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Larry Goldings: Versatility of Keyboards... And Music
He continues to stretch, exploring opportunities to grow and explore his varied music interests. He's still being called by top-flight musicians to join a tour, or a recording session, and at the same time Goldings keeps his fine trio working. His reputation is the result of a long road of studying, working jam sessions, and getting involved with great professionals at a relatively young age.
He has developed as one of the more skilled players, but isn't just a technician. He approaches music with an open mind and an affinity to look at things in different ways, with equal parts freedom and tradition, as can be witnessed in his latest CD, Quartet, a departure from the organ trio setting. The 11th record under his own name, it's a sharp disc on which some outstanding and varied musical minds develop a synergy that carries the day. There are different feels through the 12 offerings, and all of them carried out in fine fashion.
The recording starts out with Goldings on piano, ("Singsong ) laying out a simple melody that the band carries in a loose, yet structured fashion. The trumpet of New York City veteran trumpeter John Sneider is melodic and uncluttered. Matt Wilson's drums create the right underpinning and Ben Allison's bass is weaves in; unhurried and strong. "Au Bord De L'Eau is an interesting, moving jazz line giving Goldings room to express his fondness for melody and harmony. It swings. And the CD goes on from there, with splashes from Goldings' pen, and plenty of contributions from the others. They take on Monk and Bjork in the process. And the old "Hesitation Blues, with the delightful Madeleine Peyroux herself a breath of fresh air on the current music scene is deliciously cool. Sneider's trumpet fills are on the mark and Geldings' organ is expressive. It holds interest throughout.
Goldings is pleased with the CD, and glad to be taking music in a directions away from his organ triowith Peter Bernstein on guitar and Bill Stewart on drumswhich itself has provided some fine music for over a decade, particularly The Intimacy of the Blues (Verve, 1991) and Sweet Science (Palmetto, 2002).
He's known for his work on the Hammond B3, an instrument that was rejuvenated a decade or so ago and is being put to good use by several players nowadays. It has perhaps surpassed his notoriety as a fine pianist (though that may be changing, as his opportunities on the acoustic instrument grow). But the Boston-area native fell into it the instrument slowly, even unintentionally, after leaving music school in the late 1980s.
"Around 1988 or 89, I started playing a portable version. I never really had experience at that time with a real Hammond B3. But I was interested in organ-type of keyboards. I started the group with Pete and Bill probably around '89 or '90.
"As a kid when I was first getting into jazz, I tended to play baselines on the piano. Somehow I gravitated toward that. Probably because I had a love for a pianist by the name of David McKenna from the New England area, says Goldings. "His approach was always with a walking baseline. That's how I approached it. I think there was a connection between that and actually wanting to walk baseline on the organ. I was pretty good at it. It had pretty good independence in that way. I like the control factor or something.
He says among the records he enjoyed growing up were Billy Preston and Aretha Franklin R&B, and Wes Montgomery with organ legend Jimmy Smith. He continued to play the instrument, and "eventually Maceo Parker (a stalwart of soul legend James Brown's horn section) heard me and hired me in his band, and that's when I really started getting experience on the Hammond organ. I literally learned on the gig. Then through Maceo's producer, I made my first record (Intimacy of the Blues). Ironically, at least to me at the time, it was an organ record, even though I barely knew it. That kind of got me on the map as an organ player. It was totally not my intention, but that's sort of how it happened.
His organ trio became very well established in the 1990s, and is one Goldings is not going to drop any time soon. "It was, and still is, the truest group of mine; the most comfortable group situation I've ever been in, he says.
Goldings grew up listening to pop music of the 1970s, but seemed to always have a fondness and feel for interesting harmonies. That is still quite evident today.
"I was listening to Billy Joel. I learned a lot about harmony by trying to learn Billy Joel songs by ear. That was the beginning of it, in a way. Things that were a little more harmonically challenging. It was probably people like Steely Dan and Billy Joel that led me to jazz, because of the harmonic aspect of it and the more crafted-song type of writers. That led me to standards, American popular songs and things like that.
The first jazz artists that influenced him were Oscar Peterson and McKenna. "Then somebody gave me a Miles record with either Wynton Kelly or Red Garland. That stuff was really the beginning. I was also listening to a lot of fusion early on, which now I don't. But there was a more harmonic thing going on that I liked.
Goldings says once he got farther advanced, he had to go back and fill in the "holes in my listening, digging Monk, and the works of other jazz musicians recommended to him by teachers and colleagues. Among his early teachers were Ran Blake and Keith Jarrett. In 1986, he left the Boston area to enroll in the New School for Social Research in New York City, which was in its infancy.
"By the time I got to New York and college to go to the New School, I was definitely more of a purist, into bebop, says the keyboardist. "Along the way I've become eclectic in my taste. A lot of world music. classical music, primarily because of just loving harmonies and the way so many classical composers develop ideas and stuff. To me it's all the same. It applies to jazz, it applies to the craft of trying to build on an idea and expand on it.
"At the time it was both great and frustrating because it was a totally new program, he says. Some students may have wanted more formal structure in those years, but the way it developed was fine for Goldings. "I was literally in the first graduating class. There was a good deal of chaos when I was there. Very unstructured. Arnie Lawrence started it. He was a great guy. Not experienced in the organized curriculum approach. That was why it was such a refreshing school. He had his street-smart way of approaching things, but they didn't have the balance together between that and the more legit.
"For me, looking back it was great. You'd be in a class and Arnie would bring in Art Blakey. The door would open and he'd say, 'The rest of the day is devoted to Art Blakey.' Then Art Blakey would come and tell stories and play and usually I would get to play with him, and a few others. It was just fantastic. Also, Arnie Lawrence really took me under his wing. He was responsible for getting me a gig at the Village Gate as the house pianist for a jam session there every Sunday. That led me into the scene, knowing musicians and people getting to know me. He would always choose me to play with the guests that would come through the school.
Jim Hall was among those who taught there and ended up hiring Goldings. "Nothing but great things came out of it, though I kind of feel sorry for other kids who were there at the time who weren't really ready for that kind of approach and needed a bit more structure. But it was great.
"And it was New York, when there were more clubs, and you could get into Bradley's (once a renowned piano bar). You could drop in and see a who's who of jazz piano. I could probably name 10 people who have passed or who don't play anymore who were still at the top of their game then. It was the end of an era. I caught a great glimpse of it. As a kid who had just moved to New York it was ridiculous. You could still hear Tommy Flanagan and Roland Hanna. All these guys were approachable people. A lot of them came through the school and I met them there.
He met a lot of the younger generation of jazz musicians through the Village Gate exposure, and the club ended up hiring him to play in the evening. "I started working pretty quickly and learning by doing that and growing at a fast pace, he says.
He was also asked to tour on with jazz singing legend Jon Hendricks, a collaboration lasting almost three years. A regular gig at Augie's became a place where he worked out on the organ, which led to gigs, and eventually the start of his trio. His link-up with Maceo Parker provided Goldings a chance to explore his love of funk music, as well as gain him plenty of exposure. He went on to play with people like John Scofield, Michael Brecker, Pat Metheny, and even James Taylor.
Things continue to grow for Goldings. His organ trio is still cooking, and he tours with MadeleinePeyroux regularly. He gigs as a sideman with some of New York's other fine musicians and records with them. This year, he's on the road with Scofield again, this time with Jack DeJohnette on drums in a band called Trio Beyond.
"I'm still playing a lot of creative music and making a living at it, so I can't complain, he says.
Goldings had this to say to All About Jazz about his new recording:
All About Jazz: The new CD is called just Quartet. Why is that?
Larry Goldings (LG): It comes out Jan. 24... Usually I try to find a tune on the CD that seems to some how sum up the idea behind the record. But this time, I think the thing that sets it apart most from my other records is that it's not my organ trio. All my records have been with my organ trio with Peter Bernstein and Bill Stewart. I thought this would be the most direct way to set it apart.
I'm playing a lot more piano on it, rather than just organ. I wanted to make that clear from the start, in a way. That was only after weeks of trying to get a decent title. But it seemed to the point. I never really thought too much of the significance of titles.
AAJ: You've played with (drummer) Matt Wilson, but why this group. Why (bassist) Ben Allison, John Sneider (trumpet) and Madeleine Peyroux?
LG: Matt and Ben were two guys who I had worked with in the studio. I felt that they were a great combination, not only musically, but in their conceptual ideas when putting together on- the-spot arrangements. We worked together on a Curtis Stigers record and I really liked how Ben and Matt would not be afraid to chime in with ideas. They were usually really creative ideas. They're very quick thinkers in that way. When you make a jazz record you usually have very limited time. The more spontaneous and creative and imaginative the musicians, the more you're going to get out of a couple days in the studio.
I've always found that with Peter and Bill as well. We get stuff together very quickly. But when thinking about doing a non-trio record and who all had those attributes, I immediately thought of Matt and Ben. Musically speaking, those two also don't exist in a rigid stylistic box. They're very open musicians. Both have a sense of tradition as well, but their openness is something that I've always been attracted to. I definitely had in mind a more open sound for this record.
John Sneider is one of my oldest New York friends. I met him shortly after I moved to New York in 1986. We've only, until now, played a lot of little gigs around town. I was on part of John's record once. But it seems like too many years had passed since we had really been able to collaborate in a more thorough, creative way. Also, he's very under-appreciated. Particularly now, because during the day he works for a big jingle company, JFM in New York. He's done that for five years or so. He does a lot less playing and he's a lot less on the playing scene. Ironically, it made him a better player somehow. He seems to get better and better over the years. I also brought him into one of the Curtis Stigers records and got to hear what he was sounding like these days. It was so refreshing to hear him. I've always known him to be a very open musician. Also a good composer, arranger. Incredible ears, great in a free situation. He can very quickly and easily hear what's going on harmonically.
With the kind of spontaneous situation we had with a couple days in the studio, and wanting to do some free stuff, you have to pick your musicians very carefully and find people who, in the moment, really engage and take the music someplace.
That was the core group, and then Madeleine. I had been working with her and did her record (Careless Love). We've done a bunch of gigs together. I really like her personally and musically and felt it would add another element to the record.
Her record was very well thought out. Larry Klein, who produced it, put a lot of thought into the repertoire and the approach. I thought it turned out really lovely.
AAJ: Some of the tunes you found are nice and unusual. Where did you find some of these tunes?
LG: Abdullah Ibrahim ("The Wedding ) is someone I've been listening to for years. Peter Bernstein turned me onto him way back in the mid-80s when I first met Peter at the Eastman School of Music. We went to this summer high school jazz program. That's where I met Pete. Pete was into all sorts of things that I had no idea about, including Abdullah Ibrahim. I became instantly attracted to his music. "The Wedding is always something I've gone back and listened to. I always felt he was strangely under recorded. His tunes are so memorable and catchy and soulful and have so much charm to them. I was going to record it on piano, but we decided at the last minute that I would try on organ, just to bring something different to it. I've always known about that song. I might have played it a few times with my organ trio way back when.
The same goes for the music of Gabriel Faure ("Au Bord De L'Eau ). I learned his "Requiem in high school and then became a big fan of his music and recordings of his songs for piano and voice. That piece is one of his pieces that was so close to the original that I decided thateven though I brought it into a jazz realmI couldn't really call it my own. The original piece is gorgeous and sounds like a French romantic vocal piece, but has those beautiful jazz harmonies. Even though rhythmically, it sounds like a jazz tune on the record, it's actually quite close to how it goes harmonically. As is "The Wedding which is pretty straight forward in terms of my interpretation. It's pretty much Abdullah's chords. I thought there wasn't too much room for improvement.
Bjork ("Cocoon ) is someone who over the last three years or so I've really loved and found her music to be extremely melodic, even with all the electronic experimentation going on. I love it in her hands, or in the hands of her programmers or whatever you call them. I felt melodically and emotionally connected to that song. I wanted to find a way to approach it instrumentally, but alsoin our acoustic jazz waydefine a way to salute the electronic aspect of what she did with it. So we had Matt Wilson play in a very sparse, sort of eccentric manner; mimic what was going on in the original Bjork track. It's from a record called Vespertine. It's a very melodic, beautiful, nicely constructed song.
AAJ: On some of the songs, you're all listed as co-composers ( A Dream About Jacki Byard, "Hidalgo, "Denoument ).
LG: Those were because they were totally free pieces. Before we would record I would say, "Let's make this short ...someone would come up with a vibe, to begin with. Sometimes we weren't even meaning to. We were talking about what to play next and Ben would get into something on the bass, and I would say , "Let's just roll. The idea was to try to make it as concise and well-structured as possible.
These guys are some of the best players in a free situation that I could think of. However, I did take advantage at times of what one can do post-production. If there were things that I wanted to edit, or notes that I didn't like. For instance on the Bjork tune, Matt was the only person in his own isolated booth. There were things I was able to do with him, in terms of editing what he played, that gave me a lot of freedom. I have no problem doing that. I really like the freedom of being able to do things with the music after it's played.
For the most part, I didn't do that. But there were times when I wanted to. The first one ("Singsong ) was actually a free piece where Ben started a little melodic thing and I thought of a very short, simple, kind of child-like melody. I wrote it out for the guys. We didn't even rehearse it, we just rolled tape. I felt it was one of the strongest things we did, so I wanted to put it first. I also felt it summed up the vibe of the record, melodic and free, but structured at the same time., with a lot of group ,playing as opposed to soloist after soloist after soloist.
About half of the record has traditional soloing, then there's a lot of group soloing, which I also really like.
"Jackie-ing is just a song I've known for a long time. I used to play it with Jon Hendricks; he had a lyric to it. It's not very often played. "Valsinha is by one of my favorite Brazilian artists, Chico Buarque. It's a very haunting, beautiful piece that has classical undertones to it. There is a perfect example of how the creative thinking of the other musicians really influenced the direction that the interpretation ended up going. I was going to play more or less a straight waltz. Matt and Ben started playing a free, out-of-time, but in time rhythmic idea as we rehearsed it. I said, "Why don't we just do it that way. We just went with it. It sounded very natural and also enabled us to take the tune into a completely different place, but still have the melodicism.
AAJ: How do you like the CD over all?
LG: I'm really happy with it. There's sort of a conceptual thing going through it. I don't know what the concept is, exactly. But there are a lot of things on there that I don't hear a lot on jazz records, in terms of how it's recorded, the freedom that's in there. The textures. That's what I'm going for.
I felt it was very honest and very much what I set out to do. It's also pretty eclectic, and that's kind of me.
AAJ: Are you touring to support it?
LG: I'm trying to. I've got a record release for four nights at the Jazz Standard (NYC, Feb. 9-12). I'm trying to get the band on the road beyond that. Hopefully, we have a little stint in the UK in late April, early May. Realistically, I'm not looking at a bulk of stuff until maybe the fall. I'm trying to get on the road, but in the meantime, I've got other things going on.
I've got a group with Jack DeJohnette and John Scofield and myself (Trio Beyond), we're going to Europe in July. And then I've got some gigs with Matt Wilson's group. Madeleine is off for a while, working on her next record. I've got some gigs with James Taylor, who I've been working with. We're actually going to do a handful of duo gigs in March and maybe a few other things with him.
I definitely have the opportunity to get this band out, I just have to figure out everybody else's schedule But it is hard. Like pulling teeth to get some decent gigs.
AAJ: A lot of people who put out records don't even get to tour, or get very little support.
LG: That's frequently been the scenario with me. The organ trio records. We'd make a record, but then I'd have a lot of sideman gigs I'm committed toand I'm grateful for it. Particularly when the James Taylor thing came along, that gets busy sometimes. Sometimes maybe I didn't have my priorities together, but sometimes it came down to economics, where I had a few things boiling for the trio, but then a month or two with James Taylor came up and I had to do that.
Unfortunately, I've never quite figured out a better balance between getting my own groups out there and sideman work. It's tricky. I think it comes down to longer term planning, which I've never really done very well. That's why I'm already starting to think about the fall of 2006 for this group.
After almost 20 years of doing this, I'm finally figuring out that that's what you have to do. Make a long-term commitment and stick to it.
I'm motivated by the music that we made to get out there. I've traveled and toured a bunch with Matt. I know all of them really well. Personally, it will be a great hang and a great creative experience.
I've played some pretty remote places with Matt's group. Sometimes the strangest gigs are the most creative and bring the best stuff out of you. I'm not afraid to do some of those gigs. But it takes a little bit of patience to go from a cushy pop touring experience to getting back in the van and playing little places. But once I get out there, I realize that stuff is not that important anymore. It's all about the music.
It's all about balance and I'm still trying to find it.
Selected Discography
Larry Goldings, Quartet (Palmetto, 2006)
John Scofield, That's What I Say (Verve, 2005)
Jing Chi, 3D (Tone Center, 2004)
Madeleine Peyroux, Careless Love (Rounder, 2004)
Jessica Molaskey, Good Day (PS Classics, 2003)
Larry Goldings, Sweet Science (Palmetto, 2002)
Curtis Stigers, Secret Heart (Concord, 2002)
James Taylor, October Road (Sony, 2002)
Larry Goldings, As One (Palmetto, 2001)
Adam Levy, Buttermilk Channel (Orchard, 2001)
Larry Goldings/Bob Ward, Voodoo Dogs (Palmetto, 2000)
Matt Wilson, Arts and Crafts (Palmetto, 2000)
Indie.Arie, Acoustic Soul (Motown, 2000)
Dave Stryker, Shades of Miles (Steeplechase, 2000)
John Sneider, Panorama (Double-Time, 2000)
Carla Bley, 4 X 4 (Watt/ECM, 2000)
Larry Goldings, Moonbird (Palmetto, 1999)
Peter Bernstein, Brain Dance (Criss Cross, 1997)
Larry Goldings, Awareness (Warner Brothers, 1996)
Larry Goldings, Big Stuff (Warner Brothers, 1996)
James Moody, Young at Heart (Warner Brothers, 1996)
Larry Goldings, Whatever It Takes (Warner Brothers, 1995)
John Scofield, Groove Elation (Blue Note, 1995)
Chris Potter, Pure (Concord, 1994)
Dave Stryker, Blue Degrees (Steeplechase, 1994)
Larry Goldings, Caminhos Cruzados (Novus, 1993)
Jim Hall, Something Special (Music Masters, 1993)
Bob Belden, When Doves Cry: The Music of Prince (Metro Blue, 1993)
John Scofield, Hand Jive (Blue Note, 1993)
Larry Goldings, Light Blue (Minor Music, 1992)
Gary Burton, Six PacK (GRP, 1992)
Maceo Parker, Life on Planet Blue (Verve, 1992)
Larry Goldings, The Intimacy of the Blues (Verve, 1991)
Jim Hall, Subsequently (Music Masters, 1991)
Maceo Parker, Mo' Roots (Verve, 1991)
Jon Hendricks, Freddie Freeloader (Denon, 1990)
Related Article
The Organ Grinder's Swing: A Chat With the Multifaceted Larry Goldings (2001)
Photo Credits
Color Photos: Roberto Cifarelli
Black & White Photo: Bill King


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921 Broad Ripple Ave, Indianapolis, IN | Directions 4622039.869696 -86.142163
Mon. - Thu. 11am - 10pm;Fri. - Sat. 11am - 11pm;Sun. 11am - 9pm
Neighborhoods: Central Indianapolis
La Jolla is closed, RIP. The best "porch" in Broad Ripple is now owned by a nightclub.
La Jolla is the Best – It is one of the best mexican restruants in Indiana. I try to go at least 3 times a month. It has the best nachos!! Great Customer Service!! Would recommend to anyone tired of over crowded restruants and bad food!! It is a must try restruant!!!
Way bad! – I decided to give this place a try after reading that some people like it and I almost die out of salt overdoses and chips that tasted like wood. Service was awful to say the least. The waiter mix up orders with only 6 people in the restaurant at that time, the cook was probably high on tequila, it's the only explanation for so much salt on the food, the rice was absolutely tasteless, water from the pipes would taste better I think. I learned my lesson. I WILL NEVER, EVER be back in that place unless is to teach the owner how to run a place like that!
La Jolla, worse mexican food in Indy, no question about it...
Bad Food! – Great for people watching, but only that! Food is awful!
Bad Mexican Food – Although this restaurant is in the best location in Broad Ripple, and looks like fun sitting outdoors, the food is substandard. My wife and I went there last week for lunch. We were the only customers. You'd think we'd get great service and terrific food. The service was bad and the food worse. Very starchy, not much meat, and a lot of filler. If you're looking for a great place to see and be seen during the summer, this is your place. Otherwise go somewhere else.
Needs Gordon Ramsay's Help. – This week was the first time we visited this restaurant. We eat out a lot, but rarely do we just "go out for dinner." It was a bit of a date you could say. When we sat down there were two men there who appeared to have been drinking quite a bit for 6:30 in the evening. They also seemed to have a familiarity with parts of the restaurant that most patrons wouldn't have. Most restaurants have control over their regulars, this one did not.
The chips came, and were stale. I can get past stale chips, but the salsa was very vinegary. I love salsa. I really didn't like their salsa.
The menu was simple, but was confusingly a cross between sports bar, basic American food, and a Mexican restaurant. We ordered the Combos, as we like Mexican food. (Did I mention we eat out a Lot?) The service was pretty fast, and the food looked nice, but Wow! It tasted bad.
The rice was both under and overcooked white rice with a bit of corn added to it. The beans were gray, with chewy bits in them. And the burrito I had, well, I think the chicken was off. It also seemed to have been warmed on a grill that hasn't been cleaned recently. There was a lot of grease on the bottom of it, and a thickened spot, like what you get when you burn something in grease - it doesn't charcoal, it mushes.
My husband also felt the food was terrible, so we did something we have never, ever done in our lives. We returned the plates. We are not normally complainers. Neither of us has ever returned a plate full of food to a restaurant. Ever.
We were then also told there was no manager on duty. Our waitress was understandably distressed, and we feel bad for her.
We could taste the food all the way home.
This restaurant has such unbelievable potential. It should be full every night. It has an amazing location in the heart of 'Ripple. WAKE UP! You, Restaurant Owner, are destroying a decent restaurant by your lack of management and terrible food. Please put it right.
Not that bad... – I can't vouch for the Margaritas, but I have eaten here several times and have never had bad food. The salsa is nothing special, but not horrible either. I have never had stale chips and the Chimichanga I always get is pretty good. We always sit outside, great Broad Ripple location, fast service. Not the greatest Mexican restaurant, but definitely not the worst either.
Caustiously Suprised – We were skeptical to go too this restaurant after reading the reviews on here. However, we were pleasantly surprised.
1. Fast friendly service.
2. Great chips and salsa
3. Drink was always full. I drink a lot :-)
4. Food was very good.
I would recommend giving this place a shot. Very enjoyable meal.
Weakest margaritas ever... – I question the validity of these surveys after seeing that La Jolla wins anything in the Mexican category. The food is terrible, the margaritas are terrible. I saw the bartender make mine and it had a *splash* of tequilla in it! THAT'S IT! There is nothing remotely authentic about this restaurant and I am not usually a complainer. I like pretty much anything you put in front of me.
All Around Terrible – Although promptly seated, it took ages to recieve our stale chips and salsa. Table service was another delay and a HUGE disappointment, not only untimely, but rude. The food was nothing short of terrible. Tiny portions and guacamole that tasted like bananas?! You could not pay me to go back to this restaurant. Avoid at all costs!
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- Kali phos (6X) (derived from potassium phosphate) is a biochemic tissue salt and a natural component of all fluids in the body. It acts as a nerve nutrient and is naturally present in all brain cells and nerve tissue. Kalium phosphate (also called Kali phos.) can help reduce degeneration of body tissue due to aging. It is an excellent nerve tonic and natural calmative, helping to soothe nerves and lessen edginess. Kali phos supports a healthy brain and nervous system, and can help relieve occasional nervous tension in the body.
- Nat mur (6X) is derived from sodium chloride. The function of this tissue salt is to maintain the body's water balance by controlling the movement of water in and out of the cells. This means that brain cellular health is supported due to effective nutrition, oxygen and blood supply to each cell in the brain. Natrium muriaticum (also called Nat mur) naturally and gently flushes the system while hydrating tissues - thereby assisting in the removal of toxins which may affect brain functioning. Note: Due to the special manufacturing process of tissue salts, Nat mur should not be confused with salt, and may be safely used by people requiring low salt diets.
Triple Complex Brain Tonic is registered with the Food and Drug Administration (FDA).
All Native Remedies biochemic tissue salts are manufactured in an FDA and GMP registered pharmaceutical facility under the supervision of qualified responsible pharmacists.
All products are free of gluten, artificial flavors, colorants and preservatives. In accordance with our 'Do No Harm' policy, no animal testing is carried out whatsoever. All products are backed by our One Year Unconditional Money Back Guarantee, offering you peace of mind and proof of our utmost confidence in the quality, safety and effectiveness of our products.
5. Is Triple Complex Brain Tonic approved by the FDA?
The FDA oversees all food and drug products. While herbal medicines are classified as dietary supplements, all homeopathic medicines must be individually registered as OTC drugs in terms of FDA regulations. In compliance with these regulations Triple Complex Brain Tonic and all our 100% homeopathic remedies are individually registered with the FDA. Furthermore, Native Remedies and their manufacturers are FDA-registered manufacturers and distributors of OTC homeopathic medicines. All of our products are manufactured in a Pharmaceutical Graded, GMP certified facility to guarantee the highest degree of consistency, reliability and potency.
6. What is the proper dosage?
Mix drops in 1/4 cup of water and sip slowly or put drops directly into the mouth.
For all ages: Acute: Take 0.25 mL or 0.50 mL every hour for up to 10 servings or until symptoms subside.
Chronic: Take 0.25 mL or 0.50 mL 3 times daily.
Caution: If symptoms persist or worsen, a healthcare professional should be consulted. Keep this and all medicines out of reach of children.
7. In what form does Triple Complex Brain Tonic come?
Triple Complex Brain Tonic comes as a convenient liquid with a dropper that makes it easy to administer.
8. How do you properly store this product?
Best storage is in a cool (not cold) dark place out of direct sunlight such as a cupboard or closet. The product does not need to be refrigerated.
9. What is the shelf life?
The product expiration date can be found on the label. Please note: Some bottle types have the expiration date printed directly onto the bottle itself.
10. How long until results are seen?
People can differ widely in their response times to tissue salts depending on individual composition, lifestyle, and diet. Some may experience a general feeling of wellness within days, while for others it may take longer before an effect is felt.
Often, as in the case of all good tonics, a gradual improvement is noticed over time. While herbs and vitamins that promote mental focus can be attained through diet and supplements, best results are achieved when Triple Complex Brain Tonic is used consistently along with a healthy lifestyle.
In addition, regular exercise, sufficient sleep and a healthy, balanced diet will go a long way in contributing to good health and well-being.
11. Does Triple Complex Brain Tonic have any side effects?
No. Triple Complex Brain Tonic does not have any side effects, as it is 100% natural and homeopathic. The ingredients of Brain Tonic have a high safety profile and are generally very well tolerated without side effects.
12. Does it have any contraindications?
There are no contraindications for Triple Complex Brain Tonic, and it is perfectly safe to take with other medications.
13. How long will a bottle last?
One 59 mL bottle of Triple Complex Brain Tonic will last approximately 39-40 days, depending upon the amount taken and the frequency of use.
14. Can I take it along with prescription medications?
Triple Complex Brain Tonic can safely be taken with your prescription medications.
15. Can I take it if I am pregnant or breastfeeding?
This remedy is composed of selected biochemic tissue salts and is completely safe to use during pregnancy and breastfeeding.
16. Is Triple Complex Brain Tonic safe for children?
Triple Complex Brain Tonic contains biochemic tissue salts which are naturally occurring in the body and is completely safe for children of and babies all ages.


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LETTER FROM CAIRO about the Omar Makram Mosque and the new round of protests in Tahrir Square. Tells about Mohammed Gemel, whom the writer met in Tahrir Square. A senior at Ain Shams University, Gemel had skipped a midterm exam so he could be at the square. He said that usually he was an excellent student, but last spring he had failed some courses because he had spent so much time participating in the revolution, which had forced President Hosni Mubarak to resign, in February. Since then, Egypt had been under the stewardship of the military. The country still lacked a new constitution, and elections had been delayed. The people were scheduled to choose a new parliament in a series of votes beginning in late November, but there had been reports that a Presidential election might not happen until 2013. As the parliamentary vote approached, the military attempted to grant itself some permanent political powers, a move that had sparked the current round of protests. These demonstrations had first been organized by the country's Islamist political parties. The Muslim Brotherhood was the largest of these groups, and it was considered the favorite in the upcoming elections. A one-day protest on Tahrir had been peaceful, but violence erupted the following day, when the police tried to forcibly remove some demonstrators who were staging a sit-in. After that, the target shifted to the Ministry of the Interior, which is situated a couple of blocks off the square and serves as the headquarters for law enforcement in Egypt. By the third day of these new protests, tens of thousands had flocked to Tahrir, most of them young people who had not participated in the Islamists' march. There was no larger organization that spoke for these demonstrators, who chanted slogans about freedom and democracy. The mosque was the only institution on Tahrir that remained open to the revolution. It was a sprawling stone building, big enough to house makeshift medical clinics, pharmacies, and storerooms. It had the only public bathrooms on the square, as well as electrical outlets. It became apparent that nobody was in charge. The imam was Sheikh Mazhar Shahin, who is a celebrity in Egypt. At the beginning of the violence he had made a high-profile attempt to broker peace, which failed. But during this period he never seemed to be at the mosque. It was hard to imagine what lessons the young people on Tahrir would take away from this stage of the revolution. Virtually everybody with authority—the imams and the politicians, the progressives and the fundamentalists—had washed their hands of the demonstrators. In the mosque, volunteers were overwhelmed, and they struggled to manage an institution that felt even more directionless than the country as a whole. And yet from a distance it was clear that the protests had served a valuable purpose. They reminded the Egyptians of the original goals of the Arab Spring, and they proved to the military and the political parties that there was still a deep wellspring of anger. Considering all the unrest, it was remarkable that the first round of the elections, which were held on the eleventh day of the protests, were civil and well organized.
Letter from Cairo
The Mosque on the Square
Two weeks inside the Egyptian revolution.
by Peter Hessler December 19, 2011
Peter Hessler, Letter from Cairo, "The Mosque on the Square," The New Yorker, December 19, 2011, p. 46
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Visiting Professor at UCLA in Winter and Spring, 2005
Damon L. Woods taught the course "Religion and Society in Southeast Asia" in Winter 2005 in the UCLA Department of Asian Languages and Cultures. In Spring 2005 he taught the Senior Seminar "Reading Southeast Asia" in the Southeast Asian Studies Interdepartmental Program. Prof. Woods received his Ph.D. in Southeast Asian history from UCLA. He has been a lecturer at UCLA, the University of California, Irvine, and California State University, Long Beach. His research concerns the Philippines and is tied to Tagalog documents from the sixteenth through eighteenth centuries.
Published: Thursday, April 28, 2005
© 2014. The Regents of the University of California. All rights reserved.
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Views: 8
it's like you found the dumbest possible way to ask this question. try again.
☺♥ kïttens ♥☺ said:it's like you found the dumbest possible way to ask this question. try again.
That is so mean & rude but to be honest you cracked me up. lol (especially I read the comment right after I read the question above.)
John, are you asking who the opening act was? If so, I believe it was The Limousines.
(I didn't know who opened, but I felt bad for you so I looked on Internet and it took me good 10 mins to find it. lol Hope this is what you wanted to know. :))
Who the hell are you ? The freaking forum dictionnary police ???
First of all, even if my question was not exactly the usual way to put it in english (pretty usual for french though), why do you care ??? You knew exactly what i wanted to know when you read it. If you don't know the answer or don't want to help, beat it...nobody needs you.
Second of all, Chipolin is just someone nicer than you. And what do you know, my question was again understood because it got answered !
Third : pretty much f*ck off ! Find another post to piss someone else off.
Fourth : I would suggest finding something more appropriate than kittens...don't think that suits you too well.


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As the saying goes, there is no rooting in the press box. But I would be lying if I didn't admit this:
J.J. Redick is my favorite Orlando Magic player.
We have bonded in a pain we both share:
Our families have both been touched by Alzheimer's Disease.
I lost my mom to the insidious monster in 2009. Redick's wife Chelsea is trying to cope as best she can as her grandmother "Mimi" has reached an advanced state of Alzheimer's.
Redick's reaction was admirable: He donated $25,000 to the regional chapter of the Alzheimer's Association to fund programs and services for persons with Alzheimer's and their families.
J.J. and Chelsea presented Chelsea's mom Robin with the check on Christmas Day.
"It really does affect everyone around the person," Redick told me after the Magic lost to Chicago Wednesday night. "It's a struggle for all the families that have to deal with it on daily basis. I've witnessed that first-hand.
"Chelsea and her grandmother have been friends for 27 years and are extremely close. It's tough on Chelsea and it's tough on Robin."
It's tough on everyone. Unfortunately I know from first-hand experience. I spent the worst night of my life a few years ago at my mother's bedside, crying and telling her it was OK to die. I didn't want her to suffer any more. Three days later, she passed away.
"The anguish of Alzheimer's is not just experienced by the individuals with the disease; their friends, families and communities suffer right along with them," said Kay Redington, CEO for the Alzheimer's Association, Central and North Florida Chapter. " Today there are approximately 11 million friends and families – 1.5 million people right here in Florida – who are looking after a loved one with Alzheimer's and grappling with the enormous challenges this disease places on their well-being, health and jobs.
"The Redicks' gift will help us to provide the support these individuals need as they struggle with the staggering implications of either having the disease or caring for someone with the disease. We are beyond grateful for the generosity shown by this wonderful couple to our organization and others throughout Central Florida."
Redick, as you may know, truly has a generous spirit.
J.J. and Chelsea recently earmarked the $25,000 of the $50,000 he received as co-winner of the Rich & Helen DeVos Community Enrichment Award to a nonprofit called Loaves & Fishes, which helps people in need with food and other essentials.
I have no problem cheering from the press box.
I think you should, too, wherever you may be.
George Diaz can be reached at email@example.com. Follow him on Twitter @georgediaz


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Coming up in the July issue, Zion I's Amp Live talks about the process of recording his latest solo album, Murder at the Discotech. In the meantime, here's a sneak peak at a couple of his mad editing methods, including
Michael Leonhart is primarily known as a trumpet player, having played with Steely Dan, James Brown, Mos Def, and many others. He won a Grammy Award for "outstanding high school musician" in the U.S. at age 17, and he has


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this is where we are... do you want to push it more or should I just go for finishing it completely?
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this is where we are... do you want to push it more or should I just go for finishing it completely?
i'm pretty exhausted today, so just a few sketches,
one train ride sketch, a couple IDW ideas, COW idea, and anatomy stuff . . .
Attachment 1506685
Had a rough week not much done shamelessly n sadly;
Attachment 1513750
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Try using larger opaque brushes on your digital stuff to begin with, on stuff like #453 in the photostudy, some of the values are getting muddy because of the opacity pen pressure.
Don't get too sad about not being productive because it happens to everyone, what matters is that you get back up and start producing again! :)
Ho-ho-ho, now you have a machine gun, I know.
Cause you are obviously improving, and all the hard work,
sacrificed free time, blood and sweat is coming down to a
wonderful results. Never say die is becoming a cliche to you,
blowing of ants and flies from your shoulder, getting up from
mud, escaping from evil, becoming the blissful future.
Your studies are not regular studies, they are an extraordinaire
de la chute. Something that leaves a mark and remembrance.
A big granite carved stone will be raised in the future, under
the newly reformed republican laws, and your name and deeds
will be carved in there. Local civilians and military forces
will watch and read for decades and for centuries.
Your legacy will live forever.
thank you for the moral boost guys!!!
what a freaken hellish month, seems like i gotta try twice as hard to get
back where i once was. . . .
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Good to see your still working hard, mate!!
Hey there, loads of output here, and some neat designs too.
Something that I'm noticing about your work is your paints lacks a strong value structure. I would spend more time grasping a better understanding of light and form before I focus on color.
Your figure work is not bad but it could be a lot better. How often do you draw from life? I see you do some bridgeman studies but those kinds of studies without drawing the figure from life will not help you as much as when you do both. Your figures from imagination will improve dramatically. Watch your line work too, in some of your drawings there are parts where the lines are inappropriately thick. How fast do you tend to draw? Practice drawing slowly and carefully for a while and really think about what you are drawing and where and how you want to place the next mark.
Keep up the momentum!
Rob Powell: forever and always when i can!!!!
Mr. Pryminista: drawing from life almost never, some times after scanning i think i push the
levels to dark, but yeah line weight is something i experiment with, drawing speed
sometimes it varies, but i do spend many hours on random things, thanks for you comments.
speedy 1 hour still life before shooting off to work. . . .
Attachment 1519086
haha you still have that car!!! does it still work?
might start from scratch again . . . :perv:
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a team challenge speedy character idea sketch.
so so muddy . . . . :bashful:
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speedy breakfast sculpt brainstorm . . . ..
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morning studies
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burning some lead off...
scratching the single ply. ..
scribbling the scribbles
trying to find the secrets in those hand movements
where are those secrets to those improvements.
i seek, seeking one
only to hope, to find something. . . . .
Attachment 1523279
you will spend your life seeking one, the one thing that will save you in times of hardness, the one that will guide you through tough times! don't give up! i know you!! and you're strong!
Hellou fellow, thanks for stopping by and giving some boost, now it's my turn :p have not much advices, i went through your sketchbook and more of your work is done digitaly, i like your ideas, but i would suggest you, do more observational drawing from life and start bringing form into your concepts.
What have you done up till now is great but it's missing something, how about sacrifice the time spended doing these concepts and transfer it to observational d, just for month and then, come back to your favorite workout and see the effect. Keep it up, keep it up!
Very nice improvement - keep it up! :)
I would agree with skMOP. Less low opacity brushes, and more 90, or even 100% ones. Just trying it by myself in order to cure my heavy soft brushes addiction, and it really opening the eyes :)
i find it a struggle to use 100% dark colors or opacity
but i'm getting there i guess . . . . .
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just the best two train ride sketches from this weekend . . . .
Attachment 1530081
Went to the Pub, got drunk, sketched these . . . . .
Attachment 1531707
Your studies are looking awesome man. Noticed a lot of them in the Community activities thread.
some more practice . . .
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them faces. . . .
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hey, great to see you're still keeping up the daily drawing,
may i give 1 advice though.
you need to slow down, plan your facial planes (or whatever you're drawing) first, the faces at the moment have no real definition to them because they are just elongated circles
also, work on your values, do more stuff in black and white, your digital stuff are muddy because the background and foreground just blends together too well
just my 2 cents!
Dear Creator in heaven
have mercy on me
let me live long enough
not to die of poverty or get blown away by
those that conspire to steal our souls
but let me live long enough
to learn to draw
to learn to live in serenity.
Attachment 1542161
tons more sketches i did for this weeks spartan training camp found here:
wanted to try this one for some time now, to bad i hardly have time this week
Carl Haag's ; Ship Wreck in the Desert
Speedy Master Study:
Attachment 1542627


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Please read "About this project and the Author" for more information on my project. In this excerpt, Daryl invites Annie to his place for dinner…
"We went out on the traditional three dates before anything intimate happened. Three dates is usually enough time spent together to know there is something to explore and, for those blessed with an intelligence at least above that of a fern, short enough a time to avoid saying or doing anything that could ruin the evening faster than she can say "Check, please". Women can be as perceptive as they can be unpredictable. One insensitive word, one unfortunate wise crack or even a seemingly innocent phrase blurred out in the wrong tone could send you home alone after getting a very cold handshake from a woman thanking you for a "very friendly time" when only a few moments earlier, you were mentally padding yourself on the back for having changed the bedsheets that very morning.
Luckily, I was able to walk unharmed the mine field that are the initial dates and the first night Annie and I spent together was nothing short of magic.
I had invited her at my place for dinner so I could try and impress her with my cooking skills. I planned the menu ahead of time and to test the old saying that practice makes perfect, I cooked that same meal three times earlier the week to make sure it wasn't a fiasco on the Saturday. By the time we sat down for dinner, or my fourth serving of the exact same meal in less than a week, the food was unbelievably good for her but I had to concentrate real hard not to gag at each bite. I knew how crucial the dessert course would be to my guest, so I opted to turn to the professionals and picked up a cake I had ordered from the nearby bakery, soon to become "our bakery". She found the whole thing hilarious, but later told me she was deeply touched my thoughtfulness.
The setting was perfect. There was no pressure coming either from outside or from us, we were alone in quiet environment and we both genuinely wanted to be there. Even my worries about the fact that I was twelve years older than she was were put to rest. When I asked her how she felt about my age, her answer was "Why? Are you a cheese?"
It seemed as though it happened by itself, naturally. Annie was holding back just enough to keep me wanting more, but not so much as to make me doubt she was enjoying the moment. We found our rhythm almost immediately and I got truly lost in her eyes for the first time as we stared at each other not only the entire time we made love but also after when we laid on our sides, facing each other, whispering, because talking normally would have been inappropriate in the circumstances. That is when she chose to ask for the first time specifically where had I grown up. I told her I just wanted to enjoy the present moment and redirected the conversation back to her.
As time passed, I ran out of ways to avoid the subject, so my only response became to gradually shut down all of those around me, Annie included…"
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You must earn 10,000 points to post other members' whiteboard
Just stopping by to say, hang in there and keep warm. YB.Shep
Congratulations on having the dedication to post for 400 consecutive days. Have a Wonderful 2014! Warren :)
Thanks for becoming my newest buddy. I have a slightly twisted sense of humor. When we visited the Statue of Liberty, there was a big replica of her face in the gift shop, my wife snapped a picture of me with my arm up Liberties nose. Have a great year there. Warren 8-)
Hi willardTX, That is a very interesting picture. Quick, look up, is she a real blond? Care to become buddies?? Warren {:-)
Welcome to Colorado! Here's hoping your stay is pleasant and as eventful as you had hoped for. The weather and road conditions are continually changing. If you are traveling to the high country or any other part of Colorado, then please visit: http://www.cotrip.org for the latest road conditions and webcams. It's the "Bomb", and you'll find it useful while here. Safe and warm travels, and best to you in 2013 and beyond.
welcome aboard buddy, Iknow what you mean, don't travel as much anymore, also never joined facebook, have a nice week..
.YB. Shep
That is a very interesting avatar. Congratulations on posting for 270 consecutive days. Lets be buddies also. Thanks. Shep
Sinclair @ 1009 W Mission Ave & Lincoln Rd in Bellevue NE does not sell Diesel Fuel You entered a price for Diesel at that station.
Thanks for the info, I was just amazed that someone would be able to find all those stations. Safe travels ..
Wow you even made it out to Blair and Central Omaha. Good job. Except you posted two exact prices that I had transposed the numbers on earlier in the day. Strange we both made the SAME mistake and posted the price incorrectly.


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Three Mexican eateries failed their recent inspection by San Antonio Metro Health for several violations including food temperatures and general cleanliness.
Martha's Mexican Restaurant located at 818 N.E. Loop 410 was recently given 49 demerits.
Food temperatures and a dirty kitchen beefed up their bad score, including food debris and mold on the walls. The inspector also found pots and pans encrusted with grease.
Fajita Taco Place located at 1816 Thompson Place failed their inspection with 37 demerits.
The inspector reported they were not sanitizing all dishware. They were also told to clean the refrigerators, grills and all surfaces.
Taqueria La Tapatia at 3054 Rigsby Avenue failed with 32 demerits.
Their violations included improper food temperatures, improper hand washing by employees and no inspection report for customers to see.
Metro Health confirmed successful re-inspections at all three restaurants with vast improvements seen.
Metro Health handed perfect scores to the following restaurants:
- Ernesto's Restaurant on Jackson Keller.
- Luby's Cafeteria in the Medical Center on Floyd Curl.
- Tink-A-Tako on Potranco Road.
- Winston Churchill High School on Blanco Road.
For a list of recent stories Mark Austin has done, click here.


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61" Delano Leather Headboard
Delano features an arched silhouette with generous padding.
Show product details...
- Twin Headboard: 43"W x 6"D x 61"H
- Full Headboard: 58"W x 6"D x 61"H
- Queen Headboard: 64"W x 6"D x 61"H
- King Headboard: 80"W x 6"D x 61"H
- Cal King Headboard: 76"W x 6"D x 61"H
Leather Options
Shown in Brompton cocoa.
61" Delano Leather Headboard


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I work at the Powerhouse Museum in Sydney Australia. My primarily responsibility is the development and delivery of experiences for families with young children. I also look after the Museum mascots Zoe & Cogs.
I also have a professional interest in the use of theatre as a tool to communicate our collecting themes.
Nanoscale phenomena, Societal implications, Envisioning the future


text:
Valley Green Bank
HEARTBLEED SECURITY FLAW --- IMPORTANT Please Read Here
Welcome to Valley Green Bank, one of the fastest growing banks in the Delaware Valley. Locally owned and operated, we are a safe and secure alternative to the large banks in our marketplace.
We encourage you to learn more about Valley Green Bank—peruse our website, or give us a call!
Valley Green Bank in the News:
SNL Financial ranks Valley Green Bank #8 in it's Top 100 Best Performing Community Banks
Philadelphia Business Journal – Small Banks Struggle for Profits
Philadelphia Business Journal – One in Five Philadelphia-Area Community Banks Lost Money in 2013
Philadelphia Business Journal – Valley Green Exits Lending Fund
Valley Green Ranked #1 by Philadelphia Business Journal


text:
The Capitals and Ovechkin are peaking at the right time as they look to solidify their grip on the Southeast. Will the Jets find the consistency to challenge?
While the top teams in the Atlantic and Northeast build impressive leads, the Southeast Division title remains a dogfight. The Jets and Canes are battling for every point, while the Capitals continue their push to sneak in to the playoff mix.
The Lightning are going through a rough patch, but things aren't as dire as they may seem.
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- Studio: Twentieth Century Fox Film Corporation
- Release Date: Jun 8, 2012
- Starring: Charlize Theron, Logan Marshall-Green, Michael Fassbender, Noomi Rapace
- Summary: Filmmaker Ridley Scott returns to the genre he helped define, creating an original science fiction epic set in the most dangerous corners of the universe. The film takes a team of scientists and explorers on a thrilling journey that will test their physical and mental limits and strand them on a distant world, where they will discover the answers to our most profound questions and to life's ultimate mystery. (20th Century Fox)… Expand
- Director: Ridley Scott
- Genre(s): Action, Adventure, Sci-Fi, Drama, Thriller, Horror
- More Details and Credits »
Score distribution:
Positive: 24 out of 42
Mixed: 17 out of 42
Negative: 1 out of 42
A magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn't have the answers.
Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
Although Ridley Scott's 3D visual feast is no classic, the oozing alien tentacles hit all the right sci-fi horror notes.
The virtuosity on display makes the weakness of the story all the more frustrating. I'll avoid spoilers here, but Prometheus kind of spoils itself with twists and reversals that pull the movie away from its lofty, mind-blowing potential.
It's imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn't feel like a cheap grab for our moviegoing dollars – but it doesn't inspire anything so vital as wonder or fear, either.
Try as it might, the movie is hardly profound, and the murky atmosphere and the leaden pace drag things down.
Jun 5, 2012It aspires to Stanley Kubrick's "2001", but in its maddeningly unresolved plot threads and cornball cosmic mysticism, it lands closer to "Mission to Mars" -though Prometheus lacks any action set piece as gripping as the Brian De Palma film's sentient sandstorm.
Score distribution:
Positive: 327 out of 551
Mixed: 67 out of 551
Negative: 157 out of 551
Jun 9, 2012After seeing the Previews I had mixed feelings about Prometheus. Yes it looked like it would be visually pleasing, and I love the original Alien, liked Predators and Alien 3, but all of the other films set in the fictional Alien/Predator universe are pretty terrible, especially AVP2 which was one of the worst films I have ever seen. After AVP2 I vowed I was done with both of the franchises for good. But after some coaxing by a couple of friends, I reluctantly went to see the Prometheus opening in IMAX. Couldn't be happier. Amazing visuals. Intriguing plot lines. Excellent character portrayals by most of the cast. Intense edge-of-your-seat thrill ride, but not only was it thrilling, it was gripping. The cinematography was excellent. The character development of David was spectacular. The story line exceeds all of the other movies of the Alien/Predator franchises, except for the original Alien, combined. I'm glad I spent the money to see the IMAX version, and I am planning to see this at least two to three more times in IMAX before its run is over. Last movie I saw in a theater more than once? The first Matrix film. Saw it twice. This movie is right on par with it as far as an overall experience. Surpassed even Avatar, far surpassed in my opinion, in overall 3D movie experience/entertainment. This is a must see. Anyone saying it was boring, or hard to follow, doesn't know what a great movie is. There is no hand-holding through the movie. You must think for yourself and form theories as you as you go along, and this film kept me guessing through the end, but not to a point that I ever felt I was "lost." Wonderful Experience. 9.7/10… Expand
Jul 5, 2012A sublime sci-fi adventure ahead of its time. The only real fault with this film is not over-reaching, but reaching in too many directions all at once. A flawed gem, but a valiant step forward for the genre. Leaves many unanswered questions which will frustrate the impatient, but lays the foundation for a promising continuation of its own, which will captivate the imaginative.… Expand
Jun 8, 2012After all the hype, does Prometheus live up to it? Because I walked out of the theater feeling as if I was unable to determine if I liked it or not, Iâ… Expand
Jun 18, 2012Prometheus is not a bad film, it's just not a good film. The production design by Arthur Max is creative and simply incredible, the 3D is great and Michael Fassbender is fantastic as a robot. With all that said, the screenplay is what doesn't work in Prometheus. It's sometimes confusing and sometimes predictable, the characters aren't really good developed, apart from David (Michael Fassbender), and some scenes are well written, but bad on camera. At the end, Prometheus is just a poorly connection to Alien.… Expand
Jun 11, 2012This review contains spoilers, click expand to view. Be warned, this film is very stupid. Highly intelligent alien beings created all life on earth yet are stupid enough to revisit ages later and leave us clues and directions to their moon base so we can go there and destroy them. This is a trillion dollar endeavor to reach this moon and this rag tag group of characters is the best Peter Weyland could come up with to see this mission succeed? State of the art probes that can't detect worms or mutated snake aliens. An android with the ability to see into the future. How else would david know that by poisoning a crew member with alien goo he would copulate with his barren girlfriend an she would conceive an alien facehugger? This film has more plot holes than swiss cheese. Since when are archaeologists also biologists and skilled enough surgeons to operate advanced surgical equipment on themselves while a squid tears at their insides? Still not impressed? Evolution only takes minutes and hours in this film, not years or eons. One final spoiler: the alien life cycle has no incubation/developement stage and produces full grown xenomorphs that explode out of the host body, no chestbursters here. Very disappointing film indeed!… Expand
May 27, 2013What's disappointing is more than half of this movie is boring, only last scene is good. Maniac Charlie Holloway, Alien snake, Meredith Vickers running from space ship(why don't she just run left) scenes were bad.
I only liked the Engineer turn to skeleton, giant octopus surgery, octopus vs Engineer, and alien birth from Engineer scenes. I wanted to see more scenes escaping from Engineer, octopus and alien birth from Engineer. I really liked the Engineer,the Character was like Michael Myers. I don't want to see a heroine with assault rifle or super powers like Resident Evil: Retribution, I want see heroine like Laurie Strode. Heroine with no weapon or very weak weapon. Protagonist with strong weapon just lose the suspense.… Expand
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The Sunflower Foundation wants to promote the social understanding for the modern monetary system and help people to clarify their individual attitude towards money. In doing so the foundation supports initiatives and projects that help this vision to come true. Above all the foundation makes the interaction between man, woman and money to the subject of discussion on its own platforms:
- The MoneyMuseum, the museum platform for the Western history of money, throws light on money from a historical point of view, but describes also modern developments.
- The MoneyForum, the discussion platform, carries out lecture and discussion events on monetary and economic subjects.
- The MoneyLab, the laboratory and play platform, introduces new projects.
With its platforms the foundation is directed at both experts and laymen alike. In doing so its aim is to stimulate a deeper discussion of money, reduce emotional barriers to financial matters and to increase the knowledge of economic and social connections.
Trademark and name giver of the Sunflower Foundation is the sunflower because of its ability to head for growth all its life in an unintentional, generous manner and with an individual expression.
Short video on website - press picture below


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Solar Flares
What You Need to Know: A Special from Tarcher/Penguin
Whitley Strieber - Author
ePub eBook | $3.99 | add to cart | view cart
ISBN 9781101616338 | 11 Dec 2012 | Tarcher
Summary of Solar Flares Summary of Solar Flares Reviews for Solar Flares An Excerpt from Solar Flares
There is a force out there that could destroy our world in minutes. . . .
Solar flares—brief bursts of radiation from our sun—have always existed and have never been particularly dangerous. Nature hasn't changed. But we have. By making our world so dependent on electricity delivered by huge, unprotected power grids we have inadvertently placed humanity at terrible risk. As bestselling author Whitley Strieber explores in this urgent new work, a powerful solar flare could demolish our electrical delivery system, wiping away centuries of civilization in minutes and drastically changing our world.
Such a scenario is altogether plausible—and it is the single most dangerous single thing that could happen to our civilization, more dangerous than the most massive earthquake or volcano, more dangerous than climate change, more dangerous even than nuclear war. What is worse, solar flares of a now-dangerous intensity are not all that uncommon; and not only that, our electrical and electronic infrastructure is becoming so extensive, and thus so fragile, that smaller and smaller solar flares can pose more and more serious hazards.
Due to the astonishing unwillingness of power companies to cooperate, good programs that would make us safer, and that are supported by both political parties, have been routinely prevented from being enacted.
In Solar Flares: What You Need to Know, Strieber reveals the dangers behind solar flares, tracks the disastrous damage they could cause, surveys what they would do to our world in the here-and-now, and explains what nations and individuals must do to prepare for them.
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