Happy Sunday everyone! With the summer coming to an end (sadly!), I wanted to share my sweatproof makeup look. Now, this isn't a look to wear to the beach or the pool. But if you're going somewhere on a hot summer day or night, these are products you can trust to last. I tend to have oily skin, and when it's hot, I sweat like no other, so these are products are 'tried and true' that work for my skin.
The first thing I have to do is prime my face so my makeup can last all day, so I use the Smashbox Photo Finish Foundation Primer Pore Minimizing. This is great for my oily skin because it helps mattify and also minimize my pores. It creates a nice long lasting base for the rest of my makeup.
For the foundation type product, I love using the Covergirl Clean Matte BB Cream. This gives great light to medium coverage, and it's amazing for those of us with oily skin. This does a pretty good job at keeping my skin matte, but adding that drop of moisture I need in the summer. Since it is a BB cream it feels light weight on the skin, but it can give you the coverage you need.
To set the face, I use the Maybelline Fit Me Matte + Poreless Powder. This is a very long-lasting powder that does an amazing job at mattifying your face. It's very finely milled and doesn't cake up. I also like to keep this with me to touch up during the day if I get a little oily.
For my blush/highlight product, I use the Becca x Jaclyn Hill Champagne Split Shimmering Skin Perfecter in 'Champagne Pop/Flowerchild'. I love 'Flowerchild' blush for my fair skin because it adds the perfect pink flush. It's also long lasting which is convenient when you're sweating in the heat. I also like to add a dab of Champagne Pop on cheek bones to add back some light into my face, since the powder+BB cream are so matte.
For my eyeshadow, I like going as natural as possible, so I use the Lorac Pro Matte Eyeshadow Palette. The shadows in this are creamy and pigmented, and the lasting power is amazing. It has all the basic shadows I need to create a natural everyday look, and some darker shadows if I want something a little smoky.
In this summer heat, the Maybelline Lash Sensational Mascara is my go-to mascara. I've spoken about this before, but even though this formula isn't waterproof, it is very long lasting. When I'm sweating it out I can count on this not to smudge, flake or transfer below my eyes.
For my lips, the Too Faced Melted Matte Liquified Long Wear Lipstick in 'Child Star' is a beautiful shade and very long lasting. The formula is super comfortable, and this is my MLBB (my lip but better) shade, so it's perfect for when I want something more natural. I can also top this with a gloss if I want to make it pop more for the night time.
Those are my typical products for my summer look! What are some products you include in your 'Everyday Summer Makeup Look'?
This post may contain affiliate links. Products marked with an asterisk (*) were sent to me for free to consider for a review. All views and opinions are my own. If you would like more information, click here.
Maybelline Lash Sensational is amazing, I always manage to get little black smudges under my eyebrows and down my face and this is the only mascara I've tried that gives me great length and doesn't do it, such a gem!
The Maybelline Fit Me Matte Powder and the Maybelline Lash Sensational are my HG products from the drugstore. I've been VERY tempted to try the Covergirl's BB Cream. I'm glad you talked about it since I haven't heard a lot of people talk about it.
I'm gonna try this out. My makeup always end up smudging, when I'm going out, haha.
The maybelline lash sensational mascara is literally the best mascara for hot weather. It will not budge!
That melted lipstick is gorgeous! I don't know how I missed that shade when I was looking at the colors. Since I have been outside so often, I have been needing to find some makeup that lasts all day. I am going to have to check out that BB cream, I have been in the market for a new one. Great selection!
Lorac Pro is my bae. I'm glad you like the matte palette, it's such a good deal.
Lovely products. Thanks for sharing it.
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Top 10 International Business Schools
International Business is a booming industry which comprises all commercial transactions — private and governmental, commercial sales, business investments, logistics / distribution, and transportation — that take place between two or more regions, countries or nations beyond their respective political boundaries. This industry has been growing by leaps-and-bounds is due to an increase in countries lifting trade bans, an advancement in technology and because competition is becoming more globally focused.
This is an industry where most students that obtain an international business degree can really make an impact as professionals, and that's why we have compiled a list of our top ten international business schools to assist prospective students in choosing a college that will help them succeed in this burgeoning industry.
These rankings were based on the following criteria:
50% Previously awarded accolades from top national syndicates
25% Course rigor
25% Student satisfaction with both education received and post-graduation career placement
1. University of South Carolina
Established in 1801, the University of South Carolina has a history of more than 200 years in producing excellence in its students. USC is a public, coeducational research university located in Columbia, South Carolina and is a top nationally and internationally ranked school. With an initial enrollment of just nine students, USC has grown immensely since the time of its founding, with an enrollment of 33,575 students at USC's main campus across all degree programs and 49,220 students system-wide. USC is a notable school for more than just its outstanding international business degree program which might interest some students. USC houses the largest collection of Robert Burns and Scottish literature materials outside Scotland and the largest collection of Ernest Hemingway works in the world and is a repository of an archive for Western / Crime Fiction author Elmore Leonard's papers and personal effects. In addition to offering an outstanding international business degree program, USC offers more than 350 programs of study leading to bachelor's, master's and doctoral degrees.
The international business degree program offered at USC was ranked #1 in the nation by U.S. News & World Report for the undergraduate program and #2 for the graduate program — which marks 20 consecutive years that the graduate international business program has ranked #1 or #2 by this publication, #2 worldwide by The Financial Times of London and #7 worldwide by The Wall Street Journal, these rankings, along with having 1,604 top-notch faculty members and the school's accomplishments as a whole–such as being listed as #9 among the nation's "Most Promising and Innovative Schools" ranked by U.S. News & World Report which is based on "promising and innovative changes" in academics, faculty, students, facilities or the campus–is what led the University of South Carolina to be the top pick for our international business school ranking list.
Tuition and fees: $11,158 in-state, $29,440 out-of-state
Undergrad Enrollment: 49,220
Campus Setting: City
Location: Columbia, SC
Motto: Emollit mores nec sinit esse feros – Learning humanizes character and does not permit it to be cruel
Website: http://www.sc.edu
2. New York University
New York University, a private, nonsectarian American research university based in New York City, was established in 1831 and is one of the largest private non-profit institutions of higher learning in America. University rankings compiled by U.S. News and World Report, Times Higher Education and the Academic Ranking of World Universities all rank NYU among the top 34 universities in the world. The University's main campus is located in Greenwich Village in Lower Manhattan and NYU has also established NYU Abu Dhabi, NYU Shanghai and maintains 11 other Global Academic Centers in Accra, Berlin, Buenos Aires, Florence, London, Madrid, Paris, Prague, Sydney, Tel Aviv and in Washington, D.C. allowing the school to hold a strong global presence. This strong global presence and ties to international business practices has been an asset to many international business students who attend New York University.
The international business degree offered at NYU is ranked #2 in the nation by U.S. News and World Report and New York University's Leonard N. Stern School of Business was ranked #20 by the same publication. For four consecutive years NYU has been ranked as America's "#1 dream school" by the Princeton Review and is consistently ranked in the top ten dream colleges for both students and parents, making it one of the few colleges that appear in the top ten on the ranking list for students and the ranking list for parents. With 9,489 faculty members dedicated to providing a top-notch education to NYU's 24,985 undergraduates and 24,289 graduate students, NYU is one of the largest producers of dynamic professionals in the world. The reason we have ranked this school as number two in our list is due to its remarkable rankings and its strong global ties, which allows NYU international business students to gain a strong foundation in the industry standards.
Campus Setting: Urban
Motto: Perstare et praestare – To persevere and to excel
Website: http://www.nyu.edu
3. University of Southern California
The University of Southern California is a private, not-for-profit, and nonsectarian research university which was founded in 1880 and is currently located in downtown Los Angeles, California. As California's oldest private research university, USoCa has historically educated a staggeringly large number of the region's top business leaders and business professionals. In recent years, the university has also leveraged its prime location in the Los Angeles area to establish strong relationships with research and cultural institutions and programs all throughout Asia and the Pacific Rim areas. With a starting enrollment of 53 students and 10 teaching faculty members when USoCa was first established in 1880, those numbers are now 43,000 total students and 3,945 teaching faculty members, USoCa has grown tremendously and yet still sticks true to its roots of providing students with a high-quality education that has produced many of world's top industry leaders and researchers.
The international business degree offered by USoCa is ranked 8th in the World by the Financial Times and ranked in the Top-5 Undergraduate International Business Programs in the United States by US News and World Report. Forbes ranked the USC Marshall School of Business 3rd in the nation in producing graduates who are most satisfied with their jobs. There's also a program available at University of Southern California that is open to all incoming first-year business and accounting majors, Learning About International Commerce (LInC) is an experiential learning opportunity that introduces students to business practices outside of the United States. The only program of its kind in the nation, LInC features a two-unit course in international business and an eight-day trip abroad to meet with top business executives and top business leaders of international business industries. USoCa was chosen as our third rank school due to the accolades the international program has received in junction with the offering of LInC.
Location: Los Angeles, California
Motto: Palmam qui meruit ferat – Let whoever earns the palm bear it
Website: http://www.usc.edu
4. University of Pennsylvania
The University of Pennsylvania, located in Philadelphia, is a private Ivy League university and is a part of a group of colleges that all claim to be the first college in America. Founded by Benjamin Franklin who advocated an educational program that focused as much on practical education for commerce, economics and public service as on the classics and theology, UPenn has been teaching students about business and economics for over 250 years. One of UPenn's most well known academic qualities that make it stand out is the school's emphasis on providing its students with an interdisciplinary education, which it promotes through numerous dual-degree programs, university minors, research centers and professorships, a unified campus, and the ability for students to take classes from any of Penn's schools; the "One University Policy" that UPenn's faculty strive to uphold to provide students a more well-rounded and dynamic education.
The international business program at UPenn offers students a flexible education that involves experiential learning opportunities, lectures and guest speakers from top industry leaders giving students the knowledge and skills they need to become effective leaders in their chosen industries. UPenn was also ranked 18th in the world by the QS World University Rankings, 17th by the Academic Ranking of World Universities (ARWU), and 17th by the Times Higher Education World University Rankings. According to the ARWU ranking Penn is also the 8th best university in the world for business and economics. UPenn's school of business consistently ranks in the top five of best business programs by U.S. News and World Report and the National Research Council. UPenn's interdisciplinary approach to providing an education, it's previously obtained rankings and the prestige that comes from obtaining a degree from a highly regarded Ivy League school are the reasons we have placed UPenn fourth in our list.
Undergrad Enrollment: 9,746
Motto: Leges sine moribus vanae – Laws without morals are useless
Website: http://www.upenn.edu
5. University of California, Berkeley
The University of California, Berkeley is a public research university located in Berkeley, California. UC Berkeley is considered by the Times Higher Education World University Rankings as one of six university brands that lead in world reputation rankings in 2016 and is ranked third on the U.S. News and World Report's 2015 Best Global Universities rankings conducted in the U.S. and nearly 50 other countries. The Academic Ranking of World Universities (ARWU) also ranks the University of California, Berkeley fourth in the world overall, and first among public universities. UC Berkeley offers approximately 350 undergraduate and graduate degree programs in a wide range of disciplines. Established in 1868, UC Berkeley now has 38,204 students across all of its programs and an excellent student-faculty ratio. There are currently 7 Nobel Prize holders employed by UC Berkeley as faculty members, and Janet Yellen, the 15th Chair of the Federal Reserve Board, is a professor emeritus at Berkeley Haas School of Business and the Department of Economics.
The international business degree program at UC Berkeley teaches students through a mix of experiential learning, lectures and guest speakers from industry leaders from the surrounding area. The Times Higher Education World University Rankings for 2015–2016 ranks UC Berkeley 13th in the world for academics and 6th in the world for reputation. Another publication in its 2016 edition, U.S. News & World Report ranked Berkeley 3rd in their "Best Global University Rankings". In 2015, Berkeley was ranked 4th in the world by the Academic Ranking of World Universities (ARWU) and 26th in the QS World University Rankings. The Center for World University Rankings (CWUR) ranked the university 7th in the world based on quality of education, alumni employment, quality of faculty, publications, influence, citations, broad impact, and patents in 2015. Based on the merits and accolades the school has received, the school's reputation for producing excellence and the teaching method UC Berkeley employs has earned the school's place in our rankings.
Location: Berkeley, CA
Motto: Fiat lux – Let there be light
Website: http://www.berkeley.edu
6. Florida International University
Florida International University is an American metropolitan public research university located in Greater Miami, Florida. Florida International University is classified as a "tier-one" research university with highest research activity by the Carnegie Foundation and a first-tier research university by the Florida Legislature. FIU offers 191 programs of study with more than 280 majors in 23 colleges and schools and is the largest university in Southern Florida, second largest university in Florida and the fourth largest university in the United States. Established in 1969, FIU today has almost 60,000 students across all of FIU's programs and more than 3,300 academic staff employed, giving the school a rough approximation of a student-faculty ratio of 20:1, which allows the students attending FIU to obtain one-on-one assistance from their professors and other faculty, leading to a better college experience for students; and a college experience that's more likely to be successful.
The international business program at FIU educates students through a unique combination of business courses and regional studies, so they can understand all functional areas of a firm, as well as the global, strategic management issues most businesses face today. Florida International University was ranked the #7 college in the United States by the Social Mobility Index college rankings, FIU's College of Business is among the top 5% of elite business schools worldwide accredited by the AACSB International – the Association to Advance Collegiate Schools of Business and U.S. News & World Report's "America's Best Colleges" (2015) ranks the undergraduate international business program as the 6th best in the nation. The school's excellent rankings, student-faculty ratio and location in an area that's home to 16 Fortune 500 companies such as Office Depot, TECO Energy and Tupperware Brands is the reason we have included FIU in our top ten list.
Tuition and fees: $6,496 in-state, $18,895 out-of-state
Motto: Spes Scientia Facultas – Hope, Knowledge, Opportunity
Website: http://www.fiu.edu
7. Saint Louis University
Saint Louis University is a private research university with campuses in both St. Louis, Missouri and Madrid, Spain.Founded in 1818, SLU is the oldest university west of the Mississippi River and the second-oldest Jesuit university in the nation. It is one of 28 members of institutions of the Association of Jesuit Colleges and Universities. For more than 30 years Saint Louis University has maintained a campus in Madrid, Spain and the Madrid campus was the first freestanding campus operated by an American university located in Europe and the first American institution to be recognized by Spain's higher education authority as an official foreign university. The campus has 675 students, a faculty of 110, and an average class size of 15, meaning the school has a student-faculty ratio of 7:1, whereas the campus in St. Louis has 28,000 students across all programs and has a student-faculty ratio of 11:1. At SLU, 97 percent of first-time freshmen received financial aid in 2014 and SLU offers more than 90 undergraduate programs and nearly 100 graduate programs.
The international business degree at SLU is ranked at #12 for the graduate program in 2016 and #7 for the undergraduate program both by U.S. News & World Report. Saint Louis University was named a College of Distinction in 2015-2016 for its commitment to engaging students, high-quality teaching provided by dynamic faculty, a vibrant community and successful student outcomes. SLU has also been recognized as a College of Catholic Distinction and a College of Missouri distinction by Colleges of Distinction. SLU was also named one of the top schools in the country for undergraduate education in the Princeton Review's The Best 380 Colleges: 2016 Edition, which was based on student-given reviews. Due to the accolades SLU has received over the years, it's core values of instilling a sense of community and community service and the positive student views we have given SLU a place in our list for the top international business degrees.
Motto: Ad Majorem Dei Gloriam – For the greater glory of God
Website: http://www.slu.edu/
8. University of Michigan, Ann Arbor
The University of Michigan is a public research university in Ann Arbor, Michigan. Founded in 1817 in Detroit as the Catholepistemiad, or University of Michigania, 20 years before the Michigan Territory even became a state, making the University of Michigan the state's oldest university. The university moved to Ann Arbor in 1837 onto 40 acres of what is now known as Central Campus. Considered one of the foremost research universities in the United States, the university has a very high amount of research activity. Ann Arbor is ranked in the top best college towns by U.S. News & World Report and with the region being home to some top Fortune 500 companies such as General Motors Co., Ford Motor Co., Dow Chemical Co., Whirlpool Corp. and TRW Automotive Holdings, this allows students to learn from executives and industry leaders from these corporations through UM's guest speaker programs. Students at UM will also gain access to the school's extensive network of over 45,000 alumni which spans over 88 countries.
The international business degree program offered at UM's Ross School of Business is taught by a school that is one of just 4 schools that have been in the Top 10 of every Bloomberg Businessweek ranking since it started in 1988. The University of Michigan is one of the most prolific and respected research institutions in the country, and they have a large collection of business research and resources available to their international business program students. With global intern and and study programs, global practicum courses, global exchange programs and global immersion programs, UM ensures business students will have a strong grasp of the global economy and global business practices. Due to the rankings the school and town have garnered and the school's commitment in providing its students a strong global business understanding, we have chosen UM to be in our rankings list.
Motto: Artes, Scientia, Veritas – Arts, Knowledge, Truth
Website: https://www.umich.edu
9. Georgetown University
Georgetown University is a private research university in Washington, D.C. Founded in 1789, it is the oldest Catholic and Jesuit institution of higher education in the United States. Georgetown University's McDonough School of Business (which is commonly abbreviated as MSB) is one of the four undergraduate and one of the five graduate schools of Georgetown University. Founded in 1957, MSB has been providing Catholic and Jesuit students a nationally ranked education for over 50 years. Because MSB is located in the nation's capital–which has an extensive and dynamic business sector–students attending Georgetown University will have access to many top industry leaders' viewpoints and knowledge. Georgetown University offers undergraduate degrees in forty-eight different majors in the four undergraduate schools, as well as the opportunity for students to design their own individualized courses of study. All majors in the College are open as minors to students in the School of Business.
The international business degree program offered at Georgetown University was created by two internationally acclaimed universities and three of the world's most respected graduate schools and the program spans four richly diverse continents, allowing students an international business education that will give them the tools needed to make a positive impact. As a Catholic and Jesuit university, Georgetown stresses ethics and social justice in its curriculum; the McDonough School of Business retains two Jesuits for student guidance in these areas of core values. Financial Times ranks Georgetown University's international business program as the 28th best in the world and U.S. News & World Report ranks it as the 15th best. Due to the school's rankings and its commitment to providing students with a sense of ethics and social justice, Georgetown University makes it to the 9th place on our list of the best international business schools.
Motto: Utraque Unum – Both into One
Website: https://www.georgetown.edu
10. San Diego State University
San Diego State University is a public research university located in in San Diego, California, and is the largest and oldest higher education institution in the San Diego County. Founded in 1897, it is the third-oldest university in the state of California. The Carnegie Foundation has designated San Diego State University a "Research University with high research activity," placing it among the top 200 higher education institutions in the country conducting research. As reported by the Faculty Scholarly Productivity Index (FSP Index) released by the Academic Analytics organization of Stony Brook, New York, SDSU is the number one small research university in the United States and has been for four academic years in a row. SDSU also sponsors the second highest number of Fulbright Scholars in the state of California, just behind UC Berkeley. Since 2005, the university has astoundingly produced over 65 Fulbright student scholars.
The international business program offered at SDSU gives students the opportunity to learn economics and business practices on a global scale with exchange programs, experiential learning, lectures and guest speakers. In Graduate School Rankings, QS Global 200 Business Schools Report ranks SDSU's business college the 80th best in all of North America and SDSU ranks among the top universities for economic and campus ethnic diversity according to U.S. News & World Report's "America's Best Colleges 2012". Internationally, SDSU offers 335 different international education programs in 52 countries. Thirty-four SDSU programs now require international experience before a program's completion for a student to graduate. SDSU ranks first in California among universities of its type. SDSU also ranks 22nd among universities nationwide for the number of students studying abroad according to the Institute of International Education. The school's accolades, international experience requirements and inclusive environment are the reasons we have decided to include SDSU in our international business school rankings.
In-state tuition and fees: $6,976 in-state, $18,136 out-of-state
Motto: Leadership Starts Here
Website: http://www.sdsu.edu
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Two GBCA Board Members were named in the Power 100 list published by City & State Pennsylvania! GBCA is proud that our members are among the top 100 business, civic, and political leaders in the state of PA.
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Landscape scenarios visualized by Baka and Aka Pygmies in the Congo Basin
Boedhihartono, Agni Klintuni, Endamana, Dominique, Ruiz-Perez, Manuel, and Sayer, Jeffrey (2015) Landscape scenarios visualized by Baka and Aka Pygmies in the Congo Basin. International Journal of Sustainable Development and World Ecology, 22 (4). pp. 279-291.
PDF (Published Version ) - Published Version
DOI: 10.1080/13504509.2015.1039094
View at Publisher Website: http://dx.doi.org/10.1080/13504509.2015....
We describe our attempts to use visualization techniques to engage the Baka and Aka in the North-West Congo Basin in a debate about their preferred future options. Baka and Aka Pygmies in the Sangha Tri-National landscape live in extreme poverty and score poorly on most development indicators. Their traditional livelihoods have suffered as their forests are taken over by outsiders for farming and logging. Conservation programmes deny them access to their traditional hunting and gathering forest territories. Over ten years we spent time with the Baka and Aka in their camps and joined them on trips into the forests. We used visualization techniques to enable them to portray their present perception of their landscapes and their preferred future scenarios. We compared their representations with those of non-Pygmy communities in the same area. Baka and Aka showed a richer and more nuanced appreciation of the forest landscape in their representations of the present but converged with the non-Pygmies in representations of their preferred future. Agriculture, health, education and employment opportunities emerged as significant elements portrayed in drawings of desired future scenarios. Visualization cannot provide a definitive diagnosis of the very diverse desires of Pygmy communities. Our study suggests that visualization techniques strengthened the ability of Pygmies to communicate their views to other actors in their landscape and to external decision makers. Decisions about programmes to help the Pygmies have often been made by well-intentioned outsiders and the Pygmies themselves had little input. We conclude that visualization empowered Pygmies in discussions and expanded their options for influencing decisions that would impact on their future.
Congo Basin forests; landscape scenarios; visualization; Baka and Aka Pygmies; forest dwelling peoples
16 STUDIES IN HUMAN SOCIETY > 1601 Anthropology > 160101 Anthropology of Development @ 50%
20 LANGUAGE, COMMUNICATION AND CULTURE > 2002 Cultural Studies > 200299 Cultural Studies not elsewhere classified @ 50%
95 CULTURAL UNDERSTANDING > 9599 Other Cultural Understanding > 959999 Cultural Understanding not elsewhere classified @ 50%
97 EXPANDING KNOWLEDGE > 970116 Expanding Knowledge through Studies of Human Society @ 50%


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Dancing Late with the Cypress String Quartet's Elena Ruehr Album
In the spirit of spreading the word about releases that slipped under our radar when they initially appeared, here's one from last year. The Cypress String Quartet discovered composer Elena Ruehr's work by listening to an unlabeled recording. Eight years later, they finally consummated their affinity for her compositions, and have captured that passion in an album. The Quartet's next-to-most-recent cd How She Danced: String Quartets of Elena Ruehr could not be more aptly titled. Throughout her First, Third and Fourth String Quartets, rhythm is everywhere: sometimes jaunty, often incredibly tricky, occasionally outright aggressive. The three quartets here, (Nos. 1, 3 and 4), performed in reverse chronological order here, are extraordinarily melodic, with tinges of Afrobeat, and Irish dances alternating with modernist astringencies and enticing consonance.
Quartet No. 4 is Ruehr's response to the Cypress Quartet's request for her to compare Beethoven's Ninth Quartet with Mozart's "Dissonance" String Quartet (which isn't all that dissonant – that one has a longish intro that takes longer than usual until the anticipated call-and-response kicks in). But it sounds nothing like either. It's essentially variations on a circular, West African-flavored theme, beginning terse and pizzicato and ending with a flurry of stormclouds. In the meantime, there's an absolutely riveting, pensive interlude featuring a long, windswept cello solo and alternating variations on the initial theme and its shadow. The same process repeats in Quartet No. 3: the two back-to-back make a marvelous suite. More rhythmically-oriented and somewhat more lighthearted – although not completely – it closely resembles some of maverick violist Ljova Zhurbin's more playful work. Beginnings and endings are more aggressive here; the album title, based on a broken triad that first appears in what's basically a minuet in disguise, derives from a Celtic-tinged theme. Its two themes intertwine and become friends on the way out.
Quartet #1, from 1991, won the ASCAP award that year. It's the most cinematic of the three, introducing the African rhythms as shifting segments rather than a full-on drumbeat with pizzicato or staccato bowing. When it's not establishing a dreamy, cantabile mood, there's a hypnotic, tricky rondo anchored by the cello and hints of a levantine dance introducing the unexpectedly tense, unresolved finale. Spirited performances by violinists Cecily Ward and Tom Stone, violist Ethan Filner and cellist Jennifer Kloetzel shine throughout the album. The Cypress String Quartet's next New York appearance is on April 28 at 8 PM, playing works by Benjamin Lees at Christ & St. Stephen's Church, 120 W. 69th St.
January 21, 2011 Posted by delarue | avant garde music, classical music, Music, music, concert, review, Reviews	| 20th century music, 21st century music, album review, avant-garde music, cd review, cecily ward, chamber music, classical music, cypress string quartet, cypress string quartet elena ruehr, cypress string quartet elena ruehr review, cypress string quartet how she danced, cypress string quartet review, elena ruehn review, elena ruehr, ethan filner, indie classical, jennifer kloetzel, Music, music review, neoclassical music, new music, string music, string quartet, tom stone violin, twentieth century music | Leave a comment
An Uncategorizably Fun Triplebill at Littlefield
Sunday night concerts are a bitch. The trains are still messed up from the weekend and most everybody who's not unemployed yet is dreading the work week ahead. But clubs still book shows, antipating a handful of the brave souls who aren't daunted the prospect of Monday's exhaustion along with a probably larger crowd who don't have that problem because their parents' or their parents' parents' money has assured that they never will. From the looks of it, this triplebill drew the braver contingent.
With trombone, trumpet, bass clarinet and vocals, quartet Loadbang loosened up the crowd with a series of jokey little Nick Didkovsky pieces with a skronky free jazz flavor, a couple of improvisations and then a genuinely disconcerting, strung-out version of David Lang's arrangment of I'm Waiting for My Man, their singer's anxious vocals channeling the dread of a dope jones far more vividly than Lou Reed ever did.
Loud third-stream rock unit Kayo Dot followed, intelligently aggressive. With violin, alto and tenor sax, keys, bass or guitar (or with the enhancement of a pedal or two and a few tuning modifications, sometimes both) and drums, they shifted tempos and dynamics incessantly. Bandleader Toby Driver's compositions changed shape dramatically from pounding, inexorably crescendoing passages, to still violin atmospherics. Textures shifted just as much as the dynamics, intricately woven lines passed from one instrument to another. One tricky, fusionesque groove coalesced and morphed into a festive if astringent dance with an Ethiopian feel. Until a plaintively swaying, rather majestic art-rock guitar song with an obvious Radiohead influence emerged, they'd avoided any kind of rock-oriented sense of resolution or hint of where a central tonality might be lurking. So when that moment arrived, it was on the heels of over a half hour of tension and it was a welcome respite. Their last piece seemed at first to be a series of dramatic endings, which went on past the point of overkill to where it started to make sense as a Groundhog Day of sorts, an endless series of calamities ending in some kind of blunt trauma. The crowd wanted more, but after that, there wasn't anywhere higher the band could have gone.
Newspeak were celebrating the release of their potent new album Sweet Light Crude, an equally diverse mix of politically-charged music by an A-list of rising composers. Early on, they followed the album sequence. On the cd, the opening cut, B&E (with Aggravated Assault), by Oscar Bettison takes on a blustery, Mingus-esque tone; here, it swung mightily, stampeding percussively to the end in a cloud of dust. Stefan Wiseman's I Would Prefer Not To contrasted plaintively, a subtle tribute to civil disobedience, cello and violin mingling with singer Mellissa Hughes' vocalese. The title track, a cautionary tale about the perils of addiction (in this case to oil), emphasized volume and texture rather than the tongue-in-cheek disco pulse of the recorded version, amped to the point of crunchy rockness. Likewise, they took Missy Mazzoli's In Spite of All This to a swirl of intricately inseparable counterthemes that grew from wounded and damaged to a dizzying series of crazed crescendos. The angst went up another level on Caleb Burhans' requiem for the padlocked GM plant in his depressed hometown of Janesville, Wisconsin, a sort of harder-rocking Twin Peaks theme driven by guitarist Taylor Levine's twangy, ominous, reverb-toned southwestern gothic lines. Then they threw all caution aside, with a savagely punked-out cover of Taking Back Sunday's If You See Something Say Something – a raised middle finger at gentrifier paranoia – and then a full-length, pretty much note-for-note cover of Black Sabbath's War Pigs, Burhans' violin delivering all Tony Iommi's showiest fills with lightning precision as Hughes alternated between a sneer and a smirk. It was better than the original and probably more in touch with its molten-metal antiwar core.
November 19, 2010 Posted by delarue | avant garde music, concert, experimental music, Live Events, Music, music, concert, New York City, review, Reviews	| art-metal, art-rock, avant-garde music, black sabbath, black sabbath cover, caleb burhans, concert, concert review, david lang composer, experimental music, heavy metal, indie classical, indie rock, kayo dot, kayo dot littlefield, kayo dot review, loadbang, loadbang littlefield, loadgbanb review, lou reed cover, mellissa hughes, Missy Mazzoli, Music, music review, neoclassical music, new music, newspeak band, newspeak littlefield, newspeak review, nick didkovsky, noise rock, oscar bettison, political music, post-rock, postrock, punk music, punk rock, stefan wiseman, taking back sunday, third stream, toby driver | Leave a comment
In Memoriam – Billy Cohen
One of New York's most talented emerging musicians, guitarist and composer Billy Cohen died this past June 29 after a long battle with cancer. He was 23. A founding member of the charismatic rock band the Brooklyn What, Cohen was an integral part of their original three-guitar sonic cauldron, and also served as one of the group's main songwriters. Both his guitar work and his compositions on the band's landmark first album, The Brooklyn What for Borough President, offer a cruelly tantalizing glimpse of an already formidable talent that would have only grown, had he lived.
As a guitarist in the band, Cohen played with an edgy, brash intensity that both meshed and contrasted with John-Severin Napolillo's purposeful powerpop sensibility and Evan O'Donnell's slashing lead lines. Cohen was extremely adept at abrasive noise, yet was gifted with an uncanny sense of melody that he'd often employ when least expected, as demonstrated by his purist lead work on The In-Crowd and We Are the Only Ones. The shapeshifting, focus-warping song Soviet Guns illustrates another, more abstract side of his compositional skill. Cohen was also responsible for the delectably unhinged scream on the song Sunbeam Sunscream.
A musician's musician, Cohen listened adventurously and widely throughout his life, immersing himself in styles ranging from garage rock to contemporary classical music, cinematic soundscapes and tongue-in-cheek mashups. At Brooklyn's Edward R. Murrow High School, Cohen played guitar in the jazz band as well as in the Brooklyn rock band Ellipsis; afterward, he attended the State University of New York at New Paltz, where he majored in Music Therapy and Music Composition. A song from his Ellipsis days as well as two atmospheric keyboard pieces, and a couple of clever, satirical mashup videos – including a direct and very funny one featuring Arnold Schwarzenegger – are all up on his myspace page.
Cohen's uncompromising originality, creativity, absurdist humor, fondness for the Kinks (he picked out the band's signature cover song, I'm Not Like Everybody Else) and devotion to his beloved New York Mets lifted the spirits of his bandmates and friends and left an indelible mark. The surviving members of the Brooklyn What are playing a memorial show for Cohen at Bowery Poetry Club on August 13.
July 21, 2010 Posted by delarue | music, concert, New York City, obituary, rock music	| avant garde composer, avant-garde music, best brooklyn band, best new york band, billy cohen composer, billy cohen dead, billy cohen death, billy cohen ellipsis, billy cohen guitarist, billy cohen guitarist dead, billy cohen musician, billy cohen new york dead, billy cohen obit, billy cohen obituary, brooklyn bands, brooklyn musicians, brooklyn what, brooklyn what for borough president, celebrities from murrow high school, evan o'donnell, film composer, film music, film soundtrack, garage music, garage rock, jon-severin napolillo, neoclassical music, new music, punk music, punk rock, rock music, soundscape | 4 Comments
Concert Review: The Loki Ensemble at Music Mondays, NYC 4/26/10
It could have been billed as Schoenberg and His Descendents, a beautifully uneasy, otherworldly upper westside evening of art-songs and some austerely compelling instrumentals that more than did justice to the composer's legacy. The Loki Ensemble's mezzo-soprano Abigail Fischer has developed not only a great affinity but also a strikingly resonant aptitude for Schoenberg's paradigm-shifting Book of Hanging Gardens, Op. 18, an otherworldly suite based on a series of heartbroken, imagistic poems by Stefan George. The group played four of those songs: on number two and eleven , pianists Jacob Greenberg and then Wes Matthews wrenched every brooding, moody atonality from the score as Fischer brought a remarkably visceral unease, longing and intensity to the vocals. In the stylized world of classical legit voice, individuality is not an easy quality to channel, but Fischer put her own steely, forcefully indelible stamp on everything she touched. To liven things up further, the group added their own instrumental improvisations, notably tenor saxophonist Noah Kaplan (of marvelously creepy art-song practitioners Dollshot), whose precise yet breathy, baritone-like timbres matched the murk perfectly. Greenberg hinted at an McCoy Tyner bluesiness in his solo on song fourteen, number fifteen dramatically juxtaposing Fischer's pyrotechnics against Matthews' plaintive minimalism.
A very recent work for piano trio and vocals (based on an Octavio Paz text), Reinaldo Moya's La Rima, with the JACK Quartet's Christopher Otto on violin and Kevin McFarland on cello made a solid segue, strings swooping over a pensive piano rumble, building to a contrast between terse, incisive piano methodically punching against sostenuto atmospherics. A world premiere, William Cooper's An Den Wassern Zu Babel was an intense and poignant interpretation of Psalm 137 (you may know it from Bach or the Melodians' By the Rivers of Babylon). Cooper explained how affecting he found the end of the passage, which concludes with "Blessed are those who bash the bones of their children against the rocks," and while the music, with considerable echoes of Bartok, never reached that level of violence, there was considerable anger and even more frustration. Over the course of seven movements, pianist Liza Stepanova worked the variations of a simple ascending progression lyrically and dynamically, through a sad, angry march, a hypnotically chilling, late Rachmaninovian-style passage and then the methodical, wounded sway of the final movement which ended sudden and cold.
The final piece, Nathan Shields' Out of the Cradle, Endlessly Rocking set text by Hart Crane and Walt Whitman to severe, sometimes acidic, evocatively wavelike piano played by Ed Neeman, Fischer speaking the final stanzas with a dramatic flair. The counterpoint between vocals and piano was both striking and hypnotic, the unease of the strings adding to the menace (the theme ponders the role of the ocean as both nurturer and destroyer), but as assured and engaged as the performers were, ultimately this was Horse Latitudes: awkward instant, and the first horse of many was jettisoned. What a treat it would be to hear this without the poetry – or with vocalese instead!
The popular, reliably adventurous Music Mondays at Advent Lutheran Church at 93rd and Broadway continues on May 31 with the Brentano Quartet.
April 28, 2010 Posted by delarue | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews	| 20th century music, abigail fischer, advent lutheran church new york, advent lutheran church nyc, An Den Wassern Zu Babel, art song, atonal music, atonality, avant-garde music, bartok, book of hanging gardens, brentano quartet, chamber music, christopher otto, classical concert, classical music, concert, dollshot, ed neeman piano, hart crane, jack quartet, jacob greenberg piano, kevin mcfarland, kevin mcfarland cello, liza stepanova, loki ensemble, Music, music mondays, neoclassical music, new music, noah kaplan, noah kaplan sax, octavio paz, piano music, reinaldo moya, reinaldo moya la rima, schoenberg, string music, twentieth century music, walt whitman, wes matthews, william cooper composer | Leave a comment
The New York Philharmonic's Contact! At Symphony Space, NYC 4/16/10
We've just wrapped up liveblogging this, explaining why everything here is in the present tense. The program has been a trio of world premieres, Alan Gilbert conducting ensembles of the New York Philharmonic Orchestra doing their frequent Contact! program of avant-garde pieces from acclaimed contemporary composers, WNYC's John Schaefer (this guy gets around, huh?) introducing each piece briefly in a discussion with its composer. Pre-concert sounds fluttering around the stage sounded menacingly enticing…
Sean Shepherd – These Particular Circumstances in seven uninterrupted episodes:
It's a small ensemble – about fifteen performers. A fugue between fluttery strings and bells gives way to a couple of little horror movie crescendos (does this guy have a film music background? It would seem so). Suspenseful tradeoffs between individual voices, less for the sake of texture than to maintain suspense, it would seem. A series of animated, creepy crescendos – now this is fun! Straight out of Bernard Herrmann… Now a twisted little march – reminds of the one in Shostakovich's Fourth Symphony but less savage….lots of ensemble interplay, strings handing off to brass etc., ominous and full of tritones, it's a Sam Fuller movie….the sections of the suite segue into each other seamlessly. Now it's variations on a twisted little fanfare, down to moody strings with those bells delivering the dread – this crew is quietly and methodically having a blast with this! A bit of boogie-woogie piano opening a chase scene picked up by the strings…
Time to build the suspense some more, pensive, gentle little codas growing in intensity. Where's Bogey when we need him? A matter-of-factly clanging, metallic bell-driven conclusion gets a standing ovation from what looks to be a sold out house (missed all of the John Schaefer/Sean Shepherd onstage interview while unplugging and making room for unexpected seatholders – supposedly the balcony was going to be the bloggers' peanut gallery).
Magnus Lindberg (the Phil's Composer-in-Residence) supposedly is responsible for this bill – he lets his taste be his guide (good taste!). He reminds that recent writing for smaller ensembles really took off in the 60s (he didn't say this, but it's harder to sell something new and strange to a full orchestra than it is to simply cobble together an ensemble half the size).
Nico Muhly – Detailed Instructions, for orchestra:
Muhly is a ham, gets a lot of laughs out of the crowd talking beforehand – but he doesn't give anything away. For this piece, violas substitute for violins in this particular ensemble. Interesting interlocking rhythm between strings and brass, into a circular, looping staccato passage for the winds over gentle string/brass swells…the winds work their way into the swells, every section stepping on the last beat of the previous note. Muhly said there wouldn't be any detail in this and he wasn't lying. It's clever and well thought-out and holds the listener with its rhythmic devices rather than any particularly compelling melodic ideas….now they've got a nice atmospheric passage going on with flute accents (wait, this wasn't supposed to be ornamented at all, ha!).
Second movement starts out pensive and sostenuto…Gilbert really has his hands full with the tricky rhythm but he's got them legatissimo here…makes it look easy. It's not. In the movie, if this was a movie, this would be the scene before the funeral, lulling but with the flute keeping everybody awake….sans flute it goes warmly lower, a tone poem, harp and low horn voices at the top/bottom of the spectrum.
Third movement is a gypsy dance, basically, keyboard bouncing around, flute carrying the melody…a suspenseful trombone/cello dialogue….Muhly likes to run a riff over and over again against a tonal wash….flute and harp now running the loop – and a cold ending. The crowd likes it but isn't blown away – but then the piece wasn't written to blow anybody away.
The machine says 58 minutes worth of juice left, so we should be able to stay live for the whole thing…
Matthias Pintscher – Songs from Solomon's Garden featuring baritone and NY Phil Artist-in-Residence Thomas Hampson:
Larger ensemble than for the previous two (more strings). This seems as if it might be intended as a Song of Solomon type thing, Hampson singing in Hebrew, not one of his usual languages (it's tempting to say "ca m'est hebreu")…voice out in front of sparse percussive accents and little fluttery runs up the scale from the high strings….stark astringent washes with the occasional burbling accent and the first of probably several big crescendos…the vocal part seems forced, it doesn't move around much or ask the singer to add much of anything in the way of character or individuality. The instrumental passages, by contrast are getting creepier and creepier, little jumps against the ambience…oooh a morbid swell, the temperature just dipped thirty degrees in here…and the occasional little macabre piano accent. With the addition of the vocal part, is this supposed to be some sort of study in contrasts?
A lull, a burst of drums, Santa has fallen all the way down into the fireplace. Now he's up and dusted himself and creeping around again…and now he's singing….and not singing…pianissimo upper-register atmospherics swirling and whooshing…no disrespect to Hampson, he's doing what he does well but the vocals in this one were superfluous – first adventurous ensemble to do this as the eerie soundtrack piece that it is gets a prize!
Q2 will broadcast the performance on April 22 at 7 PM and also on April 22 at 4 PM – the care they've taken to make sure they get a good recording (virtually all of the instruments have been close-miked) is pretty extraordinary.
April 16, 2010 Posted by delarue | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews	| Alan Gilbert, avant-garde music, chamber music, classical music, concert review, experimental music, lucid culture live blog 4/16, lucid culture liveblog, lucid culture liveblog 4/16, Matthias Pintscher, Music, neoclassical music, new music, Nico Muhly, ny philharmonic, ny philharmonic 4/16, ny philharmonic april 16, ny philharmonic contact, ny philharmonic contact 4/16, ny philharmonic contact liveblog, ny philharmonic contact q2, ny philharmonic liveblog, orchestral music, Sean Shepherd, symphonic music | Leave a comment
The New York Philharmonic's Contact! Demystified
The New York Philharmonic's debut performance of Contact!, their new series dedicated to cutting-edge music by contemporary composers got off to an auspicious start at Symphony Space last December. They're doing another program at Symphony Space featuring pieces by Nico Muhly, Matthias Pintscher and Sean Shepherd this Friday, April 16 at 8, which we'll be liveblogging (wave to us up in the balcony but please don't disturb your neighbor). The program repeats at the Metropolitan Museum of Art at 7 PM on the 17th. John Mangum, the orchestra's Artistic Administrator, didn't let a computer crash stop him from helping us shed some light on what promises to be an equally auspicious performance:
Q: The first question is the most crucial one: are tickets still available for the April 16 show at Symphony Space and the one on the 17th at the Metropolitan Museum of Art?
Q: The New York Philharmonic are not strangers to championing contemporary composers. Other than the fact that Contact! so far has featured pieces for smaller ensembles, what differentiates this series from other programs featuring the avant-garde?
A: The Contact! series for the current season, 2009/10, features exclusively commissioned works – each program is comprised entirely of world premieres. In future seasons, we're looking at expanding the series' mandate to make room for some of the classics from the last two decades. For example, in November 2010, we'll have a program pairing a world premiere by Magnus Lindberg with the "Quatre chants pour franchir le seiul" ("Four Songs for Crossing the Threshhold"), the last work of Magnus' teacher, the pivotal French composer Gerard Grisey, which he completed in 1994.
Q: Is there a common link between the composers that led to their selection for this program? Or a common thread, musical or thematic, that links the compositions?
A: They're all crucial voices from among the younger generations of composers living and working in the New York area – both Matthias Pintscher and Nico Muhly are here in the City, and Sean Shepherd, who recently graduated from Juilliard, is working at Cornell with Steven Stucky and Roberto Sierra. The striking thing is how different each composer's approach is, and that really comes to the fore when their works are placed on the same program. It makes a strong statement about the variety and vitality of music today.
Q: What criteria and whose decisions determine who gets a commission from the NY Phil as Muhly, Shepherd and Pintscher have here? Is there a line around the block, or is is the secret star chamber that decides immune to persuasion?
A: We try to be really aware of who is out there. Members of the Orchestra, Magnus Lindberg (our Composer-in-Residence), Alan Gilbert (our Music Director), and I all play a part. We meet, talk, look at scores – both those we've requested and those that have just come in unsolicited – and make the decision based on what turns us on. It's exciting to be part of creating new art, and we want to share that excitement with our audiences.
Q: The debut of Contact! had minimalism, an intricate rondo, horizontal music, orchestrated Mongolian throat-singing chants and a jungly thicket of Brazilian percussion. What do audiences have to look forward to in this program?
A: Matthias' piece is a wonderfully refined, tremendously thoughtful setting of sacred Hebrew texts for our Artist-in-Residence Thomas Hampson. There are strikingly beautiful sonorities, and really sophisticated use of the instrumental ensemble. Sean's work is very energetic, full of all sorts of references to itself and other pieces. It's a piece in seven sections, with a real arc, a real shape to it, and the use of the ensemble is, like Matthias' work, again very sophisticated, though the result is different. Nico's piece also has that same sense of energy and structure – there seems to be something about New York that brings this energy, this life out in composers.
Q: The ensemble was divided into unusual permutations last time around – for example, one of the pieces featured four string quartets with a bass at each end of the stage. Can the audience expect any such thing like on this bill?
A: The ensembles for these three pieces are similar, so there won't be that kind of contrast like we had last time, with Lei Liang's piece for four string quartets and two double basses. The contrast in this program comes from the different styles of the three composers, and it is striking.
Q: This is the first time Contact! has featured vocal music – will there be vocal music at upcoming performances?
A:Yes. On the November program next season, the Grisey work is for high soprano and ensemble.
Q: Why do this at Symphony Space and the Met? Why not just stay home at Avery Fisher Hall?
A: We really wanted to take this project out into the city, and after considering several different venues, these two proved ideal for a variety of practical and artistic reasons. At Symphony Space, the programming is a good fit with the work Laura Kaminsky, their artistic director, is doing there. It's also right in the heart of the Upper West Side, close to Columbia as well. At the Met Museum, I like the statement it makes – we're putting contemporary music on stage there, streaming new art into the flow and tradition of millennia of artistic achievement. That you literally go from ancient Egypt to New York, 2010 – I think that's pretty cool.
April 14, 2010 Posted by delarue | classical music, concert, interview, Live Events, Music, music, concert, New York City	| Alan Gilbert, avant-garde music, chamber music, classical music, experimental music, GERARD GRISEY, instrumental music, john mangum, laura kaminsky, laura kaminsky symphony space, lei liang, magnus lindberg, Matthias Pintscher, neoclassical music, new music, new york philharmonic, new york philharmonic contact, new york philharmonic orchestra, Nico Muhly, ny phil, ny phil met museum, ny phil symphony space, ny philharmonic, ny philharmonic 4/16, ny philharmonic 4/17, ny philharmonic contact, ny philharmonic orchestra, ROBERTO SIERRA, Sean Shepherd, STEVEN STUCKY, thomas hampson, vocal music | Leave a comment
CD Review: Redhooker – Vespers
In terms of lush nocturnal beauty, this album tops the charts for 2010, end of story. Beguiling instrumental ensemble Redhooker defy categorization, incorporating elements of chamber music, ambient soundscapes, psychedelic rock and avant genres like minimalism and horizontal music, but whichever label you slap them with the result is the same, hypnotic and dreamlike. Where Brian Eno did ambient music for airports, this is ambient music for empty rooms in abandoned buildings, intimate yet impenetrably mysterious. There's an almost magical symmetry to the compositions here, yet constantly an element of surprise. Essentially, this is a theme and variations interrupted by two long jams – which perhaps not ironically are the most captivating parts of the album. Guitarist/composer Stephen Griesgraber alternates between atmospheric washes of sound, simple but effective lead lines and gently insistent fingerpicking while the violins of Andie Springer and Maxim Moston trade harmonies and textures, with Peter Hess' bass clarinet often carrying the lead counterintuitively in the lowest registers.
The opening track, Standing Still establishes a circular theme that weaves among the instruments like a lazy dragonfly in the bulrushes. The line goes straight back to Haydn if you follow it through the clouds. The aptly titled Bedside is a swaying minimalist lullaby with distant baroque echoes, a study in textural contrasts, guitar or bass clarinet playing stately melody versus the sweep of the violins. The first improvisation, Presence and Reflection begins ghostly, gently ominous with whispering waves of guitar noise, a draft-through-the-door atmosphere with distant echoes of (but not by) Pink Floyd. And then it's a lullaby again, going out on a gentle, late afternoon tide.
Things get as lively as they're going to here on the next cut, Friction, interwoven with subtly colliding textures and building to a tricky dance that wouldn't be out of place in the Turtle Island String Quartet oeuvre. And then night falls again with the second jam, like Pink Floyd's On the Run but quarterspeed – you could call it On the Crawl. In over fifteen minutes, starkly glimmering, Gilmouresque guitar rings out in the distance over dense waves of noise, the violins and then the bass clarinet eventually making a welcome, deftly terse return to paint in pieces of melody that slowly make shape out of shadow . The album ends with a rondo, each instrument working a judiciously studied piece of the original theme, ending with bass clarinet looming in from behind the strings like a sleepy caretaker who's gotten to know the ghosts in this place by now. It takes a special kind of album to be this quiet and still keep the listener captivated, not to mention awake. This is that album.
February 24, 2010 Posted by delarue | classical music, Music, music, concert, review, Reviews	| ambient music, andie springer, atmospheric music, avant-garde music, best bands brooklyn, best bands new york, best bands nyc, brian eno, chamber music, chamber pop, chamber rock, chillout music, classical music, david gilmour, downtempo music, film music, horizontal music, instrumental music, Kronos Quartet, maxim moston, minimalism, minimalist music, modern classical music, neoclassical music, new music, peter hess, peter hess bass clarinet, peter hess music, pink floyd, redhooker, stephen griesgraber, turtle island string quartet | Leave a comment
CD Review: The Real Vocal String Quartet
A cynic might call the Real Vocal String Quartet the happy Rasputina. But that doesn't give the all-female new music ensemble enough credit – considering the global diversity of styles they play here, a better comparison would be genre-smashing jazz/Americana violinist/composer Jenny Scheinman. Founded by former Turtle Island String Quartet violinist Irene Sazer, the Real Vocal String Quartet blend classical, avant garde, bluegrass, Balkan and African influences; the ultimate result is completely unique. While Sazer writes most of the material, violinist Alisa Rose, violist Dina Maccabee and cellist Jessica Ivry also contribute. Everybody sings.
The album opens with a circular arrangement of Kenyan composer and nyatiti lute player Ayub Ogada's Kothbiro, alternating rhythmic pizzicato with lush washes of ambience in a striking call-and-response. They follow that with a traditional Appalachian dance done as hypnotic Tinariwen-style desert blues, string quartet style. The single best number on the album is the darkly crescendoing, cinematic instrumental Night Game, which nonetheless finds a way to end on a cleverly playful, upbeat note. A diptych here sounds like traditional Italian folk music, but it's actually a couple of covers from the catalog of early Brazilian jazz pioneer Pixinguinha. Green Bean Stand harmonizes high vocalese with the strings, morphing into a hypnotically swaying one-chord dance vamp evocative of the ensemble's Turtle Island cousins. There's also a hauntingly rustic country song, the violins playing a guitar chart; a hypnotic, ambient tone poem with strings and vocalese; a tricky art-rock song with rousing harmonies, and a wistful vocal tune that gives way to a stately baroque theme. There's so much here that it ought to appeal to a lot of fanbases: neoclassical types, world music and chamber music fans, and just your average pop/rock person looking for something good for the ipod.
February 10, 2010 Posted by delarue | classical music, Music, music, concert, review, Reviews, world music	| african music, alisa rose, alisa rose music, alisa rose violin, avant-garde music, Ayub Ogada, chamber music, classical music, dina maccabee, folk music, folk pop, folk rock, irene sazer, jenny scheinman, Jessica Ivry, Music, neoclassical music, new music, pixinguinha, pop music, rasputina, real vocal string quartet, rock music, string ensemble, string music, string quartet, tinariwen, turtle island string quartet, violin music, vocal music, world music | 2 Comments
A Couple Bars' Worth of Sunday's Bang on a Can Marathon
This year's Bang on a Can Marathon promised to be one of the best ever, in terms of sheer talent if not ambience. Lately this sprawling festival has lacked the freewheeling, anarchic spirit of earlier years, but the performers on the bill just get better and better. The deck is typically stacked with the biggest name acts playing later, this year's being a criminally good list of performers: Ars Nova Copenhagen playing one composer after another, pipa innovator Wu Man, Missy Mazzoli's haunting ensemble Victoire, the astonishing string quartet Brooklyn Rider, Tortoise and of course the Bang on a Can All-Stars. But the afternoon's acts were just as good. To those who might rail against the boomy acoustics and sterile ambience of the World Financial Center Winter Garden, it's at least a lot easier to negotiate than some of the other spaces BOAC has used.
Cognoscenti who were there at the opening bell raved about Andy Akiho's psychedelic piece, Alloy, played by the Foundry Steel Pan Ensemble. BOAC co-founder Michael Gordon's Trance, played by the jazz orchestra SIGNAL, went on for almost an hour. Some said for too long, but to these ears the tension of the band in lockstep with a series of looped vocal fragments and drum machine served well to illustrate a struggle for freedom. They went up, then down, running the same phrase much as the loop they kept in step with, finally crescendoing as the loop faded and disappeared, the band adding a sense of triumph while maintaining the tense, metronomic feel of the first 45 minutes or so. It was very redemptive: man vs. machine, man finally winning out.
Guitar quartet DITHER, augmented by seven ringers on a mix of Fenders and Gibsons did one of Eric km Clark's deprivation pieces, each guitarist given earplugs and headphones so as to deliberately throw off their timing (doesn't work: we're used to bad monitor mixes, being unable to hear a thing onstage, feeling for the drums and playing what's in our fingers!). Echoes swirling around underneath the big skylight, the effect was akin to a church organ piece, maybe something especially weird from the Jehan Alain songbook with a lot of echo. It ended cold with a single guitarist tossing off a playfully tongue-in-cheek, random metal phrase.
The Todd Reynolds Quartet followed with Meredith Monk's lone string quartet, Stringsongs, in four bracingly captivating sections. The first, Cliff Light was a hypnotically polyrhythmic, astringent dance, introducing a stillness at the end that carried over to the second part, Tendrils, austere and plaintive but growing warmer and prettier, brief phrases flowing in and out of the arrangement, often repeating. Part three, Obsidian was more dawn than darkness; Phantom Strings, the final segment was practically a live loop, its circular motifs growing more insistent and percussive, the group seizing every dynamic inch the score would allow them.
The daylight hours' highlight was, of course, Bill Frisell. The preeminent jazz guitarist of our time turned in a characteristically thoughtful, deliberately paced, absolutely brilliantly constructed series of three solo pieces, the first one of his typical western themes spiced with harmonics and drenched in reverb, a welcoming, friendly, comfortable way to ease into what would quickly become more difficult terrain. The clouds came in quickly with his second instrumental, eerie and minimalistically noir. Finally, Frisell hit his distortion pedal and upped the ante, bending and twisting the notes, adding glissandos and hitting his loop pedal in places where he'd found one that would resonate beneath the methodically Gilmouresque menace. One of those loops made a sturdy underpinning for a brief segue into a bright, optimistic, latin-tinged theme that quickly morphed into a common 4-chord soul motif and it was then that Frisell pulled out a little shimmery vibrato to wind it up on a warmly optimistic note.
One of the maddening things about Bang on a Can is that somebody like Frisell will give you chills, and then the next act will leave you scowling and wondering why anyone on earth thinks they belong onstage. This time the culprits were Your Bad Self playing a trio of Ted Hearne compositions, the first a straight-up noir rock ballad in 6/8, the singer setting off a crazy, screaming crescendo on the second verse that lingered after they'd brought it down again. Too bad the best he could do was scream, because he was off-key and positively lame on the next two numbers, a fractured, frantic musette with a jazzy trumpet fanfare and a moodier tune. This is what happens when classically trained people who don't know rock but think they do anyway try to incorporate it in their music. Or maybe they do, but they don't know soul from affectation, at least when it comes to vocals. At least the band was good. After that, the UK's Smith Quartet launched into a Kevin Volans piece with which they're supposedly associated – too bad, because it didn't leave a mark. Then it was time to go uptown. But all that was a small price to pay for a free set by Frisell, not to mention the early afternoon's program.
Only one complaint: where were the kids? Most of the crowd was older than the performers. New music is for young people! Maybe because we don't have money, we don't get invited these days? For those missing out on the evening's festivities, Feast of Music was there to provide some insight.
June 2, 2009 Posted by delarue | Live Events, Music, music, concert, New York City, review, Reviews	| Andi Akiho, Ars Nova Copenhagen, avante garde music, Bang on a Can, Bang on a Can All-Stars, Bang on a Can Marathon, Bang on a Can Marathon 2009, bill frisell, brooklyn rider, chamber music, classical music, DITHER quartet. Eric km Clark, Foundry Steel Pan Ensemble, guitar music, instrumental music, jazz, Meredith Monk, Meredith Monk string quartet, Michael Gordon, Missy Mazzoli, Music, neo-classical music, neoclassical music, new music, SIGNAL jazz orchestra, Smith Quartet, Ted Hearne, Todd Reynolds, Todd Reynolds Quartet, Tortoise band, Victoire band, Winter Garden nyc, Wu Man, wu man pipa | 2 Comments


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Tony Moore is an American comic-book artist whose work consists mainly of genre pieces, most notably in horror and science fiction, with titles such as Fear Agent, The Exterminators, and the first six issues of The Walking Dead. He also co-created the Invincible Universe character Brit.

Career
Moore's first comic-book work was the 2000 superhero parody Battle Pope, which he co-created with his childhood friend, writer Robert Kirkman. Self-published under the Funk-O-Tron label, it was adapted into a season of eight animated webisodes that appeared on Spike TV's website in 2008. While working on Battle Pope, Kirkman and Moore were asked to produce work for the Mattel-licensed Masters of the Universe property. Shortly afterward, they launched Brit and The Walking Dead at Image Comics. Although Moore ceased regular interior art on The Walking Dead with #6, he continued to contribute to the title as cover artist through issue #24, and illustrated the covers for the series' first four collected volumes. Moore was nominated for two Eisner Awards for his work on The Walking Dead, (2004: "Best New Series", and 2005: Best Cover Artist.) Because of the popularity of the series, which increased considerably when it was adapted into a television series of the same name, Moore's original artwork for the series' early issues has gone up in value. On the March 28, 2013, episode of the VH1 reality television series For What It's Worth, Moore's original artwork for Page 7 of issue #1 was professionally appraised to be worth $20,000.

Moore has since co-created The Exterminators with Simon Oliver at DC/Vertigo, and Fear Agent with Rick Remender at Dark Horse Comics, and has contributed covers to numerous titles, including Claudio Sanchez's The Amory Wars and Rob Zombie's Spookshow International. He has also contributed to Marvel Comics' titles Ghost Rider (with Jason Aaron), and Punisher (with Rick Remender). He also was the artist for the Venom series from 2010 to 2012, also written by Remender.

On February 9, 2012, Moore filed a lawsuit alleging that in 2005, Kirkman deceitfully engineered him into surrendering his rights to The Walking Dead comic book and eventual TV series in exchange for payments that never materialized. Kirkman said in a statement the following day that he and Moore "each had legal representation seven years ago and now he is violating the same contract he initiated and approved and he wants to misrepresent the fees he was paid and continues to be paid for the work he was hired to do." Kirkman in turn sued Moore. On September 24, 2012, the two released a joint statement saying they had reached a settlement "to everyone's mutual satisfaction."

In 2018, Moore began collaborating with country musician and fellow Kentuckian Tyler Childers, doing the cover art for Childers' album, Country Squire. Moore illustrated a small promotional Chick tract parody comic, written by Childers, which was released with the album. Moore also produced several screen printed concert posters for Childers. In 2019, Moore designed the animated band featured in the music video for the Grammy-nominated song, All Your'n, directed by Matt Stawski, though the final renderings were painted by longtime Stawski collaborator, artist Serge Gay, Jr. In 2020, Moore wrote, designed, storyboarded, and directed the animated music video for the album's title track, Country Squire.

Bibliography
Interior comic work includes:
Battle Pope #1-5, 8, 10-13 (with Robert Kirkman, Funk-O-Tron, 2000–2002)
Kieron Dwyer's LCD #3: "Lockdown Laffs" (script and art, anthology, FogelComix, 2002)
9-11 Volume 1: "Untitled" (with Robert Kirkman, anthology graphic novel, Dark Horse, 2002)
Masters of the Universe: Icons of Evil — Beast Man (with Robert Kirkman, one-shot, MVCreations, 2003)
Brit and Brit: Cold Death (with Robert Kirkman, one-shots, Image, 2003)
The Walking Dead #1-6 (with Robert Kirkman, Image, 2003–2004)
Fear Agent (with Rick Remender):
 "Re-Ignition" (with Jerome Opeña, in #1-4, Image, 2005–2006)
 Fear Agent: The Last Goodbye #1-4 (Dark Horse, 2007)
 "I Against I" (in #22-27, Dark Horse, 2008–2009)
 "Out of Step" (with Mike Hawthorne, in #28-32, Dark Horse, 2010–2011)
Western Tales of Terror #5: "Know When to Hold 'em"  (with Matty Field, anthology, Hoarse and Buggy, 2005)
24Seven Volume 1: "Fear and Loathing in NYC" (with Jonathan L. Davis, anthology graphic novel, Image, 2006)
The Exterminators #1-7, 9-10, 13-14, 24-25, 28-30 (with Simon Oliver, Vertigo, 2006–2008)
XXXombies #1-4 (co-written with Rick Remender, art by Kieron Dwyer, Image, 2007–2008)
The Goon: Noir #3: "The Honey Pot" (with Brian Posehn, anthology, Dark Horse, 2007)
Ghost Rider vol. 4 #33-35: "Trials and Tribulations" (with Jason Aaron, Marvel, 2009)
The Punisher vol. 8 #11-14, 16, 19-20 (with Rick Remender, Mike Hawthorne (#13) and Dan Brereton (#14), Marvel, 2010)
Venom vol. 2 #1-2, 4-5, 13-14 (with Rick Remender and Tom Fowler (#5), Marvel, 2011–2012)
Deadpool vol. 3 #1-6: "Dead Presidents" (with Brian Posehn and Gerry Duggan, Marvel, 2012–2013)
Thor vol. 5 #7: "Young Thor's Lament" (with Jason Aaron, Marvel, 2018)

Covers only

References

External links

A Brief Amory Wars Chat With Tony Moore, August 2, 2007, Newsarama

Living people
The Walking Dead (franchise)
American comics artists
1978 births
Place of birth missing (living people)

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'Watermark' Combines Stunning Photography With An Unclear Message
Water is something we all take for granted. We couldn't exist without it, yet we only think about it when it's running scarce. We use it to cook, clean, work, and play, and we do it all on a daily basis. Renowned photographer Edward Burtynsky has teamed up with filmmaker Jennifer Baichwal (Payback) to pay tribute to the most overlooked and underappreciated of the Classical Elements in the documentary Watermark.
Watermark loosely follows Edward Burtynsky's assemblage of his book of photographs that all share the central theme of water. The film trots all over the globe and visits dozens of locations, grabbing footage of everything from workers building a dam in China to divers repairing the fountains at the Bellagio hotel in Las Vegas. There are interviews with Indians who talk about the spirituality and philosophy of water as well as talks with scientists who study chunks of ice that are brought out from the depths of glaciers. The premise of the film is the interplay between technology and nature in regards to water and, like water holds life on the planet together, it is the common glue that binds Watermark into a cohesive film.
The photography in Watermark is stunning. Burtynsky and Baichwal enlist the help of cinematographer Nicholas de Pencier (The Ghosts in Our Machine), who picks the ball up and runs with it. He uses several different cameras of all shapes and sizes, taking them to the depths of the oceans and the heights of the sky. The most impressive sequences are not the underwater shots, but the aerial shots. De Pencier fastens his camera onto remote controlled drones to fly over reservoirs and capture footage of the changing waterscape below. He also hangs the camera outside of helicopters racing down rivers to grab some of the coolest in-flight shots in recent memory. Watermark also plays with the footage in post-production, giving the viewer a slow-motion view of a power plant dam or a time lapse view of a bay during a tidal change. The photography, while predictable and stereotypical at times, is nonetheless cool to look at, and it absolutely should be enjoyed on a big screen in a real theater; the bigger-than-life images should not be shrunk down to LCD TV size.
The problem with Watermark is in its message. Actually, it's in its lack thereof. It's all fun and interesting to look at all the cool and different ways that water can be used, studied, and harnessed, but the film seems to have no point beyond just showing off a ton of painstaking research and creative photography. At one point, early in the film, it looks like it might take an ecological stand, as it shows chemicals from a leather factory running into a nearby river and turning the water into a rainbow of unnatural colors. But then, the film takes the viewer to a surf contest in California. It all follows a theme, but doesn't tie it together with a moral.
As long as audiences aren't expecting a heavy and powerful film, Watermark is worth a look. There are serious and thoughtful moments, but they're balanced out by fun and lighthearted ones. Watermark is a wonderfully exciting film for anyone who loves good photography or aerial cinematography; for everyone else, it might look like the kind of film that students would sleep through in science class.
Filed Under: Documentary, Entertainment, Features, Movies Tagged With: Edward Burtynsky, Jennifer Baichwal, Nicolas de Pencier, Photography, Water, Watermark
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Q: Concept: Impact of Random Sampling on the Uncertainty Associated with Making Inferences I am struggling with a concept on sampling and I was unable to find the answer here or anywhere on google where I could fully understand.
Specifically, my concept question is:
In what ways can sampling strategy impact the uncertainty that is associated with using samples to make inferences about populations?
What I do understand so far is that random sampling is required to avoid bias in the population. But that is about as deep as I currently understand. I am looking to take this question to a deeper level.
What I am looking for in an answer is a few bullet examples of how sampling strategy impacts the uncertainty or a really good external source/video that contains the answer.
If further information is needed, simply ask.
Thank you in advance for your help on this matter.

A: On the question: In what ways can sampling strategy impact the uncertainty that is associated with using samples to make inferences about populations? Perhaps an example may assist, where I believe the impact is somewhat intuitive.
Consider, for example, a case where one is interested in an estimate of spending by consumers on luxury goods. The most accurate sampling scheme could be a stratified sampling model with a particular sampling concentration on high-income individuals. Why? Because there is an inherent bias for more affluence people to engage in the purchase of luxury goods (likely somewhat proportional to their income). This would likely account for a large part of total spending on luxury goods, and thus would assist in estimating total sector spending. The latter is the targeted purpose of the sampling exercise and studying/expending effort (as could occur, for example, in a Simple Random Sampling of the general population) on the spending patterns of those who rarely buy luxury goods is not likely as useful in improving the precision of the sampling scheme's luxury spending estimate.
Note: Actually knowing the percentage of higher-income people in the general population, however, is fundamental to the appropriate application of stratified sampling. For the precise formula for stratified sampling, including its expected sampling variability, see, for example, this reference, and related comments.
Another sampling scheme, contextually removed from stratified sampling and worthy of mention, in my opinion, is Systematic Sampling. Some major points of the latter includes ease of implementation and understanding,
an associated degree of control and sense of underlying process, ability to address problematic, for example, clustered selection presence, and lastly, generally considered a low-risk process.
Note: Systematic Sampling generally assumes size of the parent population can be determined, and also requires some degree of naturally occurring randomness. However, it does afford a greater risk of data manipulation (as from examining varying results per the changing of sample composition by selecting from every nth item to some other count).

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Paso del Centurión és una entitat de població de l'Uruguai, ubicada a l'est del departament de Cerro Largo, sobre la franja fronterera amb el Brasil.

Es troba a 38 metres sobre el nivell del mar. Té una població aproximada de 100 habitants.

Referències

Enllaços externs
 Informació sobre Paso del Centurión (en anglès)

Entitats de població de Cerro Largo


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Man tries to set fire to gas station after he's caught stealing Flamin' Hot Cheetos
09/01/2016 11:25 am PDT
KTVI
By Danielle Scruggs, KTVI
ST. LOUIS -- (KTVI) -- A man is behind bars after stealing a bag of Flamin' Hot Cheetos and trying to burn down a gas station. It happened Sunday at a store located on South Grand Boulevard.
According to our partners at the St. Louis Post-Dispatch, Joshua Lee Crook, 33, went into a gas station and picked up a bag of the Cheetos. The store's manager told him to put the bag down if he wasn't going to make a purchase. Crook did so, left the store and returned about one minute later.
Police records say he walked back into the store, grabbed the Cheetos and left again. The manager confronted him but was pushed and punched in the face.
Crook went outside, grabbed a gas pump nozzle and threw it on the ground. Authorities say gasoline began pooling on the lot. At that point, Crook threw a lit cigarette to the ground.
There was no damage because he failed at his attempt to start a fire.
He has been charged with first-degree attempted arson, a felony, and three misdemeanors. His bail is $20,000, cash only.
An unusual mug shot of him was released but did not immediately explain what was going on in the photo.
FULL STORY: Man tries to set fire to gas station after he's caught stealing Flamin' Hot Cheetos - KTVI
#Arson #KTVI #Missouri #StLouis #Theft


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From the plastic age, to the tripling of our population and the destruction of the find teen girl in tsuruoka world, David Attenborough has seen it all, and i love cats dating site a call to arms.


For decades an eyesore, the old Priestley school site on Leonidas now represents the neighborhood's best hope for a community school, and the Carrollton-Riverbend Neighborhood Association is preparing to fight to be heard by state officials who currently plan to sell it.
Less than a week after two members denounced local and school district officials for dropping plans to renovate Priestley, the association's board voted Thursday night to urge school officials to return to their original promise to move James Weldon Johnson Elementary to the Priestley site, instead of the current plan to spend $16 million renovating Johnson and then selling off Priestley. The Priestley site is in a safer location on a main thoroughfare, which will make it more attractive to middle-class families in the neighborhood, the association said.
The board discussed but did not take a position on the relative merits of renovating the old Priestley building versus demolishing it and constructing a new facility there. Some neighbors said starting over on the site might be cheaper and thus easier to convince the Recovery School District to do, while others described their personal fondness for the historic structure.
A sense of urgency prevailed at the meeting. As school officials decide how to spend a nearly $2 billion FEMA settlement around the city, public meetings about plans for each campus are being held in each school board district over the next two weeks, and the District 5 meeting that includes Priestley will be held at 6 p.m. Monday.
"We really do have to organize over the weekend," said Betty DiMarco, an association member who has been leading the discussions about Priestley.
To read our live coverage of Thursday's meeting, click "Replay" in the box below.


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This property is in need of repairs so looking for a buyer interested in bringing it back to life either as a family home, rental apartments/villa or small guest house.


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Home Other Economics
The Netherlands is shutting down prisons. It doesn't have enough criminals, and prisons aren't effective at rehabilitation
While this is a problem for the country's 1,900 prison workers losing their jobs... it's not such a bad problem to have.
by Mihai Andrei
in Economics, News
Eight prisons were marked for closure in 2009. Nineteen more followed in 2014, and another eight closures were announced in 2016. While this is a problem for the country's 1,900 prison workers losing their jobs… it's not such a bad problem to have.
A corridor of the end of the world prison at Ushuaia, now a museum. Image credits: Luis Argerich
The main reason why this happens is simple: crime is going down. Rates are falling around 0.9% per year. This means that by 2021, 3,000 prison cells and 300 youth detention places will be an unneeded surplus. This is a healthy drop, and former justice minister Ard van der Steur said that serious crimes are significantly dropping as well. Aside from indicating less crime taking place across the country, this also saves a lot of money — as prisons are very expensive to maintain.
But this doesn't really tell the entire story. Somewhere along the line, the Dutch understood that prisons are not particularly good at rehabilitating people. Just like in Norway, the Netherlands focuses on rehabilitating people instead of punishing them — and this works. The Norway recidivism rates are at 20%. Compare that to the 76.6% recidivism rate in the US, and you'll start to see why this is a good thing. Judges in the Netherlands tend to give community service instead of jail for many crimes. The Duch are closing prisons so fast, they're actually importing prisoners from Norway — which gains them extra money. They also don't have a war on drugs, which helps contribute to their success.
Still, many believe punishments aren't strong enough, as many people who commit light crimes (and even some who commit heavy crimes) never really get a jail sentence. Socialist Party MP Nine Kooiman criticized the government:
'If this cabinet was really working to catch crooks, we wouldn't have this problem of empty cells,' she said.
Yet it's hard to argue with those figures. So at this point, I guess it's important (especially for the US, which has a record high incarceration rate) to ask one question: when people commit crimes, do we want to punish them, or do we want to rehabilitate them? Ideally, you'd say both — but this doesn't seem possible.
Tags: Netherlandsprison


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Matthew McCray
Actor | Writer | Composer
Known for Now and Forever, Will & Grace (2002-2003), The Commission (2003), Freedom (1995)
Nov 2, 1975 (age 43) | 6' 1" (1.85m)
Projects in Development (1 title)
Producer, Writer Producer, Writer See fewer
Random Encounters (2013)
Commercial Guy Commercial Guy See fewer
Someone I Used to Know (2013)
Grateful Acknowledgment Grateful Acknowledgment See fewer
The Strange Thing About the Johnsons (2011)
(Short) - Portrait Photographer Portrait Photographer See fewer
After Dinner (2010)
(Short) - Doug Doug See fewer
Joyland (2009)
(Short) - Baily Baily See fewer
A Peace of History (2005)
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