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The evolution of business hotels
Plus: Is the future of work the future of travel?
Each morning I walk by a bunch of business hotels on my way to work. Most of them are operating at very low occupancy. It's clear they will need to evolve if the world doesn't change significantly in the months ahead.
EHL has been working on this problem as part of the Innotour "The Future of City Hotels in Switzerland" project. The first step was a survey of hoteliers in Swiss cities in order to get a first glimpse of how the industry was affected by Covid-19.
The research looked into the ways in which the hotel spaces could be reassigned or transformed, and how hoteliers could reinvent their business model to meet their clients' needs and potentially target new kinds of customers. The second phase of the project focused on generating ideas for the future of the city hotels.
Four major recurring trends regarding the future of the business hotel industry were identified:
The hotel becoming a "Coeur de quartier", a place open to the neighborhood.
The hotel as a hybrid, flexible and quickly adaptable place.
The hotel offering co-working spaces and relative services.
The hotel as a destination where activities and events take place.
The trends above all focus on the hotel becoming a place of interest and attraction where people want to gather - whether its locals who want to have a meeting point close-by, professionals seeking to work in a pleasant environment, businesses expecting specific services, or tourists and locals wishing to experience something new, fun and authentic.
The target is no longer the business client, and the hotel does no longer represents a simple place to sleep. It wants to become essential and be open to everyone: families, locals, leisure tourists, business tourists, students, workers, etc. By doing so, the hotel uses flexible strategies to personalize the experience of each customer.
Is the future of work the future of travel?
Love him or hate him, Brian Chesky has a unique perspective on what's happening in travel now as CEO of Airbnb. In a recent interview on Decoder, he talked about the future of work - and how it could affect the future of travel.
I think that we're living in a revolution for travel. For centuries, people were tethered to where they worked: whether it was the farm, then the factory, then the office. If you work on a farm or in a factory, you're still tethered — but for tens of millions of people in the United States and hundreds of millions of people around the world who work in an office, what the pandemic taught us is that you can get a lot of work done from home. Because of technology like Zoom, we're going to live in a world with permanent flexibility.
The CEOs of Ford, PWC, Amazon, Procter and Gamble — these are not small companies — have all announced permanent flexible policies for a significant portion of their workforce. I don't think the majority of the world is going back to the office five days a week because CEOs will learn they can save money. They can hire a more diverse talent pool. After compensation, flexibility will be the most important benefit for employees.
Remote work is here to stay. If Zoom allows you to work from home, then Airbnb allows you to work from any home. People now can travel anytime. They can travel anywhere. I don't mean everyone — when all the people who are untethered do travel, they can stay longer. What I think this is going to lead is to newfound flexibility where people cannot just travel on Airbnb — they can now live on Airbnb.
Twenty percent of our business, our fastest-growing segment, are for stays longer than a month. We're not just in the business of traveling: we're now in the business of living. Traveling and living is part of Airbnb. That's why being part of the community is so important. This is all before borders really reopen. Once borders reopen and people have flexibility, they won't just live anywhere around the country. You're going to see more and more people live around the world. This is going to create a whole revolution in travel, probably the biggest change of travel since the invention of the internet, possibly the biggest change of travel since the invention of the airplane. It just totally changes the identity of what travel is.
How does that affect how you plan to provide hospitality?


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Canosa Sannita község (comune) Olaszország Abruzzo régiójában, Chieti megyében.

Fekvése
A megye északnyugati részén fekszik. Határai: Ari, Arielli, Crecchio, Giuliano Teatino, Orsogna és Tollo.

Története
Első említése a 9. századból származik. A következő századokban nemesi birtok volt. Önállóságát a 19. század elején nyerte el, amikor a Nápolyi Királyságban felszámolták a feudalizmust.

Népessége
A népesség számának alakulása:

Főbb látnivalói
Santi Filippo e Giacomo Apostoli-templom

Jegyzetek

Források

Comuni-Italiani
Italy World Club

Chieti megye települései

redpajama_set_name: RedPajamaWikipedia


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The narrative of U2's Experience & Innocence show
U2's Experience and Innocence show had a story to tell and was made with a story in mind. The band wanted to tell us something. But what is this story, what is this narrative that fans have been talking about all year? In this article we unravel the narrative, the songs and the stories. Join us as we attempt to breakdown the Innocence from the Experience.
Innocence, Joshua Tree and Experience
The narrative of the Experience and Innocence show started in 2013 when band and crew members were exploring the idea of using the following years to tell a story. The idea was to tell a story that would not only be very personal to U2 but also "universal, as all great stories are. Hung on the pegs of William Blake's Songs of Innocence and Experience, the members of U2 wanted to dig deeply into their own personal experience to see if perhaps there was a more comprehensive story there" (Willie Williams, 2018 tour book).
"The idea of two journeys began to emerge: the first a teenager's story, escaping from the house out into the world (Innocence), the second from an adult perspective, on a journey 'home' however that might be interpreted (Experience)" - Willie Williams
Inspired by Blake's Songs of Innocence and Experience U2 started on a journey that would begin with the Songs of Innocence and the Innocence and Experience tour. And while it wasn't the intent or idea from the start, the two journeys or stories ended up having a third story in the middle: the Joshua Tree Tour. Together they would form an arc of sorts. Innocence depicting a young and upcoming band, Joshua Tree a band conquering the world and Experience a band longing for home.
U2 performing The Little Things That Give You Away on the opening night of the Joshua Tree tour in Vancouver, 2017. A song connecting Innocence and Experience. Photo by Remy/U2start
Willie Williams, U2's show director, concurred that the Joshua Tree actually is a perfect fit in this trilogy, acting as a kind of bridge between U2's Innocence and Experience, just like it did in U2's real life. It might also be the reason for U2 to play The Little Things That Give You Away during this tour, as a song where Innocence is talking to Experience.
"The two stories it came down to wanting to tell what it's like for anybody growing up, where you feel like your bedroom is and your house where you're looking out the window at the world outside, trying to make sense of what's going on. Journey two is being a grown-up in the outside world, the things that you have to face and what it takes to deal with all of that." - Willie Williams (IQ Magazine)
Innocence and Experience in that sense can be seen as two periods in U2's lives, connected through the Innocence and Experience shows. Innocence began with a call from innocence itself in The Miracle (Of Joey Ramone), a song about the discovery of the meaning of your own life. Experience begins with a call from death - the showman claiming that now, "love is all we have left". The Blackout referring to the uncertainty of death, and Lights of Home literally opening with "I shouldn't be here 'cause I should be dead".
It starts from the end - the near death experience - and works its way back.
The Experience narrative
If you look at the Experience and Innocence show as a whole you can divide it into three big parts. The first is the opening which features songs about mortality, reference death and "going to the light". Then the show turns to become a reflection of life: growing up, loss of innocence, almost breaking up, rock star-dom and the descent into MacPhisto. The show ends with the things learned from it all before the main character finally ends up home. The main character here is Bono himself, but as with all great stories the themes and narrative is very universal and could be anyone's.
"This is my story, but it also could be Edge's story, Larry's story, Adam's story, anyone's story" - Bono
Some songs are on their own in the story, and some songs should be seen as a set of songs telling one bigger story. U2 have also changed the songs and some of the order along the way in 2018. This should be seen as not necessarily a change to the story, but more as the band telling us different chapters of their story. Replacing the Songs of Innocence songs in favor of the Achtung Baby songs during the European leg is just them telling a different story of their lives.
The Songs of Experience themselves all have deeper themes and meanings as well which are represented throughout the show and embedded into the shows narrative.
Selecting songs fitting the narrative
If you read fan reviews of U2's shows, its common to read something about individual songs. U2 should play Acrobat or Mofo, or U2 should not play Beautiful Day and Elevation. Rarely do fan reviews address thematic choices. Willie Williams shared a unique insight into the process of selecting the songs to play on stage in the 2018 tour book, which helps us to understand the decisions on including or excluding certain songs. Willie explains that the start of this process was a big wheel with song names. A wheel that divides the show or tours into different themes representing a point in U2's career or life.
The setlist "wheel" as taken from the 2018 tourbook.
If you zoom in on the wheel, the following themes can be read in order for the left part representing the "beginning" (Innocence): Arrival, Narrative, The garage, Transformation, Home run, ZooTV, Epilogue.
The other part of the wheel represents "ending" (Experience): Assault, EDM, Rock, The lounge, Convulsion, Home run, Resolution and Epilogue. For each theme, song names were listed that fit the theme. "Vertigo" for instance belongs to "Arrival", whereas "Song for someone" is in the list of "Epilogue" songs.
"The setlist process was unusual, the setlist became a wheel of 60 songs from which you could pick any two opposing points to be the beginning and the end" - Willie Williams
You might remember that the original idea for the Innocence and Experience tour was to have two different shows, one of the reasons why shows were booked in pairs. The first night could be the "Innocence" show with the Innocence setlist, whereas the second show could be the "Experience" show with a different setlist and theme. Ultimately this idea was abandoned to make fans not "regret" the night they end up going to.
The "setlist wheel" is an exciting source of insight into the thinking process that preceded the past few and current U2 tours. It also shows that putting a show together with a strong narrative is not an easy task, you have to find songs that connect in terms of not only the story but also musically. It also demonstrates that once such songs are selected, it is not always easy to deviate or switch it around without losing the bigger picture or narrative.
For reference we have listed all the individual songs listed as Innocence and Experience at the end of the article.
Choosing a wardrobe to fit the narrative
It's not only the songs, the stage, or the albums. It's also wardrobe choices that have to be made. The Edge adapted his wardrobe a bit to Innocence and Experience by wearing jeans with album and single covers embedded into them, sort of like a history mix of U2. One perspective on this is that it's a mix of Innocence and Experience.
Album covers in Edge's jeans, photos taken by Remy/U2start.com.
For the north American shows he used the album cover of October for his right leg, and How To Dismantle An Atomic Bomb as well as No Line On The Horizon on his left. He changed his jeans in Europe with the covers of Joshua Tree & Discotheque on his right and the covers of Achtung Baby and U218 Singles on his left. Edge also wears a shirt with a photo of his daughter on it during Love Is Bigger Than Anything On Its Way, something we'll elaborate on further along in this article.
An American and European narrative
What great stories have in common is that they can be interpreted in different ways. A show such as this one driven by a narrative does not have just one meaning or story. It adapts itself to the context such as a location or an audience, and wraps it around the bigger storyline. The American and European shows of the Experience and Innocence tour featured slightly different adaptations such as specific songs, sets of songs or speeches, but overall address common themes.
Breathe in, exhale - The MRI experience
"Breathe in.. exhale.. thank you", words that did not raised any attention for the first few shows. But those who either hear or say them regularly know that they are not random words. First observed by Jen the words that are part of U2's show intro (prior to Love Is All We Have Left in North America and part of the pre-show video in Europe) are words said to someone undergoing an MRI scan.
The words are accompanied by brain image visuals made by such a scanner. This all ties in with Bono's near-death experience that revolves around the album and show. While the exact nature of his "brush with mortality" is unknown, we can assume that Bono had to undergo an MRI scan as part of his experience. He at least had one after his bike accident in 2014.
The brain scan shown on the screens is actually the brain of show director Willie Williams, about that he said that they "considered using Bono's real scans but they would probably have been too revealing medically" (Atu2). The brain image is a way to combine the "personal and political cataclysm" in this part of the show (IQ Magazine).
Visuals of Willie Williams' brain. Photographed by Carol Spagnuola in Duluth.
You would almost forget that part of the introduction of the show was an Augmented Reality (AR) experience, used for the Northern American leg of the tour. Fans pointing their phones towards the screen before or during Love Is All We Have Left would see the imagery turning into a giant iceberg that melts over the audience, preluding the cataclysm theme, which is enacted as a tsunami in the middle of the set with waves appearing across the screen during Until The End Of The World. A metaphor for consciousness, the band says.
The idea and importance of Europe - The European intro
The European shows had no icebergs, Augmented Reality and no Love Is All We Have Left to start the shows with. The tone for the night is set with a four-minute movie revolving around the idea of Europe. The visuals explain the European narrative and feature footage from the early to mid-20th century including:
* post-war footage of Berlin and Hamburg from 1946, and Cologne and Amsterdam from 1945;
* war-time footage of Paris from 1944, Copenhagen and Milan in 1943, Manchester and London in 1940, Belfast and Dublin in 1941;
* Lisbon during the 1926 coup d'état;
* Spanish Civil War footage of Madrid in 1939 on two occasions.
The MRI scan also occasionally appears over the war-time footage, further combining the personal and political cataclysm but this time focusing more on the political aspect than the personal one.
Still from the movie opening the European shows, by U2gigs.com.
In the weeks before the European leg of the tour, Bono wrote a lengthy essay about Europe highlighting its significance and importance. If you read it the footage and themes of the show become more than clear. The intro movie is a thought-provoking and complex introduction that shows the people what the world was like without a united Europe and why Europe is a strong idea that is worth believing in and holding on to. A theme that comes back several times during the European shows.
The images also show the risk of allowing far right politics - what happened the last time we allowed this to happen. Scenes are selected for the cities that the tour visits.
"We wanted to make the point that because we've grown up in Europe and we've never seen war, we just assume that this is the way it's always been. The start of the show is a reminder that we can't take these things for granted." - Willie Williams, IQ Magazine
Other sounds and videos mixed into the introduction movie are the Babel introduction of Zooropa, extracts of "The Great Speech For Humanity" from Charlie Chaplin's The Great Dictator and lyrical extracts from Love Is All We Have Left. As The Blackout kicked in the images of devastation were replaced by ones of protests, flags, and technology. It is worth mentioning The Great Dictator was also used by Coldplay during their 2016/17 Tour to promote a similar idea of a united Europe, with Chris Martin quoted as saying "the decision for a separated Europe does not represent us or indeed most of our generation". Indirectly, this feeds into the idea U2 is promoting with their European intro.
The mortality section - Love Is All We Have Left, The Blackout and Lights of Home
The Experience show starts at the end of Innocence with three (in Europe two) songs that more than others are U2's songs of experience: Love Is All We Have Left, The Blackout and Lights of Home. These songs all deal with mortality and are build upon the whole MRI experience, about Bono's belief that he is going to die and what is in some way his resurrection.
"We open at the end of Innocence, our three songs that deal with mortality. They are very much songs of experience. Then we felt like, "Great, you open with that. Now you have to go back to the beginning very quickly to start the story from where it really starts, which is the really early days and the Songs of Innocence." - Edge, Rolling Stone
While Love Is All We Have Left is a slow and gentle song "speculating on mortality", The Blackout certainly is not. It's something that puts everyone on the edge of their seats, a scene setter for Bono's near death experience and the state of Trump's America and Brexit Europe, about an existential threat to democracy.
"Bono walking into the light up the barricage. It is the stairway to heaven and he kneels at the very gate."
Lights Of Home is an interesting third song in this section. Bono is walking on a bridge surrounded by stars, a bridge that tilts up before tilting down again to bring Bono back to earth. Is this a metaphor for a near-death experience?
Bono walking on the "stairway to heaven". Photo by Danny North
Bono walking into the light up the barricage, his steps are lined with stars. It is the stairway to heaven and he kneels at the very gate. Then he realizes he is still alive and kicking and "frees himself" on the e-stage, ending the section about mortality on a brighter note.
Back to the early days - I Will Follow, Gloria/All Because Of You and Beautiful Day
After the show opened with U2's most obvious songs of experience, the show goes back to the start of U2, the really early days and the Songs of Innocence. No song is more speaking for U2's early days than I Will Follow, which opens this part of the show. When questioning why I Will Follow was used in both the 2015 and the 2018 tour, it's obligatory to understand where the song came from. Bono once said about I Will Follow "it came out of a screaming argument in the rehearsal room. It was literally coming out of a kind of rage, the sound of a nail being hammered into your frontal lobe". Putting this into context it is thought provoking that yes, this section can be considered 'Innocence' but the band came from a place of pain that pushed their life, and the show's set to where it ends up.
After I Will Follow U2 played either Gloria or All Because Of You at most shows, songs which thematically do not only both relate to innocent times but also talk to and about God. This makes both songs thematically fit this spot in the setlist very well and could be one of the reasons for these two to be picked. All Because Of You references "the place I started out from", possibly talking about U2's early days. Adam Clayton referred to this in 2006 when talking about How To Dismantle an Atomic Bomb: "The young men who spent their whole childhoods working up to making Boy, had now spent twenty-five years of adulthood working up to Atomic Bomb. We had somehow got back to the same point again, revisiting that place of youth and innocence with the maturity of a lifetime". Edge commented in 2004 that "life would be so much simpler if you didn't know what you knew. All Because Of You is about that, in a way".
"If The Blackout is interpreted as a song about the existential threat to democracy, then Beautiful Day could be interpreted as a hope for better times despite the tough times"
The first real bright song to appear in the set is Beautiful Day, a fitting ending to this section of the show having a stark contrast, both lyrically and sonically, to the more dystopian and hard-hitting intro song, The Blackout. If The Blackout is interpreted as a song about the existential threat to democracy, then Beautiful Day could be interpreted as a hope for better times despite the tough times, "You're out of luck And the reason that you had to care The traffic is stuck And you're not moving anywhere. [...] Touch me Take me to that other place Teach me I know I'm not a hopeless case...".
It also musically is a fitting song to play as a song that lightens the load of what is in some way can be seen Bono's resurrection. An exultation of still being alive. According to Edge, the song "helped with the momentum and made you feel like you'd earned it when it had finally arrived."
The Innocence section - The Ocean, Iris, Cedarwood Road, Sunday & Until
Having introduced the Experience theme of the show and introducing the band with the early day songs, the show's narrative for the majority of the tour took turn to another important part of U2's story. The story of Innocence, a significant part of the show and narrative.
While many hardcore U2 fans grumbled about the repetition of some of these Innocence songs, it's important to not forget that this is a pivotal moment of the show, showing "Bono's turbulent childhood where he endured the loss of his mother amid horrid political violence around his hometown of Dublin. Cutting it would have meant removing the heart of the show." As mentioned before this show was always meant to be a pair with U2's previous tour and album, Songs of Innocence, so this part could not be omitted from the story as a whole.
Raised By Wolves was one of the songs that was quickly dropped from the Innocence section, with only 7 performances. Photo by Remy/U2start
The Innocence section of the show starts with The Ocean, a beautiful introduction to Iris during which Bono reminisces about his early childhood when his mother was still alive. The song segues into Iris, dedicated and named after his mother. Iris also pairs well with a song like Love Is All We Have Left which can be seen as the Experience twin song for Iris. This heart of the show also has the added impact of Bono finding himself and his background in this songs: "I don't have very many memories from my early life." He was quoted as saying in 2005: "I've talked about this with my brother because he doesn't have that many either. When my mother died, my father didn't talk about her, at all ever. So as a result of her being erased from memory, I think a lot of other stuff went with her".
"Iris and Love Is All We Have Left can be seen as twin songs where the latter is the Experience version"
The line "Now you're at the other end of the telescope" line may refer to Iris and the metaphor in that song, depicting her at stars in the sky. Iris's death made her a guiding star for Bono that led him to the life he has made for himself as an artist. He is now closer to death himself, feeling as he is about to be at the "other end of the telescope", becoming the many stars in "her" eyes (one of his daughters?). This fits with the near-death experience theme and perhaps depicts how he felt as going through that - the song could be thoughts he had in the MRI machine.
Cedarwood Road brings Bono back to the street he grew up in and Sunday Bloody Sunday brings him back to the time in his life where he escaped from death by not taking the bus to school.
"Song For Someone and Raised By Wolves are clamoring for spiritual help navigating challenges, only in the latter to find out the strength comes within you"
Although only part of the setlist during opening night in Tulsa, Oklahoma before being omitted for good, Song for Someone and Raised By Wolves are further proof of the band's thinking regarding theme. Song for Someone specifically is a perfect bridge to the show closer 13 (There is a Light) whereas both are clamoring for spiritual help to navigate challenges, only in the latter to find out the strength comes within you.
The Innocence section ends with Until The End Of The World, which is a perfect song to act as a bridge between Innocence and Experience. "It's got references to mortality and to all the big questions (Edge, Rolling Stone)".
From mother to father - Dirty Day
The Songs of Innocence songs and section of the show talks about U2's early days and times of innocence. It's about their childhood, about the loss of Bono and Larry's mother. Later in the tour this was replaced with a story about the band U2. About how they ended up in U2 but also how the band experienced difficult times during the recordings of Achtung Baby.
Dirty Day was introduced late in the tour in Dublin, a fitting place to debut the song which is so much and so clear about a father talking with his son. In this tour it's not just a homage to their fathers but also sort of an apology. It starts with Bono talking about Ireland in the seventies, and how this was not the happiest place with all kinds of troubles. Innocent times for four Irish boys and how man daring to believe that at the far end of Experience we can still recover that Innocence.
"If you look at Dirty Day in the bigger picture of the two tours you can actually see the transition of I&E to E&I as shows which went from being about mother to coming to terms with father"
During these innocent times Bono and Larry were also dealing with big losses in their lives, making them depend on their fathers and making home a difficult place to be at. Sons that had so much to prove taking on their fathers, sons that had difficulties walking their own ways with their fathers being resistant. U2 being "our way of getting out from under their shadows. Our way of saying: I am not like you".
Photos: Mark Reed & Cind75
Later Bono realized that his father was not in the way. "He just wanted solid ground for his son. Tonight, I thank him for his patience. He thought to dream was to be disappointed, he didn't want that for me. And more than that I want to say to my father, I'm sorry."
If you look at this song in the bigger picture of the two tours you can actually see the transition of Innocence and Experience to Experience and Innocence as shows which went from being about mother to coming to terms with father and then back again to the mother. in 2006 Bono said about his father's death: "When he (Bob) died, it was bringing me back, it was closing the circle, bringing me back to my mother's death".
Four boys becoming men - The Berlin songs
When disaster struck in Berlin with Bono losing his voice during the show, new ideas emerged for the show. Ideas to replace the Innocence section of the show with something different. According to Willie Williams, U2 first played around with the idea of building a section out of songs about cities which explains the one-off performance of The Unforgettable Fire in Copenhagen. In the end it became a "Berlin Suite" about the city U2 would return to which would also be the location of the film shoot, a suite of songs telling a different chapter of the Experience and Innocence story.
The abruptly ended Berlin show was yet another reminder of the band's mortality and the pace of human life. During the first few hours after the cancellation U2 even feared they were finished. Thoughts that might had them appreciate even more what they have, and what they can do. Not only happy to be alive but also happy to be able to sing, to perform and be together as a band doing what they love most. Something to not take for granted. A realisation that might have led them to tell another story, a story also originating from Berlin, the city they would return to. About a time when the band also was having struggles, struggles on different levels. About the band almost splitting up but coming together again. It was almost as if the events in Berlin were guiding U2 to change the narrative and tell these stories. The location, the events, the moment, it all came together.
"They use these Achtung Baby songs to help us unpack what we are politically and socially struggling through in 2018"
Songs like Zoo Station, The Fly, Stay and Wild Horses were written when the band members were going through relational struggles and spiritual fall out. Larry is among the band members who have spoken at about losing their way: "I went out every night and stayed out all night. I found myself in all kinds of weird and wonderful situations, and though I avoided getting into serious trouble, I did get into some". And now they tell us these stories about times when the band "could not agree on anything". About the city of Berlin, a great city "to get lost in, and getting lost is an important part of finding yourself".
Zoo Station made its return when U2 switched from songs with a city theme to songs with a Berlin theme. Photo by Remy/U2start
These songs tell a story about "four boys becoming men", about four boys struggling with life and refusing to grow up. About four boys who discovered songs (such as One) to help them unite again and find themselves back. They also use these songs to help us unpack what we are politically and socially struggling through in 2018.
"We found ourselves at the end of the eighties in the city of Berlin as the walls come down, as the country is coming together. Unity is on everyone's mind except unification is exactly what is not happening in our band. We are in Hansa studios fighting with each other. We can't agree on anything. Berlin is a great city to get lost in. Getting lost is an important part of finding yourself. Boys refusing to grow up. Boys becoming men".
The Icarus myth - Hold Me, Thrill Me, Kiss Me, Kill Me
While the band make themselves ready for the Experience section of the show, an intermission video is shown on the screen accompanied by the music of Hold Me, Thrill Me, Kiss Me, Kill Me sung by Gavin Friday. Inspired by the videoclip of the song, the video tells a story visualised as a comic strip showing the band stumbling through life. It's a story about finding innocence again on the other side of experience.
Pictures from HMTMKMKM single, by @LanceASchart
The song starts with Gavin Friday reciting William Blake's "The Sick Rose", from his 1794's Songs of Experience collection:
O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
The comic depicts the young band being shown the way from innocence to experience by a stranger, who presents the business card of "Wormwood & Macphisto Inc. Bespoke Atonement Services", a reference to C.S. Lewis' The Screwtape Letters. The stranger gives the young band (the heroes) advice, which they are deaf to. But then, disaster strikes and our heroes start asking questions such as how will we be saved or what is the meaning of life? The stranger speaks with the ultimate advice that "wisdom is the recovery of innocence at the far end of experience" before giving them a lift from Cedarwood Road to the city they are playing in.
The story is a retelling of the Icarus myth, which comes from the Greek mythology. In order to escape from prison, Icarus' dad attaches wings made of wood and feathers with wax on to their bodies. He then warns Icarus not to fly too high as the sun could melt the wax. But, of course, Icarus got overexcited and too self confident and ignores this warning. The wax subsequently melts and Icarus falls in the sea.
The "wisdom is the recovery of innocence at the far end of experience" quote is a quote from David Bentley Hart's The Experience of God: Being, Conciousness, Bliss. Fellow fansite Atu2 recently published a great interview with David Bentley Hart who was unaware of the fact that U2 used his quote and also has some interesting observations on Blake, U2 and innocence and experience.
The comic ends with a "to be continued" message, leaving us wondering. What is next for our U2 heroes? Did they gain wisdom? More detailed analysis of the video and references can be found in this article by Scott Calhoun for Atu2.
The return of Mister MacPhisto
When U2 comes out of the screen after the intermission break it cannot go unnoticed that Bono is not Bono anymore. He is now Mister MacPhisto, a character introduced during ZooTV tour and now making a reappearance after 25 years. Bono actually has been trying to bring MacPhisto back for years, already for the Vertigo Tour (most likely for the ZooTV encore on the Vertigo Tour) and 360 (when they opened the shows with ZooTV songs). Various people associated with the band talked Bono out of it back then, but this time: MacPhisto, the gold suited, be-horned trickster who made those legendary phone calls from the Zoo TV stage all those years ago, is back!
To understand the character of MacPhisto we have to go back in time to what inspired Bono. "In Germany, Turks were being brutalized by skinhead gangs. All over Europe fascism was becoming a bit cool again, which is terrifying", Bono said at the time. In Madrid the band saw a man impeccably dressed one night waving at an imaginary audience. That was it for them! Gavin Friday designed the red horns and that was that.
Bono used a copy of C.S. Lewis's The Screwtape Letters to toss into the crowd during Raised By Wolves. Even after Raised By Wolves was dropped from the show in 2018, fans spotted the book lying around before the show started. This book is key to understand this section of the show. The book, a series of letters, epistles even, in which the demon Screwtape advises his nephew Wormwood in the ways of securing the damnation of souls, was also one of the main sources of inspiration behind MacPhisto.
Bono used a face filter to look like the old MacPhisto with the horns. Something which was actually Bono's own idea. Photo by Remy/U2start
The first hint of the return of MacPhisto comes during the intermission video which you can read about in the previous section. There's a quote attributed to Edward de Bono, "Mock the devil, and he will flee from thee." It is adapted from the New Testament Epistle Of James, "Resist the devil and he will flee from you."
The Edge had said that they weren't going to mention Trump by name, and they don't, but there can be little doubt at whom MacPhisto's reappearance is aimed. (Hotpress)
Screwtape, at one point in the book, describes his symbol for hell to Wormwood as "something like the bureaucracy of a police state or the offices of a thoroughly nasty business concern." MacPhisto has returned at a time when he can be most effective and is a powerful instrument for Bono to say things that he normally can't say as Bono. He needs to go in character and use sarcasm and mocking to tell his message.
The transition of MacPhisto, from Tulsa, New York, Paris to Manchester. The teeth are the most notable change over time.
Lacking the golden suit, horns and shoes this time MacPhisto has an iPad face filter to really transform into a scary devil on the screen with a wrinkled and beaten up face. MacPhisto would occasionally ask for a dermatologist in his speeches, which is interesting as the face filter has changed over time. The opening night showed a wrinkled and beaten up face with a cracked and peeled skin, but as the tour progressed, MacPhisto has actually started to look worse. MacPhisto's top hat got more beaten up, the surface of his skin cracked and peeled, and a cavernous blemish appeared on his right cheek. It is a way for MacPhisto to become "darker and destroyed" as the tour progresses, both by design and serendipity.
The seven deadly sins - Desire
The American shows featured a pair of songs that thematically fit together very well: Desire and Acrobat. According to Bono (or MacPhisto) Experience tells you what you think you want reflected in Desire, with Acrobat being a correction to those desires.
When talking about Desire, MacPhisto often refers to and starts his MacPhisto speech with something in the lines of "Desire, greed, lust, deceit, vanity — all the essentials for a showman." What MacPhisto refers to here are elements of the seven deadly sins, something which is visualised as well on the video floor on the e-stage during the performance of Desire.
The seven deadly sins wheel on the video floor during Desire
The video, as shown in the photo, shows the so-called "Seven deadly sins wheel". The seven deadly sins is a grouping and classification of vices within Christian teachings. According to the standard list, they are pride, greed, lust, envy, gluttony, wrath and sloth.
Chapter called Vertigo - Even Better Than The Real Thing
The European leg of the tour featured the return of Even Better Than The Real Thing, a song which also made a nightly appearance in 2015. This time it is MacPhisto singing the song and it features two interesting speeches which tell us something about experience and about the band. "Even Better Than The Real Thing as a song was written about where people live right now, about living in the present, in the now, and not looking to what's around the corner. Something which is very dangerous politically, ecologically, in relationships and to the family" (Nial Stokes).
Bono introduces Even Better Than The Real Thing as the chapter in their lives called Vertigo, when it all went to their head, further addressing the period in their lives where they struggle with finding out who they are. "What being a rock and roll star does to the mind of a young man, being a star feeds you a lie that you want to believe. That you are much more interesting than real heroes like firemen or nurses".
"The Irish don't like an ego and feel like they can tell a Bono to reign it in a bit. The "I'm fucking Bono" is him not taking the advice and letting the ego run free"
Then someone tries to bring him back to Earth, usually his father: "Someone from Cedarwood Road taps you on the shoulder and says 'you are no rockstar, you are little Paul Hewson from number 10' and you say, what? I don't know who you are talking about. Paul is dead, I'm fucking Bono. This is Larry Mullen jr. This is The Edge. This is Adam. And we are the greatest rock and roll band on the North side of Dublin!"
What Bono/MacPhisto is trying to tell us here is common Irishness. The Irish don't like an ego and still feel like they can tell a Bono to reign it in a bit. The "I'm fucking Bono" is him not taking the advice and letting the ego run free. But not too much as he only claims to be be the best band from the North of Dublin rather than the world.
The heart of contradiction - Acrobat
The highlight of most die-hard fans of the night is when MacPhisto's speech segues into Acrobat. The speech always ends with "don't believe what you hear, don't believe what you see. If you just close your eyes, you can feel the ENEMY!". The song, never played live prior to May 2018, reminds us we can "feel the enemy." But "the enemy" is how Screwtape refers to Jesus, so the message is scrambled.
The live debut of Acrobat in Tulsa, Oklahoma. Photo by Remy/U2start
Confusion reigns. As ever, U2 are at the heart of the contradiction. "Nothing makes sense, don't let the bastards grind you down," is the defiant howl, before The Edge drives the message home with a screaming solo that comes from somewhere very dark indeed. (Hotpress)
"There's so much rage and frustration in that song, which is the ideal vehicle to express the confusion of this moment in history" - Willie Williams (Atu2)
Earlier in 2018 before the tour we published an article diving deeper into the meaning and themes of Acrobat, which further builds upon the whole Achtung Baby narrative. "It is a song about your own spleen, your own hypocrisy, your own ability to change shape and take on the colours of whatever environment you're in, like a chameleon. The point is: you start to see the world in a different way, and you're part of the problem, not just part of the solution".
"Acrobat is a song of experience. It's a song where an older more experienced Bono is looking back on his previous years, some could say his innocence years."
We argue in the article that Acrobat is a song of experience. It's a song where an older more experienced Bono is looking back on his previous years, some could say his "innocence" years. It makes him realise certain aspects of life and time, it makes him vulnerable. It's a song also very much written from the role that Bono has on stage, the one from a rockstar. Realising what being a rockstar is doing to people or relationships (or to themselves, as referred to during Even Better Than The Real Thing). Written by someone who is becoming experience, looking back on innocence.
MacPhisto redeemed by the Landlady - The Best Thing
When Acrobat ends it is time for MacPhisto to say goodbye for the night and to slowly become Bono again. He turns to the mirror, takes off his hat and his make-up and talks to Ali, his wife, who is the person that puts his feet back up on the ground. Here we see the darkness of MacPhisto being redeemed by the Landlady before he goes and sings a song about her: You're The Best Thing About Me.
MacPhisto turning into Bono after Acrobat, by Remy/U2start
The song deals with the duality of loving someone/something that for whatever reason you really can't be with. But after the chaos and darkness of Desire/Even Better, Acrobat, MacPhisto et al, it is this introspection that is very human, and creates a connection with any of us who has ever come back from a dark place.
Political blindness - Staring At The Sun
The story stays in relative calmness with Staring At The Sun, played during the North American leg of the tour. As the footage from Charlottesville plays on the big screen, Bono repeats again and again the refrain "happy to go blind." "MacPhisto has gone, his second coming work is done, the rough beast is loose. Anything can happen. That was never going to be the end of the story though. U2 have always held on to an unshakeable belief in the idea of America." (Hotpress)
"Staring at the sun and not wanting to be involved and not wanting to take a position doesn't seem like a good option" - Adam
"Staring At The Sun fits into this somewhat dark cloud that is sitting over the world at the moment. Again, in that context it's less of a hopeful pop song and more of a commentary on where we are. (When you show the KKK marching, it really reflects on this moment in time). Yeah. I sort of think it's a little "Lord of the Rings" in Middle Earth. The forces of darkness are gathering around that. Staring at the sun and not wanting to be involved and not wanting to take a position doesn't seem like a good option." (Adam, Rolling Stone)
Dark clouds - Summer Of Love
The song changed for the European leg of the tour but the overall theme remained intact for this spot in the setlist. Both songs fit into this context which Adam referred to as the dark cloud sitting over the world. Bono earlier referred to Summer Of Love as a "love song with a pungent dark clouds crouching over it".
Whereas Staring At The Sun speaks about with American issues within this time, Summer Of Love speaks about European ones. The song addresses the refugee crisis in Europe and are "about people running for their lives on the same Mediterranean that we're running through the shallows".
"Both Summer Of Love and Staring At The Sun fit into this context which Adam referred to as the dark cloud sitting over the world"
It is interesting to observe how both songs show a strong belief in the ideas of America and Europe, telling stories about current world problems under this big dark cloud ending with Bono telling us that these problems are not who we are. It's not how America or how Europe was founded, we can do better than this and we should.
Not surprisingly, this section induced the most criticism from many fans who don't necessarily agree that either Europe (Brexiteers) or the U.S need to have flexible borders and be part of a globalist society. The giant barricage with its LED glory and the obvious message of these songs, did create some reticence from part of U2's fanbase. Especially in places like Oklahoma, Nebraska and Georgia.
An ode to America and Europe - Pride through City Of Blinding Lights
Just as the images of the Charlottesville white supremacist rally end during Staring At The Sun in North America we see in the screens an America divided, fighting with each other in chaos and turmoil while we hear the first notes of Pride (In The Name Of Love) and the "Ode to America" arch begins. This section of the narrative that ends with City of Blinding Lights offers us a different side of America, a country that is fighting right now against tribalism, xenophobia and racism. As we hear Bono singing about Martin Luther King, an iconic leader for equality, civil rights and integration 50 years ago we also see some of the civil movements that are taking shape in America right now: marches for women's rights, immigration and justice. This is the song where Bono reminds everyone to keep the American Dream alive, with their eyes wide open, and invites people from all political sides to forget about petty differences and reconstruct America.
In Europe we can see videos of refugees in boats escaping from places which have become inhabitable and shattered by war, images of xenophobia and racism. The narrative is similar to the one in North America where we see a different side of Europe, which looks disunited and acting in contrast with the beliefs it was founded on. Pride is a song where Bono reminds us that this (referring to the videos on the screen) is not who we are. That this is not the Europe we share. That we should come together and unite.
The American flag as shown during American Soul, photo by Kéké LMB
As a follow-up, Get Out Of Your Own Way picks up where Pride ended. From the bleak landscape portrayed during Staring At The Sun and Summer Of Love, we are now glimpsing some hope, a message to ignore what separates us and fight for what we once had and took it for granted. In difficult times, a kiss can have the same revolutionary power as a fist.
The "be-attitudes" that end Get Out Of Your Own Way and serve as a prelude to American Soul during the North American leg of the tour serve as a sarcastic commentary of the values that society puts above everything else, such as greed, fame or money: "Blessed are the filthy rich. For you can only truly own what you give away, Like your pain".
"American Soul is a song to remind America of the things about itself that the world gives thanks for and an urgent reminder to keep those things the priority in its future" - Steve Stockman
And now the heavy bass marks the climax of this arch with American Soul. The celebration of the idea of a convergence of cultures and creedences to form the country that is America is in full form. A big, transparent American flag rises as if the entire country is rising from a nightmare. We had our first exposure to the "big Idea" that is America during Pride, but this takes clear form during this song. It's like the band is celebrating an ideal that refuses to lie down and die. "It's not a place" Bono sings, "this country is to me a thought that offers grace" (Hotpress)
The counterpart of American Soul for the European leg is New Year's Day, where U2 replaced the American flag with the European flag to remind us a message of hope that Europe is blessed and that these bright yellow stars may never fall on our heads. A message particularly well received in the United Kingdom. New Year's Day is a song that talks about problems in places such as Poland in the early 1980s, or Ireland and the division between it. But there is hope that "I will be with you again" and "we can be one". Some very fitting lyrics in the context of Europe.
"What we're doing in this show is we're trying to end on 'City of Blinding Lights' and to make that a finale because that feels like a wholesome sentiment in this context. It's a song of innocence, to an extent, that started out as an innocence song, but it has some gravitas." - Bono
The final piece of this arch is City of Blinding Lights. This is not only the end of the Ode to America/Europe section, but the grand finale before the encore. Quoting Reagan's famous "shiny city on a hill" line, the song offers a collage of vibrant colors, lights, opulent visuals and the lovely Sian to remind us that even in dark times, we must preserve our innocence.
The important messages - One and Love Is Bigger
The final part of the show has songs which are important. Important to the band, to the audience. Songs with a message and a meaning, the final songs are messages from U2 to those listening. Something that you can take home.
One of course is such a song, not only U2's most famous song but also a song of hope, a song that brings people together. The song has a unique effect. Based solely on the narrative of the show, the song takes on a very powerful and unique meaning on a visceral level. It is not technically the best live version of the song (Bono doesn't play guitar in it anymore and the crowd sings the first third for example), but because of the exhausting journey we have taken with the band, singing "we get to carry each other, carry each other" comes more as catharsis for 18.000 souls than a simple sing-a-long.
The Edge playing Love Is Bigger Than Anything In Its Way with a photo of his daughter on his shirt. The song is a message to their children, about what they want their families to know at the end of life. Photo by Remy/U2start
Love Is Bigger Than Anything In Its Way is a song where U2 tells us what they want their families to know at the end of life - the stuff that matters, the things to be grateful for. A song played with the bands children appearing on the screen, or in Edge's case even on his shirt.
Full circle - 13 (There Is A Light)
The show ends with '13' (There Is A Light), a slow ballad to end the night which is not a very U2 thing to do. It is imperative to the narrative however, as this brings the show full circle again and another example of experience and innocence being intertwined.
"Bono has been through all experience, seen the truth, and is now passing on the wisdom - which he said would be the only way to find innocence again"
The return of the lamp at the end of the show is "finding innocence at the other side of experience" as Bono describes it. The lamp represented his childhood and innocence and breaks midshow in Innocence and Experience, only to return for the very last song in Experience and Innocence, a song where it sounds like Bono has been through all experience, seen the truth, and is now passing on the wisdom - which he said would be the only way to find innocence again.
"Ending on this song is really not a U2 thing to do. Traditionally, we would end on a big crescendo. This is a very contemplative place to bring people. And that's OK." - Edge (Rolling Stone)
At the end of the song Bono takes the light out of his childhood home in Cedarwood Road. The light that was once a symbol of his whole world being his bedroom is now out and swinging around. This can be seen as a innocence and experience conclusion - he has left the innocence house and is embracing experience.
"Finding innocence at the other side of experience". Bono taking the light out of his childhood Cedarwood Road house. Photo by Remy/U2start
U2's choice for the outro music is also interesting and connecting with the story and '13' in particular. Many shows in 2018 for instance ended with "This must be the place" by the Talking Heads, which features lyrics such as "Home is where I want to be..". The final leg of shows ended with a remix of The Miracle (of Joey Ramone), the opening song of the Innocence & Experience show. In Dublin Bono made it even more full circle as he was humming The Miracle while he made his way out.
The Innocence & Experience journey started with a light and The Miracle (of Joey Ramone), and it ended with the very same thing.
Putting it all together - The journey home
When the tour started and fans began to understand the narrative of the Experience and Innocence shows some were not happy about this as it might lead to stagnant setlists. However, it is important to understand that U2 has always been a band that used a narrative to build their shows. They never were a "jukebox band" as U2start member Bloodraven outlined in his article earlier in 2018.
The band needs a reason to go out and needs to have something to tell. And in the end it is not one story told by one person. It is as with U2's music in general, there are many ways to interpret it and many ways to relate to the songs and the stories. Also many of the greater stories written start off with one perspective but end up meaning something else over time. Very true for U2's music. It takes time to understand what songs really mean and this is different per person.
To understand the Innocence and Experience shows and the Experience and Innocence shows as a whole we can identify two common themes. These are "home" and "light". Words used in many of the songs and visuals used across the shows. The narrative of the show is themed around the complexity of live as an adult and the final journey (home) towards the light. (IQ Magazine)
The heavy emphasis on "home" during the show also shows a progression of the word for the band. The word is present in almost every album, found extensively as a place of peace, liberation and reckoning. From 11 O'Clock Tick Tock (I hear the children crying,Take me home) to Fire (When I call out, I feel some fire, fire, I'm going home) and to the recent decades with Walk On (Home - hard to know what it is if you never had one, Home - I can't say where it is, but I know I'm going Home - that's where the hurt is) it is clear the band longs to be there, and it could very well be spiritually as well. So when Bono walks off the stage at the end of '13' (There Is a Light) he is literally coming back to that place after the turmoil and darkness in parts of this particular show.
"As time went by and as real life continued to intrude, we came to realize that perhaps the journey we were talking about was the soul's ultimate voyage: that post-mortem walk toward the white light in the distance." - Willie Williams (tour book)
The "light" is also very present during the two tours, starting with the intro of the Innocence and Experience show, the light shattered to pieces mid show and then taken from Bono's childhood home in Cedarwood Road at the end of Experience and Innocence. The light has left the innocence house and is embracing experience, Bono is now the light at the other end of the telescope, which fits nicely with the lyrics of the song '13' (There Is A Light) about giving advice to his son and leaving him a guiding light. Despite everything that happens in the world or in someone's live, there is always a light. A message that Bono wants to end the show and these tours with.
He tells his children and in this case his son to be careful that darkness will gather around your light, that he should just hold on and keep going strong while he himself walks off into the dark, into the unknown, while still singing. We don't see Bono anymore as the show finishes, he is gone, but his voice stays telling his son that he is someone like him, that this cycle will repeat again, and again, forever.
This article is the result of more than half a year of work and research and is written by Remy, Jaime R, César Garza, Ali Shafti, Joyce, Joe Ahorro, Matt G and Gerard with input, thoughts and content from many other fans, fansites, journalists and other sources. We would like to thank the writers and the other fans who helped us providing information, corrections, references and ideas. Some of the information is this article are individual theories/speculation and not factual information. We welcome your own thoughts in our forums in this dedicated forum topic. We tried to give credit where credit is due but if you feel your or a reference is missing, feel free to let us know for us to include.
Appendix: Innocence and Experience songs
Taken from the setlist wheel as pictures in the 2018 tour book.
Cedarwood Road
Sometimes You Can't Make It On Your Own
Lucifers Hands/ I Will Follow
Punk Cover/ Out of Control
All Because of You/ Fast Cars
Every Breaking Wave
Mysterious Ways
Vertigo Remix
This Is Where You Can Reach Me Now
Playboy Mansion
Two Shots of Happy/ Stay
Ordinary Love/ The Sweetest Thing
Velvet Dress/ A Man and a Woman
Stuck In A Moment
Love Is Blindness
Bullet The Blue Sky
City of Blinding Lights
Sleep Like A Baby Tonight (Bad)
With Or Without You
Song for Someone
The article The narrative of U2's Experience & Innocence show was published on U2start.com by Remy and last updated 2 years ago .
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Starting from Summer 2007 to Summer 2008, U2 had written and recorded 50-60 songs for a new record with Brian Eno and Daniel Lanois. 11 of these were released on 2009's No Line On The Horizon.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tag Archive | "A Red Flannel Town Christmas"
Chamber registers insignia for Red Flannel Town Christmas
Posted on 14 November 2013. Tags: A Red Flannel Town Christmas, Cedar Springs Area Chamber of Commerce, Come Mingle with Kris Kringle, Michele Andres, Red Flannel Festival, Shawn Kiphart
The Cedar Springs Area Chamber of Commerce has given the city's annual holiday tree lighting a new twist. Not only does it feature some new events, but a new name as well. And it's been registered with the state of Michigan.
According to the Chamber's president, Shawn Kiphart, the committee for the event, which will now feature activities all day, decided that the name of the event should tell people where it is. So they called it "A Red Flannel Town Christmas, Come Mingle with Kris Kringle."
"We could have named it "Family Hometown Christmas" but that doesn't tell me where it is," explained Kiphart. "We knew that it would be in Cedar Springs, and that Santa would be there. We live in Red Flannel Town, and always have, so decided that's what we would call it."
However, the Red Flannel Festival has taken exception to the title "Red Flannel Town."
"Michele Andres (Red Flannel Festival president) called me a few days after I put up the event page and said that we couldn't use it, that it was too similar," said Kiphart. "She said I would need to send an email to the board to ask for permission."
Kiphart said he called the state of Michigan to find out if that was indeed the case. "The state told me it didn't look like anyone was using it, but to fill out an application and they would check it out. So that's what we did, and they approved it," he explained.
He also registered two other taglines, which were both approved: A Red Flannel Town Christmas, and The Original Red Flannel Town, USA, Cedar Springs, MI.
But Andres said that the Chamber could be infringing, even though the state approved it. "We think it's important to emphasize that the Red Flannel Festival owns a number of its own marks which identify Festival branding as the source of various goods and services. For example, the RFF holds three variations of trademark registrations for THE RED FLANNEL TOWN. It's the RFF board's position that consumers would be confused between the two marks as the mark THE RED FLANNEL TOWN is, and has been, so closely associated with the RFF.
"The City recognized this last year when deciding on how to use the mark on city property. It seems clear that members of the public will think that the Red Flannel Town Christmas, etc. is in some way associated with the RFF."
Andres would like to have the Chamber ask them if they can use the logo. She told the Post that they were ready to sign an agreement with an incoming business who asked to use their logo on its product, and they were going to do it at no charge.
"Certainly the Red Flannel Board agrees both organizations can work together to promote Cedar Springs as 'The Red Flannel Town' as long as the Chamber approaches the Board and asks its permission to use its property in a manner consistent with Board policy. To date, they have been unwilling to do that. The Board is merely policing its rights in order to maintain the strength of its brand and trademarks. We would think the Chamber would respect these rights and the Red Flannel brand and go about this in the right way so the entire Cedar Springs community can benefit," she said.
Kiphart said that he has already gotten a phone call from the Festival's lawyer about it. He said he assured him he would only be using the words and phrases he registered, not any Red Flannel logos.
Kiphart said he is a huge supporter of the Red Flannel Festival and has no beef with them. But he argues that Cedar Springs was known as Red Flannel Town before the Festival came into being, and that "Red Flannel Town" belongs to the community to use. "I registered it as a name, not as a brand," he said. "It's the town's. I registered it to make sure the community could use it. Red Flannel Town is where I live, and most of the community thinks that, too, so I'm going to honor that."
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The 7 train wasn't running all the way out to Main Street, which wreaked quite a bit of havoc on my travel plans all this weekend. As the wave of passengers spilled out in Corona where the fleet of shuttle buses were waiting on the street below, I spied a curiously costumed crew directing people to the Queens Museum of Art. I had to investigate.
Count me among the "casually curious" then. I snapped these photos and continued on my way.


Please what command do I use for a clean build?
I have tried  *build --all* ?
> when you have made such deep change, you should make a total clean build.
> Do not forget to delete the unxlngi6.pro folders in ext_libraries.


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Our 7 day weather forecast for Fortrose updated throughout the day, making it ideal for planning leisure activities, travel and events. Read more about our weather forecasts.
On Monday 22nd April 2019 the sun will rise at 05:49 and will set at 20:42. It will be a mild day, with temperatures reaching around 20.4°C. Today is expected to be a dry day, with a very low chance of rain. It will be quite a breezy day, with a maximum expected wind speed of 17mph.
On Tuesday 23rd April 2019 the sun will rise at 05:47 and will set at 20:44. It will be a mild day, with temperatures reaching around 17.7°C. Today is expected to be a dry day, with a very low chance of rain. It will be quite a breezy day, with a maximum expected wind speed of 14mph.
On Wednesday 24th April 2019 the sun will rise at 05:44 and will set at 20:46. It will be a mild day, with temperatures reaching around 16.2°C. Today is expected to be a dry day, with a very low chance of rain. It will be quite a breezy day, with a maximum expected wind speed of 20mph.
On Thursday 25th April 2019 the sun will rise at 05:41 and will set at 20:49. It will be a mild day, with temperatures reaching around 17.1°C. A light shower is possible, 2mm of rainfall is possible today. It will be quite a breezy day, with a maximum expected wind speed of 20mph.
On Friday 26th April 2019 the sun will rise at 05:39 and will set at 20:51. It will be a mild day, with temperatures reaching around 14.4°C. Today is expected to be a dry day, with a very low chance of rain. It could be quite a gusty day today, with a maximum expected wind speed of 22mph.
On Saturday 27th April 2019 the sun will rise at 05:36 and will set at 20:53. It will be a mild day, with temperatures reaching around 13.4°C. Today is expected to be a dry day, with a very low chance of rain. Some quite strong winds are possible today, with a maximum expected wind speed of 28mph.
On Sunday 28th April 2019 the sun will rise at 05:34 and will set at 20:55. It will be a mild day, with temperatures reaching around 3.8°C. Today is expected to be a dry day, with a very low chance of rain. It will be quite a breezy day, with a maximum expected wind speed of 20mph.
Our weather forecast for Fortrose is updated throughout the day and has been found to be very reliable for planning activities such as days out, leisure, travel, events, fishing, golf and gardening.
Get detailed weather forecasts for some of the most popular places to stay, tourist spots, attractions, activities and events in Fortrose.


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Home » Speakers » Sporting Speakers » Cricket » Darren Gough
Darren started playing cricket as a boy when his Dad gave him an Ian Botham bat. Although his parents weren't particularly sporty themselves, they encouraged and supported Darren in playing cricket and football. He had trials as a midfielder with Rotherham United, but decided to make cricket his career.
Darren joined Yorkshire in 1987 on a Youth Training Scheme and two years later, aged 19, made his first-class debut for the county. He took five wickets in his first match (which was at Lord's) and was selected on an England youth tour to the West Indies in 1989-90.
He made an immediate impression on his England senior debut in 1994 by taking six wickets in the Third Test against New Zealand. By the end of 2000, he had taken over 180 wickets playing for his country.
In January 1999, he became the first England bowler to take an Ashes hat-trick for a hundred years and was subsequently named Wisden Cricketer of the year.
At the beginning of 2000, Darren became one of the first England players contracted to the ECB and so played only three games for Yorkshire. Later that summer, he was named Man of the Series when England beat the West Indies for the first time in 31 years.
Nobody contributed more to England's four series wins in a row in 2000 and 2000-01 than Gough, who was Man of the Series against West Indies and in Sri Lanka. Succeeding there and in Pakistan, the traditional graveyard of fast bowlers, was the final stage of his development, although even his self-confidence took a battering after England's failure to compete against Australia the following summer.
In need of a rest, he chose to miss England's trip to India, and though selected for the one-dayers in New Zealand, he damaged his knee in the final match – it seemed trivial at the time, but mushroomed into a year of misdiagnosis and aborted comebacks. He was forced out of the Ashes tour and the World Cup, but somehow willed himself back to fitness in time for the 2003 season, when lesser mortals would have accepted their fate. And though he was instrumental in England's NatWest Series victory that summer, he was exposed in Test cricket, from which he retired after a heavy Lord's defeat against South Africa.
He was overlooked for the one-day series in Bangladesh and Sri Lanka the following winter, and, in January 2004, he parted company with Yorkshire after 15 years to head to Essex, giving family reasons as the deciding factor. Gough returned to the international stage in 2004, but was a shadow of his former self until England's tour of South Africa the following winter. With a new spring in his step, he re-established himself as the leader of the pack, silenced the critics who believed his days were numbered, and reawakened his dream of playing in the 2007 World Cup.
His nicknames are Lege (short for Legend!), Rhino and Dazzler. Apparently he was christened Dazzler when he was 16 by the daughters of Yorkshire's former director of cricket – something to do with his dazzling blue eyes! He still supports his hometown football team, Barnsley, and also Premiership side Tottenham. Off the pitch, in December 2005, Darren added a new trophy to his cabinet – he won the BBC Strictly Ballroom Dancing TV programme with dance partner Lilia Kopylova!


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Posted in WallSt
Groundbreaking Alternative Paper Village Voice Shuts Down
The Village Voice, the Pulitzer Prize-winning alternative weekly known for its muckraking investigations, brash political reporting, exhaustive arts criticism and anxiety-laden cartoons, is going out of business after 63 years.
The paper's publisher, Peter Barbey, announced Friday that the pioneering paper is ceasing publication entirely because of financial problems, a year after it stopped circulating in print.
"This is a sad day for The Village Voice and for millions of readers," he said in a statement, released after the closure was announced to the newsroom staff.
Barbey, also president of The Reading Eagle newspaper in Pennsylvania, bought the Voice in 2015 in an attempt to save it following a series of ownership changes, staff departures and audience and advertising losses that had left the publication in a state of perpetual peril.
He tried to stem its losses be giving up print publication last summer and publishing only online — a move that removed the paper from the sidewalk distribution boxes that were a fixture on New York City street corners for generations. It failed to stop the financial bleeding.
"In recent years, the Voice has been subject to the increasingly harsh economic realities facing those creating journalism and written media," Barbey wrote. "Like many others in publishing, we were continually optimistic that relief was around the next corner. Where stability for our business is, we do not know yet. The only thing that is clear now is that we have not reached that destination."
The company said eight of the Voice's 18 remaining staffers were laid off Friday. He said staff members have been working to ensure the print archive of the Voice is made digitally accessible, saying an online archive "will offer coming generations a chance to experience for themselves what is clearly one of this city's and this country's social and cultural treasures."
The Voice was the country's first alternative newsweekly, founded in 1955 by a group that included writer Norman Mailer.
It once had a weekly circulation of 250,000 copies and was a home for some of New York's best investigative journalists and music writers.
It has received three Pulitzer Prizes, for editorial cartooning and feature writing in the 1980s and an award for international reporting in 2000 for a series on AIDS in Africa, among many other awards.
Read on The Source
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California Democrats Boycott Of In-N-Out Backfires Spectacularly →


Seventeen years ago, a college student named Charlie Westwood disappeared while investigating a secret society in his hometown of New Ravenwood, Ohio. A police investigation of Westwood's disappearance led to a dead end but an archivist at a local university later discovered a photograph of Westwood. The photograph pre-dated Westwood's disappearance by nearly sixteen years and the archivist decides to investigate the whereabouts of Westwood and the secret society.
CLICK ON THE TITLE OF THE WEBCOMIC BELOW TO VIEW IT AT SCRIBD. YOU MAY ADJUST THE VIEWING BY SWITCHING TO 'BOOK' MODE INSTEAD OF 'SCROLL' MODE.


Juan Venado Island located near the town of Las Penitas is home to thousands of birds, crocodiles, sea turtles, crabs and other creatures that live in its waters. It's possible to organise a kayak or a boat across the reserve. Juan Venado Island is home to the Olive Ridley turtle that lays its eggs between August and December. The best time to observe them is at night. We provide guides for the occasion so our nature enthusiasts wishing to witness the moment can spend the night on the island.


At Shed Boss Nelson, we specialize in providing our clients with the best possible building configuration to meet their requirements, including wind and snow loadings to suit their location.
Dave Waghorn, owner of Shed Boss Nelson, has been constructing all steel buildings for around 10 years, and has a wealth of building experience. You will not only be purchasing a shed but rather a Shed Boss experience, receiving the strongest and best value for money shed on the market.
Shed Boss Nelson covers the Nelson / Marlborough area, as well Canterbury from Timaru North, and the West Coast, North of Haast.


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Q: OpenGL drawing Circle / Ellipse (filled in) without glBegin? I am trying to draw an Ellipse using OpenGL and map a texture to it. I do not want to use glBegin(...) or glVertex4f as they are deprecated. I got the Ellipse to display with the texture but only when I use GL_LINE_LOOP. This does not allow me to fill in the Ellipse with a texture. I have attempted using GL_TRIANGLE_STRIP in hopes that this will fill in the Ellipse but that doesn't seem to render anything.
void Ellipse::makeEllipse(float radiusX, float radiusY)
{
  for(int i=0; i < 360; i++)
  {
    float rad = i*DEG2RAD;
    ellipse_vertices[i] = vec4(cos(rad)*radiusX,
               sin(rad)*radiusY,0,1);
   }
}
.
.
.
glDrawArrays (GL_TRIANGLE_STRIP, 0, numEllipsisVertices);

I have tried to find solutions to this but there are only deprecated examples using GLBegin and glVertex.

A: GL_TRIANGLE_STRIP is likely not the drawing mode you want to use for an ellipse. But GL_TRIANGLE_FAN should work rather nicely. I suggest you start the ellipse with a center vertex to ease the geometry:
void Ellipse::makeEllipse(float radiusX, float radiusY)
{
  ellipse_vertices[0] = vec4(0,0,0,1);
  for(int i=1; i < numEllipseVertices; i++)
  {
    float rad = i*DEG2RAD;
    ellipse_vertices[i] = vec4(cos(rad)*radiusX,
               sin(rad)*radiusY,0,1);
   }
}
.
.
.
glDrawArrays (GL_TRIANGLE_STRIP, 0, numEllipseVertices);

Small language hint: "ellipsis" ≠  "ellipse"

redpajama_set_name: RedPajamaStackExchange


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Andrew Shell's Weblog Hoopla, ballyhoo and more…

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redpajama_set_name: RedPajamaGithub


This 196-square-foot home close to Boise, Idaho, is home to Macy Miller, her associate James, their daughter Hazel, and their Great Dane, Denver. A 27-12 months-old architect, Macy designed the home from scratch and built it on a 24-foot flatbed with help from family and friends. Clad in siding product of recycled pallet wood, the minimalist home Diy Home Improvement is flooded with gentle and feels spacious despite its size. Hidden storage under the bed, above the pantry, and behind the fridge are contrasted with open shelving within the kitchen to make the space feel greater. In whole, Macy spent about $eleven,000 on her tiny house and is now capable of dwell lease- and mortgage-free.
The Vibe design is ideal for shorter lot lengths full with a double storage. This four bedroom properties is perfect for the growing household, with an built-in kitchen, family and dining room that flows via to a spacious alfresco area. Hospitality design is a elaborate field, since comprises so many variations. At Miami Dwelling Design, we develop your hospitality problem combining a perfect match by way of aesthetic, timing and culture. We create luxurious and classy hospitality spaces to provide memorable visitor experiences whereas expressing the client mannequin and aspirations, including prolonged-time interval value to your business.
Joanna Plant has up to date this elegant Georgian house in the Cotswolds to satisfy the wants of a household, reconfiguring the layout and creating inviting but practical spaces for the house owners and their kids. obtain more about Amazon Prime. certified customers want Extra true stress and financial web page to site, substances, self-Empowerment readers, numerous small installment, and Kindle classes. After fearing time library payments, 've at present to pay an social type to equip simply to objects you could have own in. After being preparation member strategies, do in the past to help an a number of exercise to indicate Indeed to loans you 've subtle in.


SCHAUMBURG -- It was the fourth game in five days for both Wheaton Academy and Marist, but neither team showed signs of exhaustion Saturday in a physical, defensive struggle Saturday in the Muscle Milk Consolation Pool of the PepsiCo Showdown. It ended in a 1-0 victory for the Wheaton women at Olympic Park.
Had they been drinking Muscle Milk?
Before the match, Wheaton Academy coach Dave Underwood said the teams looked "pretty evenly matched ... we've never played them before, so we have no idea what to expect."
From the start of the game, Marist used their bodies like fighters to stall the Warriors' more stylized passing offense.
A sterling example came on a hard tackle from Marist senior Kendall Boyd that left Wheaton Academy sophomore defender Izzy McNally down to the ground and delayed the game early in the first half. McNally limped off the field, her face contorted with pain.
Boyd was joined on defense by juniors Alex Lenz and Clare Collevy and senior Mary Brennan.
Coming off a stinging 3-0 shutout by PepsiCo Showdown finalist Plainfield North in the round-of-16 on Tuesday, the Wheaton Academy (7-2) wouldn't be denied. They did what Warriors do best: fight back.
"They (Wheaton Academy) double-teamed (senior) Lorna McCall, our go-to girl," said Marist head coach Jennifer Germino. At any time in the game, McCall was covered by McNally, senior defender Molly Thorson and sophomore defender/midfielder Holland Kosiek.
Midway through the first half, Wheaton Academy took advantage of a defensive mistake that ended up costing Marist the game.
Setting up a shot downfield, sophomore forward Gretchen Pearson "took a shot, laying her body out to get me the ball," said Chicagoland Soccer's MVP of the Match, junior Jamie Netzley. "She did most of the dirty work. I had a great shot from Gretchen, and I noticed the keeper was out of position. I had a wide-open shot, so all I had to do was kick it clean."
Going into halftime, both coaches took their teams to task.
"Keep everything in front of you. Keep pushing to the outside. They don't posess well. Challenge everything!" Underwood advised his team. "You gotta keep posession!"
From Marist's side, Germino told her team, "They (Wheaton Academy) are running ... kick the ball!"
Underwood liked what he saw In the second half.
"We really turned up the (defensive) heat," he said.
Warriors goalkeeper Lianna Ledesma did her part. The junior recorded six saves to collect the clean sheet.
Marist (4-4-1) left the pitch wondering what would have happened with a few different bounces.
"We had our chances," McCall said. "You have to give credit to Wheaton. It was a pretty physical game. We're walking away with our heads held high."
Wheaton Academy junior midfielder Gabi LaMantia said the Warriors had to grind out the game mentally as well as physically.
"We had a couple of ... hits and fouls," she sayd. "(Marist) was a tough opponent."
"Against a very tough opponent, we had to go out of our comfort zone," Underwood said. "Every win is a good win, but many of our wins were by several goals. Honestly, this was the first win in a while that was a close game."
Netzley added, "This game really prepared us for Benet Academy."
The Warriors will travel to Lisle for the 4:30 p.m. nonconference matchup Monday.


Al Mudaraba Al Muqayadah A type of mudaraba in which the rab al mal (investor) sets rules on how the mudarib (entrepreneur) shall invest the money. An example would be specifiying specific asset classes or business sectors that the mudarib can or cannot invest in.
Al Mudaraba Al Mutlaqah A type of mudaraba in which the rab al mal (investor) gives the mudarib (entrepreneur) full freedom to invest in whatever businesses or asset classes he or she deems appropriate in order to maximise profits. Any procedures or actions outside the context of the routine business shall first be approved by the rab al mal.
Arbun A down payment given to the seller once a sale agreement is signed. If the agreement is executed on time the arbun is deducted from the total paid to the seller. If the buyer cancels the sale the arbun is not refundable and stays with the seller.
Bai' al I'nah A transaction where a seller sells an asset to a buyer on a cash basis, and then buys it back for a higher price. Islamic scholars disagree on whether bai' al I'nah are Shariah compliant.
Batil Used to describe a contract that is not valid under Shariah law because of inherent features of the contract. Batil is sometimes used interchangably with fasid, although some scholars use fasid to refer to a contract that could be valid if not for certain characteristics.
Daman A form of guarantee or security - typically in a contract - which could be the provision of collateral or an actual guarantee.
Gharar Uncertainty. In Islamic finance this typically refers to speculative transactions that contain an element or risk or a lack of sufficient information that make them haram (prohibited).
Gharar fil ajal Occurs when one party in a transaction is unaware of, or is given faulty information about, when the assets in question will be delivered.
Gharar fil miqdar Occurs when one party in a transaction is unaware of, or given incorrect information about, the quantity of a given asset he or she is buying.
Gharar fil taslim Occurs when one of the parties in a transaction does not know whether the assets have been delivered, or has received faulty information about this.
Hamish Jiddyah A security deposit the customer pays the bank or financier at the promise (wa'd) stage of a transaction. If the transaction does not take place the financier/bank has full recourse to the deposit.
Ijara Leasing - the sale of usfruct of a certain asset for a specific period of time with the client paying rental fees to the owner of the asset. Usually a financier or bank enters as a mediator between the owner of the asset and the client. The bank purchases the asset from the former and leases it to the latter in return for pre-agreed rental payments from the client to the bank. Unlike conventional leasing, an ijara lease starts from the date upon which the asset is delivery, rather than date of agreement. If the company sells the asset to the bank and then leases it back, this must be done through two separate transactions rather than the one transaction that would be required in a conventional sale and lease back agreement.
Ijara mawsuf fi dhimma A forward lease agreement to lease a property or asset, which is still to be constructed and delivered, on a future date. The rentals (lease payments) can be collected before the delivery of the asset.
Ijara muntahia bi tamaluk An ijara lease that ends with ownership of the asset moving from the lessee from the lessor. This could be through sale, gift, or equity claim and occurs in a separate agreement where both parties provide a wa'd (promise) that the transaction will take place after the end of ijara agreement at defined exercise price and certain agreed upon terms.
Ijara thumma bai' An ijara lease that ends with the lessee buying the asset. Also known as ijara muntahia bi tamaluk.
Ijara wa iqtina An ijara lease that ends with the lessee buying the asset. Also known as ijara muntahia bi tamaluk.
Ijma' A consensus, particularly one among Islamic scholars.
Ijtihad Diligence in reaching a conclusion on a specific issue through the careful and comprehensive consultation of Islamic theology and legal theory.
Istihsan To deem something preferable, often in comparison with a literal prescription of Shariah law. A way of using one's own judgement to deviate from a literal interpration of Shariah law.
Istisna' The advance purchase of manufactured goods - a sale transaction in which one party provides funding for a good or an asset yet to be manufactured or constructed. It differs from a salam transaction through the nature of the assets, their price delivery date and the terms of contract cancellation.
Istisna' sukuk Certificates of equal value used to finance an istisna'. The sukuk holders will be partial owners of the goods or asset being constructed in the istisna'.
Madhab A school of thought or interpretation within fiqh. Also written as mazahib.
Maqasid al Shariah General objectives or goals of Shariah.
Maysir/Maisir Gambling or any game of chance. Maysir is considered a broader term than qimar. It is not permitted under Shariah because it involves making money from pure luck without effort, and because it can lead to one party making a monetary gain from another's loss. Maysir was a pre-Islamic game of chance.
Mudaraba / Qirad An agreement between two parties, with the rab al mal providing the capital for the project and the mudarib managing the project. Profits are distributed according to a predetermined ratio, but losses are borne by the rab al mal.
Mudaraba sukuk Certificates of equal value representing ownership in a project funded through a mudaraba agreement.
Murabaha/Muqaradah A financing contract with agreed cost and profit margins, and with settlement either on a deferred lump sum or through instalments.
Murabaha sukuk Certificates of equal value to finance purchase of goods through murabaha transaction, which makes sukuk holders collective owners of the murabaha commodity.
Musharaka A partnership agreement between Islamic banks and its clients, or between two or more parties. Each participant, or sharik, contributes capital in equal or varying amounts to establish or share in a project. Each becomes an owner of the project's capital, and shares profits and losses in proportion to their contribution.
Musharaka muntahiah bi tamaluk A musharaka ending with sale of ownership in which one of the partners ends up owning the asset, business or project.
Musharaka sukuk Certificates of equal value representing ownership in a certain project that is being set up or maintained through a partnership contract, making sukuk holders joint owners of the project.
Musharik One of the parties in a musharaka partnership agreement.
Qard Hasan A benevolent loan. An interest free loan given for a specified period of time. At the end of that period, the borrower is required to only pay back the principal value of the loan, with no interest payment or compensation for the time value of the money.
Qimar Gambling, with specific reference to betting and wagering. It is not considered Shariah compliant because it involves acquiring money with no effort or through pure luck.
Qiyas Measuring - extension of a certain Shariah ruling from an original case to a new one because of similar conditions and aspects in both cases.
Rab Al Mal/Rabbu Al Mal The party in a mudaraba agreement that supplies the capital.
Riba Usury. Usually used to refer to interest in finance.


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Meet Our New Owners
Don't miss this video interview with Robert Marr, chief operating officer of William Reed Business Media which recently acquired Decision News Media publisher of CosmeticsDesign-Europe.com and CosmeticsDesign.com.
In the video, Robert Marr sets out his vision for the future of Decision News Media and its role within the portfolio of William Reed Business Media. It also features interviews with Franck Metzger and Jean-Marc Cocogne, joint founders and managing directors of Decision News Media who will remain with the company.
Founded over 100 years ago, William Reed Business Media (www.william-reed.co.uk ) is an independent company that publishes a wide range of award-winning brands including print and online titles, and organizes shows and events for the food and drink industry. Its high profile brands include The Grocer, Food Manufacture, Convenience Store, Harper's Wine, The Food and Drink Expo and the International Wine Challenge.
Related topics: Business & Financial


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A gifted singer and songwriter, skillful on both guitar and piano, John Frinzi has built an audience through craft and originality.
An early demo caught the ear of legendary steel guitarist and long time Coral Reefer Band member Doyle Grisham, and their working relationship led to John's first CD, "Into The Dawn."
His second album, "Shoreline," showcases Frinzi's versatility as a songwriter and vocalist with many of the songs co-written by Tom Corcoran, co-writer of the Jimmy Buffett classics,
"Fins," and "Cuban Crime of Passion." Both CDs remain in
regular rotation on Sirius/XM's Radio Margaritaville.
Most recently, John teamed up with multi-platinum Songwriter and Producer Aaron Scherz on their singles "Summer Sun" and "Lyin' or Lucky" which,
in addition to being fan favorites on Sirius/XM, are included on their new album "Blue Sky View".
A seasoned live performer, Frinzi has toured nationally playing over 250 dates a year and has been featured at major festivals including the Keith Sykes Songwriters Celebration, Key West Songwriters Festival, Pensacola Beach Songwriters Festival
and has shared the stage with acclaimed artists including Jesse Winchester,
Mac McAnally, The Coral Reefer Band, Todd Snider and Maria Muldaur.