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JAPO Releases
Stephan Micus: Implosions (JAPO 60017)
August 25, 2015 December 12, 2015 | Tyran Grillo
Stephan Micus
Implosions
Stephan Micus sitar, acoustic guitar, vocal, Bavarian zither, shakuhachi, shō, Thai flute, rabab
Recorded March 1977 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
As of this month (August of 2015), ECM's intrepid Stephan Micus has released his 21st album for the label, Nomad Songs. In recognition of this achievement, and of the prescience of that title, I thought it only appropriate to acknowledge Implosions, his first album for producer Manfred Eicher, released on the JAPO sub-label in 1977. What might the first-time listener have imagined when spreading roots into its soil? What fantasies or lamentations? What creeds or philosophies? Micus's sound art, assembled as it is from a uniquely global perspective, is one in which such questions, but never their answers, reign supreme. Like the sitar solo which opens "As I Crossed A Bridge Of Dreams," it contains many possible universes but yields only one. One sitar becomes three, and one instrument two as Micus adds an acoustic guitar, all the while spirographing this inner sanctum with the curvature of his singing. The two lap instruments reveal themselves to be indeed rooted in seated chakras, while the voice treads with more luminescent footprints to show for its passage. Crossing threshold after threshold, it shakes the sky out as if it were a laundered sheet, until the stars release their hands from prayer.
Although Micus has most often crafted albums at his home studio and sent them to Eicher for mixing and mastering, earlier ones such as this were recorded at Tonstudio Bauer in Ludwigsburg, Germany, where many of ECM's formative releases were also realized. The studio dynamics imbue these travels with a rather different intimacy, one which brings its own climate and bounces back sunlight like the moon. Three Bavarian zithers, each with its own signature, form a dense and percussive bed for Micus's singing in "Borkenkind." His floating transpositions trail sutras of memory, spinning from them a yarn of forgetting. This becomes the sole purpose of the music: to detach oneself from the snares of fame and recognition until only the sound and the ear are left to dance unhindered. And indeed, when Micus sings again in "For M'schr And Djingis Khan," accompanied by the uncut diamond of the rabab (Afghani lute), he balances on a tipping point into infinity, his mouth filled with empty pages.
Even when he doesn't sing, his heart resounds through the four shakuhachi of "Amarchaj," each chamber a bird with its own ritual warble, threading clouds to their shadows on earth below. This leaves only the Thai flute of "For The 'Beautiful Changing Child'" to cast itself into an ocean without language. Lifted by three shō (Japanese mouth organs), it resists even these words struggling to catch it, riding the waves from one dawn to the next, waiting for my well to run dry.
Stephan Micus: Till The End Of Time (JAPO 60026)
August 23, 2015 | Tyran Grillo
Stephan Micus table harp, kortholt, zither, guitar, vocal
Recorded June 1978 at Tonstudio Bauer, Ludwigsburg
Before migrating across the ECM continent, Stephan Micus outfitted some of his most formative expeditions in the territories of the JAPO sub-label. On these albums one hears Micus at his most elemental, turning every gesture into inter-spatial awareness. The album's duration of 36 minutes only serves to deepen its intimacy as a space in which the listener might catch a cushion of meditation in a world of splinters.
Micus's practice has always been to render the stem before the flower, and in the album's title track a table harp provides that very illustrative function. Its dulcimer-like heart beats a rhythm at once ancient and fresh, curling as the scriptural page, its edges darkened from constant contact with the hands. Those same hands cradle a method of speech so musical that its melody is discernible only in the freedom of solitude. This is perhaps why Micus tends to work alone: so that he might open every angle honestly and uniquely, until the geometry of his life grows big enough to Venn-diagram into the listener's own. Bowed zither expands the roots and gives way to a kortholt, a crumhorn-like reed from the Renaissance that pulls hidden colors from the sunlight. A classical guitar, which all but disappears from Micus's later work, defines ethereal flesh through a worldly skeleton. Like the music itself, it is gut and wood and movement, drawing a string through immediate intellect to that of another time.
"For Wis And Ramin" is even more direct in its expressiveness, triangulating guitar and zither with Micus's imagined singing. Imagined, because no words would do justice to the palette from which he draws, one that harbors not the barest pigment of politics. After the opening classical guitar solo connects its geometric touch-points, only a throated language can bring to the light that which is born in the dark. Micus is thus a troubadour who seeks love not only on earth but also from heaven, so that when the zither walks in the voice's path, we must also feel the soles of our feet pressing their outlines into planes of stardust, refuges of forgotten pollen.
on a rainy night a traveler: Stephan Micus's ongoing raga
August 23, 2015 August 23, 2015 | Tyran Grillo
The music of Stephan Micus is a soundtrack to life. It holds the sky in its crown, the earth in its belly, a molecule of ocean on its tongue. And while each of his albums may be the first step of a longer journey, the two early releases reviewed here just might be the best places to start for those who have never encountered him in their travels.
Listen to the Rain (JAPO 60040)
Stephan Micus dilrubas, Spanish guitar, steel string guitar, suling, shaskuhachi, tamboura
"For Abai and Togshan" recorded July 1983 at Tonstudio Bauer, Ludwigsburg
"Dancing with the Morning," "Listen to the Rain," "White Paint on Silver Wood" recorded June 1980 at Sound Studio N. Kiln
Engineer: Günther Kasper
If Micus's saga were an ongoing raga, then 1983's Listen to the Rain would be one of its most inward-looking prayers. All four meditations that make up the album, while externally distinct, are internally connected through Micus's use of guitar. The Spanish variety plays a particularly active role throughout, with the sole exception of "Dancing with the Morning," for which he pairs the ubiquitous steel-stringed with the suling, a bamboo flute often heard in gamelan ensembles of southeast Asia. Knowledgeable listeners will recognize both the rarity of the backpacker's trusty companion in the Micus canon and its elemental necessity in this setting. The ascetic sheen of its metal strings paints a world of shine to which a human presence adds less manufactured colors. The suling's unclipped wings, by extension, are exhaled into the sky above, circling and darting through the surrounding melodies until they take shape under cover of their own imagination.
The title track is a duet for Spanish guitar and tamboura. True to his extensively creative spirit, Micus plays the latter like a zither, over which the former's gut strings produce an ascendant pathway into "White Paint on Silver Wood," which trades the tamboura for shakuhachi. The Japanese bamboo flute begins with a solo that teeters on the edge of breathlessness and follows through on its wandering spirit. Flamenco-esque touches evoke movement not only of dancer's feet but also of artist's brush.
Yet it is "For Abai and Togshan," which takes up Side A of the original vinyl, in which the farthest reach of this interior song takes physical form. Three dilrubas (bowed lap instruments from northern India) open in drone, wavering like bodies once lost in time but only now finding each other, piece by sunlit piece. Three soon give way to five, joined by four Spanish guitars, whose harmonic infusions fade in rose tones of complexion. The atmosphere is as much introspective as it is joyous, and finds in the solitary center a peace immune to corruption of shadow. The dilruba's sympathetic overtones begin as if leaving, dropping cartographic messages as breadcrumbs into sundown.
East Of The Night (JAPO 60041)
Stephan Micus 10- and 14-string guitars, shakuhachi
Digital recording, January 1985 at Tonstudio Bauer, Ludwigsburg
East Of The Night, released in 1985, is one of Micus's most melodic albums. Its two long tracks epitomize, ever so humbly, the dictum of less is more. The title piece, a conversation for 10-string guitar (an instrument of his own design) and shakuhachi, feels like a dialogue between master and disciple. Micus's guitar combines the reediness of a lute with the subtle ferocity of a koto, making it a natural partner to the shakuhachi's dawning breath. Each pluck of a string works the upholstery of the sky until a surface of untreated wood is revealed behind it. Details of handiwork once obscured by finery and ornament now become naked art. With the softness of a windblown curtain, the plectrum moves from foreground to background before the shakuhachi takes on a Milky Way texture in a suite of thrumming stardust. The flute fragments, multiplies, and ends the set's first half on a congregational sigh.
"For Nobuko" is dedicated to Micus's wife, recipient of this powerfully intimate solo for another custom instrument: the 14-string guitar. Its flowerbed extends far beyond the window box and trails vines from one domicile to another, stretching across vast plains of tundra toward immaculate love. It encompasses the dedication of one human being, whose balance is achievable only by offering himself up to another's fundament, into which the listener's own messages might also be divined.
Like two vapor trails, Listen to the Rain and East Of The Night mark their respective paths of motion by holding relatively still against the blue. One is the parallel of the other, never intersecting except by the illusion of perspective. Together, they are further significant for easing the JAPO sub-label's 14-year flight in for a landing, thus ending one fantastic voyage by barely beginning another.
Tom van der Geld/Children At Play: Out Patients (JAPO 60035)
July 8, 2014 July 8, 2014 | Tyran Grillo
Tom van der Geld
Out Patients
Tom van der Geld vibraharp
Roger Jannotta tenor and alto saxophones, bass clarinet, oboe, flute, whistles
Wayne Darling bass
Bill Elgart drums, percussion
Recorded July 1980 at Tonstudio Bauer, Ludwigsburg
Produced by Steve Lake and the band
was it me?
who said that if
two people think the same
then one of them is unnecessary.
Well if that's true, my friend,
I hope it's you.
Vibraphonist-composer Tom van der Geld's ECM initiation came by way of the JAPO sister label when, in 1976, the self-titled Children At Play introduced listeners to an album of uncompromising originality. Recorded in 1973, the same year of van der Geld's permanent relocation to Germany (where the band's reedman, Roger Jannotta, and drummer, Bill Elgart, would also find new homes), it's a formative release not only for being Children At Play's first, but also for sharing its uniquely sunlit sound with the world at large. Tropical and sweet, the album is a sparkling endeavor that favors the lived reality of jazz over its descriptive pitfalls. Patience (1978) was van der Geld's first dip into ECM proper and stands out for its bright geography. This time, however, the tectonic plates shift more abstractly below with the heat of friction. The freedom of this sophomore effort offers plenty of room for the listener to find a story. On its heels came Path (1979), the phenomenal trio album with Jannotta and guitarist Bill Connors. Hewn in pastels rather than oils, it's a decidedly softer and sometimes-haunting affair.
(Photo by Peter Nimsky)
This brings us to 1980's Out Patients, in which van der Geld closed the JAPO circle alongside the ever-versatile Jannotta (on tenor and alto saxophones, bass clarinet, oboe, flute, and whistles), bassist Wayne Darling, and Elgart on drums and percussion. Two of the vibraphonist's compositions bookend the album, contrasting the free unity of "Things Have Changed" with the expressive rubato of "I Hope It's You." The first coheres into a loose brand of unity, the bass clarinet a noteworthy foil to van der Geld, who takes an early solo down a slippery slope yet maintains tactful balance within the rhythm section's mosaic. The concluding tune finds Jannotta (on tenor) leading with truth. The reedman further contributes "Dreamer" for the listener's fortunate consideration. It travels and unravels somewhere between starlight and sunrise, revealing a melodic core in Jannotta's flute and Darling's resonant bassing. The latter's "Ballade Matteotti" awakens like a dawn chorus. Van der Geld describes so much of the image that, were his bandmates not so attuned, they might feel superfluous. Their ease of diction contributes to the group's strength. Consequently, the music flips from intense to reflective at the turn of a phrase. Jannotta's extended delivery in the second half is tour de force in the truest sense, for in it force prevails.
Yet nothing in the program surpasses Elgart's "How Gently Sails The Moon Twixt The Arbour And The Bough (And The World Is Waiting For The Sun," a tune as epic as its title, and one that adds some groove to the band's loose equation. Smooth yet crisp, and brimming with a chamber jazz aesthetic, it explores a wide dynamic range, with a memorable midsection in which delicate utterances ripple through the quartet. Jannotta (now on alto) lends mystical qualities to the scene, finding scratchy-throated catharsis in the unfolding. Interpretive diffusions all around show a group becoming more unified the wilder it gets: proof that, at least in musical terms, letting go will sometimes be the key to being found.
Although Children At Play disbanded in 1981, its spirit lives on in these highly collectible recordings, as also through its leader's commitment to jazz education. In the interest of making his mission known, below is an e-mail Q&A I conducted with van der Geld, who kindly shared his memories and thoughts. And for an exhaustive assessment of van der Geld's career, plus a more extensive interview, check out Formosa Coweater's fabulous article here.
Can you tell me about your musical background and about how you came to be a jazz musician?
Well, I come from a third-generation family of musicians, so I guess there is something hereditary here. I grew up in an environment where jazz was always being played or listened to. My parents had a "dance band" which played on weekends at officer's clubs and private clubs. I played trumpet in that band for several years. Having been the world's second worse trumpet player (!), I decided at age 21 to start playing the vibes. There was never really much of a choice regarding becoming a jazz musician. At one point, I did earn an engineering degree—mainly at the request of my father. Following that, I was devoted to music.
You seem to have followed in the footsteps of many American-born musicians who have found a musical home in Europe. Can you tell me what differentiates European approaches to jazz performance and pedagogy from their counterparts elsewhere?
The Europeans have, over the decades, developed a very special jazz signature. Significant input has come from English players like Kenny Wheeler and John Taylor. But throughout Europe there have been great players who have taken American music and blended it with their own particular cultural and musical expression. Names that come into mind would include Thomas Stanko, Jan Garbarek, Dave Holland and many more.
In the early seventies, there were very few schools in Europe with an adequate jazz curriculum. This is no longer the case. There are excellent jazz departments in many European universities.
Who did you count among your deepest musical influences when you began your professional career? Has that list changed since then?
As far as the vibes are concerned, my first influences were Lionel Hampton (the first LP I ever bought) and Milt Jackson (the first jazz concert I ever went to). When Gary Burton came to Albuquerque with his famous first quartet in 1969, I was completely blown away. Later I became one of his students at Berklee. Other important musical influences included Marion Brown, Ornette Coleman, Paul Bley, the Art Ensemble of Chicago, ESP, Archie Shepp, Eric Dolphy and Albert Ayler.
What role does teaching play in your musical life? What have you learned from your students?
I was fortunate to be able to teach and, in fact, to quite enjoy teaching. Teaching was also often the mainstay regarding things like paying the rent. And I have indeed learned very much from my students. The most important lesson: be open to questions and remain curious.
Each of the four albums you recorded for ECM/JAPO is distinct from the rest. How would you characterize their moods and styles? Is there an overarching theme that connects them all?
Those recordings are individually the result of circumstance and coincidence. There is no overarching theme connecting them. It was very rewarding to play with those great players/composers.
How has the experience of performing enhanced your understanding of jazz as an art form? Do you see jazz as an art form to begin with, or is it something else?
I don't know: I never use the word "artist" when describing myself, and have never consciously considered these questions.
Who are you listening to these days?
Mostly piano players, with Bill Evans, John Taylor, Ahmad Jamal, Bud Powell and Art Tatum being on top of the list. I also listen often to "classical" music.
Your Ear Training textbook has enjoyed international success as a teaching tool. How did you come to write it? What did it mean for you to have Dave Liebman write its Foreword?
I had applied for a professorship at the Musikhochschule Köln (a school of music at the university level in Cologne). This must have been sometime during early 1994. Well, I didn't get the professorship. They were, however, at that time looking for someone to teach the jazz ear-training courses. Since I had already been teaching ear-training at Berklee, they asked me to join the faculty. After a few semesters, I had produced a large amount of my own teaching materials. My subsequent method books are based on these materials.
I was extremely happy that Dave agreed to write the Foreword for these books: he is a player and teacher of great integrity for whom I have always had the greatest respect.
What is your best advice for aspiring jazz musicians?
Learn the science of our music (harmony) and develop your instrumental technique.
But NEVER forget: jazz improvisation begins and ends with your ears.
If you can't hear it, don't play it!
(Out Patients back cover)
Stephan Micus: Wings Over Water (JAPO 60038)
November 1, 2013 | Tyran Grillo
Wings Over Water
Stephan Micus acoustic guitar, nay, sarangi, voice, flowerpots, spanish guitar, Bavarian zither, suling
Recorded January 1981 at Ibiza Sound Studio and October 1981 at Tonstudio Bauer, Ludwigsburg
Engineers: Manfred Ballheimer and Martin Wieland
Wings Over Water is the third of five JAPO outings—the most by any artist on ECM's sister label—by Stephan Micus. Featuring a rare turn by the intrepid multi-instrumentalist on that most quotidian tool of accompaniment, the guitar, it spins a web of enchantment across six numbered parts.
Part 1 uses the guitar to anchor that very web, its strings flexing before a soul-piercing tongue. The ney (an end-blown flute of the Middle East featured prominently in Micus's work across the decades) is the breath behind it, a servant of the molecules swimming through its porous tunnel. These encirclings open a space into which the listener might step. Thus surrounded in the comfort of these repetitions, s/he may find that the ney's improvisational flights have similarly taken solace within. Every rhythmic lapse is a micro-phase of organic awareness, attuned to said listener, to the perfect imperfection of things, which like the bird framed in the album cover photograph is austere yet warped in reflection. Gazing and gazed upon, it is self-sufficient, fragile as wind.
Part 2 gives insight into Micus's unique approach to the sarangi, which in taking on such percussive function provides undulating waves for Micus's voice and stretches arcs of flight over a ceramic pulse of flowerpots.
Part 3 rises from the mountains through the rusticity of a Spanish guitar and holds in its hands a dimly lit star, hewn in mineral and soil. The guitar becomes an agent of solace, its sound a meditation on meditation—two mirrors held soul's distance apart and compounded by the interest of infinity. Flowerpots lend their pacing to the skeleton, marrying Sephardic and Southeast Asian influences by way of natural ligaments. The piece ends as it begins: in hermetic garments, tattered yet resilient to the elements, in fact becoming an element unto itself.
Part 4 is a spiritually unbound ney solo, an avian dream that remembers when sustenance was easier to come by, when one could freely roam the air currents to find all that was needed.
Part 5 is an open letter written in the language of flowerpots to the very cosmos. Its paths are as vast and unknowable as Nazca lines, a runway for the ether, embodied in ney and mapped by less visible instruments. Beats rise above the waterline, the breath an unbroken promise of sailing.
Part 6 unfolds, like Part 3, with hints of Andalusian soil. Joining Spanish guitar with Bavarian zither, it unleashes sweeping gardens of profusion, which then quiet to support the lilt of a suling (Indonesian bamboo ring flute) and with it sink into the ocean of forgetting.
An expressly visual journey that skips across rice paddies, this music moves as water strider on pond, and leaves in its wake the promise of a good harvest. It is a vestibule from the rain, a haven where bodies stretch in anticipation of sun.
Abdullah Ibrahim: African Piano (JAPO 60002)
November 1, 2013 November 5, 2015 | Tyran Grillo
Abdullah Ibrahim
African Piano
Abdullah Ibrahim piano
Recorded live on October 22, 1969 at Jazzhus Montmartre, Copenhagen
South African pianist-composer Abdullah Ibrahim (born Adolph Johannes Brand), still performing at the time of this 1969 live album under the moniker "Dollar" Brand, unleashed a mastery so enticing on African Piano, it's a wonder that any of the folks at the club where it was recorded had the resolve to treat it as background to their dining. By the same token, reinforcement of that fact by constant ambient noises renders Ibrahim's performance all the more sacred by contrast.
Amid a sea of chatter, cleared throats, and sudden intakes of breath, he breaks the surf with the gentle yet hip ostinato of "Bra Joe From Kilimanjaro," working meditative tendrils into the bar light. Over this his right hand brings about an explosive sort of thinking that spins webs in a flash and connects them to larger others. With clarion fortitude, he drops bluesy accents along the way: a trail of crumbs leading to "Selby That The Eternal Spirit Is The Only Reality." Ironically (or not), this is the most solemn blip on the album's radar and blends into the ivory tickling of "The Moon." Here Ibrahim's heartfelt, dedicatory spirit comes to the fore, proving that, while technically proficient, he possesses a descriptive virtuosity that indeed evokes a pockmarked surface lit in various phases, harnessing sunlight as if it were skin in dense, vibrating harvest. The kinesis of this tune is diffused in the tailwind of "Xaba," which then flows into "Sunset In Blue." Ibrahim's ancestral awareness is clearest here. The level of respect evoked for both the dead and the living lends a ritualistic quality by virtue of tight structuring, which despite hooks at the margins flies freely in its magic circle. "Kippy" is a smoother reverie with flickers of flame. A beautiful amalgam of measures and means, it slips an opiate of reflection into its own drink. After this, the intense two minutes of gospel and downward spirals that is "Jabulani—Easter Joy" takes us into "Tintinyana," thereby crystallizing the album's flowing energies. Tracks bleed into one another: they runneth from the same cup, their spiritual resonance deep and true.
African Piano is a gorgeous, thickly settled album, but one that is always transparent when it comes to origins. Such is the tenderness of Ibrahim's craft, which speaks with a respect that transcends the sinews, muscles, and eardrums required to bring it to life. It finds joy in history, connecting to it like an Avatar's tail to steed.
Original cover
Herbert Joos: The Philosophy of the Fluegelhorn (JAPO 60004)
Herbert Joos
The Philosophy of the Fluegelhorn
Herbert Joos fluegelhorn, bass, bass recorder, bamboo flute, mellophone, trumpet, alto horn, vibes
Engineer Carlos Albrecht
Produced by Herbert Joos
The Philosophy of the Fluegelhorn is Herbert Joos's first of two albums for ECM's sister label JAPO, the second being Daybreak. Where the latter was a lyrical, if longwinded, excursion, the former is something of a meta-statement for the German renaissance man—not only because he plays a bevy of overdubbed instruments, but also because its freer detailing gives pause over the sheer depth of realization.
The title track draws us into the outdoors, where field-recorded birds—and, among them, Joos's horn—populate the trees with temporal awareness. Sibilant breath and popping bamboo flutes share the entanglement: the rhizomatic spread of Joos's becoming-animal. Following this undulating prelude, "The Warm Body Of My True Love" opens the stage, a halved and hollowed whole. The nature of this soliloquy must be sought out in stirrings of life, excitations of molecules, and less definable physical properties. The horns are trembling, universal. "Skarabäus II" is of similarly finite constitution, navigating passage into darker dreams and adding to those horns a string's uncalled-for response to the question of existence. Braided offshoots of trumpet fly around one another, each carrying its own flame of obsession. Next is the smooth and sultry "Rainbow." Tinged by the alcoholic sunset of vibes, it is a hangover not yet shaken for want of the altered perspective. The squealing litter of horns that is "The Joker" segues into "An Evening With The Vampire." Bathed in the sounds of nine arco basses, it enacts a morose ending to an otherwise luminescent session. Its sul ponticello screams recall George Crumb's Black Angels and spin the echo-augmented horn like a chromatic Ferris wheel until the breath stops.
If you've ever been curious about Joos but didn't know where to start, then by reading this you've already put your hand on the knob. Just turn it.
George Gruntz: Percussion Profiles (JAPO 60025)
Percussion Profiles
Jack DeJohnette drums, cymbals, gongs
Pierre Favre drums, cymbals, gongs
Fredy Studer drums, cymbals, gongs
Dom Um Romão percussion, gongs
David Friedman flat gongplay, vibes, marimba, crotales
George Gruntz gongs, keyboards, synthesizer, crotales
Recorded September 20, 1977 at Wally Heider Studios, Los Angeles
Engineer: Biff Dawes
Mixing: Georg Scheuermann and Manfred Eicher
Producer: Robert Paiste
Late Swiss composer, multi-instrumentalist, and artistic director George Gruntz (1932-2013) left behind a long and fruitful trail, one that intersected with ECM twice: once for the label proper as Theatre and before that for JAPO in the form of Percussion Profiles. The eminently influential Gruntz assembles here a veritable Who's Who of the rhythmic circuit at the time of its recording (1977): namely, Jack DeJohnette, Pierre Favre, Fredy Studer, Dom Um Romão, David Friedman, and Gruntz in the architect's chair on synths and keyboards. The project speaks less to Gruntz's big band experiments than it does to his classical roots. Dedicated to Paiste brothers Robert (who also produces) and Toomas, the piece is a bona fide percussion concerto that approaches its performers as equal elements in a larger chemistry.
The piece is divided into six Movements, each illuminating a facet of the whole. Movement 1 introduces the pleasant blending of registers—from twinkles to full-throated calls—that defines the album's broad trajectory. Like the sun on a cloudy day, its light shines variedly: sometimes in floods, sometimes in winks and flashes, but always with a clear conscience. There is a sensitivity of expression here that tells the stories of chamber music in the language of the Serengeti. Movements 2 through 4 bring out a veritable bouquet of fragrances: briny ocean (laced with intimations of birdsong and splashes of electronic marginalia), undercurrents of metal and oil, and resonant drones share a path toward the masterful "Movement 5." This last opens in a vocal flower, which cups in its petals a sparkling array of notions and potions. The histrionic ways of this piece make it a beguiling standout, akin to Marion Brown's Afternoon Of A Georgia Faun. Here is where the visuality of his medium is most apparent. If this record is a house, this movement enacts a thorough cleaning of its basement. Rusted tools and unused others share conversations of things past. Stuck between the water-damaged photographs and listless rodents are fortuitous becomings, blips and dots and dashes, sputtering pipes and creaking infrastructure. These are the feelings within, the memories of which "Movement 6" is a snare-inflected shadow, a spacy ride through keyboard textures and xylophoned exeunt.
Those who admire the work of Edgard Varèse will find much to sink their teeth into in Percussion Profiles, which begs repeated, unaccompanied listening, if only for its level of detail. A memorable rung on the JAPO ladder, and worth the climb to get there.
Contact Trio: Musik (JAPO 60036)
September 24, 2013 | Tyran Grillo
Contact Trio
Evert Brettschneider electric and acoustic guitars
Aloys Kott electric and acoustic basses
Peter Eisold drums, percussion
Recorded October 1980 at Tonstudio Bauer, Ludwigsburg
Produced by Thomas Stöwsand
Musik was the second effort by the Contact Trio for ECM's sister JAPO label. Inspired by the atmospheric developments of Wolfgang Dauner (see, for example, Output) and heavily invested in the softening distinctions between rock and jazz, the trio had by now perfected its rhizomatic sound in what was to be its final record. Here Peter Eisold takes the place of drummer Michael Jüllich, and the result is a truly aerobic experience.
The warm-up
The echoing guitar of "Air Lines" opens the session by straddling extremes of register and sharpness, and starts a snowball rolling down the bass's equally resonant hill. Strangely, the ball doesn't pick up speed for some time, but paces itself in a journey of textured reflection, tracing from each icy particle a possible trajectory of flight. Eisold's unique percussive language is thus apparent. And then: traction as the rhythm section hurls the guitar to tell its story in anticipation of an untimely end.
Muscles and tendons glow with flexion in "String Games." Acoustic in hand, Brettschneider reflects on a past in which the only truth was a broken mirror. There is a feeling of dedication here, a deference to time at large for providing this opportunity to luxuriate in the creation of music. Like the first, this track hooks on to something more propulsive in the final minutes, only now running through the backstreets of a small Spanish town, chasing after a melody.
"Daddy Longleg" is an invigorating turn featuring two overdubbed electric guitars and electric basses, each relaying torch light in palpitating dialogue with the other. Eisold again shines with colorful cymbal work that evokes nocturnal footfalls in the walls.
From its title alone, "Simple Symphony" would seem to be an allusion to Britten's work of the same name. The music provides an entirely different experience. From Brettschneider's throbbing beats and elastic chording to the groovy trio unity achieved thereafter, it climbs every tree in its way like a squirrel on a mission. The rhythm section positively shines in gorgeous geometries, sliding from one signature to the next with the ease and comfort of a fountain pen.
The spine gets is due attention in "Silence," which curves in a protracted arch. Stained guitar and arco bass lead into a plunking dream of youthful flexibility, edging a ghost town with its metal detector until it finds two rusted guns from a shootout, long forgotten…
Chest and arms
"Elbow Dance" completes this full-body workout with a slog through cement that finds resolution and strange comfort in the hardening.
At the risk of belaboring all of this analogizing, Musik is an intensely physical record. Not only in the sense that it feels weighted and animate, but also for its permeable compositions. Each is a thoughtful assemblage of lines that no longer has need for points of origin. Together, these lines leave the listener with a lasting meta-statement of harmless transgression.
A gem in ECM's apocryphal bin.


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All 12 issues published in 2009.
First up this month we are all very excited to be able to present you with an Interview with the character developer who has worked on projects like Fantastic Four, 300 and Journey to the Centre of the Earth 3D, the one and only Cesar Dacol Jr. In his interview we find out how it was to make the transition from make - up effects to computer based work.
We're tackling the texturing of our Next-Gen characters this month in chapter five - the penultimate part - of 3DCreative's tutorial series for 3ds Max/Maya/LightWave and modo. Joseph Harford, Gavin Goulden, James Busby and John Hayes are all back and in top form to take you step-by-step through this leg of your character creation journey.
3DCreative: Issue 044 - April 2009 (Download Only)
Our tutorials this month take us into the world of texturing in 3ds Max, Maya, Cinema 4D, LightWave and modo, as our five artists walk you through the texturing phase. Not only is this an unmissable chapter as it's the penultimate in the series, but also because we're giving away 51 free textures to all 3DCreative readers this month, too! And not just 51 plain old textures - oh no! We're giving you 51 fully tileable high-resolution textures, each with accompanying bump, specular, and in some instances normal maps, from our Total Textures collections.
We've gone absolutely ZBrush crazy this month and have not one, but three great tutorials using this software to create all manner of fantastic sculpts! The reason for the ZBrush craze this month is because our Gothic Church interior tutorial series, for 3d Studio Max, Maya, Cinema 4D, LightWave and modo, dips into the creation of a gargoyle for the scene.
3DCreative: Issue 042 - February 2009 (Download Only)
This month sees the start of yet another great 'super series' in 3DCreative - this time we're talking gothic church interiors, for which five wonderful artists will talk us through the principal techniques used in building a church interior. And to make things slightly more interesting, we also welcome a modo artist to the series, in the form of Robert Bergh. So to re-cap, that's 3D Studio Max, Maya, Cinema 4D, LightWave and modo.
Published Year: 2008 2009
Subject Matter: Drawing and inking Matte painting Poly Modelling Real-time rendering
Not Yet Rated (4)
Poly Modelling (6)
UV mapping (2)
Autodesk 3ds Max (5)
Autodesk Maya (5)
Pixologic ZBrush (4)
Chaos Group V-Ray (1)
(Misc) (2)

redpajama_set_name: RedPajamaCommonCrawl


text:
Israel Reports Lowest Cases of the Coronavirus in a Year
In recent news, the State of Israel has recorded only 13 new cases of the coronavirus in the past couple of days, as reported by the Health Ministry.
More than 10,000 tests are carried out on the weekends, whereas no less than 30,000 to 35,000 people undergo the test for the deadly disease on weekdays. Nevertheless, the country had not recorded the number of cases as low as this since the month of May, in the year 2020.
Just last week, around 75 to 1000 people had shown a positive result when tested for the coronavirus during weekdays. On the 3rd of April, Saturday, more than 120 cases had been identified. Just a month ago, on the other hand, the number of virus carriers in the State of Israel was 1,878. While the virus was at its peak, the authorities reported more than 2,500 cases on a daily basis, even on Saturdays, in the months of January and February.
However, just recently, only 0.1% of the tests being performed have come up with a positive result, which is the lowest ever since the pandemic took over the country. In addition to fewer and fewer people testing positive for the infection, the other indicators being used to monitor the situation have also been encouraging.
Relevant health authorities reported that as of now, there are less than 1,500 active cases of the coronavirus in the country. This number is especially impressive given that Israel had consistently been recording tens of thousands of cases just a couple of months ago.
Currently, more than 100 patients are in a critical condition, which is only a tenth of the figure that was recorded when the pandemic was at its peak in the country. The Health Ministry further reported that less than 10 people have lost the battle with the virus in the last week. On the other hand, more than a month ago, the same number of people were losing their lives to the virus on a daily basis.
At the beginning of the year, patients were reported to have succumbed to the deadly disease in droves.
Furthermore, the reproduction rate of the virus, R, has been consistently stable at a figure of 0.8 for the past couple of weeks. This number is an indicator of how many people on average are being infected by one individual, who has tested positive for the virus. The number has remained at 0.8 despite the extensive openings in the country as the cases of the coronavirus fall.
Meanwhile, the government's vaccination campaign is still moving, even at a slow pace. In the past week, around 10,000 to 12,000 people received their vaccinations on a daily basis, as compared to the 200,000 who were coming in for inoculation when the deadly disease was at its peak in the country.
As of now, more than 900,000 eligible adults in the country have chosen to not get the jab.
Previous Government Gives Approval to Ban Travel to and from 7 States with High Infection Rate
Next Israel Sends Coronavirus Aid to India


text:
SINOPIX PHOTO
Workers' dormitories next to the Shanghai Expo. There are an average of 15,000 construction workers a day working on the site for Shanghai Expo. Shanghai will play host to China's first World Expo to be held from May 1 to October 31, 2010. The theme for Expo 2010 is ?Better City, Better Life,? which explores the central concerns of urban planning and sustainable development. 200 nations and organizations will take part in the Expo, which is expected to attract some 70 million visitors. The...
Workers' dormitories next to the Shanghai Expo. There are an average of 15,000 construction workers a day working on the site for Shanghai Expo. Shanghai will play host to China's first World Expo to be held from May 1 to October 31, 2010. The theme for Expo 2010 is ?Better City, Better Life,? which explores the central concerns of urban planning and sustainable development. 200 nations and organizations will take part in the Expo, which is expected to attract some 70 million visitors. The master plan is based on the concept of "City of Harmony". Harmony between man and nature, harmony between past, present and future and harmony between human individuals..26 Oct 2009
Filename: SINOPIX.factory.workers263.JPG
Copyright Sinopix Photo Agency Ltd
SHANGHAI EXPO 2010, EXPO 2010, EXPO2010, 2010 WORLD EXPO, SHANGHAI 2010, WORKERS, DORMITORIES, DORMITORY, CONSTRUCTION WORKERS, MIGRANTS, MIGRANT WORKERS, LIVING, HOUSES, HOUSING


A place for the area youth to hangout, grow, and worship together.
The NEO Deck. A new way to read Tarot.
The NEO deck is for those wishing to to start out reading Tarot. Simple to understand, easy to follow.
Debra Mann is embarking on a long awaited new recording project with her band, featuring the music of Joni Mitchell.
In 1899 Art Nouveau illustrator Alphonse Mucha printed 510 copies of his masterpiece. In 2016 we are finally unlocking its secrets.
An exploration into the world of the fallen angels. The second book in the Angelarium series.
A handbook and comprehensive guide to forgiveness as a personal healing practice. Learn to forgive anyone for anything.
Living Wellness for Growth Groups will empower you to nourish your mind, body, and spirit. You are made for more than mediocre!
Companion planner/perpetual calendar for The Ancient Egyptian Daybook. Organize your life by pharaonic time!
So unusual is our existence that in the midst of desolation comes a new enlightenment. Welcome to "Such an Odd Destruction - Part II"
Martial arts masters secretly train students while the emperor seeks to unite his people in this 60 minute board game for 2-6 players.
A beautiful little book brimming with uplifting stories and positive words. A gift to inspire, empower and motivate you every day.


text:
Der Hallo-Verlag ist Verleger der lokalen Wochenzeitung HALLO, deren Verbreitungsgebiet im Münchener Osten und Südosten liegt. Er hat seinen Sitz in Haar bei München. Die wöchentliche Auflage beläuft sich auf 323.814 Exemplare bei fünf Stadtteilausgaben und zwei Wochenendausgaben, die kostenlos verteilt werden.

Geschichte
Der Hallo-Verlag wurde am 27. März 1968 von Karl Dressel gegründet, mit dem Ziel die Bürger über Geschehnisse in ihren Stadtvierteln und Gemeinden des Münchner Ostens zu informieren. Anfangs erschien die Zeitung ausschließlich in Waldtrudering. Hallo war das erste Medium, das in der in den 1970er-Jahren errichteten neuen Münchner Trabantenstadt Neuperlach erschien. Seit dem Beginn der Errichtung des Stadtteils Messestadt-Riem berichtet die Zeitung auch dort über Geschehnisse. Hallo finanziert sich seit der Gründung ausschließlich über Anzeigen. Seit 1998 gehört der Verlag zur Zeitungsgruppe Münchner Merkur und ist zudem auch Mitglied der Anzeigenblattgruppe Südbayern und des Bundesverbands Deutscher Anzeigenblätter.

Stadtteile und Gemeinden
 Ramersdorf/ Perlach/ Berg am Laim
 Trudering/ Riem/ Haar/ Grasbrunn
 Oberhaching/ Sauerlach/ Taufkirchen/ Unterhaching
 Feldkirchen/Aschheim/ Kirchheim
 Aying/ Brunnthal/ Höhenkirchen-Siegertsbrunn/ Hohenbrunn/ Neubiberg/ Ottobrunn/ Putzbrunn

Sonstiges
Die Auflagenkontrolle der Anzeigenblätter erfolgt durch die BVDA/BDZV (Bundesverband Deutscher Anzeigenblätter/ Bundesverband Deutscher Zeitungsverleger e. V.).

Weblinks
  Webseite

Einzelnachweise

Deutschsprachige Wochenzeitung
Mediengruppe Münchner Merkur tz
Organisation (Haar, bei München)
Medienunternehmen (Landkreis München)
Verlag (Bayern)
Verlag (Ippen-Gruppe)

redpajama_set_name: RedPajamaWikipedia


First show of the year and it was a huge, chaotic, diverse and dynamic one at St. Bridgid's Art Centre. What a night!
Product of amazing hippys, artist, furrrrygodmother to many doggies, avid yarnbomber, living a passion driven life. Love, peace and chicken grease baby!


I am so sorry that I haven't been on here lately, in this group. I've gotten my log in points and logged my workouts & so forth, but haven't made it on to this page, sorry! I know that there are all different abilities out there, whether it be a physical challenge, or whether it be just plain old out of shape, so part of my not posting was not sure what would be a good challenge for everyone; I don't want anyone to feel left out! If you have any suggestions for future challenges, or any comments or questions or what have you, please don't be afraid to inbox me here!
The only thing I can come up with spur of the moment right off the top of my head for a challenge is to find a BRAND NEW recipe that you have NEVER tried before from here on SparkPeople & try it out. Then, come back here to post what you liked, or what you didn't like about it, what you might do different next time, if you make it again.


text:
Executive Chairman's Message
Logo And Brand Value
Welcome to GLICO
GLICO is a household brand and a leader in the insurance and financial services industries in Ghana. For over 30 years, we have been leading with innovative insurance and financial solutions. Our subsidiary companies have been creating a 'Better Tomorrow' for our customers. Come join our great family.
Executive Chairman's Message
It is a great pleasure to warmly welcome you to the website of GLICO Group Ltd. We are a family of highly successful companies that cater to all your insurance, financial, pensions, health, real estate and other needs.
To operate as a sustainable and result-driven Group
that continuously delivers incremental value to
shareholders and stakeholders.
GLICO Life
GLICO General
GLICO Healthcare
GLICO Pensions
GLICO Capital
GLICO Properties
The company, which was incorporated in 1986 and started operations in 1987 as a specialist life insurance company is regarded as the mother company of all the subsidiary companies.
As a specialist life insurance company and with a vision to bring life insurance to the doorstep of every Ghanaian household, GLICO Life, through hard work, dedication and commitment, has over the years grown and developed into a reputable and resourceful insurance company. GLICO Life has reinvigorated the life insurance industry in Ghana as a major pacesetter.
Through sound and prudent business management practices, backed by an unwavering commitment to innovation, integration and delivery of customized products and services, GLICO LIFE has built a strong financial base that enables it to meet the needs of all its stakeholders.
The company has won numerous awards including being twice adjudged Insurance Company of the Year by the reputable Chartered Institute of Marketing, Ghana and continues to strive for greater excellence.
Visit GLICO Life
+233 302 218 500 / 0202 222 113
info@glicolife.com
www.glicolife.com
It was the second company incorporated in 2006 under the Group to operate in the non-life sector of the insurance industry. It is currently the fifth largest insurance company in terms of market share in Ghana.
The company is committed to providing measured and highly responsive insurance solutions with emphasis on prompt claims payment and deploys a state-of-the-art software to accomplish its efficient service delivery.
GLICO General is an award winning company and a prominent member of the Group. The company provides tailor made products for a number of blue chip policyholders in the country and has insured some of the major projects at the national level.
Visit GLICO General
+233 302 218 500 / 20 2222 113
info@glicogen.com
www.glicogen.com
It was the first Health Maintenance Organization (HMO) incorporated in Ghana after the enactment of the National Health Insurance Act 2003 (Act 650), to offer the Ghanaian public affordable and quality healthcare.
GLICO HEALTHCARE operates as a private commercial health insurance company that has over the years offered medical cover to various customers including international agencies, Governmental and Non-Governmental Organizations, corporate institutions, students, tourists, individuals and families in Ghana.
The Company's goal, which it has largely achieved, is to offer the Ghanaian public competitive and quality health care through a network of reputable service providers, including private hospitals and clinics, Government hospitals, Mission hospitals, Optical centers, Dental clinics and Pharmacies.
The Company is guided in its operations by best industry practices to ensure that it provides quality health care to its enrolled members.
GLICO HEALTHCARE's customer service delivery is next to none in the industry.
Visit GLICO Healthcare
+233(0) 261 589 926 / 302 766 871
info@glicohealth.com
ww.glicohealth.com
Visit GLICO Pensions
+233 302 246140/2
info@glicopensions.com
www.glicopensions.com
It was incorporated in 2003 as a specialist Fund and Asset Management company of the Group. It is licensed by the Securities and Exchange Commission (SEC) to carry out business as an Investment Advisor.
GLICO Capital is the financial partner that brings expert advisory services, deep technical knowledge and extensive industry experience on fund management and wealth creation.
It currently serves the market with services such as corporate restructuring, Mergers and Acquisition, Due Diligence, Fund management, Research & Analysis among others
+233 (0) 302 766871 / 767140
www.glicocapital.com
It was originally incorporated in 2005 as Millennium Real Estate Investments to be a key player in the booming real property development in Ghana.
The company has developed and manages two flagship properties that provide luxurious apartments to the international and Ghanaian business class.
GLICO Properties manages a land bank of the group and continues to embark on landed property projects to meet corporate and individual needs.
Visit GLICO Properties
info@glicoproperties.com
www.glicoproperties.com
FROM HUMBLE BEGINNINGS TO AN INDUSTRY LEADER
It all began when the Founder an Executive Chairman, Mr. Kwame Achampong-Kyei, returned from the United Kingdom to establish GLICO Life Insurance Company (then Gemini Life Insurance Company).
Through sound and prudent business management practices, backed by commitment to innovation, integration and provision of excellent products and services, GLICO LIFE built a strong financial base to cater for all aspects of risks. The Company then turned its attention to expanding its frontiers by establishing and sponsoring subsidiary companies to successfully operate in other sectors of insurance including, non-life and health insurance…
Careers at GLICO
GLICO creates an all inclusive atmosphere for talented professionals, students and interns to sharpen their talents..
Free GLICO COVID-19 Hospitalization Benefit
GLICO Healthcare Wins An Award
©2022 GLICO GROUP | Privacy Policy | Cookie Policy
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text:
Humanism In Action
Board Commentary
Humanist Voices
What is Humanism?
Humanist Celebrants
Kit Egan
NEW MEMBER SPOTLIGHT: KATHERINE JOHNSON
Joined HumanistsMN: April 2019
Profession/residence: I'm a Licensed Psychologist who specializes in crisis intervention. I've worked for Curry County (Brookings, Ore.), Atascedero State Hospital (San Luis Obispo, Calif.), Canvas Health, North Memorial, and Abbott Northwestern, among others. I've also done a lot of volunteer work, including at the Walk-In Counseling Center. I'm currently doing telephonic counseling and crisis intervention for a multinational organization.
IN MEMORIAM: GREG HART
By Harlan Garbell
As many of you know, HumanistsMN member Greg Hart took his life in early June. At a humanist memorial service shortly afterwards, many of his friends described a quiet, unassuming man who always stepped up when something important needed to be done. Personally, I will miss Greg terribly. His sweet nature, intelligence, and commitment to humanism always made me feel comfortable in his presence.
Suzanne Perry
NEW MEMBER SPOTLIGHT: MEET MARY BRILL
Joined Humanists of Minnesota: August 2018.
Profession: Retired oncology nurse. After becoming a nurse at age 50, she worked at Abbott Northwestern Hospital for 20-plus years. She has lived in the Minnetonka/ Eden Prairie area for a long time.
NEW MEMBER SPOTLIGHT: MEET ED CALDIE
Joined Humanists of Minnesota: February 2019.
Profession/Residence: After retiring from a lengthy career in architectural design, I have recently directed my pursuits toward the mastery of creating fine art. Family (and especially grandchildren) lured me back to Minnesota after a 20-year hiatus from winter. Phoenix was my home until this past year when I moved to Woodbury.
NEW MEMBER SPOTLIGHT: MEET ROSS MEISNER
Profession/Residence: Managing Director inside Navigant's Minneapolis office (which we established two years ago). My team serves the med-tech industry, using proprietary analytics we developed to better inform market opportunities and growth strategies. I've lived in Fridley for 18 years. Before that: Silicon Valley, Boston, and Tokyo.
MARCY WOODRUFF JOINS BOARD OF DIRECTORS
The Humanists of Minnesota board has appointed Marcy Woodruff to fill a seat vacated by Sharon Tornes. Many thanks to Sharon for her service. Marcy describes her background and goals below:
What an honor and tremendous privilege to join the Humanists of MN Board of Directors. I am a 15-year Minnesota resident, having spent the bulk of my life in the southwestern US. After retiring from 28 years federal public service (in the air-traffic profession) in mid-2016, I was looking forward to travel, reading, and spontaneous adventures.
president@humanistsofmn.org


text:
var util = require('util');

var async = require('async');

var SensorTag = require('./index');

SensorTag.discover(function(sensorTag) {

  sensorTag.on('disconnect', function() {
    console.log('disconnected!');
    process.exit(0);
  });

  sensorTag.on('connectionDrop', function() {
    console.log('connection drop! - reconnect');
    sensorTag.reconnect();
  });

  sensorTag.on('reconnect', function() {
    console.log('successfully reconnected!');
  });

  async.series([
      function(callback) {
        console.log('connect');
        sensorTag.connect(callback);
      },
      function(callback) {
        console.log('discoverServicesAndCharacteristics');
        sensorTag.discoverServicesAndCharacteristics(callback);
      },
      function(callback) {
        console.log('readDeviceName');
        sensorTag.readDeviceName(function(deviceName) {
          console.log('\tdevice name = ' + deviceName);
          callback();
        });
      },
      function(callback) {
        console.log('readSystemId');
        sensorTag.readSystemId(function(systemId) {
          console.log('\tsystem id = ' + systemId);
          callback();
        });
      },
      function(callback) {
        console.log('readSerialNumber');
        sensorTag.readSerialNumber(function(serialNumber) {
          console.log('\tserial number = ' + serialNumber);
          callback();
        });
      },
      function(callback) {
        console.log('readFirmwareRevision');
        sensorTag.readFirmwareRevision(function(firmwareRevision) {
          console.log('\tfirmware revision = ' + firmwareRevision);
          callback();
        });
      },
      function(callback) {
        console.log('readHardwareRevision');
        sensorTag.readHardwareRevision(function(hardwareRevision) {
          console.log('\thardware revision = ' + hardwareRevision);
          callback();
        });
      },
      function(callback) {
        console.log('readSoftwareRevision');
        sensorTag.readHardwareRevision(function(softwareRevision) {
          console.log('\tsoftware revision = ' + softwareRevision);
          callback();
        });
      },
      function(callback) {
        console.log('readManufacturerName');
        sensorTag.readManufacturerName(function(manufacturerName) {
          console.log('\tmanufacturer name = ' + manufacturerName);
          callback();
        });
      },

      function(callback) {
        sensorTag.on('batteryLevelChange', function(level) {
          console.log('\tbatteryLevel = %d %', level);
        });
        sensorTag.notifyBatteryLevel(function() {
        });
     }
    ]
  );
});

redpajama_set_name: RedPajamaGithub


Watersedge is a private, gated waterfront community on the east shore of Lake Austin next to Island at Mount Bonnell. This exclusive neighborhood sits at the north base of Mount Bonnell. Relax at the lake or hike one of the trails at Mount Bonnell Park. Dry Creek Cafe is a popular dining destination for locals and Hula Hut is nearby by boat. Watersedge is home to Austin ISD.


Five years from now, housewives from Minnesota to Munich will not only be wearing Chinese clothes and watching Chinese televisions- they will also be using fine Chinese cosmetics.
That is the ambition of French cosmetics giant L'Oreal, which plans to open a research and develop plans to open a research and development centre in June next year in Shanghai, its fifth worldwide.
The plan is to develop Chinese cosmetics for the domestic market first, then build an export market for beauty products designed and manufactured in China.
In January this year, the firm acquired Yue-Sai, a brand created in 1992 to produce make-up and skincare productions for Chinese women.
said Paolo Gasparrini, president of L'Oreal China, in an interview yesterday. "
We can develop the Yue-Sai brand and take it abroad, first in Asia and later to Europe and North America. If we sell it up in the right way, it could become a global brand, aimed at everyone, like our Japanese brands."
The new 3,000 square meter laboratory will be in Pudong on the site of the Yue-Sai factory, obtained when L'Oreal bought the company from Coty, a global perfume and cosmetics concern.
We wanted to add to our portfolio a real Chinese brand, based on Chinese ingredients and aimed at Chinese consumers,"
The Yue-Sai brand was founded by Kan Yue-Sai, a native of Guilin, who moved to Hong Kong as a girl and then migrated to Hawaii when she got a job in an advertisement agency. In 1978, Ms. Kan turned herself into a television celebrity. She founded the cosmetics firm because, she said, she could not find make-up suitable for her skin as she prepared to go on camera.
Last year, Yue-Sai posted China sales of 38 million ($385.5 million) from 800 department stores in 240 major cities.
L'Oreal is also recasting its western brands for Chinese tastes. It has contracted Crouching Tiger, Hidden Dragon actress Zhang Ziyi to promote its Maybelline make-up line.
Foreign companies dominate Chinas cosmetics market.
Last year L'Oreal achieved sales in China of 1.5 billion yuan, ranking third and accounting for 5 percent of the market. In the first nine months of this year, China sales rose 67 percent and Mr. Gasparrini expects to achieve a market share of 8 percent this year.
Direct sellers such as Amway, Avon and Mary Kay have also entered the market, recruiting thousands of people to sell their products door-to-door. L'Oreal, by contrast, was a late arrival, opening counters in Shanghai, Beijing and Guangzhou in 1990 and a joint venture plant in Suzhou in 1996.
The Suzhou plant produces Maybelline, L'Oreal Paris, Garnier and other brands which account for about 75 percent of its business in China. Of the output, 60 percent is sold domestically and 40 percent throughout the region. The remainder of its China sales comprise products that it imports, most of them high-end.
Early on, Mr. Gasparrini knew that his company was absent in a large part of the market, particularly the lower end.
We looked for local brands to accelerate our entrance and found Mini-Nurse, which was very popular among the young,"
Established in 1992, Mini-Nurse is one of Chinas three best-known skincare brands, with a factory in Yichang, Hubei province. Last year, 40 million worth of products were sold through 280,000 outlets. Mini-Nurse's owners initially did not want to sell. But Mr.Gasparrini persisted and after four years of courting, finally reached a deal in December last year- the terms of which neither side will disclose.
L'Oreal closed Mini-Nurs's headquarters in Shenzhen, moved a team of managers to its own head office in Shanghai and merged the Mini-Nurse brand with Garnier.
A month later, L'Oreal announced a second acquisition- of mid-market make-up and skincare products maker Yue-Sai. Established in 1992, Yue-Sai sold 38 million worth of goods last year. "
[Yue-Sai's owners] wanted to sell", Mr. Gasparrini sad, "
We completed the deal in less than six months."
L'Oreal took over Yue-Sai's Pudong factory and its office, which it will re-open as a 3,000 square metre research centre in June. The facility- its fifth research and development cosmetics for both local and export markets.
The two acquisitions have proven a substantial challenge for L'Oreal's management, which must integrate the culture, logistics and human resources of the three firms. But they have also helped boost L'Oreal China sales by 67 percent in the first nine months of this year.
Our ambition within five years is to enter the billionaire club of L'Oreal- that is, sales of billion, joining countries like the US, Germany, Italy and the UK,"
Mr. Gasparrini said." We could exceed Japan by then- it is larger than China now but our sales are growing faster."
His main rivals are the same companies L'Oreal competes with worldwide. Amway, Avon and Mary Kay will in particular be helped by passage of China's first direct sales law by the end of the year, easing restrictions on the way they conduct business.
Domestic cosmetic firms are handicapped by a late start, lack of capital to fund research and development and inexperience with the sophisticated marketing that is the hallmark of the global players. For example, L'Oreal uses two of China's best-known actresses, Gong Li and Zhang Ziyi, to advertise two of its brands.
L'Oreal most popular lines in China are whitening products. "Chinese skin has special needs, especially for the eyes, where women are very sensitive about ageing,"
Mr. Gasparrini said. "And we need specific products for oily skin, especially in the summer. Chinese do not like skin that shines."
"Before, the bodies of Chinese women were entirely covered," he added. "But not now. They now discover that they want to have beautiful bodies. We have a lot of experience in this."


Build entrepreneurial skills in evening workshops that are open to members of the Stanford community.
STVP Sparks are workshops on a variety of topics related to entrepreneurship and innovation. Led by Stanford alumni, industry leaders and academic experts, Sparks workshops offer a path to expanding your entrepreneurial mindset and professional network.
For registration questions, including disability-related accommodations and services, please email Lauren Crout.
STVP generously thanks Accel Partners for supporting the Sparks program, offering entrepreneurial skills and training to students and other members of the Stanford community.


text:
Q: Haskell show should I exclude the list based on other List? I have two lists; one is the list I want to exclude from the other list,
It is like this one
a::[String]
a = [["A1","B2","C5"],["A3","B1","C2"]]

And I have another list that I want to exclude every element that contains either one of three elements on a
b :: [[String]]
b = [["A1","B1","H5"],["A3","C2","B1"],["A1","B2","H5"],["H2","H3","B2"],["H5","B1","H4"]]

The expected result would be :
[["H5","B1","H4"]]

Here is my approach:
excludeList ::[[String]]-> [[String]] -> [[String]]
excludeList a b = filter (any (`elem` b)) a

I know the code above will keep the elements that contain any of the elements in list1, but I don't know how to do it the opposite way, using not? But wherever I put not, my IDE always gives me an error. How can I fix it? And it seems elem can't handle the [[String]] type, what should I do?
Thanks a lot!

A: You're right about using not, but you might use it incorrectly. not should be used in composition to the existing function that is passed to filter:
filter (not . (any (`elem` b))) a

Or by using de Morgan Laws:
filter (all (`notElem` b)) a

redpajama_set_name: RedPajamaStackExchange


Anassa or 'breath of fresh air' is an elegant interpretation of the traditional Greek taverna.
At the entrance, traditional Greek worry beads and evil eyes on display. Enter deeper and the marble covered bar, white curtains, weathered exposed brick walls and light wood will take your breath away.


The process begins with YOU! As a M.A.G.I. Coordinator for your church, company, or social group you have the support of the our M.A.G.I. Team to make sure you have a fun and rewarding M.A.G.I. Box Project.
Order your M.A.G.I. boxes and resources online: brochures, tshirts, and more!
Pray! Most importantly, pray for the child who will receive your gift. You can also include a personal note and photo.
Deliver your boxes to one of our offices or official drop off points. Remember to include your $7 per box ministry donation.
Check out our Q & A page for frequently asked questions.


Have you recovered from the events of Capital's Summertime Ball with Vodafone?
All of this summer's hottest artists absolutely killed it at Wembley Stadium over the weekend – Camila opened the show in style and had the whole stadium singing along to 'Havana', the crowd went wild for Rita Ora, Charlie Puth and Jess Glynne who all smashed it on the world-famous stage, and then Shawn Mendes closed the show with an insane performance of all his incredible hits.
It was bigger than we could have ever imagined, and the summer fun isn't over yet – we've teamed up with Vodafone to give you the chance to win an official Capital's Summertime Ball poster signed by this year's artists, as well as a Samsung Galaxy S9, an official Capital STB inflatable and a massive £500.
For your chance to win, simply watch the video below of all the awesome highlights from the ball and then answer the question to enter the competition.


In honor of National Poetry Month, here are 5 books I've recently gotten my greedy little fingers and curious eyes on. I haven't been this excited about a batch of books in a long old time.
This book, the first in McSweeney's new poetry series, is an index of love, as its title implies. That said, don't expect a simple, uniperspective collection—there is plentiful experimentation with forms in this book, none of which go so far into experimentation that they alienate the reader, all of which are exciting, some of which are discomforting. For instance, "Love, A Footnote" is written in loosely connected "footnotes" that build meaning as the poem progresses, while "Greek Easter" is written in traditional couplet form. The book's title poem, which takes up a good portion of the book, is quite literally an index: "ABANDON, what I did when you touched me/that winter with an ungloved hand./ACHE, broken things healing: bones, disappointments"¦" Love, An Index is an honest, nuanced, beautifully rendered record of falling in love—and all of the adult, conflicted, non-Disney feelings and experiences that falling contains. The book charts Lindberg's romance with poet Craig Arnold, one that tragically ended when Arnold died on the small volcanic island of Kuchinoerabujima, Japan in 2009.
(how do you read that?
The Diegesis demands you think about it, long after you've put it down. So pick it up!
Say I'm watching tree roots working their way through you.
You're not going to turn around when you leave who is you.
I believe in forever. I mean this, literally. And what about you?
I wonder what you wonder when you wonder.
Asks me today, has a supernatural experience ever had you?
I found this amazing edition of The Dream Songs, and I bought it, and I feel like I am discovering Berryman for the first time all over again. The Songs are so creative and gorgeous and tortured. Everyone should own this book. A reference manual. Electricity jolt. Renewed hope for when you're getting down about the limitations of language or, like, life. HAPPY NEW YEAR, MR. BONES!


Preheat oven to 375°F. In the bowl of an electric mixer fitted with a paddle attachment, cream the butter and one cup sugar at medium speed until light and fluffy, about two to three minutes. Beat in the egg and vanilla. In a small bowl, combine the buttermilk with the orange juice. In a separate bowl, sift the flour with the baking soda. With the mixer on low speed, alternate adding the buttermilk and flour mixtures to the butter mixture, scraping down the sides of the bowl occasionally, until just combined. Chill dough for 30 minutes. Mix the remaining one-quarter cup of sugar and the zest on a small plate. Working one by one, form dough into tablespoon-size balls and roll in sugar mixture, coating well on all sides. Transfer balls to greased baking sheets, placing them one and one-half inches apart. Bake for eight to 10 minutes until cookies are set and edges are lightly browned. Transfer to a wire rack to cool completely.


The Collaborative Divorce model was developed by a group of attorneys, mental health professionals and financial planning experts whose experience with traditional divorce led them to the conclusion that litigation is injurious to families and especially to children. They were certain they could develop a healthier way to help families through divorce. The Collaborative Divorce model has grown rapidly with practitioners throughout the United States and Canada.
In Collaborative Divorce, couples who have decided to end their marriage work with a team of professionals to avoid the arbitrary and uncertain outcomes of court and to achieve a divorce settlement that best meets the specific needs of both parties and their children. Collaborative Divorce focuses on settlement, and addresses communication dynamics. It offers a more healthy and effective forum for the resolution of the couple's divorce issues. The goal of Collaborative Divorce is to help the couple define and implement the settlement that best meets the needs of their family, and learn new skills for more effective communication, conflict resolution and post-divorce co-parenting. In order to accomplish these goals, three independent professional disciplines work together as a team to integrate the legal, emotional, and financial aspects of divorce.
The Collaborative Team helps the parties achieve a divorce that minimizes the negative economic, social, and emotional consequences that undermine families in the traditional adversarial divorce process. By maintaining a primary focus on the needs of children and the welfare of the family overall, the Collaborative approach helps parents provide their children with the emotional support, and healthy co-parenting they need.
1. Represent the best interests of his/her respective client while maintaining the overall goals of the Collaborative Process.
2. Work with the other attorney and the Collaborative Team to help the parties design the settlement agreement that is most appropriate for their family.
3. Facilitate the settlement discussion and incorporate client agreements into the final settlement documents.
4. Prepare all the documents that need to be filed with the Court.
1. Identify and prioritize the concerns of each person.
2. Make effective use of conflict resolution and communication skills.
3. Develop effective co-parenting skills.
4. Work collaboratively with the couple, their attorneys and the other involved professionals to improve communication, reduce misunderstandings and solve problems as they come up.
The Collaborative Divorce process has demonstrated that the family can get through divorce in a more emotionally healthy way when the couple is able to learn to interact and communicate with each other in a more respectful, honest and open manner. Communication and self-management skills are taught to parents by their coaches. The couple uses these new skills in their settlement discussions, and in their post divorce co-parenting.
1. Provide each child with an opportunity to voice his/her concerns regarding the divorce.
2. Provide the parents with information and guidance to help their children through this process.
3. Give information to the parties and the Collaborative team that will help the parties in developing an effective co-parenting plan for their children.
1. Provide on-going, practical financial guidance, planning, support, and budgeting guidance throughout the divorce process.
2. Assist with the discovery process by gathering and organizing documentation and information relating to the parties' incomes, expenses, assets, and debts.
3. Make sure that both parties have a thorough understanding of their current financial situation.
4. Educate the clients regarding the short and long-term economic consequences of settlement plans being considered so as to enable them to make fully informed decisions and choose what is most appropriate for their situation.
The Collaborative Divorce process is controlled by the parties. It keeps the decision-making power where it belongs, with the people affected by the outcome. This is very different from a court process where ultimately the court and state formulas decide what the divorce settlement and co-parenting arrangement will be. In the Collaborative Divorce model the couple sets the agenda for their divorce, and they determine the settlement that is best for their family. The parties retain full decision making authority and control.
There are requirements for what constitutes a Collaborative Divorce. Both parties must dedicate themselves to honesty, openness and a willingness to place the welfare of the entire family first. The desire to change ineffective communication patterns and the commitment to work at change are vital to a successful outcome. Communication training is as critical to the process as the legal and financial negotiations. If dysfunctional patterns are not changed, conflict persists. It is this focus on changing the couple's way of interacting with each other that makes the Collaborative Divorce process a better approach to both divorce, and post divorce co-parenting.


Plum Pretty Sugar's all about Valentine's Day or Galentine's Day any way you look at it. It's a celebration of love and that's pretty cool. They wanted our readers to know about their Valentine's Day Giveback Program to help women in need.
In an effort to provide support and raise awareness to victims of domestic violence, Plum Pretty Sugar will provide one of their popular floral robes (known around Wedding Chicks as bridal robes and bridesmaid robes) for each and every order placed between now and February 14, 2019 to women affected by relationship abuse.
They're supporting, Knock Out Abuse West and Haven Hills Women's Shelter and hope to gift as many women in need as possible.
Q: What do you have planned for Plum Pretty Sugar this year?
A: 2019 marks the brand's ten year anniversary. When I started the business the bridesmaid robe, bridal robe and bridesmaid pajama category was non-existent, this year we intend to move the trend forward again. You'll also see newness in bridesmaid dresses and floral dress styles including honeymoon dress or maternity dress options for instance. We continue to be extremely focused on quality and a continued leadership of the bridesmaid getting ready category as well as a fresh new perspective of what a bridesmaid dress is and could be. We'll also be moving the dial in terms of environmental sustainability.
So need something for you wedding? Purchase Plum Pretty Sugar bridesmaid dresses, bridal party robes, bride to be robes and bridesmaid pajamas between Feb 1 and Feb 14 and giveback to women in need!
For every order placed at PlumPrettySugar.com, between February 1 and February 14, Plum Pretty Sugar will provide a floral kimono robe to our anti-domestic abuse partners, Knock Out Abuse West/Haven Hills. The goal is to gift as many as possible.
Plum Pretty Sugar is the founder and leader in the bridesmaid getting ready category and has expanded beyond wedding robes, bridesmaid rompers and bridesmaid pjs to bridesmaid dresses and versatile, beautiful apparel. For more Plum Pretty Sugar's initiatives, here. For more about Plum Pretty Sugar's female founder, Charlotte Hale here.


text:
Hans-Georg Vogel (* 19. Dezember 1910 in Kreuz, Ostbahn; † 3. Oktober 1994 in Meinersen) war ein deutscher Fußballtrainer und Gymnasiallehrer.

Vogel studierte in Berlin Sportphilologie mit den Nebenfächern Geschichte und Geographie. Der Schüler von Reichstrainer Otto Nerz war Kapitän der deutschen Studenten-Nationalmannschaft. Während des Zweiten Weltkrieges diente er im Heer der Wehrmacht.

Vogel war erstmals von 1949 bis 1952 Fußballtrainer von Eintracht Braunschweig in der Oberliga Nord. Danach blieb er weiterhin als Jugendtrainer im Verein tätig. Am 1. Juli 1961 übernahm Vogel zum zweiten Mal den Cheftrainerposten bei der Eintracht, nachdem der Vertrag mit seinem Vorgänger Hermann Lindemann vorzeitig aufgelöst worden war. Zusammen mit Lindemann hatten zehn Spieler den Verein verlassen, so dass Vogel zunächst eine neue Mannschaft mit jungen Spielern aus der Region Braunschweig aufbauen musste. Als Trainer trug er maßgeblich dazu bei, dass Eintracht Braunschweig sich in der Saison 1962/1963 für die neugegründete Bundesliga qualifizierte. Da der DFB einen hauptamtlichen Trainer verlangte, Vogel aber seinen Lehrerberuf beibehalten wollte, musste er sein Amt zum 30. Juni 1963 aufgeben; sein Nachfolger wurde Helmuth Johannsen. Von 1963 bis 1972 trainierte Hans Georg Vogel bei der Eintracht noch seine Eintracht-Amateure. 1970 führte er die Mannschaft in das Deutsche Fußball-Amateurendspiel. In dieser Mannschaft entwickelte sich das Talent von Eberhard Haun.

Hauptberuflich unterrichtete Vogel Sport, Erdkunde und Gemeinschaftskunde am Braunschweiger Wilhelm-Gymnasium.

Weblinks
 Hans Georg Vogel auf fussballdaten.de

Einzelnachweise

Fußballtrainer (Eintracht Braunschweig)
Lehrer
Deutscher
Geboren 1910
Gestorben 1994
Mann


Do you have a question about Passa Porta or would you like to tell us something about our events, residences or operation? Please drop us a line!
We would like to point out that there is no contact form for the bookshop.


text:
Roman Catholic Diocese of Salford
The Roman Catholic Diocese of Salford is centred on the City of Salford in Greater Manchester, England.
Diocese of Salford
Dioecesis Salfordensis
The coat of arms of the Diocese of Salford
Most of Greater Manchester and neighbouring parts of Lancashire.
Ecclesiastical province
Archdiocese of Liverpool
1,600 km2 (620 sq mi)
- Catholics
(as of 2010)
289,470 (12.9%)
Sui iuris church
Latin Church
Rite
Roman Rite
Cathedral Church of St. John the Evangelist
Secular priests
John Arnold
Metropolitan Archbishop
Malcolm McMahon
Anthony Kay
Bishops emeritus
Terence Brain
The Diocese of Salford within the Province of Liverpool
dioceseofsalford.org.uk
The diocese was founded in 1850 as one of the first post-Reformation Catholic dioceses in Great Britain. Since 1911 it has formed part of the Province of Liverpool. Its current boundaries encompass Manchester and a large part of North West England, between the River Mersey and the River Ribble, as well as some parishes north of the Ribble and Todmorden in Calderdale, West Yorkshire. Stonyhurst College is also within the diocese. In 2005, the diocese included 207 churches and chapels.
The first post-Reformation Catholic chapel in Blackburn was opened in 1773, and that in Manchester in 1774 (in Rook Street, dedicated to St Chad). In 1843 the Rev. James Sharples, rector of St. Alban's, Blackburn, was consecrated Titular Bishop of Samaria and appointed coadjutor to Bishop Brown, the first Vicar Apostolic of the Lancashire District. He built at Salford St. John's Church, which was opened in 1848 and which subsequently became the cathedral for the diocese.
Dr. Sharples died on 16 August 1850 and the first Bishop of Salford in the restored hierarchy was the Most. Rev. William Turner (1790–1872). He was succeeded in 1872 by the Most. Rev. Herbert Vaughan (1832–1903). On his translation to Westminster in 1892, the Most. Rev. John Bilsborrow (1836–1903) was consecrated as the third bishop. The Most. Rev. Louis Charles Casartelli, DD, MA, Litt.D., the fourth bishop, was born in 1852, and ordained priest in 1876. He was closely associated with Cardinal Vaughan in the foundation of St. Bede's College, Manchester, in 1876, and was rector of it when he was nominated bishop in 1903. Bishop Casartelli was also a professor at the Catholic University of Leuven, and known as a writer on Oriental subjects.[1]
Bishops of SalfordEdit
Main article: Bishop of Salford
Diocesan Bishops of Salford
William Turner (appointed on 27 June 1851 – died on 13 July 1872)
Herbert Vaughan (appointed on 27 September 1872 – translated to Westminster on 8 April 1892)
John Bilsborrow (appointed on 15 July 1892 – died on 5 March 1903)
Louis Charles Casartelli (appointed on 28 August 1903 – died on 18 January 1925)
Thomas Henshaw (appointed on 14 December 1925 – died on 23 September 1938)
Henry Vincent Marshall (appointed on 5 August 1939 – died on 14 April 1955)
George Andrew Beck (appointed on 28 November 1955 – translated to Liverpool on 29 January 1964)
Thomas Holland (appointed on 28 August 1964 – retired on 22 June 1983)
Patrick Altham Kelly (appointed on 9 March 1984 – translated to Liverpool on 21 May 1996)
Terence Brain (1997 – retired on 2 October 2014)
John Arnold (appointed on 30 September 2014)
Auxiliary Bishops of Salford
John Stephen Vaughan (appointed on 13 July 1909 – died on 4 December 1925).[2]
Geoffrey Burke (appointed on 26 May 1967 – retired on 12 September 1988).[3]
CathedralEdit
St John's Cathedral, Salford
Diocesan parishesEdit
Further information: List of parishes in the Diocese of Salford
Diocesan educational establishmentsEdit
St Cuthbert's Primary School Withington, Manchester Primary Schools
St Chad's R.C Primary School Cheetham Hill, Manchester Primary Schools
Mount St Joseph School Farnworth, Greater Manchester Secondary and High Schools
St Gabriel's RC High School Bury, Greater Manchester Secondary and High Schools
Our Lady & St John Catholic College Blackburn, Lancashire Secondary and High Schools
Saint Peter's RC High School Longsight, Manchester Secondary and High Schools
Thornleigh Salesian College Bolton, Greater Manchester Secondary and High Schools
St. Antony's Catholic College Urmston, Greater Manchester Secondary and High Schools
Blessed John Henry Newman RC College Oldham, Greater Manchester Secondary and High Schools
St Monica's High School Prestwich, Greater Manchester Secondary and High Schools
The Barlow RC High School Didsbury, Manchester Secondary and High Schools
Blessed Trinity RC College Burnley, Lancashire Secondary and High Schools
St Thomas More RC College Denton, Greater Manchester Secondary and High Schools
St Anne's Roman Catholic High School Stockport, Greater Manchester Secondary and High Schools
St Ambrose Barlow RC High School Swinton, Greater Manchester Secondary and High Schools
All Saints Catholic Language College Rawtenstall, Lancashire Secondary and High Schools
Holy Family RC & CE College Heywood, Greater Manchester Secondary and High Schools
Our Lady's RC High School Blackley, Manchester Secondary and High Schools
All Hallows RC High School Salford, Greater Manchester Secondary and High Schools
St Patrick's RC High School Eccles, Greater Manchester Secondary and High Schools
St Damian's RC Science College Ashton-under-Lyne, Greater Manchester Secondary and High Schools
Brownedge St Mary's Catholic High School Bamber Bridge, Lancashire Secondary and High Schools
Mount Carmel RC High School Accrington, Lancashire Secondary and High Schools
St Cecilia's RC High School Longridge, Lancashire Secondary and High Schools
Ss John Fisher and Thomas More RC High School Colne, Lancashire Secondary and High Schools
St Matthew's Roman Catholic High School Moston, Manchester Secondary and High Schools
Holy Cross College Bury, Greater Manchester Sixth Form College
Loreto College Moss Side, Manchester Sixth Form College
St. Mary's College Blackburn, Lancashire Sixth Form College
Xaverian College Rusholme, Manchester Sixth Form College
St Bede's College Whalley Range, Manchester independent school
Stonyhurst College Clitheroe, Lancashire independent school
Stonyhurst Saint Mary's Hall Clitheroe, Lancashire independent school
Stella Maris School Heaton Moor, Stockport, Greater Manchester independent school
Allen Hall, (Halls of residence) Fallowfield Campus, University of Manchester University Establishment
^ Wikisource:Catholic Encyclopedia (1913)/Salford
^ "Bishop John Francis Vaughan". Catholic-Hierarchy. Retrieved 22 November 2011. Note: The website has the incorrect middle name.
^ "Bishop Geoffrey Burke". Catholic-Hierarchy.org. David M. Cheney. Retrieved 22 November 2011.
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Salford" . Catholic Encyclopedia. New York: Robert Appleton.
Almanac for the Diocese of Salford; for the year 1877 etc. Various publishers; OCLC 498232398 (annual: cover title: Salford Diocesan Almanac)
Cooke, Fr. Michael; Fr. Francis Parkinson (2008). Salford Diocesan Almanac 2009. Salford. p. 232. Archived from the original on 1 December 2008. (includes a directory detailing the histories of all the churches and chapels which have either closed or changed their names)
Diocese of Salford, Catholic Hierarchy website
GCatholic.org
The Latin Mass Society
Statistics for all parishes in the diocese
Coordinates: 53°29′N 2°16′W / 53.48°N 2.26°W / 53.48; -2.26
Retrieved from "https://en.wikipedia.org/w/index.php?title=Roman_Catholic_Diocese_of_Salford&oldid=855815525"


Eagle 107 will be kicking off the 107 Days of Summer by counting down YOUR top 400 songs of the 1970's on Memorial Day Weekend! Using the form below rank your top ten songs from one to ten, songs that were released between January 1st of 1970 and December 31st of 1979 are eligible for the countdown. Then listen to see where your your songs place in the countdown starting on Friday, May 24th on Eagle 107!
Use the form below to send us your Top 10.


Robben Ford appears courtesy of Far Out Productions, Inc.
Thanks to my dear companions Henry Lewy and Larry Klein, who accompanied me through the making of much of this music. Thank you again to the fine musicians who appear in these collections. Thanks to Russ Thyret and Howie Klein for the support to make this project happen, and to David Altschul for fair play and grace under pressure. To Steve Macklam and Sam Feldman (my new teammates) – men for all seasons. Thank you Carl Scott. Thanks to Gary Casson, David Berman, Sylvia Rhone and Eddie Rosenblatt for your generous cooperation.
Thanks to Joey and Pauly at the Atlantic tape library for spending so much time locating my masters (a thought that makes me shudder). To Melanie Harby, Timothy White and Wally Breese for the research even though I changed directions. Thanks to Julie Larson for your enthusiasm and support, and to Lisa Gerberding for care and thoroughness with the printed text of this package. Thank you Norman for the Road Hit shoot. Thanks to Arlene Grzeszak for indulging Robbie and me in our limited edition campaign against the jewel box. Thank you Robbie, I love working with you on the packages. Let's have lunch – Have a nice day.


The History of Aotearoa New Zealand Podcast is a chronological and narrative telling of the history of New Zealand. Each episode we tell the story of our island nation in an interesting and informative way! Join us to learn more about what made Aotearoa what is today from the first settlement by Tangata Whenua, The Treaty of Waitangi, The Land Wars, The King Movement, WWII and a whole host of other topics! I recommend listening in order as that will give you a fuller and deeper understanding of what we talk about in later episodes. So crack into Episode 0 and I hope to see you soon!


text:
Urs Leuthold – szwajcarski bobsleista, złoty medalista mistrzostw świata.

Kariera
Największy sukces w karierze osiągnął w 1983 roku, kiedy wspólnie z Ralphem Pichlerem zwyciężył w dwójkach podczas mistrzostw świata w Lake Placid. Był to jednak jego jedyny medal wywalczony na międzynarodowej imprezie tej rangi. Poza tym zdobył także złoty medal w czwórkach na mistrzostwach Europy w Cortina d'Ampezzo w 1982 roku, brązowy w tej konkurencji na ME w Sankt Moritz w 1985 roku oraz brązowy w dwójkach na mistrzostwach Europy w Sarajewie w 1983 roku. Nigdy nie wystąpił na igrzyskach olimpijskich.

Przypisy

Bibliografia
 Profil na The-Sports.org

Szwajcarscy bobsleiści
Urodzeni w XX wieku


text:
VGBlogger.com Celebrating geek culture — Books, Gadgets, Video Games & More!
Discussion Reviews
Tech/Hardware Reviews
Indie Quickie
Current Giveaway: Killer is Dead for PlayStation 3
Steam Community Group
Bionic Commando Reboot Set for May Console Launch, PC Version Coming Months Later
Matt Litten
– February 5, 2009Posted in: Bionic Commando, Capcom, News, PC, PlayStation 3, Xbox 360
Although a specific launch date has yet to be set for Bionic Commando, Capcom is slowing but surely inching towards that end. During the first week in January, Capcom revealed that the game would be out within the first half of the year, and now today that broad release range has been narrowed down further to a specific month: May. Unfortunately for PC gamers, this projected May launch time frame only pertains to the PS3 and Xbox 360. The PC version is vaguely listed as coming out in the "following months" after the console versions. You can thank piracy for that!
Hit the jump for an updated Bionic Commando synopsis Capcom put out with today's launch update.
Reloaded for the latest generation of hardware, Bionic Commando sees the return of the ultimate fusion of man and machine. A favorite amongst gamers around the world when first launched 20 years ago with the 8-bit original on the NES. Bionic Commando features Nathan Spencer (voiced by former lead singer of Faith No More, Mike Patton), as a government operative who, after distinguishing himself in a fierce conflict against the Imperials, is betrayed and falsely imprisoned by the very people he unquestioningly served.
Five years later, on the day he is due to be executed for his supposed crimes, an experimental weapon detonates the city. Unleashing an immensely powerful earthquake combined with a radiation shockwave that leaves the city in ruins, wiping out its populace. Military intelligence suggests that a large terrorist search force has moved in and occupied Ascension City, but as yet their motives remain unclear. With the terrain in ruins and the terrorists in control of the City's air defenses the FSA has only one option open to them – the reactivation of Nathan Spencer.
Both the Bionic Arm and swing mechanic that made the original game so unique makes a welcome return. Upgraded to deliver a range of devastating attacks that allow Spencer to quickly traverse the game's diverse environments, players can harness the power of the arm in a variety of ways to take out enemies – launch huge boulders or cars; send them flying with a close-quarters uppercut; use enemies as a shield or whip them into the air transforming them into a human kite.
Tags: Bionic Commando, Capcom, PC, PS3, Xbox 360
Matt Litten is the full-time editor and owner of VGBlogger.com. He is responsible for maintaining the day to day operation of the site, editing all staff content before it is published, and contributing regular news, reviews, previews and other articles. Matt landed his first gig in the video game review business writing for the now-defunct website BonusStage.com. After the sad and untimely close of BonusStage, the former staff went on to found VGBlogger.com. After a short stint as US Site Manager for AceGamez, Matt assumed full ownership over VGBlogger, and to this day he is dedicated to making it one of the top video game blogs in all the blogosphere. Matt is a fair-minded reviewer and lover of games of all platforms and types, big or small, hyped or niche, big-budget or indie. But that doesn't mean he will let poor games slide without a good thrashing when necessary!
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text:
This Joint is Jumping: Ain't Misbehavin'
ArtsArts & TheatricsStage
By Stephanie Laughlin Oct 5, 2013
Impressed by last years production of Guys and Dolls at the Segal Centre, I happily took the assignment to review this years Ain't Misbehavin'. What this musical (I have to admit marketing this show as a musical is a tad misleading) lacks in story it makes up for in spades with sass, fabulous sets and most importantly amazing songs.
The show is tribute to the black musicians of the Harlem Renaissance, an extremely influential period of African American culture in the 1920s and 30s. You don't need to know anything about the Harlem Renaissance to get into the show, which gets swinging right from the start with Fatz Waller's Ain't Misbehavin.
While ain't misbehavin is billed as a Fats Waller musical, the songs actually come from a variety of different musicians. While there were two or three sound glitches that temporarily affected the sound quality during the show there was nothing wrong with the musicians themselves. The main piano player was especially fantastic. I wouldn't be surprised if I saw him headlining next time I went for a drink at Upstairs.
Of the five performers who took to the stage that night, the ladies were definitely the ones that stole the show. It's hard not to get swept up in the fun of songs like This Joint is Jumping but my personal favourite of the night was the heart wrenching performance of Mean to Me performed by the star and Juno award winner Kim Richardson.
The most impressive aspects of the show is that these five performers sing and dance in period costumes and stage lighting for two straight hours. When you think about just how much coordinating needs to go into getting it right, let alone getting it GREAT, it's reason enough to see the show. But what makes it a must see is it's a fun, easy night of big band musical theatre.
Ain't Misbehavin' runs until October 20th at the Segal Centre, 5170 ch. de la Côte-Ste-Catherine, tickets are available online or by calling the Segal box office at 514-739-7944
Ain't MisbehavinSegal CentreTheatre
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Stephanie Laughlin http://www.forgetthebox.net/author/steph
As a founding member of Forget the Box, Steph has been blogging about arts and culture in Montreal since 2009.
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