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Brian Eno biography
Brian Peter George St John le Baptiste de la Salle Eno - Born 15 May 1948 (Woodbridge, UK)
There has never been an artist more mystic (in the prog world, anyway) than Brian Eno. He has had many occupations that have influenced many musicians: he was the founding father of ambient music (though some might give him no small amount of flak for starting new age slop), a glam rocker, an expert at the synthesizer and many other strange electronic devices, a producer of hits for U2 and Talking Heads, an explorer of non-western musical themes and, as he was known to everyone who liked him, a "non-musician."
Growing up in the town of Suffolk (which was close to a American Air Force camp), he became fascinated by music when listening to doo wop and R&B on the Armed Forces radio stations. He later developed an interest towards avant-garde composers like John Cage and Terry Riley. In 1971, he became a member of the seminal rock band ROXY MUSIC. Eno joined them because he knew how to operate a certain synthesizer that none of the other members could. Some rock fans thought that he was gay because he wore makeup and women's clothing. His unusual appearance was offstaging the ROXY MUSIC frontman Bryan Ferry, who began to grow agitated as a result. After several fights with Ferry, Eno quit ROXY MUSIC to record some albums of his own sound.
The first album with Eno's name on it was 1973's "No Pussyfooting", an early ambient venture that he recorded with fellow EG Records recording artist Robert Fripp (most famous as the guitarist of KING CRIMSON). Most of the album was a Gibson Les Paul played by Fripp running through a tape-delay system. This new method would be dubbed "Frippertronics," a system that Fripp would later use in his solo career. (The sampling of sounds later set the stage for electronica and hip-hop.) Eno's first true solo album was 1973's "Here Come The Warm Jets", which managed to make the Top 30 in the UK. This time around, Eno had a glam rock sound that David Bowie and QUEEN had popularized. The album proved so critically popular that Eno (even though he was in poor health) decided to tour. The tour was cancelled shortly because of a collapsed lung.
In 1974, he released "Taking Tiger Mountain" (By Strategy), which was a similar collection of free form rock songs. Shortly after the album was released, a serious car accident left Eno bedridden for several months. While in th...Brian Peter George St John le Baptiste de la Salle Eno - Born 15 May 1948 (Woodbridge, UK)
In 1974, he released "Taking Tiger Mountain" (By Strategy), which was a similar collection of free form rock songs. Shortly after the album was released, a serious car accident left Eno bedridden for several months. While in the hospital, a friend brought him an album of classical music. One channel of the stereo had failed completely, but because he was unable to get up and fix it, Eno heard some sounds in the sole working channel that made him very amazed. This experience was essentially the birth of ambient music. In fact, in 1975, Eno squeezed out TWO 100% instrumental ambient albums: Discreet Music, an independent release based mainly on Pachelbel's Canon in D Major; and "Evening Star", a second collaboration with Robert Fripp. Earlier, another rock album, "Another Green World", was released. Generally considered Eno's best album, this album had the sound scenario of "past meets the presents and predicts the future": many abstract pop/rock songs were paired beside some dense, instrumental minimalist compositions. The album featured several guest musicians, including Phil Collins and Robert Fripp.
Eno's last album of pop songs was 1977's "Before And After Science", the second chapter to "Another Green World". Afterwards, he focused his attention towards more innovative, ambient-sounding recordings (the purpose of the Ambient series, which featured Music For Airports, another "classic" of his). He did, however, get involved in some rock/pop ventures. He played on a trio of David Bowie albums recorded in and inspired by Europe (Low, Heroes and Lodger). He was also a part-time producer for "Talking Heads", whose leader David Byrne recorded with him the well-received "My Life In The Bush of Ghosts".
While leaving in the Southern Ontario region, he managed get his hands on a copy of an album by children's artist Raffi. Eno thought the sonics were so good that he wanted to work with the engineer, a Mr. Daniel Lanois. At that time, Daniel Lanois and his brother Bob owned and operated a basement recording studio where Raffi and Ian Tyson (among others) had recorded. The first album Eno recorded with Lanois was "Ambient 2: The Plateux of Mirror". The collaboration with Lanois would lead him to produce million-selling albums by Peter Gabriel (So) and U2 (The Joshua Tree and Achtung Baby). Since the early 90's, Eno has mainly been releasing a series of unsuccessful independent albums, but occasionally is seen in public. He co-produced by the successful "All That You Can't Leave Behind" by U2 and also gave a congratulatory speech (in sign language!) to Daniel Lanois's induction into the Canadian Music Hall of Fame. In 2004, he reunited with Robert Fripp to do another ambient album called "The Equitorial Stars".
: : : ZuchinniSnax : : :
ALBUMS / LIVE:
1973 Here Come the Warm Jets
*2004 Here Come The Warm Jets [Remastered]
1974 Taking Tiger Mountain (By Strategy)
*2004 Taking Tiger Mountain (By Strategy) [Remastered]
1975 Another Green World
*2004 Another Green World [Remastered]
1975 Discreet Music
*2004 Discreet Music [Remastered]
1977 Before and After Science
*2004 Before And After Science [Remastered]
1978 Music for Films
*2005 Music for Films [Remastered]
1978 Ambient 1: Music for Airports
*2004 Ambient 1: Music for Airports [Remastered]
1979 In A Land of Clear Colours (with Peter Sinfield)
1980 Fourth World Vol. 1: Possible Musics
1981 Ambient 3 : The Day Of Radiance
1982 Ambient 4: On Land
*2004 Ambient 4: On Land [Remastered]
1983 Apollo: Atmospheres & Soundtracks
*2005 Apollo: Atmospheres & Soundtracks [Remastered]
1983 Music For Films II
*2005 More Music for Films
1985 Thursday Afternoon
*2005 Thursday Afternoon [Remastered]
1988 Music for Films III
1990 Wrong Way Up
1992 Nerve Net
1992 The Shutov Assembly
1993 :Neroli:
1994 Headcandy
1997 Extracts From Music for White Cube
1997 Lightness: Music For The Marble Palace
1997 The Drop
1999 I Dormienti
1999 Kite Stories
2000 Music for Civic Recovery Centre
2001 Compact Forest Proposal
2001 Drawn From Life
2003 January 07003 | Bell Studies For The Clock Of The Long Now
2005 Another Day on Earth
COMPILATIONS / BOX SETS:
1983 Working Backwards 1983 - 1973
1986 Desert Island Selection
1986 More Blank Than Frank
1993 Eno Box 1- Instrumental
1993 Eno Box II- Vocal
1994 Here Come the Warm Jets / Another Green World / Before and After Science
1999 Brian Eno (Sonora Portraits)
2003 Curiosities, Vol. 1
2005 Golden Hours
1985 Imaginary Landscapes (video)
- Cluster & Eno
- "Passengers: Original Soundtracks 1" (with U2)
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BRIAN ENO discography
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BRIAN ENO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
Here Come the Warm Jets
Taking Tiger Mountain (By Strategy)
Discreet Music
Before And After Science
3.33 | 96 ratings
Music for Films
Ambient 1 - Music for Airports
Eno, Moebius & Roedelius: After The Heat
Brian Eno & David Byrne: My Life In The Bush Of Ghosts
Ambient 4 - On Land
Apollo - Atmospheres & Soundtracks (OST)
More Music For Films [Aka: Music For Films - Vol. 2]
Music For Films III
Eno & Cale: Wrong Way Up
Nerve Net
The Shutov Assembly
Neroli - Thinking Music Part IV
Headcandy
Eno & Wobble: Spinner
2.22 | 9 ratings
Lightness - Music For The Marble Palace
I Dormienti
Brian Eno & J. Peter Schwalm: Drawn From Life
January 07003 - Bell Studies For The Clock Of The Long Now
Small Craft On A Milk Sea
Brian Eno & Rick Holland: Drums Between The Bells
Eno & Hyde: Someday World
Eno & Hyde: High Life
My Squelchy Life
Brian & Roger Eno: Mixing Colours
Brian Eno, Laurie Anderson, Ebe Oke: Dokument #2
BRIAN ENO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
Dali's Car (with Winkies and 801)
BRIAN ENO Videos (DVD, Blu-ray, VHS etc)
14 Video Paintings
77 Million Paintings
BRIAN ENO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
Working Backwards: 1983-1973
Begegnungen (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
Begegnungen II (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
Desert Island Selection
More Blank Than Frank
Eno Box II: Vocals
Eno Box I: Instrumentals
Generative Music 1
Sonora Portraits
Curiosities, Vol. 1
Curiosities Vol. 2
More Music For Films
Music for Installations
BRIAN ENO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)
Third Uncle
Seven Deadly Finns
King's Lead Hat
Robert Sheckley's In A Land Of Clear Colors (with Pete Sinfield)
Brian Eno & David Byrne - The Jezebel Spirit
Silver Morning / Deep Blue Day (Brian Eno, Daniel Lanois & Roger Eno)
Brain Eno & John Cale
Ali Click
Fractal Zoom
Music For White Cube
Contra 1.2 (Untitled 24:53)
Kite Stories
Music For Onmyo-Ji
Music For Civic Recovery Centre
Compact Forest Proposal
How Many Worlds
Panic Of Looking
Brian Eno with Kevin Shields- The Weight Of History / Only Once Away My Son
BRIAN ENO Reviews
Showing last 10 reviews only
Singles/EPs/Fan Club/Promo, 1983
Brian Eno Progressive Electronic
Review by Matti
— First review of this album —
This is not the first time I choose to write the first review for a single instead of the source album which already is well reviewed. "Apollo - Atmospheres & Soundtracks" (1983) is one of the most beloved classics of ambient music. Legendary Brian Eno teamed up with his more New Age oriented brother Roger Eno and guitarist/ composer /producer /solo artist Daniel Lanois, who has worked with U2 among others. The album was made for director Al Reinert's documentary about NASA's Apollo missions, which was originally intended to be without any narration. The test audience's response wasn't encouraging, so the film went through a lot of changes and was released in 1989 titled For All Mankind. But the original soundtrack album had a life of its own, truly deservedly.
This promotional single offers a nice sample of that classic album. 'Silver Morning' was composed by Daniel Lanois and it focuses on his electric guitar textures that give some balancing, warm down-to-earth nuances to all the floating spaceyness during the album.
'Deep Blue Day' is one of the finest pieces of the album. A sort of a country-flavoured ambient instrumental with a dreamy and relaxed atmosphere. The soft, bouncy soundscape of spatial synths and mellow guitars is very charming. Hey, was it this piece that was used in the film Trainspotting, in the surreal scene of diving into crystal clear coral sea through a toilet seat? Clever!
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Posted Thursday, November 12, 2020 | Review this album | Report (Review #2475009)
Studio Album, 1973
Review by Kempokid
Collaborator Prog Metal Team
Even before Brian Eno's solo career led him to the creation of multiple beloved albums that have become so core to ambient, he showed his experimental approach to music through his quirky art/glam rock material, with this pursuit of unusual and often forward thinking ideas being most clearly captured in his debut, Here Come the Warm Jets. Eno's knack for sound design is also quite apparent upon listening to this, with the fusion of glam rock and a variety of unusual atmospheres and textures making for quite an interesting listen. That said, while definitely quite interesting in a few regards, the album is also one that's quite flawed in a couple of ways that ultimately bring down the experience by quite a bit, notably the fairly unfocused, scattershot nature of the album as a whole, and Eno's vocal delivery.
The album starts off well enough with the fun Needles In the Camel's Eye, with extremely thick distortion on the guitars almost creating a wall of sound at point, complementing the almost wailing vocals of Eno, making for an intense, yet energetic and fun song. The unfortunate aspect of the album starts to rear its head in the next two tracks unfortunately, both for similar reasons, with the quirkier nature of the songs working against them and just becoming somewhat annoying. The Paw Paw Negro Blowtorch has some issues from a vocal standpoint, but my main issue with it is from the seemingly useless synth solo that really just goes nowhere, really just not a particularly great song, though not too bad either. Baby's on Fire on the other hand pushes these problems up to the forefront and seemingly want it to be impossible for the listener to look past these flaws, especially with the absolutely awful, nasally vocals that end up almost sounding like a parody of other glam rock artists. The solo here is really nothing special either, just drags the song out a bit too much, which once again is a shame, since the main instrumental backing here is actually really cool, having a certain feeling of tension to it that never really goes away and creates a marvellous, almost surreal atmosphere. While on the topic of songs being too quirky for their own good and ending up annoying, Blank Frank basically does the same sort of stuff as well but without as much memorable stuff to back it up.
Of course, the peak of obnoxiousness to me comes in on Driving Me Backwards, sounding at times to almost be an extremely unusual, warped version of David Bowie's Time , but without as much charm to it. This song also feels remarkably frustrating in the way that there's so much amazing stuff to be found here once again, especially once the rhythmic hand clapping comes in to only further add to the glorious chaos, as different elements erratically weave in and out, shame that I find Eno's shrill wailing to detract from the song, despite contributing to this uneasy atmosphere. I really feel that this album is at its best when it's focusing on its softer side, with stuff like On Some Faraway Beach and the final 3 songs to be the absolute peak of this album, making far better use of the amazing textures crafted throughout to create some genuinely breathtaking moments. In particular I'm quite a fan of Dead Finks Don't talk and the title track. The former is quite interesting to me as one of the few times that I feel one of the more bizarre ideas on the album works, that being the way Eno constantly interjects during the chorus to scream "Oh no", which honestly goes a long way to make it a pretty memorable song that somehow manages to succeed where a lot of others failed. I also feel that I can't mention this song without bringing up the amazing, dissonant outro that takes things to a far darker place than anything else here, yet another incredibly interesting moment here. The title track marks another one of the best moments here, bringing in yet another song with extremely prominent distortion, this time almost bordering on shoegaze, with layers upon layers of fuzz building and establishing an an almost melancholic tone that lets the album close off in the best possible way it could, having a real sense of finality that almost rivals King Crimson's Starless (almost).
All in all, this is an album that I both think is amazing in certain respects, yet don't particularly think is anything too great when looked at as a whole. For as fascinating and often incredibly enjoyable as the instrumentation and sound design is, the vocals often bring these detailed, experimental compositions down quite harshly. Similarly, for as much as I love how forward thinking in certain respects this album was, I also can't ignore the fact that there are many points where this felt like it came out in the form of mindless, annoying quirkiness over actual great ideas (though there's definitely some of both here). All in all, I find the album to be quite flawed in some key areas that distract form its merits. Even so, I'd still recommend people who like the quirkier side of art rock to check this one out, because there's definitely a lot of interesting stuff here that's worth checking out, even though I'm personally not a fan of how a lot of it ends up being executed.
Best tracks: On Some Faraway Beach, Dead Finks Don't Talk, Here Come the Warm Jets
Weakest tracks: Baby's On Fire, Driving Me Backwards, Blank Frank.
Posted Monday, September 7, 2020 | Review this album | Report (Review #2445411)
Review by sgtpepper
I listened to Brian Eno albums a couple of years back and considered them average from a progressive rock mind's view. After having listened to Berlin-era of Bowie's albums and Fripp output, my interest arose again and for a good reason.
Eno created a highly original row of progressive electronic albums that are very different from a classic progressive rock album. Unusual music approaches, minimalism, different chords with even some dissonance, no showing off with extended soloing, you need to be open to digest Eno. Well, I love his analogue synthesizers so it's easier for me.
Most tracks are not melodic and focus on textures or rhythm section - just listen to the first two tracks with Collins on drums. There's no concept, tracks seem to be randomly selected and ordered. Among accessible highlights belong "St. Elmo's fire" with some poppy tendencies due to vocals, melody and keyboards. Guitar by Fripp is astonishing even overkilling the lightness of the song.
"In dark trees" is indeed dark, pulsating, mechanical and can be classified as one of post-rock pioneers thanks to keyboards and guitar.
"The big ship" has beautiful synth sound and harmonies, it's uplifting but still soothing. "Golden hours" is another sung and quite accessible track.
"Becalmed" and "Zawinul/Lava" are two snowy instrumentals and hint at later Berlin period with Bowie. "Spirits drifting" is a nice goodbye track without being very sophisticated.
Overall, I like this album and it is certainly a very influential one. But let's also admit, that there is less complexity and substance than on most prog-rock albums of that era. As a result, after a couple of listenings, the listener might be willing for more.
Posted Sunday, July 5, 2020 | Review this album | Report (Review #2417465)
Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams
BRIAN ENO left Roxy Music in 1973 after a couple of albums having grown tired of the limitations of rock stardom and had the desire to expand his horizons into more experimental musical ambitions however on his first two solo albums "Here Come The Warm Jets" and "Taking Tiger Mountain (By Strategy)" he still latched onto the glam rock sounds that made Roxy Music such a legend although ENO certainly reimagined them to his liking and in the process crafted two classic art pop albums that were highly influential. Indeed those albums sounded like nothing else the 70s had to offer and when it came to ENO's third solo release ANOTHER GREEN WORLD he was starting to shed the glam rock sounds of his early professional career and was heading more in the direction of where his collaboration with Robert Fripp on "Pussyfooting" was heading.
ANOTHER GREEN WORLD was released in September 1975 and basically served as a juncture where his previous glam rock leanings coexisted side by side with the ambient and electronic sounds that would emerge on the next album "Discreet Music" that would follow a few months later in December. The results gave ANOTHER GREEN WORLD a distinct unique hybridization effect unheard on any other ENO album and one that has gained a loyal cult following ever since for its innovative approach of incorporating aspects of progressive electronic sounds woven into catchy art pop compositions. Like the albums before, ENO solicited the help of a few friends. Robert Fripp joined in for three tracks, the most adventurous being the fiery guitar solos with his wimshurst guitar on "St. Elmo's Fire." Likewise Phil Collins from Genesis contributed to a few tracks as well as the Velvet Underground's John Cale. Several others were included as well.
Added to that ENO employed his outsider views of how to craft new innovative sounds such as electric guitars played with mallets which were electronically modified to sound like castanets as well as crafting something called the Leslie piano which fed acoustic piano sounds through a Leslie speaker. Other innovations on the guitar meant that ANOTHER GREEN WORLD showcased some very unorthodox guitar sounds unlike anything else ever recorded. This album wasn't successful in the commercial world but impressed the insiders of the music world and has since then gone down as a classic of innovative art rock from the mid-70s. ENO was also busy after his Roxy Music days with numerous collaborations which included his most famous example with Robert Fripp in the form of "No Pussyfooting" as well as other with Kevin Ayers, Nico, Lady June and Phil Manzanera.
The year 1975 was a tough one for ENO when in January he was hit by a taxi and forced to spend some downtime at home but in the process discovered that a broken channel of his stereo led to new inspirations of how to manipulate sound dynamics. This led to his interest in ambient sounds which led to "Discreet Music" but also altered his perceptions on how to record ANOTHER GREEN WORLD. For the most part, ANOTHER GREEN WORLD consists of two distinct types of tracks. One style is the pure chilled out ambient tracks that directly points to his future releases and the others are sort of leftover from his art pop albums that preceded except that the vocals that are pretty much in the same style as "Tiger" and "Jets" are crafted over more electronic musical accompaniments rather than glam rock, however they still have enough rock elements to be classified as such. While many cite this as one of ENO's zenith performances, i don't quite find it to be so perfect. Due to the inconsistencies of random snippets of electronica appearing between the art pop tracks, the album has sort of a disjointed feel to it unlike the albums that came before and would soon emerge after. Not that any of the tracks are bad in any way but some of the electronic only performances are rather forgettable.
At this point ENO was a huge underground superstar behind the scenes in the music industry even if he wasn't exactly a household name. His unorthodox creativity made him quite sought after in the studio as a producer and beyond. He would continue to create highly innovative ambient albums alone and then with artists like Cluster, David Bowie and Phil Manzanera's 801. While i much prefer the glam rock albums that came before or the pure ambient ones soon to be released, there's no denying that ANOTHER GREEN WORLD is an excellent innovative slice of ambient pop with some of the most clever means of production. ENO was a master of crafting catchy tunes with a receptive bass line but exploring bizarre avant-garde arenas with the changing structures that layered over the simple rhythmic grooves. The most widely used word for his style of music that encompassed his first three albums is simply "quirky," and i can't think of a better description than that to sum it all up succinctly.
Posted Wednesday, February 5, 2020 | Review this album | Report (Review #2312900)
It's undeniable that Brian Eno's Ambient 1 is an album that has garnered much attention and interest as the years have gone by, and how could it not with such a formidable reputation behind it? Being coined as one of the landmark ambient albums is quite the title to live up to, and especially intriguing with a genre as abstract as this, after all, what exact qualities would actually go into creating an amazingly regarded ambient album? Listening through this album makes me think that it's definitely partially how it can create a mood and be beautiful, all without ever being distracting in nature, alternatively, as Eno himself put it "Ignorable as it is interesting". While I definitely believe that this album's legacy is a large part of the acclaim it still gets to this day, I also definitely see the appeal in it, despite personally finding other ambient projects to be somewhat more engaging throughout.
The composition of each track on this album as a whole represents a very minimal sense of progression throughout, relatively short loops repeating for long periods of time as subtle changes are made in order to accompany the serene, beautiful atmosphere as a whole. These subtle changes are what really add that quality to the music where it is able to be intently listened to without feeling boring. 1/1 demonstrates this in the best way, the forefront being centred around a central, minimalistic piano melody that feels as if it loops around endlessly, with low droning permeating the majority of the track, creating an absolutely perfect atmosphere that's immersive without being attention grabbing, able to appeal to both those listening to this in the background, while having a lot to love when closely focusing on the smaller details. The most impressive thing about this track and why it stands out so clearly from most other ambient material is how it is one of the single most relaxing pieces of music I've come across, with such memorability despite being so minimalistic. The tracks that make use of what sounds like a choir Are also quite intriguing to me for being able to sound so grandiose and powerful with so little to work from. The looping feels far less obvious here as well, due to the primary melody being far less defined, providing a more hypnotic experience that I also enjoy quite a bit, even if I find it to end extremely abruptly whenever that particular track ends, breaking some of the immersion to some extent, along with overall sounding a bit hollow. I personally feel that this is an album that there really isn't much to talk about outside of what I've mentioned, as it follows a very similar sort of sound and approach throughout with the same core features, really nailing the beauty regardless.
I can definitely see both sides of the argument for and against this album, given how this is so pleasant and singular in its appraoch that it's quite easy to understand possible distaste people would have towards this, especially with the amount of more multifaceted ambient out there, even by Eno himself. That said, this very singular, cohesive approach allows the atmosphere and tone it sets to absolutely flourish and create a truly beautiful experience, even if it can feel a bit lacking at times in the process. Nonetheless, I believe that this is a worthwhile album to at least give a listen to once, especially if you're interested in ambient music, because no matter what way you look at it, this is an album that is considered an absolute landmark despite its shortcomings in areas, and I for one think that much of the praise it gets is deserved, as this is a wonderfully calming, beautiful album.
Verdict: An ambient classic that manages to make loops repeated ad nauseum a surprisingly compelling, lovely listen, especially with the amazing tone and atmosphere it has throughout, but definitely simplistic regardless.
Posted Wednesday, January 22, 2020 | Review this album | Report (Review #2308638)
Review by patrickq
Whether or not this is truly the first album of ambient music, as some here claim, I recognize its importance. I also respect Brian Eno as an experimental composer and as an important figure in late-twentieth-century music. Furthermore, I not only appreciate, but actively enjoy, some music that I would define as "ambient," "experimental," and/or "minimalist," including some of the works of Pauline Oliveros, Steve Reich, and Wendy Carlos - - artists who I personally feel have a place on this site. In particular, I would assign five stars to Carlos's Sonic Seasonings, an ambient work from 1972 which, like Ambient 1: Music for Airports is non- virtuosic background music.
There are also many fine albums which have been labeled "new age," fairly or not. Some albums widely accepted as new age aren't bad - - Deep Breakfast (Ray Lynch) and some of Kitaro's work come to mind - - but count me among those who feel as though these works generally fail to reflect the kind of musicianship that fans of progressive rock respect. Put new age and ambient together and you have a recipient for... blandness? Anyway, Music for Airports fits my definition of "new age music" - - and specifically that kind of ambient new age which is inoffensive and boring.
That's especially true of side one and roughly the first ten minutes of side two. Partway through "1/2," once the piano exits, a more purely ambient section begins. This reminds me of some of the works of Klaus Schulze - - one of my favorite purveyors of any genre of music. The fourth and final track of Music for Airports, "2/2," is also a bit less new-agey, and these sections represent my rationale for awarding two stars.
Ambient 1: Music for Airports is historically important, and even side one, which is definitely one-star material, is not bad as much as it accounts for time better spent listening to something else. In this sense, it achieves Eno's goal of creating soothing but, as he put it, "ignorable," art.
Posted Sunday, February 24, 2019 | Review this album | Report (Review #2139063)
Having been freed as a member of Roxy Music, BRIAN ENO wasted no time delving into his myriad projects with not only one but two super strong solo albums emerging in 1974. The first release "Here Come The Warm Jets" managed to forge a new branch of the glam rock meets art pop started out by Roxy Music albeit with a completely new indie pop quirk absent from Bryan Ferry's vernacular. At the tail end of the year ENO unleashed his second offering in the form of the bizarrely titled TAKING TIGER MOUNTAIN (BY STRATEGY) which was meant to be a loose concept album inspired by a series of postcards of a Chinese revolutionary opera. The themes and concepts attempt to tackle everything from espionage to the Chinese Communist revolution and found ENO taking a darker tone lyrically all the while crafting a bouncier and more upbeat art pop sound than his debut.
TAKING TIGER MOUNTAIN (BY STRATEGY) also focuses on a core of five musicians without the lengthy roster of guest musicians on the debut. From his Roxy Music days he was joined by Phil Manzanera on guitars as well as Brian Turrington on bass, Freddie Smith on drums and a special guest appearance by none other than Robert Wyatt who provided percussion as well as backing vocals. Manzanera is notable for being a prime player on the album with not only his stellar guitar contributions but his role in assistant producer which allows an anything goes sort of approach to the album and as a result exudes an air of eccentricity above and beyond anything in the Roxy Music playbook. To further the mystique of the album, ENO and his friend Peter Schmidt developed a set of instruction cards called Oblique Strategies that would dictate certain decisions about the recording process, therefore completely random ideas were thrown in on the mere whim of which card dictated what, an eccentricity that ENO was famous for entertaining.
While lyrically TAKING TIGER MOUNTAIN (BY STRATEGY) is connected by a nebulous conceptual theme of sorts, musically the album is all over the place with quirky indie pop hooks and the peculiar the only commonalities. Right from the very first notes of "Burning Airlines Give You So Much More," it's apparent that the pop hooks are heavily embellished by off-kilter out of tune counterpoints, slightly off center harmonic overdubs and intricate little guitar riffs that sound as if they are on the verge of complete abandonment but somehow finding resounding resolution. The jittery marching rhythms that exude tracks like "Back In Judy's Jungle" find themselves popping up in unexpected ways and early doses of post-punk even find their way in Turrington's bass abuse on the ahead of its time "Third Uncle" which distinguishes the accidental playing of a key finding its way into legendary status especially after having been covered by Bauhaus.
Despite the effort to create a less abrasive and more minimalistic album that forged a more uniform sound, TAKING TIGER MOUNTAIN (BY STRATEGY) is a monstrously wild album that traverses the quirkiest aspects of avant-pop coupled with the earliest forms of art rock teased out into a never ending series of arhythmic patterns, cannonades of jangle guitar and Asian overtones. The post-punk connections cannot be understated as many post-Sex Pistols punk rockers have taken many of the more aggressive aspects of TAKING TIGER MOUNTAIN to heart. ENO single handedly managed to give birth to an incredibly diverse mix of styles that remain influential in the modern day. Through the wild and woolly glam rock ride of "The True Wheel" to the more subdued title track that ends the album and points to a more electronically infused future, this sophomore album unleashes a surprisingly diverse palette of indie quirk.
Like many of the early ENO albums, TAKING TIGER MOUNTAIN (BY STRATEGY) exudes an uncanny prescience of musical trends that hadn't yet come into fruition. ENO always seemed like he had his hands on an invisible pulse that only came into the limelight years later. This album percolates an infinite number of ideas that would eventually express themselves in much larger musical scenes. It's hard to believe that BRIAN ENO is mostly known for his ambient and electronic music when such Earth shattering indie rock found on his earliest recordings exists. This is some of the most fascinating music to exist in a rock context and while it's utterly infectious even upon first exposure, it contains just enough weirdness to continue to be exciting decades after its inception. For my money, this second offering of 1974 is a step above the first and that's a pretty tall order. Nerd music for nerd's paradise.
Posted Tuesday, December 11, 2018 | Review this album | Report (Review #2085499)
Review by Chaser
Utterly soporific!
Brian Eno was almost right, but this is not music for airports, it is music for airplanes, and especially for airplanes on long haul flights.
I have always had terrible trouble sleeping on long haul flights. I remember one long haul flight from Hong Kong to Perth where I sat bolt upright in the dark for 8 hours whilst everyone else slept. Horrific!
But then I discovered Brian Eno and his "Music for Airports", and my long haul flying experience was changed forever.
Now I take this album with me on every long haul flight, and by a third of the way through 1/1 I'm sleeping like a baby.
It's easy to describe the tracks on this album:
1/1 DING DONG DING DONG DONG DING. Repeat for 16.39 minutes.
1/2 AAAAAAAAAAA. UUUUUUUUUUU. AAAAAAAAAA. UUUUUUUUUU. Repeat for 8.25 minutes
1/2 TING. AAAAAAAAAAAA. TING TINGALING. AAAAAAAAAA. TING TINGALING. Repeat for 11.36 minutes
2/2 HOOOOOT. PAAAAAAARP. HOOOOOOOOT. PAAAAAARP. HOOOOOOT. Repeat for 9.38 minutes
Still the sounds are all very melodic and soothing, albeit with the effect of Chinese water torture.
This is not an album for collectors or fans only, this is an album for insomniacs everywhere!
It should be prescribed by doctors. Throw away those sleeping pills and get your hands on a copy of Brian Eno. I swear by it.
Take this album on your next long haul flight, and I can guarantee you won't be disappointed.
Before the end of track one, you'll be away with the fairies.
Let's start counting stars. One, two, three, zzzzzzzzzzzzzz...
Posted Sunday, October 7, 2018 | Review this album | Report (Review #2041807)
Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team
This is truly an underrated album. It is also very unexpected. When you hear of Brian Eno and John Cale doing an album together, you would expect maybe ambience or at least very experimental music. You would be mistaken. This album has some of the most accessible music either artist has been involved in. But, believe me, it does not make it a bad album. Yes it is lacking somewhat in progressiveness, but the faster songs are so cheery and catchy that you have to sing along. And the harmonies, mostly based on heavy layering, are excellent to the "nth" degree. That is what I love about it most is the harmonies, sort of like a more modern Moody Blues type harmony, but better.
The first track is sung by Eno, but I would imagine it involves auto tune, because I have never heard him sing like this. The violin and keyboards are exiting and catchy. The same feeling melds into the next track "One World", even more upbeat with Eno and Cale both sharing vocals with lots of harmony. "In the Backroom" is a slower tempo and more of what you would expect with the vocals more subdued and no harmonies, just singing by Cale. The rhythm is consistent throughout, but there are some interesting things going on in the instrumentation. "Empty Frame" has a nice mid tempo swing feeling to it. Eno has lead vocals on this and there is some brass involved in the background and there are some harmonies here, but not as choir like as before. The guitar towards the middle is nice, but it's mixed a little deep. Vocals again seem too perfect for Eno, but it still sounds great.
"Cordoba" is a very laid back slow song lead by Cale. This one is more ambient and slightly experimental sounding, but it is not typical enough to be considered pop. It is a lot darker than anything that has come previously, so probably more what you would have expected from these two. Very sparse and the voice is solo with limited harmonics and some distortion in the orchestration towards the end giving it a unsettling feeling. "Spinning Away" is more of a nice, funky feeling with that feeling being provided by a strumming guitar while the keyboards are smooth creating a nice contrast. Eno has lead on this one and the beautifully layered and uplifting harmonics are back. The stings are back on this one too, and give this song great atmosphere. "Footsteps" is a mid-tempo song sung by Cale and is very 80s sounding especially with the synth melodies going on here. This one would have fit well on any Wang Chung album, in other words, I don't care for it as much.
Cale leads again on the next song "Been There, Done That". This one is upbeat and was released as a single and actually had some success. It is decent, but I would have picked one of the other previous upbeat songs for the single. But it has memorable lyrics that are easy to sing along with. "Crime in the Desert" has a nice piano hook that plays though the song, upbeat once again and a return to the layered harmonics that are so appealing. The synths are reminiscent of a more upbeat Vangelis tune. This one is the 3rd in a row lead by Cale. The last track on the original release is "The River" and is lead by Eno. This on has an annoying computerized drum and keyboard loop that changes chords with the vocals. It is more subdued like "Cordoba", but not as experimental. Eno's voice has an echo to it, giving it a slightly mysterious sound. The chorus is nice with the vocals, but it can remind you of sitting around a campfire singing and once you get that visual, it gets a little corny. Since the original had only 10 tracks, by this time it was starting to wear out it's welcome, so it ended at the perfect place.
The remastered version released in 2005 had 2 bonus tracks, but 1 of those tracks was different in the UK and the US. "Grandfather's House" was the UK bonus track. It is a slow ambient song, but the electric piano or vibe is a little annoying and reminds you of the terrible late 70s, early 80s Chicago albums. However, the lyrics are nice. "You Don't Miss Your Water" was the track available in both the UK and US versions. This one is better, but it is still slow with no percussion. It is driven with guitar this time, so it's not tacky like the previous one. It also has the layered harmonics. "Palanquin" was the bonus track in the US that replaced "Grandfather's House". Out of the two different bonus tracks, "Palanquin" is better in that it uses acoustic piano instead of electric, so it's not so dated sounding. It is a beautiful, atmospheric track, all instrumental, and with a new age feel, but still nice.
Overall, I really love this album and I did the first time I heard it. I do admit that it tends to wear itself out towards the end, but the bonus tracks, at least on the US reissue, do breathe life back into the album at the end. I know there isn't much there that is considered progressive, but the harmonics push this far and above any typical pop music out there. I consider it an excellent addition to my collection, but not to my prog music collection. So I have to settle for a "Good" rating, but it's pushing the 4 star rating.
Posted Saturday, July 21, 2018 | Review this album | Report (Review #1950181)
Review by aglasshouse
Brian Eno is often thought of the thinking man of progressive music. Although many thinking men exist in the genre, Eno was the one who thought the hardest, particularly in both the abstract and the minimalist. The way he perceived music as a whole both in how it's psychologically defined and how it exists in space were paramount in bringing a new mindset to the pop music world.
However when you take all this and compress it down into one album, it garners a different look. Specifically, one tagged as "ambient". In recent years this term has a stigma attached to it, and generally will cause a quick dismissal from those who you bring it up to. Sure, countless very simple projects have also called themselves ambient, but as Eno has stated, what ambient really means is practically impossible to pin down these days. Mr. Eno may be a bit forgetful however, as he seems to have forgotten that he practically created modern ambient electronic music back in 1975. Discreet Music is one of the most unadulterated expressions of noise and vibration, a sound that seems disembodied from human thought and is something that just purely....exists. Of course Kraftwerk often experimented with ambient/avant-garde electronics before Eno even began working with Robert Fripp in 1973, but what Kraftwerk either didn't care to or failed to realize at the time that ambient music is what Eno created; sprawling, hour-or-more- long, meandering behemoths of various rhythmic tones and electronic fluidity that do well to not branch off uncomfortably by being overly dynamic. This not only creates a pleasant sound, but also removes the chance of having any slip ups if you go off the avant-garde deep end, which even Eno has done in the past. Kraftwerk understood the meaning of this quite well even before Eno did, with 1974's Autobahn epic replete with vehicle imagery, but it took another year for another musician to perfect it, and that just so happened to be Eno.
The rest of the album aside from the title track epic is three different variations of Canon in D Major by Johann Pachelbel. While not being the centrepiece, Eno's interpretations of the classic 'Pachabel's Canon' which, while being in basic terms the same Canon you've heard for years, are indeed testaments to Eno's mixing of industrial music with the classical. 'Fullness of the Wind' I believe is the best of the three.
What I think Discreet Music represents is a wholesome and unbroken part of Eno's career, which both represents a then stepping stone but also a timeless element in one of the most prolific electronic musician's music. That, and it's a signal for other artists even today to expound on it to find the deepest crevasses the human spirit can travel to. Either that, or I'm just blowing it out of proportion. Part of me, though, thinks I'm right.
Posted Wednesday, April 12, 2017 | Review this album | Report (Review #1710182)
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates
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Photo Credit: John S. Peterson
A Deeper Look Into Matt Rhule's Blueprint for Development Success
By Brady Oltmans
Matt Rhule is a builder. He builds programs and players. That's largely why Nebraska athletic director Trev Alberts chose him as candidate 1A for the Nebraska head coach job.
Alberts and Rhule both referenced the Go Big Project, the state-of-the-art $165 million developmental facility on track to open this summer, during Rhule's introductory press conference. Alberts said that project will help Nebraska regain its identity as one of the premiere developmental football programs in the country.
"The University of Nebraska has been and always will be the premier development program in the country," Alberts said before introducing Rhule. "That's our DNA and that's who we are. For those of you who drove up and you saw the Go Big Project, you can see the investment of our donors into that project. That's the brick and mortar behind the greatest development program in college football."
Rhule's become a multi-million-dollar coach because of his ability to develop players and people, So it warrants looking into who he's developed and what they've done.
Rhule took over as Temple head coach in 2013. No Owl was selected in the NFL Draft following his first two seasons but three were selected in each of the following two years. Five players he recruited over the next two years were also drafted.
Tavon Young was a 2-star prospect, according to 247Sports. He was 5-foot-10 and 155 pounds from Oxon Hill, Maryland, with his only other offer from Towson. But he was also a standout sprinter, who ran a leg on a state record-breaking relay team in high school. He later ran a 4.46 40 at the NFL Combine with a 3.93 20-yard shuttle. The four-year letterwinner at Temple was selected in the fourth round by his local Baltimore Ravens. Tyler Matakevich was also a 2-star prospect when he signed with Temple over Akron. His four-year impact started immediately when he became the first freshman Owl with 100 tackles. The linebacker ran a 4.81 40 at the combine with a 7.19 three-cone time. The Pittsburgh Steelers selected him in the seventh round in 2016 and he's still in the NFL with Buffalo.
Haason Reddick wasn't ranked at all out of high school and nobody else wanted him after he broke his femur as a senior. He walked on at Temple and played both running back and safety his freshman year. Three years later he was an all-conference linebacker with an insane burst (4.52 40, 4.37 shuttle). In Rhule's system he went from walk on to first-round pick by the Arizona Cardinals. Offensive lineman Dion Dawkins also didn't receive a ranking but he did turn down Cincinnati in favor for Temple. He started 41 of 44 games at Temple and finished a first team all-conference selection. He rocketed up draft boards, earned a second-round selection by the Buffalo Bills and made the Pro Bowl last year.
Matt Ioannidis was a 3-star defensive lineman from Flemington, New Jersey, whose only offer came from Temple. He arrived at college 6-foot-4, 243 pounds. He played double-digit games his final three seasons at Temple, earning all-conference honors his final two. Ioannidis ran a 5.03 40 at the combine and benched 32 reps. Washington selected him in the fifth round and kept him until he joined Rhule at the Carolina Panthers earlier this year. Nate Hairston was a 2-star athlete who ran a 5.03 40. He switched from receiver to defensive back between his sophomore and junior seasons. Indianapolis drafted him in the fifth round in 2017 and he's spent this year on practice squads.
Two-star Jullian Taylor denied a preferred walk-on offer from Iowa to play at Temple. He signed at 6-foot-5, 220 pounds as a tight end. Coaches moved him to defensive end. He made 41 tackles, 11 sacks in his only season as a starter, added 80 pounds to his frame and San Francisco drafted him in seventh round. Jacob Martin was a 2-star defensive end from Colorado who chose Temple over Colorado State, Wyoming and Idaho. He played at least 12 games in all four seasons for Matt Rhule and worked his way to all-conference honors. Seattle drafted him in the sixth round in 2018. He now plays for the Denver Broncos.
"The standard that we believed in and that we breathed, it's something that I truly appreciate," Martin told the Philadelphia Inquirer. "I would not have gotten this far without those lessons, without those hard times."
Just one Baylor player was drafted in Rhule's first two seasons in Waco. Since then, 11 Bears were selected in the draft.
Denzel Mims was a 3-star receiver who enrolled at Baylor before Rhule arrived in Waco. He played in at least 12 games each of his last three years at Baylor while developing into an all-Big 12 receiver. He finished among the top 10 on Baylor's career receiving yard list. Mims has been with the New York Jets since his second-round selection. Three-star prospect James Lynch chose Baylor over TCU and USC. The Texas native became the Big 12 Defensive Lineman of the Year and All-American under Rhule. The Vikings have kept him since drafting him in the fourth round.
Bravvion Roy was a 3-star, 6-foot defensive line prospect. He added 30 pounds, worked his way to all-conference honors and a sixth-round pick by Rhule and the Panthers in 2020. Injuries impeded 3-star Texas native Clay Johnston's Baylor career. Still, he bulked 27 pounds before the combine with 18 bench reps. The Rams drafted him in the seventh round and he now plays linebacker for Cincinnati.
Rhule's recruiting at Baylor was finally developed this past year when six Bears were selected in the draft. Tyquan Thornton was a speedy 4-star receiver (10.50 in the 100) and played in nearly every game at Baylor. He ran 4.28 40, the fastest of that year's combine. New England selected him in the second round. Three-star safety JT Woods chose Baylor over Houston and Ivy League schools. He added 18 pounds over his playing career and led the Big 12 in interceptions as a senior. His broad jump of 10 feet, 8 inches stood out at the combine and Los Angeles drafted him in the third round.
Terrel Bernard was a 3-star all-state linebacker who, not recruited by every university in Texas, became an all-conference selection. He ultimately became Sugar Bowl MVP and a third-round draft pick by the Buffalo Bills. Trestan Ebner was a versatile athlete out of high school. He developed into a dynamic offensive option and return specialist at Baylor. He was a repeat Big 12 Special Teams Player of the Year before becoming a sixth-round pick by Chicago. Kalon Barnes became a standout cornerback and star sprinter at Baylor. He ran 4.23 at the combine, the second-fastest time in 20 years. Carolina picked him in the seventh round.
Then there's Jalen Pitre. He was the one recruit pledged to Baylor when Rule arrived. He bought into Rhule's vision and contributed immediately. Pitre became Big 12 Defensive Player of the Year, a consensus All-American and a finalist for the Jim Thorpe Award, given to the nation's best defensive back. The Houston Texans made him a second-round pick earlier this year.
"I feel like I was a little overlooked but I was very thankful for Baylor giving me a shot," Pitre told the Associated Press. "With that gratitude, I was sold on coming here and doing what I needed to do to become the man that I could be, and growing on and off the field.
"It's crazy to look back and see how far I've come."
Back in college football, Rhule's ready to build again. He laid out his plan for the Nebraska fans during his induction ceremony. And he shares Alberts' vision.
"The future of Nebraska football is not hanging on one decision," Rhule said, "but is hanging on the accumulation of day-after-day-after-day of great recruiting, great development, great coaching, great teaching and we'll just try to say what's next every day."
Brady Oltmans
LOOK: Nebraska Welcomes Matt Rhule
Matt Rhule Says Nebraska 'Fits Me' in Interview with College GameDay
Matt Rhule's First Week Building His Vision For Nebraska Football

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Digital Scholarship@UNLV
Home > College of Sciences > Chemistry and Biochemistry > Faculty Publications > 416
Chemistry and Biochemistry Faculty Publications
Application of Cerium and Lanthanum Coagulants in Wastewater Treatment—A Comparative Assessment to Magnesium, Aluminum, and Iron Coagulants
George William Kajjumba, University of Nevada, Las Vegas
Daniel Fischer, Clark County Water Reclamation District
Le Anna Risso, Clark County Water Reclamation District
Daniel Koury, University of Nevada, Las VegasFollow
Erica J. Marti, University of Nevada, Las VegasFollow
Chemical Engineering Journal
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Biological wastewater treatment plays a central role in removing nutrients from wastewater. However, during the dewatering of biological sludge before it is transported to a landfill, a concentrated stream (centrate), loaded with phosphate, nitrogen, organic matter, and suspended solids, among others, is formed. Recycling these elevated concentrations, especially soluble phosphorus, back to the head of the plant defeats the sole purpose of enhanced biological treatment. In this study, a centrate stream was treated with lanthanides through coagulation. The study also established comparative performance between lanthanides and other commonly used coagulants, like FeCl3, Al2(SO4)3, Na2Al2O4, and Mg(OH)2. Coagulant performance was assessed based on their capacity to remove dissolved phosphorus and other impurities while maintaining alkalinity, sludge production, and operation cost. While adjusting the pH of the centrate (4.0–9.0), Al2(SO4)3, FeCl3, Na2Al2O4, LaCl3, and CeCl3 demonstrated strong removal of phosphate (>50%) at pH ≥ 6.0. However, as the pH dropped (≤5.0), the performance of both alum and FeCl3 plummeted to less than 15%. Na2Al2O4, CeCl3, and LaCl3 coagulants are not affected by pH; they maintained at least 85% phosphate precipitation at all tested pH values. The trend for moles of metal ion to phosphorus ratio required to treat centrate is as follows CeCl3 [1.2] = LaCl3 [1.2] < FeCl3 [1.5] < Na2Al2O4 [1.8] < alum [2.5] < Mg(OH)2 [3.1]. Evaluating each coagulant's performance based on purchase price, sludge disposal cost, and alkaline/acid reagent cost, Mg(OH)2 coagulant is the least expensive to treat wastewater in the given case study. However, based on effluent water quality, lanthanides outperform all the tested coagulants. Assessment of the lanthanide precipitates reveals that there is direct bonding between lanthanide and phosphate.
Adsorption; Coagulation; Lanthanides; Phosphate; Rare earth elements; Side-stream management
Chemical Engineering | Engineering
Kajjumba, G., Fischer, D., Risso, L., Koury, D., Marti, E. J. (2021). Application of Cerium and Lanthanum Coagulants in Wastewater Treatment—A Comparative Assessment to Magnesium, Aluminum, and Iron Coagulants. Chemical Engineering Journal, 426 1-10.
http://dx.doi.org/10.1016/j.cej.2021.131268
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Internet for children is a tool present in our day today. The children live with her and with the different devices that we use to access from her early stages both at home and at school.
The network offers multiple benefits to children, well understood and controlled access can have a positive impact on the child's education and development. We can not forget that the Internet also offers certain risks and dangers to children. In our hands as parents are to monitor the use that children make of the Internet so that they obtain the maximum advantages, which are not few.
1.1 It is an excellent way of communication.
1.2 It is a direct door to knowledge.
1.3 It can be used as a school support tool.
1.5 It is an aid for children with a disability or learning problem.
1.6 Stimulates research and discovery.
1.7 It is an entertainment tool.
1.8 Help to socialize more timid children.
1.11.2 How to report cyberbullying.
1.11.3 How to act against cyberbullying.
1.11.4 How to know if the child suffers cyberbullying.
1.12.1 How to prevent cyberbullying.
1.12.3 Risks in social networks.
1.12.4 Child safety in social networks.
1.12.5 Parental filters to prevent cyberbullying.
It is an excellent way of communication.
Immediate, fast and effective. Internet for children can be connected to people who are in other countries or to be in permanent contact with relatives who are far away.
It is a direct door to knowledge.
Children no longer have to wait for their parents to buy an encyclopedia or go to bookstores and libraries in search of the information they need. At the click of a button and for free they can learn and know about any topic, strange and strange.
It can be used as a school support tool.
Internet for children, children find exercises and games that allow them to work on the contents learned in school, be it in mathematics, English or knowledge of the medium.
Statistics show that children who use the Internet as a tool for school support and benefit from the resources that are in the network obtain better grades.
It is an aid for children with a disability or learning problem.
There are countless online games to improve the attention of hyperactive children or as a resource for children with special educational needs.
Children enter autonomously to find and discover the information they need.
It is an entertainment tool.
Playing in the park and going out to the street are still essential activities in the child's life, but it is not good for them to spend time playing online. The game well understood and controlled can be positive, stimulating and didactic.
Help to socialize more timid children.
Through chats or hangouts, you can make contact with other children from other cultures or places more easily.
We can not ignore that we live in the technological era and that our children will work with these or other tools. Familiarizing yourself with them is essential for your future.
The dangers on the Internet not only prey on adults may also influence the lives of children. The use of new technologies has many benefits but can also endanger children if they do not learn to use them responsibly.
Among the possible problems that children encounter when using the Internet is that of cyberbullying. Many children are harassed, they receive threats from their schoolmates through chat or social networks and rarely express these problems.
To combat cyberbullying, information is key, as well as promoting communication between parents and children, as well as with the teachers of the school.
Cyberbullying, extortion, cyberbullying … do you know what these words mean? They are different forms of harassment or extortion on the Internet to minors. We explain what each of them consists of and how to detect it.
What parents have to do to report a case of cyberbullying about their children. Steps to follow when the child is a victim of cyberbullying through email, social networks or any other digital platform.
How to act against cyberbullying.
What to do if our child is being harassed through social networks, email, chat or any other digital platform? Cyberbullying or cyberbullying, what can parents do?
How to know if the child suffers cyberbullying.
How to detect a case of cyberbullying in children. Cyberbullying or cyberbullying, unlike bullying in childhood, takes place in digital media. It is the harassment, insults, threats or gossip to a child through email, SMS, chat or social networks.
Cyberbullying or cyberbullying is understood as the use and dissemination of information, real or fictitious, with intent to harm or defame through the Internet. Every time there are more cases of harassment on the Internet to children by other children. We tell you what cyberbullying is and how it affects children.
The grooming of children and the harassment of children on the Internet. How the grooming of children begins and how to fight against child grooming. Risks for children in social networks. Sexual harassment of children on social networks is more common than we think, so we want to inform you of the danger of your children being on social networks.
Access to new technologies for children occurs every time at younger ages and we are no longer surprised to see children between 10 and 12 years old using the computer with a lot of ease, talking with a smartphone and children of about 7-8 years old with tablets or iPod.
Tips to prevent children from becoming victims of cyberbullying or cyberbullying. How to prevent your children from suffering harassment through the Internet. Cyberbullying is a type of repeated psychological aggression provoked and suffered by minors. Tips to avoid bullying children through social networks or websites.
Basic ideas to educate children about the dangers of the Internet and give them some guidelines for behavior. How to get children to know how to behave while surfing social networks. We give you the decalogue of the safety of children on the internet. The basic security on the Internet that every parent should know.
There are many risks to children surfing the Internet if they do not follow the advice of safe navigation and have not received correct information about the dangers and traps that lie in wait for them.
Child safety in social networks.
Parental filters to prevent cyberbullying.
Parental filters are a tool that allows parents to control what children see on the Internet for children. It is a software that is installed on the computer and that controls, according to the filter, which pages your child can navigate through. How do parental filters work on the Internet? Control the navigation of children on the Internet.


Head up to Beaver Creek tonight, Wednesday, Aug. 12, to enjoy the Americana, folk and bluegrass sounds of The Crane Wives! Admission is free and the music will start at 6 p.m. at Creekside Park. Come early to enjoy free outdoor yoga at the base of the Buckaroo Gondola at 4:30 p.m.!


Digital and Analog Communication System [K Sam Shanmugam] on Amazon. com. *FREE* shipping on qualifying offers. This text aims to present an introductory level treatment of digital and analog communication systems with an emphasis on digital communication systems. PDF | On Jul 21, , Mahmood Abbasi Layegh and others published Solutions Manual of digital and analog communication systems by k sam shanmugam.
Gaussian Probabilities Appendix E: Material is modularized so that appropriate portions can be selected to teach several different courses. Material is modularized so that appropriate portions can be selected to teach several different courses. Jul 04, Raazanand marked it as to-read. Limited- pages 5 Reviews https: No trivia or quizzes yet. Account Options Sign in. It illustrates how to tradeoff between power, bandwidth and equipment complexity while maintaining an acceptable quality of performance.
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Digital and Analog Com Thanks for telling us about the problem. Want to Read saving…. Sam Shanmugam Snippet view – The book also includes over problems and an annotated bibliography in each chapter. Sep 25, Sandesh Sangwan added it. Arash rated it liked it Feb 28, Provides a detailed, unified treatment of theoretical and practical aspects of digital and analog communication systems, with emphasis on digital communication systems.
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You are here: Home | Islamic Woodstock festival drawing tens of thousands
Islamic Woodstock festival drawing tens of thousands
Islam Wednesday June 27, 2007 Religion News Blog
ESSAOUIRA, Morocco, AFP — "The Gnaoua festival is the Islamic Woodstock where one sings of the glory of God and dances without fanaticism, bearded men and veiled women," said Ismail Khaldi.
The music festival in the picturesque Moroccan fishing town of Esssaouira, some 450 kilometers (280 miles) south of the capital Rabat, hosts the annual festival which began 10 years ago.
This year, the opening was attended by more than 10,000 people — many who came from afar — providing extra money for locals like Khaldi, who works at a hotel.
More than 500,000 visitors — many from overseas — are expected to see the show in the coming days.
The festival has the energy and the vibe of Woodstock, the pathbreaking 1969 music and art fair at a farm near New York which embodied the hippie counterculture and sexual liberation.
But in spirit, it is a different ball game altogether.
"The Gnaoua music glorifies God and the Prophet Mohammed. We are Muslims, we sing and dance to the bewitching rhythms of this music," said Khadija, a young woman who came from a place north of Rabat to see the 10th Gnaoua festival.
"The radical Islamists have no right to impose their restrictive views on us," she said.
For Hamid, a student sporting a shaven head, the festival is a welcome breath of fresh air.
"Here one can savour freedom without affronting anybody," he said.
The festival is inspired by the music of Gnaouis, or descendants of former African slaves. But this year it includes other musical genres from all corners of the globe.
Nuruddin, sporting Rastafarian dreadlocks, termed the festival the "Mecca of music."
"I love God and the Prophet Mohammed but the Islamists want to excommunicate us because we love life, music and all other good things," he said, swaying to the beat of the orchestra.
There is fusion music: groups from the west African nation of Burkina Faso mixing sounds with Cuban bands. And there are musicians from the West, Africa and Latin America.
"It is good to remember that Islam in its most popular forms promises nothing else other than peace and fraternity," the irreverent French-language Telquel weekly said in a special edition.
It underlined that "it is a particular pleasure that this message comes from Morocco, from Essaouira and not from anywhere else."
Moroccam Islamists such as radicals from the Adl wal Ihssane and the Justice and Development Party (JPD) term such festivals "places of debauchery."
AFP, via The China Post, France
www.chinapost.com.tw
This post was last updated: Jun. 27, 2007
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Carrabba's Italian Grill offers its guests menu items such as crispy calamari, homemade lasagna, and a variety of fresh fish, seafood, and meats. With various locations across the U.S., this restaurant satisfies those with a craving for authentic Italian cuisine.
The extensive menu is divided into Appetizers, Soups & Salads, Panini, Wood-Fired Pizza, Wood-Burning Grill, Marsala, Classics & Combinations, Stuffed Pasta, Signature Pasta, Dessert and Gluten-Free. Carraba's prides itself on grilling, which starts with its special grill baste and secret seasoning. The wood-fired dishes are unique and include Chicken Bryan, Grilled Salmon, Spiedino Di Mare (shrimp or sea scallops), Pollo Rosa Maria, Filet Fiorentina and more. Of course the restaurant also has all the classic Italian favorites, such as spaghetti, lasagna, chicken parm and more. The kid's menu includes a drink and offers spaghetti, chicken fingers and pizza.
Carrabba's has a full-liquor bar, and also prides itself on its extensive wine list, featuring carefully selected wines that have been imported from Italy and all over the world.
Carrabba's is located at the intersection of Vineland and Kirkman roads, next to Regions Bank.


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Saturday 14 December 2019, 2pm & 5.30pm, Sheffield City Hall Christmas Carol Concert
Christmas Carols in the City Hall
Make your Christmas special with this concert full of lively favourites and traditional carols, sung by the full Chorus accompanied by the world-famous Black Dyke Band in the City Hall. Chorus and band join forces for the ninth year running for an intimate, heart-warming festive concert of carols and yuletide favourites. There is no sound quite like that of a rousing Christmas carol played by a brass band and almost 200 singers, and with audience participation it's sure to get you and your family into the Christmas spirit! Returning as host is BBC broadcaster and horn player Tom Redmond, now a firm favourite of the Chorus and with audiences of this irreplaceable fixture in Sheffield's festive calendar.
On the programme this year is Ring the Bells, a new carol by Paul Fincham, the royalties for which are being donated to homelessness charity Crisis. There will also be three local carols, Egypt, Tyre Mill and Hail Smiling Morn, as well as perennial favourite O Holy Night.
LATEST NEWS: Our version of O Holy Night has been selected as a winning carol in the Making Music / Classic FM Drive carol competition! This is the fourth time one of the carols from our Christmas CD has been selected by Classic FM, and we're thrilled that this time it's our favourite O Holy Night! Here it at the concert – and buy the CD for the special concert price of £10!
Tom Redmond, presenter; Black Dyke Band, Dr. Nicholas Childs, conductor
Sheffield Philharmonic Chorus, Darius Battiwalla, conductor
Tickets available online
PLEASE NOTE TIMES ARE EARLIER THAN IN PREVIOUS YEARS
Carol Concert at St Mary's Parish Church, Tickhill
The Parish Church at Tickhill near Doncaster has been presenting a much-loved Christmas Carol Concert for some years, and this year's concert will be held on Thursday 19 December at 7.30pm. The concert includes carols old and new, led by members of the chorus accompanied by Honorary Life Member and previous accompanist Daniel Gordon on the organ. There will be festive readings by Sue Morton and festive songs from soprano Lori Granger. Tickets are available on the door, priced £10 to include wine and mince pies.
'Awake Arise' – our Christmas CD – an ideal Christmas gift
CYBER MONDAY OFFER! £8 including postage and packing from Monday 2 December until Friday 13 December 2019!
Our Christmas CD
Buy our Christmas CD 'Awake, Arise! A Yorkshire Christmas Carol Collection for Brass and Voices', recorded with the world-famous Black Dyke Band. This collection has a real Yorkshire flavour and includes some of the Sheffield carols, traditionally sung in Sheffield pubs over the Christmas period.
It also includes arrangements by the Chorus's gifted Music Director, Darius Battiwalla, of such Christmas classics as Joy to The World and O Holy Night, a firm favourite at our annual Christmas concerts at Sheffield City Hall. Other favourites include I Saw Three Ships and Hark the Herald Angels Sing, and the band playing the March from Tchaicovsky's Nutcracker Suite and the wonderful Sleigh Ride from Prokofiev's Lieutenant Kijé.
Go to our Christmas CD page for further details and to order your copy of this rousing festive collection of carols – on offer until Friday 13 December for the bargain price of just £8 including postage and packaging!
Brass band enthusiasts may be pleased to read about a more recent recording, of Paul Mealor's beautiful work Paradise, which we performed with the Black Dyke Band at the Festival of Brass last year. Copies available from the Black Dyke Band website. Also recorded last year was Philip Wilby's brand new oratorio 'The Holy Face', featuring the Halifax Choral Society and Yorkshire Youth Choir as well as our own Chorus, accompanied by the Black Dyke Band. Read further details or contact Halifax Choral Society to order copies.
Carol Singing
Each year members of the Chorus volunteer to sing Christmas carols at a range of venues around Sheffield, and this year's festive sing-alongs include:
Sunday 8 December 2019 – St Luke's Festival of Light Service of Remembrance at Sheffield Cathedral. 2.00pm. About 30 members of the Chorus lead the carols at this moving annual remembrance service of carols and readings.
Tuesday 17 December 2019 – Sheffield Railway Station 4.15pm to 6.30pm. A two hour unaccompanied sing-along to greet travellers arriving at the station – and hopefully collect lots of money for Heart Research UK!
See What's On this week in Sheffield on the Classical Sheffield website