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text:
Arkimedisk punkt (latin: Punctum Archimedis) är inom kunskapsteori ett begrepp som kommer från Arkimedes uttalande "Ge mig en fast punkt och jag skall rubba jorden" (), ett citat hämtat ur Pappos av Alexandrias Matematiska samlingar (latin: "Mathematicae Collectiones"), den åttonde boken, ca 320 e.Kr. Det är en hypotetisk epistemisk startpunkt utifrån vilken en observatör kan objektivt varsebli ett existentiellt ting och därmed uppnå säkerhet i kunskap och objektivt förstå verkligheten.

Skeptiska och anti-realistiska filosofer kritiserar möjligheten till en arkimedisk punkt och menar att det är en form av scientism. Exempelvis sade Michael Shermer: "Vi kan inte mer separera våra teorier och koncept från vår data och varseblivningar än vi kan finna en sann arkimedisk punkt—en gudomlig syn—för oss själva och vår värld."

Referenser

Epistemologi
Vetenskapsteori

redpajama_set_name: RedPajamaWikipedia


text:
Is Padraig's year even worse than it appears?
Padraig Harrington won two major championships in 2008 (the British Open and the PGA Championship), though his encore was less than stellar as he attempted to retool his swing to improve upon a career year. He failed to win in 2009, which might have been the least of his problems.
Harrington and an Irish businessman Dermot Desmond have taken a $26.5 million hit on a failed technology firm, U4EA Technologies, news outlets are reporting.
Lawrence Donegan of the Guardian has reported on it in his blog, while citing this report from Ireland's Sunday Business Post.
-- John Strege

redpajama_set_name: RedPajamaCommonCrawl


text:
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text:
An occasional blog about populist politics and popular music, not necessarily at the same time.
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January archive (done).
Music: Current count 32712 [32640] rated (+72), 230 [228] unrated (+2).
Whereas last week I closed my count on Sunday as usual but didn't post Music Week until Thursday, this week I'm even later, and this time I used to the extra days to squeeze more records in. For the record, the count was +34 Sunday evening, when I would normally cut over. The reason for the extra days this week is that I usually save away a frozen copy of my yearly list on or near the end of January, and I thought it would make more sense to align that date with the end of January Streamnotes. Last year I decided to publish my reviews in my Music Week posts, out each Monday, and align the monthly Streamnotes archives with Music Week posts, cutting off each month on its final Monday. However, this year the final Monday left five days in the month, which is normally 20-25 records -- enough of a discrepancy to make me want to include them before freeze date.
On the other hand, I didn't get as much done in my extra days [of January] as I hoped. In fact, the only way I'll get anything up dated Jan. 31 is through the miracle of backdating. (I'm writing this on Feb. 1, and doubt I'll get done tonight, either. [I finally did the freeze Feb. 5, posting well after midnight, so Feb. 6.]) One thing that got in the way was my decision to rustle up a rather ambitious Friday dinner. I thought of this initially as my mother's birthday, but rather than fixing any of her specialties, I decided to slightly rework the last birthday dinner I fixed for her. Only later did I realize this was the 20th anniversary of that dinner. After she died in June, we drove to Dodge City, where I made the same dinner for my father's cousin, Zula Mae Reed. She was one of the first people to introduce me to Chinese food. Ever since I figured out how to make my own, I had wanted to cook Chinese or her.
After making the occasional stir-fry mess in New York, I moved to New Jersey, threw my wok away, bought some good aluminum core, stainless steel pans, and started studying Barbara Tropp's The Modern Art of Chinese Cooking, and got pretty good at it. I later branched out to practically everything else. But lately I've steered away from Chinese for large dinners -- most dishes require a final stir-fry, which is chaotic and leaves a huge mess (I call this the "fire drill," a term which probably has racist origins but seems perfectly descriptive in this case, even if everything is perfectly executed). When I make Chinese these days, it's often for just the two of us. I did just that a week ago, and felt that I was losing my touch, so that made me all the more resolved to prove I could still do it.
My menu last night:
Fried chicken Szechuan style: cubed chicken breast, deep-fried, stir-fried with spicy aromatics and a soy-based sauce.
Stir-fried scallops with orange peel: velveted scallops, water chesnuts, orange peel, in a soy-based sauce, garnished with deep-fried spinach strands.
Dry-fried beef: thin strips, marinated and deep-fried, then stir-fried with carrots and green bell pepper strips and a dark soy sauce.
Dry-seared green beans: deep-fried, with stir-fried with pork, dried shrimp, Szechuan and Tientsin vegetables, soy, and scallions.
Dry-fried Chinese eggplant nuggets: stir-fried with aromatics, and a chile-brown sugar-balsamic vinegar sauce.
Shrimp, leek & pine nut fried rice: rice, with velveted shrimp, sauteed leeks, fried egg, and pine nuts.
Huge amount of prep work here, including initial cooking in the deep fryer (green beans, spinach, beef, chicken), in water (shrimp, scallops), or in the sauté pan (leeks, eggs), soaking, cutting/chopping, arranging aromatics on plates for each dish, mixing sauces for each dish (in two cases with a separate cornstarch slurry to thicken), and garnishes. Once everything was prepped, I did the final stir-fry two dishes at a time, in rapid succession. Some minor problems along the way, and one or two dishes didn't turn out quite perfect, but the dishes are so flavorful no one else seemed disappointed.
For dessert, I thought I'd try the "fusion east-west" recipes in Tropp's China Moon Cookbook: I did the chocolate-walnut tart and ginger ice cream. The tart was overdone (could be that I used too large a pan, making the crust and filling too thin), which made it hard to get out of the nominally non-stick pan, and probably made it a bit chewier than it was supposed to be. Neither turned out to be a problem with the ice cream on top. Bumped the recipe by 50%, which turned out to be the upper limit of the machine and a bit more than I could put into my chosen container, but it was all gone before the guests left.
Robert Christgau published his Dean's List 2019 on January 26, with 76 records, 14 released in 2018 or earlier (back to 2015, including my 2018 favorite, The Ex: 27 Passports). A half-dozen titles hadn't been reviewed yet in his Consumer Guide -- the biggest surprise Kalie Shorr's Open Book. I gave it a low B+ in December, resisting the glitzy Nashville production, but gave it another shot, and the songs started poking through. It's one of several re-grades below -- mostly records I admired first time but liked a little more on review. I replayed a few more I didn't budge, including Purple Mountains, The Paranoid Style, Danny Brown, and Slowthai -- all solid B+(***), as I originally thought. I played everything else I had missed (except couldn't find the Seeds soundtrack), but haven't gone down the list to biggest disconnects (like 100 Gecs).
I don't mean to nitpick, but thought it might be helpful to list my non-jazz A-list picks that Christgau hasn't yet reviewed or listed (skipping records, like Hayes Carll: What It Is and Lana Del Rey: Norman Fucking Rockwell, that Christgau gave B+ or stars to):
Yugen Blakrok: Anima Mysterioum (IOT)
Mdou Moctar: Blue Stage Session (Third Man)
Control Top: Covert Contracts (Get Better)
MexStep: Resistir (Third Root -18
Mavis Staples: We Get By (Anti-)
Dave: Psychodrama (Neighbourhood
Weldon Henson: Texas Made Honky Tonk (Hillbilly Renegade)
People Under the Stars: Sincerely, the P (Piecelock 70)
Chris Knight: Almost Daylight (Drifters Church)
Kelsey Waldon: White Noise/White Lines (Oh Boy)
L'Orange & Jeremiah Jae: Complicate Your Life With Violence (Mello Music Group)
Allison Moorer: Blood (Autotelic)
Willie Nelson: Ride Me Back Home (Legacy)
Nilüfer Yanya: Miss Universe (ATO)
Freddie Gibbs & Madlib: Bandana (Keel Cool/RCA)
Queen Key: Eat My Pussy (Again) (Machine Entertainment Group)
The Chemical Brothers: No Geography (Virgin EMI)
Caterina Barbieri: Ecstatic Computation (Editions Mego)
Czarface: The Odd Czar Against Us (Silver Age)
Murs: The Iliad is Dead and the Odyssey Is Over (Jamla/Empire)
Hieroglyphic Being: Synth Expressionism/Rhythmic Cubism (On the Corner)
YBN Cordae: The Lost Boy (Atlantic)
Sault: 5 (Forever Living Originals)
The Campfire Flies: Sparks Like Little Stars (OverPop Music)
Boy Harsher: Careful (Nude Club)
Apollo Brown: Sincerely, Detroit (Mello Music Group)
Pet Shop Boys: Inner Sanctum (X2)
Lee Scratch Perry: Heavy Rain (On-U Sound)
Sarathy Korwar: More Arriving (The Leaf Label)
Snotty Nose Rez Kids: Trapline (Fontana North)
Caroline Spence: Mint Condition (Rounder)
Ani DiFranco: No Walls: Mixtape (Righteous Babe)
Peter Perrett: Humanworld (Domino)
Oompa: Cleo (OompOutLoud)
Add-2: Jim Crow: The Musical (Add-2 Productions)
Omar Souleyman: Shlon (Mad Decent/Because)
Special Request: Offworld (Houndstooth)
Leonard Cohen: Thanks for the Dance (Columbia/Legacy)
Beans on Toast: The Inevitable Train Wreck (Beans on Toast Music)
I'm surprised this list ran so long (40 of 77 records, so 52%). One thing Christgau laments on his list is a hip-hop shortfall, but I count 13 here (including Blakrok, MexStep and Dave, but not Yanya, Korwar or Sault). Also 6 country, some political folkies, some electronica, and various world outposts. By the way, recent adds and promotions made the non-jazz A-list longer than the jazz one (77-to-75).
The extra listening time brought my number of reviewed 2019 releases to 1224. This compares to 1075 at freeze time last year, 1145 in 2017, 1075 in 2016, 1110 in 2015, 1173 in 2014, 1149 in 2013, 1068 in 2012, 1334 in 2011, and 1236 in 2010. (Going further back: 2009: 1050, 2008: 907, 2007: 1135, 2006: 1089, 2005: 871, 2004: 941, 2003: 525. No data for earlier years, as 2003 was when I started writing -- and getting promos -- again.) About 75% of this year's records were streamed or downloaded, which is probably a record high, but likely to be topped each coming year. I've been expecting the review total to decline each year since my 2011 peak. The only significance I attribute to the bump this year is that I haven't felt up to doing much else. I expect it to drop next year, perhaps significantly -- either if I get into writing long-contemplated but slow-starting non-music projects, or if my health declines.
Meanwhile, the main thing that slowed this post down wasn't a desire to cram in more records. It was the time it took to reach a break point in my EOY Aggregate. I wound up counting 689 lists, of which 174 were considered major (generally, 20+ ranked records, scored 1-5 points), vs. minor lists (top-tens, scored 1-3 points, or unranked lists), with some discretion exercised. Aside from the lists, this includes grade points from Robert Christgau, Michael Tatum, and myself (1-5 points), which admittedly gives the totals a slight bias. I also included a lot of Jazz Critics Poll individual ballots, which contributed significantly to the two jazz albums that cracked the top 40 (plus ten more in the top 100). On the other hand, with no Pazz & Jop poll this year, I wasn't able to cherry-pick individual ballots there. Two more systematic biases should be noted: I skipped nearly all metal lists this year, and I skipped most of the international press lists that Acclaimed Music Forums does such a good job of compiling. Both omissions were mostly the result of priorities as I was trying to catch up while recuperating from surgery, and I never got back to them. I may find some reason to fiddle further, but at this point the smart thing would be to leave well enough alone.
Here's the top 40, with points up front and my grades in brackets.
[447] Lana Del Rey: Norman Fucking Rockwell (Polydor/Interscope) [A-]
[380] Billy Eilish: When We All Fall Asleep Where Do We Go? (Darkroom/Interscope) [A-]
[334] Tyler, the Creator: Igor (Columbia) [**]
[319] FKA Twigs: Magdalene (Young Turks) [B]
[278] Nick Cave & the Bad Seeds: Ghosteen (Ghosteen/Bad Seeds) [B]
[275] Weyes Blood: Titanic Rising (Sub Pop) [B-]
[274] Purple Mountains: Purple Mountains (Drag City) [***]
[269] Lizzo: Cuz I Love You (Nice Life/Atlantic) [A-]
[265] Sharon Van Etten: Remind Me Tomorrow (Jagjaguwar) [*]
[259] Angel Olsen: All Mirrors (Jagjaguwar) [*]
[235] Vampire Weekend: Father of the Bride (Columbia) [**]
[226] Big Thief: U.F.O.F. (4AD) [A-]
[224] Little Simz: Grey Area (Age 101) [A-]
[206] Solange: When I Get Home (Saint/Columbia) [*]
[181] Fontaines D.C.: Dogrel (Partisan) [***]
[178] Brittany Howard: Jaime (ATO) [B]
[173] Freddie Gibbs & Madlib: Bandana (Keep Cool/RCA) [A-]
[166] Big Thief: Two Hands (4AD) [**]
[166] Ariana Grande: Thank U Next (Republic) [**]
[160] Jamila Woods: Legacy! Legacy! (Jagjaguwar) [A-]
[148] Black Midi: Schlagenheim (Rough Trade) [**]
[141] Dave: Psychodrama (Neighbourhood) [A-]
[141] Michael Kiwanuka: Kiwanuka (Polydor) [*]
[130] Jenny Lewis: On the Line (Warner Bros.) [*]
[130] Slowthai: Nothing Great About Britain (Method) [***]
[129] Danny Brown: Uknowhatimsayin¿ (Warp) [***]
[125] Bon Iver: i,i (Jagjaguwar) [B]
[117] Aldous Harding: Designer (4AD) [B]
[116] Taylor Swift: Lover (Republic) [A-]
[112] Julia Jacklin: Crushing (Polyvinyl) [B]
[111] The Highwomen: The Highwomen (Elektra) [B]
[111] The National: I Am Easy to Find (4AD) [**]
[110] Bruce Springsteen: Western Stars (Columbia) [B-]
[109] Kris Davis: Diatom Ribbons (Pyroclastic) [***]
[107] Denzel Curry: Zuu (Loma Vista) [**]
[105] Thom Yorke: Anima (XL) [B-]
[103] Better Oblivion Community Center: Better Oblivion Community Center (Dead Oceans) [*]
[103] Matana Roberts: Coin Coin Chapter Four: Memphis (Constellation) [***]
[101] Carly Rae Jepsen: Dedicated (604/School Boy/Interscope) [***]
[100] Rapsody: Eve (Roc Nation) [***]
Every aggregate list (either of lists or of individuals) has its peculiar selection and weighting biases. I'm having trouble finding more, but the big ones are Album of the Year and Metacritic. I can't do any analysis at this time, but my impression is that for a long time, the lists were dominated by alt/indie rock with occasional celebrity-crossover hip-hop breakthroughs (e.g., Kanye West and Kendrick Lamar). Last few years alt/indie has waned, and pure pop albums have done better, as well as some artier things I often have trouble fathoming (Nick Cave and Weyes Blood are prime examples this year). One result is that there are more albums on the list I like these days, certainly compared to 6-10 years ago (when I started compiling these EOY lists). Still, not a lot of critically popular hip-hop this year (only Tyler, the Creator in the top 10 this year, although it was a huge year for British hip-hop, with Little Simz, Dave, Slowthai, and others just down the list).
New records reviewed this week:
Snoh Aalegra: Ugh, Those Feels Again (2019, Artrium): Soul singer, born in Sweden, parents Iranian, original name Shahrzad Fooladi, based in Los Angeles, first album Feels, so title is a play on that. B+(**)
Add-2: Jim Crow: The Musical (2019, Add-2 Productions): Chicago rapper Andre DiJuan Daniels, mixtapes since 2005 including four volumes of Tale of Two's City, and the album Prey for the Poor. Title suggests two dimensions of distance -- history viewed on stage, past from present, others from self -- but Jim Crow persists as a mental trap, not least because it's periodically reinforced by events. A-
Altin Gün: Gece (2019, ATO): "Anatolian rock" band, founded in Amsterdam by bassist Jasper Verhulst, with Merve Dasdemir (vocals) and Erdic Yildiz Ecevit (vocals, saz, keys) for Turkish roots. Ranges between groove and spots for "a very soulful language." As usual, any psychedelia is in the mind of the beholder. B+(**)
Daymé Arocena: Sonocardiogram (2019, Brownswood): Cuban singer, based in London, fourth album, has a bit of a diva complex, though I could see getting into that. B
BaianaSystem: O Futuro Não Demora (2019, Máquina De Louco): Brazilian group, from Salvador in Bahia. Forró roots with electronic beats, postmodern imports, even a bit of Manu Chao. B+(***)
BCUC: The Healing (2019, Buda Musique): South African group, from Soweto, acronym stands for Bantu Continua Ubuntu Consciousness, the polyglot name a hint of international eclecticism. But still sounds more like Afrobeat, with two of three pieces running long (19:18, 16:23), and not just the one Femi Kuti guests on. Saul Williams appears on the 3:54 closer. B+(**)
BCUC: Emakhosini (2018, Buda Musique): Earlier record, same basic idea, no guests. B+(*)
Benny Benack III: A Lot of Livin' to Do (2019 [2020], LA Reserve): Trumpet player, sings, second album, wrote four songs but mostly depends on standards, big name in the band is bassist Christian McBride, has two guest spots for female singers. B+(**) [01-24]
Daniel Bernardes & Drumming GP: Liturgy of the Birds: In Memoriam Olivier Messiaen (2018 [2019], Clean Feed): Pianist, from Portugal, leads a trio augmented by a percussion quartet. All original compositions, their pedigree as "explorations of Olivier Messiaen's compositional techniques" something I'll have to take at face value. B+(**)
Big K.R.I.T.: K.R.I.T. Iz Here (2019, Multi Alumni): Mississippi rapper Justin Lewis Scott, fourth album, long list of mixtapes. Came out late and hardly anyone noticed. B+(**)
Jim Black Trio: Reckon (2019 [2020], Intakt): Drummer, fourth album since 2011 with this particular trio: Elias Stemseder (piano) and Thomas Morgan (bass). Helps to focus on the drummer here, frantically tying together the many remarkable tangents. A-
Black Alien: Abaixo De Zero: Hello Hell (2019, Extrapunk Extrafunk): Brazilian singer/rapper, Gustavo de Almeida Ribeiro, started in a duo with Speed 1993-2001. Nine cuts, 26:49. B+(*)
Zach Brock/Matt Ulery/Jon Deitemyer: Wonderment (2018 [2019], Woolgathering): Violin-bass-drums trio. B+(**)
Brockhampton: Ginger (2019, Question Everything/RCA): Hip-hop "boy band" collective, formed in Texas but moved to California, best-known member releases solo albums as Kevin Abstract. B+(**)
Apollo Brown: Sincerely, Detroit (2019, Mello Music Group): Erik Vincent Stephens, grew up in Grand Rapids, moved to Detroit in 2003, hip-hop producer, a dozen albums sharing credit with various rappers, six more under his own name. Here it feels like he's working with the whole city, at least what's left of it. Not optimism -- "we knew from the start that things fall apart" -- but hard-earned survival. A-
Charly Bliss: Supermoon (2019, Barsuk, EP): Listed by Napster as Charly Bliss 2019 EP, but this title appears on Bandcamp and elsewhere. Five songs, 15:52, smart pop. B+(**)
Gary Clark Jr.: This Land (2019, Warner Brothers): The most hyped bluesman of his generation, certainly at the moment he first arrived. Never impressed me, but maybe I was wrong to slot him in blues -- a music he can play credibly (cf. "Dirty Dish Blues" here) but is just one facet of his fairly eclectic rock repertoire. He's just as likely to signal Funkadelic or the Miracles, but never what you'd call inspired, even when he pumps up the volume. B
Luke Combs: What You See Is What You Get (2019, River House/Columbia Nashville): Country singer from North Carolina, second album, big voice, heavy guitar, likes beer and dogs, less sure about love, considers himself one of the "Blue Collar Boys." B+(**)
Jamael Dean: Black Space Tapes (2019, Stones Throw): Young pianist (20), born in Bakersfield, father a "soul jazz" drummer, grew up in Los Angeles, currently enrolled at New School in New York, first album. Six cuts, revolving cast, seems rather scattered, with bits of hip-hop fusion and acid jazz, but none quite predictable. B+(*)
Dreamville: Revenge of the Dreamers III (2019, Dreamville): Various artists, but sources credit this to the label, and I've seen it filed under star J. Cole. I initially guessed this had something to do with the so-called Dreamers, but I can't find any evidence of a political theme. Rather, this celebrates a found community, brought together by creativity and commerce. B+(*)
Daniel Erdmann's Velvet Revolution: Won't Put No Flag Out (2019, Budapest Music Center): German tenor saxophonist, first album as leader 2007, second album with this trio -- Théo Ceccaldi (viola, violin) and Jim Hart (vibes, percussion). "Over the Rainbow" is an odd cover choice, marking a shift to chamber jazz. B+(**)
Dori Freeman: Every Single Star (2019, Blue Hens Music): Folksinger-songwriter from Virginia, fourth album, reminds me of Iris DeMent -- sure, a kinder, gentler version. B+(***)
Jan Garbarek/The Hilliard Ensemble: Remember Me, My Dear (2014 [2019], ECM New Series): British male vocal quartet, named after an Elizabethan miniaturist painter, focused on medievel and renaissance music from 1980, later entering into several collaborations, notably with Swedish saxophonist Garbarek on 1994's Officium. Evidently disbanded in 2014 after this farewell concert in Bellinzona, Switzerland. I loved the sax so much on the debut that I wound up liking the voices, but the lower the ratio, the less patient I become. B+(*)
Halsey: Manic (2020, Capitol): Pop singer-songwriter Ashley Frangipane, third album. Two plays, has some edge, some hooks, not sure whether she's interesting or mostly a flake. B+(***)
Tim Heidecker: Another Year in Hell: Collected Songs From 2018 (2018 [2019], Jagjaguwar, EP): Comedian, writer, director, actor, musician -- I can't say as he was on my radar until he released a collection of songs about Donald Trump in 2017 (Too Dumb for Suicide). Sample lyric: "I'm down in the basement making signs out of love . . . and I hope I find a like minded girl tonight at the trump rally." Six cuts, 18:38. B
Hieroglyphic Being: Synth Expressionism/Rhythmic Cubism (2019, On the Corner): Jamal Moss, from Chicago but associated more with Detroit techno, has close to fifty albums since 2008, most on his own Mathematics label, but I only seem to notice him when some other label picks him up (e.g., Soul Jazz). Vinyl-sized at 5 songs, 34:25, opens with old-fashioned synths, adds a couple of saxophones to the 12:12 closer ("Timbuktu 2"), a very choice cut. A-
Jenny Hval: The Practice of God (2019, Sacred Bones): Norwegian singer-songwriter, studied in Australia before returning to Norway. Went all goth on her last album (Blood Bitch), but turns here to avant-electronics producer Lasse Marhaug, and the beats help a lot. B+(***)
Bobby J From Rockaway: Summer Classics (2019, Make Noise): White rapper from Queens, first record, old-style beats and boasts, even has a song called "Blue Eyed Soul," but gets production help from Kwamé, Statik Selektah, and others, and a guest shot from Kilah Priest, and has some fun. B+(**)
JackBoys and Travis Scott: JackBoys (2019, Cactus Jack/Epic, EP): Houston collective centered on Scott's Cactus Jack label, seven-cut "compilation" (21:23), with Scott featured on 3-4 tracks, Don Tolliver taking lead on one, Sheck Wes and Young Thug also appearing. Trap rap minus hard edges, as far as I can figure. B+(*)
Jealous of the Birds: Wisdom Teeth (2019, Atlantic, EP): Naomi Hamilton, Irish singer-songwriter, released an album in 2015, two EPs since, this the second, 5 substantial songs, 18:40. B+(**)
Cody Jinks: After the Fire (2019, Late August): Country singer-songwriter from Texas, self-released six albums before signing to Rounder for two that finally cracked the country charts. Classic sound, old-time virtues, an eye for detail, a bit of jazz at the end. B+(***)
Cody Jinks: The Wanting (2019, Late August): Released just a week after After the Fire, a gimmick that promised two consecutive number ones, but Wikipedia shows both albums topped at 2, as did his previous best, Lifers. Pretty much the same album, but a couple of songs strike me as a tad overweight -- maybe he's just leaning in too hard. B+(**)
Oumar Konaté: I Love You Inna (2018 [2019], Clermont Music): From Mali, fifth album, good-enough singer but really impressive on electric guitar, backed by electric bass and drums in a configuration that would have turned Jimi Hendrix's head. A-
Arto Lindsay/Joe McPhee/Ken Vandermark/Phil Sudderberg: Largest Afternoon (2019 [2020], Corbett vs. Dempsey): OK, some guys got together in Chicago, and rolled the tape. The saxophonists do this sort of thing all the time, so this is fairly typical for them. Lindsay sticks to guitar here, and everything seems to be improv, so don't expect his usual crypto-Brazilian no wave, but he turns in a respectable performance, cutting against the grain. B+(**) [bc]
Fred Lonberg-Holm/Joe McPhee: No Time Left for Sadness (2019 [2020], Corbett vs. Dempsey): Cello and tenor sax duets, the former also on electronics. Three pieces, increasing length, driven mostly by the cello although this winds up being a strong performance for McPhee. B+(**) [bc]
John McLaughlin/Shankar Mahadevan/Zakir Hussain: Is That So? (2020, Abstract Logix): The guitarist's love affair with Indian music dates back at least to his 1976 Shakti, which percussionist Hussain played on. Not sure when vocalist Mahadevan entered the picture, but he was touring with McLaughlin in 2013 when "the idea for this album appeared in my mind." He dominates this album: I'm duly impressed by his remarkable voice, but have limited use for his style of opera. B+(**)/p>
Microwave: Death Is a Warm Blanket (2019, Pure Noise): Post-hardcore band from Atlanta, third album. Reminds me a bit of Husker Du, not a band I've bothered playing in decades. Also liked them a bit more when they opened up, a reaction Husker Du fans may not share. B+(*)
Hedvig Mollestad Trio: Smells Funny (2019, Rune Grammofon): Norwegian jazz-rock trio, leader's full name Hedvig Mollestad Thomassen (guitar), with Ellen Brekken (bass) and Ivar Loe Bjørnstad (drums). Raw power, impressive guitar chops. B+(**)
Allison Moorer: Blood (2019, Autotelic): Country singer-songwriter from Alabama, sister of Shelby Lynne, has had two famous songwriter-husbands. Tenth album, title tied to a memoir: the headline event in her life was in 1986 when her father shot and killed her mother, then killed himself. Not sure any songs can do full justice to the event, but these cut deep and move you. A-
Bob Mould: Sunshine Rock (2019, Merge): Main guy in Hüsker Dü, an important 1980s band I've lost my interest in, went solo in 1989 and has cranked out a dozen albums since, to no special distinction. Still, this attaches more hooks to his signature din, and occasionally takes a break to find his voice, maybe even a melody (e.g., title cut). B+(**)
The Murder Capital: When I Have Fears (2019, Human Season): Irish post-punk group, first album. Laura suggested "Pogues meet New Order," but doesn't really deliver either distinction. The double guitars sprawl where punk chops, and the vocals sound more like Nick Cave. B+(*)
Murs: The Iliad Is Dead and the Odyssey Is Over (2019, Jamla/Empire): Rapper Nick Carter, albums since 2003 and still underground, produced by 9th Wonder and the Soul Council. Barely noticed when it came out, this is one of his best. A-
Aaron Novik: The Fallow Curve of the Planospheres (2019, Avant LaGuardia): Clarinet player, bills himself as coposer first, and that's clearly the focus here. Album is conceived of as a compilation of five "suites of music," each an EP (although I've found no evidence of them having been previously released), each with a different band and locale. B+(*)
Otoboke Beaver: Itekoma Hits (2019, Damnably): Japanese punk rock group, four women, singer-songwriter Accorinrin, records since 2011, not sure how much of this 14-song, 26:26 LP is new -- 5 songs from a 2016 EP, one new recording of an older song. Ultimately too chaotic, harsh, noisy for my taste, but for a moment I was pretty impressed. B+(**)
Jeff Parker: Suite for Max Brown (2020, International Anthem): Chicago guitarist, has appeared in avant-jazz groups (Chicago Underground Trio), also in experimental post-rock outfits (Tortoise, Isotope 217), his own work widely scattered, as is this. Title cut is pretty seductive, with trumpet and alto sax over slinky rhythm. B+(**) [bc]
The Pernice Brothers: Spread the Feeling (2019, Ashmont): Alt/indie band, Joe Pernice is the singer-songwriter, brother Bob also plays guitar, eighth album since 1998. B+(*) [bc]
Post Malone: Hollywood's Bleeding (2019, Republic): Rapper-singer Austin Richard Post, from Syracuse, third album, seems to be quite popular. Aims for a big, arena sound. I find it a bit claustrophobic, even though the pummeling offers occasional pleasures. B
Emily Scott Robinson: Traveling Mercies (2019, Tone Tree Music): Folksinger-songwriter from North Carolina, lives in an RV she's put more than a quarter million miles on, took a short break from her touring to record this debut album. Character songs, probably fiction -- I doubt she's really a "white hot country mess," but that's her best shot for a hit. B+(***)
Kurt Rosenwinkel Bandit 65: Searching the Continuum (2019, Heartcore): Guitarist, from Philadelphia, based in Switzerland, debut 1996, bills his band -- a trio with Tim Motzer (guitar) and Gintas Janusonis (drums), both also electronics -- as a "post-jazz sonic trio." I omitted "mesmerizing," an intent they only occasionally achieve. B+(***)
Serengeti: Music From the Graphic Novel Kenny Vs the Dark Web (2019, Burnco, EP): Chicago rapper David Cohn, has a lot of mixtapes, many featuring a character named Kenny Dennis, who reappears here (more or less -- this feels more like scattered outtakes than anything thematic, even though the graphic novel supposedly is). 7 tracks, 18:17. B+(**)
Shed: Oderbruch (2019, Ostgut Ton): German DJ/producer, fifth album since 2008, really like his upbeat pieces, don't dislike the more atmospheric ones. B+(***)
Ed Sheeran: No. 6 Collaborations Project (2019, Atlantic): English singer-songwriter, fourth album, pretty big star over there, one I've generally found amiably listenable. Harder to judge this one given that each cut has one or more guests, most rappers and/or r&b singers. B+(**)
Skyzoo & Pete Rock: Retropolitan (2019, Mello Music Group): Rapper Gregory Skyler Taylor (8 albums and 14 mixtapes since 2004), first with producer Peter Phillips. B+(**)
Sly Horizon: The Anatomy of Light (2018 [2019], Iluso): Trio: Rick Parker (trombone), Alvaro Domene (guitar), and Jeremy Carlstedt (drums), everyone also credited with electronics, which generates most of the dark ambience. B+(*) [bc]
Son Volt: Union (2019, Transmit Sound): Alt-country band, Jay Farrar's second after Uncle Tupelo, ninth album since 1995. Has picked up some politics, even setting a Joe Hill speech to music. B+(*)
The Steel Woods: Old News (2019, Woods Music): Southern rock traditionalists, based in Nashville, Wes Bayliss and Jason "Rowdy" Cope the principals, second album, comes on strong, leaves me cold. Docked a notch for making Merle Haggard sound like a bitter old jerk. B-
Harry Styles: Fine Line (2019, Columbia): English, former boy group star from One Direction, second solo album. Seems pointless even when he comes up with something catchy -- actually, the catchier, the more annoying it gets. C+
Sunn O))): Life Metal (2019, Southern Lord): Drone metal band, eighth album since 2000. Emphasis on drone, with more fuzz than metal. I don't seriously dislike it, but seems slight, and I don't get the appeal. B-
Leo Svirsky: River Without Banks (2019, Unseen Worlds): American composer, based in the Netherlands, fifth album since 2011. Mostly piano, rolls on and on. B+(**)
Veronica Swift: Confessions (2019, Mack Avenue): Jazz singer, started young with an album at age 9 (Veronica's House of Jazz) with Richie Cole, Hod O'Brien (her father), and Stephanie Nakasian (her mother) -- O'Brien, who died in 2016, played piano an all-time favorite album, Roswell Rudd's Flexible Flyer (with Sheila Jordan). Standards, backed by Benny Green Trio on three cuts, Emmet Cohen's on the rest. Dazzling vocal chops. B+(**)
Rebecca Trescher: Where We Go (2019, Enja/Yellowbird): German clarinet player, third album, leads a tentet, replete with harp, vibes, lots of flutes, and scat voice -- none of which manage to spoil the impressive arranging. B+(**)
Dwight Trible: Mothership (2019, Gearbox): Jazz singer, based in Los Angeles, half-dozen albums since 2001, starts with a piece by LA jazz legend Horace Tapscott, covers some more usual suspects, wrote three. B+(*)
Amber Weekes: Pure Imagination (2019 [2020], Amber Inn Productions): Standards singer, second album, very fond of Oscar Brown Jr., starts delightful (especially "It's All Right With Me"), less so on the ballads, least of all a duet with Mon David. B+(*) [cd]
Kanye West: Jesus Is King (2019, GOOD Music/Def Jam): Could be he was punking Trump, who clearly got off on proximity to such celebrity and feigned obeissance, but hard to see how he figured to pull off the same trick with G-d, unless his anarchism harbors a closeted atheist. Nothing here convinces me that he believes in G-d, much less that I should. He takes the hollow trimmings of Christianity and turns them into a chaotic mess, without even offering a wink that he might be aiming for satire, which leaves us with some form of mental illness. Still has production chops and can rap, and there's one bit of good news: it's only 27:04 long. B-
Wilco: Ode to Joy (2019, dBpm): Jeff Tweedy's band, in a particularly middling mood, doesn't seem like much, but can't complain about the comfort factor. B+(*)
Will of the People [Haftor Medbøe]: Will of the People (2019, Copperfly): Norwegian guitarist, based in Edinburgh, several albums since 2005, first for this trio with Pete Furniss (bass clarinet and electronics) and Tom Bancroft (drums). B+(**)
Wire: Mind Hive (2020, Pink Flag): Forty years after they raised the art-bar for punk, they've broadened their music without fundamentally changing it. This one almost seems like a return to basics. B+(***)
Brandee Younger: Soul Awakening (2019, self-released): Harp player, from Long Island, pulled this early tape off the shelf: producer Dezron Douglas (bass) and the drummer (usually EJ Strickland) craft a matrix that envelops the harp while letting it sparkle. Plus guests: Niia sings one track, the rest have horns, the standout among many fine performances Ravi Coltrane. B+(***)
Recent reissues, compilations, and vault discoveries:
Julie Coker: A Life in the Limelight: Lagos Disco & Itsekiri Highlife 1976-1981 (1976-81 [2019], Kalita): Gained initial fame as Miss Western Nigeria 1957, moved into TV and radio, produced two albums fileted here (7 songs, 30:55). Nothing major here. B+(*)
Professor Longhair: Live on the Queen Mary (1975 [2019], Harvest): New Orleans piano legend Roy Byrd, started recording in 1949 but had few albums before his death in 1980, after which his reputation was secured in numerous live tapes and a stellar 2-CD Rhino retrospective. This one appeared early, in 1978, probably because it was "presented by Paul and Linda McCartney." Seems a bit redundant at this stage, but if I heard it first, I might well have been blown away. B+(***)
Jim Sullivan: U.F.O. (1969 [2019], Light in the Attic): Singer-songwriter, guitarist, recorded two albums before mysteriously disappearing in 1975. Not easily classifiable, but not interesting or weird enough to matter. B
Jim Sullivan: Jim Sullivan (1972 [2019], Light in the Attic): Second album, a second introduction, dropping the fake strings and letting the music flow, with a country accent and a few horns. B+(*)
This Is Toolroom 2019 (Edits) (2019, Toolroom): English electronica label, founded by Mark Knight in 2004, purveyors of something called tech house, which in my book could pass for techno or house. This was number two on the Ye Wei Blog EOY list: presumably the full-length (20 tracks, 129:10) version as opposed to the (Edits), which is the only version I could find online (same 20 reduced by half to 69:36). Various artists, Knight's the only name I recognize, with beats so similar they could come from the same shop. Still, grows on you. B+(***)
Grade (or other) changes:
75 Dollar Bill: I Was Real (2019, Thin Wrist): Guitar-drums duo, Che Chen and Rick Brown, the former studied Mauritanian music with Jheich Ould Chighaly, perhaps why their most obvious connection seems to be with Saharan blues-rock, but they work with all sorts of guitar patterns. No vocals, none needed. [was B+(***)] A-
Stella Donnelly: Beware of the Dogs (2019, Secretly Canadian): Singer-songwriter born in Wales, moved as a child to Perth, Australia, offers what Christgau calls "a catalogue of assholes" -- males, "boys will be boys," etc. -- although I'm also struck by the allergies and bearers of infectious diseases. [was B+(***)] A-
Craig Finn: I Need a New War (2019, Partisan): Fourth solo album, after fronting groups Lifter-Puller and the Hold Steady (a continuing venture with its own album this year). Has a distinctive voice, writes serious songs about interesting people. Initially taken aback by the title here refers to U.S. Grant, who would think such a thing, and still prefer the band effort, but this one is growing on me. [was: B+(***)] A-
Kalie Shorr: Open Book (2019, self-released): Singer-songwriter from Maine, based in Nashville. Songs have some country in them and are often brash and pointed. Production bigger than she needs, but she rocks harder than any Nashville ingenue since Miranda Lambert. [was: B+(*)] A-
Unpacking: Found in the mail last week:
Mark Segger Sextet: Lift Off (18th Note) [02-07]


With European leaders unable to come to agreement on Wednesday, Helle Thorning-Schmidt can look forward to another six weeks of denying that she is a leading candidate for the position of European Council president.
European leaders on Wednesday were not able to reach a consensus on filling two high-level appointments.
Heading into Wednesday's meeting in Brussels, all the focus was on who would be named as the next European Council president and the High Representative for Foreign Affairs. Danish PM Helle Thorning-Schmidt is considered a frontrunner for the Council job, while Italy is pushing its foreign minister, Federica Mogherini, as Catherine Ashton's replacement as the EU's head of foreign policy.
Even before the meeting got underway, European leaders including German Chancellor Angela Merkel cast doubt on any decisions being made on Wednesday. Although talks were still officially continuing at the time this story was filed, reports out of Brussels indicated that a decision on the top job appointments would be pushed back until a meeting on August 28.
Upon her arrival in Brussels on Wednesday, Thorning-Schmidt once again downplayed her chances of being named Herman Van Rompuy's successor as Council president.
"I am not a candidate. I have nothing further to add to that," she told assembled press.
For more on the EU meeting in Brussels, check out The Local Italy's live blog.


text:
Ill. Dewitt McGowan Jr. 33°
Dewitt McGowan Jr was born September 6, 1967 in River Rouge Mi to Dewitt and Elizabeth McGowan which was from Picayune Mississippi. My father is a Pastor of Peace Valley Missionary Baptist Church in Franklin Tennessee. My mother retired from DPS after 35 years of service at Cody High School. I have been married to my lovely wife Cornelia Tanks-McGowan for 7 years after 2 years of courtship. I have one Brother never married at Chrysler as a Area manager I also have one sister who is a house wife. I have 6 Children 3 male 3 female from ages 39 to 13 of which the 13 year old is in the Youth dept. I have 7 Grandchildren from ages 22 to 8 months. I currently work for General Motors and a member of Local 5960 where I serve in a appointed position as Global Manufacturing Coach.
I joined International Masons and the Order of Eastern Star Inc. in Jan 1993 into Crispus Attucks Lodge 51 in Detroit. Became a Shriner in August of 1994. Was created into the United Supreme Council July 2012 in Dover Delaware. I have held multiple positions in each Dept over the years some include WM, SW,JW, Deputy Grand Master, WM Council President just to name a few and multiple awards. I also belong first and foremost to New Hope Missionary Baptist Church in Southfield.
Grand Master Ralph Bunche Grand Lodge of Michigan


text:
package gov.nih.nci.cabig.caaers.web.ae;

import static gov.nih.nci.cabig.caaers.CaaersUseCase.CREATE_EXPEDITED_REPORT;

import java.math.BigDecimal;
import java.util.ArrayList;
import java.util.HashMap;
import java.util.List;

import gov.nih.nci.cabig.caaers.CaaersUseCases;
import gov.nih.nci.cabig.caaers.domain.*;
import gov.nih.nci.cabig.caaers.domain.expeditedfields.ExpeditedReportSection;
import gov.nih.nci.cabig.caaers.domain.repository.ConfigPropertyRepository;
import gov.nih.nci.cabig.caaers.domain.repository.ConfigPropertyRepositoryImpl;
import gov.nih.nci.cabig.caaers.utils.ConfigProperty;
import gov.nih.nci.cabig.caaers.utils.Lov;
import gov.nih.nci.cabig.caaers.validation.ValidationErrors;

import org.easymock.classextension.EasyMock;
/**
 *
 * @author Biju Joseph
 *
 */
@CaaersUseCases( { CREATE_EXPEDITED_REPORT })
public class StudyInterventionsTabTest  extends AeTabTestCase {
	ConfigProperty configurationProperty;
	ConfigPropertyRepositoryImpl cpRepository;
	HashMap<String, List<Lov>> map;
	protected void setUp() throws Exception {
		super.setUp();
	}

	@Override
	protected AeTab createTab() {
		cpRepository = registerMockFor(ConfigPropertyRepositoryImpl.class);
		configurationProperty = registerMockFor(ConfigProperty.class);
		map = new HashMap<String, List<Lov>>();
		map.put("radiationDoseUMORefData", new ArrayList<Lov>());
		map.put("radiationAdjustmentRefData", new ArrayList<Lov>());
		map.put("stateRefData", new ArrayList<Lov>());

		StudyInterventionsTab tab = new StudyInterventionsTab();
		tab.setExpeditedAdverseEventReportDao(expeditedReportDao);
		tab.setConfigurationProperty(configurationProperty);
        tab.setConfigPropertyRepositoryImpl(cpRepository);

        List<gov.nih.nci.cabig.caaers.domain.ConfigProperty> cpList = new ArrayList<gov.nih.nci.cabig.caaers.domain.ConfigProperty>();
        cpList.add(Fixtures.createConfigProperty("bp"));

		EasyMock.expect(cpRepository.getByType(ConfigPropertyType.AGENT_UOM)).andReturn(cpList).anyTimes();
		EasyMock.expect(configurationProperty.getMap()).andReturn(map).anyTimes();
		EasyMock.expect(evaluationService.validateReportingBusinessRules(command.getAeReport(), new ExpeditedReportSection[]{ExpeditedReportSection.STUDY_INTERVENTIONS})).andReturn(new ValidationErrors()).anyTimes();

		return tab;
	}

	public void testValidate_NoErrors() {
		doValidate();
    	assertFalse(getErrors().hasErrors());
	}

	public void testValidate_CorrectTotalDoseAdministred() {
		CourseAgent agent = command.getAeReport().getTreatmentInformation().getCourseAgents().get(0);
		StudyAgent studyAgent = Fixtures.createStudyAgent("test");
		agent.setStudyAgent(studyAgent);
		agent.getDose().setAmount("3.2");
		agent.getDose().setUnits("BVP");
		doValidate();
		assertFalse(getErrors().hasErrors());
	}

	public void testValidate_WrongTotalDoseAdministred() {
		CourseAgent agent = command.getAeReport().getTreatmentInformation().getCourseAgents().get(0);
		StudyAgent studyAgent = Fixtures.createStudyAgent("test");
		agent.setStudyAgent(studyAgent);
		agent.getDose().setAmount("3.333333332");
		agent.getDose().setUnits("BVP");

		agent = command.getAeReport().getTreatmentInformation().getCourseAgents().get(1);
		studyAgent = Fixtures.createStudyAgent("test");
		agent.setStudyAgent(studyAgent);
		agent.getDose().setAmount("3.333333332");
		agent.getDose().setUnits("BVP");

		doValidate();
		assertFieldError("aeReport.treatmentInformation.courseAgents[0].dose.amount", "REQUIRED", "Invalid: "Total dose administered this course"");
		assertFieldError("aeReport.treatmentInformation.courseAgents[1].dose.amount", "REQUIRED", "Invalid: "Total dose administered this course"");
	}

	public void testValidate_WrongTotalDoseToDate() {

		RadiationIntervention radiationCorrect = command.getAeReport().getRadiationInterventions().get(0);
		RadiationIntervention radiationWrong1 = command.getAeReport().getRadiationInterventions().get(1);
		RadiationIntervention radiationWrong2 = command.getAeReport().getRadiationInterventions().get(2);

		radiationCorrect.setDosage("558");
		radiationWrong1.setDosage("-234.33");
		radiationWrong2.setDosage("444444444443444444444.33");

		doValidate();

		assertFieldError("aeReport.radiationInterventions[0].administration", "REQUIRED", "Missing: "Type of radiation administration"");
		assertFieldError("aeReport.radiationInterventions[1].administration", "REQUIRED", "Missing: "Type of radiation administration"");
		assertFieldError("aeReport.radiationInterventions[2].administration", "REQUIRED", "Missing: "Type of radiation administration"");
		assertFieldError("aeReport.radiationInterventions[1].dosage", "REQUIRED", "Invalid sign: "Total dose (to date)"");
		assertFieldError("aeReport.radiationInterventions[2].dosage", "REQUIRED", "Invalid: "Total dose (to date)"");
	}

    public void testDeviceFields(){
        replayMocks();
        assertFieldProperties("medicalDevice0",
                "aeReport.medicalDevices[0].brandName",
                "aeReport.medicalDevices[0].commonName",
                "aeReport.medicalDevices[0].deviceType",
                "aeReport.medicalDevices[0].manufacturerName",
                "aeReport.medicalDevices[0].manufacturerCity",
                "aeReport.medicalDevices[0].manufacturerState",
                "aeReport.medicalDevices[0].modelNumber",
                "aeReport.medicalDevices[0].lotNumber",
                "aeReport.medicalDevices[0].catalogNumber",
                "aeReport.medicalDevices[0].expirationDate",
                "aeReport.medicalDevices[0].serialNumber",
                "aeReport.medicalDevices[0].otherNumber",
                "aeReport.medicalDevices[0].deviceOperator",
                "aeReport.medicalDevices[0].otherDeviceOperator",
                "aeReport.medicalDevices[0].implantedDate",
                "aeReport.medicalDevices[0].explantedDate",
                "aeReport.medicalDevices[0].deviceReprocessed",
                "aeReport.medicalDevices[0].reprocessorName" ,
                "aeReport.medicalDevices[0].reprocessorAddress" ,
                "aeReport.medicalDevices[0].evaluationAvailability" ,
                "aeReport.medicalDevices[0].returnedDate",
                "aeReport.medicalDevices[0].studyDevice"
                );
    }
}

redpajama_set_name: RedPajamaGithub


text:
The Lord of the Rings Online™ (LOTRO)
Shadows of Angmar
Siege of Mirkwood
LOTRO Leveling
Siege of Mirkwood – New Features
The Epic Conclusion to Volume II: Mines of Moria™: Under the command of Celeborn and Galadriel, players will fight through vast armies of Orcs alongside the Elves of Lórien in a battle that will take them to Dol Guldur, the fortress of the Ringwraiths. This update includes Book 9 and the Epilogue to the sweeping epic tale begun with the award-winning Mines of Moria expansion.
Major Gameplay Enhancements: Turbine continues to improve the award-winning experience of LOTRO with major improvements to the combat and Legendary Items systems. Players will experience improved responsiveness when in the heat of battle. Players will also be able to create and craft their own customized Second and Third Age Legendary Items from raw materials and grow their weapons' power to level 60. Achieve new Legacies, new titles, and a fourth Runic slot that will make Legendary Items even more unique and powerful.
Join Epic Battles On Demand!: Jump into battle with the new Skirmish system. Skirmishes offer endless action in repeatable, randomized instances for up to 12 players. Create and lead your own army of customizable soldiers into battle, training them to greater skill as you earn victories against the forces of shadow. Stand and fight wherever violence erupts with the 'World Join' feature, which lets you and your friends band together to fight Skirmishes from anywhere in Middle-earth.
Take up Arms!: Infiltrate the dark jails, deadly arenas and savage stables of Dol Guldur, the fortress of the Ringwraiths, and strike a blow against Sauron's forces in new 3 and 6-player instances. Call upon your fellows to adventure into the most deadly 12-player raid yet and face the ultimate challenge – the Nazgûl Lord!
Increased Level Cap: Players will be able advance their characters up to level 65, gaining access to new traits, virtues, skills and class quests.
LOTRO on Amazon
The Lord of the Rings Online: Quad Pack
How to Succeed at Lord of the Rings Online (LOTRO)
Free-to-Play FAQ
Upgrade Offers
Copyright © 2023 The Lord of the Rings Online™ (LOTRO). All rights reserved.


Hands up if you have a shameful sippy cup collection. I can guarantee my arm is firmly raised. Perhaps we sippy cup-buying addicts have finally met our match.Firstly, just to prove how knowledgeable I am on sippy cups and the like, here is my current collection (and keep in mind, I only have one child).
By 'current collection' I mean this doesn't include the dozens of other sippy cups we've used over the past two years and disposed of, those left at restaurants or grandparents' houses, or those left to die a slow death under the front seat of the car. This shameful collection lives in an equally shameful sippy cup cupboard (you know the one that you have to shut rather quickly to avoid an avalanche, and then warn everyone else not to open). Now that I've aired my dirty laundry, it's time to check out the next generation of sippy cups.
The Nalgene Grip n Gulp professes to be just that – a new take on the sippy cup/toddler water bottle. From a practical point of view, it's apparently leak-proof, thanks to the threading on the cup and lip – big tick there! And from a safety point of view, it's BPA-free.
Exactly what is Nalgene? According to the manufacturer, it's the same ingenious stuff that's withstood some of the harshest conditions on the planet – including Mount Everest – so a toddler should be no problem, right?! The bottle has side indents to help little hands grip and a rubberised, plastic mouthpiece – with the cup, lid and removable sipper valve all dishwasher safe. The Nalgene Grip and Gulp is available from the Birthday Room for $17.95.


Sling TV is a livestreaming service that came from the good people at DISH back in. Aug 07, · I' m a Panasonic ST30 plasma owner that has been eyeing the TCL 55P607. That said it' s one of the oldest most established streaming services out there.
Based on the Costco web site, it looks to be the 55C803. What is Sling TV? 99, but NOT as good as the P- series 605/ 607 in picture performance. Vudu download location ps3.
Under $ 400 you have basically two options: Samsung K8500 and Xbox One S 2TB Console. ( Update: Unblock- Us bietet aktuell eine kostenlose Testwoche. Amerikanische Filme und Serien auf der Konsole, dem TV oder. Vudu download location ps3.
Read honest and unbiased product reviews from our ee Shipping. That is the " nicer looking" model for $ 599.
For Big Brother fans in the US CBS All Access lets you watch 24/ 7 Big Brother live feeds, live Big Brother episodes as they air full episodes on demand the day after they air. CBS All Access is a standalone digital streaming service that gives subscribers access to live and on- demand content from the nation' s most- watched network for just $ 5. I' m pretty happy with my plasma but this looks like a cheap entry into 4k & HDR so I wanted to ask - Do you guys think it would be an upgrade moving from my Panny to the TCL? Beim amerikanischen Netflix dabei.
DISH must have caught wind of the streaming revolution and wisely wanted to get the jump on the trend. The problem with Xbox One S is that some things are not clear yet like fully bitstream support ( Atmos DTS: X 50 € im Monat an.
) Für alles zusammen umgerechnet 7, 50 € / Monat ist man also z. Find helpful customer reviews and review ratings for Samsung BD- Cp Blu- ray Disc Player at.
Mar 01 go to the end of thread , maybe back a few flix, the thread is merged into this thread, Hulu, · [ mod note] If you start a new thread asking for advice on buying a new UHD BD player , your original post should be there HBO Now und andere Streaming- Videotheken lassen sich legal in Deutschland nutzen.
Vudu is a great video streaming service boasting fast speed and exceptional broadcasting of films and series, as well as other qualitative content. My tutorial " Netflix in Deutschland" is quite popular on the web and it got a lot of comments from English speakers, so I decided to make an English version of it.
The good thing is, in this version I don' t have to explain what Netflix, Vudu or Hulu is – you guys already know it well. So if you moved to Germany or Europe in general lately and would like to continue using your existing.
Jan 16, · technically, you CAN use SOME of them, but not in pkg form, as all files must be extracted and placed into / dev_ hdd0/ game/ using a current method.
i can upload some of the OFW versions i have for NoPSN if ppl are ee Shipping. Buy Xbox 360 4GB Console at helpful customer reviews and review ratings for VIZIO XVT3D474SV 47- Inch Full HD 3D Full Array TruLED LCD HDTV 480 Hz SPS with VIZIO Internet Apps ( Model) at. Read honest and unbiased product reviews from our users.


Distance from Oman to Doha is 613 kilometers. This air travel distance is equal to 381 miles.
The air travel (bird fly) shortest distance between Oman and Doha is 613 km= 381 miles.
If you travel with an airplane (which has average speed of 560 miles) from Oman to Doha, It takes 0.68 hours to arrive.
Doha is located in Qatar.


The highly anticipated production of Gambit began principal photography on May 5 in London. The film stars Academy Award© winner Colin Firth (The King's Speech), Cameron Diaz (The Green Hornet, There's Something About Mary), Golden Globe and BAFTA award winner Alan Rickman (Harry Potter Series, Alice In Wonderland) and BAFTA award winner Sir Tom Courtenay (The Golden Compass). Golden Globe winner Stanley Tucci and Academy Award© winner Cloris Leachman have also joined the cast.
Directing the film is Michael Hoffman (The Last Station) and the screenplay is written by Academy Award© winners Joel and Ethan Coen (True Grit, No Country for Old Men). Mike Lobell (The Freshman, Honeymoon in Vegas) is producing, alongside Crime Scene Pictures partners Adam Ripp and Rob Paris, who are also financing. Rizal Risjad and Philip Elway are executive producers.
Gambit is about a British art curator named Harry Deane (Colin Firth) who hatches a plan to con the richest man in England (Alan Rickman) into buying a fake Monet painting. Deane recruits a Texas rodeo queen (Cameron Diaz) to pose as the granddaughter of a man who liberated the painting in World War II. Gambit is filmed in London and New Mexico.


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text:
Eric Clapton Guitar Tabs
Guitar Hero 3
Fender Guitars
Spanish Guitar
Spanish Guitar Music
Guitar Chord Charts
Ibanez Guitars
Bass Guitar Tabs
Esp Guitars
Guitar Chord Chart
Johnny Guitar Watson
Guitar Hero 2 Songs
Guitar Mp3
Tears On My Guitar
Types Of Guitars
Acoustic electric Guitars: this is a term used to describe acoustic guitars that have pickups installed in them so they can be plugged into amplifiers or PA systems. The majority of acoustic guitars you see on stage are acoustic electric guitars. Structurally, they are identical to traditional acoustic guitars.
Electric Guitars: these types of guitars made out of a solid piece of wood and rely exclusively on their electronic pickup systems and amplifiers for their volume. Their unique sound lends itself best to rock and roll, but they have also substantially shaped the sound of country music in the last 50 years. (Think "twang")
Classical Guitars: also called "nylon-string", classical guitars are used almost exclusively in the classical and folk idioms, but can also be found on more popular recordings. Carlos Santana makes a lot of use of the classical guitar in his recordings. Slightly smaller than a traditional acoustic,
they feature slightly wider necks and strings that are made of nylon rather than steel, to give them a very gentle, warm sound. The best Classical guitars are usually from Spain.
Hollow-body Guitars: These are simply traditional electric guitars that have chambers cut in the body to allow for more sonic resonance. They come in many different sizes and are favored primarily by players of blues and jazz music.
Steel Guitars: These are the farthest breed apart from traditional guitars so far. While any guitarist can pick up any guitar from the above list and play, a steel guitar requires special training to play. The guitar is played flat on its back, and the strings are elevated approximately half an inch above the fretboard. This allows the strings to be played using a "tone bar" that takes the place of the fingers on a fretboard and gives the steel guitar its classic "crying sound". This is the archetypal guitar sound.
This page was updated on Nov 2009 and is Copyright © 2003 by Global Com Consulting Inc.


France-based Bolloré Logistics has recently opened their new Foreign Trade Zone facility in Miami, Florida. In attendance for this auspicious occasion was CEO of Bollore Logistics Thierry Ehrenbogen, Cyrille Bollore Chairman of Bollore Transport & Logistics and the Consul general of France in Miami.
The new facility is over 18,000 square meters and consolidates contract logistics and freight forwarding operations that were previously handled at two separate sites. The Free Trade Zone will support cargo turnaround time and operational synergies for clients with time-critical logistics requirements.
With the combination of value-added logistics services and traditional freight forwarding along with industry vertical expertise, the facility in Miami has become a multi-modal platform servicing the needs of their client base.
The new facility was devised and created to provide excellence in logistics services with an end-to-end solution, and to create a cost-effective solution to their clients, focusing on travel retail, aerospace and cosmetics industries.
The site has biometric access control, CCTV monitoring and recording, a 24/7 guard patrol and perimeter fencing and fire sprinkler systems engineered to handle specific types of commodities.
The facility built with state of the art infrastructure and offers 52 dock doors with 9.75-meter height clearance along with an 18-meter speed bay and an extensive fleet of material handling equipment to service any project requirement.


…the master of ceremonies; and Heathcliff, the talking horse. Bil Baird trained a generation of younger puppeteers, including the creator of the Muppets, Jim Henson, and many of Henson's associates. He was also the author of The Art of the Puppet (1965), a classic exposition of the field.


These clearance items are only while stocks last and subject to availability. Stock cannot be stored by NHS and needs to be collected within 2 weeks. Any additional stock of that product is at the normal sell price.


There is a cyclone brewing in India's animation film industry, after Hanuman' took the Indian film industry by storm. Many animations films are taking shape in studios, with big budgets riding on them and industry insiders claim that close to 10 such films will be ready for release in India in 2008. Here's a peek at what viewers can expect. Yashraj Films Ltd in alliance with The Walt Disney Studios has finished 60 per cent work on its first animation film `Roadside Romeo', slated for release in June 2008. Shemaroo has also finished work on `Ghatothkach', its second animation fim after `Bal Ganesh'. Govind Nihalani is working on Kamlu', h is f irst a nimation f ilm, and has lined up three other animation projects after that. Apart from these big banners, a handful of other studios are also busy designing characters on their story boards. Yash Chopra, chairman, Yashraj Films, said animation has a huge business potential and India needs some good products. "We have seen the success of animations films. We have just stepped into this field and hope to give a good product," he said. Yashraj's film will be a full fledged 3D animated feature film, with all the elements of a Bollywood flick. The lead character is a dog and it will have the usual masala expected from that banner. So, Mr Chopra explained, "We will have everything like songs, romance, fights etc like a Bollywood film. Jugal Hansraj is directing the film." While he declined to give investment details, he admitted the amount involved is "huge." The likes of Kareena Kapoor, Saif Ali Khan, and Javed Jafri will give their voices to these animated characters. Though Mr Chopra was cautious, saying Yashraj's future animation projects will be decided after the release of `Roadside Romeo', it is learnt that the tie up between Yashraj and Walt Disney extends to more films in the series. Goving Nihalani, the director known for critically acclaimed films like `Dev' and `Thakshak', has also turned to animation and is currently concentrating on his forthcoming 3-D animation film `Kamlu'. This is the first of four animation films he has lined up. Mr Nihalani said he is investing close to US $ 3 million (about Rs 12 crore) in his maiden animation film, `Kamlu', with a promise of making it something big and giving something for everyone. "I am working on the pre production of the film. It will not be just another animation film. It is an area very close to my heart. I want to make something worthwhile. And this is not just one film, I have three more animation films lined up after that. I will start working on them soon after `Kamlu' is done," he said. Indications are that the film will have four songs and will be released in Tamil, Telugu, Hindi and English at the same time. Mr Nihalani expects to release the film by end 2008. Shemaroo Entertainment's Ghatothkach' is set for release soon. Atul Maroo, managing director, Shemaroo, said they have invested Rs 15 crore in this venture. "We got a good response for our first animation film, `Bal Ganesh' and our second films is set for release soon. After this, we hope to make two animation films every year," he said. Singeetam Srinivasa Rao, who directed the silent film `Pushpak', starring Kamal Haasan, has directed Ghatothkach'. Sunanimatics, who partnered Shemaroo for `Ghatothkach' is also working on three other films called 'Eshan- the legend of Bhairav', 'Romeo's Ronnie & Juliet's Jennie' and an untitled movie based on gaming. Mumbai based Graphiti Multimedia, led by Ram Mohan who is regarded as the father of India's animation film industry, is developing two animation films that are being produced by Turner, a Time Warner Company and by Anubhav Sinha, the director of the recent Hindi film `Cash'.


text:
ILO in India
International labour standards
Workers' and Employers' Organizations
Video and audio stories
ILO Knowledge Centre
ILO in Asia and the Pacific
Offices in the Region
ILO in India and South Asia
Promoting Fundamental Principles and Rights at Work in the Cotton ...
Promoting Fundamental Principles and Rights at Work in the Cotton Supply Chain
The project contributes to the implementation of Decent Work in the cotton supply chain in India by supporting the implementation of Fundamental Principles and Rights at Work (FPRW).
10 May 2017 - 31 October 2021
Development partner(s):
INDITEX, Industria del diseno textil S.A.
Project code:
IND/17/51/INX
Project background:
Cotton is an important agricultural commodity responsible for employment generation, income and food security to millions of farmers and their families across the world. Globally, it provides income to more than 250 million people and employs almost 7% of all labour in developing countries. India is the largest cotton producing and the second largest cotton exporting country. It plays a major role in sustaining the livelihood of an estimated 5.8 million cotton farmers and 40-50 million people engaged in related activities such as cotton processing and trade (Ministry of Textiles, GOI, 2018). India also has the distinction of having the largest area under cotton cultivation in the world i.e. about 11 million hectares (Ministry of Textiles, GOI, 2018). Directly and indirectly affecting significant portions of the population, it is evident that the sector occupies a strategic position in the development of poverty reduction policies and programs.
Sustainability of cotton production involves addressing its labour impact on farmers, workers, their families and communities. While there is a breadth of diversity in the forms and scale of cultivation of cotton ranging from plantations to smallholdings; low income and economic insecurity are also associated in this sector, particularly for women, migrant and seasonal workers. In many cotton communities, children can be found performing work while for the adults, repeated indebtedness can give rise to 'debt trap' and lead to bondage like situation and even suicide. In addition to this, women tend to be segregated to lower paying tasks in some of the most arduous parts of the cotton cycle. The implementation of cotton producers' and workers' collective rights also is either negligible or often weak. Hazardous working conditions risks are noticed at several stages of the cotton production including the use of pesticides in the fields.
In order to increase the sustainability of the cotton and garment industries, small producers and workers should be enabled to work themselves out of poverty in decent conditions with their internationally recognized freedoms intact. FPRW are minimum standards which enable economic growth to go hand in hand with human development and provide foundation for equitable and just societies. These rights are ranged in four categories, namely freedom of association and the effective recognition of the right to collective bargaining, the elimination of forced or compulsory labour, the abolition of child labour and the elimination of discrimination in respect of employment and occupation.
Project objectives:
The project aims to enhance evidence based knowledge on FPRW in the cotton supply chain (unorganized/informal sector) to enable the policy makers and implementers to address the gaps and support promotion of decent work and livelihood to all in need in cotton growing communities. It will create an ecosystem through social dialogues which generates an interest among the policy makers, small and medium enterprise/businesses, producers and other stakeholders about the benefits and respect for the rights and enabling process at the workplaces, necessary for productive and sustainable cotton supply chain.
As an integral part of 2030 UN Agenda for Sustainable Development, the project will contribute to the implementation of the UN Global Compact and SDG 8 on 'Decent Work for All', with a focus on SDG 8.7and Alliance 8.7 (the global strategic partnership committed to achieving SGD Target 8.7). To ensure maximum degree of participation and leadership of women, the issues will be integrated in the overall implementation framework of the project.
The strategy is built around three mutually reinforcing outcomes:
Knowledge base: Mapping of the cotton supply chain as well as diagnostics of elements of four categories of FPRW in the targeted communities/areas; promotion of good practices through replication/ up scaling of existing national/international experiences; and documentation of good practices and lessons learnt for dissemination and implementation in other parts of the country;
Training and capacity building: Develop capacities of stakeholders to understand the importance of four pillars of FPRW and start respecting and realising it at crucial stages of cotton production cycle; provide training and guidance to the cotton growing communities to promote social dialogue, cooperation and respect for FPRW;
Social dialogue and engagement: Bipartite, Tripartite and multi-stakeholders cross sector dialogue for coherent and joint action to ensure fundamental rights at work in cotton and sustainability of the supply chain.
Implementing partners:
National and state Governments, district administration; workers organizations; employers organisations; businesses; research organizations; civil society organizations and cooperatives.
Target Beneficiaries:
The direct beneficiaries are rural workers, producers and cotton communities including women and children, and their organizations in India. The project will also benefit cotton and garment industries partners and stakeholders.
Ranjit Prakash
National Project Coordinator
Email: prakashr@ilo.org
Tags: child labour, collective bargaining, social dialogue, agriculture, discrimination, partnerships, value chains
Regions and countries covered: India
Sustainable cotton farming brings better lives for farmers and their families
World Day against Child Labour 2020 World Day against Child Labour 2019 in Telangana Multi-stakeholder Technical Consultations on FPRW in cotton growing areas in Telangana Workshop on collectivizing farmers and agricultural workers in cotton production in Telangana Workshop on Cotton Production and Supply Chain study in Telangana Leadership-cum-capacity building workshop for District level officials of Central Trade Unions in Telangana Multi-stakeholders Consultation on Fundamental and Principle Rights at Work Multi-stakeholder Technical Consultation on FPRW in cotton growing areas in Telangana Inception Workshop on Promoting Fundamental Principles and Rights at Work in the Cotton Supply Chain in India