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Q&A with Bill Flanagan
Exclusive to bobdylan.com
This is your third album of standards in a row – Shadows in the Night was a big surprise and a really nice one. Fallen Angels was a sweet encore. Now you really upped the ante. Did you feel after the first two, you had unfinished business?
I did when I realized there was more to it than I thought, that both of those records together only were part of the picture, so we went ahead and did these.
Why did you decide to release three discs of music at once?
It's better that they come out at the same time because thematically they are interconnected, one is the sequel to the other and each one resolves the previous one.
Each disc is 32 minutes long – you could have put it all on 2 CDs. Is there something about the 10 song, 32 minute length that appeals to you?
Sure, it's the number of completion. It's a lucky number, and it's symbolic of light. As far as the 32 minutes, that's about the limit to the number of minutes on a long playing record where the sound is most powerful, 15 minutes to a side. My records were always overloaded on both sides. Too many minutes to be recorded or mastered properly. My songs were too long and didn't fit the audio format of an LP. The sound was thin and you would have to turn your record player up to nine or ten to hear it well. So these CDs to me represent the LPs that I should have been making.
What's the challenge of singing with a live horn section?
No challenge, it's better than overdubbing them.
You like to be spontaneous in the studio, but here you're working with tight arrangements and charts. Did that require a new way of thinking for you?
It did at first but then I got used to it. There's enough of my personality written into the lyrics so that I could just focus on the melodies within the arrangements. As a vocalist you're restricted within definite harmonic patterns. But you have more control within those patterns than you would if there were no boundaries whatsoever, it actually takes less thought, hardly any thinking. So I guess you could call that a new way of thinking.
At any point in the recording did you say to the musicians, "Look, we have to change this on the fly – just follow me…?"
No, that never happened. If I did that the song would fall apart, nobody would be able to follow me. Improvising would disrupt the song. You can't go off track.
Are you concerned about what Bob Dylan fans think about these standards?
These songs are meant for the man on the street, the common man, the everyday person. Maybe that is a Bob Dylan fan, maybe not, I don't know.
Has performing these songs taught you anything you didn't know from listening to them?
I had some idea of where they stood, but I hadn't realized how much of the essence of life is in them – the human condition, how perfectly the lyrics and melodies are intertwined, how relevant to everyday life they are, how non-materialistic.
Up to the sixties, these songs were everywhere – now they have almost faded away. Do they mean more to you when you hear them now?
They do mean a lot more. These songs are some of the most heartbreaking stuff ever put on record and I wanted to do them justice. Now that I have lived them and lived through them I understand them better. They take you out of that mainstream grind where you're trapped between differences which might seem different but are essentially the same. Modern music and songs are so institutionalized that you don't realize it. These songs are cold and clear-sighted, there is a direct realism in them, faith in ordinary life just like in early rock and roll.
It's hard not to think of World War II when we hear some of these. You were born during the war – do you remember anything about it?
Not much. I was born in Duluth – industrial town, ship yards, ore docks, grain elevators, mainline train yards, switching yards. It's on the banks of Lake Superior, built on granite rock. Lot of fog horns, sailors, loggers, storms, blizzards. My mom says there were food shortages, food rationing, hardly any gas, electricity cutting off – everything metal in your house you gave to the war effort. It was a dark place, even in the light of day – curfews, gloomy, lonely, all that sort of stuff – we lived there till I was about five, till the end of the war.
Between the Depression and the war, people had to swallow so much pain that songs that might sound overly sentimental to us had tremendous resonance. A line like "as a man who has never paused at wishing wells" – it might sound corny to people who haven't lived too much. Can you get inside these songs in your 70s in a way you might not have been able to in your 20s and 30s?
Sure, I can get way inside. In my 20s and 30s I hadn't been anywhere. Since then I've been all over the world, I've seen oracles and wishing wells. When I was young there were a lot of signs along the way that I couldn't interpret, they were there and I saw them, but they were mystifying. Now when I look back I can see them for what they were, what they meant. I didn't understand that then, but I do now. There is no way I could have known it at the time.
When you see footage of yourself performing 40 or 50 years ago, does it seem like a different person? What do you see?
I see Nat King Cole, Nature Boy – a very strange enchanted boy, a terribly sophisticated performer, got a cross section of music in him, already postmodern. That's a different person than who I am now.
It seems like 20 years after the war ended, all the entertainment was about it – movies, TV shows, novels, everything from South Pacific to Hogan's Heroes. We assume everyone shares this common vocabulary, but in fact, it's fading from popular memory. Did you feel an urgency to rescue these songs?
Not anymore than I would try to rescue Beethoven, Brahms, or Mozart. These songs are not hiding behind a wall or at the bottom of the sea, they're right there out in the open, anyone can find them. They're truthful. They're liberating.
You do some great singing here – "When the World Was Young," "These Foolish Things" – which begs the question, if you can sing like that, why don't you always sing like that?
Depends what kind of song it is. "When the World Was Young," "These Foolish Things," are conversational songs. You don't want to be spitting the words out in a crude way. That would be unthinkable. The emphasis is different and there is no reason to force the vernacular. "An airline ticket to romantic places" is a contrasting type of phraseology, than, say, "bury my body by the highway side." The intonation is different, more circumspectual, more internal.
Do you pick vocal approaches like an actor playing a role?
No, it's more like hypnosis, you instill it in your mind and you keep repeating it over and over until you got it. An actor playing a role? Like who? Scatman Crothers? George C. Scott? Steve McQueen? It would probably be more like a method actor, whatever a method actor is. Remembrance of things past, I do that all the time.
One song you don't sing perfectly is "September of My Years." Your voice cracks on that, but fits the lyric. Did you consider fixing that or did you realize it works?
My voice cracking here and there wouldn't bother me, bum notes or wrong chords would bother me more. On "September of My Years," I didn't fix anything. That would be impossible to pull off anyway because we were all in the same room playing together at the same time and there was a lot of leakage into other mics. You only fix things if you overdub the vocals separately and we didn't do that here. If you mangle a lyric on records like this, you have to go back and start over. It's a live recording. My voice cracking here or there just might mean it was recorded too early in the day, but it doesn't hurt the overall effect, it wouldn't bother me.
People called Shadows in the Night a tribute to Frank Sinatra. Did you know Sinatra had recorded all those songs when you put that record out?
Yeah, I knew he did, but a lot of other people recorded them as well, it just so happened that he had the best versions of them. When I recorded these songs I had to make believe that I never heard of Sinatra, that he didn't exist. He's a guide. He'll point the way and lead you to the entrance but from there you're on your own.
There is a famous story that you and Springsteen were invited to a dinner party at Sinatra's house around the time you did that TV tribute to him. Had you met him before? Did you feel like he knew your stuff?
Not really. I think he knew "The Times They Are a-Changin'" and "Blowin' In the Wind." I know he liked "Forever Young," he told me that. He was funny, we were standing out on his patio at night and he said to me, "You and me, pal, we got blue eyes, we're from up there," and he pointed to the stars. "These other bums are from down here." I remember thinking that he might be right.
Everybody on that show did a Sinatra song except you. You sang "Restless Farewell." How come?
Frank himself requested that I do it. One of the producers had played it for him and showed him the lyrics.
Was that the last time you saw Sinatra?
Maybe once after that.
What was the first time you saw him?
Pittsburgh, maybe '67 or '68 at the Civic Arena. He sang "Summer Wind," "Day In, Day Out," "Moonlight in Vermont."
Sinatra did a lot of songs about growing old, but "The Best Is Yet to Come" is about defying age. It was the last song he ever sang on stage. How did you get inside that song? What do you think you bring to it that makes it worth your cutting?
It wasn't difficult. I didn't bring anything unusual to it. There are a lot of key shifts and modulations in that song and you have to slide your way in and out of them. It's a bit of a challenge, but once you figure it out, it's pretty easy. It's just a straight-ahead blues-based ballad, unique in its own way. It's like "Mack the Knife," but nothing like "Mack the Knife." It's such an old-fashioned phrase, you wouldn't think anybody could do anything with it. "The best is yet to come" could be both a threat and a promise; the lyrics sort of insinuate that even though the world is falling down, a better one is already in its place. The song kind of levitates itself, you don't have to do much to get it off the ground. I like all of Carolyn Leigh's lyrics too; she wrote the lyrics to "Stay with Me."
No one can hear "As Time Goes By" and not think of Casablanca. What are some movies that have inspired your own songs?
The Robe, King of Kings, Samson and Delilah, some others too. Maybe, like, Picnic and A Face in the Crowd.
A song like "Imagination" calls for an entirely different kind of drumming than rock and roll demands. It's not as solid in the groove, it flies around the beat. Did it take you a minute to sing to that sort of rhythm?
Yeah, but only a minute. Tommy Dorsey plays this kind of rhythm all the time. The drumming does fly around the beat because it has to, the drummer is observant to the bass line and there is a walking bass line that is ticking like a clock, like a heart palpitation. There's a stomp to it too, that's buried in there, almost like a Son House thing, but it's buried so deep you hardly notice it. On the top it sounds all dreamy-like, like a pure ballad, but that can be deceiving. The melody makes this song what it is, not necessarily the drumming.
What does a drummer coming into your band need to know? What should he avoid?
No one comes into my band. I like the drummer I have now, he is one of the best around, but if he ever left me for some reason, like to join The Rolling Stones or something, I'd have to replace him. What should the guy avoid? Probably trying to get to know anybody too quick – no big cymbal crashes on the word "kick" in the song "I Get a Kick Out of You." The drummer is not the leader, he follows the steady pulse of the song and the rhythmic phrasing. If he does that and keeps it simple, he doesn't have to avoid anything.
What drummers do you like?
Lots of them, Krupa, Elvin Jones, Fred Below, Jimmy Van Eaton, Charlie Watts. I like Casey Dickens, the drummer who played with Bob Wills. There are a lot of great drummers.
You had a lot to do with songwriters singing and singers writing – ever think it would have been better for people to keep their jobs separate?
Maybe some, but I can't say who offhand. There's a lot of great singers who write weak songs and a lot of great songwriters who don't sing. Trouble for them is they don't have the outlets we used to have – nowhere to place these songs, no movies, no radio shows, TV variety shows, recording sessions, programs that were always calling for songs. So they have to sing them themselves. Songwriters have to have a reason to write songs, there has to be some purpose to performing it too. And sometimes it doesn't connect. There is no magic formula to make that happen. All the standards on Triplicate have been written by more than one person, different combinations of people, and none of the singers who originally recorded them wrote them. If you can write your own songs, that's ideal, but nobody will fault you if you don't. Barbara Streisand and Tom Jones don't.
"Make You Feel my Love" has become a new standard – it's been covered by Adele, Garth Brooks, Billy Joel. Any version that knocked you out?
Yeah, one after the other, they all did.
"Braggin'" was done by Duke Ellington in 1938 – it's the sort of big band swinging blues that led directly to rock and roll. As a kid, did rock and roll feel like a new thing to you or an extension of what was already going on?
Rock and roll was indeed an extension of what was going on – the big swinging bands – Ray Noble, Will Bradley, Glenn Miller, I listened to that music before I heard Elvis Presley. But rock and roll was high energy, explosive and cut down. It was skeleton music, came out of the darkness and rode in on the atom bomb and the artists were star headed like mystical Gods. Rhythm and blues, country and western, bluegrass and gospel were always there – but it was compartmentalized – it was great but it wasn't dangerous. Rock and roll was a dangerous weapon, chrome plated, it exploded like the speed of light, it reflected the times, especially the presence of the atomic bomb which had preceded it by several years. Back then people feared the end of time. The big showdown between capitalism and communism was on the horizon. Rock and roll made you oblivious to the fear, busted down the barriers that race and religion, ideologies put up. We lived under a death cloud; the air was radioactive. There was no tomorrow, any day it could all be over, life was cheap. That was the feeling at the time and I'm not exaggerating. Doo-wop was the counterpart to rock and roll. Songs like "In the Still of the Night," "Earth Angel," "Thousand Miles Away," those songs balanced things out, they were heartfelt and melancholy for a world that didn't seem to have a heart. The doo-wop groups might have been an extension, too, of the Ink Spots and gospel music, but it didn't matter; that was brand new too. Groups like the Five Satins and the Meadowlarks seemed to be singing from some imaginary street corner down the block. Jerry Lee Lewis came in like a streaking comet from some far away galaxy. Rock and roll was atomic powered, all zoom and doom. It didn't seem like an extension of anything but it probably was.
On songs like "Bye and Bye" and "Moonlight," you were working with pop styles from the early days of movies and recording. "Duquesne Whistle" was a swing number that Duke Ellington could have done. Do you think those songs laid the groundwork for these recent albums?
Yeah, I think so, those two songs and "Sugar Baby," too. "Duquesne Whistle" actually started out at as a Fats Waller song, "Jitterbug Waltz." I altered it somewhat but that was the blueprint. But yeah, those earlier tunes did lay the groundwork for songs like "But Beautiful" and "It Gets Lonely Early," which are both on Triplicate. I didn't want to tamper with them so I sang them the way they were.
Some records are social, good for parties and dancing. Some records are great in the car. This is an album made for late nights, solitude and reflection. When you find yourself in that place, what records do you reach for?
Sarah Vaughan's My Kinda Love. Also the one she did with Clifford Brown.
The first two discs are fun, but it's on the third disc that you really get into the heart-bearing stuff, and your best singing. Why save the best for last?
It seems that way because it's a human story that builds to a climax and it's personal from end to end. You start out wondering why you bought those blue pajamas and later you're wondering why you were born. You go from the foolishly absurd to the deadly serious and you've passed through the gaudy and the nasty along the way. You get to the edge and you're played out and you wonder where's the good news? Isn't there supposed to be good news? It's a journey like the song "Skylark," where your heart goes a-journeying over the shadows and the rain. And that's pretty much it. It's a journey of the heart. The best had to be saved for last.
I noticed that if you had an odd song that didn't seem to fit with the rest of the album, you put it first – "Rainy Day Women," "John Wesley Harding," the Johnny Cash duet of "Girl from the North Country," "All the Tired Horses," "Tweedle Dee & Tweedle Dum." It's like, "here's a strange song" – and then the album begins. Why do you do that?
I don't think "Tweedle Dee & Tweedle Dum" is a strange song at all, by any measure. I think it was pretty standard then and I think the same now, so that particular song could go anywhere. But the rest of them, most likely I did wonder what can I do with this, it doesn't seem to fit anywhere. I probably did put these songs first and got them out of the way. Not sure about "Rainy Day Women," though, I think it was like a bell tower announcement of what was to come. "All the Tired Horses" was only a mood piece, like a prelude, but the others would have broken up the flow of the rest of the songs on the record.
"There's a Flaw in My Flue," it's a very weird song – it feels like a parody of a certain kind of torch song, especially the line "smoke gets in my nose." Do you think Sammy Kahn was goofing when he wrote it?
No, I don't think so. I think it's a sincere romantic ballad. Smoke getting in my nose could be metaphorical, but it's also very real at face value. There are a lot of lines like that in blues and folk music, "My bucket's got a hole in it," "there are stones in my passway," "my motor don't turn," "there's a ring in my tub," "there's smoke in my nose." It's not unlike a Blind Lemon line, "it's been a meatless and wheatless day." Sure, it's a romantic ballad, but I don't think it can be dismissed that easily. A fire in the fireplace could burn your place down.
What gives this song life and what all those other songs lack, is an exquisite melody which intertwines with the words, perfectly. I've seen images in my fireplace too. I've always thought that the line in "My Funny Valentine," "are you smart," is a goofy line. I kind of look at it this way – the melody in this song is kind of like the background in the Mona Lisa painting, a mystical, phantasmagorical fantasy land. To me that's the real painting, like a science fiction world. The person looking at me is just a face, I can't tell if she's smiling or sneering, she has no particular spiritual nature. I'm not even convinced she's a woman, but I'm captivated by the background, the melody. It's kind of like this song, where you might see that "there's a flaw in my flue" and not look past it or hear past it. I think it's a great song, not goofy at all.
You've been spending a lot of time in all these old songs. Do you think the next song you write will be influenced by them?
I doubt it. These melodies are so structured in musical theory, they're so tricky with time signatures and shifting melodies, that it's beyond me. It's hard to be influenced by any of it if you're not familiar with that world. I could be influenced by a part of a melody or a phrase, but that would be about it. I don't think I'd be influenced by anything lyrically.
Would you ever want to write songs specifically for someone who works in this style? Diana Krall or Harry Connick? Ever thought of writing a song for Tony Bennett?
No, I've never thought about writing a song for Tony. He's never asked me and I don't think I could even if he did.
A lot of singers leave off the intros when they record these songs, but you did them – "September of My Years," "P.S. I Love You," "When the World Was Young." The Beatles occasionally wrote an intro to a song ("to lead a better life, I need my love to be here…") but hardly any other composers of your generation or after did. Have you ever done it?
I've never done it. I think you have to put those in last after you write the song. I've always liked the one from "Mr. Blue," the one where our guardian star lost all his glow. That's one of the most beautiful intros. There's an intro to "Stardust," too, that nobody ever does. We call it an intro, but back then they called it the verse. What we call the song, they called the refrain. "Stardust" doesn't need it, but "September of My Years" does. The song doesn't make sense without it.
The Beatles also wrote a song called "P.S. I Love You." "Tossin' and Turnin'" by Bobby Lewis repurposed "I Couldn't Sleep a Wink Last Night." The first ten years of rock songwriters were students of the music that came before – but from about 1970 on, all the new rockers knew was rock, maybe a little blues. What was lost?
From 1970 till now there's been about 50 years, seems more like 50 million. That was a wall of time that separates the old from the new and a lot can get lost in this kind of time. Entire industries go, lifestyles change, corporations kill towns, new laws replace old ones, group interests triumph over individual ones, poor people themselves have become a commodity. Musical influences too – they get swallowed up, get absorbed into newer things or they fall by the wayside. I don't think you need to feel bummed out though, or that it's out of your clutches – you can still find what you're looking for if you follow the trail back. It could be right there where you left it – anything is possible. Trouble is, you can't bring it back with you, you have to stay right there with it. I think that is what nostalgia is all about.
Some people would call Triplicate nostalgic.
Nostalgic? No I wouldn't say that. It's not taking a trip down memory lane or longing and yearning for the good old days or fond memories of what's no more. A song like "Sentimental Journey" is not a way back when song, it doesn't emulate the past, it's attainable and down to earth, it's in the here and now.
The way you do "Sentimental Journey" reminds me a little of Roger Miller – it's kind of a folk song, isn't it?
Yeah, kind of, it's in that realm, it's like a song Lead Belly might have written. There are a lot of songs like that – "Moanin' Low," "He's Gone Away," "I Got It Bad and That Ain't Good." The writers of those songs were folk and blues influenced.
Some of these songs are very sentimental, a lot deal with heartbreak. I won't ask you who, but tell me – is there a real woman you picture when you sing some of these? More than one?
Real? Of course they're real. I hope so.
Tell me about working with the arranger, James Harper. What direction did you give him? "Stormy Weather" gets a really elaborate arrangement – a dramatic drone, like a submarine resolving into Hawaiian guitar. Did he bring in anything that made you say, "It's too much, dial it back?"
Maybe a couple of times the trumpet was too shrill, and had to be dialed back. But outside of that, he didn't need much direction. I can't arrange horn parts anyway. In a situation like that, you don't want to direct anybody. You have to have confidence in their ability, you have to know they're capable. I didn't want to have to get in James's way. I wouldn't have hired him if I did. He orchestrated "Stormy Weather" flawlessly and that's a hard song to do because so many people have done it.
"My One and Only Love" is a rewrite of a song called, "Music from Beyond the Moon." The original version was a flop, so a new lyricist came in and put in a whole new set of words to the melody and the second time it was a hit. When that happens with folk or blues songs, it's called the folk tradition; when it happens with rock songs, people yell about plagiarism; in hip hop, it's sampling. But it has always gone on in every form of music, hasn't it?
I'm sure it has, there's always some precedent – most everything is a knockoff of something else. You could have some monstrous vision, or a perplexing idea that you can't quite get down, can't handle the theme. But then you'll see a newspaper clipping or a billboard sign, or a paragraph from an old Dickens novel, or you'll hear some line from another song, or something you might overhear somebody say just might be something in your mind that you didn't know you remembered. That will give you the point of approach and specific details. It's like you're sleepwalking, not searching or seeking; things are transmitted to you. It's as if you were looking at something far off and now you're standing in the middle of it. Once you get the idea, everything you see, read, taste or smell becomes an allusion to it. It's the art of transforming things. You don't really serve art, art serves you and it's only an expression of life anyway; it's not real life. It's tricky, you have to have the right touch and integrity or you could end up with something stupid. Michelangelo's statue of David is not the real David. Some people never get this and they're left outside in the dark. Try to create something original, you're in for a surprise.
Jazz musicians have always played standards, no matter what else they were up to. "Why Was I Born" and "My One and Only Love" were recorded by John Coltrane. Coltrane was playing in the Village at the same time you were. Did your paths ever cross?
I saw him at The Village Gate on Bleecker Street a couple of times with Jimmy Garrison and McCoy Tyner.
A few years ago I went to one of your concerts and found myself sitting next to Ornette Coleman. After the show I went backstage and there were some very famous rock musicians and actors waiting around, but the only person you invited into your dressing room was Ornette. Do you feel a connection with those jazz guys?
Yeah, I always have. I knew Ornette a little bit and we did have a few things in common. He faced a lot of adversity, the critics were against him, other jazz players that were jealous. He was doing something so new, so groundbreaking, they didn't understand it. It wasn't unlike the abuse that was thrown at me for doing some of the same kind of things, although with different forms of music.
I can't imagine you writing a song as vulnerable and sentimental as "Where Is the One." Do some of these songs allow you to go to a place you can't go in your own writing?
Sure they do. I would never write "Where Is the One," but it's as if it was written for me, so I didn't have to write it. It's a tough place to get to, it's vulnerable and protected. You'd have to be like the invisible man to get through, or you'd have to batter down walls, strip yourself naked, and then even if you did get in you'd have to wonder what's the point. Someone else has been here and gone and took everything. Someone else had to write this song for me. Its nerves are too raw. You leave yourself too open. I'd rather not go there, especially to write songs.
Do you ever sit at the piano and come up with a great melody that is out of your range as a singer? Ever write songs with another singer in mind?
I play variations of contrasting themes on piano and if I extend that into higher or lower octaves, the melody does get sometimes out of my range. But I'm not trying to sing anything, I'm just playing a melody. As far as other singers go, I never write a song with another singer in mind.
For the last few years you've mostly been playing piano on stage, very little guitar. How come?
I play at sound checks and at home, but the chemistry is better when I'm at the piano. It changes the dynamics of the band if I play the guitar. Maybe it's just too tedious to go back and forth from one to the other. I'm strictly a rhythm player anyway. I'm not a solo player and when the piano gets locked in with the steel guitar, it's like big band orchestrated riffs. That doesn't happen when I'm playing guitar. When I play guitar it's a different band.
Tough to take on "Stardust" after Willie. Did you think about his version?
"Stardust" is a dance ballad and I played it like that. I was thinking about Artie Shaw.
An awful lot of greats have died in the last year, Muhammad Ali, Merle Haggard, Leonard Cohen, Leon Russell. Any of them hit you especially hard?
Sure, they all did – we were like brothers, we lived on the same street and they all left empty spaces where they used to stand. It's lonesome without them.
You've known so many legendary musicians, actors, writers – was there anyone you look back on and say, "Man, I wish I had appreciated how great he was when he was still around?"
I can't say who's great or who isn't. If somebody does achieve greatness it's only for a minute and anyone is capable of that. Greatness is beyond your control – I think you get it by chance, but it's only for a short time.
Some of your opening acts and co-bills, even very big names, have expressed disappointment that you don't hang out or socialize on the road. Why is that?
Beats me – why would they want to hang out with me anyway? I hang out with my band on the road.
For The New Basement Tapes, T Bone Burnett put together a group with Elvis Costello, Rhiannon Giddens, Jim James, Marcus Mumford and Taylor Goldsmith, to finish songs based on old lyrics of yours. Did you hear any of those songs and say, "I don't remember writing that?"
Did you say Taylor Swift?
Taylor Goldsmith.
Yeah, OK. No, I don't remember writing any of those songs. They were found in an old trunk which came out of what people called the Big Pink house in Woodstock,
mostly lyrics left over when we were recording all those Basement Tapes songs.
T Bone said he could do something with them, said he could finish them. I didn't remember anything about them. For years I thought we'd used them all.
You've had all sorts of celebrated people in your audience – presidents, kings, a pope, movie stars, the Beatles, Muhammad Ali. Anyone make you nervous?
I heard you and George Harrison were once supposed to do a recording session with Elvis, but he never showed up. What's the real story?
He did show up, it was us that didn't.
Warren Beatty says he wanted you to play Clyde Barrow in Bonnie and Clyde. Did that offer get to you?
No, the offer was sent to my manager's office and we weren't speaking; we had had a falling out. I didn't get any mail or offers that were sent there.
You could have had some love scenes with Faye Dunaway – any regrets?
Let's talk about singer songwriters. Are there qualities that make English songwriters different from American, or Southern songwriters different from, say, Canadian?
You got me. If I was an anthropologist maybe I could tell you, but I really have no idea. Everybody crosses cultures and time zones and nations now anyway. You know who could probably tell you? Alan Lomax, or maybe Cecil Sharp, one of those guys.
When you write a song about a contemporary person, Hurricane Carter, or Joey Gallo, or George Jackson, or Catfish Hunter – do you then have to deal with their relatives calling you up and asking for favors?
Not often. Willie McTell's niece came to see me once and showed me some old photographs. She didn't want anything, she was just a nice person.
Which one of your songs do you think did not get the attention it deserved?
"Brownsville Girl," or maybe "In the Garden."
You've traveled a lot for a long while. Is there still something that makes Minnesota different from other places? Is there any quality people have there that you don't find elsewhere?
Not necessarily. Minnesota has its own Mason Dixon line. I come from the north and that's different from southern Minnesota; if you're there you could be in Iowa or Georgia. Up north the weather is more extreme – frostbite in the winter, mosquito-ridden in the summer, no air conditioning when I grew up, steam heat in the winter and you had to wear a lot of clothes when you went outdoors. Your blood gets thick. It's the land of 10,000 lakes – lot of hunting and fishing. Indian country, Ojibwe, Chippewa, Lakota, birch trees, open pit mines, bears and wolves – the air is raw. Southern Minnesota is farming country, wheat fields and hay stacks, lots of corn fields, horses and milk cows. In the north it's more hardscrabble. It's a rugged environment – people lead simple lives, but they lead simple lives in other parts of the country too. People are pretty much the same wherever you go. There is good and bad in most people, doesn't matter what state you live in. Some people are more self-sufficient than other places – some more secure, some less secure – some people mind their own business, some don't.
Did you grow up around a lot of Indians?
No, they lived on the reservation, hardly ever came to town, had their own schools and whatnot.
Were you into hunting or fishing?
I went into the woods with my uncle, my mother's brother – he was an expert hunter and tried to teach me. But it wasn't for me, I hated it.
How about fishing?
Oh sure, everybody did that, bass, sturgeon, flatheads, lake trout, we caught and cleaned them too.
Were you into guns?
Single shot revolvers, nothing automatic. Shooting pellet guns through 2x4s, that was fun. A pellet gun is as lethal as a .22.
Hubert Humphrey was a big figure in Minnesota when you were growing up. Did you ever see him in person or meet him?
I never did, never saw him.
When you first fell in love with rock and roll, did you have a pal who shared your enthusiasm? Anyone you tried to write songs with as a teenager?
Only my girlfriend. I strummed my guitar and we'd make up new lyrics to other songs. I was playing in rock and roll bands around town too, but somewhere along the way I had had an epiphany. I had heard Lead Belly and Josh White and that changed everything.
What was Minneapolis like when you first came there?
Minneapolis and St. Paul – the Twin Cities, they were rock and roll towns. I didn't know that. I thought the only rock and roll towns were Memphis and Shreveport. In Minneapolis they played northwest rock and roll, Dick Dale and the Ventures, The Kingsmen played there a lot, The Easy Beats, The Castaways, all surf bands, high voltage groups. A lot of Link Wray stuff like "Black Widow" and "Jack the Ripper," all those northwest instrumentals like "Tall Cool One." "Flyin' High" by the Shadows was a big hit. The Twin Cities was surfing rockabilly – all of it cranked up to ten with a lot of reverb; tremolo switches, everything Fender – Esquires, Broadcasters, Jaguars, amps on folding chairs – the chairs even looked Fender. Sandy Nelson drumming. "Surfing Bird" came out of there a little while later, it didn't surprise me.
Did it make you want to consider changing your direction?
I was traveling down a different path and already my consciousness had been recast. I had heard Lenny Bruce and Lord Buckley and had read Ginsberg and Kerouac, so I had a heightened sense of being. I was hanging out with a different crowd too, more stimulating and free-spirited – real live poets, rebel girls, folk singers – it was a self-ruling world, aloof and detached from the mainstream. I had been bailed out of the past and had broke free, I wasn't going to go back to that other place with button down shirts and crew cuts for anyone or anything. What I was listening to on my little portable record player was Gus Cannon, Memphis Minnie, Sleepy John Estes, players like that. Charlie Poole, too, and even Joan Baez. I was looking for my identity and I knew it was in there somewhere.
What do you think of Joan Baez?
She was something else, almost too much to take. Her voice was like that of a siren from off some Greek island. Just the sound of it could put you into a spell. She was an enchantress. You'd have to get yourself strapped to the mast like Odysseus and plug up your ears so you wouldn't hear her. She'd make you forget who you were.
Back in the beginning of your career, you walked off The Ed Sullivan Show. It was a live show; were all your friends and family back in Minnesota sitting around the TV waiting for you to appear?
I doubt it, they wouldn't have known me by name anyway. I don't even think they would have known my face. If they saw my name in the TV listings, they wouldn't know it was me. Wouldn't know it was the boy who used to live there.
A lot of other songwriters have mentioned you in their songs – John Lennon in "Yer Blues," Ricky Nelson in "Garden Party," David Bowie in "Song for Bob Dylan." It's quite a list. Do you have a favorite?
"Garden Party."
In Don McLean's "American Pie," you're supposed to be the jester.
Yeah, Don McLean, "American Pie," what a song that is. A jester? Sure, the jester writes songs like "Masters of War," "A Hard Rain's a-Gonna Fall," "It's Alright, Ma" – some jester. I have to think he's talking about somebody else. Ask him.
Tom Wilson is kind of a mysterious figure, not much is known about him. What did he bring to the party as a producer?
Tom was a jazz guy, produced a lot of jazz records, mostly Sun Ra. I just turned around one day and he was there. Nowadays they'd call him a producer, but back then they didn't call him that; he was a typical A&R man, responsible for your repertoire. I didn't exactly need a repertoire because I had songs of my own, so I didn't know what an A&R man did. Somebody had to be there from the record company to communicate with the engineer. Back then I don't think I was ever allowed to talk to an engineer. The board was simple – two, at the most four, tracks. In those early years you went into the studio and recorded live, take after take. If someone made a mistake you had to start over, or you just had to work your way through a song until you got the right version. Nobody at the major recording studios was doing Brian Wilson and Phil Spector type records, bouncing tracks around, freeing up other tracks.
Tom was Harvard-educated but he was street-wise too. When I met him he was mostly into offbeat jazz, but he had a sincere enthusiasm for anything I wanted to do, and he brought in musicians like Bobby Gregg and Paul Griffin to play with me. Those guys were first class, they had insight into what I was about. Most studio musicians had no idea, they hadn't listened to folk music or blues or anything like that. I think working with me opened up Tom's world too, because after working with me he started recording groups like The Velvet Underground and The Mothers of Invention. Tom was a genuinely good guy and he was very supportive.
What format do you listen to music on? Do you stream music?
I listen on CDs mostly.
Heard any good records lately?
Iggy Pop's Après, that's a good record. Imelda May, I like her. Valerie June, The Stereophonics. I like Willie Nelson and Norah Jones' album with Wynton Marsalis, the Ray Charles tribute record. I liked Amy Winehouse's last record.
Were you a fan of hers?
Yeah, absolutely. She was the last real individualist around.
How old were you when your family got their first TV? What shows made an impression on you?
I was about 14 or 15 when we got one, my dad put it in the basement. It came on at 3:00 and went off at 9, most of the other time it showed a test pattern, some kind of weird circular symbol. The reception wasn't that good, there was a lot of snow on the screen and you always had to adjust the antenna to get anything to come in. I liked everything I saw – Milton Berle, Sid Caesar, Highway Patrol, Father Knows Best. There were theater dramas, too, like Studio One, Fireside Theatre. Quiz shows, too – Beat the Clock, To Tell the Truth, Queen for a Day, they were all good. There was one called You Are There with Walter Cronkite, The Twilight Zone, there were a bunch of them.
When you're on your bus, what shows do you watch on TV?
I Love Lucy, all the time, non-stop.
Every time I turn on PBS, they're running another documentary about folk music in the 60s and all sorts of people from that scene are talking about you like you were best friends. Does that bug you?
I don't know, maybe we were best friends. I don't remember.
In 1966 you had the wildest hair anybody had ever seen. Could you slick it down and go out and no one would recognize you?
Yeah, but I wouldn't have wanted to do that. I was trying to look like Little Richard, my version of Little Richard. I wanted wild hair, I wanted to be recognized.
You met John Wayne in 1966 – how did you two hit it off?
Pretty good actually – the Duke, I met him on a battleship in Hawaii where he was filming a movie, he and Burgess Meredith. One of my former girlfriends was in the movie too, and she told me to come over there; she introduced me to him and he asked me to play some folk songs. I played him "Buffalo Skinners," "Raggle Taggle Gypsy," and I think "I'm a Rambler, I'm a Gambler." He told me if I wanted to I could stick around and be in the movie. He was friendly to me.
"Wagon Wheel" was an old unfinished song of yours that got picked up and completed by Old Crow Medicine Show, who had a hit with it. Since then it's been covered by Mumford and Sons. Darius Rucker's version won a Grammy. Are you ever going to record it?
I did record it, it's on one of my old bootleg records. I recorded it with Roger McGuinn and Rita Coolidge and Booker T, at a movie studio in Hollywood. That's where they got it, it just had a different title.
Speaking of Hollywood, that's where you made Triplicate.
That's right. At the Capitol Studios.
The title Triplicate brings to mind Sinatra's trilogy. Did that album have any influence on this one?
Yeah, in some ways, the idea of it. I was thinking in triads anyway, like Aeschylus, The Oresteia, the three linked Greek plays. I envisioned something like that.
Each of the three discs tells a different story. Did you set out knowing it was going to be that way or did the themes reveal themselves as you went along?
The themes were decided beforehand in a theatrical sense – grand themes, each of them incidental to survivors and lovers or better yet, wisdom and vengeance, or maybe even exile – one disc foreshadowing the next and I didn't want to give any one song preeminence over any other. No old wives' tales and memoirs, but just hard plain earthly life, the hidden realities of it. That's my perception.
Did you think about it all in that exact way?
No, not in so many words, but I think subconsciously I did.
Were there songs you considered but left off because they didn't fit any of the three stories?
Yeah there were; "I Cover the Waterfront," "Moonlight in Vermont," "Let's Face the Music and Dance."
Any tracks here where you came in with one approach and ended up with something completely different?
No, that happens more with my songs. A couple of times I picked the wrong approach to a song I wanted to do; "Deep in a Dream," I recorded that but it didn't resonate so I didn't use it. It was the wrong approach to begin with.
What's a line or lyric here that you would never write, but you're glad someone else did?
Lots of them… "The thrill of the thought that you might give a thought to my plea," "the stumbling words that told you what my heart meant," "when you're all alone, all the children grown, and, like starlings, flown away." I'm glad someone else wrote these lines. I never would.
From the 20s into the early 50s, the line between blues and pop and country and jazz was very flexible. Robert Johnson, Jimmie Rodgers, Bing Crosby, Ray Charles, all tried their hand at everything. Why do fences come up between different styles of American music?
Because of the pressure to conform.
Q&A with Bill Flanagan (1970)
Listen to "Stardust"
Bob Dylan at the London Palladium


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Schoolboy Rowe
A tall, lean right-handed pitcher from Waco, Texas, Lynwood "Schoolboy" Rowe was an ace for the Detroit Tigers in 1934-35 when they won consecutive pennants and their first World Series title in the latter season.
Rowe was a useful player in several ways. Not only was he an excellent starting pitcher who won 62 games in his first three full seasons, he was used by Mickey Cochrane out of the bullpen in tight spots too. In addition, Rowe was a fine hitter, one of the best hitting pitchers of the 1930s. He actually served as a pinch-hitter in more than 100 games and hit .285 with five home runs off the bench.
Rowe was a bad-luck pitcher in the postseason, losing five of his six starts despite pitching well in many of them. In Game One of the '34 Series he retired 22 straight batters as he went 12 innings and defeated the Cardinals, 3-2 for his only postseason victory.
Factoids
One of three pitchers to appear in three World Series for the Detroit Tigers, along with George Mullin and Wild Bill Donovan.
Won 16 consecutive games in 1934 on his way to a 24-8 record
After World War II (Rowe missed two full seasons while serving), he had a decent second career as a once-a-week starter for the Philadelphia Phillies.
In batting practice at the Polo Grounds, Rowe once hit a baseball into the upper reaches of the center field bleachers, a rare blast.
Lynwood Thomas Rowe born on December 11, 1910, in Waco, TX USA
4/15/1933 to 9/13/1949 Pitcher Detroit Tigers (1933-1942)
Brooklyn Dodgers (1942)
Philadelphia Blue Jays (1943-1949)
1960 - 3 votes (202 needed)

redpajama_set_name: RedPajamaCommonCrawl


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Starting Your Strategy With 'Why'? Consider These Risks Too
By Jeroen Kraaijenbrink | Apr 6, 2020
For already a decade, Simon Sinek's book "Start with Why" and his "Golden Circle" are wildly popular. Millions have bought the book and tens of millions have watched Sinek's TED talks over the past years. Furthermore, looking at all the four and five-star ratings, reviews and testimonials, Sinek's ideas are appreciated too. Despite this great uptake—and also because of it—it is useful to reflect a moment on whether or not "starting with why" as basis for strategy is good advice.
The idea and its success
Sinek's story is simple and compelling: great companies start with "why," unlike everybody else who starts with "how" and "what." "What" refers to describing a company's products and services, "how" to what is unique about them and "why" to the underlying purpose or reason of offering them in the first place. Along those lines he draws a picture with three circles with "why" in the middle, "how" around it and "what" around that: the "Golden Circle."
Looking at just its contents, it is amazing that this story appeals to so many people for so many years. What it says is so basic that one would expect that it should be hardly worth noticing. The message is simply that companies should derive what they do and how they do it from a purpose that explains why they do it in the first place. It doesn't tell us how to do this and it is not even new or unique. It echoes the decades-long emphasis on mission and vision statements and the importance of purpose that we find throughout the strategy literature and in virtually every strategy textbook.
So what explains its success? Like most business guru-type messages, the brilliance is in the packaging. Sinek's message is appealing exactly because of its simplicity. Furthermore, it is brought in an entertaining style and marketed using smart rhetorical tricks. By referring to how the brain is constructed, for example, the story gets a neuropsychological character. By positioning himself as the humble observer who stumbled upon this undeniable truth, Sinek suggests his ideas are based on solid scientific inquiry. And by referring to examples such as Steve Jobs, Martin Luther King and the Wright brothers, the story appeals to our secret desire to be great like them.
If we analyze the story a bit closer, though, much of it doesn't really hold. As any neuroscientist can tell you, the story about how the brain is wired to think in terms of why, how and what is a bit of a stretch. Furthermore, the evidence that is presented is selective and anecdotal. In fact, if we adopt proper scientific standards, there is no empirical evidence whatsoever that companies who start with why are more successful than companies that don't. Finally, the examples that are used—especially Martin Luther King and the Wright brothers—are largely irrelevant and out of context: a Baptist minister leading the Civil Rights Movement and the creators of the first airplane. Very inspiring, but mostly irrelevant to business.
Interestingly, these problems with "Start with Why" have no effect on its popularity or appreciation. One reason, I think, is that its message falls on fertile ground. People just like to hear that they should look for and talk about the big why in
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Jeroen Kraaijenbrink
Writer & Speaker
Jeroen Kraaijenbrink is a strategy writer, speaker, trainer and advisor with broad experience across industries and business schools. He helps organizations deal with the strategic challenges they face in today's world of too much. His whole idea is to bring other strategy to the next level with new and effective strategy approaches and tools.
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ISA was born over 25 years ago as a Spin-off from the University of Coimbra, the oldest Academic Institution in Portugal, and one of the oldest in the world. This intimate connection with the academic world has never been broken, and is highly explored by both parties, with all the intrinsic synergies that can be created between a ground breaking technologic company and one of the most respected academic institutions in Europe.
Part of this relation bases on discovering new talents and new ideas for our business model and our products. Therefore, in the National Meeting of Economics and Management Student's, ISA has launched a challenge to the over 500 students present: "How can we monetize our IoT platform?". New and young bright thinkers were challenged to develop a business and strategic plan to increase the revenue of our IoT proprietary platform.
Our expectation is to get new fresh ideas from young minds, that were born surrounded by technology, and provide to them a first experience in a real job environment, inserted in a proactive and dynamic team, learning and sharing experiences with our collaborators.
At the same time, ISA has taken part in the job fair promoted by the meeting, presenting the company and the solutions that offers to all the participants, and contact with the future workforce and some of the minds that certainly will shape the future of our world.
With 25 years' experience in the Oil&Gas market, ISA – Intelligent Sensing Anywhere, applies telemetry and M2M solutions to offer you real time tank monitoring solutions, through our IoT proprietary platform. Improving the quality of our clients' services is our main goal, and our platform and technology is constantly developed with that in our mind.
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The third and final year of office of the current senate will come to an end on 1 July 2017 and the University of Tartu senate elections took place in May.
The senate consists of 22 members. The senate is composed of the rector as chair of the senate, 16 members elected by academic staff members and five student representatives.
Representatives of academic staff are elected for the term of three years. Four members are elected from each faculty.
The election was organised in the form of electronic voting from 16 May at 00:00 to 18 May at 23:59. There was no voting by ballot paper.
Candidates for the senate were submitted by faculties. In each faculty, academic staff members of the university who work full time in an institute or college belonging to the faculty may be set up as candidates for the senate. In the Faculty of Medicine, also lecturers of clinical specialities whose workload in the university is at least 20 hours per week may be nominated as candidates. Members of the university council, the rector, vice rector, head of an area of responsibility, director of college or director of non-faculty institution may not be nominated as senate member candidates.
In each faculty, at least ten employees with voting rights may jointly nominate senate member candidates. To set up a candidate, a written motion and the candidate's written consent must be submitted to the academic secretary either on paper or electronically.
The names of the candidates are made public after the expiry of the term for nomination of candidates. Candidates may withdraw their candidacy on 2 May 2017 at the latest by informing the election commission of their decision in writing.
All academic staff members, whose workload in the university as a teaching and/or research staff member is at least 20 hours per week, had the right to vote in the election of academic staff representatives to the senate. The teaching and research staff members who, based on an agreement valid as of the moment the voters' list is approved, are on unpaid leave on the election date, were not eligible to vote in the election. The rector approved the list of voters as of 2 May 2017.
The election was organised via electronic voting and no paper ballot is used in the senate elections. From 4 April, all university employees were welcome to familiarise themselves with the university's e-voting environment at www.valimised.ut.ee. The voting environment was first used for electing the council of the Institute of Computer Science at the end of April.
The elections were carried out by secret ballot. Each voter has two votes. Each voter may vote for any candidates, regardless of which faculty's list the candidates belong to. Together with representatives of the academic staff, substitute members were elected.
The four candidates who received the most votes in each faculty were elected. The elected senate members and substitute members were ranked and the results were approved by faculties.
Take a look, who are the members of the new senate.
A senate member may not act in the position of vice rector, head of sphere of responsibility, dean, head of institute, director of college or institution, or be a member of the council. If a dean or head of institute is elected as senate member, they will be released from the office of dean or head of institute as of the date their authority as senate member commences.
The authority of the elected senate members shall commence as of the beginning of July.
Student representatives are nominated to the senate by the Student Council for one year, taking into consideration that students of all study levels and all faculties are represented. The Student Council submits the names and the written consent of the representatives of students to the senate on 18 May 2017 at the latest. The authority of the elected senate members shall commence as of the beginning of July. If a student representative drops out, the Student Council appoints a substitute member proceeding from the same principles.
Technical and organisational services for the elections were provided by the academic secretary together with Information Technology Office and Administrative Office.


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How to Download, Install, and Run Safari on Windows Computer
Some Windows PC users may wish to run the Apple Safari web browser on a Windows PC. Apple stopped supporting Safari for Windows a long time back. However, you can download and use Safari on Windows PC.
Download | Mac Download | Win
Safari is a high-performance web browser. Apple Inc. develops it. It is the default browser for macOS, and its older versions are available for Windows users as well. It was first released for Macintosh computers in 2003. A version for Windows was available from 2007 to 2012; Apple has since discontinued the service.
It is not just a simple web browser; you can view Links and add articles to your Reading List. You can also access your saved passwords and credit cards through the iCloud Keychain. It also the user to pay for goods and services using Apple Pay, the company's secure contactless payment system.
Due to the ever-evolving tech industry and its advancements, the demand for easy-to-use web browsers has been on the rise. The Safari browser for Windows OS has been adjusted for usability. It also offers unique functions and tools that give it a competitive edge over other browsers in the market.
Part 1. What are the Standout Features of Safari Browser
Part 2. Why should you download and install Safari for Windows
Part 3. Where to Download Safari for Windows
Part 4. How to Run Safari on Windows
Part 5. How to Recover Browsing History
Part 1. What are the Standout Features of Safari Browser?
Safari 12 is the latest version of the browser to be released. Building upon the company's reputation, Safari has managed to impress its users with unique features and simple design. The browser is user-friendly and compatible with all devices from PCs to laptops, mobile phones, and tablets. Here we will discuss some of its distinctive features.
1. Privacy and Security:
Safari is the only browser on the internet with the DuckDuckGo feature, a search engine with no built-in option to track you. The new update includes the following features:
Added warnings are sent to the user when they load insecure pages in both Safari.
It has removed the support for the expired Do Not Track standard to prevent potential use as a fingerprinting variable.
2. Intelligent Tracking Prevention:
With the release of Safari 12, the browser has stopped the support for partitioned cookies for domains with cross-site tracking abilities. The Storage Access API now enables third-party access to cookies. Improved Intelligent Tracking Prevention limits long-term tracking based on client-side first-party cookies and to verify partitioned cache entries.
3. Dark Mode for the Web:
With the release of Safari 12.1, the browser offers the ability to enable color scheme customizations for websites while in Dark Mode. This feature makes the browser more comfortable and calm by changing the color scheme to create web pages more accessible to read at night time.
4. Protection from Unsafe Sites:
Safari protects you from fraudulent malware/adware websites. It prevents these sites from loading and gives a warning if a site looks suspicious. This feature is now available on various other web browsers as well.
5. AirPlay:
Apple AirPlay is a proprietary protocol suite that offers the user to stream between devices of audio, video, device screens, and photos, together. This feature is also available on the Safari browser. It allows you to play Video from a web page to your TV or any other device. You can click on the AirPlay icon on compatible videos and watch them on different portable screens.
6. Media:
The new update has added the support for simulcast and VP8 in WebRTC to improve support for multi-party video conferencing. It has also enabled cross-browser Encrypted Media Extensions (EME) by adding APIs without the WebKit prefix.
Part 2. Why should you download and install Safari for Windows?
With a plain-vanilla layout and a clutter-free user interface, Safari runs smoothly on your Windows 10 PC. According to Apple's sources, the browser outperforms other browsers like Chrome and Firefox in terms of speed and performance. Here are the reasons why should you use Safari is better than another browser.
Safari is the only browser that respects the privacy of the user. A new version of Intelligent Tracking Protection provides the latest update that keeps third parties from tracking your footsteps.
Safari is far more responsive to user input than Chrome. The page loading time isn't vastly different between the two browsers. It also takes a relatively small portion of the primary memory as compared to its counterparts. The graphics integration allows the safari to offer a smoother scrolling experience and sharper feedback while using fewer system resources than other browsers.
AutoFill Passwords:
The password manager is a feature for both iOS and macOS Mojave, and it will make your life easier on the web infinitely. You can enter into an account with the help of face id. Remembering passwords is no longer required; you would have to enter your credentials only once. The autofill feature also covers the security codes for two-factor authentication, which are enabled by third-party companies. There is one feature that Google Chrome has recently started to provide, which is suggesting the user an auto-generated super-strong password. Safari was the first browser to provide such an opportunity. It offers you to save the passwords to your keychain.
Improved Battery Life:
Chrome browser takes a toll on the battery life of the computer. Apple has designed Safari in such a way that enables the opportunity to maximize battery on its products. According to various sources, using Chrome over Safari costs as much as an hour of battery life daily. It is especially true in older systems. Apple provides a secure hardware environment. Safari browser runs fewer individual processes than Chrome and is generally less processor-intensive.
You're probably wondering, why bother with installing Safari for Windows in the first place when it hasn't been inactive production for years? The answer for typical users of Windows PC is; you should not install it. For other experienced users, like developers, designers, UI testers, support techs, it may be essential to have older versions of browsers available for testing purposes or to support a specific client. That's how advanced Mac users run older versions of Internet Explorer along with new releases like Microsoft Edge in Mac OS for testing. The question is, Should you use Safari for Windows full time? The answer is No, most certainly not. If you're a Windows PC guy in need of a good web browser, you would be better off using MS Edge, Chrome, or Firefox. The sole reason is simply that these browsers are still preserved while Safari for Windows has long been abandoned. Nonetheless, if you still need to use it, you can run Safari on a Windows PC by following the method mentioned above.
Part 3. Where to Download Safari for Windows?
Apple has stopped providing updates for Safari for Windows. There are no bug fixes or patches available for the users of Windows PC. If you are a designer or a UI tester, you will need to check browser compatibility for your project. This is where downloading and using Safari on a Windows PC becomes unavoidable. Here we will discuss the method to download Safari on Windows.
Download the executable file of Safari for Windows.
The downloading will automatically start.
After downloading Safari for Windows 10 using a compressed file, extract the contents of the installation file into a target folder.
Double-click on Safari.exe to launch Safari Browser on your Windows 10.
Click on Next and then Finish to complete the installation.
Launch the browser and start browsing as usual.
Remember, the version that you have installed on your computer is older. Apple does not support the Windows version of Safari. It is no longer in development. It is entirely up to you if you want to run Safari in Windows. Do not do anything important or severe on it. This version of the safari lacks many modern web updates and features. It has not been taught the latest techniques for modern security and privacy issues. Safari on Windows should be used by advanced users, as there are a host of problems that could occur while running it.
Part 4. How to Run Safari on Windows?
You can also run Safari on Windows by using an online service. The process is called Cross-browser testing; it is the ability to test web programs across many browsers. It also involves checking the compatibility of your software, those browsers, and ensuring that it works correctly. It also allows you to run the latest version of the web browsers which are not compatible with your operating system. It includes the latest version of Safari, which is not available on Windows.
The whole procedure is not very ideal for day-to-day use for a regular user. But it comes in handy for developers, designers, and testers. Using a third-party browser tester is much more secure compared to downloading an older version of the Safari.
How to Find the New iCloud Folders in Windows File Explorer?
iCloud is the Apple cloud service app for backing up data and syncing it between different devices. While it's mainly integrated into that Apple's products, such as Mac computers and iPhones, iCloud is also accessible on Windows PCs.
iCloud for Windows is an official app from Apple that downloads and installs on your Windows 10 computer, laptop, or tablet. Installing this app allows for specific data to sync to your Windows device from your iCloud account. To access iCloud on a Windows device, all you need is an Apple ID and password. This will allow you access to other Apple products like iTunes.
If you install iCloud for Windows, a new Photos folder is created on the Windows device. The folder can be found within File Explorer. Depending on the preferences that you have selected during the iCloud setup, this folder can be used for viewing files from your linked iCloud devices or for uploading data from Windows to your iCloud account. Each folder will sync files and data to the iCloud account. It will also sync data to all the connected devices within the iCloud for Windows app.
All the folders of the iCloud will be automatically pinned to the Quick Access menu in Windows File Explorer. You should be able to see those folders as soon as you open the File Explorer. It is important to note that once you use the iCloud for Windows to set up your folders and settings, there is very little use for it beyond changing preferences in the future. All of your file management will take place within the new folders of the newly installed application.
Part 5. How to Recover Browsing History?
There is an option to save browser history files on your disk. If you had saved all the browser history in your computer in a folder, and if by mistake, your web history on Chrome or Safari gets deleted or lost. You have a chance to restore the deleted files by using a professional data recovery tool.
It is recommended that you try Wondershare's Recoverit Data Recovery tool for Windows, which can recover all deleted files, including the browsing history data saved in your computer without any obstacles. It offers a high recovery rate of more than 95% and an instant preview of recovered files. Follow our guide to recover lost data:
1. Select the Location of the Browser Files:
Launch the Recoverit Mac data recovery software.
Select the Location of the drive or folder where the browsing data was lost/deleted.
Click the "Start" button for the recovery to begin.
2. Scanning for Lost Browser Data:
Data scanning will start in Recoverit.
The scan will take its time to finish.
You will find the results on the app window in the File Path and File Type section.
3. Recover the Lost Data:
The recovered internet files will be displayed on the Recoverit window.
You can select the data by selecting the File path or the File type.
Click on the "Recover" option to get the files back.
Suggestions for Browser History Recovery on Your System:
Using Data Recovery software like Recoverit Data Recovery for Windows inevitably comes across as an easy way to get all your lost files back. With this option, here are a few suggestions that you can follow to enhance your chances of recovering your deleted history files:
Regularly back up all your essential data to an external location, including your Internet history.
When you recover your Internet history or any other file on your PC, do not recover it back to the same location where it was before deletion.
Avoid installing any unauthorized software or any third-party disk cleanup utilities.
Always switch off the computer manually, as switching it off by taking off the power supply could cause data loss.
You should always try to limit the search domain and file type to look for, if possible. Following this method will speed up your recovery search process.
Closing Words:
It would have been a lot easier if Apple had continued its support for Windows PC and offered newer versions of Safari, as it would have made been convenient for a lot of users. Especially for creators and app designers, who need to check their projects on different browsers. If you're looking to download Safari for Windows, this article will be useful. Naturally, there are various alternatives. One suggestion is that you should avoid using it on a Windows PC at all costs. The safe bet is purchasing a browser testing application that will offer you a secure passage and allow you to run the latest version of Safari. And if in case, your web history gets deleted then you can always recover the lost data with the help of Recoverit Browser Recovery software.
> Resources > Windows Computer Solutions > How to Download, Install, and Run Safari on Windows


tried to get it just quickly done, and kept it simple since so many Knights are on screen. M B. Castle Crashers . See more What others are saying "Knights" Castle Crashers Game Art Theater Battle Studios Gaming Video Games Videogames Videogames. Hatty Hattington (1) Nhat Ho. BattleBlock Theater. castle crasher team. Castle Crashers Game Dev Indie Games Game Design Pencil Art … how to get to castle dour dungeon If you own Castle Crashers Remastered and Pit People then any of your Human, Cyclops, Pixie, or Spidaur fighters can wear the head of Hatty Hattington or a helmet of the four original knights from Castle Crashers.
14/08/2013 · most people play arena so most of the skills which are potential for arena work better ie: bear, saracen, hatty etc... for instance too: 1p arena red knight, blue knight, green knight might be your best picks for clearing out waves of enemies.
Q: Yeah I have a complaint about the Castle Crashers figures you guys put out a few years ago. Apparently some time during the night they made their way over to my desk from my coworkers' and assaulted my Valkyrie.
11/09/2015 · For Castle Crashers Remastered on the Xbox One, a GameFAQs message board topic titled "How to unlock characters like hatty?".


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Tyson Fury vs. Derek Chisora undercard: Complete list of fights before main event in 2022 boxing match
On Saturday, reigning WBC heavyweight champ Tyson Fury looks to go 3-0 over old rival Derek Chisora at the Tottenham Hotspur Stadium in London. The 12-round bout, plus undercard action, will be broadcast by BT Sport Box Office in the U.K. and ESPN+ in the U.S.
Fury (32-0-1, 23 KOs) is coming off a spectacular one-punch, sixth-round knockout over Dillian Whyte in April. That bout took place at Wembley Stadium and pulled in a U.K. attendance record of 94,000 fans. The trilogy bout with Chisora is expected to pull in approximately 65,000.
Immediately after the bout, at the post-fight press conference, Fury officially announced his retirement from the sport. Few believed him, and less than six months later "The Gypsy King" was back.
"Like an oil lamp back in the day, when a fighter retires they have no real purpose," said Fury in an interview with BT Sport.
"[Chisora] gave me my first opportunity on a British title, then he gave me my second opportunity on a British and European title, and a final eliminator for a world title. Now I'm repaying Derek by giving him a shot at the world title."
The 38-year-old Chisora (33-12, 23 KOs) is a massive underdog and, hyperbole to one side, if he were to beat Fury it would rank among the biggest upsets in boxing history. The fighter known as "War" has defied the odds in the past, but Fury has always looked like a bridge too far.
MORE: Tyson Fury vs. Derek Chisora 3 time, channel, PPV price and more
"I back myself every day in everything I do," countered Chisora. "In the United Kingdom, we have this thing of saying nobody's got a chance. A couple of years ago, Leicester [FC] didn't have a chance of winning the premier league and they won it. You never know who's got a chance."
Prior to the Fury-Chisora main event, fans will be treated to action from super featherweight to heavyweight. The Sporting News now breaks down Saturday's undercard:
Daniel Dubois vs. Kevin Lerena
British colossus Daniel Dubois makes his maiden defence of the lightly regarded WBA "regular" heavyweight title when he takes on South African boxer-puncher Kevin Lerena.
Since his stoppage defeat to Joe Joyce, in November 2020, Dubois (18-1, 17 KOs) has bounced back with three knockout wins. With his most recent outing — a second-round drubbing of American Trevor Bryan — the amiable Londoner netted himself this secondary world title.
Lerena (28-1, 14 KOs) made his bones in the cruiserweight division and was rated as high as No. 4 by The Ring. In the fall of 2020, the 30-year-old southpaw ventured north to heavyweight and he's won three fights since. In September, Lerena won a 12-round unanimous decision over former world title challenger Mariusz Wach.
Yvan Mendy vs. Denys Berinchyk
French veteran Yvan Mendy gets back on the horse for his first defence of the European lightweight championship against unbeaten Denys Berinchyk.
The 37-year-old Mendy (47-5-1, 22 KOs) is a strong technician with bags of experience. It was that very attribute that led to a signature win over former Olympic champion Luke Campbell, in 2015, and the Frenchman is still operating at a high level despite his age.
Berinchyk, 34, could be a tough challenge. The Ukrainian lefty has been matched tough over the last three years and has amassed a 16-0 (9 KOs). His most recent outing was a 12-round unanimous decision win over former world title challenger Isa Chaniev.
Karol Itauma vs. Wladimir Belujsky
The 2018 Youth Olympic champion Karol Itauma continues his learning curve against Wladimir Belujsky at light heavyweight.
The highly touted Itauma is unbeaten in eight fights with six knockouts. A 6-1 southpaw with good balance and a varied attack, this U.K. based prospect of Slovakian descent could have a very high ceiling. He's in against Vladimir Belujsky (12-5-1, 8 KOs), who was on a five-fight win streak before losing a pair of points decisions in his most recent bouts.
Isaac Lowe vs. Sandeep Singh Bhatti
Super featherweight Isaac Lowe, younger cousin of Tyson Fury, seeks to get back in the win column in a six-round stay-busy bout against the unheralded Sandeep Singh Bhatti.
In April, on the Tyson Fury-Dillian Whyte undercard, Lowe was halted in six rounds by rival Nick Ball. That defeat followed hot on the heels of a punishing seventh-round knockout loss to Mexican Luis Alberto Lopez.
Lowe (21-2-3, 6 KOs) is looking to knock off some ring rust before resuming his career in earnest in 2023. His opponent is 8-4 (1 KO).
When is Tyson Fury vs. Derek Chisora 3?
Date: Saturday, December 3
Start time: 2:00 p.m. ET | 7:00 p.m. GMT
Main event: 4:00 p.m. ET | 9:00 p.m. GMT
Fury vs. Chisora 3 takes place on December 3. The main card starts around 2:00 p.m. ET | 7:00 p.m. GMT. Fury and Chisora should make their way to the ring at the slightly earlier time of 4:00 p.m. ET | 9.00 p.m. GMT, depending on how long the undercard fights last.
How to watch Tyson Fury vs. Derek Chisora 3.
Fury vs. Chisora, plus undercard action, will be broadcast by BT Sport Box Office in the U.K. and ESPN+ in the U.S.
Channel + Live Stream
Sat. Dec 3
BT Sport Box Office
MORE: U.S.-based fans can sign up to watch Tyson Fury vs. Derek Chisora 3 on ESPN+
Tyson Fury vs. Derek Chisora 3 price: How much does the card cost?
The Tyson Fury vs. Derek Chisora 3 fight costs ?26.95 via BT Sport Box Office, while fans in the U.S. can watch the bout on ESPN+ (see below for pricing information)
ESPN+ Monthly Subscription
ESPN+ Annual Subscription
The Disney Bundle w/Hulu Ad-Supported
The Disney Bundle w/Hulu No-Ads
Click here to learn about the different pricing and bundling options with the ESPN+ platform
Where is Tyson Fury vs. Derek Chisora 3?
Fury vs. Chisora 3 takes place at Tottenham Hotspur Stadium in London. A crowd of 65,000 is expected.
MORE: How to bet on combat sports
Tyson Fury record and bio
Born: August 12, 1988
Reach: 85 inches
Record: 32-0-1 (23 KOs)
Derek Chisora record and bio
Record: 33-12 (23 KOs)
Tyson Fury vs. Derek Chisora fight card
Tyson Fury vs. Derek Chisora. WBC heavyweight title
Daniel Dubois vs. Kevin Lerena, WBA "regular" heavyweight title
Yvan Mendy vs. Denys Berinchyk, European lightweight title
Karol Itauma vs. Wladimir Belujsky, light heavyweight
Isaac Lowe vs. Sandeep Singh Bhatti, super featherweight
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Kerry Boasts of 'Pluralistic' Syria Once Assad Gone
January 29, 2014 11:46 am / Victor Davis Hanson
by Raymond Ibrahim // RaymondIbrahim.com
U.S. Secretary of State, John Kerry, was recently interviewed about Syria. While many of his assertions can be debated, one especially requires a response.
U.S. Embassy Tel Aviv via Flickr
Throughout the interview, he repeatedly insisted that, if Bashar Assad would only leave power, everything would go well — especially for all of Syria's minorities.
In his words: "I believe that a peace can protect all of the minorities: Druze, Christian, Isma'ilis, Alawites — all of them can be protected, and you can have a pluralistic Syria, in which minority rights of all people are protected."
Elsewhere in the interview, Kerry declared that "The world would protect the Alawites, Druze, Christians, and all minorities in Syria after the ousting of Assad."
The problem here is that we have precedent — exact precedent. We've seen this paradigm before and know precisely what happens once strongman dictators like Assad are gone.
As demonstrated in this article, in all Muslim nations where the U.S. has intervened to help topple dictators and bring democracy, it is precisely the minorities who suffer first. And neither the U.S. nor "the world" do much about it.
After the U.S. toppled Iraqi dictator Saddam Hussein, Christian minorities were savagely attacked and slaughtered, and dozens of their churches were bombed (see here for graphic images). Indeed, Christians have been terrorized into near-extinction, so that today, a decade after the ousting of Saddam, more than half of them have fled Iraq.
The "world" did nothing.
Ever since U.S.-backed, al-Qaeda-linked terrorists overthrew Libya's Qaddafi, Christians—including Americans—have been tortured and killed (including for refusing to convert), their churches bombed, and their nuns threatened.
Not much "pluralism" there.
Once the Muslim Brotherhood replaced Mubarak in Egypt — and all with U.S. support — the persecution of Copts practically became legalized, as unprecedented numbers of Christians—men, women, and children—were arrested, often receiving more than double the maximum prison sentence, under the accusation that they had "blasphemed" Islam and/or its prophet.
Not only did the U.S. do nothing — it asked the Coptic Church not to join the June Revolution that led to the ousting of the Brotherhood and Muhammad Morsi.
In short, where the U.S. works to overthrow secular autocrats, the quality of life for Christians and other minorities takes a major nosedive. In Saddam's Iraq, Qaddafi's Libya, and Assad's Syria (before the U.S.-sponsored war), Christians and their churches were largely protected.
Today, Syria is the third worst nation in the world in which to be Christian, Iraq is fourth, Libya 13th, and Egypt 22nd. Such are the fruits of U.S. intervention in the name of "democracy."
So how can anyone, especially Christians and other minorities, have any confidence in Kerry's repeated assurances that religious minorities will be safeguarded once secular strongman Assad is gone — and by the "world" no less — leading to a "pluralistic" Syria?
And from an American point of view, what are we to make of Kerry? Is the U.S. Secretary of State that deluded and detached from reality, or, as Russian President Vladimir Putin once said of him, also in the context of Syria: "he is lying and knows he is lying. It's sad."
Posted in: Syria, Religion, Raymond Ibrahim / Tagged: Christianity, John Kerry, Mohammed Morsi, Muslims, The Middle East
About Victor Davis Hanson
Victor Davis Hanson is the Martin and Illie Anderson Senior Fellow in Residence in Classics and Military History at the Hoover Institution, Stanford University, a professor of Classics Emeritus at California State University, Fresno, and a nationally syndicated columnist for Tribune Media Services. He is also the Wayne & Marcia Buske Distinguished Fellow in History, Hillsdale College, where he teaches each fall semester courses in military history and classical culture.
View all posts by Victor Davis Hanson →


Nestled high up on the slopes in Hout Bay, this independent family owned winery is fantastic to visit for a very personal, intimate wine tasting. Their range includes a top class Cap Classique sparkling wine, sauvignon Blanc, a variety of reds and a delectible port. Cathy and Peter Roeloffze are very passionate about their product and are always willing to share this love of wine with others.
Although bubbly is what started the adventure, Hout Bay Vineyards also produce a range of other wines which include a full-bodied red and a crispy Sauvignon Blanc, so characteristic of the Cape Peninsula, and a delicate light 'blush' rosé.
Their wines are available on open days, every last Saturday in May and November. Friends and the public are welcome to picnic on the lawn or just laze under the blue gums whilst stocking up for Christmas or those cold Cape winter evenings.
To view more wine estates in the region see Constantia Wine Estates or see South Africa Wine Estates for a general overview and links to other wine producing regions.
Where1 High Meadows Estate, Grotto Way, Hout Bay, Cape Town.
WhenOpen any time by appointment only.


text:
Q: Unable to install ADT in eclipse Juno I am getting error:

Cannot complete the install because one or more required items could not be found.
      Software being installed: Android Native Development Tools 20.0.3.v201208082019-427395 (com.android.ide.eclipse.ndk.feature.group 20.0.3.v201208082019-427395)
      Missing requirement: Android Native Development Tools 20.0.3.v201208082019-427395 (com.android.ide.eclipse.ndk.feature.group 20.0.3.v201208082019-427395) requires 'org.eclipse.cdt.feature.group 0.0.0' but it could not be found

Windows 7 Professional 64Bit.
Eclipse Java EE IDE for Web Developers.(32 Bit).
I wanted to install this only through Offline. Because i wanted to send it to my friend.
No issues on Android SDK.
I have Tried the solution by enabling only http://download.eclipse.org/releases/juno
and https://dl-ssl.google.com/android/eclipse/ remaining its disabled.

A: Deselect the Native Development Toolkit in your installation selection in Eclipse. You don't want that. It is for writing C code used in Android applications and it is absolutely not needed for Android beginners or to write a normal Android application.

A: Ensure you check the box 'contact all update sites during install to find required software'. This prevented my default juno 64bit install from adding ADT. I'm not sure how you would identify the sites used for the additional dependent libraries being pulled in for your friend though.

A: I had a the same problem but with a different package. Starting Eclipse as an admin solved it for me

redpajama_set_name: RedPajamaStackExchange


Soursop is considered a wonder plant in many quarters due to its many health benefits.
Soursop is considered a wonder plant in many quarters due to its many health benefits. In fact, all the various parts of the plant have beneficial uses ranging from anti-parasitic properties, sedative, boosting of the immune system, pain relief and many more.
You might not have seen the soursop tree before, but you most likely have seen or eaten the fruit. The fruit is green in color with spines on the outside.
The inside is succulent white with a sugary pleasant taste. It takes more like a combination of the sweetness of pineapple and strawberry.
It is commonly sold in fruits and vegetable stands in shops and supermarkets. The tree is an evergreen plant that goes by the scientific name Annona muricate, and it is common the Caribbean Islands, Mexico, and other parts of South America. It is commonly grown by people for personal consumption in Africa, South America, and other parts of the world.
The Soursop is the largest plant among the Annona family. It is cultivated commercially in some instances and used as raw material in industries.
The fruits are used in the manufacturing of beverages, making desserts, smoothies, candies and also in the formulation of many natural remedies.
The fruit is rich in Vitamins B and Vitamin C, it also has high levels of antioxidants. The seeds are often crushed and combined with the leaves and bark to make herbal remedies for various ailments.
Besides its use to cure several diseases, drinking extracts as tea improves wellbeing due to its high nutritional value.
Let us take some time to consider the various health benefits of this plant.
This plant has a poweful anti-parasitic property. This is why it is commonly used in regions of South America as a remedy for infections of parasites in the gut. The brew from the leaves are efficient in expelling parasites from the intestine and for the cleansing of the gastrointestinal system.
It is not uncommon to suffer from inflammation of the joints due to stress and hard work. Applying the decoction from this plant on affected regions works well for treatment of inflammation, arthritis, gout, and rheumatism. It heals the affected areas quickly, soothes the pain and improves flexibility.
Inflammations of the regions of the mouth, throat, and nasal areas often leads to cough, catarrh, and other health conditions that affect the respiratory tracts. The anti-inflammatory properties of this plant are useful in providing relief to such health conditions by alleviating nasal congestion and soothing irritation. It acts as a cough syrup and expects phlegm and mucus which serves as breeding regions for disease causing organisms.
Locals from different parts of the world have identified the soothing properties of tea extract from the Soursop plant. Therefore, it has been used for centuries to relieve stress and anxiety. As a result, it provides relief for health anomalies that are related to stress such as insomnia, restlessness, and headache. Soursop tea is an effective remedy for relaxation for those suffering from anxiety.
The Soursop plant contains acetogenins, quinolones, and some alkaloids which serves antioxidants. These are potent compounds that have been proved to be useful in the prevention of cancer. These compounds have also been shown to reduce the size of tumors in cancer patients. Many research has been carried out that proved that the plant could be a useful alternative treatment for cancer.
One of the facts that makes this plant unique is that the antioxidant called Acetogenins are only found in the Annonaceae plant family. This compound reduces blood flow to regions of abnormal cell growth thereby starving the cells to death. Research has proved that the plant is effective in the treatment of various carcinogenesis growths in the lungs, prostate, breast, and pancreas.
Some of the avenues of boosting the immune system are a healthy diet and an active lifestyle through exercise. The Soursop fruit is rich in Vitamins that stimulates the production of white blood cells which forms the natural body defense system. Besides, the antioxidants work to neutralize free radicals and enhance healthy cell growth. These dual functions help in the prevention of diseases. Adding this fruit to your diet is an effective way of strengthening the body immune system.
The colon and other parts of the gastrointestinal system serve as a breeding ground for all types of parasites and bacteria. The juice from the fruit of this plant is a powerful diuretic that can please the colons and other parts of the gut. This process helps remove parasites and harmful microbial organisms from the body system. It also helps detoxify the body by expelling toxins and salts that are produced by parasites that live in the gut. The alkaloids and quinolones present in the plant reduces inflammation and relieves discomfort in the stomach regions.
For centuries, the fluid extract from this plant has been used as a topical analgesic. It is applied to wounds and injuries to relieve pain and prevent inflammation. Moreover, the plant is a natural sedative which makes it useful for reducing all types of pain.
Although alternative treatments that make use of herbs are known to be active and some of their properties have been tested clinically. It is recommended to always consult a professional medical practitioner for advice before embarking on a treatment regimen using alternative medicine. A typical example is using this plant as a cancer remedy; seek advice from various quarters before starting a treatment regimen.


3609 West Park Row Dr.
which promotes full body relaxation.
A massage that frees congestion of the muscle attachments.
balanced, and elasticity is revived.
flaky dry skin, and makes skin soft and glossy.
in the body. It helps with PMS symptoms.
Scalp massage is great for tension headaches.


Because Pink will always be a winner in her kids' eyes.
Pink might not have been in attendance for the 2019 Grammy Awards, but she still kept an eye out to see if she'd won.
Pink's seventh studio album, Beautiful Trauma, was nominated for Best Pop Vocal Album, but that award ultimately went to Ariana Grande's Sweetener.
Pink was also nominated alongside Taylor Swift, Shawn Mendes, Camila Cabello, and Kelly Clarkson for that category.
But Pink wasn't bitter about her loss, in fact, she felt honored just to be nominated.
I don't know about you, but I personally think it's a nice surprise to see a response like this instead of the typical petty tweet or endless rant.
But just because her name wasn't in that envelope, doesn't mean Pink didn't go to bed a winner. Her children Willow and Jameson presented her with a handmade, honorary Grammy Award of her own.
The award was made out of aluminum foil with this inscription written in pen: Best Pop Vocal Album, 2019 Grammy Awards, "Pink, Beautiful Trauma."
Because she'll always be a winner in their eyes, duh.
Throughout her career, Pink has been nominated for 23 Grammys and won three of them. Something tells me this aluminum award will hold the most weight in her heart.


As part of National Careers Week and National Apprenticeship Week , a group Year 10 students visited Wythenshawe Hospital to participate in the NHS "Ask The Professional" event. Here they got the chance to meet a range of NHS employees from pharmacists to mental health nurses, midwifes and dentists to name just a few.
All the Fun of the Science Fair!


Pago Pago, AMERICAN SAMOA — Gov. Lolo Matalasi Moliga has established an ASG eight-member Chemical Review Task Force, which is given 90-days to submit a report with recommendations on steps the government should take to prevent the importation of illegal chemical and fertilizers to the territory .
"Our inability to determine what is being injected into the land, and possible health hazard effects on our people, is unacceptable and disconcerting," said Lolo in a memo issued more than a week ago, establishing the task force.
According to the governor, the task force is to check chemicals and fertilizers imported to the territory to ensure such chemicals and fertilizers meet local law and federal regulations. The task force is also to determine if there's legal justification to stop the entry of fertilizers and chemicals that are deemed harmful.
Task force members are Agriculture director, Filifaatali Mike Fuiava (who is the chairman); American Samoa Environmental Protecton Agency acting director, Faamao Asalele Jr; Deputy Treasurer for Revenue, Keith Gebauer; Port Administration official, Gus Godinet; Commerce Department acting director, Uili Leauanae; Health Department senior official Papalii Marion Fitisemanu, Chief Immigration Officer, Peseta Dennis Lutu; and the governor's deputy legal counsel, Alema Leota.


West Palm Beach, Fl (treasurecoast.com)- Here is the April 11, 2019 SFWMD Board of Governors. Our new Governor, Ron Desantis, "cleaned out" the old board and gave us this Brandy new fresh start!
I know it is hard to get down there but now you can watch and learn in the comfort of your own home. Water is our most precious resource in Florida and we all have a responsibility to pay attention.
Here is the link to the WorkShop that preceded the meeting. A wonderful suggestion by Jacqui Thurlow-Lippisch of Seawalls Point.
Here is a link to the page. You are looking for the Workshop on April 10th. The subject was about the flow of water.
The new board is a breath of fresh air and have set a real positive tone.