text:
A SALTY DOG
Crossover Prog
3.58 | 248 ratings | 29 reviews | 25% 5 stars
Excellent addition to any
prog rock music collection
Buy PROCOL HARUM Music
1. A Salty Dog (4:41)
2. The Milk of Human Kindness (3:47)
3. Too Much Between Us (3:45)
4. The Devil Came from Kansas (4:38)
5. Boredom (4:34)
6. Juicy John Pink [Mono Version] (2:08)
7. Wreck of the Hesperus (3:49)
8. All This and More (3:52)
9. Crucifiction Lane (5:03)
10. Pilgrim's Progress (4:32)
Bonus track on 1997 & 1998 reissues:
11. Long Gone Geek (1969 Single - Mono)	(3:10)
Extra bonus tracks on 1998 remaster:
12. All This And More (take 1) (4:12)
13. The Milk Of Human Kindness (take 1) (3:57)
14. Pilgrim's Progress (take 1) (3:15)
15. McGreggor (2:47)
16. Still There'll Be More (take 8) (5:03)
- Gary Brooker / lead vocals, piano, celeste, 3-string guitar, bells, harmonica, recorder, woodwind, orchestral arrangements (1,8)
- Robin Trower / lead & acoustic guitars, sleigh tambourine, backing vocals
- Matthew Fisher / organ, piano, marimba, acoustic & rhythm guitars, recorder, backing vocals, orchestral arrangements (7), producer
- Dave Knights / bass
- Barrie James Wilson / drums, tabla, congas
- John Kalinowski "Kellogs" / "Bosun's" whistle
Artwork: Dickinson (a parody of the famous Player's Tobacco advert)
LP Regal Zonophone - SLRZ 1009 (1969, UK)
CD A&M Records - CD 3123 (1988, US)
CD Castle Classics - CLACD 289 (1992, Europe)
CD Repertoire Records - REP 4668 (1997, UK) With a bonus track
CD Westside - WESM 534 (1999, UK) Remastered by Nick Watson with 6 bonus tracks; Retitled "Salty Dog...Plus"
Buy PROCOL HARUM A Salty Dog Music
EP · Extra tracks · Remastered
Esoteric Antenna 2015 $16.15
Mobile Fidelity 2017 $32.02
Hybrid SACD - DSD
Salty Dog / Home
Bgo - Beat Goes on 2003 $29.99
Repertoire 1997 $9.39 (used)
Procol Harum Live In Concert With The Edmonton Symphony Orchestra - A&M Records 1972 - Used Vinyl LP Record - Conquistador - All This And More - A Salty Dog - In Held 'Twas In I
A&M Records $5.95 (used)
Procol Harum: Conquistador B/w A Salty Dog
A&M Records $12.00 (used)
A SALTY DOG / A SALTY DOG (7" DJ/45 rpm)
A&M $7.25 (used)
A Salty Dog by Procol Harum (2009-05-26)
SALVO $77.33
Procol Harum - A Salty Dog - Cube Records - 853008
Cube Records $87.02 (used)
More places to buy PROCOL HARUM music online
Buy PROCOL HARUM & Prog Rock Digital Music online:
AmazonMP3: Search for PROCOL HARUM DRM-Free MP3 Downloads @ Amazon.com MP3
PROCOL HARUM A Salty Dog ratings distribution
PROCOL HARUM A Salty Dog reviews
Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
3.5 stars really!!!
A stunning artwork using a cigarette logo, slightly changed by Keith Reid's wife (also responsible for the debut's artwork and the following Home album) to resemble her husband, this album also came with different track listing depending on which side of the Atlantic you were on. The title track you will find starting the album was previously released as a single and in some country was left off the album to which it gave its name. You will easily understand that the ideal version of the album includes that great track (and most likely with the much weaker B-side Long Gone Geek). One of the few differences is that Matthew Fisher's organ is much absent throughout the album, as he is busy producing the album, writing tracks and playing more instruments than just his Hammond.
This album is however quite deceiving in many ways as it is very unfocused and completely uneven, although it has some brilliant tracks on it also. After the title track (we will assume that it is an integral part of the album and the track is a sailor's expression for a sexual delicacy) is followed by a bunch of rather strange and non-Procol tracks such as the Trower-blues-penned Juicy John Pink or the Fisher-penned (and sung) Boredom and the weird Devil Came From Kansas, all of which have most members playing instruments that they are not used to. A rather weak first side, if you ask me. One has to wait for the second side of the album with Wreck Of Hesperus, Crucifiction Lane, All This And More, to get to the central moment of the album. Once you are in that stretch, then this album is almost the equal of its two predecessor. Unfortunately, this is much too short to even come higher than the waist level of the previous SOB.
After this album, with the never-ending tours of US and Europe, Fisher will leave the group and Dave Knights (never really inventive, but a solid executor of written bass lines) will also find himself out the door, but A Salty Dog is maybe best linked with Home even if there is a big line-up change. Ideally, Procol's third album should be acquired with the fourth album Home, for both albums have ups and downs but in a single package, both albums will become essential listening for the proghead.
Posted Monday, May 24, 2004 | Review this album | Report (Review #30761)
Review by loserboy
"A Salty Dog" was PROCOL HARUM's 3rd release and continued their highly classical progressive exploration in music. Title track "A Salty Dog" remains to this day one of my all- time favorite songs which was very influential to young bands like GENESIS and YES. This is truly a mighty album and in many rivals "Shine On Brightly" and their debut release for both beauty and character in song and performance. For those not all that familiar with PROCOL HARUM's music it is really their first 3 albums which are essential in my opinion with "A Salty Dog" being perhaps the most complete and versatile album hitting heavy Blues and progressive elements throughout. This is an essential album and remains one of my most treasured albums of all time.
Review by Guillermo
Maybe this is the most "famous" or "known" of all Procol Harum`s albums. It was the last album released with Matthew Fisher and David Knights in the line-up. This album has songs not only composed by Brooker/Reid or only sung by Brooker. "Boredom", "Wreck of the Hesperus" and "Pilgrim`s Progress" have songwriting contributions and lead vocals by Matthew Fisher. "Wreck of the Hesperus" (one of the best of this album) has a very good orchestral arrangement and piano by Fisher. Robin Trower sings and co-writes "Crucifiction lane". "Juicy John Pink" is a blues duet sung by Brooker (who also plays harmonica) with Trower on guitar."A Salty dog" and "All this and more" also have orchestral arrangements (by Brooker). B.J. Wilson plays drums as good as always.All the musicians also played instruments in some songs which were not their "usual" instruments, as the sleeve credits say.One of the best songs is "The Devil Came from Kansas", with lead guitar by Trower. The song "A Salty Dog" is one of the most known songs of the band, with "A Whiter shade of Pale" and "Homburg". A very good album. Produced by Matthew Fisher, who in the 70s also recorded some solo albums, and also produced albums for other musicians.
Posted Thursday, September 16, 2004 | Review this album | Report (Review #30763)
Review by Eetu Pellonpaa
I got a bit contradictory impressions from this album, which has both beautiful symphonic ballads and more conventional bluesy numbers. Maybe I'm just so keen on the moody tracks, that the songs with different feelings feel here a bit alien to me. On the other hand, this union of two contrasting musical characteristics makes the band's sound quite personal, and the mixture seems unique. My own favorites of this album are the royal title track "A Salty Dog", quiet and fragile "Too Much Between Us", prophetic "Wreck of the Hesperus" and the ruminative and elegiac "Pilgrims Progress". The covers are also so distasteful that they are actually quite cool. Kellogs!
Posted Saturday, July 23, 2005 | Review this album | Report (Review #40072)
Review by Trotsky
Despite the many highs and relatively few lows (I'm talking musically) of Procol Harum's initial decade-long run of 1967-1977, I think the group never made an album of such consistent brilliance as this one. If forced to choose, I'd concede that my three favourite Procol Harum songs (A Whiter Shade Of Pale, Quite Rightly So and As Strong As Samson) aren't on this album, but by God, it seems as if the rest of my top 10 is!
The fun starts with the title track which is about a crew on a sinking ship (The theme of maritime disaster is a real PH constant and is never far away on this album). Eschewing the traditional PH sound in which organ and guitar are pre-eminent, this song ranks among the greatest bits of pop/classical fusion I've ever heard. The tragic lyrics are brought to life by Brooker's enormous aching voice, glorious orchestral string work and top-notch drumming from B.J. Wilson, who by this third album had become a real force to be reckoned with.
The rest of the album sees all the Procol elements at their peak on a wide range of material. There's old school blues (Juicy John Pink) and a few Brooker-led stompers like the rasping The Milk Of Human Kindness, the ballsy The Devil Came To Kansas and the rather more subtle All This And More, all of which feature Trower's stinging guitar, usually in tandem with Fisher's organ. A really moody Too Much Between Us slips in and out, stopping only to slip a dagger between one's ribs, courtesy of a Brooker solo on celeste.
There are also three pieces with lead vocals from Fisher. First off there's the totally infectious "rich and fruity" marimba-driven calypso of Boredom. The Wreck Of The Hesperus is a glorious piece of sheer genius, driven by a constant rippling piano arpeggio and sweeping strings. It has a totally chilling fade-out as the sound of waves wash over our protagonists. The monumental organ-drenched Pilgrim's Progress is perhaps the closest PH ever get to the A Whiter Shade Of Pale feel on this album, but Fisher's vocals give the song a totally different flavour.
Then there's Robin Trower's stunning turn on Crucifiction Lane, probably my favourite track on a stupendous album. Reid's lyrics are magnificent (You'd better listen anybody/Cos I'm gonna make it clear/That my life is unimportant/What I've done I did through fear) and this awesome semi-Biblical bluesy rant chills me to the core. It's a work of real power, on which Trower wields his guitar like a sword.
Indeed Trower was making his presence felt more than ever before, but the balance between Procol's blues and classical tendencies are virtually perfect on this album. The bonus cuts include the raucous, hilarious B-side to A Salty Dog, Long Gone Geek the tale of a big bad tabby cat who carried a gun and wore a Stetson hat. 'Tis a potent tune to be sure. Unfortunately the same can't be said for the previously unreleased ditty McGregor. An ironic ballad about an executed soldier, this is the sort of the song that probably should have remained in the vaults. The other bonus cuts are just alternate takes of tracks on this album and an additional one of Still There'll Be More, which was eventually cut on the next album Home.
If you want to know why Procol Harum was a great creative rock band, I can think of no better starting point than this majestic album. ... 92% on the MPV scale
Posted Saturday, August 20, 2005 | Review this album | Report (Review #43549)
Review by Gatot
This third album by Procol Harum is not as strong as its predecessors but I personally still like this album, overall. Of course there is one track that truly stands out and represents the band's unique style of Hammond-drenched music: "Pilgrims Progress". Who in planet Earth does not like this floating and melancholy song? I doubt any human being would deny the beauty of this composition. It flows wonderfully from start to to end with Hammond organ accompanying the tagline rhythm section.
Procol Harum were at the time a major headline band in the USA in the late sisties - topping acts like Santana, The Byrds, Pink Floyd. The group decided to record their third album at the A&M Studio in LA. "A Salty Dog" was released in the summer of 1969 - the period by which King Crimson "In The Court of The Crimson King" which took music industry by surprise with its mellotron-drenched sounds. From track to track of "A Salty Dog", song quality varies but one thing for sure all of them are deep rooted in blues-rock kind of music with compositions made by Gary Brooker. You still can hear the unique Hammond organ work by Mathew Fisher everywhere in any segment of the music presented here. If you want to trace back what happened in the early inception of prog rock, this album is worth collecting. Keep on proggin'..!
Peace on earth and mercy mild - GW
Posted Friday, April 21, 2006 | Review this album | Report (Review #75748)
Review by Easy Livin
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
Also known as "Stoke Poges"!
After the early prog classic "In held 'twas in I" on "Shine on brightly", Procol Harum revert to a more orthodox structure for "A salty dog". There are no suites here, no long convoluted tracks, no overriding concept, just ten autonomous songs.
After a false start in Los Angeles recording their third album (the sessions for an album entitled "Stoke Poges" were scrapped and lost), the band returned to the Abbey Road studios in London. Matthew Fisher took on production duties for the first time here, and the song-writing was opened up for other band members to contribute. This makes for a rather uneven offering, ranging from the sublime excellence of the title track to the trite lyrics and melody of Matthew Fisher's cod-calypso "Boredom".
In between, we have the beauty of "Too much between us", a rather out of character piece which could have been recorded by Simon and Garfunkel. "Wreck of the Hesperus" and "All this and more" both have similarities with the title track, the former having some wonderfully bombastic orchestration. Such songs as these are the essence of Procol Harum, a fact which was to become even clearer on their "Live with the Edmonton Symphony Orchestra" album, which featured "A salty dog" and "All this and more" sequentially.
Robin Trower takes on vocal duties on his "Crucifixion lane". With Gary Brooker being such a gifted and unique vocalist, this is a case of democracy triumphing over good sense. "Juicy John Punk" is a very average Hendrix like blues, and the aforementioned "Crucifixion Lane", while benefiting significantly from Trower's fine guitar work, could have sounded so much better with a decent vocal.
The closing "Pilgrim's progress" is a wonderful "Whiter shade of pale" like ballad, which features the classic Hammond sound of Matthew Fisher. Once again though, the democratic process meant that Brooker did not get to sing lead vocals on the track (or indeed on Fisher's "Wreck of the Hesperus").
In all a rather uneven album, with some of Procol Harum's strongest songs, but a few too many sub-par additions.
In retrospect, the three solo albums in one nature of "A salty dog" indicated that all was not well in the Procol Harum Camp, and Fisher would be gone before their next album was recorded.
Posted Friday, May 26, 2006 | Review this album | Report (Review #79377)
Review by Heptade
There is an interesting divide in the reviews here...some think masterpiece, some fairly unenthused. I think this is Procol Harum's best album. Every song is a winner, although the presence of three vocalists does provide a scattered feeling. However, there isn't a weak track on the record, which makes up for the fact that Matthew Fisher and Robin Trower are workmanlike vocalists at best. Gary Brooker's soaring, soulful vocals power the classic title track, floating on clouds of strings as he tells a tragic tale of the sea. There's also some traditional blues (Juicy John Pink), driving blues rock (Devil Came from Kansas, the Trower-sung Crucifixion Lane), symphonic rock (Fisher's Wreck of the Hesperus), folk balladeering (Too Much Between Us) and an odd little island-style ditty (Boredom). All is executed with a sense of style and fun, and the closing Pilgim's Progress provides a feeling of epic fulfilment at the end. Trower's phenomenal, raw lead playing is also worthy of note. It seems to me that Procol Harum was just a little too smart for mass popular consumption, which is why they never really capitalized on the giant success of Whiter Shade of Pale. This album is ample evidence that the group was one of the most creative bands of the early 70s. Just a shade short of a masterpiece, but mathematical rules tell us to round up, so instead of 4.5 stars, 5 it is! The best album by one of the best.
Posted Wednesday, July 19, 2006 | Review this album | Report (Review #84173)
Review by ClemofNazareth
SPECIAL COLLABORATOR Prog Folk Researcher
This was never a particularly interesting album in my opinion, neither when it was released nor later on when there was a bit of revival for the band due to the reemergence of "Conquistador" on their album with the London Symphony. That song, both on the symphony album and the original version, combined with "A Whiter Shade of Pale", pretty much sums up this band's career as far as I'm concerned. There were a few other mildly bright moments, like the title track of this album for example, but not many.
These guys suffered the fate of having a monstrously successful song right off their first album in "A Whiter Shade of Pale", and frankly never were able to achieve that level of perfection again, particularly not on this album.
The cover is clever and pretty well-known, but I wonder how many people besides the hard-core Harum faithful have ever really listened to this record. This band was always a confusing mix of blues guitar and classical keyboards, combined with Gary Brooker's corner-tavern vocals that alternate from white blues to Randy Newman. Decent enough urban blue-collar music I suppose, but this is not the album that helped to build progressive music. That was done with the debut, and each subsequent studio work from the band after 1967 seemed to struggle to recreate that magic.
High points include of course the title track – in those days as often today the most well- constructed tune was served up as the opener in an attempt to put the best face on the record. In this case that's done without much reliance on Trower's guitars though, this being mostly a keyboards and vocals composition. The other standout tracks are "Wreck of the Hesperus" with that persistent piano drone and some early heavy-guitar rock; the calypso (or maybe just upbeat raga) of "Boredom"; and the often-covered "Devil Came from Kansas" that sounds an awful lot like a Roy Wood-era ELO (or maybe even the Move) song.
Otherwise this is a recognizable piece of music history that probably has special meaning to guys in their late fifties for whom this brings back memories; otherwise, I think it is a decent record at best, certainly note essential. Three stars.
Posted Friday, May 18, 2007 | Review this album | Report (Review #122733)
Review by philippe
A very light, boring proto-progressive album with tasteless Beatles-y accents. Among this naive collection of hippie songs we can notice the really sixties pop ballad "Pilgrims progress", the almost honest bluesy melodic "Crucifiction lane" with its heavy guitars, crying, difficult vocals and pleasant Hammond organ passages, also the ridiculously mediocre mainstream folk ballad "Boredom". The Band have released a couple of classic songs with clear progressive intentions (before time), I'm thinking about "the dead man's dream"...For my part, I believe that Procol Harum have a real musical potential but most part of time it is muted, surely in order to answer and to satisfy commercial obligations. Consequently "A Salty Dog" is a really poor, soft album that can only ravish little conformist listeners / consumers. Fans of complex music, just ignore this one.
Review by jammun
All hands on deck...
I'm a sucker for these types of lyrics, which are not only relevant to the song but imply a nod and a wink to the listener: please join us on this musical voyage.
Procol's third album, A Salty Dog, is perhaps their finest. It is a concept album of sorts, its songs generally including vaguely nautical imagery, with intermixed themes of loss, betrayal, and ennui, not surprising given what the band was going through at the time.
The pacing of the original LP is virtually perfect. We start off with the title track, with its orchestral foundation. The song is majestic, but not without whimsy (check out Reid's deliberate moon/June rhyme). This gives way to The Milk of Human Kindness, generally more up-tempo and with biting contributions by Trower. The relatively weak Too Much Between Us then sets up another of the better tracks, The Devil Came From Kansas, which rocks as hard as any pre-Home Procol song. The final song on what was Side One of the LP, Boredom, has a Caribbean feel to it, but the lyrics are surprisingly poor.
Juicy John Pink leads off what was Side Two. This strikes me as one of those songs that exist on early Procol albums simply to give Trower an opportunity to indulge in some blues. We are then presented with two more heavily orchestrated songs Wreck of the Hesperus and All This and More.
The album wraps up with Crucifiction Lane and Pilgrim's Progress. The former, sung I think by Trower, is pure, hard, blues-rock, with a classic Trower guitar solo, all tension and no release. The latter, sung by Fisher, musically recalls A Whiter Shade of Pale, with its descending bass line and baroque organ. It is the finest song on the album and a fitting closer, as well as being Fisher's greatest song.
So where does this album fit in Procol's legacy? There was a time I held it in very high esteem, up there with the very best. However, having listened to it now for forty years, I'm of the opinion that it lacks the fire-in-the-belly of the first album's best songs, and lacks the sense of exploration and musical adventure of Shine on Brightly. Additionally, there's a bit too much Fisher and too little Brooker. Still, it's a solid effort from this pioneering band and should not be missed.
Posted Thursday, April 10, 2008 | Review this album | Report (Review #166308)
Review by ZowieZiggy
This third album from Procol Harum holds little comparison with its very good predecessor.
Little inventiveness nor a lot of progressive attributes are featured here. One could have believed that they would have pursued in the direction of their epic "In Held 'T Was in I" but it was absolutely not the case.
There are still some fine songs featured of course. Pleasant melodies like the opening and title song which is by far my favourite one and the only one to play in the same division than their best compositions. A lot of feelings through this excellent song.
As one can also experience during "Wreck of the Hesperus". Actually, the ballads featured on this album are quite decent but there are lots of fillers which are rather annoying ("Juicy From Pink") or below average like "Boredom", the well named or "The Milk of Human Kindness" which is rather insipid.
Fortunately, this album is saved by a couple of solid closing numbers. "Crucification Lane" which is a strong bluesy track which could have been featured on their debut album, and my second fave from all of this work "Pilgrims Progress". A very much Beatles-esque ballad, full of harmony, tact and beauty.
All in all this is a decent album which is saved by several fine ballads. But some more was hoped from the band.
Posted Saturday, May 17, 2008 | Review this album | Report (Review #171276)
A Salty Dog is the third studio album from british pop/ rock act Procol Harum. Their previous album called Shine on Brightly is a very beautiful and melancholic album that I enjoy greatly. It´s also a pretty progressive album with the side long epic track In Held Twas in I. A Salty Dog doesn´t really follow up on the progressive side of Procol Harum that was so evident on Shine on Brightly but puts more emphasis on the simple songs and strong melodies that is also a trademark in Procol Harum´s discography.
The music is still piano/ organ driven pop/ rock with slight progressive tendencies and strong and memorable vocal lines. This time the bluesy guitar from Robin Trower gets a bit more room in the soundscape and therefore A Salty Dog seems more simple and bluesy at times.
I´ll mention four songs that I think stand out on the album. A Salty Dog and Wreck of the Hesperus features string arrangements which is new in Procol Harum´s sound. Both songs are melancholic and reminds me a bit of the mood on Shine on Brightly. Beautiful songs. Too Much Between Us is a beautiful ballad like song and the last song on the album called Pilgrims Progress is also a standout track with it´s beautiful floating organ. The rest is not really songs that I get very excited about. They are not bad songs, but a bit too simple in mood and way too bluesy. I much prefer Procol Harum when they are influenced by classical music.
The musicianship is strong as usual. Gary Brooker has to be mentioned for his strong and emotional vocal delivery, but compared to the first two releases from the band Robin Trower´s guitar is much more in focus here on A Salty Dog and it makes a big difference in style.
The production is pretty much the same as on Shine on Brightly. Not much has happened there. It´s not really good but still enjoyable.
I´m a bit disappointed about A Salty Dog because I expected a more progressive direction after the excellent Shine on Brightly. Procol Harum moved away from their progressive leanings on A Salty Dog and that´s a shame IMO, as they really had something special to offer to progressive music. A Salty Dog is still a good album though and deserves 3 stars. Progressive music lovers should start with Shine on Brightly though.
Posted Monday, October 27, 2008 | Review this album | Report (Review #187085)
Review by kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team
While Brooker's grandiose vision dominated "Shine on Brightly", "A Salty Dog" was a more down to earth affair, and the most democratic of all Procol Harum albums. Not only do Matthew Fisher and Robin Trower write a lot more of the music, but they even get to sing. The result is generally positive, and effectively squelches the sophomore jinx in its tracks.
Musically, "A Salty Dog" seems to achieve in 4 minutes what "In Held Twas In I" tried in vain to realize in 17. Sure, the orchestra helps matters along, but this is also a grand song with a beginning, middle and end. The only other transcendent number is the album closer, "Pilgrim's Progress", in which Fisher sings assuredly atop his plaintive organ. The merry outro initially seems out of place but is just the kick that the cut and album need as they dance over the maritime horizon. Fisher's other tunes are both winners, one being another sea epic, the powerful "Wreck of the Hesperus", in which Brooker's piano and the orchestra shine. "Boredom" is a departure for the group, like their own take on Sailor's Hornpipe or some such, albeit slowed down to Procol speed, and it is eminently pleasant.
Even though I am not a fan of Robin Trower and what he did to the Procol sound, I did enjoy his early solo work and find that he does better with his own material than when providing clumsy input to that of Brooker, hence both "Juicy John Pink" and "Crucifiction Lane" provide adequate settings for his blues inspired forays. Not my cup of tea, but certainly adequate. The same can be said for most of the rest, with "The Devil Came from Kansas" perhaps the best of these.
"A Salty Dog", with few exceptions, lacks the cohesion of the group's debut and the high minded targets of the follow up, and cannot be pronounced an exciting album by any stretch, but it proclaims a band that is getting older and still learning new tricks.
Posted Wednesday, November 4, 2009 | Review this album | Report (Review #248203)
Review by Rune2000
I didn't really start to appreciate Procol Harum until I heard their sophomore release Shine On Brightly which in my opinion is a great piece of symphonic rock. A Salty Dog seemed like the next logical purchase for me since it featured the magnificent title-track implying that the rest of the album was bound to follow that same direction... right? This assumption proved to be completely incorrect and just like Blue Öyster Cult's Agents Of Fortune turned out to be somewhat of a misstep of an album. More so here since I actually bought this particular release!
A brief summery of A Salty Dog would suggest that the band tried a new approach which in this case meant that they went in many completely different directions. Everything from symphonic rock, straight rock, pop to blues can be traced on this release. It seems to me that the band has got a case of the Barclay James Harvest-disease (or maybe it's the other way around?), since just like that band Procol Harum had two great first releases followed by an album where they tried to go into a new direction.
Although most fans seem to consider it a good idea I personally disagree since I mostly enjoy the symphonic part of Procol Harum's sound and the title-track is the only brief reminder of that glorious past. A few other nice moments can be traced here and there but overall I'd say that this album is solely recommended for the already established fan-base.
Eventually, just like Barclay James Harvest, the band would regroup for another round of great releases in the early '70s. Still it's sad that the magnificent music year of 1969 had such a polar opposite effect on the early prog bands like Procol Harum and The Moody Blues.
***** star songs: A Salty Dog (4:41)
**** star songs: The Milk Of Human Kindness (3:47) Wreck Of The Hesperus (3:49) All This And More (3:52) Pilgrims Progress (4:32)
*** star songs: Too Much Between Us (3:45) The Devil Came From Kansas (4:38) Crucifiction Lane (5:03)
** star songs: Boredom (4:34) Juicy John Pink (2:08)
Posted Monday, March 15, 2010 | Review this album | Report (Review #272165)
Review by tarkus1980
A little overrated by PH fans, I think (then again, I'm probably overrating To Our Children's Children's Children, not that I'll ever admit to it or lower its grade), but that's perfectly understandable - almost undoubtedly, this is the pinnacle of the "classic" Procol Harum sound, and seeing as fans of any band tend to gravitate most towards the album that holds that band's sound most consistently, I can definitely see where they're coming from. The big mistake of Shine on Brightly, the significant reduction in Trower's impact on the sound, has been completely eliminated, and this album shows an almost perfect balance between the two keyboardist functions and Trower's powerful (and yet enjoyably versatile) guitar. In addition, a few of the tracks feature orchestral arrangements in addition to the parts of the main players, and they manage to fit in perfectly, adding a further blast of rich sonic *ooomph*.
Conveniently enough, it's the two tracks with all-out orchestrations attached that grab my attention the most (and are almost certainly a primary reason for this album's popularity amongst fans of the group). The title track is an absolute, stone-cold PH classic, with absolutely jaw-dropping imagery in Reid's lyrics (and graced with a very nice Brooker vocal, both in tone and in the amazing vocal melody) set to completely orchestral backing that only seems appropriate given the utter majesty of the whole piece. I'm not going to be quoting Reid lyrics much in these reviews, but I just have to say - there is just something absolutely devestating that happens within me when I hear this final stanza.
"We fired the gun, and burnt the mast, and rowed from ship to shore The captain cried, we sailors wept: our tears were tears of joy Now many moons and many Junes have passed since we made land A salty dog, this seaman's log: your witness my own hand"
Anyway, I'm also very very fond of the Fisher-sung "Wreck of the Hesperus," this time with the orchestra accompanying the rest of the band. Fisher once more proves himself as every bit Brooker's equal as a songwriter (at least, in the smaller quantities that he was allowed to contribute), as he combines a simple (but very effective) rolling Fisher piano line with a vocal melody filled to the brim with climaxes, and (best of all) allows Trower's guitar to interact with the orchestra in one of the greatest sonic moments I've ever heard. Seriously, I have no idea how to adequately describe those parts in the instrumental breaks where Trower's guitar soars upward through the midst of the orchestra, like, I dunno, like the great god Poseidon rising up from the sea, with giant waves walling up and announcing his arrival. It's almost a shame this track has the misfortune to share space with the title track - on almost any other PH album (barring the debut), this would be the highlight.
Unfortunately, the rest of the album falters somewhat in comparison. Don't misunderstand me, there's not a single track on here I really dislike - it's just that, when it's all said and done, I have to exert a bit more effort than I'd like to keep my head from drooping over and my will from faltering. The biggest problems are (a) no "light" tracks to lessen the load a bit (in other words I miss "Mabel" and "Good Captain Clack" *sniff*) and (b) almost no tracks with any "bounce" in their step. Well, sort of - there's actually one bonus track that's mislabeled as an album original, an old B-side called "Long Gone Geek" that's a terrific guitar-heavy up-tempo "old-timey" (though only sort of - it's actually quite hard) rocker that also has bits of the expected great piano work we've come to expect from the band. Truth be told, I GREATLY wish they'd have ended the original album with this one - it may not provide the same hymn-like, conclusion of an epic feel given by the Fisher-sung "Pilgrim's Progress" (quite pretty in its own right), but as an unexpected blast of energy, one to rouse up the faculties of the mind and cause it to better process all the lushness it just sat through previously (because, after all, contrast between two groups of objects is the best way to bring out the strengths of each), it's just great.
Ok, ok, there's also one other really good up-tempo piece on here, the wonderful "The Milk of Human Kindness," with the piano playing off Robin's brilliant riffage with great aplomb. Plus, it has one of the best melodies of the album, and one that, I swear, Genesis "adapted" for the song "That's All" on Genesis (listen to the melody of "She left me for a wasp without a sting," here and the melody of "I can't feel a thing from my head down to my toes" there, and then tell me if I'm really crazy). Other than that, though, basically everything is somewhere between slow and vaguely-above-mid-tempo, and that hurts things a bit. "Too Much Between Us" is a lovely ballad, yes, and "Boredom" is a novel effort that does a good job of conveying boredom without actually being boring, but while the band is nice enough to place a "rockier" piece between them ("The Devil Came from Kansas," with all sorts of GREAT guitar soloing), that piece in itself is totally mid-tempo, so there's not enough distinction to help the brain crisply remember all the good characteristics of each. As for "All This and More," the melody is once more quite good, but it fails to do much (except for Trower's guitar, that is) that could make it stand out from the other pieces on the album with good melodies.
On the plus side, Trower gets to throw in two of his own compositions, which give a heavier blues rock feel to the album ... but on the minus side, these are ALSO mid-tempo, so even when they break the monotony, they really don't. They're still enjoyable, though - after all, you could hardly expect Trower to restrain himself in his own pieces, and he definitely busts out well in both.
When it's all said and done, then, I'm less sold on the album than a lot of fans are. The songs are all good, yet as an album, it manages to simultaneously succeed marvelously (due to the incredible richness) and, well, not succeed so marvelously (as they fail to, if I may bring in terminology from my chosen field, hedge against "tempo risk"). Still, I don't want to give the wrong impression - I don't dislike this album, and after all, I rate it pretty highly. So please don't kill me.
As for the bonus tracks, they're ok, but once more not that much special (except, of course, for "Long Gone Geek"). Only one of the tracks is of a previously unreleased piece, but even that (an early version of a song called "McGreggor") is nowhere near finished. Otherwise, it's initial takes of "All This and More," "The Milk of Human Kindness" and "Pilgrim's Progress," as well as an 8th take of a piece on the next album ("Still There'll Be More"), Home.
Posted Wednesday, April 28, 2010 | Review this album | Report (Review #279681)
Review by Finnforest
Three great songs, but pretty uneven
Two years after their beloved debut album, Procol Harum were looking for a wider audience with the stoic "A Salty Dog." Despite the fantastic cover art and the fact that the title track may be the best song they ever recorded, the album as a whole leaves plenty to be desired. There are three great tracks on Salty Dog while the other seven range from two star blues-rock throwaways to 3 star template rock songs. First the good stuff. The title track is an absolute masterpiece that ranks with Whiter Shade, Grand Hotel, and others as a seminal Procol Harum track. Gorgeous, timeless melody and melancholy fused with orchestral splendor, piano, and pomp. It starts the album on a high note that has only one direction to go from there. Another beauty is "Too Much Between Us" which features Brooker in almost Nick Drake mode, a vocal that is fragile and haunting, in a song that could easily have been written by Neil Young in "Pardon My Heart" mood. The third classic is "Wreck of the Hesperus" which features Matthew Fisher on vocal, a track which again captures so well a dated feel, emotions that come from some old black and white film. Together these three tracks lobby hard for a masterpiece but unfortunately the rest of the album gets in the way.
Most of the other seven tracks are average rock songs, sounding a bit like second rate The Band songs, less soulful and less grooving. There are two blues-rock tracks that really fail to impress. Trower is a fine player but the songs are so plain-Jane, I'm not sure how blues rock fans could get excited by this with Cream and the first Zeppelin around to play. I still think of Procol as sort of an English version of The Band. Both are better live, both have songs with a sort of rustic longing for the past, one is a bit more elegant while the other has a bit more groove. I'd recommend this album to any fan of either band, with the caveat that it is not as solid as many people seem to think. The 2009 cd reissue has four live bonus tracks from 1969 which make the investment considerably more worthwhile. My rating is based on the original album tracks only.
Posted Wednesday, June 2, 2010 | Review this album | Report (Review #284657)
Review by Matti
Given that they released the quite progressive classic album Shine On Brightly, it's rather surprising to hear so many bluesy, rough-ish songs reminiscent of their debut, on this third album. Like some reviewers before me, I think the songs are very clearly divided in two camps: 1) totally uninteresting and 2) very good ones. I have nothing special to say about songs such as 'The Devil Came from Kansas', 'Crucifiction Lane 'or 'Juicy John Pink' - except that I don't like them a bit.
But the good ones justify this being a true classic album of 1969. 'A Salty Dog' is a slow and majestic (and very story-like) song with classical flavour, on the same level (if not even more elegant) as 'Whiter Shade of Pale'. I'm also fond of 'Too Much Between Us', an intimate little song with very dreamy chorus. 'Boredom' is sung by Matthew Fisher, another very symphatizing song, with peculiar shaker-loaded arrangement. Fisher's beautiful, organ-led closer 'Pilgrim's Progress' is great too. And some songs are OK if not any highlights. A must album for the fans of the group, at least. Despite all its faults and unevenness it has a nicely aged aura.
Posted Friday, September 9, 2011 | Review this album | Report (Review #518059)
Review by AtomicCrimsonRush
SPECIAL COLLABORATOR Symphonic Team
The nautical thematic content on this third Procol Harum album is prevalent beginning with seagulls on the beach and a captain's musings on his sexual exploits in A Salty Dog; or is it double innuendo about a mutiny on a sailing vessel? The title track has become a quintessential part of the band's catalogue as have many on this rather uneven album. The Milk of Human Kindness is an interesting throwaway for the band. It works okay rhythmically but not an outstanding track. Too Much Between Us has a melancholy tranquillity with Brooker's more gentler falsetto on vocals. This leads to a more upbeat sound on The Devil Came from Kansas, with Trower exceptional on guitar. This one grew on me over time especially the crashing two notes in the verses building to an infectious chorus. Boredom, a flute and glockenspiel driven whimsical song, and the ultra bluesy Juicy John Pink, are weaker tracks suffering from poor production quality, but they lead to the wonderful Wreck of the Hesperus, one of the great Procol Harum tracks sung by Fisher. The piano is a dominant instrument and the song is strengthened by a back beat of percussion shapes and a melodic guitar. The brass permeates the instrumental break giving a majestic feel. It ends with the shipwreck sounds lending an effective atmosphere.
All This and More is Brooker on vocals and more driving piano and Trower's everpresent guitar licks. Crucifiction Lane is very slow and bluesy with a melancholic melody line. The album ends with Pilgrims Progress finalising the nautical themes of alienation or loneliness on an open sea and searching for answers. The organ sound on this last track is more familiar to those who know the Whiter Shade of Pale sound, especially the tempo and overall feel.
The album is inconsistent in terms of quality but this is still a good album showing the development of prog rock in its early phase.
Posted Tuesday, January 3, 2012 | Review this album | Report (Review #602397)
Review by HolyMoly
Nearly a Masterpiece
Procol Harum's third album, 1969's A Salty Dog, proved that the brilliance of the prior year's Shine on Brightly (which I gave five stars) was no fluke. If anything, this album is even more focused and powerful, and certainly more broad in what it attempts to achieve. Only two slightly mediocre songs drag this one down; otherwise, it's pretty close to perfect.
The title track opens the album - a somewhat risky move, as it's clearly a ballad, and a pretty lengthy one at that. With watery sound effects,seagulls chirping, a melodramatic string arrangement (keyboard players Gary Brooker and Matthew Fisher composed all their own orchestral arrangements, by the way), and a simple yet vivid lyrical portrait (Keith Reid, the band's lyricist, is one of the finest lyric writers in rock history, in my opinion) of a sea captain, Procol Harum produce a stunning masterpiece with this song. Even better is the less obvious "Milk of Human Kindness" which follows it -- on the surface a pretty basic blues song, but arranged brilliantly with piano and lead guitar bouncing off each other, and BJ Wilson providing a novel, dramatic start/stop drum part. "Too Much Between Us" is a bit low-key and one of the album's weaker tracks, but "The Devil Came From Kansas" turns a folky melody into a full-blown loud doom number, with Robin Trower's lead guitar pushing it even further over the edge. "Boredom" ends side one, a Matthew Fisher piece with acoustic guitar, gentle hand percussion, and a nagging recorder melody -- about as far from "Kansas" as you can get. Keith Reid's lyrics about ennui and boredom almost feel cheerful in this context.
A big shocker opens side two -- the stark country blues of "Juicy John Pink" (by Trower, with lyrics by Reid), with little other than Trower's Hendrix-inspired guitar and Gary Brooker's vocal to carry it along. And to go from that into the symphonic drama of Fisher's "Wreck of the Hesperus" is even more shocking. Probably the most elaborately produced piece here, "Hesperus" seems to be of a piece with "A Salty Dog" in its maritime theme. "All This and More" is a pretty uneventful ballad, a disappointment in the midst of an impressive streak. Next is "Crucifixion Lane", a tough, soulful blues number sung by Robin Trower (unfortunately) in a raspy croak of a voice. It's a bit jarring after hearing Brooker and Fisher's superior voices for the rest of the album, but overall it's still a good track, further adding to the album's stunning diversity. Last but not least, we have a third Fisher composition, the excellent "Pilgrim's Progress" - an organ-based ballad seemingly similar to "Whiter Shade of Pale", but about halfway through, the song shifts into an elongated coda led by an upbeat piano riff that ends the album on a happy note.
Though this is often considered Procol Harum's masterpiece, I still prefer Shine on Brightly, but this album is still essential for those wishing to get into the band, and the title track, "The Devil Came From Kansas", and "Wreck of the Hesperus" are all key songs in the development of progressive rock. The album is confident and focused, even as it tackles an impressively diverse array of musical styles.
Posted Monday, November 19, 2012 | Review this album | Report (Review #862241)
Review by Warthur
On their third album, Procol Harum continue to plough the same early progressive rock furrow which they'd sketched out on their debut and polished on Shine On Brightly. At points the lack of really substantive musical development over the preceding albums threatens to make this one feel a little redundant, though there's still a lot of enjoyment to be had - the outro to Pilgrim's Progress, in particular, has a delicacy and beauty hitherto unseen in the Procol Harum repertoire. There's more straight-ahead blues this time around too, which makes this one a little more diverse than Shine On Brightly. Not their best, but not all that bad either.
Posted Wednesday, February 12, 2014 | Review this album | Report (Review #1130384)
I know the album is not the best progressive one. But it is so meaningful to me. A Salty Dog is the first progressive album I've really tried to listen to and I had to play song by song without stopping since hearing the first song A Salty Dog. I've loved progressive music since then. The story ... (read more)
Report this review (#1608647) | Posted by komorebi | Friday, September 9, 2016 | Review Permanlink
Strangely, this is the only album review in which I'm in complete agreement with all of PA's reviewers and collaborators, so I'll keep it short. The title track is easily Porcol Harum's, and composer Garry Brooker's, finest achievement. "All hand's on deck, we've run afloat.." from lyricist Keit ... (read more)
Report this review (#1585814) | Posted by SteveG | Thursday, July 7, 2016 | Review Permanlink
Captain heavy-hearted and his men welcome you to a doleful journey among weeping seamen and crying Valkyries, in this album on life at sea. Before the release of "A salty dog", Procol Harum already had accomplished enough to earn their place in the history books. With a worldwide hit single and ... (read more)
Report this review (#1556648) | Posted by ses | Wednesday, April 27, 2016 | Review Permanlink
Procol Harum continued through the late sixties and produced their third album with the lovely sailor look. Unfortunately this record was less progressive than the last one even if the highlights are great. 1969 was the band the same line up than before with Gary Brooker on song and piano and ... (read more)
Report this review (#1089103) | Posted by DrömmarenAdrian | Thursday, December 12, 2013 | Review Permanlink
The low rating on PA for "Salty Dog" absolutely baffles me. Another gem from the somehow-forgotten Procol Harum. Whilst the album lacks a strength heard on "Shine On Brightly", the songwriting and musical/lyrical climaxes are perhaps the zenith of Procol for me. Considering this is still the 60s, it ... (read more)
Report this review (#984632) | Posted by Xonty | Sunday, June 23, 2013 | Review Permanlink
Given the disagreement between Brooker and Fisher on the authorship of "Whiter Shade of Pale" (Fisher won, paving the way for more equitable sharing of the wealth with the musicians who play on hit records), I'd say that Fisher proves the more elegant musician on "Salty Dog." I have always thou ... (read more)
Report this review (#246902) | Posted by superscars | Wednesday, October 28, 2009 | Review Permanlink
I've been a fan of progressive music for the better part of 5 years now, embracing a wide range of genres. So to see this album getting such poor reviews astounds me! It may not be technical prog, but the emotion which is emitted throughout is superb to say the least. Also I won't go into it, ... (read more)
Report this review (#192247) | Posted by harrold the barrel | Sunday, December 7, 2008 | Review Permanlink
Well after being involved with the band for years as a number 1 fan I can tell you with truth this was not the greatest effort. Coming just after the great Whiter Shade Of Pale this album has the follow up feeling. Again being slightly dark were material is concered and never really very sure ... (read more)
Report this review (#30764) | Posted by | Thursday, April 7, 2005 | Review Permanlink
Post a review of PROCOL HARUM "A Salty Dog"


text:
A  RR-204 é uma rodovia brasileira do estado de Roraima.

Está localizada na região Centro-Norte do estado, numa extensão total de 51,6 quilômetros. Todo o trecho projetado já foi implantado, faltando apenas o asfaltamento e sinalização.

Ver também
 Lista de rodovias do Brasil
 Lista de rodovias de Roraima

Ligações externas
 Mapas rodoviários do Brasil e dos estados (arquivos PDF para download)
 Portal do Governo do Estado de Roraima, Malha Rodoviária de Roraima. Acesso em 4 fev 2012.

Rodovias estaduais de Roraima

redpajama_set_name: RedPajamaWikipedia


Transition Cycle Coaching are an online cycle coaching company working with riders world wide. We specialise in working with all abilities of riders, from novice to elite, who have full time jobs and family commitments. Whether you have 5 hours a week to train or 35 hours a week, we can build a specific focused training regime just for you.
All our training is delivered and analysed through Training Peaks, data can also be further analysed in WKO4. The beauty of this system is it's simplicity, all your training schedules can be viewed online, or just one click away on your mobile device. Transition Cycle Coaching are experts in the field of online power based cycle coaching, although you do not have to have a power meter, we can still approach your training using old school methods such as heart rate data and perceived effort.
If you've got a cycling goal and aren't sure if a coach is for you one phone call to Jody at Transition and you'll be convinced. His enthusiasm is infectious... He's got a knack for making you feel like the best cyclist in the World. That your goals are the most important thing to him.


text:
What Next? Gearing Up for the Long Fight for an Inclusive, Equitable Democracy
By K. Sabeel Rahman, December 14, 2020
As the dust settles from November 3 and the anxieties of a contested election week start to give way, we find ourselves poised between cautious optimism for democracy defended and the weight of what's left to accomplish in the fight for an inclusive democracy. There are strong signs of hope: a decisive victory for President-Elect Joe Biden repudiating the worst excesses of Trumpism; ballot measure victories for minimum wage increases and powerful new assertions of Black, brown, and indigenous voters in states like Pennsylvania, Michigan, Wisconsin, Arizona and Georgia. But there are deeply troubling signs as well. The COVID-19 pandemic rages on, its physical and economic toll devastating the country, particularly for Black, brown and working-class communities. And despite the catastrophic failures of Washington to respond to this crisis, the fact is that over 70 million Americans doubled down on a vote for four more years of Trumpism. Ballot measures like Prop 22 in California further exacerbate the precarity and danger faced by millions of gig economy and subcontractor workers. The far-right takeover of the judiciary starting with the Supreme Court continues unabated.
The reality is that 2020 underscores what many of us in the social change field have been arguing for some time: the fight for a truly inclusive, equitable democracy and economy is a long one. While we made important progress this year, the social change sector must redouble its efforts and sharpen its strategies for the long 20-year fight ahead. We are poised between two equally possible, radically different futures. Down one path, the forces of racial backlash and wealth-hoarding succeed in reasserting their control, dominance and privilege, as working families struggle to regain their safety and security following the pandemic and the joint crises of climate change, economic collapse, and racial violence. Down another path, we build on the successes of the last few years to accelerate the emergence of a multiracial democracy, where the power and wellbeing of communities of color and working families are centered and secured.
Philanthropy, like the rest of the social change sector, must take this moment to pause, reflect and ask itself what must be done in the years ahead to ensure that, 20 years from now, we look back at 2020 and see it as the moment where we came together and turned the tide in the fight for a true democracy.
First, this requires a clear commitment from the philanthropic community on a core value: the end goal of philanthropy should be the consolidation and deepening of democracy itself—even if that means the eventual obsolescence of philanthropy itself. On this vision, philanthropy must be in service to the movements, reforms and institutions needed to advance a vision of democracy and equity.
Second, we need to be clear on what we mean by "democracy". There can be no democracy without racial equity. The historic push to perpetuate hierarchies of race, class and gender have been one of the central drivers of anti-democratic politics. But to combat these deeper barriers to democracy, we need a social change sector to operate differently.
Too often, our social change sector operates in sharp silos. Some of us work in "civic engagement" and help support get out the vote efforts every few years when election season rolls around. Some of us focus on direct services to communities in need and we may not even consider ourselves to be in the business of democracy reform. But what the experience of these last few years highlights is that all of us must be in the business of democracy reform. Democracy, ultimately, must be about more than getting out the vote. It requires long-term, sustained investment in grassroots community organizing. It also requires structural changes to the laws, policies, and private practices that hoard political power—suppressing the vote, gerrymandering districts, facilitating the spread of misinformation in our public discourse. It also requires that we transform our social and economic order: a democracy that perpetuates the deep disparities in safety, security and wellbeing along lines of race, gender and class is not truly a democracy.
What then do we in the social change sector need to do in the years ahead? First, we need to consider how our work can be reimagined to fuel long-term civic, movement infrastructure, investing in durable grassroots organizing. Whether we work in direct services or civic engagement, we must prioritize infrastructure and relational organizing, particularly in frontline communities and the most affected constituencies in our era of crisis. Second, philanthropy needs to continue to push towards a focus on general operating support and on fueling the expertise and innovation of leaders on the ground, rather than top-down metrics and benchmarks of "success". And third, philanthropy needs to consider how its strategies help shift power towards frontline communities and shift the deeper narratives and ideas that continue to constrain our politics. Too often, the self-interest of wealthy constituencies and the persistence of old ideologies block transformative, democratizing reforms. Overcoming these barriers will take time and ecosystem-wide strategies.
The next few years will bring continued hardship in frontline communities and pitched battles over public policy. It will be critical that social change actors—donors in particular—approach these issues with any eye towards the longer-term fight for democracy.
K. Sabeel Rahman
K. Sabeel Rahman is the President of Demos, a dynamic think-and-do tank that powers the movement for a just, inclusive, multiracial democracy. Through cutting-edge policy research, inspiring litigation, and deep relationships with grassroots organizations, Demos champions solutions that will create a democracy and economy rooted in racial equity.

redpajama_set_name: RedPajamaCommonCrawl


According to new regulations and approval made by ministry of science, research and technology and also the guideline for holding scientific- research conferences of Islamic Azad University, hereinafter, only the conferences which are registered in ISC are accredited by ministry of science and only the presented papers in conferences and congresses which are indexed in ISC have research point and thesis grade. So regarding the high importance and very high scientific level of 5th. International Congress on Civil Engineering, Architecture and Urban Development as the biggest, most valid and most disciplined annual scientific, research and executive gathering in civil, architecture, urbanization and environment in the Middle east in Iran and Shahid Behehshti Tehran University, we announce that this conference has been registered and indexed in Islamic World Science Citation Center and all admitted papers in this congress will benefits the above point and will be indexed in it.
Meanwhile, whereas the science measurement criteria has been based on scientific regulations, those scientific products which are indexed by ISC have the same value of ISI products, so registering a scientific conference in Islamic World Science Citation Center has remarkable important due to scientific appraisal of that conference in researchers and academics' view. Ministry of science, research and technology appraises the scientific status of universities, research and technology centers, seminaries, journals, scientists, authors of papers in scientific journals of Iran and other Islamic countries based on citation analysis upon establishing and governing Islamic World Science Citation Center (ISC).


text:
Quenton Nelson Named 34th Unanimous All-American In School History
Nelson is the first Fighting Irish unanimous All-American since Manti Te'o in 2012
NOTRE DAME, Indiana - University of Notre Dame senior offensive guard Quenton Nelson became the 34th unanimous All-American in Notre Dame history when he was selected to the 2017 American Football Coaches Association (AFCA) All-America Team Wednesday. He is the first Irish offensive lineman to earn such an honor since tackle Aaron Taylor in 1993.
Nelson was a first-team All-American on all five teams the NCAA recognizes to calculate unanimous standing. He was previously selected to the All-America squads by the Football Writers Association of America, The Sporting News, The Walter Camp Football Foundation and the Associated Press.
Nelson is Notre Dame's sixth-ever unanimous All-American offensive lineman -- joining the likes of tackle Joe Kurth (1932), tackle Ed Beinor(1938), guard Dick Arrington (1965), center John Scully (1980) and Taylor (1993).
Nelson, Notre Dame's 2017 Monogram Club Most Valuable Player, spearheads an offensive line that paves the way for the third-best FBS rushing attack in yards/carry (6.37), 12th-best in rushing TDs (35), eighth-best in total rushing yards (3,349) and seventh-best in rushing offense (271.9 rush yards/game).
Notre Dame has rushed for at least 300 yards in seven of its 12 games this season. The Irish lead the nation in in rushing TDs (nine) and rank third in rushing yards (877) against AP top-25 opponents. Notre Dame also leads the nation in rushing yards (2,253) and ranks second in rushing TDs (23) in games against FBS teams with a winning record. The Irish are the only FBS team with at least 2,000 rush yards and at least 20 rushing TDs this season against FBS teams with a winning record.
Notre Dame is the only unit in the country to average over 250.0 rush yards/game with at least seven games against FBS teams with a winning record (and Notre Dame's played nine). The Irish average 250.3 rush yards/game and 5.84 yards/rush in its nine games against FBS teams with a winning record.
Notre Dame ranks in the top three nationally in runs of at least 20 yards (t-3rd, 39), 30 yards (2nd, 26), 40 yards (3rd, 15), 50 yards (3rd, 11), 60 yards (t-1st, nine) and 70 yards (2nd, four).
Nelson has started 35 times in his 36-game, three-year playing career. In 2017, he's started all 12 games at left guard and ranks as the highest-rated offensive lineman in the country by Pro Football Focus (48.1) -- next highest-rated lineman sits at 44.9. Nelson has far surpassed any other offensive guard in the country as well -- next highest-rated guard sits at 39.0.
Nelson has not surrendered a sack or QB hit, and allowed just two QB hurries in 819 offensive snaps this season. In fact, over his career (2,336 snaps), Nelson has surrendered just two sacks, none in the last two years, and only two quarterback hits.
Nelson's the highest-rated offensive guard in terms of run blocking in the country by Pro Football Focus (33.0) as well -- next highest-rated run-blocking guard sits at 25.5.
Nelson is Notre Dame's 84th different player and 100th total selection to earn consensus All-America status - both are more than any other school.
Notre Dame's All-Time Unanimous All-Americans
1929 Frank Carideo, QB
1931 Marchy Schwartz, HB
1932 Joe Kurth, T
1938 Joe Beinor, T
1946 John Lujack, QB
1949 Emil Sitko, FB
1949 Leon Hart, E
1952 John Lattner, HB
1954 Ralph Guglielmi, QB
1965 Dick Arrington, G
1966 Nick Eddy, HB
1966 Jim Lynch, LB
1969 Mike McCoy, DT
1971 Walt Patulski, DE
1972 Greg Marx, DT
1975 Steve Niehaus, T
1976 Ross Browner, DE
1977 Ken MacAfee, TE
1978 Bob Golic, LB
1980 John Scully, C
1987 Tim Brown, FL
1989 Todd Lyght, CB
1990 Raghib Ismail, FL
1990 Chris Zorich, DT
1990 Michael Stonebreaker, LB
1993 Aaron Taylor, OT
2002 Shane Walton, CB
2009 Golden Tate, WR
2012 Manti Te'o, LB
2017 Quenton Nelson, OG
-- ND --


Yes, we know. You're Fancy, and you're gonna have one less problem without me, and you're not entirely sure why we're turning down and youuuuuuuuu're gonna swiiiiiiing from the chan-du-huh-lieeeeeeeer. From the chan-da-huh-LIIIIIIIIIEEEEEEER. But what are you gonna jam to when you're done listening to the same 40 songs on loop once August comes around? Here's some great options that aren't going to get overplayed until the summer of 2015 while everyone claims they heard it first (Coughcough Disclosure's "Latch" ft. Sam Smith).
What is the 2014 Song of the Summer? (Non-Top 40 Edition) is a top list in the Music category on rankly.com. Are you a fan of Music or What is the 2014 Song of the Summer? (Non-Top 40 Edition)? Explore more top 100 lists about Music on rankly.com or participate in ranking the stuff already on the all time What is the 2014 Song of the Summer? (Non-Top 40 Edition) top list below.
If you're not a member of rankly.com, you should consider becoming one. Registration is fast, free and easy. At rankly.com, we aim to give you the best of everything - including stuff like the What is the 2014 Song of the Summer? (Non-Top 40 Edition) list.
Sounds Like: A happy summer day, full of trumpets and sunshine.
Sounds Like: Björk doing a song for the Pee-Wee's Playhouse soundtrack.
Sounds Like: Four Tet. A montage of a depressed twenty-year old walking to, and then finding joy in "The Club"
Sounds Like: Something that's a big deal in Europe, but kinda ignored in the US.
Sounds Like: Disclosure. A song you think is a banger but all yr friends are like "naaaahh"
Sounds Like: 2010's indie with a dash of New Wave.
Album: "What Is This Heart?"
Sounds Like: James Blake's fun, Michael Jackson-loving younger brother.
Sounds Like: That band you were kinda friends with in High School that is suddenly getting written up in Rolling Stone while all you've done is barely maintain a low-level corporate gig.
Sounds Like: Walking along the beach in your boat shoes.


text:
Study: New Yorkers Are Not Warm Towards Each Other, But They Love Their Pets
Hopkins Published: January 19, 2023
Have you ever said "I love you" but didn't really mean it? Do you feel like the people you date just never seem to want to make the first move?
With Valentine's Day not too far off, some might be left wondering when and if they'll ever find true love? Ever think living in New York has left you feeling lonely? Well, if you want company, then perhaps look to adopt at your local animal shelter. It appears others across the state have done just that, according to a new survey.
The Survey
Preply asked 2,335 people across the country about how they show and receive affection to determine the most affectionate state.
See Also: Is New York a Good Place to Raise a Family? This Study May Surprise You
From what the people who were surveyed are saying, some in New York may really love their pets more than their very own partners. According to the survey, New Yorkers are more affectionate towards their pets than their own partners with 69% feeling more comfortable with animals than other people.
New York was also tied with Ohio, Maine, and Maryland as the country's least affectionate states. Guess Kansas, Michigan, and Kentucky sis where all the love is at, for they ranked as most affectionate, according to the data.
However, it's not just people from New York who may be reserved when it comes to telling their partner they love them in person. According to the survey, 61% of people would rather express their love over the phone and through text messages more than to the person themselves.
New York Loves Their Pets
But while New Yorkers may shy from saying I love you to their partners, they certainly don't back away from their cats, dogs, or other pets. Preply says that New York ranked 8th overall as most affectionate towards their pets, only behind Michigan, Arizona, Utah, New Hampshire, Kansas, Texas, and Colorado.
pyotr021
Check out these 50 fascinating facts about dogs:
KEEP READING: Here are the most popular baby names in every state
Using March 2019 data from the Social Security Administration, Stacker compiled a list of the most popular names in each of the 50 states and Washington D.C., according to their 2018 SSA rankings. The top five boy names and top five girl names are listed for each state, as well as the number of babies born in 2018 with that name. Historically common names like Michael only made the top five in three states, while the less common name Harper ranks in the top five for 22 states.
Curious what names are trending in your home state? Keep reading to see if your name made the top five -- or to find inspiration for naming your baby.
Source: Study: New Yorkers Are Not Warm Towards Each Other, But They Love Their Pets
Filed Under: love, marriage, new york, pets, Spouse
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Mind Walking
Tanika Gupta
BandBazi Theatre
Dukes Theatre, Lancaster
27 – 28 March 2013
Mind Walking: with Peter D'Souza, Kate Dyson, Philippa Vafadari and Tarrick Benham
An added intricacy to Tanika Gupta's play about memory loss and cultural identity is that some of it is performed using a large circus hoop suspended above the stage.
It's something of a trademark for the BandBazi physical theatre company, who commissioned this work from the acclaimed playwright and EastEnders scriptwriter.
The hoop becomes everything from a setting sun to a doorway to memory and—with an added frisson of risk—an aerial device in which the performers are lifted aloft. The company's founder and choreographer Philippa Vafadari even performs acrobatic twists and turns.
The play itself is a balancing act in which Bobby, a retired Indian doctor living in the UK and suffering dementia, drifts back to his past in his mind, while in the present fails to always recognise his wife, daughter or grandson.
Like Bobby himself, played to a clever confusion by Peter D'Souza, Mind Walking has moments of lucidity and others that are a mystical tangle of sights, sounds and memories.
In the background Elgar is mixed in with Shankar, and the hoop becomes the focus of Bobby's sense of suspended detachment.
But in its high-flying 80 minutes this play also addresses the added complication that Bobby is regressing to his original language, leaving his family even more stranded. It seems, in a multi-cultural society and with a growing aged population, this is not uncommon.
So an abiding knowledge of a family's history becomes yet another issue in a play with more angles than even a circus hoop can provide.
It's purposely playing to audiences familiar with such challenges and here was the latest in a series of events organised by The Dukes, supported by Age UK Lancashire, to offer older people and their families increased access to the arts.
Reviewer: David Upton


WHEN: The fourth Wednesday of each month from 7-9 PM. During November and December, we meet on the third Wednesday of the month.
WHERE: We're located at the Florence Arts and Business Building, 140 Pine Street, Room 2B (basement level). There is plenty of free parking behind the building.
WHAT: This group is free & open to all families who have experienced pregnancy or infant loss at any stage.
ABOUT THE FACILITATORS: Carol McMurrich suffered the loss of her first child in May of 2003, a stillbirth following a cord accident during labor. In the early years she craved the company of others who had experienced losses and still feels nurtured and fulfilled by being part of a community of parents who have experienced the death of their baby. Carol has been to multiple trainings offered by Share, Inc. on compassionate caregiving, and is a trained MotherWoman facilitator.
Emily Brownlow first came to Empty Arms in January 2013, after the stillbirth of her daughter Ruby. For years, she attended meetings every month, and connected with other families for support and friendship. Emily is a member of the peer companion team, supporting newly bereaved families through their losses and assisting hospital staff with memory making. She also co-facilitate the monthly bereavement group with Carol.


The Mansion House was built on the ground one of Buffalo's early taverns and hotels. Originally known as Crow's Tavern, the place was bought by Phillip Landon, an early surveyor of Buffalo, in 1806.
Landon's public house served as Buffalo's first public school as well as Buffalo's first county courtroom.
The original tavern was destroyed when the British burned Buffalo in 1813. Phillip Dorsheimer bought the entire block, and built a five-story building. Another floor was added, and that rebuilt gin mill was styled into a modern hotel by new owner Rebecca Wheeler in 1829.
For the next 100 years, the hotel served Buffalo's elite arriving first by stage coach, then by canal and then by rail.
"The Mansion House, the career of which abounds in color and historic lore, was host to aristocracy of its day," wrote The News as the building was slated for demolition in 1932.
The structure was called "one of the most outstanding landmarks in Buffalo's history" weeks before it was taken down, to make way for buildings to be utilized by the New York Central Railroad.
The New York Central right-of-ways were then sold to New York State for the building of the I-190.
Piers holding up the I-190 now occupy the space once home to Mansion House.
When it was torn down after World War II, the Amherst House was the last surviving structure in Buffalo with direct ties to city designer Joseph Ellicott, as well as one of Buffalo's oldest surviving homes.
Ellicott had the house built for his niece in 1823 on Main Street between High and Goodrich, in the footprint of what is today's Medical Campus. The pillars on the front of the house were said to be selected from forests all around Western New York by Ellicott himself, who also supervised the trees' being dragged back to the outskirts of Buffalo.
Tall locust trees filled the property, and peacocks were kept on the lawn. A mansion in the grandest sense, the basement was home to a Colonial baking oven in the kitchen and a well-used servant's quarters.
By the 1890s, the formerly bucolic and rural feeling "Washington Park" area had been overrun by the trappings of Buffalo's brewing industry. From the mansion's stately windows, there was a view of the Empire Brewing Co. in the back on High Street and the German American Brewing Co. to the left on Main across High, not to mention Buffalo General Hospital a few blocks away.
In 1884, at the corner of Main and High. The home was owned by brewer Charles Gerber, who hosted Grover Cleveland and Mark Twain. Cleveland was said to have visited Gerber frequently to "drink Mr. Gerber's beer and enjoy the brewer's jolly personality." Twain was said to regularly burst through the front door claiming to be a burglar during his time in Buffalo.
John C. Glenny bought the house for $300 and wanted to move it — but city fathers denied the request. To skirt that denial, in 1891, he had the house broken down in to several pieces and moved to the then-more rural Amherst Street site that is now Nichols School's Peek Field.
The pieces of the house were moved down High Street to Humboldt Parkway, then across the park meadow to the spot where it stayed for the next six decades. The move cost $10,000.
Only blocks away from the Pan-American Expo grounds, the Glennys played host to "many distinguished visitors" to Buffalo in 1901.
Following Glenny's death in 1910, Buffalo attorney, Pan-Am organizer and Pierce-Arrow executive William B. Hoyt bought the home. The Hoyt family owned the home until Mrs. Hoyt's death in 1945.
In 1941, Mrs. Hoyt — the grandmother of the late Assemblyman William B. Hoyt II — offered the property to the Buffalo Historical Society as a historic property, but the society couldn't afford the upkeep. After her death, the property was sold to the Evangelical and Reformed Church, with the idea that the house would be torn down to make way for a new home for the aged. However, a provision in Mrs. Hoyt's will was discovered that said the property could only be used for residential or education purposes until 1956.
The photo shows the home in 1949, dismantled, awaiting court approval for a final demolition and the building of a home for the aged on the property. At the time, this core part of the house was the city's oldest surviving dwelling.
The green light for a demo on Buffalo's oldest surviving house was given in 1952, and in 1954 a home for the elderly opened on the site. In 2003, Nichols bought and razed the United Church home's 1950s structure and replaced it with a state-of-the-art athletic field.
With the ability to load and unload up to 11 buses simultaneously, Buffalo's new Greyhound Bus Terminal opened at 664 Main Street in 1941. By 1948, it was a well-established terminus of travel to, from, and through Western New York.
Buffalo was among the most important stops on the entire Greyhound system, according to one executive, who called Buffalo the Gateway to Canada and the major transfer point for the tens of thousands visiting Niagara Falls by bus every year.
Among those there for the ribbon cutting was Greyhound President CE Wickman, who was greatly responsible for the growth of and manner by which modern bus travel developed.
The terminal was a backdrop for the film "Hide in Plain Sight," and was a Buffalo Police Substation for several years. It has been the home of the Alleyway Theatre since 1985.
The character of the Main and Ferry intersection has changed dramatically over the last decade after years of neglect.
The building with the whited-out windows was left in dire condition after a fire in the 1970s. It was left dormant and unoccupied until Housing Opportunities Made Equal (HOME) conducted a six-year, $2.9 million project to use the structure as its headquarters. The 1884 building designed by George J. Metzger was rededicated in 2012.
The building that was home to M&G Food Market in the late '80s, and later to Elwassem's Food Market, is now home to Nick Sinatra's redeveloped Fenton Village.
And across Main Street, the latest development proposed for the corner is the $26 million Willoughby Exchange. It will replace, in part, the longstanding Willoughby Insurance building.
Famous for the motorcycle on the roof and the "Willoughby Will When Nobody Will" slogan painted on the side, the insurance company headquarters building started its life as an H. Salt Fish and Chips restaurant.
There has been a nearly complete transformation of this portion of Main Street in the days since these Depression-era WPA workers finished working on the sewer and drain lines in 1935.
The best clue to offer some sense of the location of the photo is the heavily ornamented iron gate, which still stands surrounding Forest Lawn Cemetery.
The building to the left, with the ornate roof, is the longtime location of Sisters Hospital at the corner of Main and Delavan. The building gave way for the Canisius College sports complex now occupying the corner.
Though the very tops of the spires are now gone, the Trinity Methodist Church building — visible off in the distance — still stands on Masten Avenue at Main, though it's been known as Lincoln Memorial United Methodist Church since the early 1950s.
Finally, Horey's Lunch, the restaurant owned by George N. Horey, in later years may have been one of the locations of "Main Lunch," which operated lunch counters up and down Main Street for most of the first half of the 20th century. The building has long since been replaced by a strip mall.
Western Auto began as a catalog concern in 1909 — selling to the niche "horseless carriage" market. As cars became more popular, so did Western Auto, which began operating storefronts as well as the catalog.
The 1940 fire at Buffalo's Western Auto caused $65,000 in damage, but allowed the store to be modernized in a rebuild. When opened at Main and Tupper in 1928, it was one of 46 Western Auto stores.
But as the Number 9 Parkside Zoo Peter Witt street car ambled along the tracks of Main Street heading for the DL&W Terminal at the foot of Main Street, the store was one of 250. By the 1950s, car parts were taking a back seat to an array of items meant to capture the imaginations of men and boys, as Western Auto was carrying a wide range of products beyond car parts and accessories.
This isn't the first time this intersection has been featured in the BN Chronicles. In 1981, the Ansonia Building at Main and Tupper was being considered for a $500,000 facelift with the thought that locations along the coming MetroRail route would be increasing in value.


I am mid-way through the Spring season bouncing between four different projects. Each project is very important to me but none is more important than the upcoming "Pathway Project for 2018".
In about six weeks, I will return to Emory & Henry College (E&H) to help welcome the "Pathway Project" students arriving from Copey. We will celebrate our third year anniversary of the "Pathway Project" and I am certain the project will provide another year of wonderful results.
The March issue of the E&H College Alumni Magazine covered the "Pathway Project" in wonderful detail. It has a full-page photo of the 2017 "Pathway Project" students from the Copey Learning Center, Fatima and Ariana as it provides a full account of the origin and successes experienced to date.
Emory & Henry College student Melody Lipford had spent the previous five weeks volunteering at the Learning Center. She returned home when the Copey Learning Center students traveled to America. She and her mother were also in attendance at last year's reception when Melody's mother commented that "a different person [Melody] stepped off that plane from Costa Rica". There is much evidence regarding people traveling to Copey and returning home "different".
Next week, the campaign will start to help raise the funds to support the Copey group's air travel and other activities associated with their visit. I am making my special annual appeal to my E&H affiliated "Friends" because we consider E&H College as the destination point for the students to attend the Summer Scholars program. And, all "Friends" are invited to help support this effort.
The budget planned for "Pathway Project 2018" is now being finalized and is expected to require close to $6,000.00 to bring our two Copey students and two adult chaperones to our campus. Over two-thirds of the cost is needed to cover air and ground travel.
During the short four and half-year history, "Friends of Copey" has an unbelievable track record for achieving goals in support of the mission of the Copey Learning Center. And, the "Pathway Project" has become the signature project for us because its impact is far-reaching and has many enduring qualities. There are E&H students and Copey Learning Center students traveling to and from Copey and from E&H. In addition, the Copey community has fully embraced us as loyal and committed "Friends".
So, join in and be actively involved in the next couple months. If possible, be part of the "Welcome Reception" at George's home the week our guests arrive at E&H.
The Post from last week written by Principal Carolyn Johnson was very well received. Several comments came in expressing views of appreciation and admiration for the work and efforts the Utah Team undertook to support the Copey Learning Center. I personally thank the Utah Team once again for their support and for the wonderful Copey folks for their unique friendship.
I am including a few of the comments I received pertaining to the Post.
For the next several weeks the "Pathway Project 2018" will be our primary focus. We are moving quickly towards the departure of the two Emory & Henry College students heading to the Copey Learning Center to perform volunteer work.
Then, in early June, four Copey Learning Center guests will travel to the USA and the E&H College. We are looking forward to having two very good students who are learning English at the Copey Learning Center, Lourdes and Brian, come to America. This is a thrill for them, their parents, their friends and their community. In all probability, these students would not have the opportunity to travel to America without their accomplishments at the Learning Center and certainly not without the support of "Friends".
Lourdes and Brian will be added to the list of "Pathway Project" students; Noelia, Celeste, Ariana, and Fatima. These past travelers have become excellent representatives and ambassadors at home encouraging students to strive to learn English.
All "Friends" living around or near the E&H College campus should get ready for a very nice reception being planned for June 15. It is very seldom when "Friends" gather as a group. Last year's reception included the gathering of 20-25 guests ("Friends") to welcome last year's "Pathway Project" students. This meet and greet event was among the students' trip highlights.
an honor to have their interest and support for the educational and professional future of the Copey students. Each serve as excellent role models for students with educational disadvantages and one or more are seriously inquiring about doing some volunteer work in Copey. I believe anyone of these Deltas would have a significant impact on the lives of students they meet. We thank these Deltas and all the Deltas everywhere for making differences in lives of young folks.
When Arthur asked me to write something about our experience at the Copey Learning Center I didn't know if I could put my feelings into words. I could use words like amazing, unforgettable, memorable, remarkable, and extraordinary, but it was so much more!
There are so many people to thank that it's difficult to know where to start. Nothing would have happened without Arthur's willingness to share his passion with a stranger on an airplane. As he shared his vision it was evident to Tamarie that this was going to be a wonderful opportunity for Meadow. So, thank you, Arthur for becoming such a force for good.
Lisa Watters, Tamarie McMullin, and Debbi Christiansen. They are the planners, schedulers, packers, idea-givers that, said simply, "Love children!" Also, the students at Meadow Elementary for their generosity when it came to bringing in a massive amount of school supplies. Is it any wonder why I love being the principal of such a marvelous school? I have been blessed!
I want to thank the people of Copey!! We were showered with love, hugs, food, and much attention. It's the closest I will ever get to feeling like a dignitary! I know I will forget someone so I will just say, thank you for sharing your homes, food, cars, time and goodness with us. However, the best part was sharing your beautiful children as we worked in the learning center. When all is said and done, after all, it is about the children. They literally have stolen our hearts!
But for a moment, picture each of these as a ten-year-old child: Gandhi—shy, unsmiling, awkward; Lincoln—lanky and sober; Mother Teresa—a tiny girl named Agnes from a country many people still can't find on the map. None was marked by any outward sign of what strength lay within them. Each seemed just an ordinary child. And therein is the wonder: ordinary folk can and do make extraordinary differences.
I want to return to Copey, where their needs are great, but love and dedication are not in short supply. They are making such a difference in the lives of each child they teach.
Miracles happened on this trip and we felt God's hand in everything we did. Miracles can happen in your life as well. We are all God's children journeying together to make our world a better place for those who follow after us, our children, the most precious commodity any nation has.


Crumbs in your keyboard? Our Multifunctional Cleaning Brush gets into those teeny-tiny hard to reach places that you may have only dreamed of cleaning.
This is perfect for so many little clean up jobs. Especially with my husband's, very delicate, miniature train layout.


text:
Bullfrogs pile on 14 hits in win over Madison
Press-Gazette Media
The Green Bay Bullfrogs baseball team was down a run after the top of the third before scoring eight runs the next three innings to beat the Madison Mallards 8-1 in a Northwoods League game on Saturday at Joannes Stadium.
A double by Ryan Donovan in the third inning that turned into a triple with a throwing error plated two runs to give the Bullfrogs the lead. The Bullfrogs would add another run in the third to go up 3-1.
In the fourth inning, Mattew De La Rosa hit a two-run double scoring Caleb Ratzman and Jack Strunc to go ahead 5-1. In the fifth inning Ratzman, added an RBI and a two-run double from Strunc put the Bullfrogs ahead 8-1.
Ryan Radue earned the win on the mound in four innings of work with one earned run on two hits and three strikeouts.
De La Rosa finished 2-for-5 with two RBIs, while Strunc was 1-for-3 with two RBIs.


Materials with high tensile strength and fatigue strength are critical in landing gear components, which is why Titanium alloys and Maraging steels are frequently used in this component. Tools like UVX end mills and WDO-Drills are ideal in these materials.
UVX-Ni Endmill: Premium end mill series for machining nickel based alloys.


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This may sound weird, especially in the context of the need for leading others to Christ in our world and our culture, but trust me. It'll make sense.
Leave no lasting impression of yourself on others. Do what you can so that when someone walks away, they don't remember you. Live in such a way that, after you're gone, your legacy does not continue.
Let others see only Jesus in your life.
Leave a lasting impression of who Jesus is on others. Do what you can so that when someone walks away, they have learned something about Jesus. Live in such a way that, after you leave this world, Jesus and His example in your life has made a lasting impression on the next generation.
Be invisible. Let them only see Jesus.


Get up and Go after stumbling and falling is exactly the way our lives go.
It's with the Get up and Go that this book wants to help you. And there is no better person than Paul, who knew a lot about stumbling and falling and Get up and Go himself. Look, my first appointment when I get to heaven one day will be with Paul. He was a man who pushed his life here on earth into the red all the time.
In Get up and Go we walk with Paul through the letters he wrote to the people of Rome, Corinth, Galatia and Ephesus to help them get back up. These people were young Christians who didn't really know how to live as children of God. In a way, we're eavesdropping on Paul's guidance and advice to them so that when we stumble and fall, we can know how to get up again!
I pray that walking through Get up and Go will change you, change the inside of your being, because God's Spirit worked inside you. May you learn how to get back up again and may the knowledge you gain here help you help others to get back up.


To take a picture all you really have to do is point the camera and shoot, or you can make it a work of art by considering the angle, lighting, background, color, and more. The latter type of photography is an art form. It requires creativity, vision, skill, and artistic acuity. Creative design photography is a type of photography that is often far more than just pointing a camera and shooting. It is the execution of a client's idea that may be carried out in unique ways such as using models and/or sculptures. Creative design photography is a form of art.
Research shows that 90 percent of information transmitted to the human brain is in visual form and that the brain processes visuals faster than the written or spoken word, in fact 60 thousand times faster. Just under half the population responds to visuals in more positive ways than the written or spoken word. The fact is that people engage in visual stimulation faster and more often than text. Not only are visuals interesting, colorful, and attractive, they are a great way to encourage more traffic to your website, and grow your market (whatever that may be). And it doesn't end there. Enjoy our fill-in-the-blank activity below!
____________ A form of visual communication.
____________ One way to execute a visual idea.
____________ A second way to execute a creative photograph.
____________ A third way to create a unique creative visual.
____________ The person with the original concept.
____________ The person who brings the creative design to fruition.
____________ One use for creative photography.
____________ A second use for creative photography.
____________ Creating compelling visual images.
Doug Davis has been producing professional, engaging videos and product, food, and lifestyle photography from his Dallas, TX, studio for more than 20 years. D-Squared Studios is located at 4312 Elm Street, Dallas, Texas, 75226. Contact our office at (214) 746-6336 or email Doug at doug.davis@d2studios.net.