text:
In the past they have categorised themselves as "acoustic folk-rock", and also fall into the category "contemporary folk". However, their most recent album Shaming of the Sun is probably best described as "rock". They have also said that their next album will probably see them tending back towards "folk". (Sherlyn.Koo)
Folk with rock influence. (jbr@casetech.dk)
Most recent releases, Live With The University Of Colorado Symphony (live, 2018); most recent studio release, One Lost Day (2015)
Indigo Girls site
Wikipedia's entry on Indigo Girls
Amy Ray's site
disappear fear, The Story, Billy Pilgrim.
Mainly their own material, with a few covers. The band consists of two singer/songwriters, who rarely write collaboratively and generally take turns singing lead and harmony vocals.
Amy Ray and Emily Saliers are both superb songwriters with distinctively different styles. Emily's songs are influenced noticeably by religion and literature, while Amy draws more from spirituality and her own passion. Emily's beautiful soprano and Amy's passionate alto, combined with their interwoven guitar work, intricate harmonies and intelligent songs combine for an stirring sound that is uniquely their own. (Sherlyn.Koo)
Indigo Girls delivers some very nice songs, both musically and with respect to the lyrics (sometimes indignant, sometimes quirky and sometimes beautiful). Their singing is pretty unusual: their voices are not pretty, in fact often aggressive, but achieve a strange kind of harmony. Great live performers, too.... (jbr@casetech.dk)
The Indigo Girls played what I thought was the most solid set of the night, mixing up crowd singalong versions of old hits with dramatic versions of new songs I didn't know. (Lilith Fair review, neal)
The Indigo Girls were their typical cool selves and got the crowd really rocking. I don't know many of their song titles, but they definitely did "Power of Two" and "Go," which made the audience quite happy to say the least. (Lilith Fair Review, Riphug@aol.com)
Indigo Girls for contemporary folk fans, Swamp Ophelia or Rites Of Passage for ecto or pop fans. (Sherlyn.Koo)
Recordings include:
Strange Fire (1987)
Indigo Girls (1989)
Nomads*Indians*Saints (1990)
Back On the Bus Y'all (live, 1991)
Rites of Passage (1992)
Swamp Ophelia (1994)
1200 Curfews (2 live CDS, 1995)
Shaming of the Sun (1997)
Come On Now Social (1999)
Retrospective (compilation, 2000)
Become You (2002)
All That We Let In (2004)
Rarities (compilation, 2005)
Despite Our Differences (2006)
Poseidon and the Bitter Bitter Bug (2009)
Staring Down the Brilliant Dream (2 live CDs, 2010)
Holly Happy Days (seasonal, 2010)
Beauty Queen Sister (2011)
One Lost Day (2015)
Live With The University Of Colorado Symphony (live, 2018)
Strange Fire
Independent release on vinyl only in 1987; re-release 1989—Epic—EK 45427 (U.S.)
Fairly widely available in U.S.; a little harder to find but still available in other countries.
Recommended for folk fans
Amy Ray—vocals, acoustic guitar, 12-string guitar
Emily Saliers—vocals, acoustic guitar
Sandy Garfinkle—harmonica
Nita Karpf—cello
John Keane—vocals
Michelle Malone—vocals
Anne Richardson—flute
Dede Voga—mandolin
A good album but the songwriting is generally a little less mature than on later albums. Possibly my least favourite of all the Indigo Girls' albums. (Sherlyn.Koo)
I always liked the title song, but I rarely listen to the whole album. The barer, acoustic sound makes it more intimate, quieter and calmer than the later albums. (JoAnn Whetsell)
1989—Epic—EK 45044 (U.S.); EPC 463491 2 (Australia). Also remastered and released as a gold-coloured "Collector's Edition" CD in 1994, cat. no. EK 66224.
Readily available worldwide
Highly recommended for folk fans
Amy Ray—vocals, acoustic guitar
Emily Saliers—vocals, acoustic guitar, 12-string electric guitar, electric guitar
Bill Berry (R.E.M.)—drums
Luka Bloom—vocals
Peter Buck (R.E.M.)—electric guitar
Paulinho Da Costa—percussion
Jay Dee Daugherty—drums
John Keane—bass, 12-string electric guitar, slide guitar, bass drum, shaker
Mike Mills (R.E.M.)—bass
Fiachna OBraonain (Hothouse Flowers)—tin whistle, vocals
Liam O'Maonlai (Hothouse Flowers)—bodhran, hammond organ, vocals
Peter O'Toole (Hothouse Flowers)—mandolin, vocals
Michael Stipe (R.E.M.)—vocals
Kasim Sultan—bass
John Van Tongeren—keyboards
Dede Vogt—bass
Jai Winding—piano
Scott Litt
An excellent album, Indigo Girls' major-label debut was widely hailed by critics at the time of its release. With guest appearances by members of R.E.M. and Hothouse Flowers (including Michael Stipe's powerful harmony on Amy's song "Kid Fears"), this album shows Indigo Girls' versatility—songs range from Amy's gut-wrenching solo "Blood And Fire" to Emily's upbeat singalong "Closer To Fine". Highly recommended. (Sherlyn.Koo)
I took a flyer on this and was very pleasantly rewarded with a lively and challenging album. The lyrics are intriguing and the musical arrangements (acoustic guitars predominate) exhilarate. (nightwol@dircon.co.uk)
Nomads*Indians*Saints
1990—Epic—EK 46829 (U.S.); 467308 2 (Europe)
Recommended for folk fans. (Sherlyn.Koo)
Emily Saliers—vocals, acoustic guitar, electric guitar
Kenny Aronoff—drums, African drum, percussion
Scott Bland (ellen james society)—drums
Peter Buck (R.E.M.)—dulcimer
Mary Chapin Carpenter—vocals
Craig Edwards—fiddle
Peter Holsapple—accordion, keyboard
John Jennings—acoustic slide guitar, acoustic guitar, electric guitar
Jim Keltner—drums
Sara Lee—bass
Bryan Lilje (ellen james society)—bass
Michael Lorant (Big Fish Ensemble)—drums
Chris McGuire (ellen james society)—vocals, electric guitar
Gerard McHugh—vocals
Cooper Seay (ellen james society)—electric guitar
Benmont Tench—fake accordion
A good album, in a very similar vein to the previous, Indigo Girls (Amy has said that she felt Indigo Girls "didn't grow hardly at all" with this album). Standout tracks include Amy's "Welcome Me" and Emily's "Watershed" and "Hammer And A Nail". (Sherlyn.Koo)
Highly recommended for folk and ecto fans
Jackson Browne—background vocals
Ronan Browne—uileann pipes, low whistles
Budgie—drums, percussion, marimba, claves
David Crosby—background vocals
Lisa Germano—fiddle
John Jennings—electric guitar, slide guitar
Michael Lorant—vocals
Donal Lunny—bouzouki, bodhran, mandolin
Nollaig Ni Chathasaigh—irish fiddle
Jerry Marotta—drums, percussion, piano
Martin McCarrick—cello, accordion
Edgar Meyer—bass, acoustic bass
Sue Owens—handclaps
Maggie Roche (The Roches)—vocals, piano
Terre Roche (The Roches)—vocals
Suzzy Roche (The Roches)—vocals
Cooper Seay—electric guitar
Simone Simonton—cymbals, sidestick
Talvinde Singh—percussion
Benmont Tench—organ
Peter Collins
Rites Of Passage was possibly Indigo Girls' most ambitious and experimental album. Assembling the largest cast of support artists to date, this album marked Indigo Girls' first real departure from the "two women two guitar" sound of their earlier albums, often using full instrumentation to great effect. Rites Of Passage is a collection of wonderful songs (including Amy's astonishingly powerful rendition of Mark Knopfler's "Romeo And Juliet")—highly recommended for folk and ecto fans alike. (Sherlyn.Koo)
Slightly better than Nomads Indians Saints, but both albums are very good. (jbr@casetech.dk)
Swamp Ophelia
1994—Epic—EK 57621 (U.S.)
Amy Ray—vocals, acoustic guitar, electric guitar, acoustic highstrung guitar
Emily Saliers—vocals, acoustic guitar, electric guitar, classical guitar, dobro, bouzouki
Sam "Shake" Anderson—vocals
David Davidson—violin
Sheila Doyle (Big Fish Ensemble)—violin
Jan Dykes—bass
Lisa Germano—penny whistle, mandolin, violin, mandolin
Connie Grauer (Mrs. Fun)—melodica, bass synthesizer
James Hall—trumpet
Anthony Lamarchia—cello
Chuck Leavell—piano, vibrachime
Tony Levin—stick bass
Michael Lorant (Big Fish Ensemble)—vocals, drums
Jerry Marotta—drums, bongos, percussion, African drums, marimba
Bill Newton—chromatic harmonica
John Painter—electric guitar, baritone guitar, flugel horn, accordion
Larry Ray, Sr.—vocals
The Roches—vocals
Jane Scarpantoni—cello
Jane Siberry—vocals
Joel Sonnier—accordion
Chris Teal—violin
Danny Thompson—acoustic bass
Kristin Wilkinson—viola
Kim Zick (Mrs. Fun)—triangle, snare drums, tom toms, tympani
A wonderful album, possibly my favourite by the Indigo Girls. Over the years their songwriting has been getting better and better; this album contains some sublime songs, including Emily's "The Wood Song" and "Mystery", and Amy's "Dead Man's Hill". This album also marks their first step away from the acoustic sound, with their first electric-guitar-based song, Amy's "Touch Me Fall". I highly recommend this album to any folk or ecto fan. (Sherlyn.Koo)
Perhaps the songs here don't quite measure up to the very best of Rites of Passage but the quality of this collection is much more consistently high and the singing and production are superb. The vocal harmonies and acoustic sound are immediately appealing—the intense and deeply personal lyrics may take more repeated exposure to make their mark. (nightwol@dircon.co.uk)
An excellent effort from them. I regained interest in their work with this album. 'Touch me fall', 'Least complicated', and so many other great songs. (kyrlidis@earthlink.net)
This CD moved me emotionally more than any other this year. Variety of moods, quality of lyrics, it hogged the fave album slot for a long while until Sarah McLachlan's Fumbling Toward Ecstacy came along for me. (martin@mandab.co.uk)
I thought I would never appreciate the Indigo Girls, but after hearing "Touch Me Fall," I knew I had to get this CD. A much richer sound than any of their previous works. (stuart@sph.emory.edu)
1200 Curfews
1995—Epic—E2K 67229
Amy Ray—vocals, acoustic guitar, electric guitar, mandolin, melodica
Emily Saliers—vocals, acoustic guitar, electric guitar, dobro
Russell Carter—vocals
Jimmy Descant—electric guitar, vocals
Gail Ann Dorsey—vocals
Sheila Doyle—violin
Sandy Garfinkle, harmonica
Sara Lee—bass, vocals, penny whistle
Michael Lorant—vocals, tambourine
Michelle Malone—mandolin, vocals
Jerry Marotta—drums, vocals, saxophone
Scarlet Rivera—violin
Jane Scarpantoni—penny whistle, cello
Dede Vogt—vocals.
Indigo Girls and Russell Carter
1200 Curfews contains songs from various points in Indigo Girls' career, including rare tracks such as a song from their very first tape (recorded in 1981), excellent live covers such as Neil Young's "Down By The River" and Bob Dylan's "Tangled Up In Blue", and live versions of crowd favourites like "Closer To Fine" and "Least Complicated". It's a fairly good retrospective on their career so far, but for me, what's almost better than the music is hearing the way they interact with the audience. Just listen to the audience singing during "Galileo" (Amy and Emily customarily stop singing and let the crowd have the stage during the last verse) and you'll hear what I mean. (Sherlyn.Koo)
i like the indigo girls a lot, but i'm a teensy bit sorry i bought it. i think there are certain ways people *lean* in music, certain styles that are appreciated more than others, and i tend to lean away from folk-ey music. i love a lot of it, but a lot doesn't work for me. anyway, what i'm trying to say with regard to the indigo girls is that while i love their music, i fail to note any important differences between a studio recording and a live one. while there is a lot of energy apparent on the album, it doesn't work for me in that context, so i'm left thinking i should've just stuck with the studio albums. and there seem to be instruments people lean towards, too—for a lot of people it's guitars, but for me it's piano and synth-ey stuff, so the live guitar sound doesn't move me particularly either. a good album, but a disappointment nonetheless, for those reasons. i quite like their rendition of "bury my heart at wounded knee", though, which i wouldn't have had otherwise :) (damon)
While a few of these songs don't strike me, there are dozens of others that are fantastic. Some really amazing covers, and versions of songs that totally revitalize them. Makes me anxious to see an i-girls show again. It's been a number of years for me. Oh yeah, and if you like the versions of "Bury My Heart At Wounded Knee," you should definitely seek out Buffy Sainte-Marie's album of a few years ago, Coincidence and Likely Stories.(neal)
A great discovery. (abehrend@direct.ca)
Shaming of the Sun
1997—Epic—EK 68019 (US digipack); EK67891 (US jewel); 486982 2 (Australia)
Highly recommended for rock and folk/rock fans
Amy Ray—vocal, acoustic guitar, electric guitar, mandolin, bouzouki, electric baritone guitar, 12-string guitar, piano
Emily Saliers—vocal, acoustic guitar, electric guitar, bouzouki, banjo, piano, hurdy gurdy, harmonium, nylon string guitar, dulcimer
David Arenz—violin
Ellis Arenz—violin
Dallas Austin—vocals
Benjamin (Smoke)—vocals
Quentin Bush—vocals
Carmen Caballero (Ulali)—vocals
Timothy P. Campion (Smoke)—drums, percussion
Jama Carter—vocals
Sheila Doyle (Big Fish Ensemble)—piano
Steve Earle—vocals, harmonica
Pura Fe Crescioni (Ulali)—vocals
Josh Freese—drums
Lisa Germano—violin, mandolin
Kenny Greenberg—electric guitar
Brian F. Halloran (Smoke)—cello
Candi Jiosne—piano
Kathy Kee—vello
Jennifer Kreisberg (Ulali)—vocals
Michael Kurth—double bass
Danny Laufer—cello
Sara Lee—bass, pennywhistle, Hammond B-3
David Leonard—hurdy gurdy
Coleman T. Lewis (Smoke)—electric guitar
Michael Lorant (Big Fish Ensemble)—vocals, piano
Jun-Ching Lin—violin
Jerry Marotta—drums, percussion, taos drums, flinstone, harmonium
Paul Murphy—viola
Heidi Nitchie—viola
Mickey Raphael—harmonica
Dave Richards—acoustic bass
Willard Shull—violin
Andy Stochansky—drums, percussion, talking drum, dumbek
Sou-Chun Su—violin
William W. Taft (Smoke)—cornet
Chris Verene (The Rock*A*Teens)—drums
Indigo Girls and David Leonard
Indigo Girls' sixth studio album proves once again that they are unafraid to take chances, both musically and on a more personal level. Most of the songs on this album are much harder-edged than anything they've done before, loaded with electric guitars and Indigo Girls' trademark passionate vocals. Yet despite what some might see as a radical departure from the style of their earlier albums, Shaming of the Sun proves that Amy Ray and Emily Saliers, folk background notwithstanding, have what it takes to rock and roll. From the more mainstream pop/rock of Amy's "Shame On You" and Emily's "It's Alright"; through the pounding beat, wailing backing singers (Native American group Ulali) and downright sexiness of Amy's "Shed Your Skin"; to Emily's "Caramia", a rock ballad complete with sweeping strings and cryptic lyrics, this is Indigo Girls' most complex and ambitious album to date. Other highlights include Emily's weary and wise "Everything in Its Own Time", Amy's passionate "Don't Give That Girl a Gun", written about the recent break-up of her long-term relationship, and Emily's uptempo banjo-driven "Get Out the Map". If you're looking for some music to simultaneously challenge your mind, set your feet tapping and get you singing along, Shaming of the Sun is the album for you. (Sherlyn.Koo)
Come On Now Social
1999—Sony Music (Epic)—EK69914
Amy Ray—electric and acoustic guitars, mandolin, vocals
Emily Saliers—electric guitar, acoustic guitar, banjo, bazouki, slide guitar, slide electric and acoustic guitars, vocals
John Reynolds—drums, percussion, kazoo
Dawson Miller—percussion
Clare Kenny—bass, backing vocals
Carol Isaacs—organ, moog, wurlitzer, accordion, backing vocals
Caroline Dale—cello, backing vocals
Joan Osborne—backing vocals on 4 tracks
Pamela Stickney—theremin
Jerry Marotta—drums
Rick Danko—bass
Garth Hudson—keyboards
Sheryl Crow—backing vocals on 2 tracks
Malcolm Burn—beat box, piano
Ian Stanley—organ
Tim Green—tenor sax
Renard Poche—trombone
Reginald Houston—baritone sax
Brady Blade, Jr.—drums
Ozilline Walker—voice speaking on track 7
Kate Schellenbach—drums
Me'Shell Me'shell NdegéOcello—bass on 2 tracks
Justin Adams—ngoni
Natacha Atlas—backing vocals on 1 track
John Reynolds and Indigo Girls
Well, I was hesitant about this album. I think my fears were mostly that with all the guest artists, that it wouldn't be an indigo girls album, that they were moving away from their two-girls-with-guitars-and-amazing-harmonies and becoming more of a band. But I liked the samples I heard well enough to order the album. And, fortunately, these fears were mostly unfounded, and I was very pleasantly surprised by my first listen.
The amount of guest artists seems much less both in quantity and impact than the previews I had read. No track has more than 1 guest on it, and many have none, and the guesting is mostly backing vocals. Natacha Atlas' vocals on the last track are especially good.
There are 2 songs I don't like, but mostly this is a very good album, in terms of album standards and indigo girls albums standards, way better than Shaming of the Sun. And the Indigo Girls, the duo, the harmonies, the melodies, are very firmly at the core. (JoAnn Whetsell)
I think this is a natural growth from last year's Suffragette Sessions tour, that featured a whole smorgasbord of styles. (paul2k@aol.com)
An excellent and far less folky and more eclectic mix than anything they've ever done before. (Sherlyn.Koo)
2000—Epic—EK 85177
Amy Ray—vocals, guitar, acoustic guitar, electric guitar, mandolin, bouzouki
Emily Saliers—vocals, guitar, acoustic guitar, rhythm guitar, bouzouki, electric guitar, banjo, classical guitar
Peter O'Toole—mandolin, background vocals
Fiachna O'Braonain—tin whistle, background vocals
Liam O'Maonlai—bodhran, background vocals
John Keane—12 string electric guitar
Dede Voght—bass
John Jennings—electric guitars
Kenny Aronoff—drums
Peter Holsapple—keyboard
Budgie—drums and percussion
Lisa Germano—fiddle, violin, mandolin, penny whistle
Ronan Browne—Uileann pipes
Donal Lunny—bouzouki and bodhran
Jerry Marotta—drums, percussion, piano, bongos, Taos drums, flinstone
John Painter—flugel horn, accordion
Chuck Leavell—piano
John Reynolds—drums, percussion
Clare Kenny—bass
Carol Isaacs—organ, moog, accordion, piano
Caroline Dale—cello
Malcolm Burn—beat box
Blair Cunningham—drums
Michael Kamen—string conducting and arrangement on "Ghost"
Luka Bloom, Michael Stipe (R.E.M.), Michael Lorant, the Roches, Sam "Shake" Anderson, Dallas Austin, Quentin Bush, Jama Carter, Joan Osborne—background vocals
John Keane (1), Scott Litt (2-4), Peter Collins (5-10), Indigo Girls and David Leonard (11-12), John Reynolds and Indigo Girls (13-16)
As far as career retrospective albums go, this is probably the best they get. 14 songs spanning 7 albums, plus 2 new tracks that are as good as anything they've done before, particularly "Devotion." Plus notes on the origin, meaning of all the songs by Amy and Emily. And and "insightful new essay by author Susan Faludi" which I haven't read yet. And if you buy it at Borders, you get a bonus cd with acoustic versions of "Mystery" and "Reunion" and a live version of "Shame on You." (JoAnn Whetsell)
Become You
2002—Epic—9699-86134-2
Amy Ray—vocals, acoustic guitar, mandolin, bouzouki, harmonica
Emily Saliers—vocals, 6 and 12 string acoustic guitar, classical guitar, electric guitar, bouzouki, mandolin
Carol Isaacs—Hammond B-3, wurlitzer, piano, accordion, penny whistle, recorder, percussion
Clare Kenny—acoustic and electric bass
Brady Blade—drums and percussion
Michelle Malone—vocals on "Moment of Forgiveness" and "Hope Alone," vocals and harmonica on "Bitterroot"
Dan Higgins—saxophone on "You've Got To Show"
Jerry Hey—string arrangement on "Hope Alone"
I think Become You is a beautiful album. I read reviews that said it was closer to their Swamp Ophelia days, but I'm not sure I'd agree with that, though I wouldn't necessarily disagree either. It is more acoustic, with fewer backing musicians, and different ones than in the past. So it's more like the past as in not really exploring different musical styles and less electric and not really rock, and not really political. I guess it's a little easier to say what it's not like than what it is like. Which may come off sounding like a bad thing, or a not great thing, but I don't mean it that way. It's another strong album. A really strong album. And it's nice that they're still making really good albums. I've only listened to the whole album twice or so, and individual songs a few more times than that, so I'm not singing along, and somehow I think this is not a sing-along album, but it's a lovely album to listen to, and one I think.
If you buy it at Borders you can get a bonus disc with an alternate version of "Our Deliverance," a live version of "Everything In Its Own Time," and "Johnny Rottentail," a song from Amy's solo album Stag. The first and third are good but not stellar, but the live version of "Everything In Its Own Time" is stunning. It's not one of my favorite songs of theirs, but this version is slow and moody and a bit dark, and I love the cello on it. (JoAnn Whetsell)
All That We Let In
2004—Epic Records—EK 91003
Amy Ray—vocals, 6- and 12-string acoustic guitar, electric guitar, mandolin, handclaps, vocals
Emily Saliers—vocals, 6- and 12-string and highstring acoustic guitar, electric guitar, mandolin, piano, handclaps, vocals
Carol Isaacs—hammond B-3, Wurlitzer, piano, accordion, penny whistle, recorder, percussion, vibraphone, ocarina
Clare Kenny—acoustic and electric bass, electric guitar
Mark Van Allen—pedal steel (7)
David Henry—cello (5, 7)
John Holmes—congas (11), handclaps
Joan Osborne—additional background vocals (2, 6, 11)
Peter Collins—handclaps
Glen Matullo—handclaps
Susan Tanner—handclaps
Ann Tanner—handclaps
A new Indigo Girls album is no longer the cause for celebration it once was, but it's still cause for joy. I'll probably never love another one of their albums the way I love Indigo Girls and Rites of Passage, but there are few albums period I love that much. Each new studio album from Shaming of the Sun on has required some time to grow on me. All That We Let In has only needed a few listens. It's bright and sunny, less overtly political than previous albums (somewhat surprising and a bit disappointing in this era of the Iraq war protests and gay marriage arguments).
There are some really good songs though—"Tether" and "Cordova" among them, I'd probably include "Perfect World" too. I love the banjo on that song, and it does show their socially conscious side, implicating our consumerism in the world's environmental destruction but sounding a hopeful note at the end with the question "Can we learn to live another way?" (assuming, of course, your answer is yes, we can). "Tether" might be their best "rock" song ever.
Unfortunately there is also a lot of blandness. The rest of the album is littered with love songs, both about joy and heartbreak. Still, it's growing on me, as the last few albums have, though I too haven't really loved an album since Swamp Ophelia, although I've loved individual songs. I guess I like their harmonies and instrumentation enough that I enjoy their music even if/when I don't consider it all that inspired.
On the new album, I think it's the first time I've preferred Amy's songs to Emily's. Amy has retained her social consciousness. Emily's songs here are not bad, but simply ordinary (which may be worse).
I was listening to Rites of Passage this morning and was reminded of how great the Indigo Girls can be, how passionate, how beautiful, how original. I miss that. But I guess I'm not too disappointed because I don't expect great albums from them anymore. I'm happy enough to settle for a few really good songs and some friendly stuff to sing along to.
So if you're a dedicated fan, you'll find stuff to like on All That We Let In. If you didn't like their great albums, you should skip this; you won't like it either. If you are a fan but decide to skip it anyway, do yourself a favor and download "Tether" and "Cordova" somewhere. I haven't looked at the accompanying bonus DVD yet (live versions of "Galileo," "Kid Fears", and 4 songs from All That We Let In recorded at the Bottom Line), so I can't say how much of a draw it is.
I pulled out this album recently (summer 2010), having not listened to it in a long time. It has not stood the test of time. "Tether" is the only song I would actually call a good song, maybe even great. Otherwise I was quite bored and couldn't wait for the disc to end. Sad. (JoAnn Whetsell)
Umm, excuse me while I climb into my flame-proof suit...there, that should come in handy. So: The girls continue their steady drift to the Middle of the Road, asleep at the wheel, the radio tuned to an easy-listening station. This doesn't have anything as cheesy as the sax break on their last album's "You've Got to Show", nor any song quite as dire as "Andy" from the one before that, and it certainly picks up about halfway through, but...well, Amy finally turns out (in my opinion, just to repeat myself) a dud—the shuffling ska beat of "Heartbreak for Everyone" has got to be her worst song yet, and typifies what's going wrong, for me, here. They now seem content to produce—on the whole—nice, tuneful, clap-along, singalongs, with simplistic, inoffensive lyrics, stuffed full of folksy homilies. Just when we need the anger and commitment that they are more than capable of, they seem happy to sit on their front porch and whittle and strum. There are still a few good songs here, definitely, but they're mostly down to Amy (once you get past that dud, "Cordova" stands out a mile). Emily, whose songwriting burned so fiercely in Swamp Ophelia and Shaming of the Sun, seems to have settled back into pleasant whimsy. I think my disappointment is disproportionate to the virtues of this album, though: It's inoffensive, pleasant enough and very listenable. And that's about it. (adamk@zoom.co.uk)
I've had All That We Let In for the better part of a week now. I haven't had a chance to give it a really dedicated listen but based on about half a dozen spins in the car I'm glad to report that the album definitely is growing on me. I was worried it wouldn't. I still can't really tell Emily's songs apart yet but I've got a fairly good handle on Amy's songs and man, some of them are good! "Tether" is a big old Southern Rock Ballad and I can't wait to hear it live. "Dairy Queen" is another fine effort. I generally agree with what Adam said about "Heartache for Everyone" and yet...haven't been able to get the chorus out of my head for five days, so it must be doing something right.
I've basically followed the same progression as others—I love each of their earlier albums on a scale that's roughly exponential, culminating with Swamp Ophelia, which is possibly my favourite album of all time. Then it pretty much drops back down again—I like each succeeding album less than the previous one. The last few years have been weird for me because I really thought that Indigo Girls were going to be *it* for me, forever. But I guess not.
On the earlier albums I generally thought that Emily brought the songcraft and musicianship, and Amy brought the passion. That's pretty much changed ever since Swamp Ophelia—Amy's songwriting seems to be getting better and better and she still has as much passion as she ever did, while it feels that Emily just keeps going over and over the same ground. But I don't know. I'll keep listening until either I "get it", or I'm forced to admit that Emily just doesn't speak to me at this current place in my life. (Sherlyn.Koo)
Good, as always. (Wade
2005—Sony BMG—8 2796-94442-2 1
Recommended for fans
Amy Ray
Emily Saliers
Guest artists include:
Michael Stipe (R.E.M.) on "I'll Give You My Skin"
Ani DiFranco on "Ramblin' Round"
This odds'n'sods collection (which includes demos, remixes, covers, live tracks, old songs, unreleased songs, and songs that originally appeared on compilations) has something for everyone, but given its diversity, it's unlikely anyone will like all of it. For me, the highlights are easily "Let Me Go Easy," written for an activist friend who died of ovarian cancer, and "Point Hope," written after reading about a family that used to watch the nuclear explosion at a Nevada test site.
Of the other 16 tracks, 2 I hate (Tom Morello's remix of "Shed Your Skin" and the alternate version of "Free In You"), and 2 I dislike ("Free of Hope," a Vic Chesnutt cover originally from a Sweet Relief compilation, and "I'll Give You My Skin," which was written for a PETA anti-fur benefit album). The rest are generally likable. It is nice to hear some of their early work ("Mona Lisas and Mad Hatters," "Cold As Ice," and "Never Stop"), and they cover Ferron's "It Won't Take Long" pretty well. "Winthrop," which didn't make it onto Shaming of the Sun, grew on me quite a bit. "Finlandia," showing off beautiful harmonies, is lovely. (JoAnn Whetsell)
Despite Our Differences
2006—Hollywood Records—162635 and 162655 (Collector's Edition)
Emily Saliers—vocals, acoustic guitar, slide guitar, electric guitar, mandolin, ukulele
Amy Ray—vocals, electric guitar, acoustic guitar, mandolin, harmonica
Matt Chamberlain—drums
Mitchell Froom—keyboards
Carol Isaacs—piano (9, 11), organ (3, 5)
Greg Leisz—pedal steel (13)
Brandi Carlile—harmony vocals (13)
Pink—additional vocals (6)
Ruby Froom—hand claps (2)
Mitchell Froom
Despite Our Differences marked their first album on the new label. It starts out well, but pretty soon, after Emily's fifth or sixth tuneful, pleasant and formulaic love song, I started to wonder if these two would ever really matter again. (adamk@zoom.co.uk)
An okay album. Despite Our Differences finds the duo sounding fresher and more energetic than on their previous album, All That We Let In.
Unfortunately, Emily still insists on writing and recording more of the sentimental pap ("Fly Away," "Last Tears") that she's devolved into over the last few years. This is really sad since she is an excellent songwriter, and most of my favorite Indigo Girls songs are ones she penned. Her songwriting has improved since the last album, and there are really only 2 or 3 skippable songs on Despite Our Differences. "I Believe in Love" which sounds like it would be sappy is actually a strong song.
The collector's edition includes a bonus disc with 4 live tracks and 2 "alternate studio acoustic mixes", all of songs from the album. Amy's rock songs sound great live, but unfortunately both "Fly Away" and "Last Tears" are included, and the alternate versions are no better than the studio recordings on the main disc. (JoAnn Whetsell)
Poseidon and the Bitter Bug
2009—Vanguard—79934-2
Amy Ray—acoustic guitar, electric guitar, mandolin, harmonica, vocals
Emily Saliers—acoustic guitar, electric guitar, vocals
Matt Chamberlain—drums, percussion, programming
Alison Brown—banjo
Missy Higgins—background vocals on "Digging for Your Dream"&"True Romantic"
I'd pretty much written this pair off as they spent the decade when they were needed most paddling in some backwater writing endless, insipid love songs and folksy ruminations. Mitch Froom's production threatens to continue the cheese factor, but the bonus acoustic disc shows that, stripped down and de-Froomed, the girls still have power. It's still not the political album I'd hoped for, but it's easily the best they've done in years. (adamk@zoom.co.uk)
I agree the acoustic disc is more powerful than the main album, and that overall it's their best work in years. (JoAnn Whetsell)
Staring Down The Brilliant Dream
Amy Ray—vocals, electric guitar, guitar, mandolin, harmonica
Emily Saliers— vocals, electric guitar, guitar, slide acoustic guitar, 12 string guitar, banjo, ukulele, mandolin
Carol Isaacs—vocals, keys, accordion
Clare Kenny—vocals, bass
Matt Chamberlain—drums, drum loop
Julie Wolf—vocals, accordion, piano, keys
Jill Hennessey—vocals (disc 1, track 2)
Sean and Dominic Kelly—vocals (disc 1, track 2)
Michelle Malone—vocals (disc 1, track 2); vocals, guitar (disc 2, track 16)
Brandi Carlile—vocals, guitar (disc 1, tracks 11, 12)
Trina Meade—vocals (disc 1, track 13)
Eric Kufs (Common Rotation)—vocals (disc 2, track 2)
Adam Busch (Common Rotation)—harmonica, vocals (disc 2, track 2)
Jordan Katz (Common Rotation)—banjo, vocals (disc 2, track 2)
Ryan Raddatz (Common Rotation)—mandolin (disc 2, track 2)
Indigo Girls and Brian Speiser
It's been 13 years since I saw the Indigo Girls play Lilith Fair NJ in 1997. 15 years since they released the double live CD 1200 Curfews. Back then they had 5 full-length albums (including their three greatest) of songs to choose from. Since then they've released an additional 6 studio albums. Which means that for Staring Down the Brilliant Dream they had 11 studio albums and 25 years of music to choose from.
For the most part they chose well. Their most recent work is best represented, with 17 of the 31 tracks coming from their 4 most recent albums. There are also 2 covers (a great version of "Don't Think Twice, It's All Right" with Brandi Carlile and a not-quite-as-winning "Wild Horses" with Michelle Malone). It's a love project for fans—part live album, part career retrospective—with backstage and concert photos of the Girls and guests and notes on each song, about its evolution or the particular recording.
I could quibble with certain things—starting the album with "Heartache for Everyone," one of the worst songs Amy's ever written; the Girls-glorifying essay by Holly Crenshaw; the lack of banter except for an obligatory "Thanks y'all" at the end of songs, the complete absence of Rites of Passage...
But there's too much joy here, too much to celebrate, to bother focus on relatively minor complaints. The Girls are more energetic here than they've been on recent albums. There's a rousing rendition of "Closer to Fine," a song which is quite old but never stale. Other highlights are "Tether," the closest they get to rocking out; "Fugitive" and "Prince of Darkness" with prominent piano; and a revitalized "Kid Fears" with Trina Meade doing the original Michael Stipe (R.E.M.) part. Even "Fly Away," which is pretty sleepy on record, sounds lovely here.
It's, of course, too early to tell, but I wouldn't be surprised to find myself still listening to this album 15 years from now. (JoAnn Whetsell)
Holly Happy Days
I love holiday music, and I love the Indigo Girls, but this album does little for me. The original songs that make up two-thirds of the album range from hokey but cute to boring. None really grab me and make me look forward to adding them to my yearly rotation. The traditionals are just okay. The best tracks are Chely Wright's "It Really Is (A Wonderful Life)" and the simple, folky version of "Angels We Have Heard on High."
Maybe in trying to be really inclusive (there's religious Christmas music, secular holiday stuff, and a shout-out to Hanukkah) the album is kind of inoffensive and generic. Maybe the mix of country, bluegrass, and that indefinable Indigo Girls style is just not the vibe I want for my holiday music (less charitably: at times it's just plain weird). I find it hard to explain my dislike for this album. It's not really bad, but it's not good either. I guess that's the problem. (JoAnn Whetsell)
Beauty Queen Sister
2011—IG Recordings/Vanguard—78190-2
Amy Ray—electric guitar, acoustic guitar, electric mandolin, mandolin, vocals
Emily Saliers—ukulele, acoustic guitar, electric guitar, slide guitar, classical guitar, vocals
Brady Blade—drums, loop
Frank Swart—bass
Jim Brock—percussion, loop, drums
Carol Isaacs—Wurlitzer, Hammond B3, vibes, piano, accordion
Luke Bulla—violin, mandolin
Alison Brown—banjola, banjo
Viktor Krauss—upright bass
Allen Parker—synth loop (8)
Stuart Mathis—electric guitar (10)
John Reynolds—drums (11)
Clare Kenny—bass (11)
Eamonn De Barra—whistles, flute (11)
John McLoughlin—acoustic guitar, mandolin (11)
The Shadowboxers (Adam Hoffman, Matt Lipkins, Scott Schwartz)—backing vocals (3, 4)
Lucy Wainwright Roche—guest vocals (5); additional backing vocals (12)
Damien Dempsey—backing vocals (11)
A couple of good songs (in particular the title track showcases some of the vitality they regained in Poseidon and the Bitter Bitter Bug) but too much of the album is sleepy and dull. (JoAnn Whetsell)
A disappointment after their last release, this sees them at least trying for something different in their instrumentation, with some nice jazzy violin flourishes, but while there are some sparky songs on here, the quality varies wildly and at only the second track you encounter Emily's twee and patronising "John", arguably among their worst tracks ever. (adamk@zoom.co.uk)
One Lost Day
Emily Saliers—vocals, acoustic guitars, dulcimer, electric guitar, highstrung guitar, banjo
Amy Ray—vocals, electric guitar, octave mando guitar, acoustic guitars, mandolin
Brady Blade—drums (1, 4, 8, 10, 12)
Lex Price—bass (1, 12)
Carol Isaacs—Wurlitzer (1); muted piano (1, 3, 12); piano (7, 10, 13); accordion (8, 11); B3 organ (10, 13); wooden Wurlitzer (11)
Jaron Pearlman—drums (2, 5, 6, 9); tambourine (2); additional drums (3, 4, 8, 11, 12)
Benjamin Ryan Williams—bass (2, 5, 6, 9)
Lyris Hung—violin (2, 5, 8, 10, 11, 13)
Jordan Brooke Hamlin—clarinet (2, 11); trumpet (2, 12); French horn (2, 5); additional vocals, programming (3); electric guitar (3, 4, 9, 12, 13); piano (3-5, 11, 12); octave mando guitar (3, 6); archtop guitar (4); organ (4, 6); dulcimer, percussion (5); bass (7); baritone guitar, banjo (8); noises (8, 11); pedal steel (8, 12); additional drums (8, 13); synth, keys (9); highstrung guitar (13)
Fred Eltringham—drums (3, 11, 13)
Butterfly Boucher—bass (3, 11, 13)
Chris Donohue—bass (4)
Lex Price—bazouki (8); bass (8, 10)
Lucy Wainwright Roche—vocals (8)
Brian Joseph—additional drums (9)
Don Chaffer—cello (11)
Jordan Brooke Hamlin
A really good album, with great musicianship and a mixture of folky and more rocking songs, as usual. I tend to prefer the more rocking songs on the album (it's been that way with me with the Indigo Girls for a while), but the more folky songs are pretty strong as well. "Olympia Inn" (where the album really gets going), "Spread the Pain Around" and "The Rise of the Black Messiah" are standouts, not only on this album but for their entire catalog. (JoAnn Whetsell)
The Indigo Girls have released 4 video collections:
Live at the Uptown Lounge (1990);
Watershed: 10 Years of Underground Video (1995);
Live at the Fillmore (2000)
Live at the Roxy (2009)
They have contributed songs appear to numerous compilations. Recordings not available on their own releases include:
"Get Together" on The Wonder Years soundtrack (1989)
"Blood Quantum" on Honor: A Benefit for the Honor the Earth Campaign (1996)
"Letter to Eve" on Where Have All the Flowers Gone: The Songs of Pete Seeger (1998)
"Mrs. Robinson" on the Desperate Housewives soundtrack (2005)
Live recordings unavailable on their own releases include
"Love's Recovery" on The Best of Mountain Stage Live, Vol. 5 (1993)
"Strange Fire" on Women Live from Mountain Stage (1996)
"Scooter Boys" on Lilith Fair—A Celebration of Women in Music, Vol. 1 (1998)
"Water Is Wide" with Jewel and Sarah McLachlan on Lilith Fair—A Celebration of Women in Music, Vol. 1 (1998) and Best of Lilith Fair 1997 to 1999 (2010)
"Get Out the Map" on Lilith Fair—A Celebration of Women in Music, Vol. 3 (1999)
"Moment of Forgiveness" on 107.1 KGSR Radio Austin — Broadcasts Vol. 10 (2002)
"Become You" on WYEP Live and Direct: Volume 4 — On Air Performances (2002)
"Closer to Fine" and "Get Out the Map" on The Bridge School Collection, Vol. 1 (2006)
"Least Complicated" on The Bridge School Collection, Vol. 2 (2006); and
"Kid Fears" featuring Brandi Carlile on Dear New Orleans (2010)
"Philosophy of Loss" on Tunes4Food: Redemption Day (2013)
"World Falls" featuring Brandi Carlile on Buy This Fracking Album (2015)
Collaborations with other artists include:
"Dear Mr. President" with P!nk on her album I'm Not Dead (2006);
"A Little Good News" with Anne Murray on Anne Murray Duets: Friends & Legends (2007)
"Cannonball" with Brandi Carlile on The Story (2007)
"October" with Lucy Wainwright Roche (2010 single)
"One Way Ticket" with A Fragile Tomorrow and Joan Baez on A Fragile Tomorrow's album Make Me Over (2015)
"Carolina in the Pines" with Alison Brown on her album The Song of the Banjo (2015)
"Do You Hear What I Hear?" with John Driskell Hopkins and the Atlanta Pops Orchestra on their album In the Spirit: A Celebration of the Holidays (2015)
Emily Saliers collaborations include:
"Baby, Don't You Break My Heart Slow" on Vonda Shepard's album By 7:30 (1999)
"Jesus, Take the Wheel" and "Solo el Amor" on The Voices of Hope's self-titled album (2009)
"Let It Go" with Brandi Carlile and Matt Chamberlain (single, 2010)
Thanks to Sherlyn Koo, Jens P. Tagore Brage, and JoAnn Whetsell for work on this entry.
81 - 120 of 217 entries
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Anne Heaton
Sara Hickman
Veda Hille
Terami Hirsch
Robin Holcomb
Danielle Howle
Magdalen Hsu-Li
Hugo Largo
Lida Husik
Husikesque
Louisa John-Krol
John & Mary
Jorane
Brenda Kahn
Lucy Kaplansky
Ingrid Karklins
Vyktoria Pratt Keating
Katell Keineg
Jennifer Kimball
Libby Kirkpatrick
Knots and Crosses
Gaba Kulka
Mary Jane Lamond
Land of the Blind
Patty Larkin
Alison Faith Levy
Yungchen Lhamo
Lisa Loeb
Tara MacLean


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redpajama_set_name: RedPajamaGithub


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John Ford | The Searchers
VOICE WITHOUT A VOICE
Frank S. Nugent (writer), John Ford (director) The Searchers / 1956
Director John Ford's movie The Searchers is a work of contradictions. From the very first scenes in the film, we perceive that the "anti-hero," Ethan Edwards (played by John Wayne) is not only a traitor to his country (he fought on the side of the Confederates in the Civil War), but also an outsider (although the war has been over for three years, he is just now returning home), a violent being (he brings with him the symbol of warfare, a saber, which he awards to his young nephew), and a man of great hate, particularly for Indians (he insults the son his brother has adopted for looking like an Indian; he's part Cherokee).When livestock is found dead, and he joins others in searching for the cause, we further learn how deep is his hatred of Indians, particularly of the Comanche tribe. When this first set of "searchers" discovers livestock that have obviously been speared by Indians, it becomes apparent that they have been lured out only so that the homesteads may be looted. By the time they can get back to their homes, Edwards's relatives have been attacked, their house burned and all but the small daughter killed and scalped. The daughter, Debbie, has presumably been abducted by the tribe. Despite the advice of friends to reject more killing, Edwards swears revenge, and with a few men, including his nephew Martin—who joins the party to help save Debbie and to control the inevitable violence—begins a search that will continue for several years.
Accordingly, it appears that author and director have set up the perfect vehicle to point up the genocide of the Comanche, and to undercut the usual legends of Western (white) heroism. In one of the early dramatic scenes of the movie, the small band of farmers are flanked on two sides by a vertical line of Comanche, as both slowly move forward; and for a few seconds one hopes that, as the scene visually depicts, there may be hope for co-existence. But the moment the farmers bolt to the river, we know that, while they will escape, the far greater party of Indians will be destroyed. Whereas the farmers are easily able to manipulate their horses across the water, the Comanche (who in reality were noted horsemen) are swallowed up in the mud. Even though both have guns, the farmers seem nearly impervious to the bullets, while many Indians are easily slaughtered.
One is quickly made aware that, although Ford may subtly steer his film into patterns that suggest non-violence, he cannot or will not escape the usual stereotypes. In part, Ford is limited in his possibilities simply because of the realism of his characters. Although there are certainly less violent figures than Edwards, there is not one character in the movie (except perhaps for Martin; and although it pains him to do so, he shares in the shootings) that would not rather see all Indians destroyed.
Some of the narrative, quite obviously, is derived from the historical record, and Ford, always the realist, is determined by that reality of time and place. The Comanche, in their nomadic movements and their continual raids in search of cattle and other goods, became almost the personification of the "wild Indian" in the eyes of settlers, particularly since they did commonly take white captives, treating them as slaves and often harshly abusing them. The famous narrative of Mrs. Rachel Plummer, released in 1839, recounts her and her son's captivity, during which time her child was taken away, and a second child born to her in the tribe was ultimately tied to a rope and dragged through cactus until the body was torn to shreds.
Moreover, as in this film, the Comanche had several different groups, and each of those often broke into smaller bands. Accordingly, if peace was made with one group, others could continue to violate the treaty. Scar, the chief Edwards seeks in The Searchers, is obviously a rogue figure, while the Indian woman who becomes Martin's "squaw" is of a more peaceful group.
But as far as the settlers and the military go, there clearly is no difference. Martin's "squaw" is killed in a military maneuver that takes dozens of Indian women captive, while Scar's group remains untouched. Here again Ford seems to point up the absurdity of the violence. But with no Indian voice in the film, Ford's subtle message continues to be swallowed up, particularly since he is so effective in showing in detail the hard life and survival of the settlers. There are few scenes in cinema as frighteningly eerie as the moments in the homestead where the occupants become increasingly aware that they are about to be attacked. Despite the beautiful backdrop of Monument Valley, the sickly yellow-orange sky, the hush of terrifying expectation, and the palpable fears of the inhabitants of the house are so effective that one loses perspective throughout much of the rest of movie and forgets that the Comanche attacks upon these "intruders" might have been partly justified.
There is no question that the John Wayne figure is aberrant in his extreme hate. This is after all a man who, when they come upon an Indian gravesite, shoots at the dead man, who readily would kill his own niece because she has slept with "bucks," and is absolutely obsessed with the chase that lasts for five years. In one completely revealing moment the director shows Ethan and Martin killing a buffalo for food only to suddenly transform the act into a mad attempt to slaughter dozens of other buffalos so that "the Indians will have less to eat" in winter. But for all his extreme hatred, Edwards himself kills relatively few Indians, and the attacks Ford portrays are, by today's film standards, quite tame. As I have suggested, the most violent scene is perpetrated by the military rather than the obsessed maniac.
Accordingly, at search's end Ethan appears almost normal, and although both Debbie and Martin fear he will murder the girl upon her rescue, he simply carries her away to safety.
In the end, The Searchers, despite its potential for exploring and exploding Western myths, merely participates in them. As in almost every Western, the real story here is the transformation of rough and wild white men into civilized beings. At film's end Martin is destined to be married and Ethan—although previously wanted as a criminal—to be forgiven by the law and assimilated into the new society. The sentiment of a farm woman, who claims that someday this will be a beautiful place in which to live, is visualized by the half-crazy Mose Harper, who stays put by the fire rocking in the chair he demanded for telling Edwards where to find Scar. Edwards may turn away from the closing door of the civilized world, but his search has ended and we know that the Indians will ultimately be destroyed or controlled; he has only to look forward to the fate of Mose.
Los Angeles, September 2003
Reprinted from The Green Integer Review, No. 6 (December 2006).
Posted by greenintegerblog at 11:33 AM
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Todd Haynes | Far From Heaven
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Charles Burnett | Killer of Sheep
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Fred Zinneman | Oklahoma!
"Dropping Beads" on Cary Grant / Howard Hawks | Br...
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redpajama_set_name: RedPajamaCommonCrawl


text:
Kintsugi |1977 Bjorn Wiinblad, Moster Ella 'Aunt Ella' Series, M10 Blue on White Ceramic Sculpture
This exceptionally elegant and charming piece was designed in the 1950s by celebrated Danish illustrator and glass, silver, ceramics designer Bjorn Wiinblad (b. 1918 - d. 2006). Wiinblad often designed for a number of big names as well as the pottery studios he owned, such as Nymolle and Det Blaa Hus. The monogram signature of this piece attributes it to Det Blaa Hus [The Blue House], which Wiinblad took over in 1966 and made his home as well as workshop until his death in 2006.
It is said that Wiinblad was inspired by his maternal aunt Ella when he designed this piece and the Moster Ella ('Aunt Ella') series it came from. Those familiar with Wiinblads illustrative work will be familiar with the exquisite level of detail his imagination goes to. This richness of detail is brought to life across many elements of this sculpture; such as the individually shaped, stylised leaves and flowers which are threaded into the figure's hair, hat and gathered in the arms. Further careful attention is evident in the resplendent marbled trim adorning the cape, the intricate patterns decorating the dress and the care taken in illustrating the freckles and eyelashes of the facial features.
This piece additionally features Kintsugi golden seams following careful repairing and highlighting. The Kintsugi technique is modern and has been applied in a tactile manner, a gentle yet striking compliment to the sculpture's tones of blue and white.
Excellent. This piece has been carefully repaired using a robust water-resistant and durable resin and there is the mildest use wear in the form of movement marks on the underside of the base that is commensurate with the age of the piece. Mentioned for completeness: sporadic and minor spots of the base ceramic can be seen, however, this is from the crafting process and not damage or defect. Please refer to photographs as they form part of the condition report. The interior of the piece bears identifying marks of: Wiinblad's monogram of 'BW', the stylised model number of 'M10', dated with '77' and finally, denoted with 'DANMARK'.
Height: c. 8.9" / 22.5 cm tall (from base to tallest point) x . 4.9" / 12.5 cm width (across widest point). Depth: c. 5.9" / 15 cm (from front to back). Unpackaged weight: c. 0.7 kg / 735 g
Sculpture will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.
Bjorn Wiinblad was born in 1918 in Copenhagen and it would be 1935 until he began his training, from which he graduated five years later in 1940. Wiinblad sought the path to his first passion of art and enrolled in graphic school at the Royal Academy of Fine Arts and would eventually debut in 1945 with an extensive exhibition in Palægade, Copenhagen with a collection of ceramics, drawings and posters. Wiinblad became firm friends Jacob E. Bang around this time, who engaged him to work for Nymølle.
From the beginnings at Nymolle, Wiinblad received multiple commissions, from designing textile and embroidery patterns to drawing posters, book and magazine illustrations. Wiinblad drew for the United Nations in Paris as well designed costumes and stages for several theatrical performances. His fame grew in Denmark but soon would extend to Norway and Sweden and in 1950 his ceramics were exhibited at Bonnier's in New York, which specialised in Scandinavian design.
Wiinblad's recognition and acclaim would continue to grow, bringing him a silver medal at the first international ceramics festival in 1955 in Cannes, France and appointment as artistic director for Rosenthal in 1960. Wiinblad's successes, however, would not stop there, his continued achievements have been extensively documented and celebrated on the dedicated website: https://www.bjornwiinblad-denmark.dk/om-bjoern-wiinblad
Kintsugi is a Japanese philosophy with similarities to the philosophy of Wabi-Sabi, which includes ideas surrounding the embracing of the flawed or imperfect. The art of Kintsugi ("golden joinery") is the repairing of broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. The aesthetics of this philosophy values breakage and repair as part of the history of an object, rather than something to disguise.


Check out several banks - the conditions for opening an account and cost of having an account varies.
Different banks have different rules for opening a bank account. Some banks may ask to see a work contract or something similar before they will let you open an account, while others just want an id.number. Some accept D-number, while other demands the permanent id.number. It also varies how much information they have available in English.
Banks also have different prices on their services etc. - so it can be worthwhile to spend some time checking several banks.
Many banks may be reluctant to give you any credit cards in the beginning since you don´t have a credit history in Norway. But the corporate credit card you can apply for as an employee of the university, you should be able to receive without any delay.
In order to get a bank id, the banks requires that you have a biometric passport.
Buypass can be an alternative for bank-id and it does not require a biometric passport, but it is not a free of charge.
Employees at UiB who cannot open a bank account on commencement of employment should talk to their department in order to find a solution so they can receive a salary. Some may be able to use their foreign bank account.


text:
BMW sees significant profit growth in 2021
BMW sees significant profit growth in 2021 /node/1826901/business-economy
BMW shares gained 2.2 percent in pre-market trading at Lang & Schwarz. (File/AFP)
https://arab.news/rep8w
Updated 17 March 2021
BMW said it expects the automotive segment to record a solid year-on-year increase in deliveries
BERLIN: German carmaker BMW on Wednesday said it expects a significant year-on-year increase in group pretax profit in 2021 as it forecast a strong performance in all of its segments.
BMW, which also owns the MINI and Rolls-Royce brands, said it expects the automotive segment to record a solid year-on-year increase in deliveries, with the segment's EBIT margin expected to rise to between 6 percent and 8 percent. Around 90 percent of market segments will have fully electric models by 2023 and the BMW i4 model will be launched three months ahead of schedule, the carmaker said in a statement.
"The BMW Group has ambitious plans for 2021," Chief Executive Oliver Zipse said. "We have started the new year with strong momentum and are aiming to return to pre-crisis levels as swiftly as possible – and go even further."
BMW shares gained 2.2 percent in pre-market trading at Lang & Schwarz.
Topics: BMW
Demand for private car ownership on the rise, survey finds
Saudi Budget boss sees recovery in car hire market helped by pilgrims in second half of year
South Korea seeks to boost clean energy efforts with UAE cooperation /node/2006296/business-economy
BRIAN KIM
Seoul and Abu Dhabi reach landmark $3.5 billion defense agreement — largest in South Korea's arms history
President Moon Jae-in scheduled to travel to Saudi Arabia on Tuesday
SEOUL: South Korea is seeking to increase hydrogen cooperation with the UAE in a bid for a sustainable future and carbon neutrality, President Moon Jae-in said on Monday in Abu Dhabi during his Middle East tour to explore business opportunities in the region.
Moon arrived in the UAE on Saturday for a three-day visit as part of his week-long Middle East trip. From Abu Dhabi he will fly for talks in Riyadh.
"Through hydrogen cooperation between the UAE and Korea, I hope that we can move forward in a sustainable future and carbon neutrality," he said while addressing the Abu Dhabi Sustainability Week.
As South Korea wants to achieve carbon neutrality by 2050, Moon said Seoul wants to bolster cooperation with the UAE in the development of carbon-capture technologies to create what is known as blue hydrogen — a form of the fuel obtained from natural gas in a process that stops carbon emissions from being released into the atmosphere.
The UAE is one of the world's foremost pioneers in the field.
Prof. Jung Sang-ryul of the Institute of Middle Eastern Affairs at Myungji University in Seoul told Arab News that with UAE-Korean hydrogen cooperation, the industry "can make a greater leap forward.
"The hydrogen industry is a field for future cooperation," he said. "The UAE has strengths in the production of green and blue hydrogen, whereas South Korea (has) in utilization, storage and distribution, including hydrogen-powered vehicles, charging stations, fuel cells and liquid transportation."
During Moon's visit, Seoul and Abu Dhabi also reached a landmark $3.5 billion defense agreement on Sunday, under which the UAE will purchase KM-SAM surface-to-air-missiles, known as Cheongung II. It is the largest deal in the history of South Korea's arm exports.
"The UAE is the first foreign nation to operate the Cheongung II," Kang Eun-ho, commissioner of the Defense Acquisition Program Administration, Seoul's arms procurement agency, said in a statement. "The deal is the result of the bilateral defense cooperation based on mutual trust and will serve as a watershed moment for the two nation's strategic defense partnership."
The KM-SAM was developed with technical support from Russia to replace the older Hawk surface-to-air missiles that had been in service in 1964. Equipped with a multi-function phased array 3D radar, the interceptor can "hit-to-kill" hostile missiles coming in at altitudes below 40 km.
On the sidelines of the missile acquisition contract, the two countries also signed a memorandum of understanding on collaboration in defense technologies, including the potential development of weapons systems.
The UAE is South Korea's top export market and biggest partner in human resource exchanges in the Middle East.
South Korean firms have participated in the development of Emirati oil fields and the Barakah nuclear power plant — the first nuclear power station in the Arabian Peninsula, which started operations last year.
On Tuesday, the South Korean president will continue his trip to Saudi Arabia.
His office said in a statement that Moon is scheduled to meet Crown Prince Mohammed bin Salman.
"The leaders of the two nations are expected to discuss energy and infrastructure, as well as health care, science and technology, hydrogen, intellectual property and education,"the office said.
On Wednesday, Moon is scheduled to meet Gulf Cooperation Council secretary-general Nayef bin Falah Al-Hajraf to discuss the resumption of negotiations for a free trade agreement between Seoul and GCC.
South Korea and the GCC started talks on a free trade deal in 2007, but negotiations had stalled and were suspended in 2010.
Topics: South Korea UAE clean energy Abu Dhabi Sustainability Week Moon Jae-In
UAE and South Korea sign agreements in defense, hydrogen cooperation
UAE seeks to capture 25% of the hydrogen market, energy minister says
Europe energy savings practices is inefficient, auditors say /node/2006281/business-economy
Updated 9 min 9 sec ago
BRUSSELS: More than 2 billion euros of European Union funding to help businesses save energy contributed little to climate change targets and in some cases funded investments that would have happened anyway, according to an auditor report released on Monday.
The EU regards curbing energy use as essential to meeting goals to cut greenhouse gas emissions, and record high gas and power prices in recent months have increased the focus on measures to save energy.
But so far, EU funding to support energy savings for businesses has not been effective, the European Court of Auditors said in a report.
The EU spent 2.4 billion euros ($2.74 billion) from its budget over 2014-2020 to support energy efficiency in enterprises, including energy audits and measures to cut energy consumption or energy intensity in industry, services or the public sector.
The auditors estimated that projects backed by that funding achieved 0.3 percent of the annual savings needed to reach the EU's target to cut final energy consumption by 32.5 percent by 2030, compared to projected levels.
"European Union funding is insufficiently linked to business needs — there was no proper analysis of what is really needed by the enterprises," ECA member Samo Jereb told Reuters.
Bulgaria, the Czech Republic, Germany, Italy and Poland, accounted for the bulk of the support.
Brussels plans to increase its 2030 energy saving target, and last year unveiled plans to renovate millions of buildings to achieve the huge energy efficiency improvements needed to meet its climate goals. Residential energy savings were not covered by the auditors' report.
European electric vehicle sales outnumber diesel cars deals for the first time
Europe to see $1 trillion energy bill in 2022


Whether you're heading out for a play date or hanging out around the house, this girls' 2-piece essentials set is an ideal choice! It includes a long sleeve tunic and a pair of leggings. Both items are coordinated so they're perfectly matched and ready to wear. Creative screen-print art and complimentary colors make this set unique. If you like to mix and match, these items are easy to pair with other tops or bottoms to create new outfits. The tunic is made from 100% cotton jersey fabric that keeps her comfy all day. The leggings are designed to stretch easily to keep up with active little ones, thanks to the cotton spandex blend fabric. When laundry day arrives, mom will appreciate the easy care fabric that doesn't require any special treatment — just toss these into the next load for quick and simple cleaning. This set makes a great gift idea!


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Q: Where are the array types? It's not a problem to use MakeArrayType() if we want to make a array type of a specific type, for example, the char array:
typeof(char).MakeArrayType()

Of course it's more intuitive to use typeof(char[]) instead.
And the property Assembly of a type tells us what the assembly where the type is.
So the following code should be a reasonable example to find a type in an assembly:
var chars=new[] { '\x20' };
var typeofCharArray=chars.GetType();
var assembly=typeofCharArray.Assembly;
var doesContain=assembly.GetTypes().Contains(typeofCharArray);

But doesContain says it DOESN'T, it's false. This happens regardless the array type is from MakeArrayType() or typeof(), or an instance's GetType.
There's a doubt that it was forwarded to other assemblies that I've read from Assembly.GetTypes. And I tried:
var assemblyContainsTypeOfCharArray=(
        from it in AppDomain.CurrentDomain.GetAssemblies()
        let types=it.GetTypes()
        where types.Contains(typeof(char[]))
        select it).FirstOrDefault();

The interesting thing is assemblyContainsTypeOfCharArray is null.
Where are the array types?

A: Simply: GetTypes() returns the types that are actually declared in that assembly. The array types are... not. They claim to be from there, but that is just returning the element-type's Assembly information. The array type isn't actually declared in there (it isn't actually declared anywhere - it is an invention of the JIT, on-the-fly).
So basically: the array type lies. Shame on it.

redpajama_set_name: RedPajamaStackExchange


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Yankees' Tanaka on paternity list; will pitch Monday vs Mets
June 8, 2019 at 8:40 am Updated June 8, 2019 at 12:36 pm
New York Yankees starting pitcher Masahiro Tanaka throws to a Toronto Blue Jays batter during the first inning of a baseball game in Toronto on Tuesday, June 4, 2019. (Fred Thornhill/The Canadian Press via AP)
CLEVELAND (AP) — The New York Yankees placed right-hander Masahiro Tanaka on the paternity leave list. But it will be a short stay, with his next start on Monday against the Mets.
Tanaka was scheduled to start against the Cleveland Indians on Sunday, but returned to New York for the birth of his baby girl on Friday.
Manager Aaron Boone said Tanaka threw a bullpen session at Yankee Stadium on Saturday and will start Monday. He's 3-5 with a 3.42 ERA in 13 starts.
Boone said no decision has been made on the Yankees' pitching plan for Sunday, the finale of a three-game series.
James Paxton will start Tuesday against the Mets.
The Yankees recalled left-hander Nestor Cortes Jr. from Triple-A Scranton/Wilkes-Barre. He made four relief appearances with the Yankees this season, with no record and a 4.91 ERA.


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Cookies are very small text files that are stored on your computer when you visit some websites. We use traffic log cookies to identify which pages are being used. We use this information only for statistical analysis purposes. A cookie does not give us access to your computer or any personal information about you. None of the cookies we use have any link with advertising material, they are simply to record traffic to our site, whether it came from a search engine, and similar information. Most web browsers automatically accept cookies, but you can modify your browser setting to decline cookies if you prefer. This may prevent you from taking full advantage of the website. You can find more information about cookies at www.allaboutcookies.org and www.youronlinechoices.eu.
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You may request the deletion of any of your data that we hold, at any time. Please be aware that requesting deletion, unlike unsubscribing from specific emails, is total and irreversible. This means that we will also lose record of you having ever been on our system. Deletion of data submitted via the Harris Residents Discount Scheme will result in membership of the Scheme being revoked. If you re-join our systems, by voluntarily providing your personal information, you will appear to us as a completely new data subject. This does not affect your other rights in any way. To request deletion of your personal information, contact theanchoragerestaurant@gmail.com using the email address we hold for you or otherwise proving your identity.
The Anchorage Restaurant & Bar may change this policy from time to time by updating this page. This policy is effective from 31st May 2018.


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International gross domestic product (GDP) comparisons, 2011
In 2011, among countries covered by the BLS international comparisons program, Norway had the highest GDP per capita ($61,900), followed by Singapore and the United States. Norway had the highest GDP per hour worked ($81.50), followed by Ireland and the United States.
Chart Image
Chart Data
Gross domestic product (GDP) per capita and per hour worked, selected countries, 2011
GDP per hour worked
$61,900 $81.50
60,700 41.30
GDP per capita was lowest in the Czech Republic ($26,200) and the Republic of Korea ($30,300) in 2011. The country with the highest GDP per capita, Norway, had a GDP per capita value that was more than twice that of the Czech Republic.
In 2011, the GDP per hour worked for Norway was approximately 20 percent higher than the next highest ranked country, Ireland ($66.70), and roughly three times the level of the Republic of Korea ($27.10)—the country with the lowest GDP per hour worked among countries covered.
While Singapore had the second highest level of GDP per capita, it had a relatively low level of GDP per hour worked. The difference is related to Singapore having the highest average annual hours worked per employed person and the highest employment-to-population ratio of all countries covered.
These data are from the International Labor Comparisons program. GDP is the market value of goods and services produced by labor and capital in a country, regardless of nationality. GDP per capita is calculated as GDP divided by the population and is a rough measure of a population's well being. GDP per hour worked relates output to labor hours involved in its production by all persons in a country. GDP measures were obtained from the national accounts programs of their respective national statistical agencies. To learn more, see "International Comparisons of GDP per Capita and per Hour, 1960–2011" (HTML) (PDF) (XLS).
International Comparisons
Bureau of Labor Statistics, U.S. Department of Labor, The Economics Daily, International gross domestic product (GDP) comparisons, 2011 on the Internet at https://www.bls.gov/opub/ted/2013/ted_20130212.htm (visited January 20, 2021).
U.S. Bureau of Labor Statistics Postal Square Building 2 Massachusetts Avenue NE Washington, DC 20212-0001
Telephone: 1-202-691-5200 Federal Relay Service: 1-800-877-8339 www.bls.gov Contact Us


Just before Easter, pupils from Key Stage 2 set off for their residential trip to Heatree. Once again the location failed to disappoint and the pupils had an amazing few days full of adventure, exercise and fun!
Their two day trip was packed full of activities such as rock climbing, stream scrambling, canoeing on the river and braving the high-ropes to name but a few. In the evenings, pupils were able to relax and enjoy being with their friends around the campfire or in the grounds at Heatree.
We are so proud of the pupils for pushing themselves, particularly on the high-ropes and obstacle courses. It is safe to say that everyone got extremely muddy and wet on occasion and staff and pupils alike enjoyed every minute of it!


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Wasp-Freeze can also be used to eliminate bees, hornets, yellow jackets and spiders. The spray can travel 15 feet, so users should stand far away from the nests while destroying them to further decrease their likelihood of getting stung. Wasp-Freeze is designed for outdoor use, and it does not contain ozone-depleting substances. It is also suitable for use around electrical equipment due to its high 49,300-volt dielectric breakdown.
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Q: Simplifying derivative with exponential involved I have the equation: $$f(x) = (5x^2 - 17)e^{-0.5x}$$
I have differentiated it to this so far:
$$f'(x)=10xe^{-0.5x} + (5x^2 -17)(-0.5e^{-0.5x})$$
This is using the chain rule and product rule of differentiation.
I'm having trouble simplifying as there are two common factors: $e^{-0.5x}$ and $-0.5^{-0.5x}$
Normally if there was only $e^{-0.5x}$ it would just simplify to:
$$e^{-0.5x} ( 5x^2 +10x -17) $$
But the other factor is confusing me, so how can I simplify this differentiated equation?

A: Your first derivative is slightly incorrect (or you missed a bracket in your question), it should be:
$$f'(x)=10xe^{-0.5x}-0.5e^{-0.5x}(5x^2-17)$$
Thus we have the common factor of $e^{-0.5x}$, allowing us to simplify and write:
$$f'(x)=e^{-0.5x}\left(10x-\frac{5}{2}x^{2}+\frac{17}{2}\right)=\frac{1}{2}e^{-0.5x}\left(-5x^{2}+20x+17\right)$$

A: You do have a common factor, $e^{-0.5x}$ in the following:
$$f'(x)=10x{\pmb{ e^{-0.5x}}} + (5x^2 -17)(-0.5{\pmb{ e^{-0.5x}}})$$
$$f'(x) = e^{-0.5x}\Big(10x -0.5(5x^2-17)\Big)$$
Can you take it from here to simplify the second factor?
If we factor out $-0.5$, that leaves us with $$-0.5e^{-0.5x}\Big(5x^2 -20x -17\Big)$$


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Borno Governor speaks on Army Commander killed in Boko Haram combat
The people of Borno mourn the death of Col. D.C. Bako, Commander of 25 Task Force Brigade of Operation Lafiya Dole, while sacrifices by him and other heroes, will not be in vain, Governor Babagana Umara Zulum said on Monday night.
The Governor, in a statement issued by his spokesman, Malam Isa Gusau, reacted to the Army's confirmation of Bako's eventual death from injuries sustained in combat around Damboa in southern part of Borno on Sunday.
"It was public knowledge that I (Zulum) liked late Col. Bako and so did many people. Bako was a true soldier who inspired his troops and led them to front lines with exceptional courage that was clearly out of pure patriotism. He fought very hard and very well. He defeated many enemies of peace and protected many sons and daughters of Borno State to the extent he gave his life defending the people of Borno. By the grace of God, the supreme sacrifices made by Col. Bako and many other heroes like him in the armed forces and volunteers shall not be in vain. The death of our heroes, sad as it is, only reinforces our confidence in the strong will exhibited by our gallant troops and volunteers, that defending our country comes ahead of everything. The people of Borno will forever be grateful to late Col. Bako and everyone like him. We pray that Allah forgives his shortcomings and those of all our fallen heroes.
Government of Borno will continue to support through all means humanly possible, in trying to help them succeed in the ongoing war against the boko haram. We pray that God protects our troops and volunteers from recording any more casualties.
I share the grief of Col. Bako's family and the families of all those who have died fighting for Borno. I commiserate with Theatre Command of Operation Lafiya Dole in Borno State, the Nigerian Army, and the entire Nigerian military over the loss of a warrior.
May the gallant soul of Col. Bako rest peacefully with our God, who rewards good people with unending joy after death. Ameen" Zulum said as quoted in the statement.
Tags: Boko Haram, Col. D.C. Bako, Governor Babagana Umara Zulum, Malam Isa Gusau
ICICE Abuja mourns the death of Emir of Zazzau
EXIT ÒGÁ JIMOH ALIU (MR DRAMA) : A TRIBUTE BY Tunde KELANI


Jazz fans of the High Country: clear your calendars for a special night in Boone this Sunday, May 28. Local jazz singer Maureen Renihan will take the stage with guitarist Troy Conn and bassist Mike Holstein at The Local for her debut album release show from 7-10 p.m.
Renihan's recently-released debut, Softly, marks the beginning of a new chapter in the established jazz musician's five-year career. Recorded at Old House Recording Studio in Charlotte with sound engineer Chris Garges, Softly features Renihan's "deeply personal angle" on ten jazz standards and a Beatles tune paired with minimal but tasteful instrumentation from Conn and Holstein.
Renihan got her start in jazz music after meeting musicians in the area through her background in theater. Eventually crossing paths with a jazz trumpeter, Renihan was surprised both that the High Country had a jazz scene to offer and that the genre could be something she would enjoy exploring. Like with any skill, Renihan honed her jazz musicianship through practice and hard work.
"I went out to my first gig not knowing much, but I figured things out after messing up a lot," Renihan said.
Since that first show, Renihan has made a name for herself both in the High Country and regionally. Having reached the five-year mark as a vocalist this May, Renihan performs both with other local and regional jazz musicians every Wednesday at The Local and at venues throughout North Carolina and Tennessee.
During her time as a jazz musician, Renihan has grown especially fond of Conn and Holstein, both highly sought-after jazz instrumentalists throughout North Carolina.
"It's kind of ridiculous to be working with Mike Holstein and Troy Conn. I went from not knowing much to working with them," said Renihan.
Preferring the stripped and intimate sound of a trio with guitar, bass and vocals only, Renihan specifically chose Conn and Holstein for their unique style and sound when recording her debut album.
"I wanted to do something that had different layers of dark and light and these guys were perfect," Renihan reflected.
Conn and Holstein's support for her album release show at The Local will hold a special place in Renihan's heart.
The musician will come off a stretch of notable performances for her album release show on Sunday, having played at the Johnson City Jazz Festival and Grandfather Vineyard & Winery last week. Renihan is also scheduled to headline a show with Holstein at the 5 Walnut Wine Bar in Asheville this Saturday.
Renihan's album release show will be free to the public, and CDs will be available for purchase at the event. If you can't wait until Sunday to hear her new release, you can purchase Softly on cdbaby.com or stream the "intimate, sometimes playful, sometimes dark" release on Spotify.
With a plethora of classic jazz tunes from which to choose for her debut release, Renihan selected ten standards that explore the highs and lows of everyday life.
"Softly basically covers all the stages of love. I chose songs that I relate to and that reflect the ups and downs of it all," Renihan said.
More than an opportunity to sell records, Softly marks an accomplishment that Renihan could not have imagined five years ago.
If you would like more information on Sunday's performance, visit the show's Facebook event page here. You can also visit Renihan's website here.
The Local is located at 179 Howard Street in Boone. Renihan's performance will be free to the public and is scheduled for 7-10 p.m. If you have any questions or would like to make reservations for the event, call The Local at (828) 266-2179.


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British first for University's horse hospital
The University of Glasgow Equine Hospital will be the first in the UK to look inside a horse as it gallops at full speed.
Pioneering equipment will enable vets to closely examine the airways of a horse as it exercises, revolutionising diagnosis of disease.
The Dynamic Respiratory Endoscope beams back live pictures of the horse's airways to vets, who can then asses the patient.
The equipment was acquired by the University as part of a joint venture with Mark Johnston Racing Ltd, one on the UK's most accomplished racehorse training firms.
The instrument places the University's newly-launched Performance Horse Clinic at the very cutting edge of assessment and treatment of horses.
Dr Patrick Pollock, senior clinician in equine surgery, said: "Within the animal kingdom, horses are considered to be elite athletes because of their unique anatomy and physiology.
"Since they have the ability to perform at such a phenomenally high level, even the smallest change in their health can lead to a reduction in their performance. Minute, often subtle changes can be very challenging to detect.
"Many of the causes of poor performance are related to the respiratory system and a technique called endoscopy, in which a small camera is introduced through the nose and into the airways of the horse, is frequently used to diagnose disease affecting this area.
"To further complicate matters, many of the causes of poor performance can only be detected while the horse is exercising at high speed. Existing technology allows for a horse to be scoped while it runs on a treadmill. But this is expensive and potentially dangerous for the horse and treadmill operator. Also, horses must be trained to run on the treadmill, and it is very different to the normal conditions in which horses exercise.
"As a result a large number of animals may appear normal on the treadmill even although they have a significant disease.
"This new system has many advantages in that it allows horses to be examined in their normal environment under normal exercise conditions and is therefore more likely to result in the correct diagnosis. The system also eliminates much of the cost and all of the dangers associated with the treadmill and is considerably less stressful for the horse."
Mark Johnston, one of the UK's top racehorse trainers who has trained more than 2000 winners, has given his backing to the equine hospital.
He said: "The Dynamic Respiratory Endoscope will revolutionise what we know about horses when they are being fully exercised. Understanding the airway of a horse is the key to understanding so much more about them and how they function.
"The vets at the University of Glasgow equine hospital are some of the best in the world and the Scottish Performance Horse Clinic offers a fantastic range of services to get the best out of any horse."
Professor Sandy Love, director of the equine hospital, said: "The Scottish Performance Horse Clinic is not just about cutting-edge pieces of equipment – it is about the specialists who work here. We have set out to recruit some of the most talented experts in equine medicine and surgery in the world and bring them to Glasgow.
"The Scottish Performance Horse Clinic will offer a complete range of diagnostic testing for all of the causes of poor performance including the respiratory, cardiovascular and musculoskeletal systems. Our team will be on hand for diagnosis and treatment of these diseases using the most up to date technology and facilities in the world."
First published: 8 September 2008


Dig, Grow, Compost, Blog: McKinney Falls State Park and Happy New Year!
McKinney Falls State Park and Happy New Year!
This past weekend after a trip to see family in Houston, we drove to Austin for another quick trip to see friends. The weather was typical Austin winter weather - glorious sun and a nip in the air. Our friend Marcia is a volunteer trail guide at McKinney Falls State Park so we decided to take advantage of her knowledge for a little hike.
The park is on the southeast side of Austin and has some natural limestone rock formations that have sheltered people for 8000 years. The photo above and below reminds me of my Native Plants class that I took at UT in the mid-70's. We went to this park before it was open to the public then and it was the first time I saw a plant, a variety of maidenhair fern (Adiantum sp.), growing in the wild when I had only previously seen it in a pot. This is growing right on/in the limestone ledge.
The photo above is of the base of a giant old Bald Cypress (Taxodium distichum), said to be 500 years old. Marcia said the Parks personnel ended up watering it by hand this summer because of the drought. They didn't want the old beauty to die.
In our walk we came across the ubiquitous Juniperus asheii, otherwise known as the bearer of the dreaded "cedar fever". That orangey stuff on the branches is the pollen and it causes many people to suffer cold, allergy, and flu-like systems for as long as the pollen is around (many weeks!).
One of my favorite plants, Prickly Pear cactus (some kind of Opuntia).
At last we came to the Lower Falls. Marcia said this summer it was barely a trickle. Good to see some water back again.
The falls are fed by Onion Creek, a creek that meanders through much of south Travis County (and I think north Hays County).
Because of the creek's proximity to a major urban area and thus urban runoff, the creek has its issues with algae growth, which you can see hanging on to the limestone caves under water. Still, it's a little jewel of a park and well worth seeking out for a nice hike, especially with friends or family.
I hope everyone has perfect weather, a perfect garden, good and healthy friends and family, and a great 2010!
This post was written by Jean McWeeney for my blog Dig, Grow, Compost, Blog. Copyright 2009. Please contact me for permission to copy, etc.
Just stopping by to wish you a Happy New Year. I can't wait to start gardening in 2010.
Wow, what an awesome park. It looks wonderful. Heard there were ice storms in Dallas earlier this week, hope that didn't affect you! (I guess you were far enough away.) Happy new year!
Interesting and yet creepy underwater cave features in that last photo. I've been to McKinney a few times but always with young children, so I haven't had time to linger over the park's beauty. I'll have to go back sometime soon.
I'm sorry we missed your visit to Austin, but I'm glad you had good weather and found some fun things to do. Did you make it to Barton Springs Nursery?
Nice to travel along with you via the computer.
Interesting that the maidenhair fern was thriving in the limestone ledge and yet it can be difficult to keep them happy in a pot.
I bought a Prickly Pear at the grocery store and Phillip and I cut it open yesterday. Nice dark pink flesh filled with millions of rock hard little seeds.
It looks like a fascinating place. Happy New Year Jean!
Happy New Year! I like natural places such as this. Thank goodness for the people who had the foresight to preserve them.
It was nice to take a walk with you. Lovely pictures and Happy new Year to you and yours.
Lovely photos Jean. I'm desperate to get back in the garden now but will have to dig the snow out first! All the best for the new year.
Looks like a beautiful place for a hike, Jean! That is an amazing old tree; I'm so glad the park personnel took such good care of it over the dry summer. Wishing you best wishes and happy gardening in 2010!


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Hertsmere ist ein Verwaltungsbezirk mit dem Status eines Borough in der Grafschaft Hertfordshire in England. Verwaltungssitz ist Borehamwood.

Der Bezirk wurde am 1. April 1974 gebildet und entstand aus der Fusion der Urban Districts Bushey und Potters Bar, des Rural District Elstree und eines Teils des Rural District Watford.

Der Name Hertsmere ist eine Kombination aus dem Namen der Grafschaft und dem Wort "mere", das im Altenglischen für "Grenze" steht. Dies ist insofern einleuchtend, als Hertsmere im Süden an Greater London grenzt. Nach seiner Gründung war Hertsmere zunächst ein District, wurde aber 1977 durch königliches Dekret zu einem Borough.

Orte im Borough
 Aldenham
 Borehamwood
 Bushey
 Elstree
 Potters Bar
 Ridge
 Shenley

Borough (East of England)
Geographie (Hertfordshire)

redpajama_set_name: RedPajamaWikipedia


Chief learning officers are constantly adjusting their tactics by mixing and matching content topics and delivery tools and options to address their most important organizational challenges and objectives.But are there alternatives or more effective approaches to addressing their needs? Are other CLOs approachingissues differently, or do they see greater opportunity for emerging tools?
Every other month, International Data Corp. surveys Chief Learning Officer magazine's Business Intelligence Board to gauge the issues, opportunities and attitudes that are important to senior training executives. Research shows training budgets are recovering. In many cases, CLOs reported their training budgets for 2014 increased 10 percent from 2013. They have increased focus on technology, training strategy and performance consulting. But do CLOs believe this will continue in 2015?
The perceived value of learning and learning technologies is increasing as pains from the recession wane. For the third year in a row, more than half of CLOs are more optimistic about 2015. They see improvements in the macro-economy reflected in their clients, specifically decreasing unemployment and constant change because of globalization, customer requirements, regulations and new leadership internally shaping expectations for training and development.
As the recovery continues to take hold, training organizations are returning to the levels of importance they held early in the last decade. As reported in the November 2014 CLO magazine, more than half of CLOs saw a budget increase in 2014 and a similar number expect a budget increase in 2015 (Figure 2).
• 82 percent of CLOs expect training to be more aligned with company business objectives — almost identical to last years' survey.
• 70 percent of CLOs believe the perception of training within their companies will increase compared with last year — a small decline from last year.
• A steadily increasing percentage of CLOs believe training offerings will be better integrated with other talent management functions.
All in all, some good reasons to be optimistic about 2015.
Competencies are still significant. As one CLO described: "Clear competencies drive all other talent development tactics." Strong competency programs also can improve hiring practices and succession planning.
• Instructor-led training, mentoring and executive coaching. While mentoring requires a formalization of relationships and activities, CLOs believe it is a great way to get consistent performance without affecting the bottom line. Executive coaching can provide candid, confidential support to senior management.
• Knowledge and learning management. Both of these technologies reflect the ongoing importance of supporting learning with tools to organize and manage the information and learning assets in the enterprise.
Mobile training also may negatively affect training in 2015. Even while organizations are shifting applications and other work processes to mobile, not all CLOs are on board. "As we begin to shift some of our business content to mobile applications, [mobile learning] will cause confusion and cause issues with our employees that do not have access to Internet or cell service on the job," a CLO said.
While many magazines, blogs and analysts write about the learning industry, sometimes there is not enough coverage of some important topics. For 2015, CLOs believe the learning industry should focus more attention on some of the basics: informal learning, knowledge management and competencies. At the same time, CLOs would like the industry to spend less time talking about wikis/blogs, podcasts and mobile learning technologies (Figure 5). While some CLOs believe many employees use their phone and/or tablet throughout the day, they seem to also believe that only when learning is integrated into a person's daily routine will it have its maximum effect — and mobile devices aren't yet that integrated into work practices.
As training spending recovers, much about 2015 is uncertain.
Generally, CLOs feel optimistic that training will continue to be at the forefront of the war for talent, a reliance on technology will increase and ultimately training will improve.
• Monitoring:Corporate learning needs a method to easily track formal and informal learning activity.
• Self-directed/flipped:There will be an increase in technology-driven, self-paced, flipped classroom style learning made of small chunks — i.e., video, podcasts and networking groups — to facilitateinformal learning.
• Leveraging technology:There will be more prolific use of emerging learning technology to support customized, mobile, informal and social learning.
• Just in time:Employees will use more informal and just-in-time learning; value increased with level of linkage to business goals and objectives.
• Relevance:Informal learning, knowledge management, and user-created content will continue to increase to help keep content current and meaningful.
• There will be more prolific use of emerging learning technology to support customized, mobile, informal and social learning.
• Online training will become more sophisticated in its delivery and technology.
• There will be increased use of virtual and self-paced online learning modalities.
• There will be greater reliance on virtual classroom with improved technology for increased interaction.
• There will be a greater understanding of how to use mobile learning technology, and that will make it more practical for a greater population to take advantage of this delivery method.
That's a nice sentiment to begin the new year.


Made in Italy, for MIDJ does not just define a place of production but goes beyond: it indicaters a way of thinking and living, which applied to the design, aims at intepreting and innovating the idea of furniture.
Italy does not just define a place of production, but goes beyond: it indicates a way of thinking and living, that MIDJ embraced in designing and innovating the idea of furniture since 1987.
Not just Made in Italy, but a perfect synergy between hand - craft modeling, creativity and technology, that makes the working method of MIDJ the added value in each product.