Last night was flippin' SWEET! We saw a total of six bands. I've listed them in order of appearance below. Just look at that list! Heck, this would be a great weekend if it were already over. But we're less than half way through!!
My favorite, by far, was the Allman Brothers Band. Every song had a 5 minute guitar solo in it, with their two guitarists sharing the spotlight. Dueling lead guitars is a very quick way to my heart, I was loving every minute of it.
I had never seen Robert Earl Keen before, man does he put on a great show. I've always liked his work, just never have gotten around to seeing him live. I'd pay to go see him again. His guitarist was incredible.
I also really enjoyed Spoon (a local Austin band!) and Keane. Before the show I had only heard the radio tracks of each band, but I really liked all of their material. Maybe I'll go buy their CD's.
Black Crowes were last night's headliner. By then I was tired and ready to be out of the heat & dust. We were there for about half of the show, and finally decided to beat the rush out and left 30 mins before they were done. We had a 30 minute hike back to the car, so I think this was probably wise.
Being out in the middle of a field in the heat, with everyone kicking up dust and the wind blowing it around really took a toll on my sinuses. By the end of the night I was stopped up, and I'm still feeling the effects of it. I think we're going to check out a couple of bands today, and leave early to save ourselves for tomorrow's lineup.
This really is a phenominal show. Its a good time to be living in Austin. Heh, when is it NOT a good time to be living here?


text:
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myscience.ch › news › News 2019 › LHCb sees a new flavour of matter-antimatter asymmetry
LHCb sees a new flavour of matter-antimatter asymmetry - 21.3.19
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LHCb sees a new flavour of matter-antimatter asymmetry
Image shows a particle and its reflection on a mirror plus two histograms. (Image: CERN)
The LHCb collaboration at CERN 1 has seen, for the first time, the matter-antimatter asymmetry known as CP violation in a particle dubbed the D 0 meson. The finding, presented today at the annual Rencontres de Moriond conference and in a dedicated CERN seminar , is sure to make it into the textbooks of particle physics.
"The result is a milestone in the history of particle physics. Ever since the discovery of the D meson more than 40 years ago, particle physicists have suspected that CP violation also occurs in this system, but it was only now, using essentially the full data sample collected by the experiment, that the LHCb collaboration has finally been able to observe the effect , " said CERN Director for Research and Computing, Eckhard Elsen.
The term CP refers to the transformation that swaps a particle with the mirror image of its antiparticle. The weak interactions of the Standard Model of particle physics are known to induce a difference in the behaviour of some particles and of their CP counterparts, an asymmetry known as CP violation. The effect was first observed in the 1960s at Brookhaven Laboratory in the US in particles called neutral K mesons, which contain a "strange quark", and, in 2001, experiments at the SLAC laboratory in the US and the KEK laboratory in Japan also observed the phenomenon in neutral B mesons, which contain a "bottom quark". These findings led to the attribution of two Nobel prizes in physics, one in 1980 and another in 2008 .
CP violation is an essential feature of our universe, necessary to induce the processes that, following the Big Bang, established the abundance of matter over antimatter that we observe in the present-day universe. The size of CP violation observed so far in Standard Model interactions, however, is too small to account for the present-day matter-antimatter imbalance, suggesting the existence of additional as-yet-unknown sources of CP violation.
The D 0 meson is made of a charm quark and an up antiquark. So far, CP violation has only been observed in particles containing a strange or a bottom quark. These observations have confirmed the pattern of CP violation described in the Standard Model by the so-called Cabibbo-Kobayashi-Maskawa (CKM) mixing matrix, which characterises how quarks of different types transform into each other via weak interactions. The deep origin of the CKM matrix, and the quest for additional sources and manifestations of CP violation, are among the big open questions of particle physics. The discovery of CP violation in the D 0 meson is the first evidence of this asymmetry for the charm quark, adding new elements to the exploration of these questions.
To observe this CP asymmetry, the LHCb researchers used the full dataset delivered by the Large Hadron Collider (LHC) to the LHCb experiment between 2011 and 2018 to look for decays of the D 0 meson and its antiparticle, the anti-D 0 , into either kaons or pions. "Looking for these two decay products in our unprecedented sample of D 0 particles gave us the required sensitivity to measure the tiny amount of CP violation expected for such decays. Measuring the extent of the violation then boiled down to counting the D 0 and anti-D 0 decays and taking the difference," explained Giovanni Passaleva, spokesperson for the LHCb collaboration.
The result has a statistical significance of 5.3 standard deviations, exceeding the threshold of 5 standard deviations used by particle physicists to claim a discovery. This measurement will stimulate renewed theoretical work to assess its impact on the CKM description of CP violation built into the Standard Model, and will open the window to the search for possible new sources of CP violation using charmed particles.
Follow the webcast of the CERN seminar at 11:00 Geneva time.
For more information, see the LHCb website and the paper describing the results.
1. CERN, the European Organization for Nuclear Research, is one of the world's leading laboratories for particle physics. The Organization is located on the French-Swiss border, with its headquarters in Geneva. Its Member States are: Austria, Belgium, Bulgaria, Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Israel, Italy, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Spain, Sweden, Switzerland and United Kingdom. Cyprus, Serbia and Slovenia are Associate Member States in the pre-stage to Membership. India, Lithuania, Pakistan, Turkey and Ukraine are Associate Member States. The European Union, Japan, JINR, the Russian Federation, UNESCO and the United States of America currently have Observer status.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Italian Luxury Pen Makers Ancora Announces Pre-sale of World's First "Bitcoin" Pen
Dec 17, 2017 at 16:13 // News
Bitcoin PR Buzz
The Ancora Pen Company has announced the production and pre-sale details of its latest product, the Bitcoin Pen. The first in its modern range called the Crypto Pens Series, the Bitcoin Pen represents Ancora's desire as one of the oldest pen producers in the world to embrace the future of luxury.
Based in Milan, Europe's capital of style and fashion, Ancora was one of the founders of Italy's famed pen industry, having designed and produced its first luxury pen almost a century ago in 1919. Eschewing mass production, its trademark craftsmanship is always apparent in its fully hand-made pens created through hours of painstaking manual labor, just as they were almost a hundred years ago.
Ancora pens are as unique as they are luxurious. Their "Titanic" pen, for instance, had its body crafted from actual parts of the first class cabin from the ship of its namesake. And now, with the emerging technology of Bitcoin gaining the attentions of the elite, Ancora is drawing much anticipation by announcing the production of its first ever Bitcoin pen.
The Bitcoin Pen
The number of pens to be crafted will be limited, making ownership of this rarity available only to a select few. In total, only 88 fountain pens with an 18-karat gold nib along with 888 roller balls will be produced. Each pen will carry a personalized production number.
Platinum, Gold and Silver Numbered pens – featuring highly-coveted serials such as 01/88, 88/88, 001/888 and 888/888 – can only be purchased with Bitcoin and Ethereum and will each come with a special leather pen case.
For added gloss, a limited number of "gold" numbers will be allocated for each line of pens. Every finishing and special care to each individual pen, from the select materials, to the artisan design process, makes for a desirable, classy personal item or gift.
The Ancora Bitcoin Pen Pre-sale
Sales of the limited luxury Bitcoin pen will begin on Monday, December 18th at 12:00 GMT through a token sale model. Participants of the token sale will have the unique opportunity to purchase these pens at a much lower price than retail by securing it during early production stage at a 25% discount, with the Fountain Pens costing $1,000 each and the Rollerball Pens costing $750 each. At production stage, contributors can purchase Fountain Pens at $1,250 each and Rollerball Pens at $1,000.
Deliveries will begin from March 2018 through to May 2018.
Retail prices for the Fountain Pens will start at $2,500 and for the Rollerball Pens at $2,250.
Next February, Ancora will announce a new production line for another cryptocurrency-inspired pen. The choice of cryptocurrency to be featured on the new line will be decided by customers, with a voting system set up to allow customers to pick their favorite cryptocurrency. To participate, customers should visit and take part in the vote in Ancora's Telegram channel.
To add even more value to the purchase, Ancora will open a unique marketplace in June 2018, for the trading of limited edition and collectible writing instruments, where owners can sell, buy and exchange luxury pens online.
About Ancora
One of the very first Italian companies to produce pens and bring fame to the industry, the Ancora brand is that of an illustrious past with enduring quality. Ever since its founder Giuseppe Zanini, realized his dream of creating the perfect pen in his own workshop, Ancora has been carrying on that tradition through to the 21st century.
To learn more about the Ancora Pen Company's Bitcoin Pen, visit its website.
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Ripple Uptrend Is Threatened As Price Returns Above $0.40 Support


I do not have a baptismal record for Barbara, and I'm not sure where I found the date used here. However, Alexander Milligan, husband of Margaret, signed the marriage bond with George McArthur, which could indicate that Barbara belongs with this family of McDougalls. As well, Barbara was from Lot 18, where Duncan and Barbara lived. Note, however, that some people place Barbara in the family of Alexander and Nancy from Lot 12. George was from Lot 8.
I haven't been able to find futher records for George and Barbara together.
However, when George W. McArthur, son of Malcolm and Ann, married Alice Moore in 1877, he was a widower. If this is the same George, then Barbara died before 1877. George W. was in the US in 1880, a married man living in lodgings, and I was unable to find Alice in the 1881 Canadian or 1880 US census.
George W. and Alice McArthur did not have any older children living with them in the 1900 US census, so I have assumed that George and Barbara had no surviving children.


The Cody Firearms Museum, at the Buffalo Bill Center of the West in Cody has captivated visitors to its latest exhibit featuring unique firearms engraved by Ray Wielgus-a style, variously described as "art deco" or "oriental".
The Cody Firearms Museum, at the Buffalo Bill Center of the West in Cody has captivated visitors to its latest exhibit featuring unique firearms engraved by Ray Wielgus-a style, variously described as "art deco" or "oriental".
In this collection, visitors can see an embellished full-size and a miniature version of the grandfather of Winchester's lever action rifles, the Volcanic pistol. In addition to notable western firearms, they can view accented military arms such as the Colt Model 1860 Army Revolver and the more "beautiful" firearms, like the Smith and Wesson Ladysmith that represents the soaring popularity of firearms among women.


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What are PID's
PID Glossary
The Boy in the Bubble: Spirit of boy in bubble lives on at school
A lot of people have heard about the Boy in the Bubble, the story of David Demaret who suffered from SCID, or severe combined immune deficiency…
By CATHY GORDON / Houston Chronicle
THE WOODLANDS, Texas – Schools have been named after legendary scholars, renowned scientists and shuttle astronauts who ventured into the world to leave their mark. But an elementary school in The Woodlands is named for a little boy who snared millions of hearts around the globe without ever leaving his sterile, plastic bubble. The world knew him as David, the Bubble Boy.
When Carol Ann Vetter Demaret enters David Elementary, she is met by a large framed photograph of her son, beaming in his purple Luckenbach, Texas, T-shirt. She remembers his insistence on wearing the shirt for his 5th birthday picture. Purple, after all, was David Philip Vetter's favorite color. The photograph always makes her smile. "When I walk into that school, I become rejuvenated and rekindled with spirit. I need that from time to time, and the school does that for me," Ms. Demaret said. "I see the students' smiling faces, and I feel my heart swell."
It has been 14 years since David died. He was born with a genetic immune disorder called SCID, or severe combined immune deficiency, which robbed him of any germ-fighting ability. He died at age 12 after an unsuccessful bone marrow transplant that doctors had hoped would free him from his germ-free environment.
David lived with his family in the Montgomery County community of Shenandoah. Teachers from nearby Lamar Elementary and, later, Wilkerson Intermediate came to his home to tutor him, and he sometimes participated in classroom activities via a special telephone hookup.
At the 1990 dedication for David Elementary, Ms. Demaret spoke proudly of her son who loved school, telling a rapt audience that the school "is an answering of our prayers that his spirit continues on Earth." That speech continues to inspire the school, said Principal Valerie Vogt."When a mother shares something like that with you, you want this school to be every bit as special when it's 30 years old as it was at the moment of the dedication," Ms. Vogt said. "We think of Carol Ann's words often. They inspire us to do the things we do."
On Sunday, the school will hold its annual David's Dream Run, a communitywide 1K or 5K run/walk promoted by Shell Oil Co. and the Houston Golf Association to raise money for the David Center at Texas Children's Hospital in Houston. The center was established after David's death to help with the management, research and treatment of children with congenital immune deficiencies. Parent volunteers Karen Requarth and Kelly Hull, organizers of the event, also declared Friday "Dedicated to David Day" at the school.
Dr. William T. Shearer, director of the allergy and immunology department at Texas Children's Hospital, said David would be proud of the school's effort. "The resources of that community toward the David Center have been extraordinary," said Shearer, who was David's physician. "The David Elementary School, in particular, has been very loyal over the years in providing that extra measure of support that makes the difference. David would be thrilled." Physical reminders of David are abundant at the school. One hallway displays a long bulletin board of pictures and a chalk rendering of David. The library contains albums of newspaper clippings and photographs. In the school courtyard, a rectangular inlay of bricks represents the size of David's first bubble. An inscription reads, "David's world was the size of this space on which you stand. David can help us all better understand the world."
Each May, the school honors a fourth-grader who exhibits David's strength of character and courage through special circumstances. David's mother presents the student with the "Hero Award." David's sister, Katherine Canion, is touched by efforts to keep her brother's memory alive. She would like her two young sons, Christian James, 3, and Cameron David, 9 months, to attend David Elementary someday. "I was driving by that area the other day with some friends, and I said, 'Did you know that school is named after my brother?' Little David, even though he's gone, still lives on," Ms. Canion said.
On a recent day, Ms. Demaret visited a second-grade class with her daughter, grandsons and David's father. "While he lived in a bubble, he was a lot like you in a lot of ways," Ms. Demaret told the students. He loved Star Wars and playing jokes. He sometimes complained about homework and squabbled with his sister. Details about David's pet duck made students giggle. The duck routinely escaped from his outside pen and waddled in front of the school bus. "All the kids would jump out of the school bus and try to catch that duck and put him back in the pen. We found out years later that the duck terrorized the neighborhood," joked David's father, David J. Vetter Jr., now the mayor of Shenandoah. He still lives in the house where David was raised.
Ms. Demaret is touched by students' responses. "I talk to them, and I'm looking at their faces, and I'm watching them look at me with such intensity," she said. "They can't imagine what life is like in a bubble, and I see their wheels turning. Most important to me is that I want them to know that David's life was good." Gary Clay, former principal of Lamar Elementary, where David was once assigned, said it is fitting that an elementary school be named after a child who left a huge legacy to medical science and humanity.
"That school is a celebration of his life. He was a child and a pioneer," said Clay, now superintendent of Friendswood Independent School District. "The school is a tribute to him and his spirit and the challenges he handled so well. I hope it's around for decades to come."
Distributed by The Associated Press
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package services;

import org.apache.tuscany.sca.data.collection.Entry;
import org.apache.tuscany.sca.data.collection.NotFoundException;
import org.oasisopen.sca.annotation.Remotable;

@Remotable
/**
 * [rfeng] Tuscany cannot handle subclassing Collection<String, Item> to resolve the type variable. As a workaround, we copy all the methods into this interface directly
 */
public interface Cart {
    /**
     * Get the whole collection.
     *
     * @return the whole collection.
     */
    Entry<String, Item>[] getAll();

    /**
     * Returns a collection resulting from a query.
     *
     * @return the collection.
     */
    Entry<String, Item>[] query(String queryString);

    /**
     * Creates a new item.
     *
     * @param key
     * @param item
     * @return
     */
    String post(String key, Item item);

    /**
     * Retrieves an item.
     *
     * @param key
     * @return
     */
    Item get(String key) throws NotFoundException;

    /**
     * Updates an item.
     *
     * @param key
     * @param item
     * @return
     */
    void put(String key, Item item) throws NotFoundException;

    /**
     * Delete an item.
     *
     * @param key
     */
    void delete(String key) throws NotFoundException;

	/**
	 * Ships the items selected in the shopping cart. this will be called in a
	 * secure manner after the payment process.
	 */
	String shipItems(String jid);
}

redpajama_set_name: RedPajamaGithub


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Tag Archives: The Construction Of Light
King Crimson – Tivoli Vredenburg, Utrecht, Holland – 20150924
Posted by pureambient on September 28, 2015
For the third and final of our "three of a perfect pair" (see how I did that – effortlessly!) we went slightly further afield, and for me, seeing King Crimson playing on European soil, in Holland, in 2015 – was not only very, very surreal, but it brings a nice sense of closure for me over time. Three gigs, in three countries, and for us, in many ways, the Tivoli show was the best.
I never saw the 1969, 1971 or 1972-1974 King Crimson line-ups, for me, I started out with another "three of a perfect pair", all which took place in San Diego, California (where I lived at the time) during the first half of the 1980s:
November 22, 1981 – UCSD Gymnasium, University Of San Diego Campus
August 10, 1982 – Fox Theatre, San Diego
June 8, 1984 – SDSU Ampitheatre, San Diego State University
(eleven years pass)
then, as a sort of strange Crimson interlude, I saw a pair of live performance by the redoubtable "double trio" during the mid-90s:
June 28 1995 – Symphony Hall, San Diego, CA
July 30, 1996 – Summer Pops Bowl Park (where finally, I got to hear "Schizoid Man" live at last!!).
(a non-descript outdoor venue where I handed out flyers to the concert-goers for Mark – and in return, got a DGM T -shirt!).
(nineteen years pass)
which then brings us to the three current 2015 shows we've just completed, with the September 24th, 2015 performance in Utrecht still ringing in my ears…
this show was different in a number of very significant ways, from the two UK shows we'd seen on September 14th and 17th, and we found it very enjoyable because we were much farther back in the venue, this time, up pretty high in the stalls, but it's a beautifully-built , steep-seated theatre – so no matter how high up you are, you aren't really that far away from the stage.
but, that actually meant that we could hear the band better, and. hear the bass a bit better, and the overall sound mix was "best" for us, out of the three shows:
September 14, 2015 – Symphony Hall, Birmingham, England
September 17, 2015 – Usher Hall, Edinburgh, Scotland
September 24, 2015 – Tivoli Vredenburg, Utrecht, Holland
but I am getting ahead of myself…
the Utrecht show began as all shows did, with the eiree, dissonant Robert Fripp Soundscape playing for perhaps fifteen minutes prior to show time; people were slowly finding their seats in the lovely, intimate theatre which was apparently bereft of any staff whatsoever, since there were no ushers of any kind in sight. we found our seats well ahead of time, but as we approached the later European start time of 20:00, a curious thing happened.
the Soundscape faded down briefly. Then, a lone spotlight picked out RF's "Lunar Module" rack mount rig and empty guitar stool, the theatre dark save for the strangely lit "Fripp" area. Then the Soundscape returned, up to full volume again…and another wait of perhaps ten minutes this time (all the while, with that oddly lit Fripp guitar stool and guitar kit still bathed in that bright, bright spotlight), ending when the band finally emerged onto the stage. This strange combination of Soundscape and the spotlight on the work area of the band's leader, seemed to be saying something, but I wasn't quite sure what. Perhaps "this is where Soundscapes come from", I don't know.
so this was a bit of a different start to the show, the UK shows started earlier (at 19:30) and were a bit more on time, here in Utrecht, we started at a more Continental hour, and the band were a bit fashionably late. From our bird's eye viewpoint this time, we could see well and hear the band really well indeed, and sonically, this show was the clear winner of the three shows we attended – they sounded fantastic.
the set opener remains unchanged, and as I never dreamed I would ever, ever, in a million years, see King Crimson playing "Larks' Tongues In Aspic, Part I" live, hearing it for the third and final time for this year (this MONTH!!) was something that I really enjoyed, the new arrangement is fantastic and I particularly like the drum parts and the way the two guitars divided up the work, a fantastic song and it just keeps getting better each time. to a lesser extent than previously, we still had some difficulty at some times, in hearing Tony's bass or stick, but apparently this is a fairly common issue at all of the shows (or so I have heard, anyway).
it could simply be the placement of the two lines, front and back, and the front line is quite loud….so that may well make things difficult for poor Tony, located as he is with four fairly loud objects encircling him: Mel, Pat, Bill and Jakko.
that may be part of the problem, or it could just be that Pat's drum kit simply overpowers the bass from time to time, I am not really certain why the level of the bass does seem to be an ongoing issue – we noted it at all three venues we saw shows at, but it had definitely improved by he time we reached Utrecht. From high up, and this time, we were on Fripp's side of the stage – things sounded good.
at Birmingham (Sept 14th), we were on the left side, sort of in front of Mel and Pat but off to the left; in Edinburgh (Sept. 17th), we were in the fourth row directly in front of Pat, so being both on the far opposite side, and being both "back" and "up", meant that the Utrecht (Sept. 24th) show sounded different. There was noticeably more Gavin Harrison in our mix. And we could hear Robert more clearly, being on his side of the stage. And Jakko, too. The "guitars" mix was better, too.
so it was actually a blessing, getting "bad seats" (actually, it was such a nice theatre, there really was no such thing) – we'd been too close to the band at the other two shows – well, not "too close", it still sounded amazing, but, we did get a clarity at Utrecht that we didn't experience during the other two shows.
when "LTIA Part I" came to an end, we got our first surprise: a changed-up set list, so here, in second position, came the very powerful "Level 5" – in the section of the concert where new material normally appeared. this change made me really happy as it meant that this set would not be the same as the two shows we'd previously seen.
then things really took a new turn, in the form of the title track of "a scarcity of miracles" – which I enjoyed immensely, it was totally unexpected; Jakko was in fine voice, and it was nice to see Robert playing quite a bit of keyboard, taking his keyboard duties as seriously as his most difficult lead guitar solo. the last time I saw Robert Fripp playing a keyboard was in 1981, where he did a bit of keyboard for "Sartori In Tangiers" or some such 80s tune in a live setting.
I really didn't expect to hear any tracks from the "Scarcity Of Miracles" album, and of course it's also a great showcase for Mel, too, who sounded great on the track.
once that surprising song choice ended, the "new music" section could finally begin, so we got "Meltdown" and what I think was "Hellhounds Of Krim" – I still don't have a handle on what the percussion-based pieces are called – but I do prefer "Meltdown" now, to the now-absent "Suitable Grounds For The Blues", so of those two non-percussion based new songs, we got the one I prefer – so more good luck for me.
then the set returned to something that more resembled the sets we'd seen, with a lively "Pictures Of A City" (featuring more amazing work from Mel of course) which was then followed by the fantastic new arrangement of "The Construction Of Light" – which I love, especially the final flute solo from Mel – I don't know why, but I really like that part.
I should note here the remarkable talent of Jakko, who learned the interlocking "Fripp and Belew" guitar parts flawlessly, and this is especially notable on "The Construction Of Light" (and on "Level 5", etc.) – it's concise, precise, correct and beautiful, too…Jakko is a natural, and the incredible range of guitar parts he is required to play, from picked mock-acoustic guitar on the 1969 tracks, to the precision interlocking parts of something like "The Construction Of Light" from 2000, or to the uproarious and wonderful guitar parts on the two tracks from 1971's "Islands"…Jakko nails them all. He makes it look easy!!
speaking of the 1969 tracks, next up comes the first of the three (from the first album) that they often do now in 2015, "Epitaph" and this is yet another piece where Jakko truly stands out; a good vocal, carefully picked mock acoustic guitar while singing lead vocal…he knows these songs so, so well, and sings them as if the spirit of Greg Lake was inhabiting him.
I think that the first ten King Crimson albums are some of Jakko's favourite music, much of which he learned some years back for the 21st Century Schizoid Band (who performed much of the same early repertoire as the 2015 KC does), he takes the twin tasks of singing the vocal, and playing the guitar parts note-perfect and tone-perfect too (I couldn't believe the lengths he went to, in the 21st Century Schizoid Band, to play every Fripp note, chord or even special effect, as accuraviewedtely as humanly possible) – an astonishing performance then, and even more amazing now he is in the "real" King Crimson.
I think that Jakko does really well on all of the material, but he really seems to live and breathe the songs from the first four albums (except Lizard, from which they don't seem to perform any tracks currently) so when he sings something like "Pictures Of A City" or "21st Century Schizoid Man", or, indeed, "Epitaph" or "The Court Of The Crimson King" – I think he really feels it from the heart. It's clear to me that he truly, truly loves this music.
the very solemn "Epitaph" then gives way to Gavin Harrison's lovely little ditty "Banshee Legs Bell Hassle" which makes for a wonderful, cheerful bridging piece to the next Musical Great Leap Forward – "Easy Money" , which is always a high point in these concerts. It's a chance for the whole band to shine, Mel has invented some great sax parts for it, Jakko sings the original lyric rather than the "USA" or "naughty" version, and Pat turns up with some of the original sounds from the original recording, such as the laugh box that he "plays" at the end. they really do a great job of re-creating the unique sonic atmosphere of this classic 1973 track…I love hearing "Easy Money" live, I can't get enough of it really, it's always over far too quickly.
Fripp does take a remarkable solo during "Easy Money", using a great vintage Fripp tone dialled in on his trusty Axe-FX II effects unit, and I was privileged to see and hear him approach that solo on three different occasions, and this one was fantastic as always, a wonderful, nostalgic 1973 style lead guitar solo with cracked Wah and distortion to the fore.
from here on out, the show just hits highlight after highlight, this is really my favourite part of the show, and the next two tracks are probably my favourites, the melodramatic "The Letters" which features Fripp playing an ungainly but wonderful guitar part, a solo atop Mel's rollicking saxes, followed by the absolutely sublime live performance of "Sailor's Tale", a great instrumental featuring Mel Collins on screaming impossible sax solo, with Jakko and Robert locked in on their long, sustained notes in perfect twinned guitar harmonies.
oddly, both Pat and Gavin fall completely silent during most of this track, leave Bill Rieflin (ex-Ministry) to handle the drum part on his own; only rejoining him when he has to switch to mellotron for the ending section. Somehow, having just Bill playing drums on this, made it sound right – it just worked best with one kit – and they realised that – and I really admire that decision. I admired Pat and Gavin for being absolutely silent and motionless during most of this piece. Two fantastic vintage "Islands"-era Crimson songs played in incredibly accurate detail, with an absolutely swinging drum and cymbal part from Bill – he really nails (the late) Ian Wallace's drum part.
did I mention Jakko's impassioned reading of the lyrics for "The Letters", he really sings "The Letters" so, so beautifully, it's such a tragic tale, beautifully sung right up to the fantastic lyric "impaled on nails of ice…and wait for emerald fire"…which eventually leads him to the final, utterly a capella stanzas. A roar of applause greets him when his lone voice finally falls silent with "…I take my leave of mortal flesh". Shivers.
I often think that Jakko gets a bit short-changed here; he is alternately viewed as, usurping Adrian Belew's "rightful place" in King Crimson (is there such a thing, for anyone except Robert himself?? I don't think so!) or not doing justice to a certain vocalist, or whatever – but, if you think about it, the expectation that rides on this young man's shoulders is considerable: he has to sing like Greg Lake, he has to sing like Boz, he has to sing like John Wetton, and he has to play guitar like Robert Fripp. All four things, of which he does, without issue, without fuss – he just does it – and I think he is a remarkable, under-appreciated part of the band. Huge expectations – and Jakko delivers, night after night after night. He is a brilliant guitarist, too – he's the "other Fripp" in the band 🙂
with the two amazing songs from "Islands" now done, at this juncture in the concert, I had no idea what to expect. Would they just do the typical "last three" and be away, or what? I didn't have long to wait to find out, as the crashing riff and insanely-clever triple drum threat arrangements of "One More Red Nightmare" began. What a treat, too, to finally "see" just exactly how Gavin worked out the drum parts, and to see the amazing co-ordination between the three drummers on this song from 1974's "Red" album.
this song holds fond memories for me,as I used to play and sing it, in one of my bands (Pyramid) when I was about 21 or so. the slow sections that modulate between either an E Minor To D motif, or, move up to a G minor based section, were brilliantly executed, with Mel's snarling saxes over the two guitars…and finally, the whole band hits that opening riff hard, the triple drummers out do themselves once again, and one of the most amazing tracks of the night is over.
I was personally ecstatic that they included this song in Utrecht, it really made the set so special for me…I got my cake and ate it too, I got a different set from Birmingham or Edinburgh; I got "One More Red Nightmare" without giving up my two precious "Islands" songs. Perfection – an inspired variation of set list.
and thence, following immediately, the beautiful "Starless", with Mel Collins and Robert Fripp sharing that thick, liquid melodic line so perfectly, Mel in particular has clearly studied the recording incredibly well, but together they just sound so excellent on this track. Fripp bends those notes so, so precisely this time, a great vocal from Jakko, this song works so well, too, with the triple drummers. Tony gets a real workout, as well, playing the lead bass part for the last two-thirds of the song, until the fast bit at the end, which resolves at last into that amazing Fripp / Collins melodic conclusion – so, so beautiful!!
the Dutch crowd were very responsive indeed, I'd say they even gave the Scottish crowd in Edinburgh a run for their money, but both Scottish and Dutch were much louder and more demonstrative than the audience at Birmingham was.
A long, long, loud round of applause erupted at the conclusion of "Starless", followed by rhythmic clapping eventually brought the band back for the two final numbers, another finger-picking exercise for Jakko in the form of "The Court Of The Crimson King" which also features the Michael Giles-channelling Pat doing his very damnedest to break his drum heads with the ferocity and speed of his drum rolling – such a powerhouse of a performer, Pat absolutely propels the final section of this song into a kind of drummer's stratosphere.
meanwhile, Robert's subtle, reverbed lead guitar, was so so lovely, working perfectly with Jakko's mock acoustic guitar, and the vocal, too: "the yellow jester does not play, but gently pulls the strings…" Cue RF, gently bending between one half step and another, as if in answer to the lyric's meaning, his guitar on this was just perfectly done, sounding very, very much like the original.
finally, it's the end, which means it's time for "21st Century Schizoid Man" 2015-style. Jakko sings the lyric like a man possessed, even dragging a little bit of actual melody out at the end of each spat-out line…an almost-melodic "….century schizoid man…." For me, this is one of the most altered arrangements, and it took me awhile to realise that actually, there is no real lead guitar "solo" at any point. RF does play a wonderfully convoluted descending guitar lead that walks right down to Mel's solo (which doesn't last long enough to become a solo) – and Mel just owns the song from there on out.
the band of course, all join together for the "precision part" which goes without incident, and then, the final verse, the final chorus…the wild ending that suddenly stops in dead silence…and the show is over.
the Dutch crowd is on their feet cheering and once again, the applause is long and loud, as the band take their final bows and are away down the stairs…and out into the cool night of Holland.
my first ever concert in Holland, but, the last of three King Crimson shows for September, 2015 – this is a month that I will not forget any time soon!!! The quality of musicianship on display, from all seven gentlemen in the band, is simply extraordinary; the selection of songs, mind-boggling in their quality and diversity; the overall effect is simple one of wonder, you are left wondering where else music could possibly go, from what you just heard…
the melodies stay with you for days. you find yourself singing "Easy Money" or "Starless", all the time, or you hear the choppy chords and mellotrons from "The Court Of The Crimson King" in your head – this music stays with you, for days and days, you find yourself playing your "Red" and "Larks' Tongues In Aspic" albums over and over again.
its now been five days since the concert, and I can still hear huge chunks of the show in my head when I think about it.
and…I'm still singing "starless and…bible black…" and then I close my eyes and wait for Robert and Mel to come in with that unforgettable melody. sigh.
2 Comments Posted in artists, current, guitar, historical, listening, mellotron, MIDI, mixes, music, musicians, prog, pureambient, releases, rock, scape, stereo Tagged "bill bruford", "david cross", "in the court of the crimson king", "in the wake of poseidon", "john wetton", "king crimson", "larks' tongues in aspic", "michael giles", "robert fripp", "starless and bible black", 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1981, 1982, 1984, 1995, 1996, 2000, 2015, 2015 Tour, A Scarcity Of Miracles, ambient, bill rieflin, Birmingham, Birmingham England, Birmingham Symphony Hall, boz burrell, crimson king, Edinburgh, Edinburgh Scotland, Edinburgh Usher Hall, England, fripp, gavin harrison, greg lake, guitar, Holland, ian mcdonald, ian wallace, islands, jakko jaksyzk, King Crimson 2015 Tour, lizard, mel collins, mellotron, music, pat mastelotto, peter sinfield, pureambient, red, rock, scotland, The Construction Of Light, The Power To Believe, Tivoli, Tivoli Vredenburg, tony levin, USA, Utrecht, Utrecht Holland, Utrecht Tivoli Vredenburg, Vredenburg
King Crimson – Usher Hall, Edinburgh, Scotland – 20150917
This then, is the second of three King Crimson gigs we are attending, the first of two shows at Edinburgh's lovely old Usher Hall, on September 17th, three days after the first show we attended in Birmingham on 20150914; while boasting a similar set list to the show from the fourteenth, the Usher Hall Edinburgh show had a number of significant differences that are well worth noting.
First of all, is perspective; in Birmingham, we were off to the left side of Symphony Hall, slightly elevated, and back some distance from the stage, whereas in Edinburgh, we were in the stalls in the fourth row – directly in front of Pat's drum kit with Mel just behind him…not bad at all. So this time, still to the left but way up close in the stalls – we noticed quite a bit more detail – simply because we were so much nearer.
But first things first, the set list, which was pretty much unchanged from the show three days previous:
Taped Introduction (including the "Islands Rehearsal" snippet from the outro of the "Islands" album – in other words – the standard 2014/2015 Elements Tours taped intros – the "no photos please" vocal montage, followed by "Islands" rehearsal, and finally, the 1971 Voice Of Robert Fripp intoning the count of "1 2 3, 2 2 3″…) – which becomes the count in for:
Larks' Tongues In Aspic, Part I
Suitable Grounds For The Blues
The Construction Of Light
Hellhounds Of Krim (??)
Pictures Of A City
Banshee Legs Bell Hassle
Sailor's Tale
Interlude (Taped audience sounds)
(Encore – after a well-deserved standing ovation for "Starless":)
Devil Dogs Of Tesselation Row (??)
The Court Of The Crimson King
Since the set list is essentially identical to the Monday night Birmingham show, I will focus in on differences and details that I observed this time, that I might have overlooked with the excitement of that first show on Monday night; plus, sitting so close at the Edinburgh show, I was able to see the players in incredible detail. My new 10x binoculars helped significantly with this – if I wanted to see in close-up, what notes Robert or Jakko or Tony were playing – the binoculars allowed me to get in really close on the action, and observe chord patterns, note patterns, and playing styles in intense detail. Being in the fourth row gave us a great view of the band, but having the binoculars on top of being so close, gave me super-close up HD Guitar Vision – it was brilliant.
They all played well in Birmingham on Monday, but in Edinburgh last night…they played even better.
There were a couple of mishaps, so I shall get those out of the way, some mysterious mid to low frequency feedback was plaguing the band during "Pictures Of A City", it was quite persistent and it ran for perhaps 40 or 50 seconds, a low, irritating non-musical tone; the band forged on as if it wasn't happening, until eventually, the sound man (presumably) quenched it. It returned again later, I think during Epitaph, for a shorter period of time, but that was the last of it, thankfully.
The beginning of "Easy Money" was slightly marred by an out of tune guitar (Jakko's, I think) but then turned out fine, in fact for me, it's a huge highlight because it's one of the only instances where RF really tries to play a 70's style Fripp sustained guitar solo, and that solo was a cracker, really beautiful, liquid distortion and cracked Wah pedal action…gorgeous guitar tone from Robert's Axe FXII.
One of the other instances of that beautiful sustained guitar tone is Robert playing the exquisitely beautiful melody of "Starless", however, at the end of one of those solos, his final bend ended up in a truly bum note – a rarity for Fripp. Ever the professional, he simply looked at Jakko, and carried on as if nothing had happened.
Possibly because we were sat so close to Pat and Mel, I really noticed their playing this time, and I would say that Mel played even more spectacularly amazing sax and flute in Edinburgh, than in Birmingham, where he was awesome. So better than perfect, really – the solos were so tight, so intense, and he absolutely steals the show with his soloing in "Pictures Of A City", "The Letters", "Sailor's Tale" and "21st Century Schizoid Man" – his playing was absolutely stellar on those tracks in particular, he was consistent and excellent throughout.
Pat – well, what can I say, Pat is the master, and is my personal favourite of the three extraordinary drummers. His intense, powerful playing on "Epitaph" and "In The Court Of The Crimson King" once again, channelling the great Michael Giles…was simply astonishing to witness at close quarters. Pat was amazing throughout the show, and I could really appreciate his contributions to the drumming really well indeed at this particular gig.
And, impressively, this time, we could hear the bass and the Stick, much, much better, so bring able to hear what Tony was playing, better than on Monday night, was great – I particularly love the verve with which he attacks the lolloping bass line of "Sailor's Tale" – he sounds great at all times, really in tune and doing very musical, very good work on the electric string bass, the Stick, or the bass guitar, Tony always sounded really good.
But then, this is a band where everyone sounds good, all the time, and the amount of care and detail that goes into the band's sound is truly overwhelming. Just watching the percussion section during the opening number, the incredible 2015 rendition of the 1973 classic "Larks' Tongues In Aspic, Part I" is a lesson in musical co-ordination; all three drummers are playing many different percussion instruments to add atmosphere and ambience during the quieter sections, then sitting down simultaneously to come charging in for the heavy metal section.
Watching Pat was a revelation during this, he had clearly studied the original track well, and he picked up a myriad of strange percussion devices, and operated them at certain points in time during the "lulls" in the song – with military precision. Then that heavy metal section would come up again, with Jakko wailing away on the high, bendy lead guitar notes, Robert, playing the chords (and often, during this concert, that was the case) and the three drummers all come in on the downbeat, and also, end each bar with a cymbal smack – and hearing the three of them, playing their hearts out underneath that ominous set of power chords – just sounded amazing.
"Red" followed immediately, and again, the band was confident, Jakko playing the long, ascending sustained lead guitar line, while Robert handled the chords; Robert played the flanged "stand-alone" chords on the "middle section", leaving Tony and Jakko, with some assistance from Mel, to handle the beautiful melody that plays over the flanged guitar chords – and then, back into that wonderful E to F# progression, which then finally leads back to the wonderful ascending guitar from Jakko – and Mel joins in for the last few notes, so they both end up on a stretched high note that is held for just the right amount of time…perfection.
I can't really add a lot to my previous blog's comments on the "new" songs that appear at this point in the set, although I did find myself liking "Suitable Grounds For The Blues" a bit more than the first time I'd heard it, way back on Monday night – it, and it's companion, "Meltdown" – are just not as convincing to me as the earlier material is. And therein lay the difficulty – the repertoire they are playing, spans 1969 – 2003, and includes some of the most incredible of Fripp compositions and other writers' contributions – the lyrics of Peter Sinfield are a huge part of the tracks that they perform from 1969's "In The Court Of 'The Crimson King", 1970's "In The Wake Of Poseidon", and 1971's "Islands" (sadly, no live versions of anything from 1970's "Lizard", the third album) and other contributors such as Adrian Belew, whose guitar parts on "The Construction Of Light" are absolutely brilliant – but, fair dues – Jakko played them just as perfectly and just as beautifully as Adrian ever did – and to be honest, as much as I love the music of Adrian Belew, and I liked his role in King Crimson – I am actually of the belief that Jakko is a better choice, because of his knowledge of the early catalogue, and he's a fine, serious singer, too.
So I like the fact that Jakko is there, for example, his acoustic guitar emulations on the two quieter tracks from "In The Court Of The Crimson King" are just so spot on, he does the finger picking perfectly WHILE he sings the beautiful Greg Lake vocal melody with beautiful lyrics from Peter Sinfield! A very beautiful example of multi-tasking – Jakko gives us the acoustic guitar, and the lead vocal, leaving Robert free to play the beautiful lead guitar parts on both "Epitaph" and "The Court Of The Crimson King" – beautiful work from both guitarists.
I am still astonished by the unexpected presence of "Easy Money" in this band's set list, but there it is, and after a shaky beginning with an out of tune guitar, it quickly turned into one of the best songs of the night, because of Robert's amazing 1970s style lead guitar playing, not to mention Jakko's brilliant vocal, and Tony doing his best to play like John Wetton – and mostly, succeeding at it. A great rendition of a great song – complete with laughing machine at the end from Pat – just like on the album.
My favourite part of the concert then arrives – the two songs from "Islands", and again, a delicate, beautiful rendition of "The Letters" with Fripp playing super high octave chords with a beautiful guitar sound, and Jakko playing the other picked part in time, and singing the beautiful, beautiful vocal – one of Boz's best vocals, I believe – and then, there is an incredibly powerful part, where Robert plays some amazing, super sustained "Frippy" guitar lines, before the song begins to go…a bit mad courtesy of the amazing saxophone skills of Mel Collins, who blows his way through both "The Letters" and the second of the two tracks, which follows immediately, the instrumental "Sailor's Tale" in astonishing form, with powerful, melody, and grace.
Mel is so amazing on both of these tracks, the accuracy with which he's tried to re-create the original parts, while at the same time, improving and updating them – it's just an astonishing effort on his part, and his playing breathes new life into these two songs. Jakko's vocal on "The Letters" is possibly my favourite vocal of the night, I love the way he sings this song, right up to the a cappella ending – which he does just perfectly – a brilliant performance.
Once the band have played "The Letters" and "Sailor's Tale", two tracks from my personal favourite of the early King Crimson records, I could die happy, but, things progress, and we end up in the beauty of "Starless", where I must mention the remarkably talented Bill Rieflin, who plays mellotron on so many of these tracks, the accurate arrangements he uses are a testament to how much he cares about getting it right, and the mellotron sounds are perfect, and the playing is perfect – and on "Starless", it's so, so beautiful – with Robert's amazing, thick sustained lead guitar line, and Mel's sinuous horn parts snaking in between, it's a huge highlight of the night, and the excitement of the final section, after the long instrumental build up, is undeniable.
Despite Robert's unfortunate note in the middle of the verses, this version of "Starless" brought the band to standing position, and, brought the audience to it's feet as well – and the applause was truly thunderous as we'd just been assaulted by a dozen of some of the most amazing progressive music ever written. And when the band walk off, the crowd is clapping in rhythm for their return – until they do return, to play us out with the last two offerings, both from that famous debut 1969 album, "In The Court Of The Crimson King" – the title track, as the penultimate offering, followed by "21st Century Schizoid Man" complete with recorded intro (the "Wind" sessions result) – and this was another great rendition of "Schizoid Man", with one slight disappointment – I hadn't really noticed this at Birmingham, but I am definitely sure about it at Edinburgh – there is no guitar solo!
Robert plays the beginning of the original solo, and then does a short descending lead guitar, which is an intentional bridge to Mel, who picks up the notes from Robert, and then takes the solo proper – and Mel is great at this, he always had a solo on "Schizoid Man" back in the day, so he is the perfect player for the job, and this was no exception – he played a blinder. But then, as the song progressed, there was a drum solo, and then, they came back in to play the "precision section" – which went flawlessly – and then to the last verse and the ending – which was dead silence at the climax of sustained rock-burn-out noise – brilliant!! The crowd loved it, and it was a great version – but, strangely – no guitar solo. It worked, it's great with Mel handling the solo, but I would have loved it if Robert and Mel had each had a solo (as they used to, back in 1972) – but, this is the 2015 arrangement, so I guess that's how it goes now 🙂
Overall, despite some annoying feedback and the very, very rare issues with the music, this was a really well-played show, and it just makes me look forward to our next and final of three shows, in Utrecht, Holland, on September 24th – I can't wait !!
One of the things I've noticed about previous versions of King Crimson is that, if you listen to a series of concerts over time, you generally speaking, find improvement – parts are played better, arrangements are tweaked and re-saved, and musicians find better and more perfected ways to do things – so, over time, they tend to get better – and I realise I haven't so far heard much of a series, but I can say, that over the three day period between Monday and Thursday. that there is improvement.
One thing that was easy to observe, was the difference in audience reception. In Birmingham, the applause was not nearly as loud or persistent after the main set, there was no rhythmic clapping to call the band back to the stage, while in Edinburgh, the Scottish crowd were on their feet and shouting for more, applauding really loudly, then, clapping rhythmically – a much much better audience response, which in turn, made the players respond positively – so while in some ways, the Birmingham show might have been more technically "polished", here in Edinburgh, there was more emotion, more audience interaction, and in the case of one Mr. Mel Collins, some incredibly passionate horn soloing – really beautiful work, just out of this world solos on every track – the man is impossibly talented. And when Robert Fripp and Mel Collins join forces to solo, one at a time, or together / trading / overlapping solos – it just rocks.
Both concerts had high points and low points, but I felt that the Edinburgh show was more relaxed, with a much more receptive audience, so at least in that sense, it was a "better" show – but in my mind – both of these concerts were absolutely remarkable musical experiences, once- in-a-lifetime – except, I get to see it three times in a life time 🙂
See you at Utrecht on the 24th !!!!
Happy Krimsoning !!
2 Comments Posted in active, ambient, artists, audio, current, drone, guitar, historical, iPad, korg, listening, mellotron, mixer, mixes, mixing, music, musicians, pedalboard, prog, pureambient, releases, rock, stereo Tagged "adrian belew", "bill bruford", "concert", "david cross", "john wetton", "king crimson", "robert fripp", 20150917, 21st Century Schizoid Man, acoustic guitar, Alto Sax, bass guitar, bill rieflin, clarinet, crimson, David Singleton, Drummers, drums, Edinburgh, Electric String Bass Guitar, Epitaph, flute, Fretless Electric String Bass Guitar, gavin harrison, Holland, Jakko Jakszyk, Larks' Tongues In Aspic Part I, lead guitar, Level 5, mel collins, mellotron, Mellotron Player, Mellotronist, mellotrons, pat mastelotto, Performance, Pictures Of A City, Players, red, Sailor's Tale, sax, saxophone, Set List, Set Lists, Show, songs, Soprano Sax, Starless, stick, Tenor Sax, The Construction Of Light, The Court Of The Crimson King, The Letters, Three Drummer Front Line, three drummers, tony levin, Usher Hall, Usher Hall Edinburgh, Utrecht, Utrecht Holland


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Memphis economy recovering for some but restaurants and entertainment still struggling
February 09, 2021 at 10:24 pm CST
By Kirstin Garriss, CMG Washington News Bureau
Shelby County, Tenn. — A new study shows Tennessee's economy is recovering faster than other states after almost a year of shutdowns and closures.
"Tennessee was one of only seven states to have positive economic growth since April of 2020 when much of our economy was shut down, one of seven," said Governor Bill Lee during his State of the State address Monday night.
According to the Opportunity Insights Tracker, consumer spending increased by 23 percent in Memphis as of January 24 compared to January 2020 before the pandemic hit.
RELATED: CARES Act Grant ready to assist Memphis hospitality professionals
This spending growth is higher than the state's average of 19 percent.
This Harvard University based team uses debit and credit card information to track how much people spent.
"Sometimes those metrics are good news, sometimes they're not," said Dr. John Gnuschke, Director of the Sparks Bureau of Business and Economic Research (SBBER) and Professor of Economics at the University of Memphis.
Dr. Gnuschke said economic growth is typically slow in Shelby county, even during good years.
"I think we are on the path to recovery but I believe it will take us some time to get a full bounce back to where we were at the end of 2019," he said.
Opportunity Insights Tracker shows what many of us have seen firsthand - restaurants, and entertainment continue to struggle.
RELATED: Memphis Zoo handing out free tickets to Memphis Restaurant Association Workers
According to the database, restaurant growth dropped almost 10 percent over the same time period in Memphis and entertainment and recreation spending took the biggest hit and dropped by more than 45 percent.
"Tourism, restaurants and entertainment have struggled and will continue to struggle until we get this pandemic under control," said Gnuschke.
He said this recovery should be compared to a marathon, not a sprint.
"We're going to see continued growth. We're going to see a rebound that's slow and it's going to take us some time. We're going to have two years of basically no growth," said Gnuschke.
19-year-old charged in attempted murder of SCSO detective, police say
Stimulus payments: Democrats reject proposal to limit $1,400 checks; unemployment, tax credit in plan
Meet two local women who are helping others grow their businesses during the pandemic
15-year-old boy identified as student killed outside Pittsburgh school
Canadian restaurant temporarily closed after accepting dog photos instead of vaccination proof
Study: Earth's core is cooling faster than scientists thought


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Destiny has been singing since the mere age of 3. Her first influence was the Queen of Tejano music, Selena Quintanilla. "I remember watching her movie at a very young age, and being so captivated by her stage presence, her voice, the way she captured the audience and sang with her heart. I wanted to do that too." From then on, that began her music journey, from singing at her school talent show at only 8 years old, to performing a live performance of her very own song "you won't let go" at Ocean's Edge's end of the year show; Her dream is the same but her drive and passion has only grown stronger. "My heart is to touch people with song, to connect them to something that is far greater than me, Jesus. I've learned that a song is another way of communication, conveying emotion and feeling all in one. I want my music to do that." What sets apart Destiny is her raw and and candid lyrics that point the listener to Jesus. Her heart behind every melody and lyric is clear, she wants to bring fame to the name of Jesus by using her personal life experience through her songs. Her first EP entitled "His instrument" Is now available on all digital platforms! You can also order a physical CD on her website, under "Merch." "I poured my heart into each song that is on 'His Instrument' and there's something special about that."
COPYRIGHT 2017 DESTINY RAYNE


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§ 18115. Duties of Filing Officers and Filing Officials - Statements of Economic Interests.
2 CA ADC § 18115BARCLAYS OFFICIAL CALIFORNIA CODE OF REGULATIONS
Title 2. Administration
Division 6. Fair Political Practices Commission
Chapter 1. General (Refs & Annos)
2 CCR § 18115
The filing officer is the person or agency which receives and retains original statements of economic interests (Section 87500). The duties of filing officers are set forth in subsection (a) of this regulation. Subsection (b) of this regulation describes the duties of agency officials who receive original statements of economic interests and are required to make and retain a copy of such statements and forward the original to the filing officer.
An official who is both a filing officer and an official who receives statements and forwards the originals to the filing officer will have duties under subsections (a) and (b) of this regulation.
(a) Filing officers who are responsible for statements of economic interests shall:
(1) Supply the necessary forms and manuals prescribed by the Fair Political Practices Commission;
(2) Determine whether the proper statements have been filed and whether:
(A) The cover sheet includes the name and address of the filer, the period covered and type of statement;
(B) The summary page is completed, and the required schedules are attached as indicated;
(C) All information is legible, and readable reproductions of the statement can be made.
(3) Promptly notify the filer if a statement does not satisfy the requirements of subsection (a)(2).
(4) Review the information contained in at least 20 percent of the statements which are filed on time, at least half of which must be selected on a random basis, and the information contained in all statements which are filed late, to determine whether:
(A) The summary page is completed correctly, and all schedules applicable to the filer are either attached or checked "no reportable interests."
(B) The attached schedules include all required descriptive information for each financial interest.
(C) Information contained on one schedule suggests that required information is omitted on either that schedule or another schedule.
(5) Promptly notify the filer if the review of the schedules indicates that the filing is incomplete or incorrect in any material respect.
(6) Report apparent violations of the Political Reform Act to the appropriate agencies. An apparent violation exists when:
(A) The filing officer knows or has reason to believe that the statement contains material inaccuracies or omissions;
(B) A filer fails to file all or part of his statement or refuses to file all or part of his statement after reasonable notice has been provided by the filing officer.
(7) Compile and maintain a current list of all statements filed with the office.
(b) Agency officials who receive statements of economic interests and forward those statements, as required by Government Code Section 87500, to the filing officer shall:
(1) Forward the statements to the filing officer no later than five days after the filing deadline or five days after receipt in the case of a statement filed late. The official shall indicate the date of the agency's receipt on the face of the statement and shall also make and retain a copy of each statement forwarded to the filing officer;
(3) Notify the filing officer of the following events within ten days of their occurrence:
(A) An election held in the jurisdiction, the names of the candidates, the persons elected, and the office to which each person was elected;
(B) A vacancy in an office;
(C) Any other event affecting filing obligations.
(4) Notify the filing officer no later than February 1 of each year of the names and positions of every person whose statements must be forwarded to the filing officer;
(5) Compile and maintain a current list of all statements forwarded to the filing officer.
Note: Authority cited: Section 83112, Government Code. Reference: Sections 81010 and 87500, Government Code.
1. New Chapter 1 (Section 18115) filed 11-4-75; effective thirtieth day thereafter (Register 75, No. 45).
2. Amendment of section title filed 5-22-78; effective thirtieth day thereafter (Register 78, No. 21).
3. Amendment filed 10-2-78; effective thirtieth day thereafter (Register 78, No. 40).
4. Amendment filed 1-25-80; effective thirtieth day thereafter (Register 80, No. 4).
5. Amendment of section heading and NOTE filed 10-29-81; effective thirtieth day thereafter (Register 81, No. 44).
6. Editorial correction of section heading filed 10-29-82 (Register 82, No. 44).
7. Amendment of subsection (a) filed 7-16-85; effective thirtieth day thereafter (Register 85, No. 29).
2 CCR § 18115, 2 CA ADC § 18115


Castello Cabiaglio is a comune (municipality) in the Province o Varese in the Italian region Lombardy, locatit aboot 60 km northwast o Milan. As o 31 Dizember 2004, it haed a population o 548 an a aurie o 7.1 km².
Castello Cabiaglio borders the follaein municipalities: Barasso, Brinzio, Comerio, Cuveglio, Cuvio, Luvinate, Rancio Valcuvia, Varese.


Join 200+ of your friends, neighbors and charity partners at LULU'S (W Hotel Hoboken) for our 80's themed Winter Benefit to celebrate another totally tubular year for Party With Purpose. We're starting the year with a bang by honoring our 2016 grant recipients. To date, Party With Purpose has given over $600,000 to various causes and, with your support, we want to give even more money to the incredible community we live in!
So get ready to go back in time to the 80's! Dust off your neon shirts, acid-washed jeans, and high tops and join us! Grab your Aqua Net and leg warmers, too! Great views of Manhattan, unlimited drinks (open bar included), appetizers, auction prizes, tricky trays and special guest appearance by Skeery Jones from Z100. It's just a 5 minute walk from Hoboken Train and PATH station.
Please fill out our sign up form and we will be in contact with the details.
Who told you about the event?


Dr hab. inż. Andrzej Greinert, prof. UZ, prodziekan Wydziału Inżynierii Lądowej i Środowiska, prodziekan d/s nauki w ramach programu Erasmus Plus serdecznie zaprasza studentów i pracowników UZ oraz wszystkich zainteresowanych na otwarte wykłady, prowadzone przez Pana Ivars'a Matisovs'a z RĒZEKNES AUGSTSKOLA na Łotwie.
w godz.15.00-16.30 Poland and Latvia – similarities and differences.
w godz.15.00-16.30 Ecological Expedition as Effective Form of Environmental Research and Ecological Education.
Oba wykłady odbędą się na kampusie A w budynku A12, w sali nr 105.
Abstract. The lecture deals with different aspects of degraded territories (brownfields) issues (terminology, classification, problems), provide examples from brownfields in Latvia, describe possible solutions of this problem. Characterize brownfields redevelopment as a stimulus to planning and development of urban territories.
Abstract. The lecture provides comparative characterization of two Baltic Sea Region states that include various aspects: geographical position, natural environment and landscape, history, culture, demography, ethnic structure, economics e.t.c.
Abstract. Lecture provides with significance of landscape quality assessment and introduce with practical methods, also show facilities of integrated assessment of urban landscape quality. Complex character of urban landscape stressed equally impressive factors that includes visual aesthetic, ecological and cultural historical aspects. Lecture provides information about specifics of urban landscape and factors, that have influence on landscape quality. Significant indicators of urban landscape transformation are changes of population and another demographic parameters in urban areas, changes of land use structure, urban environmental quality, dynamics of urban transportation system and volume of construction works. Urban landscape play essential role in making of place image and in consolidation of local identity. Lecture show urban landscape individualities and transformation of urban landscape structure and quality in the cities and towns of Latgale (Eastern Latvia) region on change of 20-21 centuries, in period from 1990 to 2013. Possible also practical training for introduce students with landscape assessment methods in real study area.
Abstract. The lecture deals with ecological expedition as effective form of environmental research and ecological education. Since 1997 Rēzeknes Augstskola organizes ecological expeditions for study program "Environmental engineering" students in the Eastern Latvia region. Since 2007 took place also geographical expeditions for study program "Teacher of geography and social sciences" students. Students realize integrated assessment of environment quality with different methods. Presentation show main goals and tasks of this expeditions and summarize experience of period 1997-2013.


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For Puppeteers
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Touring Shows
Incubator for New Works
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The Hatchery
Puppetry Library
M. Churchill Memorial Fund
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Sarah Leaf-Herrmann
"Tanglewood Marionettes", "aladdin", "arabian", "brookline", "family fun in boston", "family theater", "marionette", "puppets", "things to do in boston"
Magic, Adventure and Marionettes at PST!
THIS WEEK AT PST:
An Arabian Adventure by Tanglewood Marionettes
Wed- Sat | Aug 1st - 4th | 10:30am &1pm
Hop onto your magic carpet, and take an adventure to the magical land of the Middle East this week at Puppet Showplace Theatre.
About the show: Featuring over a dozen beautifully hand-crafted marionettes and exquisite "story-book" style scenery, "An Arabian Adventure" tells the tale of a Persian prince who must battle his way out of a dungeon to save his beloved princess from a tragic fate. Long: Featuring over a dozen beautifully hand-crafted marionettes and exquisite "story-book" style scenery, "An Arabian Adventure" tells the tale of a Persian prince who is thrown into a dungeon because of his love for a beautiful princess. Facing danger at every turn, the courageous prince must battle his way out of the underground prison to save his princess from a tragic fate.
The soundtrack features professional acting set to the background of classical music from favorite composers, as well as traditional Middle Eastern music. The program is presented with the marionettists in full view, so that the audience can witness firsthand the mechanics of puppet manipulation. Replete with clever stage illusions and lighting effects, "An Arabian Adventure" is an action-packed drama that is sure to delight audiences of all ages while introducing them to the magical world of puppet theater.
About the performer: Peter Schaefer was born into a family of puppeteers and has been performing with hand puppets, rod puppets and marionettes since he was a child. After refining his skills with a local puppet company for several years, Peter purchased a marionette show from a retiring Boston puppeteer and launched his own company: Mountain Marionettes. After touring nationally for two years, in 1993 Peter decided to join with a fellow puppeteer and form a new company: Tanglewood Marionettes.Over his career, Peter has brought his unique marionette artistry to hundreds of thousands of children and families across the country! More Info.
Newer PostMy New Favorite Thing: Middle Eastern Music
Older PostMy New Favorite Thing: Glove Puppetry!
Puppet Showplace Theater is supported by...
Puppet Showplace Theater, 32 Station St., Brookline, MA 02445617-731-6400info@puppetshowplace.org
PUPPET SHOWPLACE THEATER 32 STATION ST. BROOKLINE, MA 02445 617-731-6400


Today...Rain. Highs in the mid 40s. Northeast winds 10 to 15 mph with gusts up to 25 mph. Chance of rain near 100 percent.
Tonight...Cloudy. Isolated showers in the evening, then rain likely after midnight. Lows in the upper 30s. North winds 5 to 10 mph. Chance of rain 70 percent.
Wednesday...Cloudy. Rain likely, mainly in the morning. Highs in the upper 40s. East winds 5 to 10 mph. Chance of rain 70 percent.
Wednesday Night...Mostly cloudy. A chance of showers in the evening. Lows in the upper 30s. North winds 5 to 10 mph. Chance of rain 50 percent.
Thursday...Partly sunny. Highs in the lower 50s. North winds 5 to 10 mph.
Friday...Rain likely. Highs in the upper 40s. Chance of rain 70 percent.
Friday Night...Rain likely. Lows in the upper 30s. Chance of rain 70 percent.
Saturday...Mostly cloudy in the morning, then becoming partly sunny. A 50 percent chance of rain. Highs in the lower 50s.
Sunday...Partly sunny. Highs in the lower 50s.
Sunday Night...Partly cloudy with a 30 percent chance of showers. Lows in the upper 30s.
Monday...Partly sunny. Highs in the lower 50s.


In 1927, the spiritual leader of Russian Buddhists announced that it is time to spend time in another life. Still sitting in the lotus position today, his body shows no signs of deterioration: muscles and tissues have not melted, the members are not stiff and the skin is still soft. Scientists who examined him said the body compares to someone who's been dead for 36 hours. Buddhist monks think he is still alive but plunged into a state of hibernation called "Nirvana".


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The local press dug into Jay Winik's 1865 to try to figure out how there could be surrendering in North Carolina after Appomattox.
They did a decent job of half-understanding what they tried to read. The reference to Winik as an historian, e.g., is cute (a civil servant, he wrote 1865 only, and that is merely an historical essay) but Johnston's surrender did not remove the spectre of continued war, as implied here. Nor can that conclusion be drawn from Winik. The Confederate government, led by Breckinridge, continued moving south and west after Davis's capture.
Lack of interest in Johnston's surrender site is not just about Appomattox blindness among ACW readers, it's also about the ambiguous end-of-war date. It's a discussion that needs to be aired.


This entry was posted in Valuation Techniques and tagged Greenwald, Growth, happy easter, valuation. Bookmark the permalink.
Thanks for the growth valuation handout.
On the Value of Growth – Basic Forces at Work page, what if G is more than R and is G the growth rate of earnings? There's mention of growth rate of industry so I got confused.
I've seen it mentioned elsewhere that the WACC is kinda theoretical and therefore is less useful in practice. With interest rates so low, is the practical rate 6% (as mentioned in the first couple of lectures?).
How does one determine the true cost of funds?
Could you please elaborate? I understand that bottom right of the table is growth that adds a lot to value, but how do I use it? Then how does the 16PE to 48PE relate to the discussion on the page?
Finally, on the next page, "Procedure in Practice", the "identify organic growth" has (GDP+-). You mean see how much above the gdp is the actual company's growth rate which implies "internal" growth vs growth due to overall economic growth?
An applied example on a case would be really helpful.
Good questions, but I may not get to answer it until this weekend. Hang tight.
I think we need a whole section on valuing growth–part of valuation after competitive analysis.
Hi john ,i have a couple of question on franchise investing!!!


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Kent Christensen playfully satirises modern life, where indulgence is the new god. Icons were once the exclusive domain of religion and royalty, but today they are everywhere and provide the visual backdrop to our world.
Double-Double Still Life (2015) places a popular contemporary subject in a traditional format. The famous California fast-food establishment In-N-Out Burger's popular "Double-Double" burger is depicted in two heaping servings on the restaurant's signature red plastic tray in an altar-like niche. The distant window view is adapted from a detail of Giovanni Battista Moroni's Portrait of Canon Bartolomeo Bonghi.
Christensen applies an iconic status to his oversized ice-cream cones, milkshakes and candy that emerge from landscapes to become absurd, surreal objects. In Sundance Drumstick (2012) a giant drumstick ice cream floats over a mountain landscape like an object lifted from a roadside billboard. Typical of his Magritte-inspired works, the image takes on sensational, devotional and supernatural qualities and is both beautiful and puzzling.
The colourful and alluring qualities of candy and other sugar based foods make them enticing visual subjects, masking their true unhealthy nature, and provide a vivid visual metaphor for our times. In his tongue-in-cheek embrace of iconic American sugar-based foods, his paintings pay homage to altarpieces, advertising, Pop Art, and minimalism among other themes. Driven by chasing satisfactions that can never be fulfilled, Christensen's work employs an inescapable decadence of consumerist culture.
Kent Christensen was born in Los Angeles in 1957. He lives and works in New York City and Sundance, Utah. Select exhibitions include Kent Christensen: 30 Year Career Retrospective, Woodbury Art Museum, Orem, Utah (2013), Bad for You (curated by Beth DeWoody), Shizaru, London (2012), Sensory Overload, Eleven, London (2011).


Gorgeous Eyes, Skin Glow, Skin Toner, Slim Machine, King of Kerala…no we are not referring to facial kits at a beauty salon or exercises at a gymnasium. Rather, these are just some of the cold-pressed juices and smoothies you can choose from at Green Habito at Kazhakoottam, near Technopark.
Founders Sujith K J and Aswadev S S are hoping to wean people off packaged juice commonly available in the market with sugar as a major ingredient. With the tagline 'Health in a Cup' and a green torch as the logo, symbolising leading the way towards a healthy life, the duo claim that Green Habito is the first such outlet for cold- pressed juices in the city.
Sujith, Pre-Sales Lead, Global Sales & Marketing, IBS Software Services, is a self-confessed health enthusiast who hit upon the idea after reading 'The Code of the Extraordinary Mind' which featured a section on health. "Eighty per cent of the products in supermarkets have high levels of sugar. The World Health Organisation (WHO) insists that every person should include 300-400 grams of fruit in their diet on a daily basis. But there is a deficiency of fruits consumption in India," he said.
"Packaged juice, generally considered 'healthy' and 'real', is low on fibre content and high in fructose which is related to increased insulin resistance. The fruits used need not be from places that follow a pesticide-free policy," he added.
The fruits at Green Habito are purchased from an organic store in the city, Horticorp or Chalai market.
Explaining what makes cold-pressed juice different from regular, freshly-squeezed juice, Sujith said the latter is made with a centrifugal juicer that uses an ultra fast spinning blade for extraction. "The metal blades spin quickly, generating heat. This breaks down important enzymes. The spinning also oxidizes the juice, which further breaks down its nutrients. While it might be refreshing and tasty, it is not as nutritionally potent as cold-pressed juice whereas the cold press juicer presses the produce for extraction and no heat is involved. It retains 100 per cent of the vitamins, minerals, enzymes, and nutrients. Smoothies are whipped up using fresh milk (heated and then refrigerated) and honey. The fruits for the smoothies are weighed and added in varying proportions, based on the nutritional value. "For example, the smoothie 'Slim Machine' is perfect to lose weight. It has a set proportion of guava, watermelon and pomegranate, and it does not contain any fatty content," Aswadev said.
Items on the menu including sandwiches can also be made a regular part of the diet through a 'juice subscription'. The team is also planning a 'Fruit at Desk' subscription to have fruit boxes delivered at one's work desk. The store only uses paper cups as part of their eco-friendly initiative.


Name Edwyna at Onomast. What does name Edwyna mean? Meaning, origin, translation, rating, popularity, code, gender and comments of the name Edwyna.
The female equivalent of the Old English male given name Edwin - "rich girlfriend, female friend"


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