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Harbor Loop (outdoors),
Gloucester MA
Gloucester's Harbor Loop may fall in line behind Marblehead's Crocker Park and the Salem Willows for pure asthetic outdoor concert-going, but tonight's performance surpasses anything I've seen on those other stages. Running late, I arrive jumping off my bicycle the way Roy Roger's would dismount Trigger, just as Allen Estes is plugging his big upcoming concert at the Larcom Theatre in Beverly, MA, on October 5. He launches into a serious folk song about the seafaring dragger "Corinthian" that was cut in two by a 7600 ton freighter in 1949, killing six of the eleven crewmen. Allen strums his Martin DC-Aura acoustic guitar with his manly tattooed forearm throughout the tear-jerker while sideman Matty Levinworth takes on the waves with his flashy red fiddle. The next song, "Not With Your Hands," is about Howard Blackburn who was stranded at sea in the midst of a winter storm and didn't give up rowing his dory for five days, despite losing his fingers and half his thumbs to frostbite. I only now realize that this is Allen's Souls of the Sea series that came from a musical play inspired by heroic stories of Gloucester fishermen. Matty switches over to a Parker Fly guitar (designed by Ken Parker—another Gloustonian) and shows how adapt he is with a different set of strings, picking out or sliding fluid solos. "Save the Wales" has Allen aggressively folk-jammin' lines from his acoustic after singing the familiar refrain of "ooowee up she rises earlay in the mornin'."
I'm gonna have to get me to that October 5th show where fantastic Gloucester guitarist Dave Brown (ex-Billy Joel's band) will be joining these two musical behemoths. (T Max)
The Middle East, Cambridge, MA
Duck and Cover are similar to early Replacements and do a cool Julie Driscoll cover of "Stand Corrected." These cats are from Somerville and their punk—as well as the next band Scrape's sound—brings me back to the pure garage punk days of the '80s. But I am here to hear old friend Rick Barton's new gig with his bass- playing son Stephen in the band, too. Dave Deprest on guitars and vocals and Derek Louis on drums are young punks backing the master. This new band sounds at times like his old band, The Outlets (he was also a Dropkick Murphy for a while), and it's a real pleasure to hear the menacing punk powerchords and lecturing vocals again. "Transition" is great. Powerful. Loud. Jangling guitars. Great rhythm section. It has it all as a hit. Rick dedicates "Wasted" to me and we both smirk. Ahh, the old days. Ahh, the new days. A lot of tattoos onstage and in the audience, too. Good music by all three bands. (A.J. Wachtel)
Gallery 360 at Northeastern University, Boston MA
In the heart of Northeastern University's campus sits Gallery 360, an art gallery that today displays an epic collection of typewriters that were used by celebrities such as John Lennon, Orson Welles, Ray Bradbury, John Updike, and Joe DiMaggio. Most students here have never seen a typewriter, much less used one before; so when six accountant-type looking people show up with their own typewriters, hammering out percussive melodies on the keys in the middle of the exhibit, a lot of student heads are turned. Turns out it's The Boston Typewriter Orchestra; a musical group that is one part Blue Man Group, one part Stomp and one part white collared business executives. The band each bangs out rhythms on their own vintage typewriters, interspersed with office banter and the occasional sing-along. Stand out tunes include "Underwood Blues" and The Safari's "Wipe Out." The collection's owner, Steve Soboroff, even sits in with the orchestra for a tune on a typewriter that Ernest Hemingway wrote "Old Man and the Sea" on. It's a full house in the gallery and a night many of these students here won't forget. (Kier Byrnes)
Middle East Downstairs,Cambridge MA
If the idea of greatness building applies to rock 'n' roll shows, and Muck & the Mires is the opening band…well, this show is probably gonna be more than my weak heart can take. In other words, where do you go from the top? Positive sign of just how stellar the line-up is tonight is the sizable crowd on hand for the first band (ya don't see that often). Muck play like they're the main event here, and the only suggestion that they aren't is the tactful omission of "Hypnotic" and "Doreen" (I think to avoid blowing the other bands outta the water). Sneak peeks from the forthcoming new album are "3 Steps Closer" and "Don't Write Her Off."
This is only about the third time Downbeat 5 has played over the last twelve months—purposefully buying me time to put my formidable creativity to devising something new to write about them. Long, lonely months I've squandered! That's right, I've got nothing but stale prose you've read a million times. Conversely, DB5 is anything but stale. If anything, they sound refreshed, recharged, and ready to kick you in the chops just to remind you they're the best band in town! It's the usual mix of memorable originals ("Climbing The Walls," "My Way") plus connoisseurs' choice covers ("Get On Your Knees And Pray," "Outcast") performed by genuine talents (That's Jen and JJ). And it doesn't stop there! No! For one night only, filling in on bass is the nigh legendary BFace Rat (or Queer or Ghoulie or whatever he prefers). Whoa… I feel faint. Experiencing DB5 sycophant overload!
Whew! Need a breather here. I sure hope Jittery Jack sucks, so I can take a break. Mmm? Goddamn it—they don't suck! Point of fact, they're a blast. I recognize T.T.'s manager Kevin Patey (frontman here) and of course guitar queen Miss Amy (always a good sign). They're doing the rockabilly/ roots thing here. Lemme tell ya the great truth, which you'll never hear from any of the other rock writers: In competent hands, this genre never gets tired. Why? Because in contrast, at any given moment, there are scads of ghastly metal or tuneless hardcore bands stinking up some venue somewhere. It may be "rawk" but it ain't rock 'n' roll, pal. Jittery Jack is definitely the real thing, with a helping of energy and fun to boot.
"It's clobberin' time!" Barrence Whitfield completely undermines my belief in evolution. If nature alone is responsible for developing a voice like Barrence's in our species… then where's mine?!? Don't we all get one??? Listen, the last time I saw Barrence, the guy had me enjoying a Doors cover. Now that is a powerful man! It's great to see him with a reformed Savages and great to see them in front of a large appreciative audience (doesn't always happen, which is an injustice). No Doors stuff tonight, just the soul shoutin' sounds of "Bip Bop Bip," "Mama Get The Hammer" and brand new "Oscar Levant." It's a long satisfying set plus encores. Barrence really is a treasure and The Savages really do deserve all the gushing praise they've gotten. I'm exhausted! (Frank Strom)
Indian Ranch, Webster MA
I already know this will be the best show I see this summer: a fitting end to a great season of music and I am not disappointed. This is a concert and motorcycle ride and benefit for CFMS Fund Foundation. Indian Ranch is a C&W venue and Wolf weaves his set list through almost two hours of blues, R&B and always a tinge of Americana. Highlights have to be the rollicking "Hard Driving Man," the bluegrass version of "Love Stinks" and the rocking "Can't Get Started." Other great cuts include "Homework," "Give It To Me," "Looking For Love," and I especially liked at the end of the set when all of the band comes out a la John, Paul, George, and Ringo, lock arms, and bow together. The country was there for "Asking For You," "Cry One Moe Time," and "Nothing But the Wheel." Peter talked with everyone and during one song he got out into the audience to sing and for a few moments just sang privately with his mic over the P.A. to a middle aged woman in a wheelchair. "Don't worry, I'm coming up to you, too!" he shouted mid-song to a far away crowd. During a Loretta Lynn song, he even sang the words "everyone know A.J.?" and looked at me as we smirked. How cool is this? "We are in the middle of recording" Wolf promises the eager crowd. And I can't wait. Two hours of pure energy and showmanship and the best two guitarists, Duke Levine and Kevin Barry, in any band on the scene. Tom West on keys, Marty Ballou on electric and upright bass and Tom Ahry pounding are just what the doctor ordered tonight. (A.J. Wachtel)
The Middle East, Cambridge MA
When I tell people that I am going to see The Fagettes tonight, I either get a chuckle or a concerned look. After seeing this Cambridge/ Allston-based band so many times in the past year, I tend to forget how enticing, comical, and perhaps controversial their name can be. With that aside, the band's music is as equally unforgettable as their moniker.
The Fagettes play a fairly straight- forward, but endlessly enjoyable brand of rock 'n' roll that is heavily inspired by '60s garage rock and protopunk (think the garagiest, slimiest aspects of Velvet Underground), '70s punk rock, and elements of power pop. In any case, the songs are of short to average length and are very immediate and catchy. Though they play this rougher breed of rock 'n' roll, the band is actually far from sloppy and they kick out each jam with a slick finesse that I rarely see among the garage punk crowd. As a die hard fan of the band, I love hearing both old favorites and some great up and coming tunes in this evening's set. For Boston rock fans, I can't recommend The Fagettes enough. Catch them live if you get a chance—shouldn't be too hard since they play around this city often. (Chris DeCarlo)
One Longfellow Square, Portland ME
Amy Black is what you could call a whole lotta woman. Bearing a slight resemblance to Trisha Yearwood, she opens the show all bright and brassy with an acoustic guitar and a voice that could fill church rafters. She plays a half dozen or so original Americana/bluesy tunes, and then blows the roof off with an a cappella version of "Shadow of Doubt"—a tune made famous by Bonnie Raitt. Though she has been a resident of the Northeast for quite a while, she retains an atmosphere of the southern preacher's daughter. She has quite a set of pipes and could probably sing "The Star Spangled Banner" at a presidential inauguration, or least, the Super Bowl!
Eilen Jewell and her astounding band wrinkle the rug and rock the stage soon after Amy finishes. Eilen is not only the Queen of the Minor Key, but a queen of songwriting! Her catchy, rockin' songs have clever lyrics, and could probably lure the most introverted and demure librarian to cut loose on a table top if given the chance. Jerry Miller is an electric drill of a guitar player, outdoing himself on the song "Shakin' All Over," with riffs interjected from "The Twilight Zone," "Day Tripper," "Paint it Black," and other tunes my brain cells can't process fast enough to recognize. Blazing bassist Johnny Sciascia is the quintessential hepcat of calling out, "One, two, a-one, two, three FO'," and Jason Beek's drumming is as hypnotic and pelting as a hurricane. Do not miss this band if they come to your town! Eilen has a warm-hearted, funny and adorable stage presence and is a first-rate singer. One Longfellow Square will probably have carpenters re-enforcing their stage tomorrow—due to beating it takes tonight! (Kimmy Sophia Brown)
Rock and Blues Cruise, Boston Harbor, Boston, MA
What can be better for a beautiful summer day than to cruise around Boston Harbor and listening to some of the area's greatest jam bands as you enjoy one of the best places to see a concert in the summer? And there are so many boats in the harbor watching people dive into the water from a sixth floor outdoor board that we require a police and coast guard escort to safely pass the inner circle of vessels. Just wild!
Viral Sound, out of Providence, RI, and their electro/ funk/ jam/ rock, which I find jazzy at times, sets the mood for this superb event. I dig their tunes "Cloud," "Sail Away," and "Time Waits" each because they are interesting compositions that are played with passion and ability. These kids are great! At times I hear reggae and at times I hear the Dead and the way the music sounds so spontaneous is really captivating. They change tempos mid-song and I dig that too. I always love the Max Creek cruise each year and their improvised jams are just so well done. Listening to their covers of Paul Simon's "Late In The Evening," and Dylan's "I'll Be Your Baby Tonight" are just perfect. I also dig their originals "You're The Only One" and "Louisianna Sun"—two tunes that showcase their incredible musicianship and experience. And the crowd knows most of the words to most of the songs too, which adds to the excitement. Like the Dead, they can play a 20 minute song and dazzle you with their creativity. What a blast! (A.J. Wachtel)
Cape Ann Museum courtyard, Gloucester MA
I drive directly from recording in Haverhill (Project Sound) to the Cape Ann Museum courtyard to see the very attractive Marina Evans leading her two skilled sidemen (Joe Cordoza on bass, and Dave Brown on Dobro with a slide). (Yeah, I'm a little late, needed to stop for farm-fresh veggies…) Marina is introducing "One of Two" and the sunny end-of-summer day couldn't be more beautiful. This heathy and happy young woman reflects the beauty of the day—tall, tan, and blonde, wearing a long maroon, black and gold bohemian dress, and large dangling circle gold earrings—and she's sweet on the ears—everything's perfectly in tune. Her folk/jazz/rock tunes all fit together well—and her musicians know exactly how to enrich her songs. Dave's Dobro echoes increasingly when ever he solos, and at one point he starts playing the echo against itself. Marina says of her self-penned "Dogtown": "Debouturous things go on there, or are fabled to have gone on there." The guy next to me says, "I need to hear more wrong notes," and I know where he's coming from, but the 60 or so people that line the outer rim of the cobblestone courtyard are loving Marina's lively performance. She even comments on how nice it is to have an audience that is quiet and listening (hello pub gigs!). She ends with "Walk With Me," saying it's just right for a Friday night at cocktail hour. She smiles pretty, she does a natural little barefoot dance while she sings—why, she's just like a playful cat, sometimes physically over-expressing herself, but always impressing her audience. (T Max)
Passim, Cambridge MA
There is a lot of good DNA onstage here. Ellie is the daughter of Andy Buckland who was in Bruce Marshall & The Clue and The Lyn LaPrad Band.And Isa's parents are Celt/folk icons David Surette and Susie Burke. And it shows. Their music is similar to traditional string bands. They are inspired by Gillian Welch and Dave Rawlings. I can also hear elements of bluegrass, country and Americana along with the folk. I dig their voices and the way they play fiddles together too. Ellie's songs "October" and "Wishing Well" really stand out as does Isa's "Montville." They also play a few traditional fiddle tunes that just knock me out. Acoustic roots music at its best. Check them out soon! (A.J. Wachtel)
DAVE SAGS BAND with LYDIA WARREN
Rhumb Line, Gloucester MA
I arrive on my bike just in time for the Dave Sags Blues Party. His special guest tonight wowed them previously at Gloucester's Blues Fest, so Dave got her to add her flair to his féte. And wow—this Lydia Warren is the prettiest thing I've seen on stage all year—can her talent possibly match her looks? Just as the band is deciding how to start I hear Lydia just say, "In F," and the four-piece band is rollin' out an instrumental. To Lydia's left is bassist Dave Sags who runs the show every Thursday night at the Rhumb Line. To her right is guitarist Chris "Stonewall" Brown, and if I didn't know better I'd think he was trying his hardest to impress his band member who is wearing a classy tight black dress, black hi-heels and a thin gold necklace lying on a bed of pure flesh. Sitting behind her is Forrest Frosty tappin' the beats out. Dave spots someone getting up to leave and he quickly says "You can't leave, We just started. The doors are locked!" Lydia jumps into the next song showing her vocal talents with "It's My Own Fault." She's playing through a small Ampeg and Chris has this unique hi-fi-looking antique beige box. She's crisp on the high-end like a soprano while Chris plays it gritty in the alto range. He flips his guitar behind his head for a solo and later uses his teeth on the strings just for the show. They all take turns with the lead vocals: Dave on "The Seventh Son," Chris on "A Mountain of Love," and Lydia taking on the majority of songs. She does this cute thing of sticking her tongue out slightly while emerged in her solos. Chis belts out the blues version of "I'm In the Mood for Love" which is kind obvious—and Lydia growls out the next one—"Come Into My Arms." Is there something going on here? Maybe—but I've got to head out after their first set leaving photographer Ray Dollard to enjoy and document the eye candy. (T Max)
RIKI ROCKSTEADY (with TOMMY LEONARD)
Blues & Rock Cruise, Boston MA
During the summer, these cruises are a great way to spend a couple of hours: cruising around Boston Harbor on a beautiful night, passing by the U.S.S Constitution, the end of a Logan Airport runway with planes continuously taking off and landing only a few hundred feet over your head, and motoring past a ton of fishing boats, nautical homes and other, larger ocean touring vessels. Opening up this afternoon's three hour gig is Riki Rocksteady and Tommy Leonard. Appearing as a duo, without their usual band, their beautiful harmonies are what I first notice. These cats sing like they're brothers: very instinctually and very enjoyable. I really dig their covers of Bob Marley's "Put It On Me" and Jackie Wilson's "Chain Gang." It's good stripped-down acoustic guitar ska and reggae with very good harmonies. And the crowd loves them.
Up next, is the horn-driven sound of Superska, a powerful band full of some of Boston's best veterans. They play mostly Skatalites covers, including their opener, "Beardsman" and closer, "Ball of Fire," but they really entertain the packed boat of dancing dervishes with their calypso cadence version of Hugh Masakela's "Grazing in the Grass"—"I can dig it, you can dig it, she can dig it, we can dig it BABY!" Jon Ferry on trombone (Bim, Duppy Conquerors), Jon Vanderpool on tenor sax (Sun Jones, ex-Heavy Metal Horns), and bassist Mark Ferranti (Bim) join Russ Robar and Patrick Faucher on trumpets, Mike Hartford on drums, Roland Shnippering on keys, and Shizz Mac on guitar and play a mostly-instrumental set of blazing brass danceable/ska music: and the deck is in motion! I notice a small boat with two passengers doing their best to follow the fine live music chasing our stern. I also see two fishing rods tautly hanging off the sides of their racing canoe-sized ship as they do their best to keep up with our cruiser. I smile as I listen to the music and think of the fishermen.
By the time Bim steps onstage, three people—two cute middle-aged blondes and a guy shooting a video—ask me if they can take a picture of the old Bim Skala Bim T-shirt I'm wearing, which is a first in all my many years of going to see bands. It also cracks me up. And by the time the group starts churning out the first of their long, 22-plus song set with three encores I am getting a little nervous. All of a sudden, half the audience, A LOT of people, are pogo-ing up and down along with the music; and all I can think of is Ernest Borgnine and Poseidon Adventure as the ship rocks. But as the music continues, my nightmare recedes. This band is still at the top of their game. "We've all been together for 10 or 11 albums," lead singer Dan Vitale crows as he majestically waves and includes everyone else onstage. Two CDs are being celebrated tonight: Chet's Last Call—all-original music, released in July, and Musical Biscuits—all covers, released in September. Highlights of the set are: "Summer Of Ska," off the Chet's CD, UB40's "Present Arms" off Musical Biscuits, a bunch of oldies like "Jah Laundromat," "Better Get Out Of Here," and great ska versions of Pink Floyd's "Brain Damage," and Johnny Kidd & the Pirates' "Shakin' All Over," where lead singer Dan Vitale's brother Ted comes up to vocally join the party onstage. It just doesn't get any better than this on a summer day in Boston. (A.J. Wachtel)
Annisquam Yacht Club, Gloucester MA
I might hold the prize for attending a performance at the ne plus ultra of esoteric venues, to wit, the Annisquam Yacht Club. For those unfamiliar with the Bay State's other cape, Annisquam is a village of Gloucester. The only reason I was able to gain admission to Pub Night at AYC is my father, with whom I share a name, belongs to said establishment. Anyhoo, the featured entertainer this evening is Charlee Bianchini, a local singer/songwriter who is essentially furnishing background music to al fresco diners. [It should be noted she is doing so under the tutelage of Gloucester eminento David Brown, so technically 'twas a "twin-guitar attack"; I ask David, who's played the big time internationally, whether this was slumming; he responded by directing his gaze to the picture-postcard-perfect marinescape, betray-ing a hint of a grin, and uttering, "Nope." Charlee, something of a jill-of-all-trades creatively, strums a set or two comprising her own compositions (e.g., "Unwanted Anchor," "Can't Be Without You") and classics of the American songbook ("Country Roads," "Across the Great Divide"). If you'd like to hear the chanteuse, your best course begins at charleebeth.com You might even be able to catch her (possibly with David Brown into the bargain) without having to don boat shoes. (Commodore Swig McJigger)
The Hard Rock Café, Boston MA
Alex plays energetic acoustic folk with an edge and he's a good singer and performer. His passion is evident and he almost screams the lyrics at some points when he's singing. He reminds me of Incubus.This is a good effect and he picks and strums along with his delivery resulting in a good opening set. Up next are The Stonefrets who are like Twisted Sister with real cool double guitar leads all over their songs—real arena rock and done real well too. "Time Bomb Renegade" off their new CD is powerful and typical of their music. The crowd really digs them. Up next is headliner Brian Bailey & the Changeup with his growling guitar. Their new single, "Monday Morning," is a bit like Sublime/Kid Rock and it is loud and impressive too. Ash Berman's vocals and guitar work meld well with Brian Bailey's vocals and guitar. This is a band to watch. Don't forget the earplugs! There are a lot of young chicks at this gig; how can this be a bad night? (A.J. Wachtel)
Church, Boston MA
While Joe's cast of supporting Queers has rotated frequently over the past 15 years, Dangerous Dave has been as close to a regular as they come, so I'm sad to see he's not on this tour. On the other hand, it's great having Chris (ex-John Cougar Concentration Camp) back in the lineup (he was part of the '98 or '99 model Queers). Compared to some of the sprawling epics of the past, tonight's set seems alarmingly brief (though it still probably clocks in at 45 minutes). Brevity aside, the set list is comprised of nothing but the best of Joe's best material, which combined with a fine, tight, and energetic performance leaves absolutely no room for complaints. Only one tune from the most recent album (I could go for at least one more) and the rest ("Love Love Love," "Like A Parasite," "Live This Life," "Webeloes," etc.) are the classics. Joe keeps my faith alive! This is easily amongst the best Queers shows of the last decade. (Frank Strom)
me&thee, Marblehead MA
Before the show I see Tony Toledo (the sometime-announcer at me&thee) showing off his impressive ink drawings on paper cups—wouldn't be surprised to see them at Starbucks soon. Then I scoot through the mostly-filled room to find my seat in the second row of pews. The 43 year-old me&thee operates out of the Unitarian Universalist Church of Marblehead. Phillip Murphy's friendly greeting is followed by a humorous acknowledgment of the fire exits by his evil, Yankees-loving, twin brother (I think I've figured out that HE is his evil twin—because I've yet to see the two of them in the room at the same time). The casual/sexy—mussed up hair/ sideburns/ soul patch/rolled up sleeves/ jeans—Putnam Smith, hailing from a log cabin in Maine, is introduced and although there are a number of instruments in place on the stage, he is a one-man show. He starts "Succotash" on banjo and I immediately notice his interesting modern folk style—he kind of fades in and out with his finger pickin' strums—leaving space for his lyrics to be heard—naturally forming a non-choreographed call-and-response with his voice and instrument. I'll tag it "call 'n' strum." He switches to guitar and harmonica to sing about how "The Stars Will Line Up Someday." Then steps down to the piano to perform "Looking Up." He climbs back on stage, mandolin in hand, for a historic personage tale admiring "Emily Dickinson." His new CD, Kitchen, Love…, has climbed to #14 on the National DJ chart—and it's easy to hear why, with his political song, disguised as love song, disguised as a tune about his "Cast Iron Pan."
I'd say Putnam is a hard act to follow, but the Maine/Texan, Slaid Cleaves (with the national media on his watch), steps up with a backup lead guitarist I recognize as the talented Malden, MA, resident, Duke Levine. Slaid knocks out the first few songs ("Horseshoe Lounge," "Drinkin' Days Are Over," and "Still Fighting' the War") quickly with his weathered sandy vocal tone. His easygoing personality and friendly banter lends itself to success. "Without Her" may draw a tear or two (sadness is his specialty), but he perks us up with "Whim of Iron," about his flaky Aunt Prudence's shot at fame—she made it onto an episode of Charlie's Angels that took place on a cruise ship, but was tossed overboard within the first five minutes of the show. Now while Slaid is jerking our emotions back and forth, Duke is wowing us with the tastiest of guitar solos. I've never heard a guitar sound so much like a steel guitar—lots of beautiful bending to complete chords that pull on our heartstrings. Slaid grew up in Southborough, Maine, and started his music career with the Magic Rats. His Texas pride song really does make me laugh—and after it states he once saw written on the wall of a Brooklyn bathroom stall—"I hate this part of Texas." Duke's old Telecaster through a Fender Vibrolux Reverb amp produces the kind of sound that every session man desires. And although Slaid is the master of sadness, he keeps proving that his wit is what makes his whole show work. He plugs WUMB saying the station totally propelled him from total obscurity to relative obscurity. Okay, his bid at yodeling may not reach his own high standards, but you'd never know it from the crowd's response. Another super successful night for me&thee—I believe booker Kathy Sands-Boehmer is at the top of her field. (T Max)
Record Release Party
Atwood's, Cambridge MA
What a band! It's Barrett and his groovie Telecaster guitar with Ron Levy on organ, Per Hanson on drums and Jamie Hatch on four strings. And I get to enjoy two sets of their funk/ fusion/ blues music, too! The first set has guest vocalist Samantha Farrell up for a few songs and Barrett's sister Emily Adair Anderson also jumps onstage to sing. Even Dennis Brennan from Push Push gets up with his harp for an R&B song or two, including Jimmy Reed's Chicago South Side Shuffle "The Last Time." I really dig the songs "Sons of Abraham" a funky Levy original, and The Meter's classic "Cissy Strut." "Grin and Bear It," "Tomorrow Morning," and "Emma Lee" from the new CD really set me and the crowd on fire. This is cool music from a great band. I really dig the encore of Bo Diddley's "Bo Diddley" and The J.Geils Band's "Houseparty." A great night. (A.J. Wachtel)
Hard Rock Café Faneuil Hall, Boston, MA
This annual event is in its 12th year and tonight's benefit is the first at The Hard Rock Café. The proceeds will fund and maintain a playground in Roxbury in honor of this hero who died on 9/11 and was married to the father of local artist Peter Hackel. From the git-go the joint is jumping. Like a local who's who, the local celebs keep coming: James Montgomery, David Hull and Joe Pet from The Joe Perry Project, Jon Butcher, Hirsh Gardner and John Fannon (New England), Axminster Mike Lamm, Stu Kimball from Face to Face, Sandy Mac, George Leh, George McCann, Bruce Marshall, and Jon Vanderpool. Hearing Joe Pet playing drums for Jon Butcher is a real highlight. So is hearing Montgomery's passion and power on The Stone's "Miss You," and Axminster Mike's version of "With A Little Help From My Friends" is killer, too. A great event for a great cause. A somber night with a lot of great music. (A.J. Wachtel)
Pinebank Field at Jamaica Pond,Jamaica Plain MA
As our esteemed publisher/editor remembers so well, Jamaica Plain is an area of Boston filled with cosmic consciousness, community concerns, and grass roots energy. Thus, it is no surprise, select organizers and premier local sponsors present the third annual JP Music Fest, featuring twenty-two acts over seven hours. Oh my gosh—what a massive undertaking!—on a gorgeous day with two stages of non-stop music, local truck vendors, merch tables, live streaming courtesy of college radio, and a field filled with thousands of people! I meet dozens of friends and bask in the good vibrations of eleven groups steamrolling their way through their 20 minute sets (must admit, didn't have ability to endure the complete show). No need for critique—just a wonderful potpourri of diverse entertainment.
Who I see: The Michael J. Epstein Memorial Library (one man/seven women—reminded me of Sparks); Merrie Amsterburg (lovely folk-rock trio—great voice—rare Dylan cover); Rick Berlin with the Nickel & Dime Band (yikes, they swap their usual suits for dresses—introduced by Oedipus!—kooky, positive, all-embracing); The Long Woods (new quartet—very English sounding a la The Smiths or The Cure); The Bethel A.M.E. Praise & Worship Team (gospel fervor and uplifting energy from 20 singers and musicians—only encore of the day!); Lars Vegas (neo-lounge with horns and vibes and quirky, ironic, wry ramblings from Tom Stenquist, oozing cool); Lenny Lashley's Gang of One (really an acoustic quartet of Americana punk rock with an edge); Tallahassee (big beards à la ZZ Top, big alt-country sounds, bountiful energy—always heard about them, but never saw—a big bravo!); Kim Mayo (soul jazz R&B pop big-band revue—great voice on the ballads—dynamic presence); The Grownup Noise (longtime faves spinning out another winning set of progressive acoustic pop—more banjo, please!); and finally, Streight Angular (psycho grunge pop mayhem—the crowd loves their wackiness!) I leave totally satiated and can't wait until next year. Major kudos to Rick Berlin, Kellie Cardone, Justin McCarthy, Charlie McEnerey, Shamus Moynihan, Ferris Mueller, Margie Nicoll, and Randace Rauscher-Moore for whipping up such a potent brew! (Harry C. Tuniese)
One Longfellow Square, Portland ME
One Longfellow set up tables and chairs to create a cozy cabaret feeling. The place fills up with an enthusiastic crowd. Three men take the stage—Richard Sheppard, leading the group, a strongly built man who looks like he's been playing guitar since he was a little boy; Jack Soref, a quick fingered guitarist with a gentle soul; and Michael Harrist, a young looking, yet extremely capable standup bassist.
The show is vigorous and hypnotic. Original tunes and standards flow into a kind of gypsy-manouche-lava of music. My husband and I are here after a long hard day, and we close our eyes and go into shamanic journeys of string ecstasy. The intense rhythms increase into a nearly supernatural journey, song after song. The band becomes more united, more intuitive, more joyful, more intense. There's a break to sell CDs and go to the bathroom, then they come back for the second set.
Richard is an aggressive, percussive guitarist, his fingers are like little hammers; and the group is a small flock of birds, flying this way, that way, back again, far away, melding and separating like flocks of starlings settling in trees and changing their minds and settling again.
The music is like dark wood, dark red wine, smoky fires, and train-like. It is suddenly over. We emerge from our trance and our feet are six inches above the floor. We drive home and I wonder, was that a dream? Incredible! (Kimmy Sophia Brown)
We get a lot of calls and emails from bands requesting coverage of their live shows. Please be advised that it's logistically impossible for us to honor or acknowledge these requests.


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This afternoon London-based Concepta Diagnostics unveiled exclusively to MobiHealthNews the UK release of its myLotus Fertility app and monitoring system, which lets women trying to conceive test their hormone levels at home.
The new product and app uses luteinising hormone (LH) levels — higher levels indicate ovulation — to help predict when a woman has the best chance to become pregnant.
The way it works is a user enters each new cycle into the app starting with the first day of their period and records bleeding days. On the eighth day of a woman's cycle the monitor will request an LH test. Women test themselves on the monitoring system and then enter the results into the app.
The user does this every day until there is a "surge" in LH. After the first cycle the system will be able to "personalize the user's hormone profile and calculate testing days for ovulation." The app will help women keep track of their most fertile days.
The system is also designed to help women detect if they are pregnant through LH levels.
Concepta's chairman, Matthew Walls, said the system is different than others on the market because of its ability to test LH levels.
"myLotus is the only fertility monitor providing women with a quantitative measurement of how much of their [LH] is present in their urine and the rate-of-change in this measure, which can also be tracked and viewed in the free accompanying myLotus app," Walls wrote in an email to MobiHealthNews. "Other digital fertility monitors also measure fertility hormones, but only provide qualitative results in symbols based on a set threshold that is based on the average woman. If a woman´s LH levels are above or below the normal range, they will not be able to identify their LH surge with these qualitative tests as they would get false negative or false positive results. Digital monitors based on temperature rely on building up a picture of your temperature charts in order to predict ovulation in future cycles. It confirms ovulation after the event."
The system has been in the works for some time. Prototypes of the system were first launched in 2016 and validated in 2017. The final user testing went through the regulatory process in 2018.
As for future plans the company will continue working on this platform and adding other tests.
"We are also developing further tests for our myLotus device around progesterone, estrogen and FSH which will provide a more comprehensive assessment of a women's menstrual cycle and fertility," Walls wrote.
Why it matters
Fertility rates in many part of the world including the US, UK and Japan have continued to drop since the 1960s, according to the World Bank. For example, in 1960 American women had an average of 3.7 babies — that number has dropped to 1.8 in 2016.
A conflux of factors including women waiting to have children and having less children are responsible. Fertility rates decline in women in their 30s, particularly after age 35, according to the American Society of Reproductive Medicine.
Concepta is pitching this as an avenue for women to figure out the best time to get pregnant.
"myLotus will allow a women to accelerate her chances of naturally getting pregnant by identifying their optimal time to conceive based on their ovulation pattern or individual 'signature,'" Walls said. "Women are encouraged to identify their personal cycle patterns by using myLotus over a couple of cycles to identify their cycle variability and hormone levels along with a more accurate assessment of when they ovulate and therefore when to have sex to naturally conceive. Ovulation is preceded by the body's natural surge in luteinising hormone levels."
What's the trend
Fertility apps and systems are a popular topic in digital health. Mira has also launched an at-home fertility testing system, which has FDA and CE Mark clearances. Ava is another company working on helping women understand their reproductive health. That system offers a fertility tracker and access to one-on-one fertility testing.

subset: commoncrawl


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ComputerWorld has a new article out on 'lifestyle hacking,' which refers to "skirting various corporate controls put in place to protect security-related websites and critical endpoints." Lifestyle hackers are not interested in stealing bank account passwords or credit card numbers; rather, they are trying to get into Facebook and Twitter when their companies forbid it, often to improve their productivity rather than harm it. According to the article, there is a generational divide here: Baby Boomers do not like to multitask and see Web2.0 as a distraction while "Net Gen'ers" (Generation X + Y) use it to their advantage to get more done at the same time.
On the other hand, a recent study by Nucleus Research found that employees who use Facebook at work lose 1.5% productivity.
I have seen that Twitter, Facebook and especially LinkedIn - used wisely - can provide leads and contacts for business in ways that may not be initially obvious. It can also just be another way to waste time. I'm not the only one who thinks that goofing off at work may be a good thing.
Maybe you should try it.
Curt Finch is the founder & CEO of a resource management software company.


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every1 has an exciting opportunity for a passionate and experienced Creative Designer to join our team and be part of an expanding, award winning North West agency.
Our results and culture are paramount to what makes us every1. So we're looking for a top notch creative who isn't afraid to roll up their sleeves, has a strong portfolio of work that makes us sit up and take notice, and is happy to present details about your specific involvement.
To be a really great designer at every1, you'll need the following:
- Have at least 2/3 years commercial experience, working at an agency or in-house.
- Be a creative thinker who constantly aims to push the boundaries of design.
- Able to develop good commercial ideas that solve business problems.
- Show a passion for design that's inherent, and which inspires and informs.
- Comfortable working across digital (web) and print (branding, campaigns etc).
- The foresight to put themselves in the shoes of the user.
- Excellent understanding of colour, layout, and typography with an obsessive eye for detail.
- Confidence in articulating your ideas and rationale.
- Competency in taking projects from brief to completion.
- Fluent in Adobe (Photoshop, Indesign and Illustrator), Figma/Sketch (or similar).
- Have experience of working in a project team and delivery of self managed individual projects.
- Love the industry you work in and happy to discover new ways of working and developing your own skillsets.
- Comfortable working on multiple projects to set times and budgets.
- Want to produce awesome work and win awards.
- Be friendly, outgoing and contribute ideas to our studio culture.
Brownie points for:
- Motion/animation for branding and user interfaces.
- Illustration and 3d visualisation.
- An understanding/appreciation of front-end technologies (CSS).
What you'll do …
- Build new and existing brands from concept to delivery across print and web.
- Create wireframes/prototypes and progress them into fully realised web designs.
- Craft UX and UI solutions from client documentation and brand guidelines.
- Develop marketing campaigns across print and web.
- Participate in creative brainstorms and client workshops.
- Collaborate with team members to gain feedback and validate ideas.
- Work with the Creative Director to deliver pitch concepts.
- Contribute to streamlining work-flow and processes.
- Impart your knowledge onto others and help evolve the company's understanding of design.
Does the above sound like you?
If all this sounds familiar and you're looking for a fresh start or new challenge, we'd love to hear from you. To apply please send your CV, covering letter and portfolio (PDF or link to website) to the following with 'Creative Designer Position' in the subject line – [email protected]
Sorry, no recruitment agencies.


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AR Rahman bags Best Music award at BAFTAs
London (ANI): Slumdog Millionaire won seven gongs at the BAFTAs, including the Best Music award for AR Rahman. The story of an 18-year-old boy from rags-to-riches also won the Best Film and Best Director for Danny Boyle. Resul Pookutty was the other Indian to win a BAFTA award for best sound editing. Other awards included Best Editing, Best Cinematography and Best Screenplay.
"It feels pretty nice to be here. I''ve been directing a long time. It's a real honour for the film and I'm delighted for everyone, especially the actors," the Sun quoted director Boyle as saying. "I thought I would never want to do a film about a gameshow. I'm not really a big time director. I try to concentrate on projects I can keep control on. So it's extraordinary when something like this takes off," he added.
Kate Winslet and Mickey Rourke walked away with the top awards for The Reader and The Wrestler, respectively. Heath Ledger won the posthumous gong for Best Supporting for his dramatic role as Dark Knight villain The Joker, while Penelope Cruz won the Best Supporting Actress for her role in Vicky Cristina Barcelona.
The list of winners as follows:
Best Actor: Mickey Rourke, The Wrestler
Best Actress: Kate Winslet, The Reader
Best Film: Slumdog Millionaire
Best Music: AR Rahman, Slumdog Millionaire
Best Director: Danny Boyle, Sulmdog Millionaire
Best Screenplay: Simon Beaufoy, Slumdog Millionaire
Best Supporting Actor: Heath Ledger, Dark Knight
Best Supporting Actress: Penelope Cruz, Vicky Cristina Barcelona


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Ryanair faces having to reduce its shareholding in Aer Lingus after the UK Competition Commission provisionally decided that its 29.8% stake could reduce competition on routes between Britain and Ireland. In a summary of its provisional findings, the CC concluded that the shareholding gives Ryanair the ability to influence the commercial policy and strategy of Aer Lingus, its main competitor on these routes.
The CC has provisionally found that, against a background of consolidation in the airline industry, Ryanair's shareholding obstructs Aer Lingus's ability to merge or combine with another airline to build scale and achieve synergies to remain competitive.
The CC has also found that Ryanair's shareholding allows it to block special resolutions by Aer Lingus and to hinder its plans to issue shares and raise capital; it could also prevent its rival from disposing of its valuable slots at Heathrow Airport.
The CC has published a notice of possible remedies that seeks views on how much of its shareholding Ryanair should have to sell and whether such a disposal should be accompanied by other safeguards, should the CC's provisional findings be confirmed.
Simon Polito, CC Deputy Chairman and Chairman of the Ryanair/Aer Lingus inquiry group, said: "Our provisional view is that Ryanair's shareholding is likely to weaken its main competitor on routes between Great Britain and the Republic of Ireland. Whilst not giving it control over the day-to-day running of its rival, Ryanair's minority shareholding can influence the major strategic decisions that could be crucial to Aer Lingus's future as a competitive airline on these and other routes.
"We were particularly concerned about Ryanair's influence over Aer Lingus's ability to be acquired by, merge with, or acquire another airline. We thought it likely that such a combination would be necessary to increase Aer Lingus's scale and achieve synergies to allow it to remain competitive in future.
"We recognise that there has been competition between Aer Lingus and Ryanair since 2006. However, without Ryanair's minority shareholding, competition might have been more intense and may be restricted in the future. Passengers on routes between Great Britain and Ireland will benefit from Aer Lingus continuing to compete vigorously with Ryanair and so Aer Lingus needs to be free to take any actions that will strengthen its position in the future."
The Office of Fair Trading (OFT) referred the case to the CC in June 2012, shortly after which Ryanair made its third bid for Aer Lingus, following previous unsuccessful attempts launched in 2006 and 2008. The most recent bid was investigated by the European Commission and prohibited in February 2013.
The CC's own inquiry was extended while Ryanair sought to challenge the CC's jurisdiction in view of the European Commission investigation. The Competition Appeal Tribunal (in August 2012) and the Court of Appeal (in December 2012) both dismissed Ryanair's challenges and the Supreme Court refused it permission to appeal further in April. The CC restarted its investigation in March 2013.
The CC is expected to publish its final report by 11 July 2013.
The CC would like to hear from all interested parties, in writing, on the provisional findings report by no later than 20 June 2013 and on the notice of possible remedies by no later than 11 June 2013. To submit evidence, please email firstname.lastname@example.com or write to:
Inquiry Manager Ryanair/Aer Lingus inquiry Competition Commission Victoria House Southampton Row, London WC1B 4AD.
Airline Responses
Aer Lingus welcomed the announcement and said: "Aer Lingus looks forward to continuing to assist the UK Competition Commission in its investigation into the anti-competitive effects of Ryanair's minority shareholding. The issuing of the final report is expected by 11 July 2013."
In a statement, Ryanair said: "Should the Competition Commission maintain this untenable position in its final decision (due in July), Ryanair will appeal that decision to the UK Competition Appeals Tribunal and thereafter, if necessary, to the Court of Appeal. Until the outcome of this UK appeal, and the completion of Ryanair's appeal against the European Commission's February 2013 prohibition decision, the CC cannot impose any remedies, however unlawful, on Ryanair."


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Good Night Princess Leia – Sweet Dreams Carrie Fisher (NNSFW)
We originally ran what you see below earlier this year; we run it again today, with addition imagery of our favorite space-going princess, in honor of Carrie Fisher.
As she would have us tell you, actress, writer, and activist Carrie Fisher has died, drowned in moonlight, strangled by her own bra. Officially, she passed away this morning at the age of 60 at the Ronald Reagan UCLA Medical Center in Los Angeles. In addition to her acting roles, Fisher was the author of Wishful Drinking, Postcards from the Edge, Shockaholic, and others. She also assisted with the scripts of many movies, including some of the Lethal Weapon franchise.
See you on the other side, Princess Leia!
Now on to the imagery – but first we'll shamelessly plug our newly remodeled online store, MadDuo.com.
Star Wars is a great franchise — and one of the best things about it is the hawt cosplay it has created. What's not to like about great looking scantily clad female aliens, stormtroopers and Jedi? Nothing, that's what.
We can't take credit for any of these pictures. They all came from assorted pervs and discriminating nerds on Tumblr. If you know who these ladies are (or who took the pictures), tell us and we'll happily edit with appropriate credit. We left any watermarks we found, but that's only a portion of 'em. A lot of these beauties are either models or cosplayers who work their asses off, so let's try to give 'em some press. While ogling them of course.
May the Fourth Be With You.
NNSFW (Not Necessarily Safe For Work)
Rest in peace, Princess!
Note: if you're the kind of gunnerd who enjoys building his own guns, check out this post on designing your own lightsaber.
Comms Plan
Primary: Subscribe to our newsletter here or get the RSS feed.
Alternate: Join us on Facebook here or check us out on Instagram here.
Contingency: Exercise your inner perv with us on Tumblr here, follow us on Twitter here or connect on Google + here.
Emergency: Activate firefly, deploy green (or brown) star cluster, get your wank sock out of your ruck and stand by 'til we come get you.


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'Curious' polar bear damages parked Air Force helicopter
The Royal Canadian Air Force says a polar bear got into a scuffle with one of its helicopters while the aircraft was parked in Newfoundland. (Royal Canadian Air Force/Twitter)
TORONTO -- The Royal Canadian Air Force says a polar bear got into a scuffle with one of its helicopters while the aircraft was parked in Newfoundland and Labrador earlier this month.
The Air Force detailed the incident in a series of tweets on Wednesday, saying a "curious polar bear came by to investigate" the CH-149 Cormorant after crew had parked the chopper at the Saglek, N.L. airfield.
The RCAF said poor weather had prevented the crew with 413 Squadron at 14 Wing Greenwood from landing at their preferred location. The crew was on a planned two-week mountain flying search-and-rescue exercise.
The polar bear caused some "superficial damage," according to the tweets with pictures showing claw markings from the bear on parts of the helicopter. The Air Force said the bear reportedly "pushed on a side door, popped out an emergency exit window and removed a small cover panel on the nose" of the chopper.
According to the RCAF, the polar bear did not get inside the helicopter and there were no crew members in the vicinity at the time of the incident.
Following the scuffle, the Air Force said crew inspected and aircraft and completed repairs before resuming flights on their training exercise.


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(Was anybody gonna tell me I spellt compilation wrong?)
On Cavman Unleashed there was this great quote from Calvin or Augustine, I'm researching the quote now.
**"Because we do not know who belongs to the number of the predestined, or does not belong, our desire ought to be that all may be saved; and hence every person we meet we will desire to be with us a partaker of peace."**
(If anyone knows where this came from, let me know)
And on his site I saw this link:
League of Reformed Bloggers. Might be interesting to check out.
Also this quote from Calvins Institiutes:
For it is right that the stupidity of the human mind should be punished with fearful destruction, whenever it attempts to rise in its own strength to the height of divine wisdom. And this temptation is the more fatal, that it is the temptation to which of all others almost all of us are most prone. For there is scarcely a mind in which the thought does not sometimes rise, Whence your salvation but from the election of God?
Hehe, Calvin called us stupid. 🙂
First, if we seek for the paternal mercy and favor of God, we must turn our eyes to Christ, in whom alone the Father is well pleased, (Mat 3: 17). When we seek for salvation, life, and a blessed immortality, to him also must we retake ourselves, since he alone is the fountain of life and the anchor of salvation, and the heir of the kingdom of heaven. Then what is the end of election, but just that, being adopted as sons by the heavenly Father, we may by his favor obtain salvation and immortality? How much soever you may speculate and discuss you will perceive that in its ultimate object it goes no farther. Institutes, book 3, chapter 24, section 5
And this from a Family Life e-newsletter:
But showing lovingkindness to thousands, to those who love Me and keep My commandments.
Deuteronomy 5:10
I'll be honest with you: The thought of my kids sinning in the same areas that I sin has bolstered my obedience to God. I'm reminded of the piercing statement by C. H. Spurgeon, "Sin would have fewer takers if its consequences occurred immediately."
Just think for a moment of the sins that could be visited upon your children. What do you struggle with? Lust? Selfishness? Anger? Lack of discipline? Jealousy? Pride? How about deceit? Broken promises? A gossiping tongue?
The twenty-first century could be a scary time to be alive. I wonder how the sins of adultery, divorce and addictions will affect future generations?
So what are we to do? Wallow in guilt because we are far from perfect? Are we enslaved to our ancestors' wrong choices and, thus, permanently under the punishment of God?
No, we can stop the chain reaction by our repentance and confession. God in His grace stands ready to forgive us and grant us favor. You can, by faith, stop even the most tyrannical control of a sin that has beset your family for generations.
The good news is that God also gives us a wonderful promise: Your righteousness can still be influencing others a thousand generations from now. That's encouraging!
Discuss: What type of faith would you like your children and grandchildren to have?
Pray: Ask God to protect your life, marriage and family from sin. Ask Him to enable you to leave a legacy of righteousness to a thousand generations.
And from my Integrity Notes;
"Blessed are the flexible for they shall not be broken" ~missionary prayer
We have hope today~
not because of our circumstances, but because of Him in Whom we trust.
We are strong today~
not because of our great might, but because of the power of the One at work within us.
We have victory today~
not because if anything we can accomplish, but because of what He did for us on the cross.
Our bible study discussed fornication, adultery, harlotry and the such, not a blog topic per se.
3 For this is the will of God, your sanctification; that is, that you abstain from sexual immorality; 4 that each of you know how to possess his own vessel in sanctification and honor, 5 not in lustful passion, like the Gentiles who do not know God; 6 and that no man transgress and defraud his brother inthe matter because the Lord is the avenger in all these things, just as we also told you before and solemnly warned you. 7 For God has not called us for the purpose of impurity, but in sanctification. 8 So, he who rejects this is not rejecting man but the God who gives His Holy Spirit to you.
This week we are going over brotherly love and christian work ethic;
9 Now as to the love of the brethren, you have no need for anyone to write to you, for you yourselves are taught by God to love one another; 10 for indeed you do practice it toward all the brethren who are in all Macedonia. But we urge you, brethren, to excel still more, 11 and to make it your ambition to lead a quiet life and attend to your own business and work with your hands, just as we commanded you, 12 so that you will behave F47 properly toward outsiders and not be in any need.
And next week;
Those Who Died in Christ~
13Brothers, we do not want you to be ignorant about those who fall asleep, or to grieve like the rest of men, who have no hope. 14We believe that Jesus died and rose again and so we believe that God will bring with Jesus those who have fallen asleep in him. 15According to the Lord's own word, we tell you that we who are still alive, who are left till the coming of the Lord, will certainly not precede those who have fallen asleep. 16For the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first. 17After that, we who are still alive and are left will be caught up together with them in the clouds to meet the Lord in the air. And so we will be with the Lord forever. 18Therefore encourage each other with these words.
More on that later.
The New Issue of Knitty is up, YEAH!!!!
Me and the boy are off to see my nephew play basketball in Seattle.
I'm stealing this idea from All & Sundry
Post a note and tell me what you are doing this weekend.
**We are watching 8 year olds play b-ball tonight.
Saturday night; my son's school has its annual auction.
Saturday Night;
a cat trap +Cat food=good times
we have a few strays in the 'hood and one of them is hurt bad, eye all swollen up. Gonna get them taken somewhere to a good home.
Should be interested to see what gets caught.
Sunday, church and the pastor is having a deacon dinner. Have no clue what that is, but I'm kinda scared. Some sort of reformed/dutch/old ritual consisting of bloodletting, maybe?
Just teasing 🙂
Blessings, Kristina


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http://firstladyfilm.dk/wp-content/uploads/2015/06/NINE-ROCKS-POSTER.jpg 2976 2105 Nynne Selin Eidnes http://firstladyfilm.dk/wp-content/uploads/2016/09/firstladyFinal_540pix-MikeTrans.png Nynne Selin Eidnes2015-06-20 09:07:572015-06-20 09:11:31NINE ROCKS premiere date announced
NINE ROCKS premiere date announced
We are so proud that NINE ROCKS – the film about Tors survival of the accident at the Pearl Jam concert at the Roskilde Festival 2000 – will actually premiere on the day that marks the 15th year of the accident.
on the RISING scene, on June 30th at 17:45.
We already have massive interest from the Danish press, Newspapers, Radio, Talk shows, and we of course urge anyone going to Roskilde to come and see the film.
Please contact me for further information.


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Last Updated on by Admin
Peter Island is the largest private island in the BVI and is accessible only by boat or helicopter. The Peter Island Resort is all about serenity and romance thus the name one of the "Best Places to Stay in the World" by Condé Nast Traveler and "Top 20 Islands" in the world is created for reasons. The resort is committed to delivering in quantity in the quietude of this private Eden everything the genre is known for, especially peace and privacy.
At Peter Island there are more staff members than guests' -staff-to-guest ratio of two-to-one-, for the thirteen sunny two-story bungalows of only 52 rooms and 3 private villas Falcon's Nest, Hawks-nest and Crow's Nest on 300 of the 1800 acres of glorious natural lush and mountainous terrain. Peter Island features as many as 5 private un-trafficked beaches along with a picturesque hillside shrouded in tropical gardens.
The beaches face the sparkling waters of the Atlantic Ocean, the Caribbean Sea, and the Sir Francis Drake Channel.Peter Island is all quite different than other private island you just can enjoy the waves and the astonishing view and the ever-changing blues of Caribbean Sea and sky. You can also get inspired with other locations using some of our past articles Exquisite Holiday Retreat in the French Alps: White Pearl Chalet and Wandering Through Paradise: Exquisite Villas On Denis Private Island Seychelles to help get you started planning your net family holiday.


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This, quite possibly, could be one of the coolest new technologies we'll see in the near future. A technology company called "Senseg" is developing a touchscreen technology which allows touchscreens to come to life with textures, contours, and edges that users can feel. They claim that they can turn touchscreens into "feel screens" and they are working with Smartphone and tablet developers to make this a reality.
You may be familiar with the term "haptics". Haptics is the technology that allows you to feel that little vibration at the tip of your finger when you press on your Smartphone touchscreen. Senseg has brought haptics to a whole new level. Their patented technology introduces the "Tixel". To quote their website, "by passing an ultra-low electrical current into the insulated electrode, Senseg's Tixelâ"¢, the proprietary charge driver, can create a small attractive force to finger skin." This attractive force basically creates the sensation of sharp edges and rough surfaces.
Senseg's solution is comprised of three core elements:
- Senseg's unique Tixel technology that activates the touch screen for electrostatic vibration
- Senseg's electronics module
- Senseg software that manages effects in applications


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The Valve Regulated Lead Acid (VRLA) battery is a rechargeable (secondary) battery type with a safety valve, which allows the internal pressure to be released in case of an accidental overcharge. These batteries are maintenance free as there is no need for topping-up during the whole service life.
Terms and Conditions of Website Use


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A private U.S. company has been given the green light for a commercial flight to the moon.
The first-of-its-kind announcement came Wednesday that Moon Express, Inc. will send a robotic lander to the moon. The lander has been reported to be the size of the fictional droid R2-D2 from the Star Wars movies.
"It's certainly trailblazing," said Bob Richards, Moon Express co-founder and CEO. "It's a huge milestone for us."
Until now, private space exploration companies have limited their activities to Earth's orbit.
Moon Express hopes to launch its mission in 2017, the deadline for Google's Lunar X Prize, which will be awarded to the first privately funded company to land a vehicle on the moon.
Moon Express joined the contest in 2012, and there are now 16 other companies in the race.
"Even though we are a proud contender [in the X Prize competition], it's neither a cornerstone of creating the business nor do we need to win it," Bob Richards, CEO of Moon Express, told The Verge. "But we want to win it."
Other private concerns may not be far behind with other space ventures. SpaceX has said it plans to launch its "Red Dragon" spacecraft to Mars as early as 2018. Another company, Planetary Resources, is making plans to mine asteroids for minerals.
Moon Express has said it wants to do the same on the moon.


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Mark Grondon of Spectrum Pulse gave us a great review on his YouTube Channel for Spectrum Pulse
Dead End Hip Hop Video Review
Myke C-Town gave us a wonderful review on his YouTube Channel for Dead End Hip Hop.
The Riviera Autonomy Music Album Review
Original Link: The Riviera by Jack
Artist: Short Fuze & Uncommon Nasa
Album: Autonomy Music
Record Label: Uncommon Records
Release Date: 19th July 2016
There are few in the underground Hip-Hop game who have been as prolific in recent years as Uncommon Nasa. Having been in contact with him for about three years now, a new project is always an exciting prospect- there's always the sense that it'll be a journey, a sort of post-modern re-visitation of ideas and values that are well-cited that then get re-claimed and re-dissected to comply with Nasa's personal achievements and world-view.
Autonomy Music is Nasa's third collaborative project with fellow New York MC Short Fuze. Nasa sits back and takes control of the production reigns, leaving most of the literary character of this record to Short Fuze, whose dynamic rhyming system and sometimes intensely personal lyrical direction mean that Autonomy Music (more often than not) offers exactly the right amount of feel and atmosphere that one has come to expect from Nasa's ever-widening platform, Uncommon Records.
The record's first half (save the sample-lead, reflective and re-constructive intro of 'Art Gallery of Autonomy') serves as a more direct helping, whether it be via Fuze's self-deprecating honesty on 'The Darkest Place I've Ever Been' or the gritty, hard-nosed dissonance of 'EMPD'. The production is brilliantly judged at almost every point, and gives enough space for Fuze's laid-back but urgent tones to take the front and centre stage.
It's on the doom-laden 'Self Distortion' that things begin to get more poetically introspective. "Hell is a ferocious prison", quips Fuze with tangible vulnerability, with Curly Castro coming through with a verse the smacks of loss and disappointment. Though this track (and others before it) re-traces religious iconography, at first it's hard to know whether to take these references as sardonic or not, but on 'Time And Space' any rejection of nihilism is swiftly done away with; "Reaching for the teachings of God, when the hand that feeds is bitten off", jests Fuze cruelly, re-citing the same disdain for spiritual belief on the following 'Addicted to the Horn'. On the penultimate track 'Oddest Future', over Nasa's crushingly stomping boom-bap Fuze is almost reminiscent of Zach De La Rocha in his rapid fire, venomous righteousness.
Though Autonomy Music doesn't ever really drop the ball in terms of its thematic guidance, there are some less memorable moments. When it's at its absolute peak (the last four songs) it's steam-roller momentum comprised of reflection, personality and lyrical providence offers a vast plain of thought-provoking and musically hard-hitting listening. These days, Uncommon Records has basically become synonymous with esoteric quality.
Damn That Noise Review
Original Link: Damn That Noise Review by Ralph Perez
Autonomy Music is the 2nd full-length album from Short Fuze & Uncommon Nasa with the last being 2010's Lobotomy Music, and it is a ride through internal struggles, depression, and spiritual wrestlings'.Short Fuze is the kind of MC who does not rush through a song layering his lines with vague plays on words as filler, this man is thoughtful, calculated, and sure of his voice. Uncommon Nasa is a skilled and respected MC in his own right, but with this project he has taken a supporting role on the mic, but a Director's role on the sonic aspect, as the main Producer for the entire project with excellent results collectively.
If you came into this album hoping to not have to think then you've come to the wrong place becauseShort Fuze is going to question your stance on faith and science ("Time & Space"), our adolescent ideologies ("Beggar's Buffet"), and also getting lyrically fit while paying homage to legends ("EPMD"). I respect MC's like Fuze because you can hear from songs like the Curly Castro featured "Self-Distortion" that he carefully pens his thoughts out and lays out his vulnerabilities without apprehension, and anyone who can relay lines like "Of Course it's come down to me and God and how much I've missed you. Father, you should've known I have commitment issues" is someone I want to continue to support and listen to.
Hip-hop is rooted often times, in talking about how dope you are, how tough you can be, how hard your crew is, and how unfuck-with-able you are in general, so when you get vulnerable & honest music from MC's like Short Fuze (and Uncommon Nasa) it is almost our duty to support and share the music with anyone in range. Autonomy Music is a progressive piece of music from Uncommon Nasa'smasterful production job to Short Fuze's near Hemmingway-Esq approach to writing about life and it is our duty as members, visitors, founders, and lovers of Hip-hop culture to make sure this reaches all corners of the listening map.
Rating: 9/10
Scratched Vinyl Review
Original Link: Scratched Vinyl Review by Chi Chi
Emcee Short Fuze and producer/emcee Uncommon Nasa have been frequent collaborators over the years. If you're not already familiar with their music, all you have to do is listen to their third full length together, Autonomy Music, and you'll immediately hear how well they complement each other.
There are a lot of things to like about Autonomy Music. If you're familiar with Uncommon Nasa's production, this is more of what he does best – some dense, prog-inspired beats that balance the weirdness of the underground hip hop of the late '90s and early '00s in New York, alongside the gritty-yet-pop-friendly production of New York groups of the early '90s like Wu Tang and Mobb Deep. Lyrically, Short Fuze finds a similar balancing act, bringing in some more abstract philosophical discussion alongside concrete personal narratives and pop-culture references. What really elevates the album, though, is the back and forth between the two artists. There are a few moments spread out over the course of the album where Uncommon Nasa places some audio clips before songs, and while in general I advise artists to do this sparingly and to try to keep things short as to not kill momentum, Nasa has a knack for finding some really compelling and thought-provoking clips that get you thinking, only to have the music kick in and Short Fuze piggybacks off of some of the ideas presented with his rhymes. Add in some guest verses from Nasa and Philly emcee Curly Castro, and we have one incredibly solid indie hip hop album. It's weird without being alienating, and it's fun while still being challenging and not afraid to embrace its oddness.
If you like your hip hop gritty and intellectual, but still having a pop sensibility and some humor, Autonomy Music is for you. Short Fuze and Uncommon Nasa really work well with each other, and the push and pull here has resulted in some really great hip hop.
Title: Short Fuze & Uncommon Nasa - Autonomy Music
Label: Uncommon Records
Year: 2016
Rating: 8/10
Spectrum Pulse Review
Original Link: Spectrum Pulse Review by Mark Grondon
Let's talk a bit about cosigns.
Because as a critic, I'm always pretty wary of them. You get plenty of artists who will pitch themselves as being 'like' a specific act, or being loosely affiliated with them, or using that one guest verse that was super tight to build a bridge of association that they'd never be able to hold again under tighter scrutiny. I tend to be a fair bit more forgiving when the act that I like outright endorses them, but again, I've always got a bit of skepticism. Sure, maybe this producer I really like helped cowrite or add verses to a project and he believes in its artistic intentions... or he's trying to give a friend a leg-up or use his status to elevate someone not ready for primetime.
And yet my skepticism was sorely tested when Uncommon Nasa reached out to me about this project. Given how much I absolutely loved his last album Halfway last year, I was pretty damn optimistic when he said that he contributed both verses and all the production to Chicago MC Short Fuze, who worked with Nasa back in 2010 for his debut Lobotomy Musicand who showed up for a pretty good guest verse on Halfway. And from what I know of Nasa, he isn't about to cosign or work with artists he wouldn't fully support, so I had some faith that this project could really hit home, especially as it was just under thirty five minutes, the sort of ruthlessly tight project that left no room for error. So I made sure to dig into Autonomy Music - did it stick the landing and meet expectations?
Well, in a way it did, because I definitely like this project, the sort of well-framed but slightly offkilter record that I would expect from these men - and yet I can't quite say I like it as much as I liked Halfway. Don't get me wrong, it's definitely solid with the brand of complicated lyricism and askew production that might initially disorient until you dig in - and yet it's also one of those projects that might be a little too scattershot and overstuffed for its own good, with the sort of density that doesn't quite reflect cohesion so much as so many ideas fighting for space. Oh, if you dig in deep to decode this record there is a framework around these ideas, but if I was looking for an album that could have used more time and room to breathe, it'd be this one.
Granted, a big part of that is Short Fuze and Uncommon Nasa themselves. At first listen they have similar flows in terms of the way their bars are constructed, not so much spoken word but free flowing thoughts that coast over unconventional rhyming structures that are definitely an acquired taste but one I do like. And both Uncommon Nasa and the sole guest star Curly Castro acquit themselves well here with more immediately expressive tones, mostly thanks to Nasa's slightly higher register and Castro's thicker rasp. Short Fuze himself... his voice is authoritative and I respect how his content is more introspective here, but I'm not always certain he conveys the emotive range as well as he could, and he can come across a bit monotone, like on 'Oddest Future'. Or take 'The Darkest Place I've Ever Been', a song that literally focuses on coming to the brink of suicide, and while I understand depression wouldn't lead to an incredibly expressive delivery, it still feels a tad flat here, especially in contrast.
Granted, it's not like Uncommon Nasa is giving Short Fuze easy beats to ride against, especially with as intricate and unconventional as these flows are. Much of this sample-heavy production is as noisy and dense as the rhyme patterns, including two sampled interludes that shows Nasa still has an uncanny knack for finding some poignant moments to further crystallize the themes. And like with Halfway, there are a few production choices that don't quite connect for me: the warping whir of squealing glitchy samples that seems to layer over a dense roiling beat and what might be a piano underneath on 'The Darkest Place I've Ever Been'; the buzzy synth that sprays over parts of the tapping beat, fuzzy blur of melody, and textured, slightly askew percussion on 'Time And Space'; the operatic vocal touches against the scratching of 'Oddest Future' feels like a weird blend of styles that doesn't quite mesh with an overlong hook; or the low oily tune behind the rattling bass and thicker cymbals on 'Beggar's Buffet' that builds into a blur of strings and heavier echo on the vocals on the hook. And again, I don't think that any of these production choices are bad - if you dig into the textures and instrumental you'll find real melody and potent hooks here - but again, this is material where it's going to take time to really appreciate, and it's not nearly as immediate or hard-hitting as other hooks here. And the thing is that those hooks are no less complicated - the keening layers of electric guitar that loop against noisy drums and trudging beat on 'Breakdance For The Def', the heavier bassline against the scratchy cymbals that plays off twinkling swells and a higher horn line that falls against the textured cushion of scratching and news samples on 'Perfect Health', the low synth against the stalking bassline, sparse percussion, thin horns and what sounds like seagulls echoing across the mix that builds to rattling faded elegance on 'Self Distortion', a vibe that later repeats on the horns, boom-bap beat, and low male backing vocals of 'Addicted To The Horn', all of which further impress that strong sense of New York atmosphere that's always permeated Nasa's production. And it's tough to pinpoint why those production choices work more for me - perhaps it's simply giving the track a little more room to breathe, or a stylistic experiment that clicks a little better - but I think it's more because the intricate production augments the complex flows and ideas, not obscures or muddies them.
And make no mistake, there's a lot going on lyrically on this album, even if on the surface the theme is well-established early: art used as a way to ensure autonomy in modern life, the freedom to make one's own path. And yet this record starts on bleak notes, as the album begins with uncertainty and depression, not having that clear path until hitting the lowest point, which allows this record to truly click into recovery mode less than five minutes in. Bit of a wonky way to open a record - normally you'd expect low points like this one to occur later on, but this record isn't so much delving into Short Fuze's personal anxieties so much as a focus on his relationship with the art itself, and an industry set against denying a hungry public any sort of hope of release through regurgitated product. And what I like is how for both Short Fuze and Uncommon Nasa, hip-hop goes beyond pure lyricism but into graffiti and other forms of art that tie into the culture beneath it that can transcend class and social divides - although they also don't shy away from how that art focus can have its dangers. 'Perfect Health' is a great example, a song that focuses on graffiti and gang tags and how hip-hop helped save Short Fuze's life in the long term, but it opens with a sample of someone describing how the paint fumes ultimately landed him in the hospital, and how he'd trade all of it back for perfect health. 'Self Distortion' goes even darker, showing how Short Fuze's struggles with his faith have left him even further astray, with hip-hop culture and a broken society exacerbating it, something the violence of Curly Castro's verse further emphasizes - and yet it's one of the reasons I really like the interlude 'Electric Blanket Conversation', a moment where a person rejects the electric blanket for cutting him off from the cold at night and his compassion - you know, reality. And as the album continues, you can tell Short Fuze is battling between his introspective impulses to further explore himself through art and isolate - an addictive compulsion, something he even calls out and highlights on 'Addicted To The Horn' in both content and samples - and to make a larger message. Now if I were to criticize the content, it'd come in that larger message on 'Oddest Future', which goes into social commentary flogging the mass media, with a paranoid edge that's probably not as well framed as it could be, especially with lines about the 'New World Order' and 'Occupy Wall Street is the new form of torture'. I get the darker, paranoid framing is part of the point, which is even called out on the final track 'Beggar's Buffet' in further highlighting how Short Fuze's worst moments he channels and deals with through his art - it's analogous to what Aesop Rock did this year on 'Molecules' off of The Impossible Kid - but it doesn't quite hit with the same impact, as the writing doesn't quite feel as focused - this record could have used a slightly stronger ending.
But really, that's nitpicking about details on a record that really does hold together well, and like any Uncommon Nasa-affiliated project reveals more details to appreciate with every listen. And make no mistake, this is definitely a record that demands a lot of repeated listens and has only gotten better in my eyes. I'm still a little on the fence whether I would say it was great - again, I think it's a shade weaker than Halfway in terms of focus and impact - but it has grown on me significantly over the dozen-plus times I've gone through it, and if the most major criticism I have is that it could afford to be expanded so we get more of it, that's a pretty minor complaint! So for me, I'm thinking a very light 8/10 and definitely a recommendation, especially if you're looking for some thoughtful, dense New York hip-hop to balance against the West Coast explosion this year. And Short Fuze, this is definitely what I like to see in a return to form, so definitely keep it up.


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1991 Chevrolet 1500 Pickup Truck
Price: - Item location: Sanford, North Carolina, United States
- Condition: Used
- Make: Chevrolet
- Model: C/K Pickup 1500
- Type: Extended Cab Pickup
- Trim: Cheyenne
- Year: 1991
- Mileage: 164,644
- Color: Blue
- Engine size: 5.7 V8
- Number of cylinders: 8
- Fuel: Gasoline
- Transmission: Automatic
- Drive type: RWD
- Interior color: Blue
- Options: 4-Wheel Drive
- Vehicle Title: Clear Want to buy? Contact seller!
1991 Chevrolet C/K Pickup 15001991 Chevrolet extended cab pick-up truck c15001/2 ton with 350ci and automatic transmission.Engine runs with no problems. Transmission shifts fine. 4 Wheel drive functions, good brakes. Frame is solid. The body has the usual dents,dings and rust (AS SEEN IN THE PICTURES) for a 25 year old truck.A/C compressor has been removed in the past.It is being sold as "AS IS".The truck has been used for fishing and hunting during the last few years. The truck has aluminum rims, recently installed helper springs, air bags, 2 batteries (one new) and new tires. The engine runs great and does not burn any oil.THIS IS A GREAT HUNTING/FISHING OR WORK TRUCK THAT RUNS GREAT
Pick-up locationSANFORD NC...Buyer is responsible for shipment or local pick-up NO DELIVERY


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|About this Recording
8.572059 - FREITAS BRANCO, L. de: Orchestral Works, Vol. 2 (Cassuto) - Symphony No. 2 / After a Reading of Guerra Junqueiro / Artificial Paradises
Luís de Freitas Branco (1890–1955)
Luís de Freitas Branco was born in Lisbon in 1890 where he lived most of the time until his death in 1955. He was the dominant figure in Portuguese music in the first half of the twentieth century, and his four symphonies constitute the essence as well as the culmination of his musical development.
Born into an aristocratic family, with ties to the royal family over many centuries, Luís de Freitas Branco enjoyed a highly sophisticated education, which included studies both in Berlin and then in Paris, where he worked with composers such as Engelbert Humperdinck and Désiré Pâque. He started composing at a very early stage, and his early works reflect the influence of various musical styles which he tried out, until settling for what can be called a neo-classical-romantic style in his four symphonies. An extensive account of the musical environment he found in Lisbon at the beginning of the twentieth century as well as of the composer's career can be found in my notes to the preceding CD of this series. I therefore prefer to limit myself here to recalling the fact that he was active also as a leading force in the restructuring of musical education at the Lisbon Conservatory of Music, and played a significant rôle as a musicologist.
While the Scherzo Phantastique, composed in 1907 when the composer was seventeen and included in the preceding CD (Naxos 8.570765), reflects the influence of French late-nineteenth-century ballet music, the two tone poems included in this second CD show him experimenting with different styles. Indeed, the tone poem Depois de uma leitura de Guerra Junqueiro (After a reading of Guerra Junqueiro) (1909) clearly reflects the influence of Richard Strauss, while Paraísos Artificiais (Artificial Paradises) (1910) shows the strong influence of the French impressionists. The poem which inspired Freitas Branco was The Death of Don Juan and was written in 1874. Coincidentally, Richard Strauss himself conducted in Lisbon, in 1908, both his Don Juan and Till Eulenspiegel. It is therefore not surprising that the nineteen-year-old composer, having certainly attended the concert in which Strauss conducted his two early works, and after reading the poem by Guerra Junqueiro, was tempted to experiment with what we could, today, call thematic and harmonic "collages" of "quotations" from both of Strauss's two symphonic poems.
The present recording starts with Freitas Branco's Symphony No. 2, written in 1926–27, a work in which his musicality and inventiveness is handsomely matched by his intellectual coherence. In fact the symphony's thematic material is based on a two-note thematic cell. It can be heard at the very beginning of the symphony after the two initial fortissimo chords. The chorale-like melody starts with two notes, G - A - A - G. The second theme of the first movement starts with a similar sequence of two notes, just as the second part of the main theme of the second movement, in the cellos, the main theme of the Scherzo and most of the themes of the finale. Going one step further, we find that this two-note cell is the beginning of a Gregorian chant, which is presented in the slow introduction of the first movement, and which serves as the majestic ending of the fourth movement. The use of Gregorian chant is the consequence of the fact that Freitas Branco's older sister, to whom the work is dedicated, had become a nun in a Carmelite monastery in Spain. This event left a strong mark on Freitas Branco, who by nature and belief, did not follow the principles of the Catholic faith in which he had been brought up. This said, the symphony follows the traditional four-movement scheme. A slow introduction, with the Gregorian chant in the woodwind, precedes the main Allegro, in which the exposition of its two main themes is followed by a variation of the slow introduction. The re-exposition follows this slow interlude, which reappears at the end of the first movement.
The slow movement is much less complex than the first or the last, and it is quite easy to grasp. The theme in the cellos is followed by a second section in the woodwind; this leads to a middle section in 9/8 rhythm rather than the main 3/4 metre which, after building to a climax, leads to the re-exposition closing the movement pianissimo.
The Scherzo is boisterous, and, quite interestingly, cannot help but remind us, here and there, of the scherzi so typical of Bruckner. The opening theme in the low cellos and basses is based on the two-note scheme, and the endings of both exposition and re-exposition are preceded by huge crescendi equally based on the two-note cell, long and sustained, rather than short and incisive as in the beginning. The Trio is quite pastoral in atmosphere, and offers a touch of relaxation from the hard-driven Scherzo.
The finale starts with a slow introduction and the main Allegro has the usual two themes. In the middle, development section, we hear the Gregorian theme as a solo of four horns, while the recapitulation leads us to a return to the slow introduction of this movement. Quite naturally, and as can be expected in a work by a composer as structurally minded as Freitas Branco, the movement ends with a majestic return of the Gregorian chant.
One notable aspect is found in the extraordinary tempo relationships between the various sections of this work. Although Freitas Branco does not specify the tempi by metronome, the indication of a quarter-note (crotchet) equalling the preceding eighth-note (quaver), and similar indications, make it clear that not only was the melodic unity of concern to Freitas Branco, but also that the whole symphony is a highly successful example of rhythmic unity, resulting from the tempo which the conductor chooses for the presentation of the initial Gregorian chant.
The symphony is orchestrated for three flutes including piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, timpani and strings.
In After a reading of Guerra Junqueiro (1909) a huge "scream" of fortissimo woodwind trills, punctuated by trumpets, leads to explosive chords from the full orchestra, subsiding into a pianissimo low note of the tremolo double basses. In a kind of musical caricature, a solo contrabassoon introduces a melodic line which leads, with added woodwind, to an orchestral tutti clearly reminiscent of the main theme of Strauss's Till Eulenspiegel. In an ensuing new section four cellos develop the Till Eulenspiegel theme, leading to a più lento section with the full orchestra, pianissimo.
A unison violin melodic line in thirds, followed by a solo violin ending, leads to an oboe solo with pedal-point in the high register of the violins, leading again to a pianissimo full orchestra section.
Building up to a climax, there is a return to the initial, slightly faster, tempo. A solo clarinet, reminiscent again of the Eulenspiegel theme, leads to a full orchestra fortissimo, with woodwind and trombones, with the tuba, in ascending and descending chromatic scales, and the restatement of the oboe solo theme, now presented grandiosely by trumpets and horns in unison. After a brief pause, the A minor chord with the pianissimo full orchestra is clearly reminiscent of the ending of Strauss's Don Juan, a reminder of the title of Guerra Junqueiro's poem, The Death of Don Juan. Just as in Strauss's tone poem, the work ends pianissimo, with low pizzicato notes supported by the low brass and timpani.
On the title page, the composer wrote "Fantasia". Could this mean that quotations from the two Strauss Tone Poems were intentional?
The work is orchestrated for three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones and tuba, contrabass tuba, two harps, timpani, percussion and strings.
Artificial Paradises (1910) is generally considered by Portuguese musicians and musicologists as Freitas Branco's masterpiece, above all. Introducing modern music into Portugal for the first time, the work was inspired by the autobiographical essay by Thomas De Quincy (1785–1866) Confessions of an Opium Eater, partially translated into French by Baudelaire in 1860. Few explanations suffice to explain the structure of the work. The tempo is slow, from the beginning to the end. The initial bars played by the violins and pursued by the woodwind contain all musical elements on which the work is based, both in melodic and rhythmical features, as well as in terms of the harmonic exploitation of polytonality. This is achieved by the superimposition of different chords, as is clearly the case of the ending, where a C major chord in the high register is added to an A flat major chord in the lower.
After an eerie introduction, based on harmonic exploitation of chords enhanced by delicate crescendi in the strings, the solo oboe introduces a melodic line which leads to a horn solo, accompanied by triplets in the strings, based on the melodic cell of the first two bars. The music builds up to a climax followed by a new section, introduced by a tremolo in the first violins with rhythmic punctuations by the second violins, pizzicato, doubled by the glockenspiel. Waves of sound lead to the main climax that ends in a sustained low note in muted (bouché) horns. From there onwards all the strings are muted in a kind of recapitulation. The final chords of the work are followed by an "afterthought": a muted trumpet, a few woodwind and an F minor chord with an added E flat (F - A flat - C - E flat).
The work is scored for three flutes including piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, two harps, timpani, percussion and strings.
Álvaro Cassuto
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Missing heritage lamp posts
It was the case of the missing lamp posts at this month's meeting of Mountmellick Town Council.
Councillors were querying why Laois County council removed two wrought iron lamp posts from O'Connell Square.
"Who authorised the removal? It doesn't make sense, we are trying to improve the town, not take lights away. It wouldn't happen in towns like Abbeyleix. I think it's disgraceful that Ger O'Mahoney didn't even know they were being taken away," said Cllr Rosemary Whelan.
Cllr Paddy Bracken agreed that the lamps should be reinstated as soon as possible.
"That whole section of the street is in darkness. The lights were put there because of the heritage refurbishment of the square," he said.
There was annoyance expressed that the lamps had been removed without consulting the town council.
"It comes as a terrible surprise that people can stop you in the street to ask, and you wouldn't have an answer for them. For this to happen, I'm very surprised," said Cllr Denis O'Meara.
It was agreed to check with Senior Engineer Farhan Naseim as to why the lights were taken away, and when they would be replaced.


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Medicine Bow-Routt National Forests & Thunder Basin National Grassland
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The campground is composed of 19 sites in a single loop among a nice stand of mixed conifers and Aspen. It has corrals available outside campground.
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Member Tour of Substation 9 with Bill Jenkins
NADA Members are invited for a walk-through of "Substation 9" with artist Bill Jenkins, organized by Laurel Gitlen. Performances by artists Alina Tenser and Gloria Maximo will follow.
The first iteration of Jenkins' Substation project was at Laurel Gitlen gallery in Spring 2014, and the most recent was last year at NADA Member gallery CAPITAL in San Francisco.
From the artist:
"Each project is scaled and customized to a room and its light resources using a utilitarian approach (hasty/cheap). If I were to choose my words more carefully, though, I would say: "planning and construction are expedited per site and circumstance to reflect and exaggerate living in an on-demand economy that compels us to interpret and internalize the needs of international capitalism as our own individual needs." But, between you and me, these siphon stations are basically an elaborate complaint about all that an opportunity to produce the satisfaction of seeing something function straightforwardly, point A to point B, in our "ecosystem." I don't know if these projects are just pessimistic sculptures, or if I'm hopeful that I can work out an alternative mode of living with art. I'm building structures that intentionally compound architectural problems of living in an environment designed to extract value and from people and places, but they're also meant to quickly reformat these conditions without the slow-down effects of legal, professional, structural, or market integrity. Perhaps forgoing viability to achieve a certain degree of architectural malleability will gestate something useful, even as a negative example. Perhaps, at best, I'm just building temporary sensory rest stops."


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June 13, 2012
This strawberry-chipotle barbecue sauce from Tide and Thyme is a seasonal specialty. Strawberry preserves (made with real sugar please!) are combined with chipotle peppers and other typical barbecue sauce ingredients like ketchup and molasses. Chipotle peppers are usually found canned in the Latin foods section of the grocery store. You can mixed this barbecue sauce with tender pieces of pulled pork or use this to glaze some grilled chicken. You better make extra because this strawberry-chipotle barbecue sauce goes fast. For full recipe instructions, click here.
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craft producers
Cider in Unexpected Places? Rural Chile and the Cider Pressing
Posted by Deborah Toner in Consuming Authenticities on August 24, 2015
For most people the mention of authentic craft cider will probably lead to visions of Somerset and the West Country, so our project's concentration on Welsh producers of craft cider posed some interesting questions. Contrary to some initial expectations, Emma-Jayne Abbots's research has found that the Welsh-ness of the product is not that important to […]
Posted in cider, History of Alcohol | Tagged alcohol, Chile, cider, colonialism, craft producers, locality, place, tradition | Leave a response
Authentic Recipes from Around the World
Posted by Deborah Toner in Consuming Authenticities on August 19, 2015
We have recently been checking the proofs of our recipe book, Authentic Recipes from Around the World, and are starting preparations for the book launch, which is happening on 23 October in Senate House, London. It is free and open to all, with complementary copies of the recipe book on offer, so please get in […]
Posted in Authenticity, Care for the Future, Project Update | Tagged authenticity, book launch, collaborators' workshop, craft producers, impact, recipes | 1 Response
New Directions in Drinking Studies Conference, 6-7 June 2015
Posted by Deborah Toner in Consuming Authenticities on June 10, 2015
Our Consuming Authenticities project kicked off the papers in what would turn out to be a fantastic conference at the University of Leicester on 6-7 June. This was the New Directions in Drinking Studies conference that I mentioned in a previous post and that I have been organising with my Drinking Studies Network co-ordinator hat […]
Posted in Authenticity, cider, Conferences, History of Alcohol, pulque | Tagged alcohol, authenticity, beer, cider, craft producers, locality, Mexico, origin, pulque, Russia, tradition, Wales | 2 Responses
Our Impact So Far
Posted by Anna Charalambidou in Consuming Authenticities on May 19, 2015
On Saturday, May 16th, we held a fascinating whole-day event at the National Library of Wales, where our collaborators shared their views and experiences on the different drink and food products we are investigating and discussed what factors and processes are involved into making them authentic. As expected, we had a great participation from Welsh craft […]
Posted in Authenticity, Care for the Future, Project Update | Tagged acaraje, authenticity, cider, collaborators' workshop, craft producers, flaounes, pulque | 1 Response
A tax on authentic cider?
Posted by Elaine Forde in Consuming Authenticities on March 24, 2015
A new tax on cider, or more properly, the end of a tax exemption for small cider producers is currently being demanded by the European Union, at the same time as a PDO designation for Welsh cider is being proposed. It is predicted that the end of the exemption will have a detrimental effect on […]
Posted in Authenticity, cider | Tagged cider, craft producers, gentrification, regulation, taxation | 4 Responses


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Millbrook hold-up
Laois County Council can not take Millbrook Estate in charge, as "there are outstanding issues that have not been addressed by the developer."
A call to take it on was made by Cllr Kathleen O'Brien at the recent Portlaoise TC meeting.
"I am disappointed to hear that. It has been finished and landscaped, the residents are looking after it, they are concerned. Lights and cleaning are the problem," she said.
"The developer hasn't given in drawings to show where piping is, we can't take it in charge and be landed with a pup," said Cllr Jerry Lodge.
Chairperson Cllr Catherine Fitzgerald undertook to speak with planning and progress the issue.