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Tips For Using Photos In Email Messages From Your Mac
There are many options you have when sending photos in an email message from your Mac. Make sure you are choosing the right size or maybe sharing them instead of sendind them. Also, when you receive a message with photos, there are different ways to view them, save them and even remove them to clear space.
Check out Tips For Using Photos In Email Messages From Your Mac at YouTube for closed captioning and more options.
Video Transcript: Hi, this is Gary with MacMost.com. Today let me show you some tips for using Photos in the Mail app on your Mac. MacMost is brought to you thanks to a great group of more than 800 supporters. Go to MacMost.com/patreon. There you can read more about the Patreon Campaign. Join us and get exclusive content and course discounts. There are a lot of different options you have when you attach a photo to an email message on your Mac. Unfortunately, I see a lot of people making some critical mistakes when attaching photos. Also there are some other options that people could benefit from that they just don't know about. I'm going to start off with the biggest mistake I see people making. They go to compose a new message and they want to attach a photo to it. Now let me do that the simplest way by dragging and dropping from a Finder window into a Mail message. When you put it there you'll see the image appear in the body of the message. That all looks fine except if you look closely here you'll see this pop-up menu to set the image size. A lot of people don't know that that's there and they don't see what it's doing. In this case it's taking that photo, which is taken with an iPhone and is pretty high resolution, and it's reducing it to 640 x 480 which is pretty small. Only really good for viewing something on the screen. If your intention is to send somebody this photo so they can view a high quality version of it or perhaps add it to their own photos collection or even print it you don't want to use Medium. You want to go to at least Large. You could see the file size change here. This is still a pretty small file compared to the original size and large itself is actually only going to be 1280 x 960 in the case of this photo. If you really want to send them a good copy of it you're going to have to go to Actual Size. You could see the file size goes up quite a bit. But in this case you get a really high quality version of this photo. The big mistake I see is people using medium or small and expecting the person on the other end to see details. I see this just about everyday when somebody sends me a screenshot. I ask them for a screenshot, like this, and they send me a screenshot but they've got the image size set to small. At that size you can sometimes barely read the text that's on the screen. Now when you attach an image, either by dragging and dropping it or using the paperclip button here at the top and then selecting a file, it's going to put the image exactly where your cursor is in the message. That is unless under Edit, Attachments you have Insert Attachments at End checked. Now when I go to drop an image here, even if I put it in the message (you could see I'm putting it above the signature) it's going to add it to the end every time. The selection in here will be remembered so check or uncheck it as you want. Sometimes I hear about people sending email messages to Window users and the Window users not being able to see the photos that are attached. This problem used to be pretty common but now it's pretty rare. Now the important thing to remember about email is when you send an email to somebody they are reading it using their email app which is going to be different than yours. They might be using Windows. They might be on a mobile device. How the message appears to them depends on their app. Their app could render things completely differently. Show them different fonts. Show different styles. Show attachments in different ways. If you have a friend that uses Windows, particularly if they are using it in an older version of Windows, you may want to make sure that under Edit, Attachments you have checked Always Send Windows Friendly Attachments. That may help them if they are having trouble viewing the photo that you send. Now when you create a new message and then you click the Attach button here there's an Options button and there's a checkbox for sending Windows friendly attachments. Then you could use this to do it on a per message basis. When you receive an email message that has photos in it you'll see those photos inline in the message. But if you want to get a better view of them you can click to select a photo and then hit the spacebar for QuickLook. This will bring up the QuickLook window just like in the Finder and you can expand it or even click here to go full screen for that photo. You can also Select All, Command A, and then use spacebar for QuickLook and you could go through all of the different photos that are attached. Now if you want to Save a photo from the message you could drag and drop it. So I could take this photo here and drag and drop it into the Finder. I could also Control Click or right click on a Mouse, two finger click on a trackpad and use Save Attachment to Save that file with the standard File Save dialogue. Also if you go to the top to this line here and you hover your cursor over it you'll have some controls. One of those Controls is to Save All of the photos or just one of them. You could also export them all directly to the Photos app. When I reply to this message by default the images won't be included. However if I go to Edit, Attachments I could select Include Original Attachments in Reply. Then when I reply you could see the photos are there. Note I still have this control here so I can shrink these all to Small. I can't use medium or large because these were already shrunk somewhat so I can't increase the size like that. But if I go to Actual Size it will include the originals. Now you don't need to have this Option turned on all the time. You could Reply. There's this button up here, Include Attachments From Original Message. Click that and you could see now it throws those in. Now sometimes viewing these photos could take a lot of space on the screen. You could Control Click and then choose View As Icon and do that for each one of these. Then they'll all be shrunk down to just icon size. You could control click on them again and say View In Place. You could also just select one and then press the Spacebar to use QuickLook. If you would rather now get the photos in your messages at all until you select to download them there's an option for that. If you go to Mail, Preferences and then go to Accounts and then select the Account under Account Information you should see Download Attachments and you could change from All or Recent or None. None means that it won't download those initially. You'd have to click on them and then it would download them from the Server. Now when sending photos you should always be concerned about the file size. About how much data you're sending the receiver. When you go to compose a message, say I'm going to attach a bunch of photos. I'm going to drag and drop 17 photos to this message. Notice at the top here it's going to give me message size. You always want to pay attention to that to see how much you're sending. But notice when it turns red it means you've exceeded the maximum size for a message according to your sender. It's going to depend on your email service. In this case I'm using iCloud and the maximum is 28.3 MB. So you could see this message isn't going to be able to send. I could do things like shrink the messages down and you could see now it's fine. But you should always shy away from sending lots of photos or any large attachments to somebody by email. You don't know what their situation is. Even if they have a high-speed connection at home and it's usually no problem. Maybe they're getting your email message while they're out of the house or away from work where their mobile data is precious and you've just eaten a whole bunch of it up by sending a whole bunch of photos in a message. One setting that you've got for this is under Mail, Preferences and Accounts. Then under Account Information there's Send Large Attachments with Mail Drop. That uses Apple's special service that instead of attaching the image in the Mail message it's actually going to put it in a temporary storage space on Apple's servers. Then when they view the message it's going to download them from there. So it's not going to use the email service to send those attachments if they're too large. But it doesn't help the person on the other end as they will still be downloading those large messages. So you may want to consider alternatives to actually sending lots of photos. One alternative I've talked about before is to simply create a Shared Album in the Photos app. You can select a bunch of photos. Then go to File, Share and you create a Shared Album. Once you have a Shared Album like this one here you can click here and send it to a public website so anybody can view it with just this link. Then Copy and Paste this link into an email message. Of if they have an Apple ID you can invite them and only they would be able to see it. You could use other services as well like Goggle Photos or Flicker. If you just want to do it one time you could go to a site like Imgur and this allows you to just, for free, upload a photo. It creates a link to that photo and then you could share that in an email. So instead of somebody getting an email message that's a few MB in size they could get an email message that's tiny and just links to the picture at a website. Of course if you have your own web server then it's easy to upload images to that web server and send them a link directly to those images. Now let's say you have composed a message in Mail and you've attached a picture to it. You could do more than just send them the picture. You could also mark it up. If you look on the image here at the upper right hand corner you'll see this button. Click that and choose Markup. This allows you to use lots of tools, ones you maybe familiar with from the Preview app, to markup the image. So, for instance, I could create a shape like an arrow and have the arrow point somewhere. I could add text and change the text size, font, color, all of that. I could even click here and then draw right on the image. I could even crop the image so I don't have to send them the entire thing. Then you'll send them this image. Your original image that you have is untouched. It's only this copy that you're sending them that actually has all these changes that are applied directly to the photo. Now also using your iPhone or iPad you could take a photo and then have it directly attached to the message. So I could be composing a new message right here. If I click this button here and use the options here, Take Photo, Scan Documents, or Add sketch, and these will all then call out to my iPhone or iPad if I had one connected to the same Apple ID and eventually show me the camera interface or the scanning interface or a drawing interface on my phone and I could do anyone of these. Then that would get attached to my Mail message on my Mac. You also don't have to start the email messages here, like this, and then attach photos to it. You could do it different ways. For instance in the Photos app you could select a photo and then use the Share button here and then Mail. It will open up a new email message with that photo already attached. You could select multiple photos and do the same thing and all those photos would be attached to the message. Another thing you could do is you could drag and drop a photo to the Mail app here in the Dock and it will do the same thing but with a file instead of from the Photos app. Now here's one last tip. Say you get an email from someone and it has a bunch of different photos and you Save those photos out. You save them to the Finder. You save them to your Photos app or maybe you just look at them and now you don't need to see them ever again. Well, you don't have to have those photos saved forever in your email archive. You can remove them from the message while keeping the text of the message. So maybe they included some important information in the text that you want to keep but you just don't need those large photo files attached to it. When viewing the message you can go to Message and then go to Remove Attachments. That will remove those attachments from the message. You'll still have the original message. They'll still be saved in your archive without taking up much less space.
Related Subjects: Mail (76 videos)
Comments: 6 Responses to "Tips For Using Photos In Email Messages From Your Mac"
Mike Ritchie
Great information using photos in email messages. What tips would apply (if any) using photos is imessages.
Gary Rosenzweig
Mike: The main tip for using photos in messages is to only use them to "show" the other person something. Never send a photo to them for storing/archiving/using in some other way. They won't be getting a high resolution version.
Irma Williams
Gary, I received a MacBook Air for Christmas. It has been wonderful to have MacMost! Perhaps because I am 85, I cannot absorb all you are saying because of your rapid speech. Therefore, the accompanying text is a great feature!
Thank you so much for your help!
K. Sinclair
Terrific lesson--
carl myers
how can i take a picture of my signature and move it where ever i want ?
carl: Inside an email message? Typically you sign PDFs, not editable messages like emails. I suppose you could do it just like any photo.
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J. Pavone String Ensemble - Lost and Found (Astral Spirits, 2020) ****½
Thursday, December 31, 2020 No comments
By Keith Prosk
On Lost and Found, violist and composer Jessica Pavone reconvenes her string ensemble for a finer distillation of the elements established on the awesome Brick and Mortar. Erica Dicker and Angela Morris return on violins while Abby Swidler replaces Joanna Mattrey on second viola. Like on Brick and Mortar, at 5 - 7 - 9 - 5 - and 7 minutes, the track lengths seem patterned at 9 - 9 - 8 - and 10 minutes, though much more even-keeled. Likewise, the sound here is more subdued, the dynamics less ostentatious, and the music more engaging for it. The focus on a kind of dualism is more zeroed-in.
It's hard not to see twos with this ensemble. Two violins. Two violas. Two groups of string family members. The musical process alternates between metered time and clock time, notation and improvisation. And it showcases counterpoint, though this ensemble's approach seems less conversational or combative and more like following or herding. The track titles are colloquial terms of often opposing concepts heard together, "Rise and Fall," "Pros and Cons," "Lost and Found." But these little dualisms are treated as complimentary rather than antithetical. And the strength of this recording comes from exploring the sympathetic spectrums between them.
As with Brick and Mortar, Lost and Found is not slow, but relaxed. Repetitive, but in movements. Mostly sustained arco that is more often clean and classical than distressed from extended techniques or heavy bowing. There's a recurring bucolic inflection that feels simultaneously nostalgic and spirited. Pavone is adept at striking western ears with a bittersweet mood; if it teeters too suspenseful or uneasy, it's just a setup for release. The music is most distinguished by the concurrent confusion and comfort of its counterpoint. Family member duos or individual instrumentalists phase in and out of time with each other. They ascend and descend at the same time, making it all the more powerful when two or even all four unite in one direction. They split and rejoin between high and low frequency tones. They quicken, slow, and re-match bowing tempos. As such the music is delightfully nonclimactic and always flowing.
"Rise and Fall" is a nice balance of all of these techniques. "Nice and Easy" swings the mood a little darker with warped descending glissandos that level off before descending again, only to seemingly bend back and ascend. The second track also contains a brief glimpse of something like a raga pulse which seems fitting given Pavone's approach to musicmaking and the emotivity of her music. "Pros and Cons" features a little glued, hairy scraping and brief resonances between instruments. And the title track generates organ-like harmonics that get a little sine-wavy.
Lost and Found is perhaps a little less tuneful than Brick and Mortar, but delves deeper into the elemental dynamics possible with such a quartet helmed by Pavone. I find it a pleasant refinement that would be difficult to imagine improvements for if not for Pavone premiering her Lull project earlier this year, in which she expands this quartet with two cellos and two contrabasses, playing with western classical forms and featuring soloists Brian Chase and Nate Wooley. Pavone is undeniably a master of performance but with this ensemble she is picking up where Hope Dawson Is Missing left off to establish herself as a masterful composer.
Lost and Found is available on digital, cassette, and CD formats.
Wednesday, December 30, 2020 6 comments
By Gary Chapin
Just to let you know: This is not a review of Tim Berne's new release, Sacred Vowels . Rather, it is an encomium for Tim Berne using that recording as its launch point. I know I just reviewed three of his recordings a week ago. I couldn't stop myself. I promise to write about something other than Tim Berne next time,
Berne is a composer and saxophonist living in New York, and he's been at this dodge, amazingly, for nearly 40 plus years, now. I got on the ride around 1989, when the sublime Fractured Fairy Tales came out. The previous two records (on Columbia, no less) came into my hands shortly thereafter. The three discs — Fractured, Fulton Street Maul , and Sanctified Dreams — delivered a tight coup de tête to my stupid smart, arrogant, "world-weary" college aged brain. I was left staring blankly, wondering how this ecosystemic, ordered-chaotic, improvised-composed, earthy-abstract music could exist, defying reason and creating sense and beauty. And, no, I am not overstating it. There are those moments when "everything" changes. Those moments of initial discovery that mark you in a way that endures and glows forever. The entrance to that rabbit hole leaves a strong, delicious impression. I swear to god, if I could somehow re-experience the moment when I first heard "Hong Kong Sad Song" I would do it in a shot.
A few months or so ago, Berne released Sacred Vowels , recorded in his apartment (produced by David Torn and sounds great), an artifact of the pandemic, and also his first solo saxophone recording, ever. (Yeah, I was surprised, too.) The solo saxophone record is an institution in improvised, jazz-based music . Anthony Braxton's For Alto casts a long, illuminating shadow. Roscoe Mitchell and Steve Lacy spent a lot of time in this territory. Julius Hemphill, Berne's mentor and friend, has at least two albums where he's the only musician, though he overdubs multiple parts. Like all work in jazz and improvised music, any new recording is experienced in relation to the music that went before (whether that was intended or not). Intertextuality is impossible for us obsessives to avoid. More important, to my mind, is the fact that Tim's work has always been about conversations between musicians, and the relationships that emerge. When he's playing solo, who's the conversation with?
Berne has become my soundtrack for this stage of COVID life — the post-job-loss stage which began, for me, on June 30. Coltrane was there at the beginning of the lockdowns. But Berne has been the soundtrack for a number of periods of my life. There was that initial time, when I went to college in Jersey and spent so much time in New York, below 4th Street. Then I moved to Arkansas and Minnesota. Then I came to Maine. My kids were born, grew up, gone on to be happy. Two divorces, three marriages. Always music music music, of all sorts, and every so often I would go back down the rabbit hole and not come up for months. I would need that knotty, rubato-based, story-telling energy. Filled with thought and feeling, clever without being arch, and somehow grounding for me, helping the world make sense, celebrating my joys, screaming with my outrage, consoling my losses. How appropriate for the current moment.
A new realization for me — and you would be justified in chastising me for not getting it sooner — is how unified Tim Berne's body of work looks when surveyed forty years after discovery. Through the years, when I was listening, and Berne would go from the Fractured band (with Herb Robertson, Hank Roberts, Mark Feldman, Mark Dresser, Joey Baron) to the Big Satan band (with Tom Rainey and Marc Ducret) to the Bloodcount band (with Jim Black, Chris Speed, and Mark Helias) my initial reaction was, "This is so very different!" Which makes sense. Berne invested in these relationships. The conversations and stories have depth. He's had significant partnerships with at least four guitarists (Nels Cline, Bill Frisell, Ducret, David Torn), two pianists (Craig Taborn, Matt Mitchell), three bassists (Mark Dresser, Mark Helias, Drew Gress), and drummers and trumpers and reed players, etc. With all of these interlocutors in various combinations it makes sense that the music — improvisatory, emergent, self-generating within a structure — would sound different. But now (maybe because I am 53 and have stumbled on the long view), I find myself noticing (prioritizing in my awareness) and reveling in the shared thread that runs through the conversations, and enjoying, but not being distracted by the variance among Berne's interlocutors.
Which feels a little like a confession. I have loved Berne's work since I first heard it, but I don't think I got it as a whole. Being stuck on a mountain in Maine, writing, trying to drum up work, tending to home, and immersing myself in the whole catalogue has made a difference. Put every album onto your phone and play on shuffle. Any track that comes up — Big Satan, the Empire Recordings, Bloodcount, Snakeoil, any of the many duets he's done, or the solo recording — is so obviously part of an oeuvre (yeah, I went there). Every Tim Berne piece makes sense in terms of every other Tim Berne piece.
Around 1990 I interviewed Tim Berne for and article in Coda Magazine. I remember being an hour late for the interview because I missed the train from Jersey and had to wait for the next, and I remember Tim still being at the cafe (!) and answering all the usual questions ("Tell me about Julius Hemphill?") and dealing with my own fanboy-trying-to-be-cool vibe. Me trying to get at the stuff interesting to me — at the time, the relationship between composition and the ethic of improvisation, saying bad things about Wynton Marsalis — and not really hearing what he had to say, because I was already writing the piece in my head while we were having the conversation. Holy shit. I was young. And Tim Berne was extraordinarily gracious. I am grateful for that.
I keep a pretty short list of things that have improved my quality of life comprehensively, over time. Tim Berne's music is on that list, and has been for a while. But Sacred Vowels has reminded me of how thorough and consistent that gift has been. I know (I know!) the title of this recording is a pun, but I'm going to go with earnestness when I say, it is only during COVID time that I realize, for Tim Berne, and for me, the vowels have always been sacred.
Tuesday, December 29, 2020 No comments
By Stef Gijssels
"Isolate" is an amazing album, reflecting the isolation of the Covid pandemic. "One more!" I hear you say, and indeed, the crisis did/does give a lot of inspiration to artists across the world. On this album they are Steve Parry on guitarlin (a hybrid of a guitar and a mandolin), toy piano, church organ, prepared guitar, harmonium, piano, noise, Mark Beazley on basses and noise, Rhodri Davies on harp, and Steve Sherlock on saxophone and flute.
The band's name is Welsh for "Emotional Swimmers", and was created in 1997 by Parry. This is the ensemble's seventh release in twenty-three years, with Parry being the only element of continuity. I do not know the band's other productions (I listened to them now on Bandcamp), but this music is an ear-opener. It has a strong sonic voice, relatively unique, expressive, disciplined and balanced, dark and welcoming at the same time. It is hard to categorise, and usually that's a good sign. The addition of Davies and Sherlock creates more density than on the previous albums, more tension and darkness too. The desolation on the first two tracks is complete, and by themselves already worth the album.
But the band surprises too. Some tracks such as "Isolate - The Singing Room" have some playful elements as does the last piece, called "Dolphins", giving an optimistic sense of direction to the album, from somber desolation to joyful freedom.
Listen and download from Bandcamp.
Monday, December 28, 2020 No comments
Music is inseparable. This given fact is very often neglected by all of us who tend to prefer improvised musics over more, let's call them conventional, forms or genres. It should evoke feelings, let our desires and imaginations free, and provide solace and energy. Actually I believe that it does, even if for a lot of people involves very basic reactions –like "just" dancing.
The two latest releases from fixcel records have drummer/percussionist Erwin Ditzner in common but they are quite different in many aspects. Starting with the one is a live recording (wow, I am very close in forgetting how this feels), the other a studio recording. The live duo, recorded in November 2019 at Enjoy Jazz Festival, takes a free and improvisational approach. While the music of the trio is mostly based on structures and melody.
Erwin Ditzner/Chris Jarrett – Live@ Enjoy Jazz 2019 (fixcel, 2020) ****½
On both sides of this vinyl edition, the interplay between Ditzner (drums and percussion) and Chris Jarrett (piano) is impressive. Jarrett's fingers move with subtlety on the keyboard, always ready to translate his partners moves into a cohesive collective feeling. At the same time Ditzner's percussion work is aggressive and passionate, like trying to head the duo into uncharted territory. There are many improvisational passages and a lot of room for both artists to breathe on their own, while the balance with collective playing is always there. Ditzner's drumming seems to open, at least in some points, new spaces for the piano to follow –sometimes even to lead. Jarrett's piano playing is versatile and flexible again, on his own now, proving well balanced between listening and playing. The overall performance feel like it was a wonderful experience, one of those this dystopia prevents us of experiencing right now.
Debus/Lomsch/Ditzner – Die Motive des Richard W. (fixcel, 2020) ****
Richard Wagner is still considered one of the big names is the central-European tradition of classical music. Even though music is a universal, many times non-verbal, language, there are artists that still encapsulate the feeling of geography (topos in ancient and modern Greek), something that definitely isn't chauvinistic of course, but has to do with shared memories, a culture maybe and definitely common language. Since the titles of the tracks, but most importantly the feeling that's this trio (Ditzner on drums, Lomsch on clarinet and saxes and Debus on double-bass and singing) brings to the listener is partly like the grandeur of Wagner's musical world, I was puzzled. Many times the trio's music bordered on the symphonic: melody, harmony and timbres dominate. The sound of the clarinet is so soothing, like when –in an orchestra- the clarinetist plays solo in order to give space to the other musicians to relax a bit.
Again, as the aforementioned duo, Ditzner works like the glue between them providing rhythm, being the backbone of the music. When Lomsch switches to tenor saxophone things get wilder, more angry. The music, then, seems to be reaching out for a climax, shedding its mask of harmony. In a constant back and forth movement their music blurs the limits between free playing and totally organized sounds. But, most importantly, fills the empty spaces of the room you are listening to the music with feelings ranging for solace up to anger. Now that I think of it, this could be a fully fledged re-reading of Wagner's music.
Ivo Perelman: A Musical Storyteller - a film by Leonel Costa (2020)
Sunday, December 27, 2020 Film 2 comments
Ivo Perelman: A Musical Storyteller, tells the story of the Brazilian saxophonist from his formative years as a young musician moving to New York in the early 1990s, after a dissatisfying introduction to being a working musician in Los Angeles, to present day. It begins with the restless artist telling this story and how his own musical way began unfolding after a producer invited him to make the music that he wanted. Drawing from his love of nature and the sounds of his native Brazil, Perelman began intertwining his freer inclinations with the folk music of home.
The film introduces many of the voices of the people who have worked with - and in many cases continue to do so - Perelman through the years. From musicians he played with for inspiration in Brazil to well known names like bassist William Parker, pianist Matthew Shipp, drummer Whit Dickey, pianist Marilyn Crispell, and drummer Gerry Hemingway. Many of the interviews were conducted recently, held over the all too contemporary medium of the web conference. Regardless of whom is speaking, they refer to the ease of with it is to play with Perelman and the organic, natural flow of music. Most interesting is a key formative concert that Perleman played at the old Knitting Factory in New York City with Brazilian vocalist Flora Purim. Archival footage of the 1990 concert is juxtaposed with a current interview with Purim, making for a neat loop in time. In a sense, that what the film captures, Perelman is always moving forward but not forgetting his roots.
Over the course of an hour there is ample footage of Perelman in the studio and on the stage, and in many interviews. The interviews seem to especially highlight the importance of musical relationships, whether between people or the artist and the environment. As Perelman says, he doesn't like to play over changes, but rather from his life, his memories, from feeling. Musician and recording engineer Jim Clouse discusses the saxophonist's work ethic, to which he applies the word 'natural' as well. When Perelman is in town, says Clouse, Perelman comes to the studio and in a few hours lays down a set of music with a well chosen set of musical partners and then lets him do the rest.
Ivo Perelman: A Musical Storyteller is a captivating documentary. It is currently making the rounds in festivals and will soon be available on streaming platform near you.
Kyle Motl & Rhonda Taylor - Sepulchers (Self, 2020) ****½
Saturday, December 26, 2020 No comments
Possibly the most difficult thing in music is not to play an instrument to perfection, or to interact well in an ensemble, but to create art that offers something unique, differentiating, surprising and with a voice and perspective all of its own.
This is what the duo of Rhonda Taylor on baritone saxophone and Kyle Motl on contrabass achieve. The title and the artwork already show that this is not a happy or joyful album, and maybe darkness and sorrow are easy emotions to inspire music, the improvisation still needs to be done with taste and with such a quality that it resonates with the listeners and triggers the same heart strings. And even stronger, that both musicians speak the same language.
They have one single concept for the whole album, one mood that is explored in all its subtle variations for which words are lacking and which only good music manages to express. In the narrow confines of their mournful concept, both instruments form a perfect match in their deep lamenting tones, the unease and the pain, the slow howls or the desperate weeping.
Rhonda Taylor is a soprano and baritone saxophonist from New Mexico. She is a very explorative player, often using electronics to alter the sound of her instruments. Her natural sound is dark, even on her many solo albums, of which one is called "Necropolis" with the first track called "Welcome to the Boneyard". Death and sorrow are not uncommon themes in her music.
Kyle Motl we have reviewed before. The Californian bassist has excellent technique and daring musical ideas, and a personal style, best checked on his solo albums, of harsh musical explorations of darkness and solitude.
Together both musicians are even better. The format gives a level of richness to their playing and depth to their expressiveness that far exceeds their solo efforts of the same moods and concepts. It seems that their natural voices find an authentic common sound on this album.
It hurts to listen to this music, and that is a great compliment.
Ingrid Laubrock – Dreamt Twice, Twice Dreamt (Music for Chamber Orchestra and Small Ensemble) (Intakt, 2020) ****(*)
Thursday, December 24, 2020 1 comment
By Colin Green
In recent years there have been some memorable projects from Ingrid Laubrock which display her considerable skills in marshalling small and large groups, treating composition and improvisation as part of a continuum of methods that both set the parameters for collaborative movement as well as stimulating individual invention – the brass-laden Ubatuba (Firehouse 12, 2015), the spiralling components of Serpentines (Intakt, 2016), and the weighty Contemporary Chaos Practices / Two Works for Orchestra with Soloists (Intakt, 2018), one of my top ten albums that year. Now, these two scales of thinking are combined in Dreamt Twice, Twice Dreamt (Music for Chamber Orchestra and Small Ensemble), a set of ambitious doublings occupying 2-CDs in which different kinds of expansion and reduction are prominent features. Inspired by Laubrock's diary notes of her dreams, she wrote the small ensemble pieces initially (Twice Dreamt) and then "re-imagined" them for the orchestral versions (Dreamt Twice). They were recorded in reverse order a matter of weeks apart in December last year: CD1 with the EOS Chamber Orchestra at Riverside Studios, Köln, after several performances of the work, and CD2 in various groupings at Oktaven Audio, Mount Vernon, NY. The individual pieces appear in the same sequence on both CDs save that 'Dreamt Twice' opens the first and 'Twice Dreamt' closes the second, mirror images that bookend the collection. Laubrock suggests the discs can be listened to in any order.
The chamber orchestra comprises strings, woodwind, and brass together with a group of soloists: Laubrock (tenor and soprano saxophones), Sam Pluta (electronics), Cory Smythe (piano, quarter-tone keyboard) – a trio said to provide a sort of glue between the two recordings – together with Robert Landfermann (double bass) and Tom Rainey (drums). The conductor is Susanne Blumenthal who commissioned the work. For the Oktaven studio sessions there's the core trio of Laubrock, Pluta and Smythe, plus contributions from Adam Matlock (accordion), Josh Modney (violin) and Zeena Parkins (electric harp) who are used sparingly; all six musicians only play together on one track. As much as with her orchestral writing the small ensemble reveals Laubrock's ear for telling arrangements and instrumental colour, lush and austere, and in both settings she's assisted by sympathetic colleagues with a firm understanding of her aims. The EOS Chamber Orchestra specialises in collaborations outside the standard "classical" repertoire.
There's no attempt to recreate Laubrock's sleep-time narratives; instead these are realisations of their emotional and dramatic shape. "Rather than writing programmatic music that reflects the dreams," she says, "I would read a diary entry and attempt to re-enter the dream to compose from that state of mind." This has resulted in a compendium of free-flowing, quixotic, occasionally disquieting pieces, and yes, dreamlike states where time opens out and incidents are magnified in flights of imaginative fancy, or compressed into jump-cut hyperactivity. Dreams absorb and conflate different sources and memories, and we can hear juxtapositions that parallel these troubling affiliations and discontinuities; "tears in the fabric" Laubrock calls them. Particularly in the small-group settings the electro-acoustic combinations make the familiar oddly unfamiliar introducing echoes, modulations, and the incongruous. Smythe's elegant fingerwork takes on a slightly skewed dimension when played in quarter-tones, and the clarity of he and Laubrock's interplay is blurred by the delays and interpolations of real-time sampling. Smooth, melodic passages sit next to abrasive distortions and vivid conjunctions pop up in unlikely places. Sonic collisions alternate with calm interludes.
'Drilling' features the entire sextet and begins with a dense conglomeration, thick layers in a gradual crescendo laced with anxiety, that's reduced to a slender line, then supplanted by a melange of liquid electronics, violin scrapes, spiky interjections, and electric harp soaked in a plethora of pedal effects. After a momentary blackout there's a strange shuffle from the accordion and the genesis of a tune on tenor, interrupted by tiny agitations but eventually breaking loose to close with a pensive melody, whose underpinning notes in turn provide the glacial chords that open 'Drilling' in its orchestral guise and from which its first half is formed. The second half ends with a funereal diminuendo against a screen of icy strings, the converse of how the small ensemble began its version of the piece.
Elsewhere too, the connections between the corresponding compositions are as variants in a new context, not simply a transposition for larger forces. Laubrock explains in her liner notes: "As I wrote the large-scale pieces, I often zoomed-in on a detail in a small-group version to generate a materially different large-group piece. It was almost as if the music was a Russian nesting doll – or a map of a map – and I was finding strangely-familiar "new" compositions within the already existing music." She gives some examples of how musical ideas are transplanted and germinate in fresh surroundings. 'Snorkel Cows" begins with arpeggios ascending softly on the piano, which are transformed during the chamber orchestra's rendering into a series of massed, overlapping glissandi. The figures and microtonal shadings of 'Down the Mountain, Down the Mountain' find an equivalence in the large-group counterpart as they're drawn out by the orchestra, divided into three units playing at independent speeds (requiring three conductors) and merging into a richly complex sound, the microscopic clusterings now a macroscopic mesh. The two versions of 'I Never Liked That Guy' explore the same mysterious idée fixe but from noticeably different perspectives.
As to the relationship between orchestra and soloists, the latter is more a term of convenience than an entirely accurate description. What impresses is the extent of their integration so that we hear orchestral parts and individuals in coordinated spheres of activity, sometimes occupying different zones, in other passages intermingled, within the texture rather than dominating it. The second half of the orchestral 'Drilling' is an abrupt change from the static blocks that fill the first, a maze of contrasting episodes, fixed and free. At one point a cycle of notes descends through the orchestra's registers. Later, the phrase returns but this time it accelerates and moves in the opposite direction, rising through double bass, bassoon and french horn, then woodwind and brass. This quasi-mechanical process is repeated several times becoming faster, and joined briefly by Laubrock, surrounded by chiming piano chords and the swirling clatter of drums, and builds to a peak with each temporal strand finishing at the same point, followed by the doleful, aforementioned coda. On 'Dreamt Twice' the intricacies of the quintet are to the fore with the orchestra as a spectral backdrop. The focus subsequently shifts to instruments alone or in pairs, including a lovely exchange between viola, soprano saxophone and violin.
This music has been assembled with great ingenuity and care, full of refined details that emerge on each new hearing. Notwithstanding the web of connections you can leave such matters aside however, and listen to these works simply as a sequence of variegated soundscapes, each probing uncertain alterations of mood, emotions sometimes lying just under the surface, in a way that evokes the peculiar logic of our dreamtime selves.
Dreamt Twice, Twice Dreamt is available on CD and as a download , including 24/96 hi-res. Again, one of my albums of the year. Treat yourself this Christmas – goodness knows, we need it.
A revealing look at the small ensemble sessions:
James Brandon Lewis Quartet - Molecular (Intakt, 2020) ****½
Wednesday, December 23, 2020 No comments
By Nick Metzger
Composer/saxophonist James Brandon Lewis had a great year release-wise with Molecular being his fourth offering overall after his terrific 2019 release An UnRuly Manifesto . The other three releases are a burner with John Edwards and Mark Sanders 4.2.19 that was released digitally by Cafe Oto (thanks to Colin for the heads up), the excellent Live at Willisau with drummer Chad Taylor that finds them revisiting some of the material from their excellent 2018 album Radiant Imprints (with gusto) at the historic festival (out on Intakt as well), and a new release from Heroes Are Gang Leaders (titled Artificial Happiness Button ), the literary jazz collective he started with poet and professor Thomas Sayers Ellis in 2014. Molecular again pairs JBL with Chad Taylor, joined here by pianist Aruán Ortiz (who also has a dynamite 2020 release on Intakt called Inside Rhythmic Falls ) and veteran bassist Brad Jones. The title references JBL's Molecular Systematic Music approach which draws some of its logic from molecular biology and the structural components of DNA (explained better in JBL and Peter Margasak's liner notes).
A thrumming bass line kicks off album opener "A Lotus Speaks" before the rest of the quartet drops in to state the theme. JBL's playing is fierce but measured and there are some really great complementary/counter melodies laid down by Ortiz. The next track is the ballad "Of First Importance" on which JBL applies a breathy tone with a wide, mournful vibrato. It's an absolute stunner that begins stately and gradually becomes more emotive and visceral. "Helix" is the first truly uptempo piece on the album and features great (albeit brief) solos from each member of the quartet. JBL takes the attack off his playing, making the notes sound as if they are coming out slurred and backwards. "Per 1" is a brief piece with a steady 4/4 beat that finds JBL and Ortiz locked in a dance over the rhythmic backdrop. It's quick and to the point. On the title track the quartet stretches out a little bit and you can more clearly hear the band working through the new approach. Ortiz and JBL work out extended, ardent solos playing off each other, winding down the piece in an increasingly embellished vamp of call and response.
"Cesaire" is brief at under 3 minutes but features some vicious sax work and a persistent cowbell that livens Taylor's percussion. The track flows along before erupting over the final 20 seconds. "Neosho" ratchets up the drama with a flowing piano stanza accompanied by gruff arco and swirling cymbal hiss. JBL states the theme and goes quiet, giving the rest of the band space to slowly wind up, then returns and blows the doors off. This is followed by "Per 2" again finding Ortiz and JBL trading licks over a powerful rhythmic accompaniment from Jones and Taylor. "Breaking Code" is another ballad, and a doozy too. JBL plays in a gritty tone, again applying a wide, wavering vibrato to emphasize the blue in the brooding theme. His solo is an extended flight of nimble finger work and emphatic blowing. I could listen to the guy play all day, just excellent. On "An Anguish Departed" Ortiz embellishes his rolling vamp before taking flight a brief, jagged solo. JBL plays the majority with a stabbing, staccato phrasing before softening at the end. Album closer "Loverly" opens with soft chords accented with a measured sax line before Brad Jones takes a terrific solo over the middle third. JBL transitions back into the pretty theme, stating it twice before leaving the piece to evaporate.
James Brandon Lewis continues his remarkable line of great albums with Molecular. His playing has a lot of reference points, Coltrane, Rollins, Lester Young, Ayler, and Hawkins to name a handful, but he's got his own fingerprint altogether, and it has become more and more distinct with every new release. It's exciting to see how he develops and grows from album-to-album, and with the release of Live at Willisau I'm doubly excited to see a live platter with some of these (and older) tracks aboard. A tremendous artist and another tremendous album. Highly recommended.
Molecular by JAMES BRANDON LEWIS QUARTET with Aruán Ortiz, Brad Jones, Chad Taylor

redpajama_set_name: RedPajamaCommonCrawl


text:
Perseverance Mars rover's first rock sample goes missing
Nasa Perseverance Mars rover
image sourceNASA/JPL-CALTECHimage captionThe coring system appeared to work perfectly…
Engineers are trying to work out what went wrong when the US space agency's Perseverance rover tried to gather its first rock core on Mars.
The robot's mechanisms seemed to work perfectly but when a metal tube expected to hold the sample was examined, it was found to be empty.
The mission team think the particular properties of the target rock may have been to blame.
More images and telemetry pulled down from Mars should solve the puzzle.
"The initial thinking is that the empty tube is more likely a result of the rock target not reacting the way we expected during coring, and less likely a hardware issue with the sampling and caching system," said Jennifer Trosper, project manager for Perseverance at Nasa's Jet Propulsion Laboratory in California.
"Over the next few days, the team will be spending more time analysing the data we have, and also acquiring some additional diagnostic data to support understanding the root cause for the empty tube."
image sourceNASA/JPL-CALTECHimage caption…but when the camera looked inside the tube, there was nothing
Perseverance has a drilling and coring system on the end of its 2m-long robotic arm.
This is capable of cutting and retrieving finger-sized samples of rock. These are then passed to a processing unit inside the rover's belly that packages and seals them in titanium cylinders.
But before sealing, a camera and probe are used to assess the amount of material recovered, and when this was done for Friday's coring attempt it became obvious the sample was missing.
image sourceNASA/JPL-CALTECHimage captionThe corer is on the end of the 2m-long robotic arm
This would not be the first time the Red Planet's surface has played hard-to-get with robots' analytical tools.
Nasa's 2007 Phoenix lander found the local soils in Mars' "Arctic" region to have a sticky consistency that made it difficult to get a sample into the robot's onboard laboratory. And the agency's 2018 InSight lander struggled, and ultimately failed, to drive a temperature instrument into the ground. The sub-surface was unexpectedly resistant.
Perseverance landed on Mars in February, in a 45km-wide (30 miles) crater called Jezero. Its mission is to try to determine whether life exists, or has ever existed, on the planet.
One of the ways it hopes to do this is by collecting a range of rock samples for later return to Earth.
The initial attempt at getting a core was targeted at a rock that is suspected to represent the base material of Jezero. Scientists hope that if such a sample could be accurately dated, it would give them a timeline for everything that subsequently happened in the crater.
Jezero looks, from satellite pictures, to have hosted a lake many billions of years ago. It's the kind of environment that might have been favourable to micro-organisms.
Thomas Zurbuchen, Nasa's science director, said he had no doubt engineers would soon work out why the sample is missing.
"I'm confident we have the right team working (on) this, and we will persevere toward a solution to ensure future success," he added.
image sourceNASA/JPL-Caltech/LANL/CNES/CNRSimage captionTelescopic view: There look to be river and lake-deposited sediments in Jezero
Greensill: David Cameron 'made $10m' before company's collapse
Jeffrey Epstein victims' fund awards $121m to survivors


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Roughly 80 percent of T.O. Plastic's business is in service to the horticulture industry. The black plastic squares that your garden plants come in were likely manufactured at their facility in Clearwater, Minnesota. With the recent boom in gardening since the pandemic, and about 18.3 million new gardeners in the U.S alone, T.O. has sold out their planter orders for more than a year in advance!
Needless to say, things at T.O. have been busy. With internal sustainability projects like their new in-house resin recovery system, and the constant demand for outgoing product, HR Generalist Sara Sweeney turned again to the SciTech Internship Program, to hire a cohort of local STEM students to help them over the summer.
"We wanted to find individuals who were local to this area. That's really important to us," explained Engineering Manager Scott Klein. "When we find a great bunch of students like this, we want to give them the opportunity after graduation where they can work here and move back to Central Minnesota."
Located between St. Cloud and Albertville, sourcing talent in Clearwater isn't always easy, through SciTech however, they were able to find and hire three STEM students who were eager to gain hands-on experience in their future fields.
An intro to industry
This summer's cohort included Mechanical Engineering Major Abdelrahman Aly, Mechanical Engineering Major River Acquard and Manufacturing and Industrial Systems Major Matthew Russek.
Thinking back on his job search at the time, Aly recalled being drawn to real-world opportunity that T.O. was offering. "When I was reading the job description, I felt this was actually what I want to do in the future and it would be a good experience for me to have," he said. "Since this was my first internship, I wanted to get hands-on experience before graduating so I can know what I'm actually interested in."
Once they were hired, Klein and his team took each intern's interests into account and paired them with individual projects to assist with T.O.'s internal needs.
"They asked us for our input, which was great," Russek said. "And going through orientation with someone else really helped. It's nice not being the only new one. This way we can bounce our ideas off each other."
No small feat
While at T.O. Russek helped create an inventory system for spare plugs and tooling. Working with a barcode and scanning process he helped set up an immediate software-based inventory, essentially creating a virtual warehouse for the engineers.
Acquard was assigned to a dust extractor project as well as a core extractor project. This involved redesigning a headpiece using SolidWorks. Acquard's updated design significantly simplified the process, breaking it down to a two-part sliding mechanism.
Aly conducted preventative maintenance activities to streamline T.O.'s previous maintenance plan, creating a way to communicate between technicians what had been done and what still needed to be completed.
In the short amount of time spent at T.O. the interns made significant headway on their tasks. "They took those programs further in three weeks than we had in 10 years," Klein confirmed.
Knowledge and Opportunity
After their summer working at T.O. Plastics, all three interns remarked on how much their technical abilities improved, specifically their drafting skills, their understanding of the revision process and the importance of communication in a team-centric environment.
"Everyone here was flexible and helpful," Russek said. "I got to tap into the shared experiences of the other engineers and got to see how projects are implemented. There's lots of opportunity here."
"It's been a great experience," Acquard agreed. "I appreciate all the knowledge that I've gained from this. Through people here, and seeing things that I've never seen before, I've gained a lot."
"I would have never learned these things in school," Aly said. "I love it here and I would like to come back after graduation."


text:
Anti-Labor Secretary
#AntiLaborSecretary
About Andrew Puzder
Hurting Working People
Lining His Own Pockets
Demeaning Women
Articles	| Hurting Working People
Working Families Can't Afford An Anti-Labor Secretary
Huffington Post • Roxana Tynan
President Trump repeatedly promised during his campaign that he would both bring jobs back to America and create more jobs for people to support their families. By nominating Andrew Puzder, CEO of CKE Restaurants (the parent company of Carl's Jr. and Hardee's chains), Trump is blatantly betraying his promise to increase good job opportunities for hardworking Americans. Puzder's track record of limiting workers' rights, fighting off employment lawsuits, and publicly speaking about his lack of respect for his employees makes him fundamentally unsuitable for this cabinet appointment. Therefore we must take a stand to prevent him from becoming the next Labor Secretary.
Puzder's nomination has met widespread opposition from unions, nonprofits, and even CKE employees. The AFL-CIO, The Leadership Conference on Civil and Human Rights, National Partnership for Women and Families, Equal Rights Advocates, American Sustainable Business Council, Farm Forward, and countless others have publicly urged Senators to reject Puzder's nomination.
According to its website, the mission of the Department of Labor is "To foster, promote, and develop the welfare of the wage earners, job seekers, and retirees of the United States; improve working conditions; advance opportunities for profitable employment; and assure work-related benefits and rights."
Puzder's background and dealings show his direct opposition to this mission statement – he has undermined working conditions for CKE employees, decreased opportunities for better employment, and limited workers' benefits and rights. He has criticized overtime rules, stated that he opposes any meaningful raise to the minimum wage, and spoken glowingly about the benefits of automation and replacing workers with robots to cut costs.
A major component of the Department of Labor's work is litigating on behalf of workers when there have been violations of their rights and federal labor law. In 2014, Puzder's company was forced to pay $20 million in overtime lawsuits filed by California employees. Puzder responded by reclassifying managers as hourly workers to cut costs, and publicly stating that he doesn't believe in overtime pay and he will no longer build franchises in California because of excessive regulation.
"California's nanny state laws tell our general managers what they can do, how long they can do it, and when they can do it," he said in a 2014 graduation speech.
Puzder's core beliefs about overtime, minimum wage, and labor regulation are out of touch with the nation, especially California. As part of the Fight For 15 movement, after Los Angeles passed a minimum wage increase, statewide organizers campaigned to raise California's minimum wage in 2016. This will result in hundreds of thousands of hardworking families being able to earn $15 per hour by 2020. And California is not alone – 19 states saw minimum wage increases at the start of 2017. Nationwide, it is a priority to move us forward toward a living wage – not backwards.
Andrew Puzder withdraws as a labor secretary nominee
Labor Pick Andy Puzder is Already in Jeopardy. Now He's Being Sued for Wage-Fixing.
Puzder is dangerous pick for labor
Who Has Andy's Heart?
Puzder betrays working people, from Washington U. to Hardee's
Who is Andy Puzder?
Puzder Puts Public Health at Risk
AntiLaborSecretary.org is a collaboration of Jobs With Justice and the Economic Policy Institute to feature the latest analysis of Labor Secretary-designate Andrew Puzder's policies.
news [at] epi.org
or info [at] jwj.org
Copyright 2021 Anti-Labor Secretary. All rights reserved


It is situated on the banks of the Tambopata River in the heart of the Tambopata National Reserve (TNR), the remoteness and tranquility of our lodge make for a richly rewarding visit to the rainforest.
It is located in the buffer zone of the Tambopata National Reserve. 72 km from the city of Puerto Maldonado following the river.
Rooms of 34 m2 (366 sq. feet); including a hall fully screened.
Dining room for 70 people, with bathrooms.
Bar for 70 people with board games and gift shop.
Small site museum and ecology library.
Slide show and conference room.
Observation platform for 8 people with pulley system.
Fiber glass speed boats with outboard motors for 3 to 18 passengers.
Wooden canoes with outboard motors for expeditions to macaw licks.
The fiberglass boats help protect the environment, they last 20 years saving 30-year-old trees.
Camping facilities: for our remote campsites.
We supply all the group camping equipment needed for you to enjoy safely and comfortably the great outdoors.
Kitchen, dining tent and toilet tent. First-aid kit.
Trail network; We maintain more than 25 kilometers of forest trails.
Ox-bow lakes are old remnant river courses, cut-off from the main river by the effects of erosion and the constant shifting of river channels. On the other side of the Tambopata River from the lodge are two ox-bow lake systems, Condenado and Sachavacayoc, which are frequently visited by us and which allow for a relaxing view of the forest and marshland from dugout canoes.
The macaw clay lick; tours of 4 and 5 days including one Jungle camp.
A macaw clay-lick in the first few hours after dawn must be seen to be believed. After the first few rays of the morning sun begin to hit the eroded river bank cliff face, hundreds of parrots and macaws belonging to ten or more species arrive and alight in nearby trees. They arrive in discrete pairs or in flocks hundreds strong, depending on the species. Then, with a flapping of wings and ear-splitting squawks, they begin landing on the face of the cliff to consume small portions of the clay.
The Chuncho clay lick is approximately 43 km. upriver, 3 hours from the lodge. The advantage of this place is the observation point, is less distance than other licks.
The Collpa Colorado clay lick, the largest known macaw clay-lick in the world, is located on the Tambopata River about 70 km upstream 6 hrs upstream from the lodge.


Need more information about booking Home 7272267 ?
The house "Mirador" is located 10 minutes from Vitoria, 40 min. Bilbao and 1 hour of Donostia-San Sebastian. It is a house with a garden and parking built with green building criteria. It has bed 1.80cm. with latex mattress, hot tub, TV and DVD, free internet, fully equipped kitchen and fireplace. It is adapted for people with disabilities. It is in the Gorbea Natural Park and surrounded by trees and mountains. A quiet place to enjoy nature and delight anyone you want to place.
You can get in touch with Nuria/ pilar (the owner) through the contact form on this page.
Send Nuria/ pilar (the owner) an email through the contact form on this page. Alternatively, if there's a phone number on this page, you can call them.
How do I contact Nuria/ pilar (the owner)?
If you've already booked, go to Manage your holiday booking to view Nuria/ pilar the owner's contact details or send them a message.
Or send Nuria/ pilar (the owner) an enquiry through the Contact the owner/manager form if you'd like a quote or more info first.
When you pay online through the Book your stay form, a booking request is sent to Nuria/ pilar (the owner). You'll find out within 24 hours whether they've accepted - no money will leave your account before then.
You can also request a quote from Nuria/ pilar (the owner) through the contact form. The owner will email you the total cost for your dates and a link to book and pay online.
Use the Book your stay form to pay provisionally online. You can pay by credit/debit card or PayPal. Nuria/ pilar (the owner) will have 24 hours to accept the booking and no money will leave your account before then.
Why can't I call Nuria/ pilar (the owner) before booking?
You'll need to contact Nuria/ pilar (the owner) to do this. Send them a message in Manage your holiday booking or through the contact form on this page.
You can request to change the dates or number of people on your booking via the Manage your holiday booking page. To change your holiday dates use the Edit booking button. If you need to change the number of guests staying then send Nuria/ pilar (the owner) a message.
If Nuria/ pilar (the owner) agrees, they'll send you a revised quote outlining the changes. You can review and accept/decline this from the Manage your holiday booking page. You'll have 48 hours to take action before the revised quote expires.


The Axillary Nerve is a major peripheral nerve of the upper limb that originates from the brachial plexus. Type: mixed sensory and motor nerve. Origin: it emerges from the posterior cord of the brachial plexus. Course:it passes through the quadrangular space with the posterior circumflex humeral artery.


Trends in Mobility: What Do Consumes Want?
The explosion of mobile devices, apps, and networks is transforming industries and ushering in a new era of change for many companies. What mobile trends, habits, and preferences are driving U.S. and global consumer behavior, and how can companies respond? Register to attend the webinar.


Domestic Abuse Family Shelter, Inc.
Hours: The shelter in Hattiesburg and Laurel are open 24-hours a day, 7 days a week. The business office, counseling offices in Laurel and Hattiesburg, Aftercare Case Management Program, and Children's Program are provided Monday through Friday, 8:00 A.M. through 5:00 P.M. The Domestic Violence Intervention Program and support groups are held by appointment.
Covington, Forrest, Greene, Jasper, Jefferson Davis, Jones, Lamar, Marion, Perry, Smith, and Wayne.
Lamar Baptist Association's Mission Center helps residents in Lamar County with food and clothing. For assistance please call on Tuesdays or Thursdays between hours of 8:30 AM – 12 Noon.
Pearl River Valley Opportunity Inc.


More tool styles, including our newest line of basic measuring tools, sourced from other U.S. and global manufacturers.
More online options coming soon .... Including custom pricing, inventory, ordering, and tracking.


text:
McGregor Square construction nearly complete
The new high-rise complex near Coors Field spans a city block.
Author: Jon Glasgow
DENVER — Construction on the latest addition to Denver's historic Lower Downtown neighborhood is the final stages, according to developer West Lot LLC.
McGregor Square is the complex under construction across from Coors Field that will include a boutique hotel, luxury condos, office space and restaurants.
Patrick Walsh, general manager of the project, said the open space in the center of the three downtown towers will be open to the public year-round.
"The biggest thing we probably have is a 30 thousand foot plaza that we think we can activate throughout the entire year with ice skating rinks in the winter, movie nights in the summers," Walsh said.
The large plaza will have green space seating and an outdoor big screen. The lower level will be outfitted with sports bars, a coffee shop and other retailers.
"We'll have fine dinning, a food hall, an Italian restaurant and some other retail as well," Walsh said.
A space in the hotel will become the home for the Rockies Hall of Fame.
The developer said the idea behind the project was to enhance the Lower Downtown neighborhood without taking anything away from its history.
"LoDo is such a great dynamic area. And we wanted it to be a part of it, not something that we dropped it in," Walsh said.
The new high-rise complex spans a city block. The building's bricks are designed to blend in with the old neighborhood but the architecture has a new modern look, including a top floor bridge between two connecting towers.
The area used to be the west parking lot of Coors Field before construction crews broke ground about 27 months ago.
McGregor Square is named after the Colorado Rockies late president, Keli McGregor, who passed away in April of 2010. The developer said McGregor had a vision for the $365 million project that is now nearly 80% complete.
"We have emails from about 15 years ago where he was talking about this, and what's crazy, it ended up being about what he wanted," Walsh said.
Credit: McGregor Square
The 176 room boutique hotel will be run by Sage Hospitality Group which is responsible for operating Denver's Crawford Hotel at Union Station and the Maven Hotel at Dairy Block.
"It's a really nice hotel. It's not a Four Seasons price point by any means, but it's an affordable place to bring your family for a ball game or just the long weekend in Denver," Walsh said.
Neighboring the hotel are 103 luxury condos. About 65% are already sold, according to the developer. Some residents are expected to move-in sometime in mid-January.
Coors Field will be getting a facelift too as part of this project. Some of the revenue from McGregor Square will help cover improvement costs, which is part of the Colorado Rockies 30 year lease agreement with the ballpark.
"This whole project came about to pay for the improvements that need to be done to Coors field. Rather than throwing that onto the tax payers or passing it onto the Rockies, we thought that it was nice to bring life to this block," Walsh said.
Starbucks and the Tattered Cover bookstore have already signed on as tenants, according to the developer.
RELATED: Storied Denver bookstore to close current location (but it's not going far)
The six floors of office space on the west side of the block is expected to bring up to 1,800 people throughout the week.
Walsh said the pandemic has slowed down leasing tenants but the developer is confident that interest will increase as the McGregor Square gets closer to completion.
"We're talking to a few law firms, some younger tech companies, and some more of those traditional accounting firms," Walsh said. "We do think that the outdoor space will really help us out in this COVID world that we live in."
RELATED: McGregor Square, named after late Rockies president, aims to enhance Ballpark neighborhood year-round
SUGGESTED VIDEOS: Mile High Mornings


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NIKE is looking for the next football stars!!
Calling all footballers between the ages of 16-21. Enter Nike Most Wanted for a shot at becoming a professional foolball player!
The 4th edition of Nike Football's global talent scouting & youth development initiative, Nike Most Wanted is now here. The tournament is open to all male South African footballers between the ages of 16-21 who are NOT currently contracted to any professional football club or tied to any pro academy structure.
The program that plucks young players from obscurity and makes their dreams of becoming professional footballers a reality is back for a fourth season. Nike Most Wanted – previously known as Nike's The Chance – gives amateur, unsigned footballers from around the world an opportunity to earn a place in The Nike Academy at St. George's Park, the home of the England National Team, and showcase their skills in front of elite coaches and mentors from the top of the sport.
Since 2010, the program has provided elite training opportunities to thousands of talented footballers, and more than 20 alumni — including Tom Rogic (Celtic Football Club), Bruno Covas (Santos F.C.), Dominik Boettcher (Hamburg), Abdul Waris (F.C. Spartak Moscow), and David "Titi" Accam (Helsingborgs IF) — have made their professional dream a reality.
Starting on 12 August 2014, players in more than 30 countries can access the opportunity to participate in Most Wanted through the Nike Football app and register for an invitation to local tryouts held throughout September and October. After these tryouts, 40-60 players will be selected for the Nike Most Wanted Global Showcase final, where they will battle to earn a spot at The Nike Academy at St. George's Park, the home of the England National Team.
Players are selected based upon a variety of criteria including technical skills and determination, and are invited to participate in local trials. At these local trials, coaches and professional footballers will evaluate the participating talent based on speed, technique, pitch intelligence and conditioning.
At The Nike Academy, players experience world-class facilities, elite coaching, and input from nutritionists, psychologists and fitness trainers. This elite program is based in the U.K. at the FA Centre of Excellence at St. Georges Park.
Enter Nike Most Wanted if you think you have what it takes to play the professional game.
To sign-up for Nike Most Wanted, click here to download the Nike Football App at the iTunes Store or through Google Play.


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2017-11-29 2017-11-29 Certain issues are more "hot" than others, both because they have jumped to the forefront in operational de... Best Lawyers
Current Hot Topics in Transportation Law
Dennis Minichello November 29, 2017 10:07 AM
Providers of transportation, including freight forwarders, non-vessel-operating common carriers, motor carriers, property brokers, logistics companies, and ocean carriers face a myriad of challenges as they work to provide efficient transportation services in a very competitive economic environment. Customers demand lower freight rates, on-time deliveries, damage-free cargos, and other add-on services. A driver shortage looms with an aging workforce. Service pressure requires investment and new technology, which is necessary to stay competitive but is also expensive. States and the federal government add their own regulatory pressures. Amidst all of these challenges, there are many legal issues as well.
Certain issues are more "hot" than others, both because they have jumped to the forefront in operational decisions, as well as because the state of the law is somewhat in flux.
Those "hot" issues are as follows:
1. Liability Insurance and Contractual Clauses
These are not new issues, but remain a continuing challenge. It is common practice for shippers, freight forwarders, and logistics companies to require motor carriers to provide liability insurance coverage for both cargo and personal injury risks. Such requirements are usually paired with contractual indemnity provisions. Doing due diligence to confirm that insurance is actually in place, as described in a certificate of insurance, is a best practice that is not always followed, leading to issues of coverage in the event of a casualty. Knowledge of the scope of coverage is also not always complete, which could lead to no coverage for certain types of losses and liabilities. Indemnity provisions that are poorly written or are not reciprocal in a contractual chain also continue to pose problems.
2. Damages
What constitutes "damages" under the Carmack Amendment when a shipment involves food products coming within the purview of the new statutory Food Safety Act requirements has been a particular concern, with some recent cases holding that the mere fear of the possibility of contamination may be a sufficient measure of damages under the Carmack Amendment, even in the absence of any physical damage. Thus, shipments exposed to odors delivered in unsealed trailers or with some disruption in packaging may be rejected and found to be damaged, even without any actual proof of physical damages. Defending against such claims is becoming increasingly problematic.
3. Personal Jurisdiction
Establishing the requisite "minimum contacts" to establish personal jurisdiction over a transportation provider must be more closely scrutinized given the way in which parties contract for the shipment of goods, especially in the interstate shipment of cargo.
4. Security Issues
Security has taken on a whole new dimension in addition to the physical protection of cargo because of the commercial and legal risks inherent in the electronic/Internet contracting for transportation services, as well as the transmission of sensitive and proprietary data by the same means. The need for due diligence in selecting the providers, the security practices of those providers, the contracting and handling of information, and managing the supply chain risks have become of paramount importance. Quantifying the nature of potential risks, implementing risk management practices to deal with them, and arranging for insurance when possible to minimize the impacts of the risks remains a challenge that only recently has been fully recognized.
5. Regulations
The ongoing attempts to implement safety protocols by the FMCSA continue to be hotly contested, especially with the change of administrations in Washington and the requirement that the Department of Transportation do an overall review of the regulatory burden of those companies within its jurisdiction. The use or nonuse of CSA scores by plaintiffs in personal injury cases to support a claim for liability based on negligent hiring continues to be the source of much confusion. A negative CSA score can be very problematic to a motor carrier before a jury where the perception of motor carriers and their drivers may not be favorable.
6. Ocean Carriers
Ocean carriers continue to feel pressure to use clean diesel fuel to minimize air pollution, control the discharge of their ballast water to prevent the introduction of invasive species into domestic waters, implement new safety practices required by the United States Coast Guard, and, of course, be diligent in matters of security.
All of these "hot" issues will continue to be challenges for the providers of transportation and the source of new law as the issues are addressed by the courts.
Dennis Minichello is a shareholder in Marwedel, Minichello & Reeb, P.C., and practices in the area of transportation law, dealing with contractual, commercial, and insurance issues, as well as defending transportation clients in casualty litigation before state and federal courts.
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