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Posts Tagged Springsteen Reviews
Bruce Springsteen Joined by 'Philly Elvis' in Philadelphia: Watch
by vcartier on February 13, 2016 at 5:28 pm
Posted In: Bruce springsteen, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Songs, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, Bruce Springsteen Wells Fargo Center, Springsteen Information
The show also featured the tour premiere of "Jungleland"
Ever since Courtney Cox famously jumped on stage with Bruce Springsteen in the video for "Dancing in the Dark," it has been every girl's fantasy to relive that magic moment. At Friday night's (Feb. 12) concert at the Wells Fargo Center in Philadelphia, one man flipped that script in a big way.
Bruce Springsteen Announces Autobiography 'Born to Run'
Nick Ferrara, famously known in Springsteen lore as "The Philly Elvis" profiled in the 2013 documentary, Springsteen and I, got his very own "hey baby" moment when he held up a sign requesting an opportunity to dance with violinist Soozie Tyrell.
Springsteen, who was clearly amused, motioned Ferrara to join the band on the stage, and chuckled as he bent down on one knee to pay his respects to The Boss.
Friday night's show in the City of Brotherly Love was a special occasion, indeed. It featured the tour premiere of an epic 11-minute version of "Jungleland" with saxophonist Jake Clemons nailing the famed solo by his uncle, "The Big Man" Clarence Clemons. At the end of the solo, Springsteen shared a moment with the young musician, patting his shoulder for a job well done.
Additionally, Springsteen gave the fans a treat with a performance of "My Love Will Not Let you Down," and a rousing cover of "Shout" where he exclaimed, "Bruce is loose!"
Bruce Springsteen's River Tour Comes to Upstate New York — To Rock the Economy
It was a family affair for the Freehold, N.J., native. His sister, Ginny, was in attendance with her husband, and Springsteen referenced that from the stage as he introduced the song "The River".
"I wrote this for my sister and brother-in-law," he said. "She's here with her husband tonight. They struggled during the (Jimmy) Carter recession."
The show was also his longest on the tour, clocking in at three hours, twenty-seven minutes.
Other highlights included the introduction of the love song "Drive All Night," where Springsteen revealed that he recorded the track in "one take" in 1977.
The E Street Band is on tour performing the album, The River, in its entirety. The group's next stop is in Sunrise, Fla., on Feb. 16 at the BB&T Center.
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Bruce Springsteen's 'The River': Steven Van Zandt Looks Back
by vcartier on February 12, 2016 at 8:37 am
Posted In: Bruce springsteen, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Rolling Stone, Bruce Springsteen Songs, Bruce Springsteen The Boss, Bruce Springsteen The River, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, E Street Band, E Street Band Members, Springsteen, Springsteen Information, Springsteen Music, springsteen Steven Van Zandt, Springsteen The River, Springsteen Tour, Steven Van Zandt
Thanks to David Fricke & Rolling Stone for this post!
"This tour is a bit of a miracle, really," says E Street Band guitarist of current run celebrating 1980 double LP
Steven Van Zandt reflects on the making of Bruce Springsteen's 'The River' and discusses the current tour celebrating the LP. Taylor Hill/Getty
"I don't think this existed six weeks ago," Steven Van Zandt said, chuckling to himself, over a late lunch of salad and tea a few hours before showtime on January 16th, the day Bruce Springsteen and the E Street Band opened their unexpected 2016 tour in Pittsburgh. "It wasn't 'Maybe it's gonna happen, let's get ready,'" the guitarist went on. "It was Bruce putting out this box set and thinking, 'Maybe we should do a show or two.' When I heard that, I was like, 'Wait a minute. We're not playing a residency at the Stone Pony anymore. Assembling 160 people to do a show or two — that's complicated.' I thought, 'If that happens, it could well turn out to be more' — which is what happened."
Max Weinberg Talks Bruce Springsteen's 'River' Tour »
Van Zandt has played with Springsteen and been a consistent, trusted confidant longer than anyone else in the E Street Band — that is from the very beginning, in the mid-Sixties, when the two were New Jersey teenage misfits mutually determined to make their futures in rock & roll. "This year will make it 50 years," Van Zandt, 65, claimed proudly of their bond. But even Van Zandt was taken by surprise when Springsteen — a week before the December release of The Ties That Bind: The River Collection (Columbia), a multi-disc reflection on the prolific turbulence that became his 1980 double LP, The River — suddenly called his band to order for a tour that is already in its second month, features nightly performances of that entire album and is now set to run into the summer.
"I've known him longer than anybody, and he just doesn't think the same way everyone else thinks," Van Zandt said of Springsteen. "He's earned the right to have total freedom. He wants to keep his life wide open, and that's great. Occasionally it's going to be a problem. I was very lucky with The Sopranos," Van Zandt noted, referring to his breakout television role as wise guy Silvio Dante in that HBO series. The show's creator David Chase "was such a fan — he would book all my scenes on off days during a tour."
Van Zandt said he has long "fantasized" that the E Street Band — which last toured with Springsteen in the spring of 2014 — could hit the road more regularly, "six months, same time, then do other stuff. It's never happened." Springsteen, he conceded, "doesn't play by the rules of career. I mean, look at the marketing." Van Zandt laughs. "Which is zero. If anyone else tried to have a career with no marketing … " There is a pause, then more laughter. "But he's managed to come all this way, bigger than ever. This is the most successful tour we've done here in a long time. So from his point of view, why fix what ain't broke?"
In this last installment of conversations from the first weekend of the 2016 River tour, for more than hour before Van Zandt departed for soundcheck (including a run-through of "Rebel Rebel," Springsteen's tribute that night to David Bowie), the guitarist affirmed many of the themes from my interviews the day before with Springsteen and drummer Max Weinberg: the narrative transformation in Springsteen's writing for The River and the torrent of songs from which he eventually built the final 20-song album; the dizzying momentum of the sessions; the invigorating element of discovery in the current shows, as Springsteen and his band play that record live each night.
Van Zandt also spoke about The River and its resonance from his unique perspective as the album's often frustrated co-producer; as a super fan of the two dozen songs that got left behind; and as a true believer, to this day, in Springsteen's determined, idealistic course. Asked about future of the E Street Band — how soon they'll know how long is too long — Van Zandt was as blunt and certain as his friend and leader. "There is no end in sight," the guitarist says. "And as long as I'm standing there next to him, it's a band."
You have been outspoken in the past about the songs Bruce left off The River — that, in fact, it was some of his best work and didn't deserve to be left behind.
The River, to me, meant 43 songs.
The actual album plus the outtakes.
And those are among the greatest records ever made, as far as I'm concerned. It's funny, because all these years you're thinking "outtakes." There's really not that much he'd have replaced on The River. It works very well. And these two other albums' worth of songs are just two legitimate albums. The second outtake album is another band's career. The first one [the initial sequence, The Ties That Bind, pulled by Springsteen before release] — that's some of our best stuff: "Loose Ends," "Restless Nights."
Does it feel strange to be going on the road without new music, playing an album from 1980?
I'm looking at that outtake album as new music — absolutely, which is why I hope some of it gets integrated into the show, whether we're doing it in sequence or not. We might have occasionally played "Loose Ends." We did "Where the Bands Are" maybe twice, "Take 'em as They Come" a couple of times, "Restless Nights" once. Honestly, I think we're coming out to promote a new album in that sense.
What did you think of that initial sequence, The Ties That Bind, before Bruce pulled it to create The River?
I don't remember knowing about that. I don't know how I missed it [laughs]. And I'm there producing. A couple of songs, like "Cindy," I don't remember at all. And there it is — second track on the album we delivered.
He was right in pulling it back, saying it doesn't feel finished. He thinks so deeply about this stuff, so comprehensively. I can't pretend to understand everything he's thinking about. I can only do what my instincts tell me and what he says he wants to do — out loud [laughs], which might be five or ten percent of what's actually going on. Part of the job of being a producer is the Vulcan mind meld, where you listen not to what they're saying but what they mean.
Bruce Springsteen, Clarence Clemons and Steven Van Zandt at New York's Palladium in October 1976 Allan Tannenbaum/Getty Images
He described The River as his first "insider" album — about the struggles in working life, personal relationships and family — after making four albums about "outsiders."
He had a vague film-noir aspect to Darkness on the Edge of Town. Born to Run was a mixture of things but mostly about youth and fantasies. Now, all of a sudden, it's "The Ties That Bind" and "I Wanna Marry You." It was partially the fantasy of being normal. He wasn't quite there yet. He would wisely wait until he felt a bit more secure, which wouldn't be until that album came out and we had our first, real success with [the Top Five hit] "Hungry Heart." That allowed him to start thinking about having a real life, so to speak.
Was there a turning-point song in The River sessions where you could hear the material becoming more than a sprawl of material, developing a narrative course?
I don't think so. It was one song after the other. He was in that hundred-song run which maybe Bob Dylan and a few others have had. That run of songs from Darkness to The River — it just became normal. "The Ties That Bind" felt like a statement. "The River" had that wonderful thing he does — very detailed nuance in a story. The more detailed, the more particular it gets, the more universal it is. I found that fascinating.
He just had a thing: "I'm bringing everybody to me. I'm not going to them. I don't belong in the mainstream industry. They're coming to me — or they're not coming. And if we're at the Stone Pony forever, so be it." He was not into compromise, from Day One.
That continues to this day. He's his own genre, his own rules. Kids at home, don't follow this career path. You'll find it doesn't work for you. [Laughs] But it works for him.
As Bruce's co-producer on The River, how did you deal with telling him "No" or "You should change this"?
It's about having the right conversation at the right time. In the end, you accept the fact that you're there to help him realize his vision. Every single outtake was a lost argument. He was getting 10, 12 great songs very quickly at that point. I would be like, "OK, let's put that out. You want to do 12 more? That will be the next album." But you can't stop that flow when it happens. Chuck Berry had that flow for five or six years. The Beatles, the Rolling Stones — the great ones have a run where they're in touch with something a little bit mystical, a little bit beyond logic.
"He just continues to break the rules," says Van Zandt of Springsteen. Allan Tannenbaum/Getty Images
It's not something you plan, that you aspire to. You have this stuff built up inside, wanting to come out, and you tap into that faucet. Born to Run was eight songs. He went from that to a hundred [over Darkness and The River]. It was some of divine … [pauses] It's something you can't take for granted. That's what made me mad sometimes. I'd get angry with him. Here I am, struggling to write a good song; every fucking one of them is war. And I'd be like, "Hey, man, you're annoying me here. You're taking this shit a little bit for granted. [Laughs] What do you mean you're throwing out this song other people would have a career with?" "Restless Nights," that's a career. "Loose Ends," that's a career. But you can't stop it. Once it's happening, you go with it.
We had a wonderful recording method by then. We'd found the right studio [the Power Station in New York City]; we'd found the right engineers. We figured all that stuff out. It felt so good to go to work every day, after three years of torture. Suddenly, recording is fun. That alone is good for 40 fucking songs.
In a way, The River marked a break in what had been an indivisible thing. He wrote songs; the E Street Band played them. But his next album, Nebraska, was totally, literally solo. From that point on, there was a divide between Bruce's solo records and E Street work.
He wanted both things. He always had both things in him, ever since I've known him. He has the solo-folk side, and the band side. Most people do one or the other. He was extremely versatile. And that can be confusing. He didn't want to be tied down. When I heard the Nebraska demos, I said, "This is an album." As a producer, you know when someone is doing something special. I thought it was the most intimate glimpse of his solo side, the folk side, that you were ever going to get Why? Because he never intended to put it out. Taking on those characters, doing that crazy yodeling — it sounded like you were in fucking Nebraska.
I actually think The River is somewhat underrated, even by fans, because it came between the breakout records. It's actually caught in the long shadows between Born to Run, Darkness on the Edge of Town and Born in the U.S.A.
I think that's right. I've had a theory for years: I don't think the human brain can absorb more than 10, 12 songs at a time. Altbough it was the right thing to do a double album, it becomes diluted. Your energy is going to 20 songs instead of 10, and you appreciate them less. If it had been a single album, it would have been appreciated more, especially if he had put more of the pop-rock stuff on there. It would have been our biggest album. All you gotta do is throw on "The River" — that's all the content you need. [Laughs] A little of Bruce's content goes a long way. But he felt he had to do eight or 10 songs like that. And I understand that. He was very conscious of carving out his own identity.
He just continues to break the rules. You can't categorize or predict what he's going to do. That is part of the fun.
And you just wait for the call.
And hope you're available [laughs]. All you can do is try and keep up. This tour is a bit of a miracle, really. There's no grand plan here. It just happened. And we'll see what happens tonight. We haven't played with this small a band in a few years.
Actually, half of the 10 people onstage were on The River. You lost organist Danny Federici and saxophonist Clarence Clemons, but that's still a good survival rate.
In many ways, this tour is probably the biggest tribute to Clarence and Danny — in the details. I was enjoying that at rehearsal, enjoying the detail in the songs – not just in the arrangements but in the different keyboard sounds and the great melodies of the sax solos. Jake [Clemons, Clarence's nephew and replacement] is getting better and better. And you realize those solos are part of the compositions — that old King Curtis style. The drum fills are totally part of the composition.
Those seven guys on The River — everybody was doing something important, playing a very specific role. It's a real "band" album, in the true sense of the word.
Read more: http://www.rollingstone.com/music/news/bruce-springsteens-the-river-steven-van-zandt-looks-back-20160211#ixzz3zxaAuJfG
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Concert Review: Bruce Springsteen Thrills Hartford Crowd at XL Center
Posted In: Bruce springsteen, Bruce Springsteen Hartford, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, Bruce Springsteen XL Center
Thanks to Donnie Moorhouse | Special to The Republican masslive.com for this post!
on February 11, 2016 at 1:48 AM, updated February 11, 2016 at 2:03 AM
HARTFORD _Are you ready for transformation?
That is the question Bruce Springsteen often asks of those who embark on a journey with the E Street Band. He asked the sold out crowd at the XL Center on Wednesday night.
The crowd roared a hoarse approval, and the artist delivered.
The journey this time out, more than 40 years into his touring career, is a retrospective of "The River," Springsteen's acclaimed 1980 double-album that was recently re-released as a box set with remastered cuts, lost tracks, and concert footage.
Springsteen's stripped-down version of the E Street Band, an eight-piece outfit that eschewed the gospel choir, horn section, added guitar and vocals (Tom Morello is not on the tour and Patti Scialfa was missing from the lineup) served as guides on the journey, a three hour and 16-minute, 33-song affair that began with a reading of "The River" in the exact order it was laid out on vinyl.
"This was my coming of age record," said Springsteen. "I wanted it to be big. I wanted it to feel like life."
The band took the stage with the lights on as if they had just happened upon this setting and fired into "Meet Me In The City," an outtake from "The River" sessions which has been re-imagined as the lead single.
The record came to life through "The Ties That Bind," and "Sherry Darling," two songs of jubilation tempered with life's adult questions about commitment and accountability. "Independence Day" was the first song Springsteen wrote "about fathers and sons" and came off as simultaneously sad and grand.
The sequencing of the album (does that even happen anymore?) shines in a live setting as the story escalates and the characters evolve. Jubilation returned, this time underscored with restlessness on "Out in the Street."
Reaching transformation is never easy in a room with 15,000 strangers and to make the task even more challenging Springsteen was sticking to a script. There are songs on "The River" that were never meant to be played in an arena concert ("I Wanna Marry You") and songs ("I'm A Rocker") that were probably never meant to be played again.
However, the hidden gems on the recording like "Point Blank," and "Stolen Car" were both beautifully rendered and moved the transformation process along quite well.
It was a coming out party of sorts for Jake Clemons, nephew of the late Clarence Clemons who has filled the void on saxophone for several tours now. "The River" is a showcase record for the saxophone and Clemons' shone brightly in his expanded role on songs like "Drive All Night."
The night had pockets of exuberance with Springsteen crowd-surfing through "Hungry Heart" and guitars ringing out on "Cadillac Ranch," "Ramrod," and "Crush on You."
The journey closed with the somber "Wreck on the Highway."
Taking only enough time to switch guitars, Springsteen lit into the second act, this time paying tribute to his 1984 release "Born on the USA" with "No Surrender," "Bobby Jean," and "Dancing in the Dark" all making the list.
He pulled out "Loose End" a track left off "The River" that fit perfectly with the album's overall theme. The band veered from "Because the Night" to "The Rising" and "Thunder Road," before a lights-on-again encore of "Born to Run."
The staple "Rosalita (Come Out Tonight)" was a bar-band mess complete with a Three Stooges (Clemons, Springsteen, Little Steven) mash-up at the center microphone. The night ended with a cover of "Shout."
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Bruce Springsteen: Boss or Bore?
by vcartier on February 10, 2016 at 10:49 am
Posted In: Bruce springsteen, Bruce Springsteen BB&T Center, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen The Broward Palm Beach New Times, Bruce Springsteen The River, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016
Thanks to The Broward Palm Beach New Times & Angel Melendez–Wednesday, February 10, 2016
Photo by Antonio Rossi
Bruce Springsteen — the Boss, our beloved headband-wearing, blue-jeans-clad, all-American Everyman — is one of the most mind-numbing superstars in the history of rock 'n' roll. Over the course of a nearly five-decades-long career, Springsteen has solidified himself as a well-liked white dude from New Jersey who got rich making safe, midtempo bar anthems for other white dudes just like him: "working class," rough around the edges, and accessible.
So then why do tickets to his current tour run anywhere from $60 to more than $150 after fees and taxes? Why is he consistently selling out shows on a tour in which he essentially plays one goddamned album for three hours? After reading some of the reviews from national publications raving about his "River" tour, I can't help but stop and wonder: Am I missing something? As Springsteen and his E-Street Band prepare for a stop this week at BB&T Center in Sunrise, I've sought out answers to the question of this idol worship by both diehard fans and the media alike.
Even Jon Stewart, known for touting independent, progressive ideas, gushes over him in a 2012 interview he conducted with the Boss for Rolling Stone. Granted, Stewart grew up 30 miles from Springsteen's hometown. Still, it's not just larger media outlets like Stone that bow down to Springsteen, whose "Boss" moniker actually conjures up images of some asshole in a cheap tie lording over an office full of sad, cubicle-dwelling prairie dogs. It's also the arrogant, know-nothing muckety-mucks who run awards shows like the Grammys.
In 2003, Springsteen won the award for Best Rock Album with The Rising. "Are you shitting me?" is a thought that probably crossed my mind back then. That album, on which former band mates reunited after 15 years, came off as pandering and overtly patriotic after the tragedies of 9/11. In the same year in which Absolution by Muse, Transatlanticism by Death Cab for Cutie, and Elephant by the White Stripes came out, the win for Springsteen just didn't sit well with me.
Then there's the record the Boss has managed to fashion into an entire U.S. and European tour, 1980's The River. Rolling Stone ranks it among the greatest rock albums of all time, and All Music scores it with a coveted five stars. And yet, it features a track, "Drive All Night," in which the protagonist drives around town looking for an open shoe store — that's it. Why? You see, he's trying to win back his scorned lover with a new pair of shoes. Could this premise be one of the most insipid, quasi-sexist setups for a love song ever? Oh, and it's eight-and-a-half minutes long.
Outside of "Streets of Philadelphia," a deliberately and successfully maudlin track, no other Springsteen song has ever truly grabbed my attention. Maybe "Born in the U.S.A.," but that's for different reasons; it's the kind of song Americans who chant "U.S.A.!" in large groups, for absolutely no reason, love. It's mindless, nationalistic rabble-rousing.
All that aside, Springsteen is so meh that if he were to be kidnapped by aliens tomorrow, I'd maybe spend a few minutes pondering how long it'd take before the little green men decided to give him and his collection of ho-hum songs back to us. Then I'd forget about it entirely, hit shuffle on my iPod, and enjoy hours of endlessly exciting rock music by much less bossy men and women.
Bruce Springsteen & the E Street Band
7:30 p.m. Tuesday, February 16, at BB&T Center, 1 Panther Parkway, Sunrise. Tickets cost $55 to $150 plus fees via ticketmaster.com.
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Bruce Springsteen Plucks Fan From Crowd For Backstage Hang
by vcartier on February 9, 2016 at 12:33 pm
Posted In: Bruce springsteen, Bruce Springsteen Albany, Bruce Springsteen and the E Street Band, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Set List, Bruce Springsteen Songs, Bruce Springsteen The River Tour 2016, Bruce Springsteen Time Union Center, Bruce Springsteen Tour 2016
Thanks to Backstreets.com for this post!
By Scott Bernstein
Bruce Springsteen fan Steven Strauss lived out a dream many live music fans have had when his favorite artist noticed him dancing in the crowd and invited him backstage to hang last night in Albany. Strauss, who happened to be reporting on The Boss's performance at Albany's Times Union Center, detailed his wild experience for the fansite Backstreets.
The craziness started for Strauss during the last song of the evening. As Springsteen and the E Street Band were ending a 34-song The River Tour performance with "Shout," The Boss took note of Strauss in the crowd and bellowed, "Alright, this one's going out to my man in the checkered shirt." He went on to say, "I see you every night… come backstage after the show! Let's give him a round of applause…" Shortly thereafter Steven and his parents were backstage hanging with The Boss. Strauss explained on Backstreets that he recently quit his job to focus on writing and as such has been able to hit each night of Springsteen's The River Tour thus far. "I sing (hopefully not too loudly for those standing around me) all of the words, I dance to all of the songs, I jump up and down, I cry, I fist-pump, I air guitar, I do things that no one has figured out how to describe in words yet," Strauss said about his enthusiastic reception to each show which garnered notice from The Boss.
Head to Backstreets to read more about Strauss's big night and to read his recap of last night's show.
Bruce Springsteen at Times Union Center
The River Tour 2016
Meet Me in the City
Sherry Darling
Jackson Cage
Out in the Street
You Can Look (But You Better Not Touch)
I Wanna Marry You
The Price You Pay
Drive All Night
Wreck on the Highway
Be True
Detroit Medley
Rosalita (Come Out Tonight)
Setlist info via setlist.fm.
And this brings me back to Bruce's dedication before "Be True" to "our special friends." I couldn't help but think he was talking to the diehards, whom he's clearly playing the outtakes for, but he hasn't fully figured out how to best fit them in yet. As such, he directed "Be True" to all of us — if we stick with him as he figures out the best way to vary up the post-River part of the show, he'll be true to us by continuing to play more and more rarities. That's how it struck me, anyway.Yet I don't think anyone expected that he'd play another rarity so soon. I assumed "The Rising" would be the start of his same ol' song sequence through "Shout" — a belief that was only bolstered when he didn't replace the customary encore-starting "Badlands" with anything — but Bruce yanked a sign from the crowd after "Born to Run" and launched into the tour premiere of a raucous and hard-rocking "Detroit Medley." The diehards loved it, the casual fans loved it, everyone loved it. This simple diversification of the encores really added an extra oomph to the final stretch of the night.
Another surprise was in store before the end of the show as well: the return of "Bobby Jean" after only previously being played on the first night of the tour. With another fresh jolt of energy behind him, Bruce had the whole arena throwing up their hands and "Shout"-ing before the night was through.
Though they may not have yet figured out the best way to diversify the setlist after their monumental performance of The River, they're damn sure working on it, and my is it fun to watch them work every single night.
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Thousands Rock Out at TU Center with Bruce Springsteen
by vcartier on February 9, 2016 at 8:51 am
Posted In: Bruce springsteen, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Set List, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, Springsteen Information
ALBANY, N.Y. (NEWS10) – The Boss brought The River Tour to the Times Union Center Monday night.
Bruce Springsteen performed at the Times Union Center Monday night. During The River Tour, Springsteen is playing "The River" album in its entirety followed by some of his greatest hits as well as requests from the audience.
Those who came out to the show had a story to tell.
"I've been in Albany a bunch of times, so since 1975, I've been seeing him a bunch of times," Rich Sutter said. "So tonight is probably a little bit over 100."
Others had only seen The Boss a couple of times.
"[He said] 'Do you want to go see Bruce?' I'm like, 'For sure!'" Richard Champagne said. "I've seen him once before."
Champagne and his uncle Tony Booker came from Montreal for the show and are watching from the nosebleeds.
"We're almost the last tickets right on the roof there," Booker said. "We came here because he's not coming much to Canada."
Booker saw Springsteen on the original tour of "The River" in the 1980s and said the music means something special to him.
"I've seen him almost five times live," he said. "I'm almost 60, so he's, like, not just a singer to me. He's an inspiration. When I had problems in my life or if I was down or something, his music brought me right up."
Gilly Caulco and his roommate John Miller were willing to do just about anything to get to the show.
"We were planning on camping out," Miller said. "We brought our sleeping bags and everything."
Their love for The Boss stems from their parents.
"My dad really only played three things in the car growing up," Caulco said. "Bruce was one of them so just always been a Bruce fan."
And of course, everyone has that one song they want to hear from Springsteen and the E Street Band.
"'Atlantic City' for the boys," Caulco said.
"I'm really looking forward to 'Cadillac Ranch,'" Booker said.
"Any song," Champagne said. "All his songs are amazing, so I'm looking forward to just seeing the show and being there."
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How Bruce Springsteen Became The Boss
by vcartier on February 7, 2016 at 11:05 am
Posted In: Bruce springsteen, Bruce Springsteen Frank Stefanko, Bruce Springsteen Lynn Goldsmith, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen The Boss, E Street Band, E Street Band Members, Springsteen, Springsteen Information, Springsteen Interviews, Springsteen Music, Springsteen News, Springsteen Photo Gallery, Springsteen Photograph Gallery, Springsteen Photographs, Springsteen Photos
Photographs of Springsteen taken between 1974 and 1984 show him performing his heart out, goofing off with his E Street Band-mates, and navigating becoming a rock superstar.
courtesy of Morrison Hotel Gallery-Dante A. Ciampaglia
Bruce Springsteen is probably not the first artist that springs to mind when you think of musicians exploring issues of identity.
His working-class aesthetic—blue jeans, flannel shirts, denim jackets—and gravelly vocals about cars, mills, and hard-luck turns have defined Springsteen as a blue-collar hero since his third album, Born to Run. And arguably the three-record cycle of Darkness on the Edge of Town, The River, and Nebraska, which bridge Born to Run and Born in the USA, are Bruce at his most Bruce.
And yet, in the waning years of the 1970s, as his public persona codified into The Boss, Springsteen faced an interior existential crisis.
In an introduction to a collection of photographer Frank Stefanko's work, Springsteen wrote, "In the aftermath of Born to Run, [Stefanko] latched on to the very conflicts and ideas I was struggling to come to terms with: Who am I? Where do I go now?"
From 1974 to 1984, Springsteen used his music to work through these questions. He explored what it meant to be adulated, tossed aside, in love, alone, young, old, a man, and an American by living vicariously through characters created for tracks like "Badlands," "Prove It All Night," "Out on the Street," and "Hungry Heart."
courtesy of Morrison Hotel Gallery
The songs were so potent, so raw, so relatable that they brought more listeners into the fold and, perversely, amplified the fame that caused so much angst in the first place.
During this period, Springsteen tapped a handful of photographers to capture his shows, shoot album covers, and document his life offstage. The images find the Boss at his most vital—and vulnerable—performing his heart out for adoring fans, goofing off with his E Street Band-mates, and navigating the increasingly alien existence of a nascent superstar, oftentimes alone.
Those photographs are an indispensable record of a crucial moment in Springsteen's career, and many of them are on view in "The River Collection," an exhibition at the Morrison Hotel Gallery in New York running through Feb. 11. (The show opens in March at the gallery's West Hollywood location.)
The images represent the work of six photographers—Stefanko, David Gahr, Neal Preston, Jim Marchese, Lynn Goldsmith, and Joel Bernstein—and were selected by Springsteen's team for the show and inclusion in The River box set, which was released late last year.
"I liked dropping back into the world of Bruce in that period. It reminded me of how solitary he was, mostly," Bernstein says. "It reminded me of how focused he was, and how intent on not losing his way."
Bernstein worked with Springsteen in 1979 and 1980, shooting portraits, documentary photos, and two Oakland dates on The River tour. He lived with Bruce for about a week in the musician's empty New Jersey mansion as he worked on The Ties That Bind, which grew into The River.
One standout from the set finds a skinny Springsteen in performance, mid-strum, rocking a full post-Dylan look of denim shirt, black jeans, and long sideburns. Colorful stage lights dot the dark background, while a bright spotlight flares out, bathing Springsteen in a rock-god aura.
In one striking image, Bernstein captures Springsteen at the crossroads, caught between his folk roots and the arena-sized "pumped Bruce" he's about to become.
Other images, though, are so intimate you feel guilty even looking at them. The most poignant of these finds Springsteen sitting at his writing table, clad in a white button-down shirt and pants, hands nervously tapping his thighs, the room cluttered with cassettes, decks, paper, and two dictionaries.
Springsteen looks confident, but somehow unsure: Of our presence here? Of the music on those tapes? Of his future? His present?
"Sometimes you see somebody at a moment and you have to get it," Bernstein says. But, he admits, "This is not a place where anybody should be. It's too close. It's too revealing."
Revelation is a common thread in the show. Take Stefanko's iconic portraits from 1978, for example, which ended up on the covers of Darkness and The River.
Springsteen is stripped of "celebrity refuse," as he put it, and all the musician is left with is himself: a scrawny, shaggy guy with an imperfect face. He's staring at you, through you, beyond you, revealing someone at once familiar and foreign questioning himself and forcing you to do the same.
"When you're looking at that shot," Stefanko says about The River cover, "and those eyes are looking right smack at you, to me, that's what it represents, the sharp eyes of truth. There's no lie there. This is straight up."
Goldsmith reveals Springsteen in similar ways to Bernstein and Stefanko, capturing his confident stage persona during the Darkness tour in 1978, the hustling troubadour working out a tune backstage (where tapes make another appearance), the awkward proto-star standing on the sidewalk (and carrying a boom box for some reason), and the too-cool Jersey boy dubiously considering at a sign proclaiming "Easy St."
What sets Goldsmith apart, though, is that she takes a macro view to find the truth in the Boss.
Using more than 2,000 Springsteen photos she shot between 1972 and 1980, Goldsmith assembled what she calls a rock mosaic as "a way for me to put together my thoughts and feelings in one place," she says. "I pick what I consider to be a master shot, or a kind of iconic image of who that artist is," cuts that up using a grid system, then uses all the images to shape a large-scale collage of that original photo. "I think about the years of that person. How they changed, what they were like with their family, the ups and downs of the relationship."
In Springsteen's case, Goldsmith forms an image of Bruce performing, eyes closed, mouth in an ecstatic mid-howl, his body and guitar torqued.
For Goldsmith, it's the artist in his natural element. "Bruce's real connection to feeling good comes from the performance," she says. "He's not stepping on the stage, necessarily, because he's being paid hundreds of thousands of dollars. It's part of his being."
The stage, ultimately, is where Springsteen found himself. As he came out of the Darkness/River/Nebraska period, he unleashed Born in the USA on the world and nothing would be the same.
He fully embraced the rock god persona, began playing sold-out arenas all over the world (which is still the case), and shed the self-doubt that characterized his late-'70s output. He continued writing songs of crushing familiarity, singing as if he had experienced our hardships and triumphs.
His shows became religious experiences, the ultimate encounter with our superstar doppelganger. But walking among normal people as if he weren't an international celebrity? Those days were gone forever.
The Morrison Hotel show preserves what came before, presenting an encounter with a bygone Springsteen and a unique opportunity—for both fans and the photographers—to reconsider a seminal and transformative era.
"Stuff you had looked at previously and thought was mediocre, you go back and revisit it and all of a sudden you see new stuff in there, new life," Stefanko says. "And you say, 'Hey, this wasn't so bad. Actually this is pretty good! Why didn't I see this before?'"
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For Springsteen at the Garden, 'The River' rolls on
by vcartier on February 5, 2016 at 2:29 pm
Posted In: Bruce springsteen, Bruce Springsteen and the E Street Band, Bruce Springsteen Boston, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Photos, Bruce Springsteen Songs, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, Bruce Springteen TD Garden, Springsteen, Springsteen Images, Springsteen Information, Springsteen Music, Springsteen Reviews, Springsteen Tour
Thanks to The Boston Globe and Staff Writer Sarah Rodman
Even by their own typically Herculean standards, the performance given by Bruce Springsteen and the E Street Band at the TD Garden on Thursday night was legions above and beyond the normal concert experience.
If someone had been magically transported from outside the building onto the arena floor around the halfway point of the maniacally spirited version of "Rosalita," they never would've guessed by the posture, expression, or energy level of any of the band members — and most of the sold-out crowd, for that matter — that the concert had just hit the three-hour mark, with 20 more jubilant minutes still to come.
It seemed clear that the decision to play the entirety of his 1980 double-album "The River" — in connection with a recently released boxed set — has injected the already indefatigable Springsteen and his merry band with a jolt of powerful electricity. In many ways it's a perfect album (albeit a lengthy one at 85 minutes) for this treatment, thanks to its variety of tones, and provides an opportunity to play both big hits adored by the casual crowd and also underplayed — and underrated — deeper cuts beloved by diehards.
From the giddy crowd-surfing highs of "Hungry Heart" to the moody, noir-ish narrative beauty of "Point Blank," the clutch of bar-band rave-ups like "Cadillac Ranch" and "Ramrod," and the always gutting disillusion of the classic title track, "The River" proved a spectacular first set. There were breakneck rockers and contemplative moments that served as breathers but, remarkably, not as lulls.
Between a few of the tunes, the New Jersey rocker — who was in tremendous voice and spirits all night — talked a bit about the ideas behind some of the songs. One particularly moving revelation came before the aching ballad "Independence Day," when he discussed the moment a young adult recogizes the humanity of her or his parents, the hopes and dreams they might have had, and the compromises they made
Of course, the testifying, speechifying, rock 'n' roll evangelizing Springsteen was in the house as well, exhorting the crowd of 16,654 to let loose. The post-"River" set featured a barrage of big hits and fan favorites: sing-along staples "Born to Run," "Thunder Road," "Badlands," and "Dancing in the Dark," alongside a few surprises like the rare "Roulette" that allowed them to do just that, and raised the energy level even higher.
As usual, Springsteen interacted playfully with his band members all night, sparring around the microphone with foil Steven Van Zandt, watching as guitarist Nils Lofgren literally spun his way through a frenetic "Because the Night," and swaying with guitarist-vocalist (and wife) Patti Scialfa, who was particularly great on an intimate-yet-rocking version of "Human Touch."
J. Geils Band frontman Peter Wolf got into the action on a wild and woolly take of the Isley Brothers' "Shout" that brought the night to a raucous close, but you got the sense that if it had been allowed, the band would've kept right on playing.
At the TD Garden, Thursday
photos by Aram Boghosian for The Boston Globe
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No Signs of Slowing Down for Springsteen & The E Street Band
Posted In: Bruce springsteen, Bruce Springsteen and the E Street Band, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Set List, Bruce Springsteen Songs, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, Bruce Springteen Boston, Bruce Springteen TD Garden, E Street Band, E Street Band Members, Springsteen Reviews
Jed Gottlieb Friday, February 05, 2016
Bruce Springsteen and the E Street Band perform at TD Garden in Boston on Thursday, February 4, 2016.
Bruce Springsteen has mainstream masterpieces: "Born to Run" and "Born in the U.S.A."
He has fan favorites: "Nebraska" and "Darkness on the Edge of Town."
Any one of these seem an obvious choice for a Springsteen tour celebrating an album by playing it front-to-back. Instead, Bruce and the E Street Band waded into double-LP "The River" last night at a sold-out TD Garden.
Surprising both casual fans and diehards like me, the Boss made the right choice.
"The River" represents the battle between rejecting or accepting middle age. So, lyrically and musically, the night dipped back into juvenile sock-hop rock ("Sherry Darling," "Crush on You," "I'm a Rocker") and swam toward the deep end, where bleak compositions blinked into the void of dreams deferred (the title track could be Springsteen's signature piece for young adult angst).
Put together by a band somehow still in its prime 45 years in, the songs provided an emotional punch and counterpunch like nothing else. As Springsteen told the crowd: "I wanted to make a big record that felt like life."
He did that with the friction between the jukebox glee of "Two Hearts" and the irrepressible weight of "Independence Day," a song about, as he said last night, "two people struggling to understand each other."
He did it smashing skeletal, hopeless ballad "The River" right up against lush, piano and organ-driven (and kind of hopeless) ballad "Point Blank."
After two hours (20 album cuts plus two outtakes), the band blasted into more stuff exploring youthful chaos and middle-aged despair. Hey, 22 tunes and Springsteen had just warmed up — not a platitude, a truth.
He reminded us "Because the Night" sounds equally brilliant in a man's voice. He and wife Patti Scialfa got close for "Human
Touch." He reminded us, and we always need reminding, hope crushes fear with "The Rising."
After half an hour of extras, he did a 45-minute encore — in total three hours and 20 minutes. This time, nothing obscure. Instead, songs he's made American standards including "Badlands," "Born to Run" and "Dancing in the Dark."
As awesome as it is to hear Bruce and the heart-stopping, pants-dropping, house-rocking, booty-shaking, Viagra-taking, love-making E Street Band bounce around the catalog, I like the whole album idea. May I suggest "Nebraska" next, or "Born in the U.S.A.," or anything. Just come back and do it again.
└ Tags: Bruce springsteen, Bruce Springsteen Music, Bruce springsteen News, Bruce Springsteen The River Tour 2016, Bruce Springsteen Tour 2016, Bruce Springteen Boston, Bruce Springteen TD Garden, E Street Band Members, Springsteen Concerts, Springsteen Information, Springsteen News, Springsteen Review, Springsteen Reviews
Why This Rabbi Likes The Boss
Posted In: Bruce springsteen, Bruce Springsteen Music, Bruce Springsteen News, Bruce Springsteen Songs, Bruce Springsteen The River Tour 2016, Bruce Springsteen Toronto Air Canada Centre, Bruce Springsteen Tour 2016, Springsteen Information, Springsteen Music, Springsteen News
Thanks to Rabbi John Moscowitz & The JewishJournal.com for this post.
Bruce Springsteen performs among the audience during the Rock in Rio 2013 concert. Photo by Antonio Scorza/Shutterstock.com
A rabbi friend in the States knows a priest in Philly who says that Bruce Springsteen is the most important Catholic theologian today. I wouldn't know, but as a rabbi I do know something about theology and religion, and I've little doubt about the Boss's power as a galvanizing spiritual personality. I'll go further: I don't know a figure, religious or otherwise, who preaches and prances, dances and sings about redemption and hope as well as Bruce Springsteen. Indeed, I can't think of anybody else who has inspired hope in so many hearts for so long and so well. Not another performer, preacher, nor a president, nor a prime minister. I'm ready to so testify.
I'm not a long-time member of the Springsteen faithful. About six or seven years ago, while brooding one day about the complications of sibling bonds, I heard Bruce Springsteen sing of two brothers of divided fate — yet who were nothing less than "blood on blood", bound together and ultimately responsible for one another. That zing to the heart swung my head around to the Boss. Soon I'd listened to his entire repertoire. By now I've read probably every book on Springsteen and I've watched his concert videos more than I'd care to admit. Well, actually, I don't mind saying so; after all, I learn from Bruce Springsteen in all his iterations, as I do from good books or good teachers: like them, he's become close to indispensable.
I love this uniquely American Jersey shore guy, this part rocker, part poet-philosopher. His music inspires his fans to think about life's serious matters, all the while making us want to dance. Springsteen neither shies away from irreverence nor religion; he knows that each has its place and purpose.
Often he puts the two together. In "Tenth Avenue Freeze Out", one of his signature songs, Springsteen gyrates across the stage while regaling his incessantly jazzed up audience of how he went from lonely boy to fulfilled rocker "when the Big Man (Clarence Clemons of course, his late soul-brother sidekick) joined the band". Evangelical style, he proclaims, "Take me to the river, wash me in the water…I want to throw a Rock and Roll Baptism, a Rock and Roll Bar Mitzvah…I want to go to that river of life and hope and faith and transformation." And then his kicker, another zing to the heart, in case you weren't paying attention: "I want to go there with you because I can't get there by myself."
Who else but the Boss could bring us together as if we were still in the church or synagogue most of us walked out of long ago? Reminding us all the while of our yearnings, religious and irreligious both — to say nothing of our desire to be better and do better. Who in this highly disaffected time doesn't want what the Boss seems to offer? He grew up lonely and alienated, his guitar his only friend, and somehow figured out, like nobody else, how to use the music made of his yearning soul to bring people together.
Which is precisely what his remarkable concerts — three hours and more of frenzy, fun, friendship, and, dare I say, meaning and redemption — are about. It's not just that Bruce (you just want to call him that) brings the energy of the old time preacher to every concert; he fills his songs with religious imagery and language, and suffuses them with an understanding that life's a tough road to travel, but hope is real, and redemption is available for everybody. He gets loneliness and love, his own included, among other polarities of the human condition. When he sings, we feel the Boss knows what's in our hearts. And we feel more tied to one another: the guy in the row in front of us begins as a stranger and leaves a friend. It's what his saxophonist Jake Clemons (Clarence's nephew) calls "the churchiness of it". Which means, Jake explains, the sense of the audience coming together "to make the experience bigger and stronger".
I have (this is a confession I'm embarrassed to make) never before attended a Bruce Springsteen concert. I am — thank God — going to my first concert this week at the Air Canada Centre in Toronto. I'm more than ready to join the Boss at the River of Hope and Transformation, and to testify to the power of the experience!
John Moscowitz is rabbi emeritus of Holy Blossom Temple in Toronto, and the author of "Evolution of An Unorthodox Rabbi" (Dundurn Press 2015)
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text:
Veřejné právo (ius publicum) je souhrn právních norem, které vytvářejí určitý protipól vůči právu soukromému. Toto dělení pochází již z římského práva a je dodnes uznáváno. Netýká se ovšem jen práva objektivního, ale i subjektivních práv, lze proto také hovořit o "subjektivním veřejném právu". Hranice mezi veřejným a soukromým právem však není zcela zřetelná a často mohou vznikat spory o to, je-li určitý právní vztah veřejnoprávní, nebo soukromoprávní.

Charakteristickým znakem veřejného práva je, že právní vztahy jím upravené jsou asymetrické a nerovné (vrchnostenské), odpovídající vztahu stát–občan. Jde o právní nadřazenost orgánů veřejné moci, které mohou rozhodovat o subjektivních právech jiných právních subjektů, ovšem jen v rámci zákona (secundum et intra legem). Typickým veřejným právem je právo na sociální zabezpečení – sociální dávky může požadovat pouze fyzická osoba, jsou vypláceny ze státního rozpočtu a o jejich výši rozhoduje příslušný správní úřad ve správním řízení rozhodnutím, jež je správním aktem. Není-li občan s rozhodnutím správního úřadu spokojen, může požádat o jeho přezkoumání soud, který o jeho návrhu rozhodne ve správním soudnictví.

Ve veřejném právu je zřetelné používání kogentních právních norem, tedy jen těch, které jsou neodchýlitelné od právní dispozice, tj. vlastního pravidla normy.

Historická vymezení
 Publicum ius est, quod ad Statum rei Romanae spectat. ("Veřejné právo je to, které se týká postavení římského státu, soukromé, které se vztahuje k prospěchu jednotlivců.")
 Právo veřejné je (...) souhrn pravidel právních, jimiž upraveny jsou poměry nutných organisovaných svazků společenských jakožto takových a poměry jednotlivců, vyplývající ze členství ve svazcích těchto.

Veřejnoprávní odvětví
Veřejné právo se dále dělí na jednotlivá právní odvětví, přičemž vzhledem k neostrosti dělení mezi ním a právem soukromým může být u mnohých z nich jejich zařazení sporné, resp. hraniční. Jde zejména o:
 ústavní právo
 správní právo
 finanční právo
 trestní právo
 procesní právo
 právo životního prostředí
 právo sociálního zabezpečení
 mezinárodní právo veřejné

Reference

Související články
 Teorie rozlišování veřejného a soukromého práva

Externí odkazy

Právní odvětví

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All opinions are my own and not those of the companies I work for or with.
Welcome to the Hitchhiker's Guide to the Metaverse, your place for infrequent posts about things that interest me and require more than 140 characters.
More content will follow. That's the plan.


text:
https://www.stamfordadvocate.com/news/article/State-s-exports-to-Mexico-Canada-slip-12558.php
State's exports to Mexico, Canada slip
Report shows trade figures reflect sagging economy
By Rob Varnon, STAFF WRITER
Published 4:32 am EDT, Tuesday, September 1, 2009
Connecticut exports to Canada and Mexico fell 31 percent to $170 million in June as trade in North America remained mired in the recession through the first half of this year.
But part of the reason for the drooping number in Connecticut may be because of some commodities saw more activity than in past years as hedge funds and other investors based in the state cashed in on high prices for items such as cereals.
The U.S. Bureau of Transportation Statistics released its report on June freight shipments among the North American Free Trade Agreement partners Monday. Nationally, the federal agency said trade activity was down 31.7 percent among the three nations, which is equal to about $50 billion less in goods moving over the borders in June. This was the sixth month in a row that total trade activity was down compared with a year ago by more than 27 percent, the bureau said.
However, shipment activity nationally was up in June by 6 percent compared with May, and more than 6 percent when compared with June 2007, said the bureau, a division of the U.S. Department of Transportation.
U.S. exports were not down as far as imports were. The United States exported $23.8 billion in June, which was down 26.5 percent compared with June 2008 when it exported $32.3 billion. The nation imported $26.9 billion in goods in June 2009 compared with $41.7 billion in June 2008, a 35.5 percent drop.
Less activity overall means less work for truckers, warehouse workers, retailers and others. The transportation bureau's survey tracks the movement of goods among the nations by truck, pipeline, ship and other means.
According to a Hearst Connecticut review of the statistics, Connecticut flipped the numbers and saw its export activity fall more than its import activity. Connecticut imports fell 25 percent from $602 million in June 2008 to $449 million in June 2009. Exports fell from $247 million in June 2008 to $170 million in June 2009.
"It's a symptom of what's going on with the economy," said Laura Jaworski, of the state Department of Economic and Community Development's International Affairs Office. "We've been helped by the weakness of the dollar against the euro."
Connecticut's top export was in the category for boilers, machinery and nuclear reactors, which totaled $34.3 million. Its top import was for aircraft and parts worth $115 million.
The June 2009 exports and imports followed the traditional commodities the state usually trades, but in July 2008, cereals broke into the top five, when Connecticut reported trading $18.9 million.
Part of the reason the state's numbers are much lower is that in 2008 state exports finished up more than 12 percent.
"So considering everything that happened last year . . . exports was a bright spot," Jaworski said.
It's difficult for sure to say what happened, Jaworski said. Connecticut does trade some cereals out of New London, but the jump might be because of higher commodities prices and hedge funds getting involved in the trade and thus credit for the shipment might have been tied to Connecticut.
Jaworski said the state remains committed to helping companies export goods and services and runs several programs to help businesses do that. She said for companies who are looking to get into the export market for the first time, Canada is a good place to start.
"Even in this climate there are opportunities for Connecticut companies to make sales abroad," she said.
Todd Martin, president of Todd P. Martin Economic Services of Fairfield, said some key areas of the global economy are picking up, "particularly Asia and parts of Europe."
Both these areas are important to segments of the state's economy. Although Canada as a nation is Connecticut's single biggest export market, England, France and Germany are usually among the top 10 markets for the state's exporters.
Asia is a big market for major employers here, including United Technologies Corp. and General Electric Co.
"The overall flows are down a bit just because the economy is down," Martin said of U.S. trade. But the good news is that the nation has closed some of its trade deficit.
"The trade deficit has been cut in half because imports are down more than exports" he said. "And in fact, a lot of that deficit was due to the import of oil."

redpajama_set_name: RedPajamaCommonCrawl


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Khajuriya - Vadodara
Khajuriya Population - Vadodara, Gujarat
Khajuriya is a large village located in Chhota Udaipur Taluka of Vadodara district, Gujarat with total 529 families residing. The Khajuriya village has population of 2891 of which 1470 are males while 1421 are females as per Population Census 2011.
In Khajuriya village population of children with age 0-6 is 427 which makes up 14.77 % of total population of village. Average Sex Ratio of Khajuriya village is 967 which is higher than Gujarat state average of 919. Child Sex Ratio for the Khajuriya as per census is 1093, higher than Gujarat average of 890.
Khajuriya village has lower literacy rate compared to Gujarat. In 2011, literacy rate of Khajuriya village was 49.76 % compared to 78.03 % of Gujarat. In Khajuriya Male literacy stands at 61.14 % while female literacy rate was 37.73 %.
As per constitution of India and Panchyati Raaj Act, Khajuriya village is administrated by Sarpanch (Head of Village) who is elected representative of village. Our website, don't have information about schools and hospital in Khajuriya village.
Khajuriya Data
Total No. of Houses 529 - -
Schedule Caste 0 0 0
Total Workers 1,637 835 802
Main Worker 653 - -
Marginal Worker 984 194 790
In Khajuriya village, most of the village population is from Schedule Tribe (ST). Schedule Tribe (ST) constitutes 99.52 % of total population in Khajuriya village. There is no population of Schedule Caste (SC) in Khajuriya village of Vadodara.
In Khajuriya village out of total population, 1637 were engaged in work activities. 39.89 % of workers describe their work as Main Work (Employment or Earning more than 6 Months) while 60.11 % were involved in Marginal activity providing livelihood for less than 6 months. Of 1637 workers engaged in Main Work, 349 were cultivators (owner or co-owner) while 285 were Agricultural labourer.


text:
Cody's Costume
By Jane Lienert
There was only a week left until the competition. How had he not known of the Creative Hero Costume Competition until now? Maybe he'd briefly seen the ad for it and forgot all about it? Very unlikely Cody thought while frowning at his computer screen.
He was on Fortnite looking for some inspiration. There were many avatars in the game with impressive outfits. Cody began to feel disheartened when he remembered he had to make an original costume. This wasn't a cosplay competition so whatever he made had to be 100% unique. Luckily, he knew how to make costumes from scratch as he had been doing cosplay, on a budget, for five years now and had a natural talent when it came to sewing.
Cody scrolled through the different Fortnite outfits, analysing the ones he thought looked the best. He wanted his costume to look flashy but not too flashy that it looked ridiculous. All these ideas were swirling around in his head but he could only pick one. He had to choose the best idea and stick with it and yet none of the ideas he could think of seemed impressive enough. Cody was about to write his ideas down only to have his 'brainstorming session' interrupted by his mum. She had opened his bedroom door to find him on his computer.
"I told you, no computer games on a school night."
"Mum it's not what it looks like! I'm-"
"Doing homework? No you're not. Now shut that down. I need you to empty the trash and then do the same for Mr Winston."
"Okay, okay!" Cody relented while he scrambled quickly passed her and out of the house.
Mr Winston was Cody's neighbour who lived in the yellow two-storey house on top of the hill. Cody had to ride his bike to Mr Winton's house every afternoon to do chores for him because he was in the early stages of dementia. His daughter couldn't visit him because she had a very demanding job which is why she asked Cody's mum if she could visit since she was a good friend to Mr Winston. However, she ended up giving this role to Cody. Sometimes Mr Winston would forget his name and instead call him Colby. Cody didn't mind helping Mr Winston every day. Even though he was a forgetful old man he did take an interest in Cody's hobby and would give him helpful suggestions whenever he was struggling to finish a project. He also was an interesting person to talk to in general. In the past he had done so many things so occasionally, when he remembered that is, he would mention an adventure he had when he was younger that would spark Cody's curiosity.
After Cody had emptied Mr Winston's bins he began to tell him all about the competition. He had only found out about it an hour ago but was already willing to stay up late for the rest of the week if it meant he could create an epic costume by the end of it. Cody and Mr Winston were sitting at his dining table when he got up and said, "Follow me, I want to show you something." Mr Winston then showed Cody the door to his closet which he opened.
"Wow! Mr Winston I never knew you had a walk-in closet full of fabrics!"
"Neither did I till I remembered I used to be a tailor back in the day."
Two fabrics caught Cody's eye; some navy-blue leather and a roll of black material covered in spiky metal studs.
Mr Winston knew what Cody was thinking and took the two fabrics off the shelf and gave them to him.
"You can keep these."
"Really?" Cody said ecstatic.
"Of course Colby, I know how passionate and talented you are, you'll make something fantastic with these materials."
That night Cody began to plan out his hero costume. He decided he would use the navy-blue leather to make sleeves that would be attached to the bulletproof vest and the spikey one-sided material he would turn into elbow pads. He also designed a sash to be worn around the waist that can be removed and thrown at the enemy to divert them from the surprise attack. The surprise attack being the hero takes the opponent down with his self-defence blades he has hidden in his shoes, shoulder armour or the fingertips of his bullet-proof gloves.
It was finally the morning of the competition and Cody jumped out of bed and started to get ready. He carefully put his costume on a hanger and bagged it before heading outside to join Loraine. Loraine was Cody's best friend who would be taking him to the competition, which was being held at the Melville Creative Arts facility.
"The winner will be awarded the title Best Hero Costume Designer of 2021 and will be on the front cover of Heroes Weekly magazine. The winner will also win $1000 dollars! Furthermore the Judges here today are Cameron Wallace, Stephanie Queen and Paris Williams, the astounding heroic films costume designer! "Announced a voice through the speakers. All the contestants and everyone who bought a ticket to attend was in the theatre.
Cody's costume had been voted into the top five. He was in the final round of the competition. Soon the judges would be asking each remaining contestant a question before making final critiques and electing a winner.
"So Cody, what inspired you to create this particular costume?" Stephanie Queen asked as she adjusted her glasses.
Memories flashed before his eyes. He was going to say the heroes Batman and Hawkeye but then he remembered who was really responsible for inspiring his creativity. It was someone who he didn't realise until now.
"Gerald Winston inspired me to design this costume," Cody smiled. He then told the judges how his neighbour use to design self-defence suits that were tailored to look like ordinary suits when in actuality, they were as resilient as the batman suit and had hidden self-defence weapons that the wearer would immediately access if he was being attacked. This had inspired Cody to add his own self-defence weapons to his hero costume.
After all the contestants had been interviewed the three best costume designers were welcomed back on stage and given awards. They then had their pictures taken with the judges while Cody watched from where he was sitting.
Cody's shoulders sagged when his name wasn't announced. Immediately all the negative thoughts he'd been blocking out the whole week leading up to the competition started to consume him.
You should've known you stuffed up the moment you decided to add a green hood.
You only spent one week on your costume of course you weren't going to win.
He had run away with the false hope that he would win or at least place. He should've known that the judges wouldn't even consider his costume after Cameron Wallace pointed out that it looked too similar to that of Green Arrow's.
Cody waited outside the toilets for his friend. The competition had ended and all he wanted to do was go home and crawl back into bed. He sighed as he waited awkwardly near the ladies toilets for Loraine to return. Suddenly, Cody felt someone tap his shoulder he turned around to see one of judges standing in front of him.
"So you're the young lad who's been helping my father", Paris Williams smiled while shaking Cody's hand, "It's nice to finally meet you, I'm Poppy Winston."
"Wait you're Poppy Winston?," Cody asked in disbelief, "Your name's not Paris Williams?"
"That's just my stage name, "she chuckled after Cody gave her a confused look, "I started my music career before I became a costume designer for Heroic films."
Cody was speechless. The famous and successful Paris Williams is actually his neighbour's daughter? He just needed a minute to let this all sink in.
Poppy clasped her hands together before saying, "Anyway Cody, I just wanted to say even though your costume didn't place, to me, it was a brilliant flash of inspiration. I knew when I saw your masterpiece I wanted you on my team! So with that having been said…Would you like to be my co-costume designer for the next Heroic film; Antorious?"


OSLO • Norway's US$1 trillion (RM4.07 trillion) wealth fund is cracking down on corruption risks and suggested that money laundering is one of the dangers it monitors in its portfolio.
The fund sold out of 30 companies last year as part of its risk-based divestment regime, on top of the 13 it publicly excluded based on ethical criteria.
The divestments are undisclosed and done on a precautionary basis to guard against unwanted events because there's not enough information available.
He said money laundering "could be one of the themes we look at", declining to comment further.
Precautions at the fund comes as money laundering allegations have swirled around some of the largest lenders in the Nordic region and Europe. Danske Bank A/S has said that a large part of US$230 billion that flowed through a tiny Estonian outpost may have been dirty.
Norway's fund added nine companies to its risk-based divestment on corruption grounds last year, taking the total number to 22. In total, the fund has excluded 240 companies using its risk-based assessments.
The fund also increased its votes against executive pay packages last year, and said it engaged with companies in the auto sector on risks from the use of cobalt and held close to 1,500 "dialogues" with companies last year. It voted against 7.2% of resolutions on executive remuneration, up from 6.9% in 2017.
The fund met with 14 companies in the auto sector, including BMW AG, Toyota Motor Corp and Volkswagen AG, to discuss human rights concerns related to cobalt use.
The fund met with 24 "global banks" to look over their climate disclosures and to see if they're equipped for the "transition to a low-carbon economy" and talked to banks in Malaysia, Indonesia and Latin America about lending policies and deforestation.
It voted at 11,287 shareholder meetings last year. It had 56.7 billion kroner (RM26.69 billion) earmarked for environmental investments, which lost 8.3% in the year.
Norway's fund is becoming increasingly activist in its approach to investing, with a particular focus on corporate governance issues and voting.


text:
Home › News › Following Claritin's Lead, Second-Generation Antihistamines Switching to Over-the-Counter Status Drive the Allergic Rhinitis Prescription Drug Market into a Downward Spiral
Following Claritin's Lead, Second-Generation Antihistamines Switching to Over-the-Counter Status Drive the Allergic Rhinitis Prescription Drug Market into a Downward Spiral
Publish date: 20 Jun, 2005
Decision Resources, Inc., one of the world's leading research and advisory firms focusing on pharmaceutical and health care issues, finds that the anticipated switch of second-generation antihistamines from prescription to over-the-counter (OTC) status in each of the seven major markets (United States, France, Germany, Italy, Spain, United Kingdom, and Japan) will lead to increases in the number of patients opting to self medicate with nonprescription therapies rather than present to a physician for diagnosis and treatment. As a result, the diagnosis and drug- treatment rates in each of the major markets will decrease in the next ten years.
"When Schering-Plough's Claritin switched from prescription to OTC status in the United States in 2002, it marked the beginning of a precipitous decline for the prescription-based allergic rhinitis market," said Melissa Stolper, analyst at Decision Resources, Inc. "This switch marked the first time a nonsedating product of this type could be purchased without a prescription in the United States, which leads the seven markets in terms of allergic rhinitis prevalence and prescription drug sales."
The new Pharmacor study entitled Allergic Rhinitis finds that anticipated switches in prescribing status of several oral second-generation antihistamines, including fexofenadine (Allegra/Telfast) and desloratadine (Clarinex/Aerius/Neoclarityn), will have a less dramatic effect on the European prescription drug market than they will in the United States, because European physicians prescribe OTC products to patients.
About Pharmacor from Decision Resources
Pharmacor is a unique family of studies that assesses a host of market- impacting factors and analyzes the commercial outlook for drugs in research and development.
About Decision Resources
Decision Resources, Inc., (http://www.decisionresources.com/) is a world leader in market research publications, advisory services, and consulting designed to help clients shape strategy, allocate resources, and master their chosen markets.
All company, brand, or product names contained in this document may be trademarks or registered trademarks of their respective holders.
For more information, contact:     Elizabeth Marshall    Decision Resources, Inc.    781-296-2563    emarshall@dresources.com
SOURCE: Decision Resources, Inc.
CONTACT: Elizabeth Marshall of Decision Resources, Inc., +1-781-296-2563,
emarshall@dresources.com
Web site: http://www.decisionresources.com/
Use of Insulin for Treatment of Type 2 Diabetes Increasing as a First-Line Treatment Option


A few of the forests that I hunt mushrooms in used to be farms and I find all sorts of relics that are kind of interesting so I take them home and clean them up. They are my mushroom hunting trophies . Most of the glass bottles or jars are broken so I leave them behind. One unusual one I found that broken was a glass Windex bottle. Yes, once upon a time we used glass instead of plastic. When you are mushroom hunting, you are constantly looking down at the ground which means you find EVERYTHING. I'm also walking in areas that people don't normally go so there are many things to be discovered. Here are a few of the relics I have found this mushroom hunting season.
From what I have found online this Pepsi bottle is that it's from the late 1960's or early 1970's. It's not too old but only I say that because that's how old I am. It goes on my trophy shelf.
This is a Drey Mason Jar. It's from between 1933 - 1938 according to a few that I found for sale on Ebay. Drey was bought by the Ball company and stopped using the Drey name in 1938. It has air bubbles in the glass and it is cracked a bit but I think it's pretty cool. I just saw a portion of it sticking out of the ground and thought there would be a good chance that it would be intact. I dug it out with a stick as you can see in the photos below.
I found this twisted metal plate that looks like it was attached to a piece of farm machinery. I flattened it out and scanned it so you can read it. Anybody know what this is? It probably belongs nailed to the wall at one of those goofy restaurants where they nail all sorts of random old objects to the wall, lol.
I found this bottle and thought it was interesting looking and it said "Brooks" on the bottom. A quick search on the internet gave me the answer. It's a Brooks catsup bottle. Their current bottles are now "ketchup" bottles made of plastic. Brooks is an old company started in 1891 in Collinsville, Illinois. Collinsville is home of the largest ketchup bottle in the world where the company duplicated their bottle to serve as a water tower to supply the company with water. I'm really not sure how old this bottle is but it goes on my trophy shelf.


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Q: Overflow-x:hidden is not working I've been searching around this website on how to remove horizontal scroll bars through iframe, but no solution worked. Can anyone help please? Long story short, here is the code:
<iframe src="http://voipstatus.clanwarz.com/lib/serverstatus/ventrilo.php?ip=marble.servegame.com&port=3784&uncolor=999999&cncolor=999999&fgcolor=999999&bgcolor=181818&type=2&templateid=6&title=Marble%20(marble.info.tm%20/%203784)&width=250&hl=1&expanded=1&sT=0&size=10&jquery=1&showOnlyActive=0&pe=0" width="250" height="100%" style="border:none;overflow-x:hidden;" ></iframe>

As you can see, it's set on overflow-x:hidden, but the horizontal bar still shows.
My website is: www.marble.co.nr

A: Add css style to this ifram
iframe html {overflow-x:hidden;}

A: Nevermind. I found an alternative. Not exactly the way I wanted it to be, but it's still do-able. I had an iframe in my page. So instead, I put a replaced it with a blank iframe in that page and then added the Ventrilo server status iframe inside that blank iframe.
If that made any sense...

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