text:
The Graduate Interviews
Ruth Hallows
Beauty & The 7 Beasts
With a stunning score, fabulous singers, and a plot that speaks to every modern opera lover... what stopped audiences from swiping right?
Classical music has always been synonymous with older audience members, with fears that the genre is no longer relatable to younger audiences. But that all looks set to change with the brand new opera "Beauty & the 7 Beasts".
Exploring the exhaustingly tumultuous world of online dating, we follow our heroine Beauty, as one night an advert sparks her interest to join the app "Magic Mirror".
Through the phenomenal libretto by Dominic Kimberlin, the advert (Sarah Tynan), penetrates deep into every woman's insecurities: "Another meal eaten in silent isolation", "you'll die alone and single"... none of us were surprised by the decisions Beauty took from that moment on.
Promised true love in seven dates, we were taken to visit our seven candidates all with the hope that these would be the one for Beauty. Unfortunately for our heroine, these seven dates represented the seven deadly sins, qualities one looks to avoid when finding "the one".
Beauty (Katherine Aitken) encapsulated the pressures and expectations felt by young women perfectly. Her playful naivity and improvised interactions with her audience, built a rapport with the audience I hadn't seen for a long time. It's this connection with the character that made the audience beg her to hang up on her bad dates, cringe when she succumbed to lust, and share in Beauty's bemusement when one date appeared. (A gimmic to demonstrate the rigging of the app that I'm afraid fell flat)
Throughout the opera she was accompanied by the ever present Magic Mirror, with which she was able to contact her support operator, Beast (Dan D'Souza). The pain and anguish was palpable throughout D'Souza's performance. Wracked with guilt over the car crash of Beauty's dating, we watched the connection between the two grow stronger as the dates went on.
So... with all these great moments so easy to gush about, what's stopping the chances of a second date?
Staged in Brixton Jamm; the room was small with a low ceiling, the audience on rather uncomfortable benches and the orchestra... a track.
As I've said previously, the composition was extremely well done. Each date had its own composer using a variety of musical techniques to really bring their character to life. Lead composer, Vahan Salorian then sewed a delicate but quirky and fun thread throughout the show.
The instrumentalists were equally excellent, which in truth made the whole situation more disappointing. Having a pre-recorded orchestra meant that points of musical spontaneity were rushed over or lost hindering the emotion especially within the more intricate moments.
With no live musicians, the balance between the moving parts was hard to strike. Beauty - often the audiences only personal connection - was hard to hear. In a room where there were only two rows on either side, to lose the singer standing right next to you meant the music was evidently too loud. In the finale, D'Souza, battling the elements of recorded track, low ceiling and dramatic storyline became too loud for the room, leaving more than a few audience members dazed and confused by the abrupt ending.
Also pre-recorded? The dates.
As the dates were via the Magic Ball, they were virtual - a situation not foreign to anyone dating through the recent pandemic! Appearing on three large screens dotted around the oval staging, the dates would try to win Beauty over with questions, charm and some guitar playing before ultimately their true characters bubbled to the surface.
The concept of a new opera post-pandemic making a feature of virtual dating is so current and lends itself to experimental staging brilliantly. However with an onstage connection so strong and compelling between Aitken and D'Souza, the lack of convincing eye contact and natural flow from those onscreen (naturally) with Beauty led to a disconnect with their performances.
This opera has it all...on paper.
A relevant storyline that speaks to a younger demographic, two incredible leads, and an intreging experimental score - this opera is dripping potential. Sadly the performance for me just didn't work. Make it a live orchestra, in an alternative location with more space for the music to resonate, and this opera would become the must see its positives demand it should be.
Connection onstage (virtual or real) are essential to the audience. Without it, there's a jarring disconnect for the onlooker. It prevents that transportation away from reality that brings audience members through the doors again and again and again. Without this an opera can't succeed.
The last performance of this opera is tonight (14th April). You can follow The Opera Story via their website, Instagram, Facebook and Twitter.
From A Critic's Perspective
London Firebird Orchestra: European Classics
Leave your inhibitions at the door and fall in love at the Moulin Rouge!
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Covenant has always been so much more than a school. It is a community: a community of parents, grandparents and staff who have partnered together in this extraordinary task and gift of Christian education. You belong to this community. You are a significant part of this community, and we are thankful for all the ways in which you contributed to this community this year.
Our Thank You Morning Tea is just one small way in which we want to say 'thank you'. Please join us for a delicious morning tea on Tuesday 13 November from 9.00-11.00am in the PAS.
Please email events@covenant.nsw.edu.au to let us know if you can join us to assist us with catering.


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Day Creek Intermediate School
Behind the Scenes of the Hybrid Learning Plan
San Mateo-Foster City School District
School will definitely be a lot different compared to before.
By Hailey A. and Audrey C.
Day after day, students log on to a computer and look at a screen in order to learn. Nothing is face to face; everything is digital. Multiple months have passed since Day Creek Intermediate School has closed, and there is still no green light indicating a return to campus.
Distance Learning has taken its toll on everyone involved. Many teachers and parents have noticed differences in their children's behavior. Some show typical growth, while others struggle. "Since a teacher isn't with them, there is more of a temptation for them to be distracted by things like pets, cellphones, and the desire to rest and relax at home," said Mrs. Chu, fourth grade teacher at John L. Golden Elementary.
While much of the focus is on students, it's been significantly tough for teachers too.
"Distance learning has been very challenging as a teacher. Some may struggle with the technology piece, and some may have trouble with the socialization piece," Mrs. Chu said.
Every day students, teachers and parents await the "okay" to go back to their school campus. But it all depends on the county, and the county depends on the data. A greenlight for the hybrid learning schedule is something many look forward to, but they might not understand the hybrid procedure. Hybrid is a mixture of a virtual learning, and physically being at school.
"There was a process that went on right after the [closure] of school of how we were going to reopen in the fall. There were a lot of surveys, a lot of parents, they polled their input [on] surveys. Multiple surveys that went out that had what parents would be willing to do – what they would like to do," said Mr. Garcia, board president of the Etiwanda School District.
For Day Creek to return to campus many things need to happen. In the state of California, every county has a different color tier. This color represents where each county stands with COVID-19. According to EdSource, "Purple, or Tier 1, indicates that the virus is widespread in the county — with more than seven cases per 100,000 residents or more than 8% of tests results reported positive over seven days. Red (Tier 2) indicates 'substantial' spread of the virus, while orange (Tier 3) indicates 'moderate' spread and yellow (Tier 4) indicates 'minimal' spread of the virus in the county."
Since San Bernardino County is currently hovering in the purple tier, no one is sure when students will roam the hallways once again. But everyone is taking their guesses.
"Based on the data it could be as early as October. Based on the history it could be December. You know with the flu season coming and how that's going to affect it, it could be March. It's like heads or tails. You can say heads but you have no control over it," said Mr. Apodaca, principal of DCIS.
Once the school is approved for the hybrid schedule, the seating will be unique to allow a safer distance between students. With six feet of space between each desk, half the number of students will fit into the typical classroom, and two different sessions (morning and afternoon) will be required to accommodate everybody.
"There's only going to be 17 spaces available and everyone's going to be six feet apart, so that's the AM session, but the PM session will be a little bit smaller," said Mr. Apodaca.
Even when Day Creek enters hybrid, there is no way to predict if students can avoid a return to distance learning. One positive case will send everybody back to virtual school for two weeks. Mr. Garcia did agree that there was a possibility.
"With the cases, you have the death rate. So there is a possibility that we do return to distance learning but there [would have to be] an outbreak that's so severe so it wouldn't just be our school, it'd be our whole school district. It'd be all of the Rancho Cucamonga, Fontana, or perhaps all the Inland Empire that's experiencing this. That would be the state again imposing that we would be closed, so we'd take that direction."
COVID continues to require all involved to adjust to its demands, regardless of how quickly we hope to return to 2019.
"It's not just gonna be like we flip a switch and we're all back to normal. I don't believe that's gonna happen. It's gonna be a transition and hopefully, it happens sooner than later," Mr. Garcia said.
This story was originally published on The Day Creek Howl on September 23, 2020.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Hell Sweet Hell is Fear My Thoughts' fourth album, released in 2005.

Track listing
"Intro" – 0:56
"Windows for the Dead" – 4:46
"In the Hourglass" – 4:28
"My Delight" – 4:40
"Sweetest Hell" – 3:48
"Dying Eyes" – 3:32
"Sadist Hour" – 4:14
"The Masters Call" – 4:14
"Ghosts of Time" – 4:11
"Satisfaction Guaranteed" – 4:22
"Tie Fighting" – 3:53
"...Trying to Feel" – 6:25

Reception

While Jason Macneil of Allmusic praised Fear My Thoughts, Macneil said the subject matter behind Hell Sweet Hell at times overshadowed the band's musical performance.

References

2005 albums
Fear My Thoughts albums

redpajama_set_name: RedPajamaWikipedia


"I don't understand why you brought that filthy dog into our house," Human Female wrinkles her nose at Human Male.
"I don't think a dog could have stopped," she stops mid-sentence and yawns loudly before continuing, "Mercury from waltzing into Lark's room." Human Female's eyes are bloodshot, and there are bags under them. Every movement seems to demand a great amount of her energy.
Sheba wags her tail. The conversation is hard for her to follow, but she likes the tone of the male's voice. The female isn't friendly, though, but that's okay. Sheba is patient. Sheba can win her over. Sheba will unite new pack.
Sheba is excited to be part of new pack. Human Male had taken her from the sad concrete building where Sheba had lived for the past year. Sheba did not care for that place. New home is much better. Sheba will protect new home.
Human Male leads her around new home and shows her each room before presenting Tiny Human to Sheba. He lingers nearby while she sniffs Tiny Human. Tiny Human smells sweet and fresh, but there's a hint of something Sheba can't place. Sheba is not a young dog, so this surprises her--she thought that she had smelled all of the smells in the world. This is very concerning. New smell is otherworldly, airy, floral. Sheba makes note of new smell.
While Sheba does not fully understand Human Male's strange yapping, she understands that her purpose in the pack is to guard Tiny Human. And so Sheba will protect Tiny Human for the good of the pack.
"Again," Human Female protests, "I don't think this will help." She sniffles softly. Sheba whines--she does not like it when humans cry. It is very pitiful. Very annoying, too.
"But if that person is working for an effing fairy or whatever, what is she going to do to stop them?" A tear rolls down her cheek.
Sheba looks proud in the face of Human Female's doubt.
Tiny Human takes a liking to Sheba almost immediately, and Sheba returns the affection. Sheba can see the value in Tiny Human: she is cute, like an almost furless puppy, and she makes pleasant babbling sounds. She has a very promising future, and Sheba will ensure that Tiny Human is properly raised. And other than her disconcerting smell, Sheba enjoys the company of Tiny Human. Even when Tiny Human holds on to Sheba just a little too tightly.
There are other small humans in the house as well: Human Boy and Human Girl. They are of similar size and smell, though they look very different from each other. They are bigger than Tiny Human but smaller than Human Male and Human Female. Sheba has not been tasked with guarding them, but still she keeps on eye on them. Sheba must keep all members of the pack safe, even those who do not seem like they are in danger.
Human Boy and Human Girl often play together. They like to pelt each other with objects: snow, balls, pillows. They scream and shout as they hit each other. Sheba watches approvingly. Rough play is the best way for pups to learn how to defend themselves. Human Female often yells at Human Boy and Human Girl when she finds them play-fighting. Human Female does not want them to fight. Human Female does not realize how important play-fighting is to a pup's development. Sheba knows she should not judge the parenting style of others, but Human Female is doing a disservice to her pups by discouraging play-fighting.
Tiny Human has many toys. Sheba has toys, too, but Tiny Human's toys are different. Tiny Human does not play with her toys by chewing or ripping, which Sheba thinks is a shame. How will Tiny Human practice hunting? How will Tiny Human keep her teeth clean? Tiny Human should really play more roughly with her toys. Sometimes Tiny Human shares her toys with Sheba, and Sheba demonstrates the proper way to play. Tiny Human cries when Sheba destroys her toys, though.
There is one toy Sheba does not care for, and that is Tiny Human's stuffed bear. Tiny Human's stuffed bear is loud. It speaks in a woman's voice, but it is so high pitched that Sheba doubts the humans' puny ears can hear it. Except for Tiny Human--Tiny Human can hear it.
Tiny Human calls her bear Ahtey. Sheba does not like Ahtey. Ahtey asks Tiny Human to come visit her and play with her. Ahtey tells Tiny Human that she wills end someone to collect her. Tiny Human should not go to Ahtey.
As Tiny Human grows, so does the strange woman's voice. It becomes louder, more pleading. The voice is loudest when Tiny Human plays with Ahtey. So Sheba makes a decision: Ahtey must go.
Sheba waits until Tiny Human is distracted by another toy. Tiny Human screeches whenever Sheba touches her toys, and Sheba cannot risk Human Male and Human Female stopping her from this important mission.
When Tiny Human is occupied, Sheba grabs the bear in her mouth and darts out the back door. She runs to the nearby woods and drops the bear in the snow. Then she digs as deep down as her paws will go, deep enough that Ahtey will not be able to call to Tiny Human. Her paws are rubbed raw by the friction, but Sheba ignores the pain. Sheba is strong. Sheba is brave. Sheba will protect Tiny Human.
Sheba drops the bear into the hole and covers it up, panting as she pushes soil and snow into the hole. Ahtey tries to speak, but her voice is muffled and inaudible. Sheba did a good job. Sheba wags her tail and trots back to the house where there is no voice, no Ahtey.
At night, Tiny Human sleeps in a cage with an open top. Sheba feels pity for Tiny Human--sleeping in a cage is lonely and frightening. But Sheba knows that Tiny Human is put in this cage for her own safety. Sheba sleeps nearby so she can follow Human Male's directions to protect Tiny Human. Most nights, it is quiet in the house and Sheba need do nothing.
Tonight there is Intruder Human.
Sheba does not like Intruder Human.
He is male and big, bigger than Human Male. He walks through the wall to get into Tiny Human's room. Sheba does not like that--humans are not supposed to walk through walls. And he has the same otherworldly smell as Tiny Human.
Ahtey sent him. Sheba is smart. Sheba knows this.
Intruder Human does not seem to notice Sheba at first. He stands in front of Tiny Human's cage and stares at her. Tiny Human does not stir. But Sheba notices. Sheba watches. Sheba waits.
Sheba is taken aback. Intruder Human laughed at her. Intruder Human does not take her seriously. Intruder Human even called her a mutt! But Sheba is no mutt.
Sheba is strong. Sheba is brave. Sheba is hellhound.
Intruder Human is weak. Intruder Human is cowardly. Intruder Human is no match for Sheba. Sheba does not use her fire powers often because it drains her, but she must protect Tiny Human. Intruder Human screams as she blows fire at him, a howl emitting from her mouth along with the hellish flames.
Sheba does not kill Intruder Human, no. She just scares him a little. He needs to live because he is a warning to Ahtey: the next intruder who touches Tiny Human will be Sheba's dinner.
Tiny Human sleeps through it all. The whole pack does, in fact. They will never know how brave or strong Sheba is. But that is okay. Sheba is confident. Sheba does not need praise to know that she is a good dog.
Before long, Tiny Human grows up and becomes not-so-tiny-human. She is still smaller than Human Boy and Human Girl, but bigger than when Sheba first came. Sheba feels a bitterness in her heart: it is so hard to see pups grow up, but so sweet when they are able to take care of themselves. This makes Sheba realize how special this human is to her. Special Human. That is a good name for a human.
Special Human smells different now that she is older. That otherworldly smell is gone, replaced by normal human smells. She is able to walk steadily, and she can speak now, though she does not speak as much as Human Boy and Human Girl. She sleeps in a different human bed. Sometimes Special Human asks Sheba to sleep on the human bed with her. Sheba likes that.
Sheba was brought into the pack to protect Special Human. Human Male still tells Sheba to protect her. But now that Ahtey is gone and Intruder Human is defeated and the otherworldly smell has disappeared, Sheba can tell Special Human is safe. Safe, at least, from what scared Human Male and Human Female so much.
Sheba is strong. Sheba is brave. Sheba is good. Sheba protected Special Human. So Sheba rewards herself by relaxing a little. She does not pace the house as much. She lets herself play with Human Boy and Human Girl more often. She snoozes during the afternoons and does not bark at every noise outside. Sometimes she even watches human television. Life is simple and predictable. Sheba likes simple and predictable.
Sheba is very surprised one day when she wakes up from a morning nap and Human Female is cleaning. It is not cleaning time. That is for after dinner. But Human Female is cleaning. And Human Male looks worried. Very worried, in fact. And then Human Male brushes Sheba. He never brushes Sheba, unless something special is happening. But what could that special thing be? Sheba does not care for this deviation from the routine.
The doorbell rings. Sheba lets loose a bark as she rushes to the front door.
"Move, Sheba," Human Female orders. Sheba is annoyed by the command, but she listens.
It is the secondary pack: Secondary Human Female, and Secondary Human Male, and their pups. Sheba is disinterested in them. They are still to be protected, but not as much as Special Human. Still, it is strange that they are here. They normally visit at dinner time.
Sheba is one confused dog.
"You ready?" Human Female asks.
"As ready as I'll ever be," Secondary Human Female replies.
"Tag, you're it!" Secondary Pup yells.
"Huh?" Special Human says, her eyes glazed over.
"Should I be worried?" Secondary Human Male asks.
"You're it, Lark! That means you hafta chase me," Secondary Pup whines.
"Oh," Special Human jogs after him halfheartedly.
The doorbell rings again. Sheba trots to the front door to investigate before Human Female pushes her aside. Human Female puts on a strange smile, then opens the door.
Author's note: So this chapter originated from this thought: "wouldn't it be funny if the Bees tried to find a mundane solution to their magical problem and ended up with something equally magical?" And thus the Bees now have a pet hellhound (though she's more like a Cŵn Annwn). You might be saying, "wow, that's really convenient and coincidental!" Yes. Yes it is.
This chapter took so long despite its simplicity because I've been posting a different, non-legacy story to Tumblr (though I'm also cross posting it to Blogger). That story was initially supposed to be second fiddle to this random legacy, but it's taken up a lot of time. If you've read it and wondered how it's going to interact with the Bees, the answer is "not much." At least not for awhile. One of the characters--who hasn't appeared yet--will probably end up in gen 2 though. But because this other story has grown so big, that character will likely show up in this legacy before the conclusion of his plot line in that story (so I'll have to perform some writerly acrobatics, which affects me way more than it affects you).
Game-wise, Elysia had another son with Crimson. His name is Liev--that was NOT the name SP gave him. His name was Lashawn, which I felt didn't match Lowell very well. So I changed it.
Lashawn is a terrible name that SP seems to put in way too often.
Also, is the family visit going to cause many dramas??
And woo, I'm glad my contributed sims are villians, in a sense.
Sheba is the best. I'm not going to give her a longer life, but I want her offspring to protect the Bees (so there'll be a dog legacy parallel to the Bee legacy). I'm trying to decide how hellhound status will be hereditary, though (is being a hellhound genetic or magical? I need to make up my mind about that).
I was being polite in the author's note. I hate the name Lashawn, and you're right--it shows up all the freaking time.
I'm happy you're glad about that! I thought John was a cutie, especially when he was running away from Sheba. He needs to be in my other story, too. Thanks again for sharing them.
Ooh, parents are coming over for a visit? This'll be interesting.
Or it'll be very boring and uneventful. Who knows!
Sheba is wonderful, and she obviously knows a lot about raising pups. Thanks for reading and commenting!
That's pretty lucky, going to the shelter and picking out a hellhound... ...wait that sentence was all kinds of messed up LOL.
Haha, I didn't mean for those to look like jail stripes. XD I just wanted something monochromatic since her favorite color is white.
That was certainly lucky! Suspiciously lucky, even.
Hellhounds are the best hounds; the more evil the better ofcourse. So, is someone going to hell?
Though, Polly just showed up, so maybe the hellhound was a hint ;) Will there be some drama with Crimson and all that stuff?
That's a good question. I was going to just let Polly hang out for a couple of days and see where it goes. There's an awful lot about Crimson that Luna and Elysia don't know, so maybe that needs to come to light?
For a moment I thought that Lark may be a way for Mark to learn Atë's name again, but I suppose now that the bear is gone and Lark has grown, she'll probably forget all about it too. Lark is so adorable btw! Love her outfit.
Finally the parents are coming over for a visit! It's so good to see Polly again and the prematurely gray Cruxie. Aww <3 Those two! Oh, and Luke.
No, that would make Mark's life way too easy. She forgot Atë's name, and I don't think Mark would ever be in the position to talk to Lark anyway. I'm so happy with how Lark is turning out because she's cute, though Quentin and Luna seem to make good looking kids. Her outfit came from Around the Sims, I think.
Omg :D this was a great chapter. I loved to hear the story told from Sheba's perspective. She really is a good dog! Ahem, hellhound.
Sheba's perspective was so cute to read though, I'm glad you kept with it to the end. So much was resolved in the simplest way, I love that Lark 'smelled different', I'm guessing that's Ate's influence?


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old-article 111634473296333 https://lifestyle.livemint.com story https://lifestyle.livemint.com Smart Living /smart-living/innovation/building-a-post-covid-neighbourhood-111634473296333.html https://images.livemint.com/img/2020/06/26/90x90/PPN_1593171769634_1593171793410.jpg
Home > Smart Living> Innovation > COVER | Six Indian architects sketch a post-covid neighbourhood
COVER | Six Indian architects sketch a post-covid neighbourhood
Lounge invites leading architects to reimagine various elements of the neighbourhood—from homes and parks to streets and marketplaces—to suit the needs of a post-pandemic reality
/smart-living/innovation/building-a-post-covid-neighbourhood-111634473296333.html 111634473296333 story
Homes in the sky at Boat Club Road, Chennai, by SJK Architects, Mumbai. (Photo: SJK Architects)
By Avantika Bhuyan
Each age demands its own form. It is our mission to give our new world a new shape with the means of today." This quote by Hannes Meyer, a Swiss architect and second director of Bauhaus Dessau, the German school of design, architecture and applied arts,has always been a favourite of writers commenting on the future of architecture. And it is probably more relevant than ever today, for there is a need to reimagine the built environment in the city in light of the covid-19 pandemic. How does one decongest market spaces keeping social distancing norms in mind? Can one have kiosks in parks, on the lines of vintage telephone booths, containing oximeters, thermometers and sanitizers, to ensure safeguards are available to everybody? Is it possible to have a home within a home to act as a cosy quarantine chamber in case you need it again in the future?
This wouldn't be the first time that disease has led to a reimagining of the built environment. In 1849, as a second outbreak of cholera ravaged the city of New York, architects such as Frederick Law Olmsted advocated the healing powers of parks, which could act as "outlets for foul air and inlets for pure air". And, thus, Central Park came into being. A piece in TheNew Yorker this month, titled "How The Coronavirus Will Reshape Architecture", states that much of modernist architecture can be understood as a consequence of fear of disease, a desire to eradicate dark rooms and dusty corners where bacteria lurk. Take, for instance, Adolf Loos' modernist creation, Villa Müller, in Prague, built as a residence for František Müller, co-owner of a construction company. The article mentions that from 1930, it included a separate space where sick children could be quarantined.
In India, we have the cushion of traditional architectural wisdom to fall back on to tackle the effects of a disaster or changes in the environment. Traditionally, Mishing homes in Assam have been built on stilts to cope with the fury of the annual floods. To combat changing temperature levels, vernacular architecture across India has employed brick and mud.
Architects such as B.V. Doshi, Charles Correa and Didi Contractor have shown that it is possible to be modern while keeping in mind the local landscape and climate. They have drawn inspiration from people's lives to create architecture which pulsates and transforms with time to suit the needs of an entire community. For instance, in Rudraprayag, which saw a devastating flash flood in 2013, Contractor has created a disaster-resilient structure for a community radio station using local material. Correa designed the open mall, City Centre, in Salt Lake, Kolkata—with a complex system of open spaces, from broad colonnaded public arcades to narrow bazaars and vast plazas—to suit diverse needs and erase the mid-market and up-market divide.
It now remains to be seen what changes in architecture will be propelled by an entire generation of people who have been cloistered indoors for months. "Decongest and decentralize" will be the keywords when looking at neighbourhoods, says Shimul Javeri, principal architect, SJK Architects.
This reimagining of the built environment calls for a nuanced shift. "We need to reclaim the outdoors. This is particularly important for women, for whom some of the indoor spaces can be very oppressive," says Rupali Gupte, professor at the School of Environment and Architecture, Mumbai. It may be a good idea to create a seriesof interconnected open and semi-open spaces, such as thresholds, verandahs, courtyards and gardens, which extend the idea of the "home" from its limited definition of a propertied enclosure. "We really need to get out of the idea of the apartment," she adds.
As new thoughts and ideas get added to the discourse, six architects re-envisionthe key elements of the neighbourhood, from the home to the street and the marketplace, to suit a post-covid reality.
Shimul Javeri
SEMI-OUTDOOR SPACES | SHIMUL JAVERI, PRINCIPAL ARCHITECT, SJK ARCHITECTS, MUMBAI
Balconies, terraces and verandahs serve the dual purpose of becoming windows to ourselves and the world
In Milan, Italy, during the lockdown, the balcony became a space for expression—of anxiety, isolation, appreciation, and of reaching out to the community. One heard snatches of violin and patriotic songs being sung from apartment terraces, offering a moment of joy and solidarity during some very difficult times. "Even in India, we have realized that balconies and terraces have proved to be our saving graces. These are where we can meet other individuals while practising social distancing norms or simply gaze out at the world," says Shimul Javeri.
She believes we have neglected our open spaces so far, retreating further and further within glass facades and artificially-lit spaces. Traditionally, Indian homes had always been designed for human interaction: courtyards in the middle of the house or the othla—a verandah—right on the street so that you could see people go by. "Intense urbanization created the need to go vertical. While we connected with people across countries, our connection with the neighbourhood ceased to exist. However, the pandemic has allowed us to tune back into the neighbourhood and we need common open spaces that forge this bond even further," she says.
As times change, so will our priorities. Instead of chasing material goods and luxuries, one might now seek peace and tranquillity. These semi-outdoor spaces, then, could serve the dual purpose of becoming windows to ourselves and the world. "We need to look for homes that have much better access to nature and outdoors and, most importantly, to the community. As our mindsets change, so will the solutions," says Javeri.
Photo courtesy: Ashiesh Shah
Ashiesh Shah
According to Mumbai-based Ashiesh Shah, who has worked on spaces ranging from penthouses and offices to concept stores and restaurants, it is time for the home to turn into a multifunctional space. As the people living within it embrace a new way of working and living, the house needs to reflect that.
What if a home didn't have designated areas for a particular activity—if spaces transformed daily, thanks to lightweight movable walls, into realms of activity, meditation and recreation? A bedroom need no longer be used just for sleeping. Rather, it could serve as a makeshift yoga space in the morning, an online learning station for the child in the afternoon, and for other activities too. "Everyone that we are speaking to wants a very good study and library in the house now. In this new normal, people will be dividing, say, three days at work and four days at home. Hence, going forward, people will want to invest more in bigger, better-looking and energy-efficient homes," he elaborates.
Shah's vision for "dwellings 2.0" is in sync with his practice, rooted in the Japanese philosophy of wabi-sabi and Indian craftsmanship. He foresees a rise in minimalism, with people not wanting too much clutter around. "Having too much means cleaning too much. Staff is likely to be a luxury in the coming age," he says. Another impact of the pandemic on the built environment is that people are hungry for open, well-ventilated spaces. They simply want to embrace the wind and the sunshine, even in their homes. "A certain amount of claustrophobia has set in. We are done with air-conditioning now. Hence, larger stairwells and skylight passages will become very important—anything that allows the sunlight to filter in and give a sense of openness," says Shah.
One of the questions foremost on Shah's mind is, how do you create pockets of isolation within the house which are warm and cosy and don't reek of loneliness? "People building new homes will have to bear in mind, what if they need to quarantine a family member in the future? The study could be attached to a bedroom and have its own bathroom. This way it becomes a mini apartment within the apartment," he suggests.
The Sunder Nursery community toilets project is proof that inputs from everyone can result in a transformative design. (Photo courtesy Vir.Mueller Architects)
CIVIC PLANNING | PANKAJ VIR GUPTA, CO-FOUNDER, VIR.MUELLER ARCHITECTS, DELHI
There is a need to reassess the nature of pedestrian and civic arrangement in the city
Can a neighbourhood to suit the post-pandemic reality be designed without taking into account the voices of everyone who inhabits the space? Pankaj Vir Gupta says that in planning for a post-covid world, the first area of focus ought to be the street and the informal low-income housing settlements where thousands of people compete just to share a toilet, disconnected from sanitation or sewage infrastructure.
Pankaj Vir Gupta
"Look at the street. People like you and me are constantly dodging cars while buying fruits and vegetables. For us, maybe this is a once-a-week event, but for millions of people, this is part of their daily routine," explains Gupta. He suggests reassessing the nature of pedestrian and civic arrangement. Streets, he believes, are not designed holistically or democratically. "Do we ask the autorickshaw driver, how do you park at a Metro station or pick up a ride from? Or a vendor about where would be the ideal spot for him to sell his wares, pick up the load at the end of the day and go home? Most developments in urban India are imposed on the citizenry, devoid of local citizen input, resulting in chaos. The last thing we need after the pandemic is another top-down directive," he says.
Instead, one must ask who are the citizens with the least agency, how do the poorest citizens live? "Our experience of working (on community toilets ) with people in Nizamuddin with the Aga Khan Trust for Culture for the Sunder Nursery project has revealed that if you take inputs from all, the resulting design is transformative. I am beseeching for more plurality. This is a great opportunity to strengthen urban democracy," he says.
An image from the House of Stories, a concept for the India Pavilion that Ghosh is curating at the forthcoming London Design Biennale. (Photo courtesy: Nisha Mathew Ghosh and Soumitro Ghosh)
KEEPING A 'THRESHOLD' | NISHA MATHEW GHOSH, CO-FOUNDER, MATHEW AND GHOSH ARCHITECTS, BENGALURU
Extracting freedom for human relationships from within newly-drawn boundaries
In the olden days, traditional house forms across India had a clear sense of an outside public zone and an inside private or safe zone. This outdoor 'threshold' from the street was also where a person coming in from outside could wash up and then enter. It may be time to bring this back," says Nisha Mathew Ghosh, who will represent India at the London Design Biennale 2021. The third edition of the event is themed on resonance and will be led by stage designer-artist Es Devlin as the artistic director.
Nisha Mathew Ghosh
She foresees structural changes in homes based on the cleanliness and disinfection practices likely in a post-covid world. This would also be the right time to push climate-integrated houses. "New boundaries will come into play. But the challenge will lie in extracting freedom for human relationships from within these boundaries. This requires thoughtful architecture which is centred around people and not space," she explains.
Ghosh suggests adding resilience to the living space, be it condominiums or low-income housing. She believes it should be mandatory for every house to have a tiny strip of land outside. "This will also allow you to grow your own food, making you self-reliant and reducing the number of visits to the market for everyday produce. A great crisis such as this has the potential to create systemic changes and that is what we should be moving towards," she says.
Morphogenesis is currently working on projects which feature outdoor food courts for 500 people. (Sketch by Amjad VK; Courtesy Morphogenesis)
THE GREAT OUTDOORS | MANIT RASTOGI, ARCHITECT AND FOUNDING PARTNER, MORPHOGENESIS, DELHI
Making the outdoor environment more comfortable using temperature control and passive design methods
In India, the public social space has always been outdoors. In the 1960-70s, this used to be a democratic area, which used to foster conversation and discourse," says Manit Rastogi. Over time, however, with access to energy and the advent of air-conditioning, many social activities such as shopping and retail started moving indoors. India's hot climate had a big role to play in this shift. "Outdoor akhadas (spaces for training in sports and martial arts) moved into enclosed gyms, street-side eating spaces shifted to indoor restaurants and one saw the rise of enclosed shopping malls," says Rastogi, whose firm recently won the FuturArc Green Leadership Awards 2020, which recognize innovative and ecologically responsible buildings in Asia.
Manit Rastogi (Right)
This transformational shift, he says, was driven by the fact that indoor spaces could be regulated for comfort through acoustics, lighting and temperature control. Now, Rastogi is hoping for a complete reversal of this phenomenon.
"We hope that the social spaces move back outdoors. The big difference today is that we have the ability to make the outdoor environment a lot more comfortable," he says. Morphogenesis is currently working on projects which feature outdoor food courts for 500 people. By using passive design methods such as micro-climate creation, the team has been trying to keep the temperature in check. Lightweight tensile roof structures are being used as protection from rain and sun and attempts are being made to harness the wind where possible. They are adding external air filters for better air quality and sonic mosquito control systems to make the outdoors comfortable. "It's a given fact that during the pandemic, people feel more at ease in open spaces than indoors," he says.
He adds that most open spaces in urban setting are underutilized since they are used only for a limited part of the day or year. What if these could be turned into multifunctional spaces? If the outdoor food court could serve as a classroom, or a meeting and training space through the day? "It would be a wasted opportunity if we don't use all our technological abilities to bring social activities outdoors in a more democratic and accessible manner" says Rastogi.
Multilevel parking lots, pedestrian piazzas, central gardens and extended shaded walkways can transform markets into world-class high-street experiences. (Sketch by Ayesha Mahiira Hussain; Courtesy Studio Lotus)
NEIGHBOURHOOD MARKETS | AMBRISH ARORA, DESIGN PRINCIPAL, STUDIO LOTUS, DELHI
Creating efficient neighbourhood markets, multilevel car parks, revitalizing small parks at the centre and creating pedestrian promenades
The marketplace—be it neighbourhood markets or community plazas—must be decongested so you don't have to jostle with a mass of human bodies and vehicles. "This pandemic is a great opportunity to rearrange the peculiar hierarchy as part of which cars currently rule over the main space. We need to make the pedestrian, the cyclist or the person on the public transport take centre stage," says Ambrish Arora,
Ambrish Arora
He cites the example of Delhi's popular M-Block Market in Greater Kailash-I and the Defence Colony markets, which have been planned around quadrangles. Unfortunately, the small parks at the centre of these serve neither any function nor act as ornamentation. The roads on either side are a mess of vehicles, with pedestrians completely sidelined. Just creating multilevel parking lots in the peripheral open spaces could transform the visitor experience, easily increase capacity and ensure a truly world-class high-street experience. The open spaces at the centre could be integrated into the design as pedestrian piazzas, much needed in cities like Delhi that are bereft of public space. Lightweight canopies could help create shaded walkways around buildings, open terrace spaces on the upper levels could be used for food and beverage services. This would double the area for first-floor restaurants.
"The reason why France and Italy have been able to open up cafés, and more, is because so much of the dining experience is in the open," explains Arora. "I, for one, would feel uncomfortable sitting boxed up in a sealed, air-conditioned restaurant. There is increasing evidence that outdoor spaces are less vulnerable to the spread of infection." Such a move would also have a far-reaching impact on safety and energy efficiency. Evacuation staircases for disasters could be built into the verandahs while creating larger open-to-sky areas with low energy consumption.
Coronavirus | Covid-19


text:
Cross Road Blues
"Crossroads (song)" redirects here. For other uses, see Crossroads.
"Cross Road Blues"
Original 78 record label
Single by Robert Johnson
May 1937 (1937-05)
10-inch 78 rpm record
Gunter Hotel, San Antonio, Texas
Don Law
"Cross Road Blues" (also known as "Crossroads") is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talents, although the lyrics do not contain any specific references.
Bluesman Elmore James revived the song with recordings in 1954 and 1960–1961. English guitarist Eric Clapton with Cream popularized the song as "Crossroads" in the late 1960s. Their blues rock interpretation inspired many cover versions and the Rock and Roll Hall of Fame included it as one of the "500 Songs That Shaped Rock and Roll". Rolling Stone placed it at number three on the magazine's list of the "Greatest Guitar Songs of All Time" in recognition of Clapton's guitar work.
2 Lyrics and interpretation
5 Elmore James versions
6 Eric Clapton/Cream interpretation
6.2 Cream version
6.3 Recording and releases
6.3.1 Views on editing for album version
7 Recognition and influence
Little is known about Johnson's life and musical career,[1] although his recordings are well documented.[2] In October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for ARC Records.[3] After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session.[4] Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936.[2] During the first session, he recorded his most commercially appealing songs.[5] They mostly represented his original pieces and reflected current, piano-influenced musical trends.[6][7][8] The songs include "Terraplane Blues" (his first single and most popular record)[4] along with "Sweet Home Chicago" and "I Believe I'll Dust My Broom", which became blues standards after others recorded them.[9][10]
A second and third recording date took place in San Antonio after a two-day break.[a] Johnson reached back into his long-standing repertoire for songs to record.[8] The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth.[8][12] The songs are among Johnson's most heartfelt and forceful,[7] and music historian Ted Gioia sees a shift in the lyrical themes:
At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges ... [he] evokes the themes of damnation and redemption, darkness and light ... glimpses into the musician's inner life, and all its attendant turmoils.[13]
"Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936.[14] The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine.[15] It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it.[16] Two similar takes of the song were recorded.[17]
Lyrics and interpretation
Tourism marker at intersection of historical Highways 61 and 49 in Clarksdale, Mississippi (one of several purported crossroads sites)
A crossroads or an intersection of rural roads is one of the few landmarks in the Mississippi Delta, a flat featureless plain between the Mississippi and Yazoo rivers.[18][b] It is part of the local iconography and various businesses use the name, such as gas stations, banks, and retail shops.[19] A crossroads is also where cars are more likely to slow down or stop, thus presenting the best opportunity for a hitchiker.[20] In the simplest reading, Johnson describes his grief at being unable to catch a ride at an intersection before the sun sets.[21] However, many see different levels of meaning and some have attached a supernatural significance to the song.[21]
Both versions of the song open with the protagonist kneeling at a crossroads to ask God's mercy, while the second sections tells of his failed attempts to hitch a ride.[22] In the third and fourth sections, he expresses apprehension at being stranded as darkness approaches and asks that his friend Willie Brown be advised that "I'm sinkin' down".[23] The first take of the song, which was used for the single, includes a fifth verse that is not included in the second take. In it he laments not having a "sweet woman" in his distress.[24]
The song has been used to perpetuate the myth of Johnson selling his soul to the Devil for his musical ability.[21] The lyrics do not contain any references to Satan or a Faustian bargain, but they have been interpreted as a description of the singer's fear of losing his soul to the Devil (presumably in exchange for his talent).[22] Music historian Elijah Wald believes that Johnson's verses do not support the idea.[25] Delta bluesman Tommy Johnson promoted himself as having made a deal with the Devil and Southern folklore identifies a crossroads or graveyard as the site of such a pact, which Wald identifies as likely sources of the myth.[25] However, musicologist Robert Palmer points out that Johnson was "fascinated with and probably obsessed by supernatural imagery."[19] His song "Hellhound on My Trail" tells of trying to stay ahead of the demon hound which is pursuing him and in "Me and the Devil Blues" he sings, "Early this mornin' when you knocked upon my door, and I said 'Hello Satan I believe it's time to go'".[26][27] These songs contribute to the Faustian myth; how much Johnson promoted the idea is debated, although many agree "the 'devil angle' made for good marketing".[28]
Blues historian Samuel Charters sees the song as having elements of protest and social commentary.[29] The second verse includes "the sun goin' down now boy, dark gon' catch me here", a reference to the "sundown laws" or curfew during racial segregation in the United States.[29] Signs in the rural South advised "Nigger, don't let the sun set on you here".[29] Johnson may be expressing a real fear of trumped up vagrancy charges or even lynchings that still took place.[9] Others suggest that the song is about a deeper and more personal loneliness.[30][23] Writers Barry Lee Pearson and Bill McCulloch argue that the fifth verse in the single version captures the essence of the song: "left alone, abandoned, or mistreated, he stands at the crossroad, looking this way or that for his woman".[24]
Johnson's 2nd. take (released 1961)
First 47 seconds
"Cross Road Blues" reflects Johnson's Delta blues roots and may have been in his repertoire since 1932.[31] It is the first recording to show his mastery of his mentor Son House's style, particularly in his slide guitar work.[32][c] Music historian Edward Komara identifies parts of "Straight Alky Blues" by Leroy Carr and Scrapper Blackwell (1929) along with Roosevelt Sykes' subsequent adaptation as "Black River Blues" (1930) as melodic precedents.[34] However, Johnson infuses their relaxed urban approach with a more forceful rural one.[35] Komara terms Johnson's guitar playing a "blues harp style".[36] It contrasts with Johnson's finger-picking "piano style", which uses a boogie-style accompaniment on the bass strings while playing melody and harmonies on the higher strings.[37] Harp-style playing employs sharp percussive accents on the bass strings (an imitation of the sharp draw used by harmonica players) and allows Johnson to explore different chordings and fills.[38][d] Johnson uses this technique for "Terraplane Blues", which shares many common elements with "Cross Road Blues".[40][41]
The song's structure differs from a well-defined twelve-bar blues. The verses are not consistent and range from fourteen to fifteen bars in length.[42] Additionally, the harmonic progression is often implied rather than stated (full IV and V chords are not used).[42] Johnson uses a Spanish or open G tuning with the guitar tuned up to the key of B.[34] This facilitates Johnson's use of a slide, which features as prominently in the song as the vocal.[43] The slide parts function more as a second "answer" vocal than accompaniment, with the tension underscoring the dark turmoil of the lyrics.[44] Charters characterizes the song's rhythm as ambiguous, imparting both a 4/4 time and 8/8 feel.[40] Music writer Dave Headlam elaborates on Johnson's rhythm:
Meter itself is a compositional and performance device which comes in and out of focus in response to the fluid rthyms and changing accents in the lower beats. The irregular groupings extend to smaller beat divisions, with an interplay between triplet 'swing' and duple divisions of the beat ... Johnson's irregular rhythms and variation in support of the metric beat suggest a more personal, idiosyncratic vision.[45]
The two takes of the song are performed at moderate, but somewhat different tempos.[17] Both begin slower and speed up; the first is about 106 beats per minute (bpm), while the second is about 96 bpm.[17] Johnson prepares to go into the fifth section for the slower second take, but the engineer apparently cut him off because of the time limits of ten-inch 78 rpm records.[46] In addition to the slower tempo, Johnson sings the verses at a lower pitch, although both takes are in the same key.[47] This allows for greater variation and nuance in the vocal.[47] Together with refinements to some guitar parts, the differences serve to help further distinguish the second take from "Terraplane Blues" and give it more of its own character.[43]
ARC and Vocalion Records issued the first take of "Cross Road Blues" in May 1937 on the then standard 78 rpm record.[14] The single, with its flip side "Ramblin' on My Mind", sold poorly.[48] The song remained out of print after its initial release until The Complete Recordings box set in 1990.[14] The second take was released in 1961, when producer Frank Driggs substituted it for the original on Johnson's first long-playing record album compilation King of the Delta Blues Singers.[49] This take was also included on the 1990 Complete Recordings (at 2:29, it is 10 seconds shorter than the original 2:39 single version).[50]
Elmore James versions
American blues singer and guitarist Elmore James, who popularized Robert Johnson's "Dust My Broom", recorded two variations on "Cross Road Blues".[40] Both titled "Standing at the Crossroads", they feature James' trademark "Dust My Broom" amplified slide-guitar figure and a backing ensemble. James' lyrics focus on the lost-love aspect of the song:[40]
Well I was standin' at the crossroad, and my baby not around (2×)
Well I begin to wonder, 'Is poor Elmore sinkin' down'
James first recorded the song in August 1954 at Modern Records' new studio in Culver City, California.[51] Maxwell Davis supervised the session and a group of professional studio musicians provided the backup.[51] The song was produced in a newer style that Modern used successfully for B.B. King and James' slide guitar was placed further back in the mix.[51] Flair Records, another of the Bihari brothers' Modern labels, released the single, backed with "Sunny Land".[51] The song became a regional hit, but did not reach the national charts.[51] Labels associated with Modern included "Standing at the Crossroads" on several James compilation albums, such as Blues After Hours (Crown), The Blues in My Heart – The Rhythm in My Soul (Custom Records), and Original Folk Blues (Kent Records).[52]
In 1959, producer Bobby Robinson signed James to his Fury/Fire/Enjoy group of labels.[53] In addition to new material, Robinson had James revisit several of his older songs, including "Standing at the Crossroads".[54] James re-recorded it at Beltone Studios in New York City in late 1960 or early 1961 during one of his last sessions.[54] Studio musicians again provided the backup and the horn section included baritone saxophone by Paul Williams.[54] Bell Records' subsidiary labels released the song after James' death in 1965 – Flashback Records released a single with a reissue of "The Sky Is Crying" and Sphere Sound Records included it on a James compilation album also titled The Sky Is Crying.[55] Both the 1954 and 1960–1961 versions appear on numerous later James compilations.[56]
Homesick James, who recorded and toured with his cousin Elmore,[57] also recorded a rendition titled "Crossroads".[40] Homesick derived his guitar style from Elmore, which music critic Bill Dahl describes as "aggressive, sometimes chaotic slide work".[57] Unlike Elmore, however, he uses most of the lyrics from Johnson's second take, which had been first issued in 1961.[57] The July 23, 1963, recording session produced Homesick's only single for Chicago-based USA Records, "Crossroads" backed with "My Baby's Sweet".[57]
Eric Clapton/Cream interpretation
In early 1966, while still with John Mayall's Bluesbreakers, Eric Clapton adapted the song for a recording session with an ad hoc studio group, dubbed Eric Clapton and the Powerhouse.[58] Elektra Records producer Joe Boyd brought together Steve Winwood on vocals, Clapton on guitar, Jack Bruce on bass guitar, Paul Jones on harmonica, Ben Palmer on piano, and Pete York on drums for the project.[58] Boyd recalled that he and Clapton reviewed potential songs; Clapton wanted to record Albert King's "Crosscut Saw", but Boyd preferred to adapt an older country blues.[59] Their attention turned to Robert Johnson songs and Boyd proposed "Crossroads"[e] and Clapton chose "Traveling Riverside Blues".[60][f]
For the recording, Clapton developed an arrangement using lyrics from both songs with an adaption of the guitar line from the latter.[61][g] Biographer Michael Schumacher describes the Powerhouse's performance as slower and more blues-based than Cream's.[64] Winwood sings and Jones plays the riff on harmonica similar to what Clapton later used with Cream (Jones also provides the instrumental solo; Clapton plays rhythm guitar throughout the song).[h] Elektra released the 2:32 recording, titled "Crossroads", on the compilation album What's Shakin' in June 1966.[65] After the Powerhouse session, Clapton continued playing with Mayall.[58] Author Marc Roberty lists "Crossroads" in a typical set for the Bluesbreakers in the spring of 1966.[58]
Cream version
"Crossroads"
1969 Italian single picture sleeve
Song by Cream
from the album Wheels of Fire
August 1968 (1968-08) (album)
January 1969 (US single)
March 10, 1968 (1st show)
Winterland Ballroom, San Francisco
Polydor (UK)
Atco (US)
Felix Pappalardi
"Crossroads" became a part of Cream's repertoire when Clapton began performing with Jack Bruce and Ginger Baker in July 1966. Their version features a prominent guitar riff with hard-driving, upbeat instrumental backing and soloing.[66][42] Clapton previously recorded "Ramblin' on My Mind" with Mayall and "From Four Until Late" with Cream using arrangements that followed Johnson's original songs more closely.[67] However, he envisioned "Crossroads" as a rock song:
It became, then, a question of finding something that had a riff, a form that could be interpreted, simply, in a band format. In 'Crossroads' there was a very definite riff. He [Johnson] was playing it full-chorded with the slide as well. I just took it on a single string or two strings and embellished it. Out of all of the songs it was the easiest for me to see as a rock and roll vehicle.[68]
Clapton simplifies Johnson's guitar line and sets it to a straight eighth-note or rock rhythm.[68] He and Bruce on bass continuously emphasize the riff throughout the song to give it a strong and regular metric drive combined with Baker's drumming.[69] Johnson's irregular measures are also standardized to typical twelve-bar sections in which the I–IV–V blues progression is clearly stated.[69] Clapton does not adapt Johnson's slide guitar technique or open tuning; instead he follows the electric guitar soloing approach of B.B. King and Albert King.[69] However, he employs a Johnson guitar innovation, the duple shuffle pattern or boogie bass line, while singing (Johnson only used it for two bars in "Cross Road Blues").[69][i]
Clapton also simplifies and standardizes Johnson's vocal lines.[69] Schumacher calls Clapton's vocal on "Crossroads" his best and most assured with Cream.[67] In addition to Johnson's opening and closing lyrics, he twice adds the same section from "Traveling Riverside Blues":[71]
I'm going down to Rosedale, take my rider by my side (2×)
You can still barrel house baby, on the riverside
During the instrumental break, Cream takes an improvisational approach characteristic of their later live performances.[45] Bruce's bass lines blend rhythm and harmony and Baker adds fills and more complex techniques typical of drummers in jazz trios.[45] However, the momentum is never allowed to dissipate and is constantly reinforced.[45]
Recording and releases
Cream recorded the song on November 28, 1966, for broadcast on the BBC Guitar Club radio program.[72] At less than two minutes in length, Clapton only sings the first and last sections, with his guitar solo replacing the middle "Traveling Riverside Blues" verse. It appeared on bootleg albums before finally being released in 2003 on BBC Sessions. On March 10, 1968, Cream recorded it again during a concert at the Winterland Ballroom in San Francisco.[73] The song became the opening number on the live half of Cream's Wheels of Fire double album, released in August 1968 by Polydor Records in the UK and Atco Records in the US.[74] After the group's breakup, Atco issued the song as a single in January 1969,[75] which reached number 28 on the US Billboard Hot 100 pop chart[76] and 17 on Cashbox.[77] Both the original album and single credit the songwriter as Robert Johnson or R. Johnson, although Clapton and Cream extensively reworked the song.[78][79]
Cream played "Crossroads" during their final concert at the Royal Albert Hall on November 26, 1968. The expanded version of Cream's Farewell Concert film released in 1977 contains the performance.[80] During their 2005 reunion, Cream revisited the song at the Royal Albert Hall and it is included on the Royal Albert Hall London May 2-3-5-6, 2005 album and video.[81] After Cream's breakup in 1968, Clapton continued to perform "Crossroads" in a variety of settings.[68] Live recordings appear on Live at the Fillmore (with Derek and the Dominos), Crossroads 2: Live in the Seventies, The Secret Policeman's Other Ball, and other albums.[82] Clapton has also used the name for the Crossroads Centre, a drug rehabilitation facility he founded, and for the Crossroads Guitar Festivals to benefit it.
Views on editing for album version
Clapton biographer Schumacher notes "Given the passion of the solo performances on 'Crossroads,' it seems almost miraculous that Cream is able to return to the song itself."[83] Several music writers have explained that Cream's recording for Wheels of Fire was edited from a much longer performance that was typical for the trio – in the notes for Clapton's Crossroads box set, Anthony DeCurtis credits the trimming to engineer Tom Dowd,[84] while critic Stephen Thomas Erlewine attributes the editing to producer Felix Pappalardi, who "cut together the best bits of a winding improvisation to a tight four minutes", to allow the song's drive more continuity.[85] In a 1985 interview, Clapton was asked if the song had been edited. He replied:
I can't remember. I really haven't heard that in so long—and I really don't like it, actually. I think there's something wrong with it. I wouldn't be at all surprised if we weren't lost at that point in the song, because that used to happen a lot.[86]
However, Barry Levenson, who produced Cream's 1997 box set Those Were the Days, asserts:
It's not edited, and I've got an audience tape from the same show which verifies that ... That was a typical performance of the song. I've listened to a lot of tapes, and all of the 'Cross Road Blues (Crossroads)' that I've heard come in at four minutes and change. They never seemed to expand it beyond that.[87]
Recognition and influence
In 1986, Robert Johnson's "Cross Road Blues" was inducted into the Blues Foundation Hall of Fame.[49] Writing for the foundation, Jim O'Neal noted that "regardless of mythology and rock 'n' roll renditions, Johnson's record was indeed a powerful one, a song that would stand the test of time on its own".[49] In 1998, it received a Grammy Hall of Fame Award to acknowledge its quality and place in recording history.[88] In 1995, the Rock and Roll Hall of Fame listed Cream's "Crossroads" as one of the "500 Songs That Shaped Rock and Roll".[89] Rolling Stone magazine placed it at number three on its "Greatest Guitar Songs of All Time".[90]
AllMusic's Richard Gilliam identifies Cream's "Crossroads" as the first recording to bring Robert Johnson to the attention of popular music audiences and allow reissues of his original recordings to sell over a million copies.[66] By combining elements of hard rock and blues, he adds it inspired "a new generation of blues-influenced artists".[66] Rock musicians have recorded numerous renditions based on Cream's arrangement.[91]
^ The two-day break in the San Antonio recording sessions may not have been voluntary; one account puts Johnson in jail after a run in with local police.[11]
^ In Johnson's time, "cross road" was the preferred usage for "crossroads".
^ Johnson recorded two popular Son House songs, "Walkin' Blues" and "Preaching Blues", at the same session after "Cross Road Blues".[33]
^ According to Son House, Johnson began playing harmonica when he was 15 or 16 years old and "could blow harmonica pretty good. Everybody liked it."[39]
^ Boyd refers to Johnson's song as "Standing at the Crossroads".[59]
^ "Traveling Riverside Blues", like the second take of "Cross Road Blues", was first issued in 1961 on Johnson's King of the Delta Blues Singers compilation.[2]
^ Led Zeppelin later used lyrics from "Traveling Riverside Blues" with Howlin' Wolf's "Killing Floor" set to a rock arrangement for "The Lemon Song".[62][63]
^ Schumacher also describes Winwood's vocals as differing from Cream's recordings.[64]
^ Johnson first recorded an adaptation of the boogie bass line for guitar in "Dust My Broom".[70] Later, Elmore James used it for the rhythm guitar parts on "Standing at the Crossroads".
^ Wald 2004, p. 106.
^ a b c LaVere 1990, pp. 46–47.
^ Komara 2007, p. 56.
^ a b LaVere 1990, p. 15.
^ a b c Wald 2004, p. 149.
^ a b Palmer 1981, p. 125.
^ Pearson & McCulloch 2008, p. 74.
^ Gioia 2008, p. 179.
^ a b c LaVere 1990, p. 46.
^ a b c Komara 2007, pp. 60–61.
^ Palmer 1981, p. 126.
^ Wald 2004, pp. 274–275.
^ a b c Pearson & McCulloch 2008, p. 76.
^ a b Schroeder 2004, pp. 37–38.
^ a b Schroeder 2004, p. 38.
^ a b Pearson & McCulloch 2008, p. 77.
^ a b Wald 2004, p. 274.
^ Schroeder 2004, p. 37.
^ LaVere 1990, pp. 38, 41.
^ a b c Pearson & McCulloch 2008, pp. 76–77.
^ Charlton 2008, p. 13.
^ Pearson & McCulloch 2008, pp. 75–76.
^ Wald 2004, pp. 155, 158.
^ a b Komara 2007, p. 59.
^ Komara 2007, pp. 60, 62.
^ Komara 2007, pp. 54.
^ Komara 2007, pp. 44–45.
^ a b c d e Charters 1973, p. 51.
^ a b c Headlam 1997, pp. 71–72.
^ a b c d Headlam 1997, p. 72.
^ a b c O'Neal, Jim (November 10, 2016). "1986 Hall of Fame Inductees: Cross Road Blues – Robert Johnson (ARC/Vocalion, 1936)". The Blues Foundation. Retrieved February 9, 2017.
^ LaVere 1990, p. 46, back cover.
^ a b c d e Topping 1993, p. 15.
^ Topping 1993, p. 36.
^ Morris & Haig 1992, p. 12.
^ a b c Morris & Haig 1992, p. 13.
^ The Sky Is Crying (Album notes). Elmore James. Label: Sphere Sound Records. 1965. SSR 7002. CS1 maint: others (link)
^ "Elmore James: Standing at the Crossroads – Appears On". AllMusic. Retrieved December 8, 2014.
^ a b c d Dahl 2002, pp. 2–3.
^ a b c d Roberty 1993, p. 24.
^ a b Boyd 2010, p. 111.
^ Boyd 2010, pp. 111–112.
^ Boyd 2010, p. 112.
^ Ward, Thomas. "Robert Johnson: Traveling Riverside Blues – Song Review". AllMusic. Retrieved December 14, 2014.
^ Janovitz, Bill. "Howlin' Wolf: Killing Floor – Song Review". AllMusic. Retrieved December 14, 2014.
^ a b Schumacher 2003, p. 63.
^ McDermott 1995, p. 39.
^ a b c Gilliam, Richard. "Cream: Crossroads – Song Review". AllMusic. Retrieved December 9, 2014.
^ a b c Headlam 1997, p. 69.
^ a b c d e Headlam 1997, p. 71.
^ Headlam 1997, p. 91.
^ Unterberger, Richie. "Cream: BBC Sessions – Review". AllMusic. Retrieved December 8, 2014.
^ DeCurtis 1988, p. 23.
^ Welch 2000, eBook.
^ Whitburn 2008, p. 100.
^ "Cream: Chart history – The Hot 100". Billboard.com. Retrieved February 9, 2017.
^ Hoffman 1983, p. 135.
^ Wheels of Fire (Album notes). Cream. Label: Atco Records. 1968. OCLC 6505138. SD 2-700. CS1 maint: others (link)
^ Crossroads (Single). Cream. Label: Atco Records. 1969. 45-6646. CS1 maint: others (link)
^ "Cream: The Cream Farewell Concert". AllMusic. Retrieved December 11, 2014.
^ "Live at the Royal Albert Hall 2005". AllMusic. Retrieved December 11, 2014.
^ "Eric Clapton: Crossroads – Appears On". AllMusic. Retrieved December 8, 2014.
^ Schumacher 2003, p. 100.
^ DeCurtis 1988, p. 9.
^ Erlewine, Stephen Thomas. "Cream: Wheels of Fire – Album Review". AllMusic. Retrieved July 12, 2013.
^ Forte 2010, p. 29.
^ Hal Leonard, eBook.
^ "Grammy Hall of Fame Awards – Past Recipients". Grammy.org. 1998. Retrieved July 12, 2003.
^ "500 Songs That Shaped Rock and Roll". Rock and Roll Hall of Fame. 1995. Archived from the original on 2007-05-02. Retrieved July 12, 2013.
^ "100 Greatest Guitar Songs of All Time". Rolling Stone. 2003. Archived from the original on 2008-05-30. Retrieved July 12, 2013.
^ "Crossroads – Song Search Results". AllMusic. Retrieved July 12, 2013.
Boyd, Joe (2010). White Bicycles: Making Music in the 1960s. London: Serpent's Tail. ISBN 978-1-85242-489-3.
Charlton, Katherine (2008). Rock Music Styles: A History. New York City: McGraw-Hill. ISBN 978-0-07-312162-8.
Charters, Samuel (1973). Robert Johnson. Oak Publications. ISBN 0-8256-0059-6.
DeCurtis, Anthony (1988). Crossroads (Box set booklet). Eric Clapton. New York City: Polydor Records. OCLC 858549689. 835 261-2.
Dahl, Bill (2002). The USA Records Blues Story (Album notes). Various artists. Universal City, California: Fuel 2000 Records. OCLC 51058111. 302 961 209 2.
Forte, Dan (2010). "Clapton, Part 3". In Molenda, Michael (ed.). Clapton, Beck, Page. New York City: Backbeat Books. ISBN 978-0879309756.
Gillett, Charlie (1972). The Sound of the City (2nd. Laurel printing 1973 ed.). New York City: Dell Publishing.
Gioia, Ted (2008). Delta Blues (Norton Paperback 2009 ed.). New York City: W. W. Norton. ISBN 978-0-393-33750-1.
Hal Leonard (2013). "Cross Road Blues (Crossroads)". Guitar World's 100 Greatest Guitar Solos of All Time. Hal Leonard. ISBN 978-1480356979.
Headlam, Dave (1997). Covach, John; Boone, Graeme M. (eds.). Understanding Rock: Essays in Musical Analysis. Oxford, England: Oxford University Press. ISBN 978-0-19-510005-1.
Herzhaft, Gerard (1992). "Crossroads". Encyclopedia of the Blues. Fayetteville, Arkansas: University of Arkansas Press. ISBN 1-55728-252-8.
Hoffmann, Frank (1983). The Cash Box Singles Charts, 1950–1981. Metuchen, New Jersey: Scarecrow Press. ISBN 978-0-8108-1595-7.
Komara, Edward (2007). The Road to Robert Johnson: The Genesis and Evolution of Blues in the Delta From the Late 1800s Through 1938. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-634-00907-5.
LaVere, Stephen (1990). The Complete Recordings (Box set booklet). Robert Johnson. New York City: Columbia Records. OCLC 24547399. C2K 46222.
Litwack, Leon F. (1998). Trouble in Mind: Black Southerners in the Age of Jim Crow. New York City: Vintage Books. ISBN 978-0-394-52778-9.
McDermott, John (1995). The Finer Things (CD set booklet). Steve Winwood. New York City: Island Records. OCLC 32289434. 314 516 860-2.
Morris, Chris; Haig, Diana (1992). Elmore James: King of the Slide Guitar (Box set booklet). Elmore James. Nashville, Tennessee: Capricorn Records. OCLC 26833148. 9 42006-2.
Palmer, Robert (1981). Deep Blues. New York City: Penguin Books. ISBN 0-14-006223-8.
Pearson, Barry Lee; McCulloch, Bill (2008). Robert Johnson: Lost and Found. Champaign, Illinois: University of Illinois Press. ISBN 978-0-252-07528-5.
Roberty, Mark (1993). Slowhand: The Complete Life and Times of Eric Clapton. New York City: Crown Trade Paperbacks. ISBN 0-517-88118-7.
Schroeder, Patricia R. (2004). Robert Johnson, Mythmaking, and Contemporary American Culture. Champaign, Illinois: University of Illinois Press. ISBN 978-0-252-02915-8.
Schumacher, Michael (2003). Crossroads: The Life and Music of Eric Clapton. New York City: Citadel Press. ISBN��978-0-8065-2466-5.
Topping, Ray (1993). Elmore James: The Classic Early Recordings 1951–1956 (Box set booklet). Elmore James. Beverly Hills, California: Virgin Records America/Flair. OCLC 173152130. 7243 8 39632 2 5.
Wald, Elijah (2004). Escaping the Delta: Robert Johnson and the Invention of the Blues. New York City: Amistad. ISBN 978-0-06-052427-2.
Wardlow, Gayle Dean (1998). Chasin' that Devil Music: Searching for the Blues. San Francisco: Backbeat Books. ISBN 0-87930-552-5.
Welch, Chris (2000). Cream: The Legendary Sixties Supergroup. San Francisco: Backbeat Books. ISBN 978-1-4768-5150-1.
Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. ISBN 0-89820-068-7.
Whitburn, Joel (2008). Joel Whitburn Presents Across the Charts: The 1960s. Milwaukee, Wisconsin: Hal Leonard. ISBN 978-0-89820-175-8.


A hidden gem that's been stylishly renovated.
The top-rated Portofino Inn Burbank is a great hotel choice, offering good value for business travelers and tourists alike. The Portofino Inn is steps away from the Nickelodeon Animation Studio and a short walk or drive to Warner Bros. Studios and The Walt Disney Company. Guest room amenities include pillow-top mattresses and Egyptian cotton linens, 32" LCD TV featuring premium channels, complimentary continental breakfast, refrigerator and microwave, free high-speed Internet, and Wi-Fi.


text:
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text:
Signe Rink (24. januar 1836 i Paamiut –19. april 1909 i Oslo) var en grønlandsk forfatter og etnolog. Hun var født Nathalie Sophie Nielsine Caroline Møller.

Hun var gift med humanisten og den danske administrator i Grønland, Hinrich Rink. Hendes forældre var kolonibestyrer i Paamiut, Jørgen Nielsen Møller og og Antonette Ernestine Constance Tommerup.

Signe Rink var født og opvokset i Grønland som datter af kolonibestyrer Jørgen Nielsen Møller i det daværende Godthaab, men blev i 1850 sendt på skole i Danmark. Under dette ophold mødte hun Hinrich Rink, som dengang mest var kendt for sin geografi. De giftede sig i 28. april 1853, da hun var 17 år gammel. Hinrich var 33 år gammel.

Hinrich og Signe var begge med til at Grønlands første avis, Atuagagdliutit blev etableret i 1861. Det måtte imidlertid flytte fra Grønland i 1868 på grund af Hinrich' svigtende helbred. De flyttede først til Danmark, senere (1883) til Oslo, hvor deres datter boede. Det var derfra Signe fik skrevet om sine oplevelser på Grønland. Hun udgav flere bøger om Grønland og grønlænderne. Hun regnes som den første kvinde som skrev om grønlands kultur. Hun havde et fortrinligt kendskab til grønlænderne og det grønlandske sprog og skrev flere artikler herom (jævnfør oversigten under afsnittet "forfatterskab").

Efter Hinrich' død kæmpede hun for sikre de grønlandske kunstnere Aron fra Kangeq og Jens Kreutzmanns billeder for eftertiden. Hun oversatte bøgerne til dansk, engelsk og fransk. Billederne, som hun havde samlet, blev i 1905 opkøbt af Nationalmuseet i København, men kom tilbage til Grønland i 1982.

Forfatterskab

 Signe Rink: Grønlændere; 1886
 Signe Rink: Grønlændere og Danske i Grønland; 1887
 Signe Rink: Koloniidyller fra Grønland; 1888
 Signe Rink (red.): Kajakmænd og Jægere. Fortællinger af grønlandske sælhundefangere; 1896
 Signe Rink: Vestgrønlænder Kateket Hanséraks Dagbog om de hedenske Østgrønlændere; København 1900
 Signe Rink: Fra det Grønland, som gik. Et par tidsbilleder fra trediverne; 1902
 Signe Rink: A comparative Study of two Indian and Eskimo Legends. Reprinted from the Transactions of the international Congress of Americanists 1902.

På internettet
 Signe Rink: "The Girl and the Dogs - an Eskimo Folk-Tale with Comments" (American Anthropologist 1898, s. 181-187)
 S. Rink: "Kalâlek = Karâlek at udlede fra Koræk og ikke fra «Skræling»" (Geografisk Tidsskrift, Bind 18; 1905)
 S. Rink: "Kalâlek = Karâlek at udlede fra Koræk og ikke fra «Skræling». Vikinge-Ordet «Skræling» og Saga-Navnene «Uvæge»s og «Vathilde»" (Geografisk Tidsskrift, Bind 18; 1905)
 S. Rink: "De to eskimoiske Racenavne Juït og Inuït" (Geografisk Tidsskrift, Bind 19; 1907)
 S. Rink: "Aleuterne. Sted- og Folkenavne" (Geografisk Tidsskrift, Bind 19; 1907)
 S. Rink: "Lidt om Grønlands Befolkningsspørgsmaal" (Geografisk Tidsskrift, Bind 19; 1907)

Noter

Eksterne henvisninger
 Dansk Kvindebiografisk Leksikon – Signe Rink
 Salmonsens Konversationsleksikon, 2. udgave, bind XX, s. 218; opslag: Rink; Hinrich Johannes (omtalt under ægtefællen)
 W.H. Dall: "Fru Signe Rink" (American Anthropologist 1909; s. 317)
 K.J.V. Steenstrup: "Dr. phil. Hinrich Johannes Rink" (Geografisk Tidsskrift, Bind 12; 1893; s. 166)
 Signe Rink på Dansk Forfatterleksikon

Etnologer fra Danmark
Faglitterære forfattere fra Grønland
Personer i Dansk Kvindebiografisk Leksikon
Danskere i 1800-tallet
Samlere fra Danmark
Oversættere fra Danmark
Personer i Dansk Biografisk Leksikon
Dansksprogede forfattere fra Grønland
Engelsksprogede forfattere


A Catch Can and EGR Delete Module are two separate things which we discuss below.
A Catch Can is used to catch most of the oil vapour (no catch can will catch 100% of the vapour) released from crankcase pressure (engine blow-by).
Why do people choose to run a catch can?
In extreme cases (e.g. high-performance scenario) oil vapour coats the surface of the intercooler and internal piping of the intake system, this can cause surface tension which can slow up air flow.
People choose to run a Catch Can as (we believe) they are under the impression that it will eliminate all oil from the intake manifold, resulting in no build-up of carbon deposits recirculated by the EGR System. This is not entirely true, because as long as there is plumbing returned to the inlet manifold, there is still a chance of oil vapour passing the baffles/filter of a Catch Can and lining the internals of the intercooler and plumbing.
The EGR Delete Module does just that, it deletes the EGR System. It shuts it down into a dormant state but keeps the throttle control valve open which still allows the system to relieve excess boost if required (similar to that of an internal blow off valve).
With the EGR System deleted, carbon deposits are eliminated from the entire recirculation system. The carbon deposits are the solids that actually build up in the manifold and passes into your sump, causing all the issues that we know of with EGR systems.
If you run an EGR Delete Module, the carbon deposits are no longer present. This means the oil stays clean and passes through without issues and the sump oil is no longer blackened by the carbon deposits. Therefore you do not need a Catch Can.
We were advised by our dealer that installing a Catch Can to minimise the oil in the intake would void our new car warranty. This is even after we had signs of oil weeping from our EGR Valve. Their reasoning for this is a Catch Can, being a filter, causes a restriction in the natural breathing of the engine. This restriction, in some cases, can cause oil seal issues in the head of the motor.
So if you are turned away from an EGR Delete Module due to the warranty issues, keep in mind, an EGR Delete Module can be simply unplugged before services, however, a Catch Can is a much bigger job to physically remove. Both can void warranties if found.
Don't run one, mine was thrown in the bin by my mechanics following a large bill to repair blown oil seals and gaskets, caused by increased crankcase pressure, caused by the Catch Can.


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	} else {

		if ( System.support.webgl === true ) {

			renderer = new THREE.WebGLRenderer( { antialias: true } );

		} else {

			renderer = new THREE.CanvasRenderer();

		}

	}

	renderer.autoClear = false;
	renderer.autoUpdateScene = false;
	container.dom.appendChild( renderer.domElement );

	animate();

	//

	function updateInfo() {

		var objects = 0;
		var vertices = 0;
		var faces = 0;

		scene.traverse( function ( object ) {

			if ( object instanceof THREE.Mesh ) {

				objects ++;

				var geometry = object.geometry;

				if ( geometry instanceof THREE.Geometry ) {

					vertices += geometry.vertices.length;
					faces += geometry.faces.length;

				} else if ( geometry instanceof THREE.BufferGeometry ) {

					vertices += geometry.attributes.position.array.length / 3;

					if ( geometry.attributes.index !== undefined ) {

						faces += geometry.attributes.index.array.length / 3;

					} else {

						faces += geometry.attributes.position.array.length / 9;

					}

				}

			}

		} );

		info.setValue( 'objects: ' + objects + ', vertices: ' + vertices + ', faces: ' + faces );

	}

	function updateMaterials() {

		editor.scene.traverse( function ( node ) {

			if ( node.material ) {

				node.material.needsUpdate = true;

				if ( node.material instanceof THREE.MeshFaceMaterial ) {

					for ( var i = 0; i < node.material.materials.length; i ++ ) {

						node.material.materials[ i ].needsUpdate = true;

					}

				}

			}

		} );

	}

	function updateFog( root ) {

		if ( root.fog ) {

			root.fog.color.setHex( oldFogColor );

			if ( root.fog.near !== undefined ) root.fog.near = oldFogNear;
			if ( root.fog.far !== undefined ) root.fog.far = oldFogFar;
			if ( root.fog.density !== undefined ) root.fog.density = oldFogDensity;

		}

	}

	function animate() {

		requestAnimationFrame( animate );

	}

	function render() {

		sceneHelpers.updateMatrixWorld();
		scene.updateMatrixWorld();

		renderer.clear();
		renderer.render( scene, camera );

		if ( renderer instanceof THREE.RaytracingRenderer === false ) {

			renderer.render( sceneHelpers, camera );

		}

	}
	editor.render = render;

	return container;

}

redpajama_set_name: RedPajamaGithub


text:
Q: How to centre elements in Jetpack Compose Desktop Column Working on desktop application with Jetpack Compose and unable to center elements in a Column as horizontalAlignment attribute is not working. I've also seen many other answers saying to use horizontalArrangment but that is also not working for desktop application.

Update: I've imported Alignment from androidx.compose.ui now and able to use CenterHorizontally and error is gone but it's still not getting in centre.

A: you need to add

Column(
    modifier = Modifier
        .fillMaxWidth(),
    horizontalAlignment = Alignment.CENTRE
){
   ....
}

because u need to state max width for the apps or you need to define the width/height of the column so that horizontal can be placed on the centre.

redpajama_set_name: RedPajamaStackExchange


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text:
Het Masters Wereldkampioenschap Oriëntatielopen 2002 zijn de veteranen wereldkampioenschappen oriëntatielopen die gehouden zijn in 2002. Deze versie van de Masters Wereldkampioenschap Oriëntatielopen werd gehouden in gaststad Bendigo in Australië.

Mannen

Vrouwen

Medaillespiegel

Externe link
 Resultaten 2001, Internationale Oriëntatieloop Federatie

Masters Wereldkampioenschap Oriëntatielopen
Sport in 2002
Oriëntatielopen