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The Accident of Vision
"My work is more closely related to Paul Cézanne and Alberto Giacometti than to Duane Hanson and John De Andrea."1 Evan Penny's assertion may seem paradoxical. But it actually contains within it the pivotal principles of a quest that aims to disturb by reinventing the image, stripped of any immediately recognisable representation or obvious certainty.
Whilst the entire contemporary art scene that takes George Segal as its point of reference acts on the absurdity related to the real, exacerbating tautological and self-referential elements, Penny underscores the latent state of the observer, attracted and simultaneously repelled by what is as obvious as it is familiar.
His approach develops cognitive doubt vis-a-vis the enigmatic presence of representation, which becomes precarious and uncertain.
Ever since the days of Andy Warhol's Campbell's Soup Cans or his Brillo Box series, the concept of mimesis has once again become extremely topical, regaining unexpected status within the art world. The shifting relationship between the real and the artistic dimension has become a fundamental conceptual consideration as a result of the progressive separation of art and life. As Arthur Danto affirms, what counts is the relationship that links the "thing" to the elements that the eye cannot perceive.
Mimesis has therefore initiated a process of liberation, although this has been misused over the past decade. In the context of hyperrealist sculpture, the cast has taken the place of the ready-made with a manic and alienating adhesion to the skin, which has become the key element in recognition. The myth of Pygmalion has been abandoned and the new statue has grown more substantial, a copy, a mannequin or a straightforward transformation of banal everyday life.
At the same time a process has been unfolding in the social sphere that I would define as self-directed modelling; the advent of facelifts and plastic surgery has made it possible for everyone to alter their own body, as if this were a plastic space to be redefined in keeping with the myth of Dorian Gray. As a result, whereas on the one hand sculpture has elaborated the aesthetic of the cast as a means of distancing itself from the world, society has also taken possession of the process of shaping and modelling.
Penny adopts a rather different approach in which adhesion to hyperrealism and to the object per se appears to be solely a mise-en-scène, playing tricks on the intellect and on the eye. Beyond the façade, the artist triggers a sabotage-style action which calls into question the perceptual component on the basis of a methodology aimed at removing the gaze by preventing it from remaining fixed in place. This in essence signifies a type of vision that becomes a locus around which new images can be constructed.
In this sense, the reference to Cézanne seems particularly germane, for the French master paints the material that lies within the form with a view to reconstructing the object, taking its essence as english "My work is more closely related to Paul Cézanne and Alberto Giacometti than to Duane Hanson and John De Andrea."1 Evan Penny's assertion may seem paradoxical. But it actually contains within it the pivotal principles of a quest that aims to disturb by reinventing the image, stripped of any immediately recognisable representation or obvious certainty. Whilst the entire contemporary art scene that takes George Segal as its point of reference acts on the absurdity related to the real, exacerbating tautological and self-referential elements, Penny underscores the latent state of the observer, attracted and simultaneously repelled by what is as obvious as it is familiar. His approach develops cognitive doubt vis-a-vis the enigmatic presence of representation, which becomes precarious and uncertain. Ever since the days of Andy Warhol's Campbell's Soup Cans or his Brillo Box series, the concept of mimesis has once again become extremely topical, regaining unexpected status within the art world. The shifting relationship between the real and the artistic dimension has become a fundamental conceptual consideration as a result of the progressive separation of art and life. As Arthur Danto affirms, what counts is the relationship that links the "thing" to the elements that the eye cannot perceive. Mimesis has therefore initiated a process of liberation, although this has been misused over the past decade. In the context of hyperrealist sculpture, the cast has taken the place of the ready-made with a manic and alienating adhesion to the skin, which has become the key element in recognition. The myth of Pygmalion has been abandoned and the new statue has grown more substantial, a copy, a mannequin or a straightforward transformation of banal everyday life. At the same time a process has been unfolding in the social sphere that I would define as self-directed modelling; the advent of facelifts and plastic surgery has made it possible for everyone to alter their own body, as if this were a plastic space to be redefined in keeping with the myth of Dorian Gray. As a result, whereas on the one hand sculpture has elaborated the aesthetic of the cast as a means of distancing itself from the world, society has also taken possession of the process of shaping and modelling. Penny adopts a rather different approach in which adhesion to hyperrealism and to the object per se appears to be solely a mise-en-scène, playing tricks on the intellect and on the eye. Beyond the façade, the artist triggers a sabotage-style action which calls into question the perceptual component on the basis of a methodology aimed at removing the gaze by preventing it from remaining fixed in place. This in essence signifies a type of vision that becomes a locus around which new images can be constructed. In this sense, the reference to Cézanne seems particularly germane, for the French master paints the material that lies within the form with a view to reconstructing the object, taking its essence as a point of departure in a gradual process of establishing increasing distance, moving away from the immediate recognition of the object. What counts is not reproduction but representation by deploying one's own gaze and observing in a different way. In this fashion the same place (think for example of Montagne Saint-Victoire ) is transformed each time in the face of the re-emergence of the original perception.
It is no coincidence that Cézanne constitutes an essential point of reference for Giacometti, who turned the visible and its relationship with the absolute into the beating heart of his artistic explorations. In an interview with David Sylvester, published in 1975 on the occasion of an exhibition at the Galerie Claude Bernard in Paris, Giacometti declared himself defeated by the impossibility of perceiving the visible: "If I did not know that your skull has a certain depth, I would not be able to imagine it. I can make your head life size because I know that it is life size. I no longer see directly, I see through my consciousness; this always happens, sometimes to a lesser, sometimes to a greater degree."
Penny addresses the accident of sight by working on the emotive component of the object in order to disorientate the viewer, confronting the audience with a disruption of all their certainties. Knowledge is mediated through the prism of the impossibility of recognising objects or recognising one another, as if suddenly everything around us had become strange and uncontrollable.
In Penny's oeuvre, distortions of perspective, multiple identities, changes in scale and the paring down of the third dimension all create a gulf between his work and the apparently real, plunged definitively into crisis.
Furthermore, reacting to the veracity of the materials triggers a mechanism of scepticism and distancing from the work, which plays a decisive part in the ambiguity of the act of looking. This proves to be a very different attitude than that which we feel when looking at a hyperrealist sculpture, which underscores a sense of estrangement or alienation but does not disrupt the gaze per se. Duane Hanson's figures, created as casts of people busily going about their work, for example, confront us with doubts as to whether we are looking at a flesh-and-blood figure or a copy. However, once this presence is defined as a work of art within a museum, we ponder the way in which it is set in the space and the significance it may assume. The situation is different when we consider Penny's work, for he does not confront us with a copy of the real but plays tricks on our gaze and leads us into a shadowy zone where our certainties are smashed to smithereens. His works, although they take a traditional framework as their point of departure and are created autonomously rather than as casts, are so perfect and sophisticated in their use of forms and materials that they look like some kind of artificial, technological product. Paradoxically, they are more real than the real and this sets off an unpredictable and illusionistic short-circuit in which the viewer loses all points of reference. Confronted with Penny's creations, the immaterial seems to determine its own physical presence in a context in which analogue procedures challenge the digital, turning certainty on its head.
Whilst technology strives to attain a perfect replica of the real on the basis of an irreversible evolutionary principle, Penny disrupts this logic, demonstrating that it is possible to constrain the virtual system, which is forced to come to terms with its ancient clone, or rather, with the perfection of the illusion. Obviously, the question is somewhat more complex and it would be reductionist to present this as merely a nostalgic encounter between the old and the new world. What takes shape is a new system of rules in which the image generates itself and no longer needs to refer to a specific initial model. Memory is reshaped and the physical dimension develops a relationship with the virtual dimension, based on osmosis. No One – In Particular is a cycle of works created by Penny between 2001 and 2004 in which the subject no longer needs to find a particular interlocutor but becomes a reference model, a mental construct of a body, a locus around which infinite avatars can come into being.
"All art", Ernst Gombrich wrote, "originates in the human mind, in our reactions to the world". And Penny is well aware of that.
Alberto Fiz
Robert Enright and Meeka Walsh, The Artful Doubter: Evan Penny & The Making of Extraordinary , in Border Crossings, Issue n. 98, June 2006, p. 28.
This text appears in Evan Penny: Re Figured
PDF version of catalogue


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A potential new weapon in the addiction battle: FDA-approved diabetes and obesity drugs
Cocaine and other drugs of abuse hijack the natural reward circuits in the brain. In part, that's why it's so hard to quit using these substances. Moreover, relapse rates hover between 40 and 60 percent, similar to rates for other chronic conditions like hypertension and Type 1 diabetes.
University of Pennsylvania behavioral pharmacologist and neuroscientist Heath Schmidt studies how long-term exposure to drugs such as cocaine, nicotine, and prescription opioids affects the brain and how these changes promote relapse in someone who has kicked the habit. A recent paper, published in the Nature journal Neuropsychopharmacology, investigated a novel treatment for cocaine addiction, something that touches 900,000 people in the United States annually.
"As a basic scientist I'm interested in how the brain functions during periods of abstinence from cocaine and other drugs and how neuro-adaptations in the brain promote relapse back to chronic drug taking," he explains. "From the clinicians' perspective, they're looking for medications to try to prevent relapse. Our goal as basic scientists is to use animal models of relapse to identify novel medications to treat cocaine addiction."
Schmidt and colleagues from Penn Nursing and Penn Medicine had hypothesized that the neural mechanisms and neural circuits in the brain that play a role in food-seeking might overlap with those key to drug-taking. Through several experiments, they discovered that drugs that activate receptors for glucagon-like peptide 1 (GLP-1), a hormone that reduces food intake and blood glucose levels, could actually decrease the desire to seek out cocaine. What's more, there are several FDA-approved medications used to treat diabetes and obesity that already target GLP-1 receptors.
"One of the first questions we had — and we were really just kind of curious — was, does cocaine at all affect circulating levels of metabolic factors like leptin, insulin, GLP-1 that have been shown to regulate food intake?" says Schmidt, whose primary appointment is in Penn's School of Nursing.
The research team got its answer from a simple experiment with a rat animal model: Blood drawn after 21 days of cocaine intake revealed decreased levels of the GLP-1 hormone. Though the primary cells that synthesize and release this hormone are found in the small intestine, there's also a source in the brain called the nucleus tractus solitarius.
"Knowing all of this got us interested in GLP-1," Schmidt says. "Does it actually play a role in modulating cocaine-mediated behaviors?"
From there, the research team homed in on GLP-1 receptors and the drugs that activate them, what are known as receptor agonists. To test the efficacy of the medications in question, Schmidt and colleagues used an animal model of relapse with rats. For a three-week period, the rats could press a lever for intravenous infusions of cocaine as frequently as they desired. On average, the animals self-administered 28 infusions of cocaine each day.
The scientists then swapped out the cocaine for saline, leading to a period of withdrawal. Lever-pressing rates dropped significantly.
"At that point, we considered drug-taking to be extinguished," Schmidt says. "We then reinstated drug-seeking by re-exposing the rats to the drug itself or to cues paired with the drug during the self-administration phase, like a light that comes on when the lever gets pressed."
Once again rats depressed the lever at high rates, an indication that they were seeking the drug — akin to relapse in a human who is addicted.
The researchers next pretreated the animals with one of the FDA-approved drugs intended for diabetes and obesity treatment, Exendin-4, to determine whether it might reduce or altogether block cocaine-seeking. Results showed a significant decrease in drug-craving and -seeking, both after an acute injection of cocaine and from re-exposure to environmental cues during withdrawal.
"This tells us Exendin-4 can block the effects of cocaine itself but also condition stimuli previously paired with cocaine," Schmidt notes. "This was really exciting because it's the first demonstration that the GLP-1 system, and the drugs that target this system, could potentially play an important role in cocaine seeking and relapse. The other really interesting aspect of these studies are the doses."
GLP-1 receptor agonists are known to cause nausea and vomiting at pretty high rates in diabetic and obese patients who use them, so Schmidt and colleagues wanted to ensure that the reason for a decrease in cocaine-seeking wasn't from animals being sick. They identified doses that both reduced cocaine-seeking and did not produce adverse effects. A follow-up experiment that infused the GLP-1 agonist directly into the brain replicated the findings. Taken together, these findings indicate that low doses of a GLP-1 receptor agonist can selectively reduce cocaine-seeking without causing nausea.
As a final step, the researchers isolated the brain pathway able to boost GLP-1 signaling, by using a fluorescent dye to track where the drugs actually went in the body after they were administered.
"We've shown for the first time that central GLP-1 signaling plays an important role in cocaine-seeking," Schmidt explains. "We've identified systematic and intra-cranial doses of GLP-1 receptor agonists that reduce cocaine-seeking and don't produce adverse effects, and we think that if you increase GLP-1 signaling in the brain in general, you can reduce cocaine-seeking in rats and, potentially, craving-induced relapse in humans." To begin testing this, Schmidt's team is collaborating with researchers at Yale University to screen the efficacy of these drugs in a population of humans addicted to cocaine.
Beyond that, Schmidt says he's hopeful these results have potential for drugs of abuse beyond cocaine, too. However, he adds, much more research is needed before this can be stated conclusively. "There is a lot we don't know about the GLP-1 system in the brain," he says. "What is the exact circuitry in the brain? Is this signaling the same as what mediates food intake or is it slightly different? Does cocaine change it in any way? We're working on that."
Tags: addiction, Brain Tumor, Brain-Computer Interfaces, Cocaine, Controlled Substances, Diabetes, Illegal Drugs, Pharmacology
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redpajama_set_name: RedPajamaCommonCrawl


Since being in India, bandh is a word I've come across already many times. Before we even arrived, a friend in Calcutta warned us that we'd be arriving in the midst of a two-day bandh or general strike which was planned to take place across West Bengal and that taxis would be hard to find or only at inflated prices. Luckily the strike was called off at the last minute, sparing us of a potential transportation nightmare.
Bangalore has seen a fair share of violent demonstrations lately. In January there was a series of demonstrations (one protesting the hanging of Saddam Hussain) and marches by communal groups which quickly turned violent with buses being set on fire, and the police coming down on protestors with their lathis and even opening fire and killing a young boy.
On Monday afternoon when the Supreme Court announced its much awaited decision in the Cauvery water dispute, memories of the violent demonstrations that followed the previous ruling seven years ago prompted businesses to pull down their metal shutters and close early for the day. By mid-afternoon, the city's roads were clogged with traffic as office workers rushed home before any trouble started.
That evening, a neighbour warned us that a bandh may be called the next day in protest to the ruling which many feel is unfair to the state of Karnataka. He advised us to go to the market and stock up on enough food for two days and to read the paper the next morning before stepping out, to get some insight on the situation. The supermarket was still open so we bought a few things which we don't need to keep in the fridge (since we don't have one just yet). We also bought some pomegranates and pineapple from the fruit and vegetable market which was making a swift pre-bandh business.
When we collected the paper from our doorstep on Tuesday morning, it reported only minor incidents despite the warnings and rumours of violence in the city centre. As the morning fog cleared, it was business as usual although some businesses decided to take a cautious approach and remain closed. Later in the day there was talk of a bandh being announced for Thursday which was then postponed by the authorities to next Monday to avoid disruption to the Aero India 2007 air show taking place this week. I imagine that Monday's strike will bring the city to a virtual standstill with offices and businesses closed and buses and trains off the roads. In this 24-hour society where everything seems available virtually all the time, I can't imagine what this will be like. I also wonder how to spend the day… I guess it won't be a good day to buy that fridge.
Welcome to the garden city?


Of all the issues surrounding a new Farm Bill in 2018, perhaps none unifies American agricultural producers more than Federal Crop Insurance, provided by USDA's Federal Crop Insurance Corporation (FCIC). Be it North or South, big or small, row crops or specialty, organic or conventional, the FCIC crop insurance program is today viewed almost universally as the central pillar of USDA's safety net for farmers, and the one most vital to defend.
FCIC crop insurance is so ubiquitous today that where producers complain about it, it's usually because they believe they need more of it, better access or better coverage, either because they represent an underserved region, crop, or practice, or because policies don't adequately cover their particular risks, yields, or quality. FCIC crop insurance today covers more than 100 different individual crops plus whole- farm policies, policies covering yield, revenue, margin, livestock, and other specialized coverages. Over 90 percent of major crops are now covered by FCIC policies representing over 350 million acres and almost $110 billion in guarantees (even with today's depressed commodity prices). Rather than see it cut, farmers mostly want it expanded or improved so they can participate fully.
But if protecting Federal crop insurance is the top priority of farm producers in the upcoming 2018 Farm Bill, there is reason for concern. Because it has grown so large in recent years, FCIC crop insurance is now also the most targeted and vulnerable of all agriculture support programs. Simply put, it's where the money is.
Numbers tell the story. FCIC crop insurance has cost taxpayers on average about $7.2 billion in annual spending over the past ten years, and is expected to cost an average of $7.7 billion over the next ten years (even after collecting the annual average $3.8 billion in farmer-paid premiums). According to the Congressional Budget Office (CBO) baseline report, that's a total of $77 billion over the coming decade, enough to attract more than its share of hungry wolves.
Already, the wolves are circling. Critical reports from the American Enterprise Institute, the Heritage Foundation, the Environmental Working Group, CBO, various academics, even the Office of Management and Budget, have all suggested cuts, and it's still just the first half of January 2018. Proposals to cut crop insurance (and usually redirect the money to somebody else's pet projects) often cloak themselves as "reforms" claiming to benefit taxpayers or smaller farmers against larger ones. These include such perennials as eliminating the Harvest Price Option, means testing premium subsidies, or cutting delivery costs to participating companies or agents. These, however, go to the heart of the program, as detailed below.
But crop insurance also has defenders, and they have plenty of ammunition. The program has a good story to tell. And the fact is, those so-called "reforms" are no reforms at all.
The appeal of FCIC crop insurance runs deeper than simply dollars and cents, the average annual $8.1 billion it has paid farmers in indemnities for lost crops over the past decade. Today's FCIC program is the product of a sustained effort spanning three decades and four administrations, two Democratic, two Republican, plus multiple Congresses and multiple Farm Bills, all aimed at shifting farm programs to a sustainable, businesslike basis with incentives for good farm management and fiscal soundness.
Crop insurance critics have a blind spot, seen in the recent CBO report Options to Reduce the Budgetary Costs if the Federal Crop Insurance Program, issued December 2017. At several points, CBO asks whether the cost to taxpayers for the current FCIC program is justified compared with the alternative, that is, simply protecting farmers against unusual disasters by providing what it calls "supplemental assistance," or what used to be less-delicately labelled "ad hoc disaster bailouts." CBO ultimately ducks the question. "It is not possible to know," the report says, "nor are data available," it argues, and "it is not possible to compare" the two. Here, they are wrong. Data does exist to compare the two approaches. All that's required to access it is a memory.
This was the system that modern crop insurance was designed to replace. The disasters bills at the time were necessary lifelines in the absence of other support, but they were also a nightmare: for farmers, for taxpayers, and for USDA staff trying to administer it. Beyond the sheer uncertainty, a parade of reports from GAO, the Washington Post and other newspapers, and Congressional oversight committees disclosed legions of mis-payments and program abuses, not the fault of farmers or agency staff but simply the fact that USDA was required to implement these bulky, multibillion-dollar programs with little notice and inadequate infrastructure, the result of being, in fact, ad hoc.
FCIC crop insurance certainly is not perfect, and Farm Bill draftsmen will find plenty of areas for improvement. In recent years, Congress and the agency have taken major steps to reduce FCIC costs, particularly with respect to participating insurance companies and agents. The program has incorporated conservation compliance standards into its policies and succeeded in reducing its "improper payment" level (a government-wide measure of program integrity) to historic lows. Certainly, there are more internal program elements needing fixes, such as, for instance, the 508(h) reimbursement system and coverage for quality adjustments.
But once the Agriculture Committees complete this work, it will be vital for the farm community to link arms. FCIC crop insurance will doubtless be a target during the 2018 Farm Bill process, but too much effort has gone into building this program into its modern form to allow it to be knocked down for someone else's short-term political gain.


On Monday, July 25th, Blackpool newspaper The Gazette reported that the RVPT running day and display at Lytham Hall will be on Sunday, July 31st. This is WRONG. As described elsewhere on this site the actual day is Bank Holiday Monday, August 29th.


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Heya guys.
Hi all, n00b here. Sorry to make this my first post, but, that's the way it's gotta' be. I have an '04 Goat and recently got a ticket from a cop on a power trip. I removed the mufflers, and he wrote me a ticket for illegal exhaust, which I am fighting. Is there any chance that anyone on here has a picture of a GTO with stock exhaust resembling the picture below? Car color doesn't matter, or really anything other than whether or not the car has stock exhaust (I'm a photoshop pro ). If any of you can help me out, I would really appreciate. Thanks in advance all!
-Matt
Starrbuck
#2 · Jan 10, 2006 (Edited)
Matt said:
I have an '04 Goat and recently got a ticket from a cop on a power trip. I removed the mufflers, and he wrote me a ticket for illegal exhaust, which I am fighting.
Illegal in what way? Emissions? The mufflers won't have anything to do with that. Too loud? Nothing you can do to fight that. If it's too loud, it's too loud. You shouldn't have pissed him off.
Former owner of a '05 Pontiac GTO - QSM/Red/Manual/17 (1 of 181)
Mods: SLP Skip-Shift Eliminator, LPE CAI, Optima RedTop Battery, Madico Onyx Window Tint, Silver Metallic Rear Bumper Inserts, '06 Tails.
DallasSleeper
Actually, the cops ear is not calibrated... he doesn't have a decible meter implanted in his brain...
city ordnance here is x amount of feet away from the vehicle but it is a hard one for the police to prove, Some other citys use a certain volume but there is no way for the officer to prove his case. Most that are fought will be won.
2005 IBM, M12; 1 of 160 Bone Stock "For Now"
Pennsylvania Goat
and a non-stock yellow '05er....
PBM on Black Leather M6
Stocker 18" Wheels
LPE CAI
Muff Delete
SLP CAGS Delete
SOLD: Replaced with 2003 Z06
b_a_betterperson
Thanks, PA Goat. Was looking for that jack point diagram the other day.
Thanks for the pic! I should be able to workout something with that.
All it said was "Illegal Exhaust", didn't specify. Yay Colorado police.
baron_iv
He/she should have also written a number on the ticket, which showed exactly which law was broken. For most, it's a number like 523.20 or something. If that's the case, look up the exact law he says you broke and then see if it's a subjective law or something you can prove that you DIDN'T do. I suspect that you're just screwed though. An excessive noise violation doesn't count toward your total points, so you won't lose your license over it. It's more of a nuisance ticket than anything else. I'd also bet you're really not gaining much horsepower by not running any mufflers vs running some high-flow mufflers (which would keep you legal). Now, if that's an emissions ticket, you're probably just SOL.
The problem with the world is stupidity. Not saying there should be a capital punishment for stupidity, but why don't we just take the safety labels off of everything and let the problem solve itself? --Frank Zappa
jacobyb
I'm a cop here in L.A. and I can tell you what the rules are here. You have to have mufflers in California. Noise is not even an issue. It is just a requirement by the CADOT that you have to have a muffler. Colorado is probably the same in that regards.
Also, although the cops ears are not "calibrated" they are able to hear when a car is obviously louder than allowed. It is then up to you to prove that it is legal.
Guilty until proven innocent?
DallasSleeper said:
I should clarify. (Thank's for the PM).
When you are cited by a cop for an infraction, you are then burdened with having to prove that the charges against you are false. Not the other way around. For example, when you are cited for speeding and go to court, I say what I observed, then you give your side. I have the law to prove what I am saying. You have to prove that I am mistaken.
In the case of this specific issue, I have the PC tp pull you over for a very loud car, then while inspecting the vehicle I find that you have no mufflers. I document that and present it to the court. Now, it is up to you to prove that I am mistaken.
You are always considered innocent until proven guilty under the law, however, once you are acused, you have to beat the accusation somehow.
dealernut
jacobyb said:
Sarge is just boning up on his cop stuff!!!!! HAHAHA
I know that California is a tough state for exhaust and fin stuff like that. I agree that the mufflers should stay with a high flow and save the trouble and generally make the car sound better.
GTODEALER
I got one of these, fought it and won, the cop was on the same type of power trip (he went to the extreme of following me home ). If you fight it you'll win, bring in a reciept that shows you bought an exhaust system and you'll be fine.
I got stopped for speeding in my '99 Firehawk by a Euless cop. He made a comment that the car sounded good, not stock, and asked me what I had done. I told him it was the Loudmouth from SLP and he said, "cool." No ticket for noise, but I did deserve the speeding ticket.
westell
:cheers Why not put a cat back system on, take a pic to court, with receipt of purchase/install. I'd bet they'd be inclined to dismiss. Win / Win, and you get a few ponies in the process:cheers
2004 Onyx Black, M6, Mods in excess of 250 characters excluding BB Code markup
Thanks for your input, all. The thing about all this is that he never once looked underneath my car. He based his decision purely off of his "In-Ear DB Meter" that I guess our local police officers are having surgically added.
I'm doubting he will even show up, in which case, case dismissed..:willy: If he does show up, hopefully the pics that I'm whipping together will be enough.
jacobyb, thanks for the post...
I would advise against photoshopping a muffler onto your car. If you introduce a picture into evidence, then for whatever reason the judge wants to actually SEE the car, you're gonna be guilty of perjury. That comes with some jail time.
Yeah I am not a fan of going into a courtroom and lieing or presenting false evidence...
Westell had about the best suggestion on here...get the catback, slap it on and be legal. Otherwise you're taking a HUGE risk over something that really isn't worth it. A good cat-back will be as good as running open pipes anyway, and it'll be legal. Save your $$ for the speeding tickets you're bound to get.
Maybe he did and you just didn't notice. Maybe he'll say he did regardless and then it's his word against yours. (He's a cop, he wins.)
I wouldn't present doctored photos either. Very dangerous, not to mention dishonest.
teamgs Jan 12, 2006


Orla Shevlin, a graduate of University of Ulster, brings a wealth of experience having acted for national and international clients in diverse areas of litigation during her 9 years with William Fry. She has expertise in the areas of personal injury, medical negligence, commercial litigation, construction litigation, property disputes, consumer law and data protection.
Orla also has an interest in alternative dispute resolution and is an accredited mediator. In addition, she is a guest lecturer at the Chartered Accountants of Ireland.
Tallans Solicitors was established in 1889, 23 staff in its Drogheda and Ashbourne offices and is the North East's largest law firm. The firm specialises in personal injury, medical negligence, family law, conveyancing, wills and probate and commercial litigation.


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Dean Cardinale
Dean Cardinale is an avid mountain climber, outdoors enthusiast, and adventure lover. Founder of World Wide Trekking and President and Founder of Human Outreach Project, a 501(c)(3) non-profit, he has climbed and led expeditions to North America, Central America, Africa, Europe, South America, and the Himalayas, including summiting Mt. Everest in 2005. Dean is the former president of Wasatch Backcountry Rescue and U.S. representative to the International Commission of Alpine Rescue, where he served for over a decade. He is an avalanche instructor with the American Avalanche Association, a professional ski patrolmen and avalanche forecaster for Snowbird Ski Resort, and a level-III certified U.S. Sailing Captain. Dean has recently made a self-supported ski traverse of the Greenland Icecap and authored the book, Inspired – Lessons Learned from a Life of Adventure. Dean has taught and guided people of all ages and professions and is well known for his professional ethics and conduct evident in all of his pursuits. He has a longstanding record of leadership, program development, and community service.
More about Dean
Dean began World Wide Trekking in order to share his passion and enthusiasm with his guests. He has a deep and abiding love for discovery and exploration, and has made that his life's work, along with a continued commitment to giving back to the areas that he visits.
As the events chair for the local chapter of the Young Entrepreneur Organization, I recently scheduled a presentation by Dean Cardinale for our group. Not only did Dean captivate our audience, he shared practices that could be translated into our businesses and personal lives. Dean's presentation helped us realize that life is a journey, and must be tackled with a plan, patience, and perseverance. I would highly recommend Dean for any occasion.
Jason Fry, CEO Zotes Products, LLC
The group you spoke with work on difficult global health issues around the world. As such, they resonated with your description of both the beauty of the trek through Nepal to base camp and the embracement and cultural prayers offered to you by the local people. We both laughed and cried with you as you took us through the ups and downs of each day with such sincerity and humor, and the humility with which you described your efforts to stay focused and positive. We deeply appreciated your emphasis of the importance of an individual's strength of mind, tenacity and perseverance, while placing equal attention to the necessity for collective strength, loyalty and selflessness as a team – it was clear that both needed to be there to accomplish this goal. The character you demonstrate illustrate those very attributes we try to nurture in our students, many of whom were in the audience and who were motivated and inspired by your talk.
Sue J. Goldie, MD, MPH, PhD
Global Health Initiative, Harvard University
Your personal story had a major impact on our group. Mt. Everest is a magnificent backdrop and serves as a great analogy for so many of life's challenges. Like any company, we face numerous obstacles and our success depends upon how we perform as a team. Your journey to the top of Everest put a face to those challenges and connected with everyone on a personal level.
Dale Gehring, Director
ESCO Corp.
Dean captured the group as he brought to life the human experience of what climbers go through as they endure the extremes of Everest. For those focused on basic science and physiology, the description, through his gripping personal words and pictures, provided an angle on the biological consequences of high altitude not captured quite so vividly by science alone. For those focused on research and clinical medicine, the experience through Dean's eyes and words, motivated new thoughts about creative approaches to pulmonary care at high-altitude. For the many of us who, in addition to being pulmonary/critical care physicians, also share a passion for the mountains, the chance to feel the joy and pain of the trials, failures and final success of the Everest summit, through Dean's story, was unparalleled.
Aaron B. Waxman, MD, PhD
Several times a week employees that attended your program make reference to situations from your climb. Not often do we find ourselves in a situation that by dropping a glove we could lose a hand to frostbite. Your inspirational presentation helped us put into perspective how many of our day-to-day problems are so minor. It was remarkable to learn how much teamwork goes into the climb and trust you have to build in order to reach your goals.
Dan Devenport, President
Mountainland Design
Thank you for sharing your story about climbing Mt. Everest. Your presentation illustrated the trials and tribulations you experienced as you pushed towards the summit and reminded us of the process one must go through in order to achieve the ultimate goal. The meticulous calculations you managed on a daily basis, the patience you endured based on uncontrollable elements, and the unbreakable trust you and your teammates shared were lifetime lessons embraced by the audience. Thank you!
Sarah West, Director
Office of New Ventures Westminster College
You are a real crowd pleaser! I'm writing to tell you how much our group enjoyed your presentation and slide show on your Mt. Everest expedition. It was the perfect ending to a day of medicine and skiing! We were mesmerized with your stories and anecdotes! My group's engagement was obvious from the large number of questions they asked at the end. We can't thank you enough for sharing your awesome story with us.
Joyce Fried, Co-Director
Office of Continuing Medical Education
David Geffen School of Medicine at UCLA
As a scoutmaster, basketball coach, and a business owner with over 100 employees, I constantly search for ethical speakers who demonstrate successful leadership qualities. One person who meets these requirements is Dean Cardinale. It is inspirational for audiences to hear how Dean has mastered the challenges of ski safety, mountaineering and avalanche rescue. His monumental successes in spite of adversity translate to our own daily challenges, failures and successes. Whether discussing the challenges of supervising snow safety at Snowbird Ski Resort, or describing the step by step effort to climb Mt. Everest or the foot by foot search for avalanche victims, Dean's enthusiastic presentations describe the focus and incremental steps necessary to achieve success in all endeavors.
A listener learns how Dean has searched unsuccessfully for days for avalanche victims but persevered to ultimately achieve success in the face of tragedy by bringing answers and closure to grief stricken families. He transports you to Mt. Everest where goals are achieved in a few agonizing steps or in the rebuilding of a camp that's been swept away by an avalanche. His storytelling abilities captivate audiences with his inspiration, expertise, and passion. He allows the listener to experience the freezing temperatures, intensity, and effort that the average person will never witness. At the conclusion of his presentation, listeners will conclude that Dean's methods and values are useful in our everyday lives as we strive to achieve our own goals, guide our families and manage our businesses.
Steve Mason, P.E., President
Cardinal Engineering.
Listening to the tales and enjoying the stunning photos of Dean's expeditions to Everest and other Himalayan peaks is captivating. He takes audience members as close as many will ever get to those lofty heights. A deep passion for what he does is evident as he discusses, among other things, avalanche awareness and safety, creating and maintaining a safe winter sports environment for the guests of Snowbird and other resorts, the challenges and rewards of high altitude mountaineering, and the experiences and adventures of he and his friend, Midas – the avalanche dog.
Tommy Blair
Session Coordinator
Sigma Chi Fraternity – Horizons Program
When there is an avalanche or backcountry accident, we look to Dean first to find out what happened and what is being done in the search efforts. When we did a weeklong series during Backcountry Awareness Week, Dean was our featured expert and offered daily safety tips. His professionalism and knowledge is top notch. It is rare to find someone with the enthusiasm and knowledge that actually practices what they teach.
Jodi Saeland, Meteorologist
KSTU FOX 13 Television
Your presentation was perfect: it was professional, well-illustrated, interesting and informative. You played to a tough room of professionals and you impressed them. It's obvious that you spent considerable time beforehand determining our interests and background and adjusting your presentation to the audience. I was equally impressed by your willingness, and ability, to answer questions, which in this case were rather detailed. The presentation received major "buzz" at the conference and made a large contribution to the success of our event.
James C. Ha, Host
2005 Animal Behavior Society Annual Meeting
DEAN'S PROJECTS:
Wasatch Backcountry Rescue: A 501c3 non profit organization that conducts mountain rescue and recovery services for the local county sheriffs departments. Dean served as president of WBR for more than a decade.
www.WasatchBackcountryRescue.org
Human Outreach Project: HOP is a 501c3 non profit that gives back to the world wide destinations we visit on World Wide Trekking guided adventures.
www.HumanOutreachProject.com
Snowbird Avalanche Rescue Training Center: The Avalanche Rescue Training Center is funded through Wasatch Backcountry Rescue and educates patrons on snow safety and avalanche rescue.
Snowbird Avalanche Rescue Training Center
Surviving an Avalanche: Rescue Team Shows How it's Done
Surviving an Avalanche
Jim Cantore Learns Wilderness Survival
CNN 3 Part Series: Avalanche Safety with Dean
Pt. 1: Ski Patrol
Pt. 2: Rescue Dogs
Pt. 3: Technology Aids in Avalanche
KRCL
Articles about Dean
Salt Lake Tribune Profile of Dean
Deseret News Story on Dean
World Wide Trekking
7404 South Union Park Avenue,
Where We Travel
Let the Adventures Begin!
© 2018. World Wide Trekking. All Rights Reserved.
Click here for more information on World Wide Trekking and the coronavirus.
Category Two
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How to Write..If you have the passion to write, then how is easy.
You can't learn to be a writer .. It's a gift, a passion.
You need more than lessons on how to write to become an author. If you have a constant compulsion to write, to express yourself by putting pen to paper or fingers to key board, you already have something that can't be taught. You have a passion for writing; the rest is down to commitment and making time in your life to follow your passion.
You can learn how to spell, punctuate, analyse and parse. You can learn how to edit, form sentences, paragraphs and chapters. You can even learn how to enhance the readability of your story. But to be a successful writer, you need to have a gift and a passion for telling stories. You must feel a sense of excitement and inspiration when an idea for a story comes into your mind.
If you have this passion then just start writing. It is not a matter of learning how to write, it is then a matter of honing your craft, and the best way to hone your craft and develop your unique style is to keep writing. If you are a reader, and most passionate writers are, you already know what good prose reads like. Read and re-read your writing. Keep changing it until you think it reads well.
Finish your projects, polish them as much as you can, then give them to someone to assess. If you are a first timer, no matter what the "Experts" say, the someone you choose can be your mum, or a relative or friend who is an avid reader. This is where you will get your first indication of the effect your writing has on others.
Firstly you must be writing for yourself not fame and fortune; then if others like your stories, it's a bonus and it will give you the inspiration to write more.
I suppose planning your story comes under the heading of Learning How To Write. You will develop your own style of planning your stories, but I found a free software download that I use, to be my best planning tool. You can map out the story, characters and locations before you start your story and it gives you a plan to follow. Your story will still take you places that you didn't expect, so when it does you just change the plan. It also helps you to remember minor character's names as they bob up in your stories or even sequels to your stories. You will find it here.
But once you get the sugar hit from the family and friends and if you have enjoyed the process, it's time to get the experts in. Have the manuscript edited professionally and get some professional reviews. Careful who you use, research them, there are many charlatans out there, ready to take your money and leave you with something you could have done better yourself.
I'm only comparatively new at this, but after publishing my second novel this year, I think I know how to write, now I'm working on how to write better. I guess what I'm saying is, don't let anyone or any hurdle discourage you, just write. Read and research what you can about the process and enjoy yourself, it's very rewarding.
Keep in touch, as I learn more on how to write I'll pass it on in little tidbits.
Next I'll tell you what I know about self publishing.
Firstly, thank you for the like on my post. I appreciate it. I just self-published my memoir: Wildflower: An Abducted Life on Amazon. I have always kept journals and enjoy writing stories and poetry but never set out to write a book. What started out as a catharsis had now set me on the path of writing professionally. I am now working on a murder mystery novel and thoroughly enjoy the process of researching and writing. It is rewarding as you have pointed out. I am looking forward to reading more about your works and your posts. Unfortunately, I am having problems with WordPress. It is not allowing me to like any blogger's posts and I have to sign in any time I comment. It is most frustrating but I am hoping that this comment gets to you. Cheers, and thank you for sharing!
Thanks for your note Nancy. Yes, writing is one of my greatest passions. I hope you receive as much joy from it as I do, you obviously are one of the lucky ones, not everyone is a writer. I'm off on another adventure now, with my characters from the third book in my "The Returning" series.


Are you ready for catwoman's next lowball auction!
I only ship to the USA , Military and Canada. Thru the USPS.
Shipping is only 3 bucks in the USA or Canada Additional items are 1 dollar each. IF you buy 5 or more the after the initial 5 shipping is then free for the rest!
Bid increments can be as low as .50! Happy Bidding.
NO codes all have been redeemed and removed.
All the ds games are game only.
4/5 and saying it has some of the best tracks to date.
$1 starting bid and free shipping!
I will soon have feedback I hope. I really just want to sell it for 45. I am new but have lots of stuff to sale. Just starting out. Been a member over a year!
Just so you know if it happens land at 20 bucks you are stuck selling it for 20.
Yeah that's fine, you can listen to whomever you'd like I was just giving my impressions. The tracks are nice but there were so many corners cut to get this game out now.
What are you charging for shipping? I don't want to bid, because I don't know how much you are going to charge to get it here.
Is it sealed? I'm assuming you used the code.
Update the OP, this is hard to follow.
I would highly suggest doing this. There are rules to how an auction should look and run. Even with one item, you should follow the format.
Wait a minute....wtf am I looking at here??? A lowball with no rules and one item? Can I increase by a penny? Do you ship outside the US at all? How do I pay? Are you shipping first?
No one has asked so I guess I will. Are you an actual woman? And if so how you doing?
I am a woman, I only ship the the USA and Canada also military folks. The bidding is in .50 increments. I request payment be sent first thru paypal or I take amazon credit also. I am working on more feedback and keep watching since I will put more stuff on lowball. Just wanted to see how it works. Thanks everyone for the input. I am getting the hang of it and by next auction u CAGs may be impressed.
I also have Mario Kart the game for sale at 45 if anybodys interested?
Here's some advice...you can't be posting that in other threads while actively running a lowball for the same item. Unless you have more than one of course.
I do have more. I am shipping one today and have a couple more for sale also.
When does this auction end?


Who Are Ultra Lithium Inc's (CVE:ULI) Major Shareholders?
In this analysis, my focus will be on developing a perspective on Ultra Lithium Inc's (TSXV:ULI) latest ownership structure, a less discussed, but important factor. Ownership structure of a company has been found to affect share performance over time. Since the effect of an active institutional investor with a similar ownership as a passive pension-fund can be vastly different on a company's corporate governance and accountability of shareholders, investors should take a closer look at ULI's shareholder registry.
I find insiders are another important group of stakeholders, who are directly involved in making key decisions related to the use of capital. In essence, insider ownership is more about the alignment of shareholders' interests with the management. 57.11% ownership of ULI insiders is large enough to make an impact on shareholder returns. In general, this level of insider ownership has negatively affected underperforming (consistently low PE ratio) companies and positively affected the companies that outperform (consistently high PE ratio). It's also interesting to learn what ULI insiders have been doing with their shareholdings lately. Insiders buying company shares can be a positive indicator of future performance, but a selling decision can simply be driven by personal financial needs.
The general public holds a substantial 42.89% stake in ULI, making it a highly popular stock among retail investors. This size of ownership gives retail investors collective power in deciding on major policy decisions such as executive compensation, appointment of directors and acquisitions of businesses. This level of ownership gives retail investors the power to sway key policy decisions such as board composition, executive compensation, and potential acquisitions. This is a positive sign for an investor who wants to be involved in key decision-making of the company.
Financial Health: Is ULI's operations financially sustainable? Balance sheets can be hard to analyze, which is why we've done it for you. Check out our financial health checks here.
Past Track Record: Has ULI been consistently performing well irrespective of the ups and downs in the market? Go into more detail in the past performance analysis and take a look at the free visual representations of ULI's historicals for more clarity.


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Sunday, June 05 2005 @ 02:59 am ACST
Contributed by: Brett Northey
The Ontario Australian Football League in Canada's east has been that country's stronghold of Aussie Rules for the past 17 years. Based on the playing numbers and teams, it appears as though that region has stabilised for now. What is encouraging is the continued work to expand the number of clubs in the fledgling footy provinces of British Columbia and Alberta.
In BC, on Canada's Pacific west coast, the Vancouver Cougars were the only club until last year. Then the Victoria Lions came onto the scene, and were very competitive in their first season and so far this year. Based on Vancouver Island, the club is just a ferry ride (albeit a notorious crossing) from Vancouver. In addition, the Vancouver Cougars have been working hard to expand their numbers, with the goal that their intra-club matches ultimately spawn two independent sides. Another small but significant step towards this has occurred this year, with new guernseys for the second team, the Burnaby Eagles. Currently the two sides still unite as the Vancouver Cougars for some matches, but as the Eagles players form their own identity, the final split to have two independent clubs in Vancouver shouldn't be far away. That will bring the number of full teams in BC to three - still well behind Ontario's ten, but a great start given the game's shorter history there. A spin-off from the Cougars has also been the North Delta Junior AFL, a much welcomed junior program for the region. With one of its key founders, Mike McFarlane, now President of AFL Canada, perhaps junior development will receive renewed focus in the next few years.
On May 14th, Victoria visited Vancouver and the Cougars and Eagles competed independently. In the first match Vancouver 64 defeated Victoria 17, then Victoria 30 defeated Burnaby 23, before the Eagles struck back, Burnaby 52 defeating Vancouver 35. It is clear that by dividing Vancouver has weakened its side, but has taken an important step in growing the game. On June 18th they are scheduled to again split into Vancouver and Burnaby, to take on Alberta (combined Calgary and Red Deer) and Seattle.
Next we look at Alberta. This province is the next one east of BC, and has seen three Australian football clubs in recent years. Currently active are the Calgary Kangaroos and Red Deer Magpies. The two sides play a regular series of matches, with the record so far this year two wins to nil in favour of the Roos. Reports are that Calgary side has very good numbers this year and both teams are looking good. We're also told that Red Deer is primarily made up of Canadian players, another good sign for footy in Alberta. The other footy club was based in Edmonton, but is currenty dormant.
Also to watch out for on the Kangaroos website is a piece written by Joshua Symonds, a Canadian who has played for the national Northwind team and has written about how he came to know about and play Aussie Rules.
The Vancouver Cougars and Victoria Lions compete in the North West Pacific AFL, against American side the Seattle Grizzlies. Through this relationship it is hoped that a leg of the US Western Regionals will be held at Vancouver's impressive facilities in July.
There is also talk of an inter-provincial series in future years. This has only been put up as a suggestion, but would probably be good for promoting the game as the elite level below internationals. Although the non-Ontario provinces would probably struggle in the early years, it may be time to get the concept started, much like New Zealand's National Provincial Championships and the United States' East versus West All Stars weekend.
World Footy News
http://www.worldfootynews.com/article.php/2005052803291477


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Seismic Monitoring
Energy Exploration
GEOS News
Kinemetrics
Earthquake Map (USGS)
Skyscraper Center
Burj Khalifa uses Kinemetrics !
Geos President wins Plinius Award
Geos to install accelerometers in Ayala buildings
Projects' overview
Welcome to the Geos website
Welcome to the Frontpage of Geos Incorporated
Skyscraper response to the April 2017 M6 Batangas Earthquake
Sunday, 23 April 2017 09:54
On 4 April, 2017, a shallow earthquake jolted Batangas Province creating panic in the region. The magnitude 5.5 temblor was felt as far as Metro Manila, the nation's capital. After a series of earthquakes recorded by the National Seismic network, another bigger earthquake, this time with a magnitude of 6, shook the Province of Batangas on 8 April 2017. It was again felt in Manila. The Philippine Institute of Volcanology and Seismology (Phivolcs) reported intensities from intensities II-IV in Metro Manila for both the April 4 and April 8 seismic events. Since the first earthquake recorded this year in Batangas, the seismic swarm has defined a NNW trend of earthquake epicenters, which may be related to the northward extension of the Central Mindoro Fault.
The National Structural Code of the Philippines in 2010, required earthquake-recording and instrumentation for every building in sesimic zone 4, above 50 meters in height, with no less than three approved accelerographs. The accelerographs are placed at the basement, middle portion and near the top floors of the building and interconnected for common startup and timing. Since the implementation by the Department of Public Works and Highways of the provision of building instrumentation, GEOS has installed more than a hundred accelerographs for buildings in Metro Manila.
The purpose of the provision in the National Structural Code of the Philippines series 2010 is best appreciated by building owners and building tenants in what is called as post-earthquake downtime. This is the time after the earthquake when the building owner and tenants are assured that the building is safe for re-entry or occupancy. Using the record of the accelerographs, automated calculations are performed in less than a minute and used by the Structural Engineer on Record (SOR) for initial determination of the performance level or damage of the building based on drift thresholds of the tower. Such thresholds are determined from the structural design of the building. Sometimes, especially after large earthquakes, it may take weeks to determine the structural integrity of a building, which incurs huge losses to business due to fears of tenants to re-occupy their offices. Others use the instrumental record of seismicity for insurance purposes.
Here, we demonstrate the value of GEOS installed Kinemetrics accelerographs in two example skyscrapers in Muntinlupa and Makati and the response of the installed accelerographs to the April 4 and April 8 earthquakes. The recorded seismicity were calculated within a minute ensuring reduced post-earthquake downtime to the shortest possible time. Sub-centimeter drift values were determined for all the accelerographs installed in the basement, mid-portion and top floors of the buildings, way below the life-safety performance level of both skyscrapers.
April 4, 2017 earthquake event
Top floor of Muntinlupa Skyscraper: X-axis (0.37 cm); Y-axis (0.13 cm); Z-axis (0.05 cm)
Acceleration in the basement is 0.2155 m/s2 equivalent to Instrumental intensity IV
Top floor of Makati Skyscraper: X-axis (0.12 cm); Y-axis (0.10 cm); Z-axis (0.03 cm)
Acceleration in the basement is 0.365 m/s2 equivalent to Instrumental intensity IV
The DPWH requirement to install accelerographs in buildings more than 50 meters in height is a very good program for resilience against earthquakes. This is especially true, since the possibility of a M7.2 earthquake generated by the Marikina Valley Fault System is a constant threat to the country's capital. Such programs, however, need good implementation by trusted professionals. Otherwise, the large investment in the precision instruments (accelerographs) may not be maximized or even go to waste.
Last Updated ( Tuesday, 25 April 2017 23:05 )
Leader in Seismic Building Instrumentation
Geos Incorporated continues to provide their seismic instrumentation services using Kinemetrics products to iconic buildings in Metro Manila. Using accelerometers and seismometers from Kinemetrics, USA, the world leader in seismic instrumentation, Geos Inc provides their services to the largest developers and companies in the country, including Ayala Land Inc., BPI, BDO, Federaland and First Gas (Lopez Group). Geos also installed seismic instruments in the Zuellig building, the Philippines' first premium-grade office tower noted for its environmentally conscious design, pre-certified by the U.S. Green Building Council at the LEED Gold level® and now LEED® Platinum certified.
If your concern in seismic building instrumentation is quality of service, reliability and dependability, you can't go wrong with GEOS Incorporated in providing this kind of specialist services with its impeccable track record. Many families, businessmen, celebrities, diplomats and expats live and hold office in skyscrapers we service, and building management chose a trusted brand for them. Best of all, GEOS does not overprice, because our commitment is on safety, above anything else.
List of some recently completed and ongoing projects:
One Legazpi Park, Rada Street, Makati
Regency at Salcedo, Tordesillas cor. Sanchez, Salcedo Village, Makati
Tower One & Exchange Plaza, Ayala Triangle, Ayala Avenue, Makati
Solaris One, Dela Rosa, Makati
One Roxas Triangle, Paseo de Roxas cor. Cruzada St., Makati
Ayala FGU Building, Ayala Avenue, 6811, Makati
Zuellig Building, Makati Avenue cor. Paseo de Roxas, Makati
Avignon Tower, H.V. Dela Costa, Makati
Vertex One, University Belt, Sta. Cruz Manila
Philippine Axa-Life Centre, Sen. Gil Puyat Ave. (cor. Tindalo St.), 1200 Makati
The Residences at Greenbelt - Laguna, Esperanza St., Makati
The Residences at Greenbelt - San Lorenzo, Esperanza St., Makati
The Residences at Greenbelt - Manila, Esperanza St., Makati
Park Terraces Tower 1, A. Arnaiz Avenue Cor. South Drive, San Lorenzo , Greenbelt , 1228 Makati City
The Columns at Legazpi Village Tower 1, 6821 Ayala Avenue, Bgy. Bel-Air 1226, Makati
6750 Office Tower, 6750, Ayala Avenue, Makati
BDO North Tower, Makati Ave., cor. H.V. Dela Costa
BDO South Tower, Makati Ave., cor. H.V. Dela Costa
BDO The Podium, 18 ADB Ave , Ortigas Center, Wack-wack Green hills, Mandaluyong
One Serendra, 32nd St., BGC, Taguig
Gercon Plaza, 7901 Makati Ave., Makati
Vertis North CBG BPO Tower 1, Quezon Ave., Diliman Quezon City
Senta Tower, Legazpi Street, Legazpi Village, Makati
The Red Oak at Two Serendra, McKinley Parkway and 11th Avenue, Bonifacio Global City, Taguig
Aston at Two Serendra, McKinley Parkway and 11th Avenue. Bonifacio Global City, Taguig
Intercontinental Manila, No.1 Ayala Avenue, Makati
Holiday Inn & Suites Makati, Glorietta Mall, Palm Drive, Ayala Center, Makati
Makati Shangri-La, Makati Ave., cor. Ayala Ave., Makati
(photos grabbed from the internet. Credit goes to the photographer)
NOTEWORTHY PROJECTS OF KINEMETRICS WORLDWIDE
Over the past 40 years, Kinemetrics Inc. has evolved as the world leader in seismic instrumentation, supplying sturdy and dependable earthquake sensors and recorders to every corner of the world where it matters. In the Philippines alone, there are more than 100 such instruments deployed in areas near volcanoes and earthquake faults.
Giza Pyramids, Egypt
Hagia Sophia, Turkey
Parthenon, Greece
Statue of Liberty, USA
Golden Gate Bridge, USA
Taj Majal, India
Famous Buildings
Without any doubt, Kinemetrics is the brand of choice for seismic instrumentation of buildings in the United States. Majority, if not all of privately-owned buildings that have seismic monitoring instruments as required by the Los Angeles Building code are equipped with Kinemtericsaccelerometers. Some of the famous buildings in the United States installed with Kinemetrics seismic monitoring instruments are:
Still not convinced? We can show you a lot more.
Alfredo Mahar Francisco A. Lagmay, Ph.D.
President, Geos Incorporated
Keywords: Seismometers Philippines, Accelerometers Philippines, Seismic Philippines, Building Instrumentation, Building Instrumentation Philippines, Accelerograph Philippines
Last Updated ( Sunday, 23 April 2017 12:06 )


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Stephen Shortridge Bio
Stephen Charles Shortridge, the artist may be more familiar to you as an actor. For fifteen years he has sold you such products as Mennen, Speedstick, Coke, Certs, and Head and Shoulders to name just a few of the over fifty TV commercials he's done.
Theatrically he has starred as a series regular in "Welcome Back Kotter" as the southern sweathog 'Beau' and co-starred with Debbie Reynolds on the ABC show "Aloha Paradise". He spent the year of 1987 playing the role of David Reed as part of the original cast on the CBS daytime soap opera "The Bold and the Beautiful". It was after this role that Stephen set his priorities toward business and finally to pursue his love of art.
Stephen enjoyed acting but found painting much more creatively satisfying and explains, "...the feeling of being totally free to create as an artist is exciting to me. In acting a large part of the creative process had taken place by the time I was involved.
The writer, director, and producer had already made many decisions about the character I would play. In contrast, painting gives me complete control. I may race along in a painting and have a disaster on my hands or something I'm proud of...but, I make the choices and accept the consequences good or bad. That's freedom...it's precious and the most fulfilling part of being an artist to me."
Born in Iowa and raised in Southern California Stephen excelled in art throughout his schooling but had mainly studied commercial art. He took his first painting class while attending Idaho State University on a Water Polo Scholarship (Stephen was an All-American).
Without formal training, the French Impressionists became his teacher, Monet in particular. Preferring full colors and bold painting strokes Stephen has established his own aggressive style.
Amongst Stephen's collector are celebrates Patty Duke, Donna Summer, and Rick Dees. Also while living in the LA area Stephen exhibited with a fellow actor/artists including accomplished artist Peter Falk.
View all Shortridge, Stephen Products


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"Sur L'Herbe" open air recitals.. Sunday 2nd and 16th August 2020 ALSO added, 13th and 27th September!
Catherine Martin Violin
CELEBRATE LIVE MUSIC WITH OUR FINAL POPUP SUR L'HERBE RECITAL 2020…
VENUE (different from previous recitals) – YARRELLS SCHOOL COURTYARD BH16 5EU
(plenty of parking available)
AUTUMN PROMENADE 2
SUNDAY 27th SEPTEMBER 3-4PM
SOLD OUT (40 tickets) and NO tickets are available at the gate!
PLEASE READ BELOW DETAILS CAREFULLY!
JOIN OUR CELEBRITY GUEST
CATHERINE MARTIN (Leader of Gabrieli Consort) AND FRIENDS
******* We have reviewed our arrangements for the Catherine Martin and Friends recital on Sunday 27th September, in the light of the Government's revised plans from Monday 14th Sept, and we are satisfied that we have carefully risk assessed and are in every way strictly compliant with COVID guidelines. This is a planned professional concert event rather than a social gathering. Please keep checking our website incase of sudden changes.
Mrs Covell, Director has consulted with Sally Weber-Spokes, Head Teacher of Yarrells School (which opened fully on the 7th September) and she is happy for us to go ahead. The weather forecast is promising and we shall hold the concert, as for earlier concerts at Yarrells, on the playing field where there is plenty of space to socially distance. Hand sanitiser can be found at the entrance.
You will be using a provided Yarrells chair at this recital, but please bring and/or blanket and claim your space. Tickets must be purchased prior to the Concert and not at the entrance. Bring your own refreshment if wished; none can be served. If you feel unwell before the concert we respectfully ask that you do not attend. Our performers will be following the guidelines too, and also those pertaining to musical performance guidelines.
There are toilet facilities with Covid safety instructions to ensure the best hygiene.******
https://www.gov.uk/guidance/working-safely-during-coronavirus-covid-19/performing-arts?fbclid=IwAR3r5mfU4DPLijpJHcXv9cOg0-21gffBgqcTClVnFPyVq0sSjjQwfCDaTE8#arts-4-7
NO REFUNDS, BUT IF THE CONCERT NEEDS TO BE CANCELLED, YOU CAN EXCHANGE FOR A FUTURE MUSIC EVENT!
Tel no: 01202 602336 (emergencies only)
Catherine Martin – Baroque violin
Katy Bircher – Baroque flute
Pawel Siwczak – Harpsichord
A masterclass for a selected group of young musicians will take place during the daytime. These places are full and not open to the public.
The recital programme will include the professional players and also group performance by the young musicians from the masterclass…this will include Telemann concert for 4 violins in D and Corelli concerto grossi op 5 and more.
Catherine read music at St Anne's College, Oxford, completing her postgraduate studies with David Takeno at the Guildhall School of Music and Drama in London, on the Advanced Solo Studies course.
During this time, she became interested in historical performance, playing the baroque violin alongside her modern violin studies. Catherine spent twelve years as a member of The English Concert under the direction of Trevor Pinnock, before leaving in 2005 to take up the post of leader of the Gabrieli Consort and Players. In 2010 Catherine was also appointed concertmaster of Die Kölner Akademie in Germany. She has been the leader of the orchestra of the Early Opera Company since its inception in 1994.
Catherine was invited by the Bournemouth Symphony Orchestra in 2012 to coach the players on baroque and classical repertoire. She also runs weekend workshops and concert performances with many amateur baroque orchestras and modern chamber orchestras who wish to know more about the field of historical performance. Catherine has a particular interest in Norwegian folk music, playing the hardanger fiddle.
In 2003, Catherine joined the Salomon String Quartet as second violin to Simon Standage, with whom she also plays trio sonatas in Collegium Musicum 90. Catherine appears on many recordings; for Deutsche Grammophon and Winged Lion with The Gabrieli Consort and Players, EMI with Ensemble Galant, and Chandos with I Fagiolini. She teaches historical violin at the Royal College of Music and the Norwegian Academy of Music in Oslo.
To hear some of Catherine's recordings and find out more, please visit www.catherinemartin.co.uk
Katy Bircher – Flute
Katy is established as a specialist of early flutes and, as such, has worked with most of the UK based early music groups in repertoire ranging from Dowland to Wagner. As a soloist she has performed in concerts across Europe, the United States and the Far East and gave the first performance and first recording of the newly discovered 'Il Gran Mogul' concerto by Vivaldi.
As principal flute of the Gabrieli Consort and Players, Concerto Copenhagen and the Dunedin Consort, she has contributed to many award winning recordings and boundary breaking projects. Katy teaches baroque flute at the Guildhall School of Music and Drama and the Centre for Early Music Performance and Research at Birmingham University, and has given masterclasses in the UK and abroad.
Pawel Siwczak is a Polish & British musician based in London. He has a passion for historical keyboards: harpsichord, clavichord, virginals, chamber organ, and fortepiano, which he studied extensively and continues to explore in his career.
Following the completion of his postgraduate piano studies at the Frederic Chopin Academy of Music in Warsaw (2004) Pawel continued to study at the Royal Academy of Music in London earning his master's degree and a diploma with distinction (2008). He is the winner of the 8th Broadwood Harpsichord Competition and the Sir Anthony Lewis Memorial Prize (Musica Britannica).
Pawel's performance history and recording career are diverse, ranging from solo recitals, working with singers and conducting from the harpsichord, to collaborations with numerous orchestras and ensembles in the UK and abroad. He has given solo recitals as part of Waterloo Festival, Galway Festival, Edinburgh Fringe, Manchester Pride, an independently organized series at the Cello Factory (Art Gallery in London).
His recordings include "Dialogues" for guitar and harpsichord by Stephen Dodgson, a few albums with The Bach Players, a double CD of Telemann's music with Florilegium and, among others, improvisations with PC Music artist Danny L Harle originally recorded for BBC Radio 3.
He is a teacher at the Royal Academy of Music and a director of the Bach Club, a Social Enterprise presenting concerts on historical instruments and providing filming and recording for musicians. He has been elected an Associate of the RAM (ARAM) and a Fellow of the Royal Society of Arts (FRSA).
Pawel puts emphasis on the storytelling power of the language of music; the sheer ability to communicate expressively with the audience is key to him.
To find out more and listen to Pawel's recent online recital series "To Survive Melancholy" visit pawelsiwczak.com
Katy Bircher
Yarrells school gardens
***** IMPORTANT *****
The performing arts remain on level 4 which states that live performances with audiences are permitted in a safe setting.
This can be found on the Government website below:
https://www.gov.uk/government/publications/coronavirus-outbreak-faqs-what-you-can-and-cant-do/coronavirus-outbreak-faqs-what-you-can-and-cant-do
Will you please abide by our Broadstone Music Series 2 metre social distancing rule from the time you arrive in the carpark until you leave, even though the event is taking place in an open field:
JOIN OUR CELEBRITY GUEST AMYN MERCHANT (BSO LEADER), AND YOUNG FRIENDS FROM OUR 2020 SUMMER SCHOOL!
VENUE – YARRELLS SCHOOL GARDENS (Plenty of parking available)
AMYN MERCHANT will perform and also introduce some talented local star musician performances… a selection of beautiful repertoire for the audience to enjoy in an outdoor socially distanced environment:
Preludio from Partita No.3 in E Major – Bach BWV 1006
Obsession and Malinconia, Ysaÿe Sonata Op.27 No.2
Partita No.2 in D Minor – Bach BWV 1004 – Allemanda- Corrente- Sarabanda- Giga- Ciaccona
You will also hear a selection of beautiful classics, performed by the most senior talented and local young musicians from our July summer school….
One movement from each of the following:
Dvorak's "American" string quartet, Mozart wind trio , Handel wind trio, Beethoven violin and cello duo, Bach concerto for 2 violins, Mozart violin and viola duo, unaccompanied Bach cello suite movement.
40 TICKETS AVAILABLE, IN ADVANCE ONLY FROM OUR WEBSITE BY DONATION
Tickets are not refundable but can be used again for one of our events if this needs to be postponed or cancelled.
PLEASE CHECK WEBSITE ON THE DAY BEFORE AND MORNING OF THE RECITAL INCASE OF ANY CHANGES!
This recital will take place in the beautiful field if the weather is predicted to be good, but in the courtyard if not. Correct social distancing must be observed at all times but the acoustics be somewhat compromised for those of necessity seated furthest from the players.
Details will be posted on our web-site during the morning of the concert as to the position of the recital.
If the concert is moved to the courtyard, there will be chairs laid out for the audience. Please bring an umbrella, weather a raincoat and wellie boots in case of short supply of gazebos!
We regret that tickets can not be refunded but you will gain admission to a deferred recital if that is necessary. All proceeds will go towards our music charity work for the young musicians in this area and providing excellent quality events in the community for you all to enjoy.
Amyn Merchant was appointed leader of the Bournemouth Symphony Orchestra in 2012 having previously held positions with the Hallé, BBC Symphony orchestras. He also guest leads Philharmonia, The Royal Scottish National, Hallé and CBSO.
He has appeared as soloist with BSO on a number of occasions, most recently in a performance of Vaughan Williams "The Lark Ascending" to commemorate the end of World war 1.
Amyn plays a violin made by Andrea Guarneri possibly from as early as 1660.
This recital will be dedicated to Sandrey Date who sadly died earlier in the year:
Sandrey was central to musical life in this area. He was appointed Bournemouth Music Librarian in 1966 and started the sound recordings collection and was instrumental in the library being awarded the International Association of Music Libraries Excellence Award for Music Libraries in 2010. He was a member of the Bournemouth Symphony Chorus for over fifty years and was its much valued music advisor.
He was concert secretary of the Bournemouth Chamber Music Society and was a BSO Performance Champion with his wife, Carolyn. He was on the Board of Trustees of the Wessex Young Musicians Trust, which has given invaluable support to young musicians in the area, including the Broadstone Music Series. He was also a trustee of the Dyson Trust.
Sandrey was a true gentleman, with an encyclopaedic knowledge and profound love of music. He will be missed not only by musicians in the area, but by his huge circle of friends and colleague.
OUR FINAL POPUP SUR L'HERBE RECITAL 2020…….
AUTUMN PROMENADE no 2
JOIN OUR CELEBRITY GUEST CATHERINE MARTIN (Leader of Gabrieli Consort) AND FRIENDS
Correct social distancing will be observed by everyone, but acoustics may be somewhat compromised for those of necessity seated furthest from the players. Details will be posted on our website during the morning of the concert if the weather is looking a problem!
Please bring a umbrella, wear a raincoat and wellie boots in case gazebo cover is in short supply. Socially distanced seats will be set out in the court yard for this recital so you are welcome to bring a blanket for further warmth!
We are sorry that donations for tickets can not be refunded. Funds raised will all go towards future concert and workshops in our "Poole Society for Young Musicians" charity music organisation events.
Pawel Siwczak
Our POPUP recital no 1 was by the popular Broadstone Music Wind Quintet, all wind principals from the local BSO, then no 2 on 16th August, when a String quartet recital took place, again by guest principals from our local world famous professional symphony orchestra. They performed in the beautiful grounds of Yarrell's school.
Musicians from these events donated their time for the sake of live music and charity fund raising! Almost £1300 was raised across both recitals for charity.
"SUR L'HERBE" recital on 2nd Aug proceeds were in aid of the BSO Benevolent Fund.
http://www.bsobenevolentfund.co.uk
'SUR L'HERBE" recital on 16th August proceeds were in aid of BSO Benevolent fund and the amazing "Gully's Place", the charity hospice for children in Poole Hospital.
https://www.poole.nhs.uk/a-z-services/c/child-health-services/gullys-place.aspx
SUNDAY 16th AUGUST 3-4pm
Venue – Yarrells School, Upton, Poole BH16 5EU
Programme –
Beethoven op 18 no 2 (to mark Beethoven's 250th birthday)
Haydn op 76 no 2
Both POPUP events in August raised near £1300 for BSO Benevolent Fund and Gully's Place at Poole hospital.
We are extremely grateful to the professional musicians who donated their time, expertise, and beautiful music making for our audience after 5 months of no live music in our lives!
Violin 1 -Mark Derudder, Violin 2 – Carol Bennett, Viola – Tom Beer, Cello -Jesper Svedberg
Sunday 2nd August Broadstone Wind Quintet Recital
ADVANCED BOOKING ESSENTIAL online or by cheque ring 01202 602336
50 TICKETS BY DONATION AVAILABLE ONLY
Bring a blanket or a chair and some post concert tea to the grounds of the beautiful Yarrells School in Upton and enjoy repertoire by Beethoven, Danzi and some surprise lollipops. They welcome their new clarinetist Barry Deacon!
We keep checking the weather forecast and consider it useful for audience to bring an umbrella! The quintet will be performing under cover.
ANNA PYNE – FLUTE,
BARRY DEACON – CLARINET,
ED LOCKWOOD – HORN,
TAMMY THORN – BASSOON,
ED KAY – OBOE


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ProLights LEDs are a Key Fixture at the British Grand Prix Party at Silverstone
ProLights LED and discharge fixtures were central to the event lighting schemes at this year's glamorous British Racing Drivers' Club's (BRDC) British Grand Prix Party at Silverstone racing circuit.
Staged within the grounds of the BRDC Farm as part of the Formula 1® Rolex British Grand Prix weekend, the legendary occasion attracts high-profile members and motorsport personalities.
A regular at the BRDC Party over the past few years, ProLights fixtures were utilised throughout the BRDC Farm grounds, as well as lighting areas inside the marquee.
Various models from ProLights' complete IP65 family were selected to extend the ambience of the event into the outdoor spaces. Solar LED wash lights illuminated the exterior of the marquee and the Farmhouse within the grounds, as well as the surrounding trees and garden, complemented by Panorama AirBeam IP 'searchlight' and StudioCOB Plus Full Colour PAR effects lighting.
ProLights' Eclipse Fresnel and Profile, Luma700, Razor 440, plus Stark and Diamond ranges of LED fixtures were used to create a lively and vibrant atmosphere at night inside the marquee, as well as adding to the ambience during the day. The Luma 700s projected custom 'BRDC' gobo branding during the day, with the Razor 440s and Stark 1000s coming to life with the floor package for the live band and a DJ.
A.C. Entertainment Technologies (AC-ET), a leading distributor of professional equipment and a Patron of the BRDC, supplied the ProLights fixtures and overall event lighting to showcase its latest portfolio.
Andy Walne Smith, production manager for the event, commented: "With it being very dusty outside and historically there's always a possibility of inclement weather at the event, ProLights' full range of IP65 fixtures allowed for the creation of a dynamic, uncompromised lighting scheme outdoors as well as inside. The Panorama AirBeam IPs were absolutely hassle-free to set up, with no need for domes or accessories, and the mostly LED-based rig really helped with the limited power available onsite."
See highlights from the ProLights range on the AC-ET stand at PLASA 2018. Alternatively, for more details or to arrange your personal ProLights demonstration, please contact AC-ET on +44 (0)1494 446000 / sales@ac-et.com, or visit www.ac-et.com/prolights.
Keep up to date with the latest AC-ET news via their social network pages:
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This is a continuation of my Exchange 2013 Planning Visio diagrams, and in this post we'll deal with the DAG overview.
We'll be standing up a 6-node, active/active, multirole, DAG in two (2) separate datacenters/sites, with a Fileshare Witness in a third datacenter/site; all connected by MPLS.
We will have twelve (12) mailbox databases. I'm using the building block model that Microsoft suggests in order to evenly distribute the databases across each server.
First, you'll want to download the newest Exchange 2013/Office 365/Lync 2013 Visio stencils from Microsoft so the shapes will render correctly.
thanks for these. I've been strugling with visio and getting a picture drawn. I can use your excellent pixs as a good starting point. Thanks!


If you are in need of a trustworthy auto mechanic near Yeager Airport, we hope you choose our local repair shop! Here's some information about us.
Who? Steve & Stacy's Servicenter - We are Yeager Airport's leading choice in auto repair. Our staff is well-trained with the goal of consistent and great customer service.
Where? Located conveniently for Yeager Airport residents, our address is 130 Virginia Street W.
When? Schedule an appointment now by contacting us online or calling 304-343-4611. Don't let your vehicle go unattended.
Thank you for considering Steve & Stacy's Servicenter!


text:
GETTING AWAY WITH MURDER: RYAN'S BLOOD ON THE TRACKS | 2023-01-16
As if attempting to take a stab at reimagining your reported 'favorite album of all time' would not be intimidating enough, restless and prolific singer/songwriter Ryan Adams chose to indulge in the challenge while playing in God mode. Shortly after delving into the hounds of rust belt hell via his recent unsolicited interpretation of Bruce Springsteen's marquee project Nebraska, the 48-year old poet and musician this time saw fit to up the storied and timeless ante by borrowing from his 'favorite songwriter of all time and spirit animal' Bob Dylan. Reinventing the Nobel Prize winner's iconic fifteenth studio album Blood on the Tracks, Adams's own version of the 10-track LP appeared as yet another free digital download on his PaxAm label on Christmas's Eve—a festive offering of sorts.
In his defense, the former Whiskeytown founder self-exculpated the covers album release by pleading 'sacrilege' over the stint, yet rebutting how he would be 'doing it anyway', prefacing how 'it's important to stay on your toes, and frankly after this beautiful year of climbing this mountain again my body is broken but my mind is pacing the floors… so it's time to get busy.' Lest people forget, Blood on the Tracks was the seven-time Grammy Award nominee's sixth studio project unveiled during the course of the 2022 calendar year (adding to Chris, Romeo & Juliet, FM, Devolver, and the aforementioned Nebraska), annihilating previous personal and industry records at once.
Taking Adams's recent DIY, self-released, and up-for-it ethos into account, the musical heresy was bound to be naturally deconsecrated. A somewhat reduced—and contextually enforced—instrumental backline underscores his rendition of the folk rock pièce de résistance, while slyly walking a thin tightrope between homage and re-appropriation as far as the performance committed to tape is concerned. Most crucially, his PaxAm re-issue adds a whooping extra twenty minutes of runtime to Dylan's more contained 52, accrued by virtue of more or less extensive instrumental codas tacked on to cuts such as "Simple Twist of Fate", "You're a Big Girl Now", as well as project bookends "Shelter from the Storm" and "Buckets of Rain".
While adding more than a third of previously inexistent material to a work of art universally considered flawless might sound like a non-starter to purists, such musical fat on this thing is easily cut, and never in the way of the essential message conveyance on this update. Lending the Ryan Adams treatment to such legendary and to a certain extent untouchable recordings also meant demystifying what for many—through little fault of their on, mind yo—is a fourth-wall relationship to these American classics. For Adams neither modernizes nor museum-ifies these vignettes. He just merely performs them. That's a straight A for making the effort alone.
As recently argued within the context and realm of him gifting Nebraska to the world—another unattainable record if there ever was another one—the Jacksonville, NC-native is bound to his spurs of creativity much like a scissor to its two arms. Blood on the Tracks was apparently arranged, rehearsed, and recorded all whilst fighting post-tour blues this past December, following his most recent US fall/winter live leg. If one can pass us the analogy; nobody would bat an eye if your favorite <insert here> basketball player hit the court for a couple free throws the day after the big match—like it or not, much like any professional athlete of record would do in their line of sports, Ryan Adams poured his blood, sweat, and tears on these tracks.
In the same breath, even a cursory scan of some of the verses and stanzas echoing loud almost fifty years after they were initially written, could almost have one wonder whether they were just chucked down by latter-day Adams himself. Take the brilliant and malignant opening batch from "Idiot Wind": "Someone's got it in for me / They're planting stories about in the press / Whoever it is I wish they'd cut it out quick / But when they will I can only guess"—one can't but picture the alt-country minstrel double checking his notes on whether it's really a cover he's recording. Elsewhere, the poignancy and earnestness with which they're delivered make the following sets of words from the penultimate cut sound and read just like they originally came from Adams' pen: Suddenly I turned around / And she was standing there / With silver bracelets on her wrists / And flowers in her hair / She walked up to me so gracefully / And took my crown of thorns / "Come in," she said, "I'll give ya / Shelter from the storm".
Admittedly a tad too late, but here's a fat disclaimer: much like with Springsteen's Nebraska, on Blood on the Tracks liberties were taken. Verses were cut, song tempos were altered, solos and instrumental interludes were added and removed, cover arts were reimagined (see below). It notwithstanding, the creative process's resin extrapolated from the source leaves us with a watertight opening quartet of tunes, making up what's Adams's most focused, original, and accessible portion on the whole project. By contrast, the midsection gets a little rougher around its edges, and frequently risks to trail off on a number already patience-demanding such as "Lily, Rosemary and the Jack of Hearts", potentially causing some listeners to throw in the towel halfway through.
The two-pronged ending is worth sticking around for, though. Adams's "Shelter from the Storm" becomes a sweet little groovy acoustic serenade with lots to write home about. From its soft and tender instrumentation, to the former Cardinal's reassuring intonation and diction, the cut gently skids through its four minutes and change before giving way to an impromptu six-minute instrumental coda that, unlike some of the earlier ones on the record, ends up sticking its tasteful and gratifying landing in spite of a few lick blemishes here and there. The exploit pulls its curtains scored by the eleven-minute sonic odyssey of "Buckets of Rain", a frizzy and buoyant outro that cues up another six-string fade out before morphing into a blistering cold droney outflow—a callous reminder that by staying true to his unrestrained self, Ryan Adams managed to do away with any musical apprehension for the salacious crime he committed.
Posted on January 16, 2023 by alexvolonte This entry was posted in 1989, EMS, Music, Myself, Research, Review and tagged 1989, EMS, Music, Myself, Research, Review. Bookmark the permalink.


The perfect romantic fusion of Regency splendour and sea views!
Situated along the impressive sweeping Hesketh Crescent, and overlooking manicured grounds which lead down to the beautiful Meadfoot Beach and dramatic Devon coastline beyond, this wonderfully presented historic 1848 first floor holiday home provides the ideal romantic retreat for your time here in Torquay! With a balcony that allows undisturbed sea views and where the sun can be literally soaked up, this is an apartment that provides luxury and comfort in abundance as well as being the perfect spot for exploring all the Torquay has to offer.
The Balcony: 1 bedroom with z-bed if required, 1 bathroom & sea views. Lovely sunny outlook with oversized Victorian sash windows, balcony & genuine Regency character features plus a private parking space within the gates of the crescent.
The typical high ceilings of Regency first floor rooms can be enjoyed by guests in the property, with a beautiful and grand open plan living and dining room enjoying regal dimensions as well as splendid 180 degrees sea views from its trio of floor length Victorian sash windows.
An ornate marble fireplace with an electric stove fireplace adds ambience and romance to relaxed evenings in. The comfortable pair of sofas provides the ideal home from home comfort with a flat screen HD Freeview TV with DVD player and library and a CD player with MP3 and iPod function all easily to hand.
A charming fully fitted separate kitchen is situated just off the living room and is perfectly equipped for preparing dinner parties, with an electric hob, oven, toaster, microwave, kettle, coffee maker, dishwasher & washer/dryer.
A stylish dining area is situated in the elegant living room next to the large windows which can be opened to enjoy a fine sea breeze. Guests can further enjoy an evening aperitif or delicious home cooked meal at the pretty breakfast table, which is provided outside on the sunny balcony.
Guests can also enjoy unwinding in the beautiful master bedroom which is finished in chic French-style furniture, pretty hand painted oriental style Cole & Son wallpaper and boasts the same glorious high ceilings and spacious layout of the main reception room. A King size bed ensures guests enjoy a full night's rest and a flat screen TV with integral DVD player so you need not rush to enjoy your favourite show or movie is also provided for convenience.
Additional guests who are less than 10 years old may also be accommodated to the fold up Z Bed - which can be provided upon request.
A modern fitted shower room completes the internal accommodation and offer a luxurious hotel-like feel.
The idyllic balcony views span across the tranquil Meadfoot beach and the grand sweeping Hesketh Crescent, which also features a selection of wonderful outdoor eating areas & restaurants to enjoy during your stay!
There is one private parking space provided with this apartment which is on the left just through the gates of crescent.
Situated on the seafront, this apartment is close to shops and activities. The nearby beach offers swimming, paddling or rock-pooling depending on the weather. Restaurants are within walking distance and there is a bus stop just outside the crescent gates, while the location offers fabulous activities within easy travel.
As well as a lovely choice of restaurants along Hesketh Crescent guests can also pay a day or week's membership fee to enjoy the facilities of the Osborne Hotel Health Club, with the indoor swimming pool, tennis court, gym and sauna for guests use if this optional extra is enjoyed.
Torquay's waterfront is the focus of life in the town. Here you'll find the palm-lined promenade, seafront gardens, a lively harbour and an international marina. The new Living Coasts attraction adds to the variety of the new waterfront and the illuminated bridge is a great backdrop to a relaxing evening drink. Yet within minutes of Torquay town centre there are beautiful beaches easily accessible by foot, road or sea.
There are 22 miles of coastline, cliffs, coves and beaches and walks to rival any in the South West of England, with a climate that belongs somewhere much further south. There are opportunities for surfing, safe swimming, diving, sailing, angling and wonderful opportunities to study the natural wildlife at your leisure.
Notes:This property has a refundable Accidental Damage Deposit of £150, which is payable to Discovery Holiday Homes with the final balance of your holiday, eight weeks prior to your arrival, and is refunded within 5 working days of your departure. Alternatively, you may wish to pay a non-refundable Accidental Damage Deposit Waiver equivalent to 10% of the Accidental Damage Deposit value, which covers you for the full value of the Accidental Damage Deposit, should any damage occur during your stay.