before a decision will be invalidated.
Contracts, Restitution and General Commercial Law / Public Law
Exploring the impact of the COVID-19 pandemic on law and jurisprudence.
by Joel Tito
Fraud in a public law context: less bloody than its common law cognate
A majority of the Full Court of the Federal Court has found that fraud by an agent can stultify the function of a tribunal. The fraudulent conduct need not be of the 'red blooded' species proscribed by the common law.
by Laura Hilly
Injunctions to restrain a third-party pending the remaking of an administrative decision
Can a court issue an injunction to restrain a third-party from taking action that would threaten the subject of judicial review proceedings after it has set aside a decision and ordered that it be remade according to law?
by Jane Gregory
Judicial review of executive power: the unreasonableness ground
In Australia, it is presently unclear whether and to what extent the unreasonableness ground applies to administrative action based on non-statutory executive power. Earlier this year, Robertson J handed down a decision which advances the limited jurisprudence in this area.
by Christopher Hibbard
Another domino falls? The High Court dismisses the latest Kable challenge
The High Court has dismissed yet another challenge to state legislation relying on the Kable principle. The case concerned legislation that gives very broad power to courts. The Court's split decision exposes a significant division on the Court as to the nature of judicial power.
by Rachel Amamoo
"Anonymous" tweets on political matters ― a cautionary tale for employees in the public service
In this case, the question for the High Court was whether Code of Conduct legislation, that applied to Australian Public Service employees, imposed an unjustified burden on the constitutionally implied freedom of political communication. The High Court's answer was ― "No".
by Edwina Smith
The UK's latest on Parliament's power to enact privative clauses
The UK Supreme Court recently handed down a decision about privative clauses, R v Investigatory Powers Tribunal [2019] UKSC 22. The decision is relevant to Australia because it prompts consideration of the scope and basis of Kirk v Industrial Court of New South Wales.
Queensland electoral laws survive a challenge
A majority of the High Court held that Queensland laws regulating the making of gifts to political parties were valid, and that a Commonwealth law purporting to permit such gifts was invalid.
State legislatures cannot vest jurisdiction in executive tribunals over residents of other States
The High Court unanimously held that a State legislature could not vest jurisdiction in an executive tribunal to hear a dispute between residents of different States, but split 4:3 on why
The High Court has read down a statutory secrecy provision that purported to shield information from production to a court on judicial review. In doing so, it has confirmed that s 75(v) of the Constitution protects more than simply the right to commence proceedings for judicial review.
by Jonathan Barrington
Power to detain under the Migration Act involves no exercise of judicial power
In Falzon v Minister for Immigration and Border Protection, the High Court dismissed a challenge to the validity of s 501(3A) of the Migration Act. The Court held that the provision, which provided for the cancellation of a visa in certain circumstances, did not confer judicial power on the executive.


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Зуль-Халаса () — божество древнеарабской мифологии. По-видимому, считался могущественным божеством, но функции его точно не определены. Почитался арабскими племенами, обитавшими в Центральной Аравии (хасам, баджила, азд, хавазин и др.). Культ Зуль-Халаса отправлялся в Мекке и Табале. В Табале находилось святилище Зуль-Халаса, где идолом божества служил белый камень, увенчанный высеченной на нём короной. В святилище также находилась статуя воина, вооружённого луком. Зу-л-Халасу был посвящён ежегодный праздник, сопровождавшийся ярмаркой, которая некоторое время существовала и во времена ислама. Зу-Л-Халас не вошёл в число древнеарабских божеств, упоминаемых в Коране.
При пророке Мухаммаде табальское святилище Зуль-Халаса было уничтожено, на его месте была построена мечеть, а идол божества сделан порогом мечети.

Литература

Боги по алфавиту

redpajama_set_name: RedPajamaWikipedia


Guarding services aren't quite the same as they were 10 or 20 years ago. Technology now works as a partner alongside security guards.
The two compliment each other perfectly and allow guards to respond faster and stay safer. With the rise of Internet of Things devices, you'll likely see even more technology being used in conjunction with guard services.
While some tech devices are hackable, the impact of technology on security guard services is actually positive. All it takes is the right security plan to mix tech and guards to keep your business more secure.
Advanced surveillance systems and drones are making it easier than ever to increase security coverage without having to add more guards. Obviously, you still need guards to respond to any potential security incidents these surveillance options discover.
Now, security guards are able to monitor footage, with some systems being so advanced that they automatically recognize potential problems without a physical guard monitoring them. For large businesses or those on a tighter budget, mixing technology with guards boosts security coverage for a safer overall environment.
It's vital for security guards to know immediately if something's wrong. However, they're only human and can't possibly see everything, everywhere. With technology to help monitor wider areas and to notify someone when the wrong door or key card is used, security guards are notified in real-time of potential security threats.
Plus, smartphones and smart watches make it easier than ever to get notifications and communicate with each other. Guards are able to call for backup with a tap versus making an actual call.
In the past, it was nearly impossible for businesses and security companies to monitor where guards were at all times. Obviously, as a business, you want to make sure the guards are doing their jobs. For security companies, it's important for us to know that our guards are staying safe. Technology solves both problems.
For instance, BOS Security utilizes GPS tracking with RFID tags to keep track of our security guards at all times. We even provide them with handheld units that send out an alert if they're stationary for a set period. We use these technologies to notify someone that something may be wrong with the guard.
For businesses, you're able to see in real-time that security guards are patrolling or working in specific areas. It's an accountability step that we take to protect our guards and provide you with peace of mind.
Security programs now make it easier to access vulnerabilities in businesses, properties and gated communities. These programs help both you and security companies develop better security strategies.
For instance, if you're experiencing regular issues, simply adding more guards might not be enough. You may need to take additional measures, such as blocking off unused exits or fencing in the parking area and adding better lighting.
It's only when you have a better idea of your vulnerabilities that you're able to take control and prevent as many security issues as possible.
For security companies, technology makes guard management better than it's ever been. For instance, at BOS Security, we're able to keep track of all our guards across businesses throughout the country. We're also able to improve communications and streamline the process to provide the best possible service to our clients.
For multi-site businesses, these management benefits extend to you as well. When you have security teams as multiple locations, you need technology to help you manage them. You can quickly see which areas may need additional security and even uncover better ways to deploy guards during busier times.
Overall, it's easier for clients and security companies for ensuring the best security and the right management of security resources.
Curious how we utilize technology to improve our security guard services? Don't hesitate to contact us at 404-793-6965 today for answers to all your questions.
We'll also be happy to help you uncover your own unique security needs. Request our free Security Needs Assessment for more details.


On Monday 4 December, Lauren Santo Domingo, Giovanna Battaglia, Poppy Delevingne, Derek Blasberg & Moda Operandi hosted an after-party for the 2017 Fashion Awards in London. The party was held at the Chiltern Firehouse immediately after the ceremony and demonstrated the continuous support of Moda Operandi of the British fashion industry.
Among the exceptional guests was Donatella Versace who won the fashion icon award spotted talking to Dame Natalie Massenet, Edward Enninful, and Lewis Hamilton (dressed in Versace for the occasion). Karlie Kloss, who hosted the Fashion Awards, arrived at the party in a total black look (after changing clothes several times during the evening).
She was immediately joined by Derek Blasberg and Alexa Chung, who wanted to celebrate with Peter Dundas, Peter Pilotto, and Christopher de Vos. Julien Macdonald was sitting majestically at his table (just opposite Donatella's) and was seen chatting with his usual group of close friends, occasionally waving and smiling at Winne Harlow and Jourdan Dunn on the dance floor. It was truly an unforgettable evening. The night with elegance and vitality at the Chiltern Firhouse certainly cannot be missed by guests of this kind.


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Q: Adding index on a compound index on Mongodb I created a compound index on my db using:
db.collection.ensureIndex({a:1,b:1})

Now I realized I need another level in the composition:
db.collection.ensureIndex({a:1,b:1,c:1})

Will Mongodb create a whole new index, or will it know to modify the existing one?

A: Calling ensureIndex with different fields will create a new index.
You can confirm this after running both commands by using getIndexes to see what indexes exist for your collection:
db.collection.getIndexes()

If you no longer want the original index, you can drop it using:
db.collection.dropIndex({a:1,b:1})

redpajama_set_name: RedPajamaStackExchange


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I Frontiera sono sorti dalle ceneri dei Kina (storico gruppo della scena hardcore punk europea) nel 1997 ad Aosta.
Ad Alberto e Sergio, rispettivamente chitarra e batteria, si è unito Roberto Dini (componente dei Molto rumore per nulla) al basso.
L'esordio live dei Frontiera avviene il 1 novembre 1997 (i Kina si sono sciolti da pochi mesi) aprendo la serata ai concittadini Superjack al Pacì Paciana di Bergamo. Cercando di affrancare il gruppo dagli inevitabili collegamenti coi defunti Kina, la band ha suonato una miriade di concerti in tutta Italia e all'estero (Francia, Germania, Polonia, Svizzera). Per la caratteristica struttura armonica e melodica dei pezzi, per le voci nel cantato di Alberto e Sergio, per l'incedere delle canzoni, band sarà comunque sempre considerata da tutti come la continuazione naturale dei Kina.

I Frontiera sono stati attivi fino al dicembre 2012. Dopo la fine di quell'esperienza, Sergio Milani formerà gli Ombra e Roberto Dini darà vita ai Tutto Nero.

Componenti
Il gruppo, subito partito come quintetto, diventò presto un trio composto da:
 Sergio Milani - batteria e voce
 Alberto Ventrella - chitarra e voce
 Roberto Dini - basso e voce

Discografia
 1999 - Demo '99
 1999 - Meno di zero
 2001 - Ti ho visto in piazza
 2003 - Strana corsa
 2006 - Sulle impronte dei giganti

I Frontiera sono anche presenti sulle seguenti compilation:
 2001 - tributo ai Minutemen curata dalla Cracks in the Sidewalk Minutemen Wrote Propaganda Songs
 2003 - tributo a Fabrizio De André, curato da "A - rivista anarchica": 1000 papaveri rossi
 2003 - compilation per i 10 anni dell'etichetta Rumble Fish What the hell we're still doing here
 2004 - benefit per i canili genovesi di via Adamoli e Sestri Ponente curata dalla Four Dogs Records
 2004 - Urla nel silenzio (Urla nel silenzio rec.)
 2004 - Speciale Punk (Cd allegato al n. 19 della rivista Rocksound)
 2005 - La nostra scelta (AccidiaHC.)

Note

Voci correlate
 Kina (gruppo musicale)
 punk rock
 Hardcore punk

Collegamenti esterni

Gruppi e musicisti della Valle d'Aosta


This entry was posted in Divine Encounters, Labyrinth and tagged Astral Travel, Audre Lorde, Goddess Macha, Goddess Morrigan, Journeying, Rede, Resiliency, Resistance by Wandering Woman. Bookmark the permalink.
a blessing on the King who granted them.
let him come to claim his loan.
Femhen's crown is still yellow.
but their cheeks are not old and withered….
flood after ebb to come to me.


See that teeny hint of 'pinkish' tinge in the soup? Well, that's because this creamy chicken herb oven soup was garnished with delicious and healthy beet stems. And, the heat of the soup resulted in the stems bleeding out some of their hue. Now, this is a nutritious hue that's good for you, but if you don't want a tiny tint to your soup don't use beet stems! If you like a chunk soup, then this creamy chicken herb oven soup will make you happy!
You can certainly make this recipe in your slow cooker. In fact, the vessel I'm cooking in is the removable part of my slow cooker. I just thought it would be nice to try this soup in the oven and see what happened. And, it was a great success, so for those who don't have a slow cooker, you have an option!
What makes this soup creamy is the chive cream cheese. Now if you don't want to add that then substitute some cream of chicken soup (organic) or even an organic cream of mushroom soup. I loved the taste and texture of the chive cream cheese! Another great aspect of this soup for nutrition is the use of bone marrow, and if you can't find a nice bone from your butcher, then dig into the recipe because I'll give you another option.
Finally, I'm really into fresh herbs in cooking and when I can find them rather inexpensively, like marked down to half price at my local market, I grab them because I know althought they may be a tad bit wilted and 'browning' they're perfect for cooking and using in so many things. They're just not 'pretty' enough to use as garnishes!
In a large Dutch oven pot, put the olive oil, garlic cloves, onions, celery, carrots, chicken breast pieces, potatoes, bone marrow, chicken soup mixture, cream cheese, salt/pepper, chicken stock, water and blend well. Add the herb bouquet and blend into the mixture.
Put a doubled piece of foil on top then the lid. Press down on the lid to secure foil. Put in a preheated 400 oven for about one and a half to two hours.
Remove to the stove top. Stir and blend well working in all the creamed cheese into the broth. Let the mixture 'rest' on the stove top on simmer until ready to serve.
Remove the bone marrow. If using bone-in/skin-on thighs, remove and debone. Return the meat to the soup. Discard the bones and skin. Remove the cooked herb bouquet and discard. Add the fresh parsley before serving.
If you choose to add beet stems as you see in my photos a slight 'pink' hue, remember these stems will 'color' the soup. They're delicious and healthy, but if don't want pink soup, don't add them while cooking. Just use them as a garnish!


text:
The Eagle's Flight
114. Northern Men, Northern Steel
Northern Men, Northern Steel
Isarn
The fortunes of war had changed for Isarn. The Red Hawks had bitterly tried to defend their siege of Castle Grenwold, but constant harassment from Isarn's forces had made it untenable. Supplies from Middanhal could no longer be expected to arrive; soon, the besiegers had felt they were beleaguered themselves and were forced to break camp, lifting the siege. As they began a march back towards Middanhal, the harassment continued, constantly costing lives among the Hawks. Under strict orders from Konstans not to engage in actual battle, the Hawks could do nothing but defend themselves in these skirmishes and hasten back towards the safety of Middanhal. As Drakevin's Day arrived, all forces loyal to Vale had retreated inside the double walls of the capital.
This meant that at last, control of the North had returned to Isarn. The jarldom was no longer under threat of invasion, and all enemy forces had been driven from the lands of his allied landgraves. After a dark winter and long months that had portended defeat, the northerners sang songs of victory once more.
In the Isarn camp some fifty miles north of Middanhal, a row of prisoners was marching out. With shackles on their ankles, their progress was slow. All of them were Red Hawks taken captive during the last months of fighting. Being mercenaries, Isenhart had little respect for them; rather than allow them to be ransomed, they were being sent to the iron mines of southern Isarn. In this manner, they would be put to use in aiding the war; their labour would retrieve the ore that the Dwarven smiths of Silfrisarn refined and forged into Nordsteel armour to equip Isarn's allies.
Eumund was overseeing the departure of the prisoners when his kinsman Athelgar hailed him. "Eumund," the latter called out. "Your father summons you to council."
"Again? I thought we had decided to leave Theodstan for now." He turned to join Athelgar in walking towards the middle of the camp.
"From what I gather, this has nothing to do with Theodstan. Scouts returned with news."
"What news?" asked Eumund.
"I was not told yet. I assume you will hear at the council. Some of the thanes have a card game going on. Join us after the council if you wish," he suggested.
"Why not," his cousin agreed.
They reached the jarl's tent and split up. Eumund walked inside to find both his father, his uncle Athelstan, and his father's cousin Athelbold waiting; the latter was reading a letter but looked up as Eumund arrived. They were seated on simple chairs, forming a half-circle inside the tent. "Finally," Isenhart grumbled as his son took a seat. "Let us begin. I have been told that an army is amassing in Theodstan."
"While he refuses to join us? So he must be planning to assault us," Eumund argued.
"It could simply be a deterrent against the possibility of our attack," Athelbold countered.
"Quiet," Isenhart growled. "There is more. This is not Theodstan's army. Although they march under no banner, our spies have discovered the army comes from the highlands."
"Heohlond?" Athelstan frowned. "Does this mean King Brión is entering the war?"
"So it seems. The numbers are small. A thousand men at most," Isenhart related.
"An advance guard, perhaps sent to reinforce the Hawks," considered Athelstan, the jarl's brother and his foremost commander. "If we had not been so swift to beat Vale's forces back, these highlanders would have arrived undetected by us."
"Perhaps it is not King Brión who sends this force," Athelbold interjected. "Else they would be travelling under the mark of Clan Cameron, surely."
"They could be from another clan," Eumund pointed out. "That would explain why they hide their origin. They have not officially joined the war, but simply sent their warriors to Adalrik."
"It makes sense that Vale would scramble to find new allies now that his mercenaries proved so unreliable," Isenhart snorted. "The question is if they are simply marching through Theodstan, or if the latter is making common cause with our enemies."
"That should be easy to determine," Athelstan declared. "Jarl Theodoric refused to join us. If his levies march with this highlander army, we must assume we face an enemy to the east."
Isenhart grabbed a cup standing on a small table. "Give me your advice on what to do next," he commanded and took a swig of wine.
"We should attack the highlanders immediately before any more of them arrive. Scatter them and destroy the threat," Athelstan stated.
"Agreed." Athelbold, the jarl's cousin, gave a nod.
"What afterwards? Middanhal is the prize," Isenhart told them. "The longer we delay our siege, the more time we give Vale to shore up his defences."
"It is too dangerous to attempt a siege if Theodstan has joined our enemy. Especially if another army from the highlands marches into Adalrik. We will be attacked from both sides," Athelstan warned.
"A small force can besiege Cragstan and keep Jarl Theodoric enclosed. We need not take the city, merely prevent him from fighting," Athelbold argued. "That will also allow us to bolster our provisions with what we can plunder from Theodstan."
"What of the highlanders? If we detach troops to maintain a siege of Cragstan, they will be vulnerable to any relief army arriving from Heohlond," Isenhart contemplated. "We will have to invade Heohlond afterwards."
"I think we can do this swiftly," his brother claimed. "If King Brión is behind this, we march to Cairn Donn. It will not take us long, and the city's defences are surmountable. If Vale's new ally is another clan, we force the king to respond. Given he would have lost his throne and head if not for my victories in the highlander war, we should find him more amenable than Theodstan has been."
The jarl sat thoughtful for a moment. "Get the army ready. We march against Theodstan tomorrow."
His commanders rose quickly. "It will be done," Athelstan promised. He and Athelbold left Isenhart and the tent. "My sympathies once more, cousin," he added, gesturing towards the letter in the other man's hand.
"It is what it is, but thank you," Athelbold muttered before they separated.
Whilst Athelstan went to issue orders, Athelbold went in search of his son. He found the latter sitting outside another tent along with several of Isenhart's thanes. They sat on the ground with a folded cloak in the middle, acting as an improvised table. Stacks of copper petties and silver eagles lay on top, and the men were dealing cards while jesting and laughing. "Athelgar."
The youth looked up and noticed his father. "What is it?"
"I must speak with you," Athelbold told him, nodding for his son to follow him.
Athelgar gave his companions a chagrined look. "If you sorry lot of wretches look at my cards, I will have the jarl string you up," he impressed upon them and received only laughter in return. Getting up, he walked over to join his father. "What is amiss?"
"Your mother is ill." Athelbold waved the crumbled letter in his hand.
All ease vanished from Athelgar's face. "Gravely?"
"The jarlinna would not write otherwise."
"Are you leaving?"
Athelbold shook his head. "We expect battle soon, so my place is here. But you are her eldest child. It will comfort her to have you by her side."
"I will leave immediately," Athelgar declared. "Anything I should do?"
"Just provide your mother with comfort," his father instructed. "And if the worst should happen," he added, swallowing, "comfort your siblings. The youngest will not understand."
"Of course. I shall write you when I am home," the youth promised.
Athelbold placed a hand around his son's neck, patting his shoulder with the other hand. "Good. Gods willing, I will be able to go home soon."
"Until then, Father."
Soon after, Athelbold watched his son ride out of camp with a thane as attendant, moving west towards Silfrisarn.
The Isarn army would have been heading out in any case, but preparations for the march were swiftly amended; instead of besieging Middanhal, Isarn would be seeking an open battle with the highlanders. In some ways, this made matters simpler; the main camp, strongly fortified and at a location unknown to the enemy, could remain occupied for the time being. There was no need to pack everything up and move it towards Middanhal. On the contrary, speed was of the essence to catch the highlander army unaware and before reinforcements might arrive.
Thus, instead of having the next days to gather everything and send it on wagons along the main road towards Middanhal, the majority of the army had to be ready to move out the next day. Furthermore, their path was directly east, crossing into forests and over hills rather than roads. A forced march in arduous terrain lay ahead, calling for provisions to be packed into sacks and anything else that could be carried; the wagon train with any other supplies would have to follow at its own pace on roads more lenient to wheels.
The changes in preparation were handled with speed and competence by the Isarn army. After more than a year of campaigning, they had become experienced soldiers. Leaders such as Athelstan, Eumund, and former men-at-arms from the Order had spent winter instilling discipline and routine through rigorous training, which had yielded results. The army of Isarn was becoming a formidable fighting force, equipped with the finest steel available in Adalrik, and the day after the jarl's council, they marched east against Theodstan.
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Wednesday, January 8, 2020 10:40:09 PM
Chronicler of Adal
http://annalsofadal.net
Bio: Indie writer with various projects, though The Chronicles of Adalmearc is the one dearest to me. Because of this, I have decided to make it free to reach as many readers as possible. If you enjoy it, I would ask you to consider joining my Patreon; certain tiers from $5 and above will earn towards receiving the full series as hardcovers. Advance chapters are available from $2 and upwards. See also my website for more information on my work and world.


Check out HUF team riders Brad Cromer, Dan Plunkett, Josh Matthews, Kevin Terpening, and Peter Ramondetta, as well as special guests Massimo Cavedoni and Ryan Lay, as they hit San Antonio, Austin, Houston and Dallas during the recent HUF in Texas trip. Let me just say no comply over a huge rail – sick!
16mm by Martin Reigel & Kevin Terpening.


text:
Tennessee teen commits suicide after being outed by cyberbullies
Posted 3:26 pm, October 1, 2019, by CNN Wire
MANCHESTER, Tenn. — Channing Smith, a 16-year-old from Tennessee, took his own life last week after two classmates publicized screenshots of explicit text conversations he had with another young man.
Now, the Smith family is demanding justice for the teen — and in the process, they're raising awareness of the dangers of cyber bullying.
Channing's story gained attention after his older brother, Joshua Smith, posted an emotional note on Facebook about Channing's suicide.
According to Joshua Smith, Channing shot and killed himself after friends posted chats on Snapchat and Instagram that outed the teen as bisexual.
Smith criticized Channing's school, Coffee County Central High School, in another post, claiming school leadership didn't do enough in the days after Channing's death.
"I'm beyond disappointed to say the least," Smith said of the school's response.
Smith said the school didn't make mention of Channing's death on any of its social channels or website, and did not reach out to the Smith family.
Charles Lawson, the director of Coffee County Schools, said in a statement the school district "is not at liberty to make any statements concerning the matter at this time."
"Counseling was provided at the school for students and staff who were struggling with what occurred," the statement continued.
"The Tennessee Suicide Prevention Network has reached out to provide resources for those that are dealing with this difficult situation."
The Smith family has also called out their local district attorney, Craig Northcott.
In a Facebook post, Josh Smith said the DA refuses to take any criminal action.
Smith answered affirmatively when asked if he thinks criminal charges should be brought against the students who shared Channing's messages.
In a statement, Northcott's office disputed the claim that he has purposefully avoided taking action regarding Channing's death.
"My office has encouraged, cooperated in and supported the investigation into the events leading to this death," the statement reads.
Northcott goes on to say he cannot comment on an "open investigation or prosecution."
"When all relevant facts are available, my office will advise the Coffee County Sheriff's Department on what charges, if any, we believe are appropriate to help guide it in that decision," according to the statement.
In addition to their calls for #JusticeForChanning, Joshua Smith and the rest of the Smith family are urging people to consider the dangers of cyberbullying.
"The world will hear more from me. I'm not sure the direction that I'm headed but I will fight against bullying, suicide and hate!," Joshua Smith wrote in a Facebook post.
Crystal Smith, Channing's mother, told WTVF that people need to understand the deep consequences their actions can have.
"Just because you think it's cute or funny to make somebody embarrassed or humiliate them, think again," she said. "Because if somebody would have realized that, my son would not be dead."
A Facebook page set up to memorialize Channing has almost 2,000 followers and features photos of students from Channing's school holding signs supporting Channing's family and calling for an end to cyberbullying.
Country star Billy Ray Cyrus also caught wind of the tragedy, and traveled to Manchester to attend a memorial for Channing.
Friend of teen murder-suicide suspect: 'I don't see how this happened'
Texas high school football player asks rival to pray for his mother's battle with cancer
13-year-old girl charged for making threat using finger pointed like a gun in Kansas
Chris Smith became a single dad when his girlfriend died. The Browns cut him this week
Man charged with DUI in fatal Aurora hit-and-run crash
Pennsylvania woman accused of faking cancer received over $10,000 in donations, authorities say
Watch: Shepard Smith announces sudden departure from Fox News in final sign-off
Memory card found on Alaska street labeled 'homicide at midtown Marriott' may have led police to woman's killer
Aurora teen's video of concert goers wearing denim jackets goes viral
8 years after losing both parents, local woman speaks about resiliency, helping others
Local On FOX31 Problem Solvers
Denver attorney files lawsuit alleging state law protects caseworkers accused of misconduct
Indiana teen killed by back-seat passenger while driving


The new second generation of the popular LG Optimus V, Slider LG Optimus now comes to Virgin Mobile, which offers the best facilities such as on-the-go multimedia features - and accompanied with no obligation to pay the contract. By using Virgin Mobile phone, you can freely choose a monthly payment plan which can be limited, in the form of text messages and voice data or you can get just by buying minutes and text you need.
Optimus Slider guarantees comfort in the use of a full QWERTY keyboard complete with some of the sleek lines of the series Optimus and touchscreen display measuring 3.2 inches. The phone is also packed with a single-core processor with a capacity of up to 800 MHz, has an internal memory with a capacity of 512 MB, and has expansion capabilities for using optional microSD memory card (card capacity up to 2 GB).
Optimus is the new slider comes with a camera with a capacity of 3.2-megapixel camcorder is loaded with some interesting features, such as the auto-focus, multiple scene modes tools (eg sports morning, noon and night), some of the key quality settings, the ability of geotagging high, and a variety of settings that can be customized according to your wishes.
LG Optimus Prepaid Slider Phone is powered by the Android operating system Android 2.3 (Gingerbread), offers robust integration with Google services which are more profound - from your Gmail account and Google into Google Maps and YouTube facilities - and give you some quick access to all the way latest applications and some games through the services of the Android Market. You can also make your own calls, send some messages, can play music, and more delicious again you get a bonus of a free hand to use Google Voice as an action.
Another feature of the LG Optimus Slider like ultra-fast Wireless-N Wi-Fi (for access to the house and on-the-go hotspots), a Bluetooth 3.0 as part of hands-free devices and stereo music streaming, full HTML for browsing the web, supported by Adobe Flash, and to facilitate access to both address both personal and corporate e-mail.


This one was such fun and is for the special Runway Inspired Challenge - Baby Shower and will also go into the Paper Smooches "Anything goes" challenge for this week.
I was inspired by the natural colour of the dress with the light polka dot background and, of course, the bow :).
I love the embossed polka dots in the back! Thanks for joining us on RIC!


text:
Toni Cornell Sings 'Nothing Compares 2 U' as Tribute to Father Chris
Lauryn Schaffner Published: December 17, 2021
YouTube - The Tonight Show Starring Jimmy Fallon / Kevin Winter, Getty Images
Toni Cornell, one of the late Chris Cornell's daughters, appeared on The Tonight Show Starring Jimmy Fallon last night (Dec. 16), and sang Prince's "Nothing Compares 2 U" as a tribute to her father.
The 17-year-old posted about the performance on her Instagram earlier this week, writing, "Tune in Thursday! So excited to perform a special song in honor my dad on [The Tonight Show]."
The late Soundgarden frontman originally covered the Prince track live for SiriusXM's Lithium channel back in 2015, and then a studio version was released as part of his posthumous 2020 covers album No One Sings Like You Anymore, Vol 1. Both the song and album were nominated for Best Rock Performance and Best Rock Album Grammys, respectively.
The vocalist's daughter sang an emotional, stripped-down version of the track on The Tonight Show, backed by a piano, acoustic guitars and a string section.
See a video from the performance below.
Toni Cornell has been singing since she was much younger — her father brought her onstage several times in 2015 to sing a duet of Bob Marley's "Redemption Song," and they recorded a studio version of "Nothing Compares 2 U" that they sang together as well, which was released a year after the Soundgarden singer tragically died in 2017.
The young Cornell decided to move forward with her music career after her father's passing, and put out her very first song "Far Away Places," which he produced, in February of 2019.
According to Vicky Cornell, a No One Sings Like You Anymore, Vol. 2 is underway.
Toni Cornell - 'Nothing Compares 2 U' on The Tonight Show
27 Bands Who Were (Mostly) Teenagers When Their Debut Album Came Out
Source: Toni Cornell Sings 'Nothing Compares 2 U' as Tribute to Father Chris
Filed Under: chris cornell, Toni Cornell
Categories: Music News, Videos


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Q: Choosing between two parameters in a model I have a few parameters that are related (let's call them X1 and X2), and I want to use whichever one will provide the strongest model. The model has many other parameters. Would I simply be able to compare the AICc of these two models?
Model using X1:
Y ~ X1 + X3 + X4 + X5 + X6

Model using X2:
Y ~ X2 + X3 + X4 + X5 + X6

This is confusing me as I'm not sure what other parameters will ultimately belong in the "correct" model. Ultimately, X3, X4, etc. may be thrown out. So would I want to test this with potentially "bad" parameters?

A: As long as the data you are using is the same, you can compare the AICc of different models (I suggest you follow Burnham and Anderson and use AICc always). When you "throw out" a parameter, you will get a different value, as both the likelihood and the "parameter penalty" (in AICc, per B&A, it isn't exactly a penalty, but we'll abuse the notation here) will change. If you test with the "bad" parameters, you should see the AICc increase, as any decrease in the likelihood (and it may be an increase if the parameter is really bad) will be offset by the penalty component. The model with the smallest AICc value is your "strongest" model, but models whose AICc is within 2 of the minimal AICc are usually considered of equivalent strength.


text:
Irish newspapers apologize for fake Rome seminarian sex scandal story
Dome of Saint Peter's Basilica in Rome.Credit: Amer Ghazzal/Getty Images
Top Irish newspapers The Irish Times, The Irish Examiner, and The Evening Echo have printed formal apologies for a seminarian sex scandal story regarding the Pontifical Irish College in Rome that proved to be fake.
In May 2018, The Irish Times published a story claiming that two seminarians were dismissed from the Pontifical Irish College in Rome after being found in bed together. The story was subsequently reported by a number of other media outlets.
Claims that the sex scandal occurred after students attended a Mass commemorating Pope Paul VI's 1968 encyclical Humanae Vitae on artificial birth control also proved to be false. There was no such Mass.
Read More: Irish locals taking over role of priests amid Catholic Church's demise
Connor Gannon, a former clerical student at the college in Rome, launched High Court proceedings against a total of eight newspapers to clear his name.
The Irish Times, The Irish Examiner and the Evening Echo have all issued apologies acknowledging they referred to and identified Gannon. The three newspapers have said there was no truth in and no basis for the allegations made, TheJournal.ie reports.
Each publication acknowledged that the article was "false and should not have been published" and have agreed to pay damages to Gannon for the "upset and distress caused to him by the article."
According to the Irish Catholic, a source said that the issue could have easily been sorted out last year by the Irish College authorities in Rome or by the Archbishop of Dublin.
"All he wanted was a simple correction of the record, that he left the Irish College in Rome of his own accord and was not kicked out or found to have been involved in some sexual activity with another seminarian. But the rector Msgr Ciaran O'Carroll refused."
Read More: Irish priests disappointed at Pope's reluctance to ordain female deacons
The source added that the young former seminarian believes that Archbishop of Dublin Diarmuid Martin did nothing to help clear the young men's names.
"Archbishop Martin talks about fostering vocations and looking after seminarians and his priests. This young man gave four years of his life to the seminary and was hung out to dry, the Archbishop did a Pontius Pilate," said the source.
The Irish Catholic reports that lawyers for one of the seminarians had previously criticized media outlets for reporting the allegations without trying to contact the men involved or seek independent confirmation of the story.
Related: Catholic


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Home>Featured>2020 Festival International de Jazz de Montréal – Virtual!
2020 Festival International de Jazz de Montréal – Virtual!
Featured Festivals National Scene
July 23, 2020 September 5, 2020 Sheila Horne Mason18389
Oscar Peterson and Oliver Jones – Courtesy of the Montréal Jazz Festival
A couple of months ago, there was the sad, but expected, news that this year's Montréal Jazz Festival (officially the Festival International de Jazz de Montréal – FIJM) was cancelled due to the pandemic. Then came the great news that there would be a free virtual Festival from June 27 to 30. One of the few upsides to the pandemic is that music is continuing with numerous online events. Although live and in-person musical performances are special and unforgettable experiences, there is something to be said in favor of other kinds of musical presentations. Recordings, documentaries, and videos capture moments in time, allowing them to be saved for posterity, and they can be enjoyed and savored endlessly by countless people.
The FIJM is one of the largest and best live musical celebrations in the world, and that shared experience is missed. However, one of the best things about a virtual concert or festival is its availability all over the world, to people who otherwise would not be able to attend the live musical event.
These unusual times call for unusual measures, so it's wonderful to see so many organizations and individuals stepping up to the plate and providing music. Even when things get back to normal, whenever that may be, it won't be forgotten how artists and musical establishments helped to entertain and calm people who were under stress during this challenging time, and how audiences in turn supported the musicians.
This special virtual edition of the FIJM was presented by TD Bank Group in collaboration with Rio Tinto and its public partners.
On June 27, the 2020 virtual FIJM started on Canadian Multiculturalism Day, and the line-up was fully reflective of the meaning of the day. Myriam Fehmiu, journalist/presenter on Radio-Canada, was the host throughout the Festival. Myriam was joined by Jacques-André Dupont, Festival President-Director General, and Laurent Saulnier, Festival Vice President of Programming, and they welcomed the viewers in French. All the festivities took place at L'Astral Club, in the heart of the Festival location, and a Facebook link at www.montrealjazzfest.com gave the online audience free access to all the concerts.
Between sets, clips were played from past Festivals that showed the vibrancy of the events, as well as the huge variety of performers who have appeared.
Malika Tirolien
Malika Tirolien – Courtesy of the Montréal Jazz Festival
The festivities began with a performance by Gaudeloupe-born, Montréal-based singer/keyboardist, Malika Tirolien. Malika has been a member of Groundfood, The Kalmunity Vibe Collective, and the dynamic multicultural and multilingual group Bokanté. In collaboration with Snarky Puppy, she wrote and sang on the 2013 Grammy-winning album Family Dinner – Vol. 1. She released her first album in 2014, Sur La Voie Ensoleillée, and picked gems from that album to fill much of her Festival set. Malika started her show with the moving "Oliassa," which showcased her rich, soaring vocals. She was given excellent support by the very talented trio of guitarist Philippe Lallier, keyboardist Jean-Michel Frédéric, and drummer Jephté Kalombo. The group segued into an upbeat and beautifully melodic "Patience," and seamlessly entered the sweet tune "Sew," including a stellar drum solo from Kalombo, and great percussive keyboard accents throughout by Frédéric. Tirolien's set was sometimes haunting and retrospective, with a mixture of up-tempo servings, and some great rapping and scatting. The next selection was the beautiful ballad "So Long Ago," which included a brilliant guitar solo by Lallier. This was followed by a pair of songs with a social conscience, "Revolution" as well as "Réparasyons" from the Bokanté and Metropole Orkest album What Heat. Also, included in the set was the flowing and harmonically strong Bokanté gem, "Héritier." Tirolien sang in either French or English throughout her set, depending on the song's origin. However, whichever tongue was used, the strength of Malika's stirring clear vocals shone through, proving once more that music is the universal language. This show was a fabulous beginning to the virtual Festival!
Rafael Zaldivar
Rafael Zaldivar – Courtesy of the Montréal Jazz Festival
Afro-Cuban pianist Rafael Zaldivar started his set with a bang, playing a driving, percussive "A Rock con Leche" from his newest album, Consecration, with Rafael showing his handheld keyboard skills on a solo. He was accompanied by bassist Remi-Jean LeBlanc, drummer Louis-Vincent Hamel, and percussionist Elli Miller-Maboungou. During the show, several people commented live from all over the world, including one that said, "Jazz is life, period!" This was a scintillating high-energy show, with all the musicians matching each other note for note. It wasn't a long set, but it was a wonderfully heart-racing experience for the viewers.
Djely Tapa
Djely Tapa – Courtesy of the Montréal Jazz Festival
Mali-born singer Djely Tapa's debut CD Barokan was nominated for World Music Album of the Year at the 2020 Juno Awards. Prior to releasing Barokan, she was associated with the group Afrikana Soul Sister. Djely came out on stage wearing an eclectic multi-length outfit and brandishing a large feather duster like a wand. She was joined by bassist and laptop player Jean-François Lemieux, guitarist Assane Seck, and drummer Auguste Donatien Dogbo. The world music they played was like a travelogue, transporting the viewers to far-away places in the most sublime way. Djely wasn't just an engaging singer, she also danced enthusiastically throughout the set, obviously having a great time.
Clerel
Clerel – Courtesy of the Montréal Jazz Festival
Singer/guitarist/songwriter Clerel was born in Cameroon and is based in Montréal. His wide-ranging influences include Michael Jackson, Fela Kuti, Donny Hathaway, Al Green, Cesária Évora, and Gregory Porter. He played a duet set with electric guitarist Kento Kataoka, starting with an evocative island-flavored number. He performed songs from his recent EP, Songs From Under a Guava Tree, including "Kiss the Whole World," a bluesy song that changed tempos throughout, and it was a toe-tapping delight. He also played some beautiful ballads, including "Blackstone" in a lovely, intimate way. Clerel has a natural charisma that shines so brightly, even in a virtual concert.
Bïa
Bïa – Courtesy of the Montréal Jazz Festival
Vocalist/guitarist Bïa was born in Brazil, and she sings in French, Portuguese, and Spanish. She was a 2007 Juno World Music Award nominee. She is a living embodiment of Multiculturalism, since as a child, her family was forced to flee from Brazil due to exile. They lived in Chile, Peru, and Portugal, before returning to Brazil after the Brazilian Amnesty Law was enacted. She currently splits her time between France and Quebec, and she has appeared five times at the Festival. During her show, she was excellently backed by cellist Sheila Hannigan, bassist Dan Gigon, and drummer Sacha Daoud. The group performed a beautiful bossa nova-inspired song, and Bïa started her next laid-back ballad with some lovely melodic whistling, then she deftly imitated a trumpet, creating a truly charming rendition. Next came some fine gypsy-jazz with outstanding work by cellist Sheila Hannigan. The final song was a wonderful Brazilian-flavored samba that she started a cappella, then the other musicians chimed in for a great set-ender.
Oscar Peterson and Oliver Jones 2004 Treasures of the Festival Concert
Oscar Peterson was called "The Maharaja of the Keyboard" by Duke Ellington. In a career that lasted over 60 years, he won several Grammy Awards and numerous other honors. He was the first winner, in 1989, of the FIJM prize named after him, the Oscar Peterson Award, which recognizes a performer's musicianship and exceptional contribution to the development of Canadian jazz. He released over 200 recordings and played thousands of concerts across the globe.
Oliver Jones started as a student of Oscar Peterson's sister, Daisy Peterson Sweeney. Jones received a Juno Award and several Félix Awards. He was the second recipient of the Festival's Oscar Peterson Award in 1990, and that same year, he was the subject of a documentary by The National Board of Canada, Oliver Jones in Africa. In 1993, he was named an Officer of the Order of Canada.
A Festival concert with these two piano legends took place on July 10, 2004 at the Wilfrid-Pelletier Theater, and it was a highly anticipated, sold-out event. Festival founders Alain Simard and André Ménard introduced the musicians one by one, starting with drummer Alvin Queen, then bassist Niels-Henning Ørsted Pederson, electric guitarist Ulf Wakenius, and the legendary pianist Oscar Peterson! Despite enduring some significant health problems, including a stroke in 1993, Oscar still played with such verve, energy, and style, that it's clear why he was considered a worldwide jazz icon. The group played the sprightly "Reunion Blues," then performed a gorgeous ballad, "When Summer Comes," followed by the atmospheric and moody "Nighttime." Oscar talked about the passing of Norman Granz, Ray Brown, and John Lewis, and how he was inspired by those deaths to compose "Requiem" a beautifully somber lament. Peterson was visibly moved at the end of this song, which was really appreciated by the packed audience. Then came an immensely fun boogie-woogie that spotlighted each player, and a spirited rendition of "Satin Doll." The show continued with a wide variety of jazz, and some classical music riffs thrown in for good measure. The set also included "Cakewalk," and "Wheatland." The musicians communicated with each other on such a high level, it was incredibly impressive.
Then Oliver Jones came out to thunderous applause and joined the band. Oscar and Oliver performed a version of "Just Friends" that was a divinely inspired duet where they played off each other like they were born to do it. Then they gave a stunning performance of "Hymn to Freedom" that really took the crowd to church! Seeing these two illustrious pianists together was a feast for the senses, and they more than deserved the extended standing ovation they and their fellow musicians received at the end.
Pierre Kwenders
Pierre Kwenders – Courtesy of the Montréal Jazz Festival
Congolese/Canadian musician Pierre Kwenders sings and raps in English, French, Lingala, and Tshiluba. He immigrated as a teenager with his mother to Canada, and he is known for combining African music with Western pop, hip-hop, and electronic music. In 2015, he was nominated for a SOCAN Songwriting Prize. Kwenders' set was the after-party end to the first evening of the virtual FIJM. Pierre came onstage dressed in shades and a cool red hat, and he was accompanied by Olivier Pépin on guitar. The show was interactive, with videos playing graphics behind the performers by VJ Boycott, artist Kando doing a painting, and a spectacular special-effects light show. The music was evocative with several influences perfectly matching the visual presentation. At one point, Kwenders said, "Let's take a moment to go back to the Motherland," and followed with some intense, African-infused music, mixed with techno. Pierre was a bundle of energy, dancing throughout the set.
Sunday, June 28
Jordan Officer
Jordan Officer © Kevin R. Mason
Jordan Officer is a Canadian guitarist who performs jazz, blues, and country, and he has been a Festival staple with many sold-out shows, ever since he opened for Ray Charles in 1998. He has frequently collaborated, recorded, and performed with fellow Canadian musician Susie Arioli. One of Officer's biggest influences was Benny Goodman's guitarist, Charlie Christian, and he is particularly fond of the swing era. Jordan was joined by bassist Sage Reynolds and drummer Richard Irwin. The show started with a ballad, with Officer showing great dexterity on the guitar. The set included "Found It All," "When We Were Just Two," and a sultry "Pennies From Heaven" with a brilliant bass solo by Sage Reynolds. Jordan also performed a Cajun-inspired tune where he played the fiddle, and he followed with a few more fiddle-centric melodies. It had the real feeling of a jazz-influenced hoedown. Officer gave a shout-out to Eddie Lang (who was called the "Father of the Jazz Guitar") with an emotional "A Little Love, A Little Kiss." After a short interview with Myriam Fehmiu, the group ended their set with some swinging honky-tonk.
Mateo – Courtesy of the Montréal Jazz Festival
Juan Mateo Barrera Gonzalez, known by his stage name of Mateo, is a Colombia-born musician who moved to Montréal at the age of 19. He has been influenced by the sounds of Colombia, salsa, Afro-beat, rock, and blues. He received the 2020 Artiste Révélation Prize from Radio-Canada. At the 2019 Canadian Latin Awards, he was nominated for Best Male Vocalist of the Year. The set highlighted songs from Mateo's latest album Vengo De Frente, beginning with his soulful vocals on "Miralo," and segued into the high-energy "Camaleón." Mateo was supported by vocalist/drummer Dan Fiyah Beats, bassist Diego Cruz, and guitarist Tito Sono. The next offering was the romantic, plaintive bolero-paced "Náufrago," with a fine guitar solo by Tito Sono. The group's music was quite expressive throughout, ending their set with a catchy tune, "Aguacero."
Marianne Trudel Trio with Morgan Moore and Robbie Kuster
Marianne Trudel © Kevin R. Mason
Marianne Trudel is a multi-faceted Canadian pianist/composer/arranger. She has had musical partnerships with the likes of Karen Young, Ingrid Jensen, Chucho Valdés, John Hollenbeck, Tony Malaby, and Kenny Wheeler. She has also worked with L'Orchestre National de Jazz de Montréal, which includes some of the cream of the crop of Montréal musicians, like Jean-Pierre Zanella, Christine Jensen, André Leroux, Jean-Nicolas Trottier, and Samuel Blais. She has made seven recordings as a leader.
Bassist and producer Morgan Moore is a Juno Award winner, and he has toured worldwide.
Drummer Robbie Kuster was born in Switzerland and adopted Montréal as his home in 2000. He has performed with Yannick Rieu, Patrick Watson, and Philippe Lauzier.
Marianne Trudel was joined by her fellow musicians, and they played one long song, a lovely minor-key, emotionally powerful ballad.
Jeremy Dutcher
Jeremy Dutcher – Courtesy of the Montréal Jazz Festival
Jeremy Dutcher is a classically trained indigenous Canadian tenor, composer, musicologist, and activist. He is a member of the Tobique First Nation of New Brunswick. His debut CD, Wolastoqiyik Lintuwakonawa won the 2018 Polaris Music Prize, and in 2019, the CD won the Juno Award for Indigenous Music Album of the Year. After studying music and anthropology at Dalhousie University, and his classical training as a tenor, he incorporated the traditional song stylings of his community into his music. His show began with a piercingly beautiful chant while accompanying himself on piano, and Jeremy had great support by cellist Blanche Israël. The set was filled with poignant and evocative songs, and it was a balm for the soul.
Charlotte Cardin © Kevin R. Mason
Canadian singer/songwriter/pianist Charlotte Cardin includes pop, techno, and jazz influences in her music. In 2017, she was nominated for a SOCAN Songwriting Prize, and in 2018, she received two Juno Award nominations, for Breakthrough Artist of the Year and Songwriter of the Year. For her set, Charlotte's clear soprano voice was backed impeccably by Benjamin Courcy on drums and Mathieu Sénéchal on bass and keyboards. In an intimate show, her songs included "Like It Doesn't Hurt" and "Main Girl."
Jaco Pastorius Treasures of the Festival Concert
Jaco Pastorius – Courtesy of the Montréal Jazz Festival
The evening ended with the 1982 concert by jazz bassist Jaco Pastorius, who was a member of Weather Report from 1976 to 1981. He worked with Pat Metheny, Joni Mitchell, Flora Purim, Mike Stern, Al Di Meola, Wayne Shorter, Michael Brecker, Toots Thielemans, Jack DeJohnette, and many others. He was inducted into the DownBeat Jazz Hall of Fame in 1988, and he received several Grammy Award nominations. Although his life was plagued with many difficulties, and he died much too young at 35 after a fight outside a bar in Florida, his work continues to influence musicians. He was also the subject of a 2014 documentary, Jaco.
Jaco's show started with some funky jazz that showed off his excellent chops. The outstanding band was made up of drummer Peter Erskine, Othello Molineaux on steel drums, Don Alias on congas and percussion, Bobby Mintzer on saxophone and bass clarinet, and trumpeter Randy Brecker. There wasn't much talking, but this show was a master class by artists at the top of their game. There was a powerful performance of "America the Beautiful" as a bass solo by Jaco, as well "Donna Lee," "The Chicken," and "Mr. Fonebone." There was everything from bebop and fusion to Caribbean influences, with fantastic solos by each musician. The final song of the evening was "Fannie Mae," which was sung by Jaco, and all the musicians got their well-deserved time in the spotlight. It was quite the memorable concert!
Fredy V. & The Foundation
Fredy V. & The Foundation – Courtesy of the Montréal Jazz Festival
Fredy V. is a singer/songwriter/multi-instrumentalist who made his mark as part of The Kalmunity Vibe Collective in Canada. Wearing a Black Lives Matter t-shirt, Fredy V. started his show with a driving, "Down For Me." Then, a voice-over recounted the grim facts of the Trayvon Martin and George Floyd cases and the protests that have arisen, in acknowledgement of the unrest across the world. Fredy welcomed the viewers, saying, "It's so amazing to be here right now, and we're so happy to be together. It's been a few months, we ain't seen each other…but it's kind of bittersweet, because this is only half of the band. I want to give a sincere shout-out to three members that are not with us: Frank O'Sullivan, David Osei-Afrifa, and Mel Pacifico. We're sending you guys our love, we miss you guys so much, but we're going to represent The Foundation for y'all." They continued with a passionate "My Joy," followed by the funky "One Step," where he sang in English, but rapped in French. Fredy V. was joined by Caulder Nash on keyboards, drummer Ronny Desinor, and bass guitarist Paul Charles. Fredy said, "If you want to evolve, sometimes you have to let go and free yourself" as an introduction to "Free Yourself." After briefly speaking with Myriam Fehmiu, who effusively complimented his music, Fredy V. and the band swung into a super-hot, "Ain't Going Nowhere." They continued with the soulful "Fly With Me" and "Intertwine." He stated, "I didn't think we were going to have a live show this year, yet here we are. It's a beautiful thing, y'all!" He ended his fabulous set with the old sign-off by Don Cornelius on the TV show Soul Train, "Peace, Love, and Soul!" This was a real dance party and a true crowd pleaser!
Following the set, there was a clip of vocalist Melody Gardot talking about her experiences at the Festival, and how she once saw at least eight acts in one evening. This was followed by a video of fans from all over the world sending their love and hellos. It was breathtakingly beautiful.
Carl Mayotte – Courtesy of the Montréal Jazz Festival
Guitarist Carl Mayotte started playing bars and special events at the age of 16. He has played with ensembles of all sizes and worked with singer Bruno Pelletier. Carl's concert began with some pulsing fusion. The next song started with a great solo by Mayotte, and the other band members, drummer Stephane Chamberland, keyboardist François Grégoire, and saxophonist Damien-Jade Cyr, all had moments to explore the conversation in this island-influenced tune. The closing was a haunting ballad that soon picked up the pace, changing tempos throughout, and all the players brought their "A" game!
Jack Broadbent
Jack Broadbent – Courtesy of the Montréal Jazz Festival
British vocalist/slide guitarist/singer Jack Broadbent grew up listening to Radiohead, Robert Johnson, Joni Mitchell, and Davey Graham, and these legends were a big influence on his distinctive style. He has opened for Peter Frampton, Johnny Hallyday, and Tony Joe White, and he has headlined sold-out shows worldwide. Jack started his set by saying, "Hi, this is Jack Broadbent in Montréal. I want to say a big thank you to the Jazz Festival, and a big hello and warm welcome to everybody who's listening out there. Peace." Then he jumped right into the music with "On the Road Again." Next, he played "If" from his CD, Moonshine Blue, where he sounded like an ensemble, even though he was playing the slide guitar alone on stage. Next came a song Broadbent wrote in London, "She Said," which he played and sang with power and magnetism. Jack prefaced his last song by saying, "Thanks very much for listening, and thanks to the Jazz Fest for having me. With the current context all over the world right now, it's time we sat down to have a real discussion before it's too late." It was an introduction to the sensitive finale, "Too Late."
Elisapie
Elisapie – Courtesy of the Montréal Jazz Festival
Elisapie is a Canadian Inuk singer/songwriter, broadcaster, documentary filmmaker, and activist. She's the recipient of a Juno Award for Aboriginal Song of the Year "Taima," and a nomination for the Canadian Screen Award for Best Original Song, "Far Away." She started her show with the elegiac "Darkness Bring the Light." Elisapie said, "I'm so delighted, and so proud, and it feels so good to be with these amazing musicians on this stage in Montréal." Her band members were guitarist Jean-Sébastien Williams, bassist Joshua Toal, and drummer Pascal Delaquis, and they gave her strong support. She covered "Asuguuq" by the late Inuk country-folk singer Charlie Adams. Her music had a hypnotic feeling, casting a spell over the listeners.
Jean-Michel Blais
Jean-Michel Blais – Courtesy of the Montréal Jazz Festival
Composer/pianist Jean-Michel Blais has been influenced by many pianists, including Frédéric Chopin, Sergei Rachmaninoff, Maurice Ravel, Steve Reich, and Philip Glass. Jean-Michel's debut album, II, was released in 2015 and named one of Time Magazine's Top Ten Albums of the Year. During his set, Blais commanded the stage alone at his piano, playing with stunning musicality, technique, and undeniable talent. Jean-Michel didn't talk, but with music this beautiful and calming, no words were necessary.
Miles Davis Treasures of the Festival 1985 Concert
Miles Davis – Courtesy of the Montréal Jazz Festival
Miles Davis was an American jazz trumpeter, bandleader, and composer, and one of the most acclaimed and influential musicians in jazz history. In his five-decade career, he performed with a Who's Who of imminent artists, including Charlie Parker, John Coltrane, Red Garland, Sonny Rollins, Bill Evans, Ron Carter, Herbie Hancock, Wayne Shorter, John McLaughlin, and many other notables in music. Davis won eight Grammy Awards, and had 32 nominations. He received several Best Trumpeter honors from DownBeat Magazine and was inducted into their Hall of Fame in 1962. His recording career included the classic albums Kind of Blue, Sketches of Spain, Birth of the Cool, and Miles Ahead. Davis improvised the compelling score for the 1958 French film, Ascenseur Pour L'Echafaud (Elevator to the Gallows). In 1994, FIJM created the Miles Davis Award, to honor a great international jazz musician for their entire body of work and influence in regenerating the jazz idiom.
The concert began with some funky fusion that surely raised the roof on the concert hall. Next came a stunning rendition of Michael Jackson's "Human Nature," followed by another incendiary number with several superb solos. Miles was brilliantly backed by guitarist John Scofield, percussionist Steve Thornton, drummer Vince Wilburn Jr., saxophonist Bob Berg, Robert Irving, III on synthesizer, and bassist Darryl Jones. The show included a beautifully romantic version of Cyndi Lauper's "Time After Time," "Jean Pierre," "Code M.D." "One Phone Call," and "Something's on Your Mind." Near the end of the show, Miles brought each of the musicians to the front of the stage to enjoy the explosive ovation they received, one by one. It was a classic and unforgettable show.
Jacques Kuba Séguin
Jacques Kuba Séquin
© Kevin R. Mason
For the last 10 years, trumpeter/composer Jacques Kuba Séguin has toured extensively in Eastern Europe. In 2016, a 13-concert tour of Poland, Lithuania, and Germany was the kickoff for the release of album, JKS Litania Projekt With The Bozzini Quartet. He was twice nominated for the Prix Opus in 2015, for both the Jazz Album of the Year, and Concert of the Year for his performance at the FIJM. He just won a Juno Award for Jazz Album of the Year: Solo. He has performed with several musicians on the Montréal jazz scene, including Phillipe Côté, and he took part in Jazzlab and Papagroove. At his concert, after a conversation with host Myriam Fehmiu, the group jumped right into the swing of things with a powerful song that put Jacques' strong trumpet chops to excellent use. He was accompanied by drummer Kevin Warren, bassist Rémi-Jean LeBlanc, and keyboardist Jonathan Cayer. Their music was sometimes darkly intense and percussive, and at other times it was melancholy. This was a very emotionally moving concert that included "Blues pour les CT," from his album Odd Lot – Compilation 15 ans, "L'écrivain" and (from the Juno Award-winning album MiGRATIONS), "Transit," "Never Say Hopeless," and "I Remember Marie in April" (also from MiGRATIONS).
Naya Ali
Naya Ali – Courtesy of the Montréal Jazz Festival
Ethiopian-born, Montréal-raised hip-hop artist Naya Ali burst on to the music scene in 2017 with her debut single, "Ra." Naya has been keeping very busy, playing festivals such as Osheaga, Festival d'été de Québec, Festival International de Jazz de Montréal, La Noce, Le Festif!, Up Here, NXNE, Mural Fest, Montreal en Lumière, Santa Teresa, Montreal Pride, OUMF and FME. She was joined by DJ John Brown for a set that was filled with passionately forceful hip-hop, where Naya alternated between singing and rapping.
Alain Caron Trio with Paul Brochu and John Roney
Alain Caron – Courtesy of the Montréal Jazz Festival
French Canadian Alain Caron is a bass guitarist who started playing at the age of 11, and he started pursuing jazz at 15. He was member of UZEB, a jazz-fusion band, and has performed with Leni Stern and Gino Vannelli. He's a member of the Order of Canada, a winner of two Félix Awards, and with UZEB, he received the Festival's Oscar Peterson Award in 1991. Caron plays a special bass made by luthier George Furlanetto.
Paul Brochu is widely considered one of Canada's top drummers. Along with Alain Caron, he was part of the group UZEB. He is a professor at the University of Montréal.
Pianist/composer John Roney is one of the most active artists on the Montréal music scene. He's collaborated with Chet Doxas, Effendi JazzLab, Rémi Bolduc, Bernard Primeau, Christian McBride, Peter Erskine, Donny McCaslin, and many others.
Before the set, there was a video of bassist Marcus Miller, who voiced his disappointment at not being able to perform live at this year's Festival, but he emphasized that he'd be there in 2021. Then Miller introduced the Alain Caron Trio. The group started with compelling, straight-ahead jazz, followed by a gorgeous ballad. Their finale was a fusion of contemporary jazz and bebop, and it made for a fine closing.
Dominique Fils-Aimé
Dominique Fils-Aimé is a vocalist from Quebec. In 2018 she released her debut album, Nameless, and she won the 2020 Juno Award for Vocal Jazz Album of the Year for Stay Tuned!
On tape, Chris Illingworth of GoGo Penguin expressed his regrets at not being able to perform at the Festival this year, and said he was looking forward to next year. Then he introduced Dominique Fils-Aimé, who was joined on stage by drummer Salin Cheewapansri and keyboardist David Osei-Afrira. Dominique started her show by solemnly reciting Maya Angelou's poem, "Still I Rise." Then she performed a stirring "Nameless." Her moving set included "Birds," "Big Man Do Cry," "Gun Burial," and the ardently church-infused "Joy River." Ms. Fils-Aimé is an exceptional musical storyteller, and her distinctive voice really pulled the viewers in with the vivid pictures her performance painted.
The Barr Brothers
The Barr Brothers – Courtesy of the Montréal Jazz Festival
The Barr Brothers indie folk band includes brothers Andrew Barr on vocals/drums and Brad Barr on guitar/vocals, bassist Morgan Moore, and harpist/vocalist Eveline Gregoire-Rousseau. The group has been nominated for several Juno Awards, and their influences include Delta blues, Appalachian songs, and African music. They starred twice on the Festival's main, Scène TD stage, where they performed for crowds of over 50,000 people.
Although they might be based in folk music, at their concert, the played so much more, including rock. The show began with "Burn Card," followed by "You Would Have to Lose Your Mind." Brad Barr said, "It's nice to be playing music again for people other than ourselves." Brad discussed recently co-writing a song with composer Alfred Howard, titled "Co-Authors." It was a powerful protest song about inequality in North America, and it's part of Howard's year-long project, Alfred Howard Writes, where Howard collaborated with numerous musicians and is releasing songs each day for 365 days. The proceeds will be split between the musicians and charities supporting social justice. To purchase music, and for more information, go to: www.alfredhowardwrites.com.
Sarah Vaughan 1983 Treasures of the Festival Concert
Sarah Vaughan – Courtesy of the Montréal Jazz Festival
Legendary vocalist Sarah Vaughan had one of the most remarkable careers in the history of jazz, and it started in 1942 when she won the Apollo Theater Amateur Night competition. Nicknamed "Sassy" and The Divine One," she won four Grammy Awards, including a Lifetime Achievement Award, and in 1989, she was honored with an NEA Jazz Masters Award. Her recordings included jazz, pop, Brazilian music, and the Great American Songbook. Considered to have one of the greatest and most recognizable voices in music, in 2012, The Sarah Vaughan International Vocal Competition (The SASSY Awards) was established in her honor, and is held yearly at the TD James Moody Jazz Festival at the New Jersey Performing Arts Center, continuing the legacy of this renowned singer.
At the concert, the band started with a jaunty number, then Sarah came out in a sparkling black dress and sang a rapid-fire improvisation, and she segued into the lovely ballad, "I'm Glad There is You." Vaughan introduced the band, pianist Mike Wofford, double bassist Andy Simpkins, and drummer Harold Jones, made a few quips, then she sang a vivacious "I've Got the World On a String." She followed up with a romantic "If You Could See Me Now." Next came a lively "Just Friends" where Sarah scatted expertly, and pianist Mike Wofford's solo was the perfect accompaniment. Between songs, she regaled the audience with witty banter. The show continued with a charming medley that included "But Not For Me," "Our Love is Here to Stay," "Embraceable You," and "Someone to Watch Over Me." It must have been hot on that stage, because Vaughan dabbed perspiration throughout, yet despite that, she was unflappable in her singing. The next song was an up-tempo "On a Clear Day." She followed with a Duke Ellington/Billy Strayhorn song without words, "Chelsea Bridge" and said she was channeling saxophonist Johnny Hodges. She seemed to be having a blast! The show continued with the melodic "East of the Sun, West of the Moon" and a swinging "From This Moment On." After a loud ovation, Sarah finished with a poignant "Send in the Clowns." Although this concert was in the later part of Ms. Vaughan's career, she had lost none of her powers, and this performance reinforced her reputation as one of the greatest.
In these strangely unsettling times, this virtual Festival was a marvelous reminder of the healing power of music. Whatever is going on in the world, music gives hope. Each night of the Festival, there were different pairs of contest winners in the audience at L'Astral, and weren't they the lucky ones? Actually, all the viewers were lucky to be able to virtually enjoy this wonderful music. Even those who were not able to experience the Festival live will still be able see tapes of the events for FREE until July 30. To view the digital programming, go to: www.montrealjazzfest.com.
Streaming Live at the Village Vanguard with the Vijay Iyer Trio
The 2020 Litchfield Virtual Jazz Festival!
Sheila Horne Mason


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Home News & Gossip Dum Dum Dumroo" receives APPLAUDS from across the Globe
Dum Dum Dumroo" receives APPLAUDS from across the Globe
Director Akash Goila's content driven short film "Dum Dum Dumroo" starring Anil Charanjeett and Sanaya Irani in lead roles was recently premiered at Dubai and Mumbai and to everyone's surprise the film received a massive response from the critics as well as the audience.
The film will be releasing online on YouTube channel today (April 9) but it has already been released on Vimeo's on demand service where viewers are paying $1 to watch and donate for kids. So far, thousands of people have already seen the film across the globe and are all praises for it. Not only are they liking the content and message of the film but are also applauding Anil and Sanaya.
Due to the massive response received from the audience so far, the team has decided to launch a music video on public demand. It will be released online in a few days.
Also, when contacted director Akash Goila, he shared with us that not only are they aiming at spreading a strong social message through their film but are also supporting the NGOs via 60% of the total revenue collected from the film and it's merchandise.
He also revealed that "Dum Dum Dumroo" is the first Indian short film that received a Premier in Dubai.
For those who haven't watched it till now, "Dum Dum Dumroo" will be releasing tonight on Filmeraa Shorts Youtube Channel April 9, 2018 at 7:00 PM IST.
Anil Charanjeett
Dum Dum Dumroo
Sanaya Irani
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