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Well, another twelve months are almost history, and the holiday season has arrived in all its glory. And you know what that means: Christmas music is in the mall, on the air, in TV commercials and pretty much unavoidable. No matter how you feel about that — and the sentiment runs the gamut from delight to despair — here at Hearts of Space, we have a hopefully more subtle strategy: call it Ambient/environmental.
On this transmission of Hearts of Space, we confront the cold with acoustic instrumentals that please the ear with harmony and warm the heart with melody and emotion, on a program called HEARTH AND HOME.
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The familiar Baroque harmonies of ANTONIO VIVALDI'S "The Four Seasons." But something is different. The notes are almost the same, but the sound and the recorded image have been "recomposed" in a more modern style by British composer MAX RICHTER.
Since the dawn of the popular electronic music era in the 1960s and 70s, both classical composers and popular musicians have been fascinated by the creative intersection of Classical structure and Ambient atmosphere. And it has led to a genre of Ambient/Classical hybrids that continue to the present day.
For Ambient is, at its heart, a sensibility for sound and space, one which had already been incorporated into certain forms of Western classical music over ten centuries of evolution: especially sacred and choral music, works for pipe organ, and adagio movements of all eras and genres.
On this transmission of Hearts of Space, the creative intersection between Classical and Ambient, on a program called CLASSICAL REINVENTIONS.
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Emerging out of the dark days of autumn, we begin the transition to the year's end holidays. The music takes a brighter, more active turn as we immerse ourselves in sparkling electronic soundworlds, and subtle, yet seductive melodies. Ambient artists turn raw waveforms into virtual environments, a kind of sonic alchemy.
On this transmission of Hearts of Space...an early winter journey in virtual electronic space, on a program called AMBIENT ALCHEMY.
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As we descend into the quiet heart of the autumn soundscape, it's time to revisit the contemplative jazz and classical treasures of the indispensible German label ECM. It's the sound of mostly acoustic instruments played by master musicians in pristine studio recordings. ECM music seems to come fully alive under the grey skies and subdued light of fall, when its complex tonalities and somber, but intense colors take on a burnished glow.
On this transmission of Hearts of Space, a miniature ECM festival, on program called DARKTIME REVERIES.
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As the autumn sun withdraws, we enter the season of gloom and shadow: the darkside.
The ancient pagan harvest celebrations and the 16th-century Christian observance of All Hallows Eve have come down to us from the Celtic lands as the festival of Halloween, a time to honor the saints and recently departed souls, and recognize the dark emotions surrounding fear, death and decay.
On this transmission of Hearts of Space, another Ambient journey for Halloween called DARKSIDE RITUALS.
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As we enter the astrological house of Scorpio, here in the northern hemisphere the light is waning, the natural world is withering, and hidden realms are emerging from the shadows. it's a time for music of dissonant harmonies, dark spaces and strange worlds.
I'm STEPHEN HILL and on this transmission of Hearts of Space, a dark autumn journey called...THE TWILIGHT ZONE. The title, of course, was made famous by the 1959 science fiction TV series written, produced and hosted by ROD SERLING, featuring stories of the futuristic, the paranormal and the supernatural.
My introductions to Hearts of Space are too often compared to Rod Serling's. Thank you, but have you actually listened to a TWILIGHT ZONE intro lately? Sorry, no way.
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Over a thousand years of what we now call Western Classical music comes down to us as a story about the evolution of musical styles. From monophonic to polyphonic; Medieval to Renaissance to Baroque; Classical to Romantic, and so on, to the contemporary "post-classical" and experimental musics of today.
Yet within this evolutionary panorama exists another approach to the musical experience that is found in all eras and styles: slow, calm, and quiet — in the Italian, adagio. This is music for reflective contemplation, deep emotion, and ethereal suspension.
Since 1985, our devoted guest producer ELLEN HOLMES has brought us a series of beautiful programs featuring the most sublime moments from the vast repertoire of western classical and sacred music — a labor of love if ever there was one.
On this transmission of Hearts of Space, a bit of a departure from Ellen's usual offerings of sacred music for the Christmas and Easter holidays — a program dedicated to the season called AUTUMN SONG.
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The Astral Plane is said by esoteric scholars to be one the seven planes of existence. Whether you accept this metaphysical framework or not, the idea of non-physical dimensions that we inhabit or travel through after death has had a long and wide history, extending from ancient shamanic and mythological ideas, through Neoplatonism, to Theosophy, to the present.
Subtlety is the key to the hierarchy of planes from the physical to the divine, and that may be the reason why serious Ambient composers spin delicate sonic images of what have been called "imaginal landscapes." On this transmission of HEARTS of SPACE we journey in these subtle realms, on a program called ASTRAL TRAVELLER.
Music is by JONN SERRIE, MICHAEL STEARNS, ALPHA WAVE MOVEMENT, MEG BOWLES, HOLLAN HOLMES, and DARSHAN AMBIENT.
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It's been a while since we did a program on the music of the America to our south. It's a whole continent, after all, and the scope and variety of music from the distinctive cultures of Bolivia, Peru, Ecuador, Uruguay, Argentina and Brazil is enormous.
Whether it comes from the mountain cultures, the grasslands, the rainforest, or one of the great cities; is based on influences from the native Indians, or from Spain or other European countries — the music of South America has a depth and passion all its own, and genres like Tango have created fans around the world.
On this transmission of Hearts of Space, we return to the soul and space of South American music, on a program called ROMANTICO. Music is by OSCAR REYNOLDS, INKUYO, TRIO GARUFA, GUSTAVO SANTAOLOLLA, ASTOR PIAZZOLLA, STEPHAN MICUS, DINO SALUZZI, and EGBERTO GISMONTI.
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The slow heartbeat rhythm and cooling electronic harmonies of England's MARCONI UNION. In 2011 they were commissioned to create a piece of relaxing music in collaboration with the British Academy of Sound Therapy. The resulting 8 minute single you're hearing was called "Weightless." Against the odds, it became a worldwide hit.
In fact, the feeling of weightless floating was nothing new for electronic music, with examples going back to the 1920s. When combined with a goal-less, extended style of composition, you have the elements of this transmission of Hearts of Space — an hour of zero-gravity Ambient for inspiring patience, on a program called WEIGHTLESS WAITING.
Music is by MARCONI UNION, BRYAN CARRIGAN, SIMON LOMAX, AMIR BAGHIRI, STEVE ROACH, and HAROLD BUDD.
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The inventors of the electric guitar were originally motivated by the need for volume, to compete with drums, brass, and other loud instruments. But it didn't take long for reverb and special effects to transform the electric guitar into a vehicle for space exploration.
Beginning in the 1960s, technically inclined improvisers used tape recorders to create live repetitions, essentially reinventing the Baroque canon, where a musical phrase or melody is repeated at fixed intervals. The need for more portable effects led to the invention of compact tape loop echo processors, and today's electronic "loopers," which make possible a more precise and flexible style of contemplative improvisation.
On this transmission of Hearts of Space, recent work in this ambient sub-genre, with another installment of our long-running "space guitars" series, on a program called SPACE GUITARS 12. Music is by JEFF PEARCE, STEVEN GRAHN, CLIVE WRIGHT, HAMMOCK, and introducing PETER JACK RAINBIRD.
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The concept of trance has a long and complicated history. Originally "a dazed, half-conscious or insensible condition or state of fear," the meaning has evolved to include many unusual or altered states of consciousness associated with hypnosis, meditation, magic, prayer, addictions, and ecstasy.
Trance states are characterized by repetition, so music is a prime instigator in both ethnic and social cultures, including a high-energy style of electronic dance music.
On this transmission of Hearts of Space, we ride hypnotic beats into strange realms and magical summer nights, on a program called TRANCEWORLD. Music is by GREEN ISAC, KOUAME SEREBA & ERIK WOLLO, DREAM JUNGLE, ROBERT RICH, LOREN NERELL, LARAAJI, MAX CORBACHO & BRUNO SANFILIPPO.
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Underlying the political and religious differences that have provoked centuries of unrest in the Middle East and North Africa is the landscape — an austere region of desert and mountains, transected by great rivers: the Nile, the Tigris, the Euphrates. This environment, along with centuries of cultural exchange, accounts for a rough musical unity across countries and ethnicities. Thus the music of Turkey, Israel and Palestine has similarities with the Arabic and Berber music of North Africa and the Persian traditions of Iran.
Today, progressive artists working within these traditions have created a Virtual Middle East, a cultural blend that effectively ignores ethnic, religious and political differences, and brings us an image of what a peaceful future in the region might sound like.
On this transmission of Hearts of Space, soulful sounds from the Virtual Middle East, on a program called DESERT SOUL. Music is by MICHEL BANABILA, DHAFER YOUSSEF, MARJAN VAHDAT, NIYAZ, ARCHETRIBE, and ANOUR BRAHEM.
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The long days and short nights of midsummer are a special time. We retreat from our intense work schedules and attend festivals and celebrations, some crowded and intense, others quiet and restorative. We travel, take vacations, entertain friends and relax on warm summer evenings. As the night deepens, activity fades, and the lulling sounds of nature and warm breezes create a seductive environment, inspiring ambient composers to create poetic images of a soft, nurturing night.
On this transmission of Hearts of Space, an hour of ambient music for the season, on a program called MIDSUMMER NIGHT 3. Music is by ASCENDANT, DEEPER NET, ISHQ, ALTUS, S7VEN, CLAUDIO CASANUEVA, and RUDY ADRIAN.
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The gene-splicing of the centuries-old Indian devotional chant with 20th-century recording technology and electronic instruments gave birth to a new hybrid. It began as a religious folk music tradition called kirtan, "a celebration of spirit through the chanting of sacred names."
Imported from India by adventurous westerners in the 1970s, it evolved into a more complex style: part devotional chant, part western pop orchestration, part expanded ambience. Fueled by the worldwide growth of yoga, in the last 30 years it's attracted a diverse international audience.
For Hearts of Space fans, it may take a bit of extra effort to extract the Ambient experience from the vocal textures and exotic Sanskrit lyrics. But for open-minded, open-hearted listeners, this music offers a sensitive world of authentic grassroots spirituality.
On this transmission of Hearts of Space, an Ambient devotional journey called ENCHANTING. Music is by DEVA PREMAL & MITEN, MANISH VYAS, JAYA LAKSHMI & ANANDA, SHANTALA, CHINMAYA DUNSTER, JOY, and SACRED EARTH.
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Summer...inspires an even more ethereal brand of Ambient electronica. Whether flying or floating on the balmy breezes, the sounds are airy and the movement is light and buoyant. The words we use to describe the moods it creates are superlative: joyous, blissful, ecstatic, delightful — even heavenly. And when it comes to heaven, for some reason we prefer the seventh.
On this transmission of Hearts of Space...an ambient-electronic-summer-journey called CLOUD NINE. (Yes, we also number the clouds.) Music is by CHRONOTOPE PROJECT, FANGER & SCHONWALDER, JOHN LYELL, ARIEL KALMA, and DAVE LUXTON.
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The unmistakable sound of flamenco...or rather, Flamenco Fusion: a mix of traditional Flamenco and electronics from the German/Spanish group B-Tribe.
From its medieval roots in 8th century Al-Andalus, after the Muslim conquest of the Iberian peninsula, the music of the Spanish region of Andalusia has been a cultural melting pot, joining Moorish influences from North Africa, Sephardic Jewish songs and European music. With the addition of Romani gypsy influences in the 18th and 19th centuries, the music we now call Flamenco. with its fiery rhythms, dark harmonies and passionate emotions, was born. It's a genre with a signature ambience and feeling that's attracted devoted fans all over the world.
On this transmission of Hearts of Space, we return to the sound of Flamenco, on a program called ANDALUSIA 2. Music is by B-TRIBE, JESSE COOK, PRIYO, ARMIK, MURIEL ANDERSON, ADAM HURST, JOSÉ LUIS MONTÓN, ZSOFIA BOROS, and the AL-ANDALUS ENSEMBLE.
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If you head southwest out of London by train or automobile, five or six hours and some 350 miles later you'll reach the southwestern edge of Great Britain, and the seaside region known as West Cornwall. There, on a peninsula extending into the Celtic Sea halfway between Ireland and Brittany, in the picturesque village of St. Ives, lives musician MATT HILLIER and his wife and vocal muse JACQUELINE KERSLEY.
It's an unlikely place for one of the most sophisticated Ambient musicians anywhere. Since 1995 under a variety of aliases and since 2002 as ISHQ, Matt Hillier has been releasing his sensitive and harmonious brand of Ambient electronica, inspired by the natural beauty of the Cornish landscape.
As a body of work it has certain qualities in common with the best new age artists of days gone by, combining sounds from nature, ethereal electronic textures, and Middle and Far Eastern influences. Matt describes it as "slow gentle drifting harmonic timeless ambience meditations" and "triptamine astral sound paintings and visionary sonic art." As you'll hear, he's not exaggerating in the slightest.
On this transmission of Hearts of Space, an ISHQ retrospective inspired by our colleague MIKE G of AMBIENTMUSICGUIDE.com in Brisbane, Australia, on a program called INVISIBLE LANDSCAPES.
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New Age music, ladies and gentlemen: famously, a genre with a reputation for well-meaning but insipid music.
Like most stereotypes, it's only partly true. From the beginning in the early 1980s, there were always outstanding and original musicians thrown into the new age category, along with the shall-we-say uninspired. New age filled a need for slow, contemplative environments in a noisy, fast-paced world; it also filled a need in record stores (remember record stores?) for an instrumental music category that wasn't jazz, folk, or classical. It was the first music trend to gain commercial success after the home studio revolution of the 1970s; no wonder it was overrun with mediocre self-released albums.
Despite this history, in the last few years, a number of younger music fans have returned to the genre with open ears and open minds. Classic albums are being reissued, and new compilations of the inspired, the forgotten and the unjustly ignored are being released, along with new work by some of the old masters. There was even a story about the revival in the Sunday New York Times Magazine!
On this transmission of Hearts of Space, a program called NEW AGE RECONSIDERED. Music is by IASOS, LARKIN & MICHAEL STEARNS, KITARO, AEOLIAH, SHAJAN, CONSTANCE DEMBY, and STEVEN HALPERN.
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The tribal music traditions of Asia, Africa and the Americas stretch back to the mists of pre-history. For perhaps a hundred centuries, music was made with simple, even primitive instruments: flutes, rattles, drums and percussion; lyres, harps and strings; and wind instruments of various sizes and tones. It was an all-acoustic world, where music and instruments evolved slowly.
Then in the late 19th and 20th centuries, electricity and electronics began to transform the world and transform music. First came the telegraph and the telephone, then radio, then recordings, and then the instruments themselves. Guitars and pianos became electric...and then electronic. And finally, purely electronic instruments of dazzling variety and unlimited potential to create new sounds.
After the electronic music revolution of the 1960s and 70s, the entire studio became a musical instrument, and the sound of recordings has never been quite the same. Today, ethnic instruments and genres can be set in new Ambient soundscapes, a fusion of the old world and the new.
On this transmission of Hearts of Space, ethnic instruments join electronic ambient, on a program called "ETHNOTRONIC." Music is by TUU, GREEN ISAC, SACRED EARTH, CHINMAYA DUNSTER, MANEESH DE MOOR, ARCHETRIBE, LOREN NERELL & MARK SEELIG, STILLPOINT and MICHEL BANABILA..
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Ahhh, the advent of spring. It arrives in fits and starts... a few warm days punctuated by brisk winds and unpredictable storms. In March, we pass the spring equinox and have a bright new season. The trees bud and blossom, and the natural world stirs and awakes. After the constriction and enclosure of winter, it's a time to stretch, breathe deep, and expand.
The Ambient soundscapes of the season are brighter, bolder, larger, with a sense of possibility, even hope. The long winter is past, the joy of spring and the blissful days of summer are at hand.
On this transmission of Hearts of Space, a journey in the vernal soundscape, on a program called EXPANSION. Music is by DAVID HELPLING & JON JENKINS, PATRICK O'HEARN, JOHN LYELL, ALPHA WAVE MOVEMENT, PHILLIP WILKERSON, HAR, and HAROLD BUDD.
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The soft melodic rhythms of the first new musical instrument of the 21st century — the Hang (spelled h-a-n-g) from PanArt of Switzerland. It's played with the hands and derived from the steel pan drum, but has been lovingly refined, allowing the player to create melody, rhythm, harmonics and reverberation at the same time. It's a seductive, hypnotic sound that's inspired an international community of players.
On this transmission of Hearts of Space, we focus on the Hang and the family of steel drums and resonant percussion. We'll ride the quiet grooves to a place where percussion turns contemplative, and rhythm turns to pure sound, on a program called TRANCEDANCE. Music is by JAMES HOOD, LAYNE REDMOND & TOMMY BRUNJES, STEPHAN MICUS, ED MANN, and MATT VENUTI.
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The sublime choral music of the Russian Orthodox church: it floats you on a harmonic cloud of sound that can only be called "heavenly." It's a tradition that extends back for over a thousand years in Russia and central Asia. And it became a life-changing experience for the late English composer JOHN TAVENER, who converted to the Orthodox faith and wrote many sacred works influenced by its theology and traditions.
On this transmission of Hearts of Space, we mark the Christian holiday of Easter with another musical tapestry from our longtime guest producer for sacred and classical spacemusic ELLEN HOLMES, on a program called IKON OF LIGHT.
Performances are by LIBERA, THE TALLIS SCHOLARS, THE CHILINGIRIAN QUARTET, POLYPHONY, ANONYMOUS 4, CHOIR OF THE TEMPLE CHURCH, THE HOLST SINGERS, THE CHOROVAYA AKADEMIA, YO YO MA, THE BRNO PHILHARMONIC, cellist STEVEN ISSERLIS and THE MOSCOW VIRTUOSI.
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Here at Hearts of Space we cast a wide net, featuring ambient and contemplative sounds from around the world and across the centuries. It's a mission that leads to exotic experiences, but it's always satisfying to return to our home base in Electronic Ambient. These days, it comes in many styles and varieties and has many names: Downtempo, Chill, Space, Psy-trance, Psybient, Electronica, Atmospheric, Deep Ambient, and more.
Whatever you call it, electronic sound opens up an ethereal world that leaves ordinary acoustics behind. It creates a sonic space for virtual travel, calms the mind, and fuels creative work. On this transmission of Hearts of Space, we continue our electronic explorations on a program called ETHERSPHERE.
Music is by SCANN-TEC, S1GNS OF L1FE, STEVE ROACH, JEFF SCOTT CASTLE, SINEPEARL, RUDY ADRIAN, and ALIO DIE+SYLVI ALLI.
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The Electric Guitar, dear spacefans. It was conceived in the 1930s by jazz musicians as a way to match the volume of big band horns. With the help of LEO FENDER, and artists like BUDDY HOLLY, CHUCK BERRY, and BO DIDDLEY, it evolved to dominate popular music in the 1950s and 60s. And with the help of electronics and controlled substances, it ascended into space in the 1970s — a mission that, like NASA, continues today (with somewhat reduced funding) under the guidance of an international group of dedicated guitar-o-nauts.
Here at Hearts of Space we've been documenting the evolution of the guitar since 1985, from electric to electronic and beyond, with a series called "Space Guitars." We search the starfields and toneworlds for new guitar-o-nauts, and bring you the best. This week: SPACE GUITARS 11.
Music is by BUCKETHEAD, ERIK WOLLO, CLIVE WRIGHT, IGNEOUS FLAME, JEFF PEARCE, and HAMMOCK.
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this really depend on the situation. if one side have awacs support, advantage does lean on the side with awacs. But basically it depends on the skill, weather and luck
This is a discussion on Who would win? Su-27, or F-16? within the Air Force forums, part of the China Defense & Military category; Hey i've heard a lot of people say the Su-27 would beat the F-16, and a lot of people say ...
Hey i've heard a lot of people say the Su-27 would beat the F-16, and a lot of people say the F-16 will beat the Su-27? Which is it?
this really depend on the situation. if one side have awacs support, advantage does lean on the side with awacs. But basically it depends on the skill, weather and luck
I think he might want to compare just the planes in which has superior technology and ignore other variables, or lets say that skill is generally the same etc?
Lets take su27sk and f16 block 20.
sukhoi has more powerful radar, would probably have better situational awareness, in multi aircraft engegements on both sides it could use that to position its forces better, unless we're talking about situation where awacs support is included, where sukhoi's radar advantage would be more than negated. RWRs would surely go off on both planes, giving some kind of info on broad area where enemy is, so f16 wouldn't be completely blind even at long range from sukhoi.
But lets stick to one on one engagement. Though not a a great radar, apg66v3 on f16 should be good enough to, given sukhois rather large RCS, allow it to use amraams to more or less full extent. Perhaps not to 80-100 km but realistically no one uses missiles to their max range. Note i am assuming c5 version of amraam or better. With diff weapons situation would be different.
sukhoi would use r-27 missiles as its main weapon at long ranges. While it would have to keep a radar lock to use the SARH version, it would probably fire off the IR version at the same time, just to increase its chances. Range on the basic version would be a little bit inferior to f16 but not by much (60-80 km) meaning its quite likely sukhoi would get to fire off its missiles before amraams get to it. Now, with SARH version that's not quite enough as if the sukhoi dies then the missile is useless too, but the IR version would remain on target, given its guidance isnt spoofed.
Differnt loadouts are possible, of course. Sukhoi could be using enhanced range versions of r-27, possibly up to 120 km, giving it a slight edge, though probably not able to kill the f16 before it fires off its amraams. Or f16 could be using aim7m, a SARH missile quite comparable to r-27, with some 50-60 km range. Please do note that in real world scenarios, all these missiles would be fired at anywhere from 25-75% of their max range, depending on altitudes and course of both planes. Or, if the pilot is an idiot, they'd fire them at 90-100% range and most probably miss as the missile would lose all its energy even to do a simple turn by the time it closes to the target. There's also IFF problem that we didn't even take into account here, usually making the engagement distances even smaller.
If for whatever reason both planes are alive to get to WVR, its aim9m versus r-73 would be relatively comparable though most people seem to give the r-73 an edge. While basic r-73 wouldnt be significantly better than aim9m, r-73m and subsequent versions do offer better seeker and added range. Still, a mutual kill would still quite possible as aim9m is a fine enough missile. With fight getting even closer, sukhois chances woulld improve, in my opinion as, though f16 has somewhat tighter cornering, combo of sukhois helmet sight and r73 slaved to it, especially r73m with even bigger offbore lock on envelope could prove decisive.
Of course, differnt versions of f16 and su27 would could offer different results. I chose mentioned versions for a reason though
Not in the mentioned scenario (27SK versus Block 20) SK has a basic cockpit, while Block 20 has a Block 50/MLU style cockpit. Situational awareness isn't only about the radar's range, it's also about how easy is for the pilot to perceive the tactical situation and react accordingly- that's where the MFDs, HOTAS,... play their most important rolesukhoi has more powerful radar, would probably have better situational awareness
BVR: With proper jamming and AMRAAM C-5 a Block 20 can kill any Su (unless it has R-77). Nobody should take those (russian-supplied) numbers about the R-27 as good, we all know their poor performance in Ethiopia-Eritrea war.
WWR: R-73 has off-boresight capability on its side, but is very flare-hungry. AIM-9M8/9 has better ECCM, but less maneuvrability.
Anyway, especially in WWR the best pilot (better trained, more hours, better motivated and, why not, more talented) WILL ALWAYS WIN.
Scenario variables were no support airplanes (awacs, jammers etc) one on one engagement, same quality pilot.
With that in mind, it i my belief that su27 pilot would be able to track a single f16 quite nicely and not lag behind f16. In a more stressful situations, with lots of planes coming from various directions, situation might be different but that's not the mentioned scenario. Hotas is also nice but less important in bvr than in wvr. (tracking someone 50-100 km further than he can track you is still a big step towards sit awareness, though of course the more planes you track the better system for showing you information you have to have)
Analysis was given based on figures being used all around. We can choose not to believe those figures but then we have to have another set of figures instead. I for one believe that r-27s larger volume is quite possible to offer the mentioned ranges, when compared to other (both russian and western) missiles.
r-27 lack of success in ethiopia/erithrea war could've easely been due bad pilots. Like it was said before, if you fire off a missile at 90% of its max range, you will almost certainly miss. I am not saying its a missile that is comparable to aim120, but it certainly is comparable to aim7m
Both r73 and aim9m have their subversions. They have both been improved over their lifetimes. I do accept sidewinder has somewhat better eccm but r73 also has its perks. In the end it can even out, especially since we have one on one engagement where pilot can afford to shoot all its missiles if that's gonna help him survive.
I agree on most points, except the R-27.
Sorry, I tend to believe facts, not PR stuff from a Russian company (or any company for that matter)
Of course we need some numbers as a refference, but it's hard to choose a set from the ones available. For example here:http://www.fabulousfulcrums.de/index_e.html
you can find much lower numbers for R-27 (AA-10) range than the ones usually stated by its manufacturer - does the Luftwaffe lie? I don't think so - foremost for lack of a valid reason in this particular case. Indeed the R-27 is big, but it also has much more drag than any modern missile
Actually that article you provided link for has some quite consistent data. I do believe ranges provided there are true, but they're in different category. They match the useful ranges, whereas we're (And manufacturers, of course) talking about maximum theoretical ranges. For each of the quoted ranges there, if you multiply them with average modifiers of 2-2.5 (difference between firing something from low alt and firing it from 10-15 km) you will get the usually quoted max range figures. I checked it and it applies for every single missile listed there.
As far as more drag goes, sure, there's more drag. drag is aerodynamic coefficient * surface area * air density * speed squared. Induced drag is hard to count for but surface area drag is easy to calculate. r27 body cross section is 415.5 cm2 versus 323.65 cm2 on sparrow. So sparrow has some 78% surface that r27 has. Also, r27s fins are some 13cm longer. However, we don't know how thick they are (low sweep angle usually means a very thin wing for supersonics) nor do we know just how efficiently designed all those components are, whats the induced drag they make. Also, higher altitude and lower air density means less difference in drag. and there's huge difference in air density at 10 km compared to 1km altitude. It is certain that r27 max ranges for high and low altitudes would be more different than those of aim7.
Now, fuel. r27 has 0.169 cubic meters of volume, while aim7 has 0.116. aim7 has 69% of volume that r27 has. warhead is comparable on both, if assumed similar characteristics of fuel motor and electronics systems - it is not unimaginable that r27, in theoretical conditions, has some 10% bigger range than aim7 does. At lower altitudes, the difference would probably diminish.
I still maintain r27 is a fine enough missile with some life left in its design. It'd be even better if it had a datalink for course corrections and lock on after launch mode for its IR (or better yet, IIR) version. Maybe some future version...
When the manufacturer advertise range, it's max effective range under optimal conditions. In reality the engagement range of an AAM depends on many factors, such as altitude, flight profile, etc. See here:Originally Posted by googeler
"To take one example, the Vympel R-77 has a stated range of 100 km against a head-on target at high altitude, but only 25 km in a stern chase. At low altitude it can fire at head-on targets at 20 km, from which we can guess range in a stern chase is 5 km. (See the above diagram.)
And this is presumably against targets that don't try to evade."
As for the listed range for R-27/AA-10, that depends on which model and what seeker head. As you know Russians tend to export downgraded (or earlier) versions, keeping the best to themselves.
The web page you cited presents a more realistic 'average" engagement range, to Vympel's advertised max effective range for high-altitude head-on engagements. The same rules would apply to US-made missiles. The AIM-120C-5 has published range of 110km+, but that's also under optimal conditions, not low-altutde stern chase with the other guy trying to evade.
As for Su-27SK vs. F-16A/B, from cockpit control point of view, the F-16 pilot has a leg up. The Su-27SK pilot has to flip/turn/click a lot more buttons to engage a target and fire the missile, vs the F-16 pilot's controls are more computerized and automated:
From raw power/performance point of view, if the Su-27SK is using high-octane aviation fuel with unrestricted (not de-tuned) powerplant, it'd prolly fly circles around the F-16A. In close-range dogflight, I wouldn't want to be in the F-16 cockpit with that IRST ball tracking my butt.
The German MiG-29's used lower octane fuel with de-tuned engines to prolong the engine and airframe lifespan. They are not represenative of Russian AF MiG-29's performance.
BVR is way overrated. The longest distance kill ever achieved is like 40km. Most kills with BVRAAMs are more likely to occur between 15 to 40km.
Also SARH missiles are very deadly at closer ranges (R-27 vs R-77, Sparrow vs. AMRAAM). The reason for this is that the fighter's radar emits far greater energy than the radar of the missile's seeker. While in the wing, the SARH missile seeker would lock a lot faster than the ARH missile seeker which is going to take some latency "seeking" the target before it gets a lock on. The SARH missile on the other hand, can be "snap" fired.
Once fired, the SARH missile does not reveal its position to the target's RWR because it is completely passive. The target's RWR will only tell you where the direction of the radiating fighter and how close the fighter's radar that is X-raying the target. This means you won't know how to evade the incoming missile. The ARH missile could alert the RWR when it goes active and where it's coming from, allowing the target for an evasive maneuver.
The Chinese Su-27SKs all have modifications to allow for R-77 use, as reported by Jane's. However, they don't seem to have enough R-77s around, since it is probably allocated first to the Su-30s. The ROC F-16 Block 20 does not have enough AMRAAMs either, and have to rely more on AIM-7s, but that does not distract from the lethality of the late model AIM-7 when used in closer ranged "snap" tactics.
The Mirage 2000-5 should be more of a worry to the PLAAF because of the far larger stockpile of MICAs, and the fact these planes can engaged four targets simultaneously. The FCK-1 and the Block 20 can only engage 2, the Su-30MKK and the modified Su-27SK can only engage 2.
Between the Su-27SK and the F-16 Block 20, it's one of brute force vs. finesse.
I'd rather say that it finally reached maturity.BVR is way overrated
Let's not forget that there are 2 types of ARH missilesThe ARH missile could alert the RWR when it goes active and where it's coming from, allowing the target for an evasive maneuver.
-some use inertial navigation (some with mid-course updates from the launching fighter) and go active only in the final part of the trajectory (10-15 miles) - that's the case with AMRAAM
-other are active off the rail - for the whole flight, such as Derby.
I'd say at longer ranges the first method is desirable.
Also, the latest USAF BVR tactics (Kosovo 99, OSW,ONW) are similar to the PVO ripple fire - they usually launch 2 AMRAAMs. If the target evades the first missile, it will be low on energy and unable to evade the second one - happened at least twice with Serbian MiG-29s
I kind of doubt that. I still think BVR is overrated, especially when it comes to range.Originally Posted by googeler
You are wrong in a way.Let's not forget that there are 2 types of ARH missiles
-some use inertial navigation (some with mid-course updates from the launching fighter) and go active only in the final part of the trajectory (10-15 miles) - that's the case with AMRAAM
-other are active off the rail - for the whole flight, such as Derby.
I'd say at longer ranges the first method is desirable.
What you are describing are two modes of operation that exists in all BVR missiles. They exist in one missile, not two kinds.
Old strategy. They are already doing this in Vietnam. You can do this with SARH and it will be just as deadly. Everyone playing in a PC or console flight sim fights like this and knows this as a basic tactic.Also, the latest USAF BVR tactics (Kosovo 99, OSW,ONW) are similar to the PVO ripple fire - they usually launch 2 AMRAAMs. If the target evades the first missile, it will be low on energy and unable to evade the second one - happened at least twice with Serbian MiG-29s
crobato wrote:Yes, ranges are overrated; but the system as a whole is very effective and cannot be discounted in any modern military operation which involves airpower. BVR is here to stay and it will only get better.I still think BVR is overrated, especially when it comes to range.
OK, but you can't launch an AMRAAM at its max (useful) range active off the rail - its on-board radar simply doesn't have that kind of rangeWhat you are describing are two modes of operation that exists in all BVR missiles. They exist in one missile, not two kinds.
Sorry, i'm not a gamer. I just wanted to emphasize that in the real world they don't rely on the "one shot, one kill" theory when it comes to BVR.Everyone playing in a PC or console flight sim fights like this and knows this as a basic tactic.
This is a rather difficult matchup. But I think it goes without saying that a Su-27 could easily get it's nose around quicker on an F-16 from a neutral setup (head-on). The problem is the Su-27 quickly loses most or all of it's energy in that kind of turn and loses it's ability to rate it's nose until it gets some of that energy back. The F-16 on the other hand is highly agile and is able to rate it's nose at low speed because of it's inherent high thrust engine and lower weight design which allows quicker acceleration. Also the limiters on the F-16 will not allow it to do the high AoA energy depleting turn that the Sukhoi jet can do.
If we're talking guns only, I would say that the Su-27 would probably come out on top if it could get around quickly within range and fire an accurate burst of gunfire. But if the F-16 guy is good, he'd probably maneuver out of plane and come over on top of a low energy Sukhoi trying to accelerate to gain enough energy for another turn.
Again, when comparing designs like this, it mostly comes back to pilot skill.
The thrust to weight ratio of the Su-27 is quite high once you're half fuel so it does recover speed quickly. And the Su-27 doesn't lose speed easily from what I've heard except on high AoA maneuvers, but then everything does lose speed in high AoA maneuvers. You either can do a high AoA maneuver or you don't. Given you have more ample fuel, the Su-27 can afford to use its afterburners more.
Its main disadvantage is the large size, which makes it easier to eyeball, and the single engined jet probably rolls faster, so it's in the advantage of the F-16 pilot to do scissors or barrel rolls. Without HMS, the F-16 pilot has a definite disadvantage.
The aggressor pilots in the PLAAF would probably know best how to beat an Su-27. as they know how to do it even with a J-7E.

subset: commoncrawl


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The Women's Commission, first established in March of 1986 by Mayor Thomas G. Young, exists as an advisory body to the Mayor on women's issues and interests. The Commission represents many professions, ages, and areas of the city. Women's commission members are appointed by the Mayor to serve for a term of two years, and meet quarterly.
The purpose and goal of the commission is "to realize the rights of women of all ages to equal opportunity and participation in the affairs of the community; to ensure women of all ages freedom from discrimination based on gender and to assure them of the benefits of equal opportunity and the full utilization of their talents to promote their educational, health, economic and social well-being."
4th annual Woman of the Year Award
Mayor Stephanie A. Miner and the Women's Commission will honor the 2014 Woman of the Year Award at a ceremony on Thursday, April 24th at 5:00 p.m. in the Atrium at City Hall Commons. Each year the Commission honors
"An unsung heroine who has made a difference in her community, who has acted as a role model for other women, and who has otherwise enhanced the lives of the citizens of the City of Syracuse (must be a city resident, all professions are encouraged)."
Women's Commission Members
Pat Body
Pat is a native born Syracusan. She is a retired social worker who specialized in working with families who were experiencing a variety of difficulties. She currently serves as a Commissioner of Education for the Syracuse City School District, a facilitator for TNT Northside, and she is the chair of the Danforth-Pond-Butternut Task Force
Peggy Chase
Native of Syracuse. Registered Nurse, Graduate of SUNY Upstate College of Nursing and Doctorate in Education Administration from Syracuse University. Career included administrative and education positions in local hospitals. Recently retired. Member of State Education Department Nursing Board. Adjunct Professor of Nursing at Keuka College. Active in New York State Nurses Association. Chair of the 5th Ward Democratic Committee. Volunteer RN for the Northside Ministries Clinic. Member of Eastwood Neigbhorhood Association (ENA) and Tomorrow's Neighborhoods Today (TNT). Active member of Blessed Sacrament Parish in Eastwood.
Victoria Coit
Victoria R. Coit is a community activist committed to improving the quality of life for Syracuse residents.
Linda Donalson
Linda Donalson has worked for the Onondaga County Probation Department since 1999, currently as a probation officer for juvenile offenders. After losing her infant son, Kevin JaRon, in 2002, Linda founded KJ's Angels for parents dealing with unexpected loss, to provide a network of support for grieving families and to raise awareness for SIDS (Sudden Infant Death Syndrome, and give families a permanent place to honor their child's memory. Since 2004, KJ's Angels has assisted more than 150 families with burial and cemetery costs. Over the years, Linda has also volunteered her time serving as a youth basketball coach in the city with the Youth Enrichment Opportunity Program, the Valley Junior Athletic Association and the Salt City Shakers. Linda is a member of the Bellgrove Missionary Baptist Church, where she sings in the choir.
Kristi Eck
Kristi Eck is the Education Program Director with Say Yes to Education Syracuse. Kristi has been a part of the Say Yes to Education team since 2009 and a member of the Syracuse community since 2008. Kristi has a master's degree from Columbia University, Teachers College and a bachelor's degree from Colby College. Prior to moving to Syracuse, Kristi taught high school English at Emma Willard School in Troy, NY and lived and worked in Copenhagen, DK for the Danish Institute for Study Abroad. Kristi is honored to be a member of the Women's Commission and looks forward to continuing to develop meaningful relationships and programs with the Syracuse community.
Dr. Joan Hillsman
Dr. Hillsman has over 45 years of experience as a music educator holding a Bachelor and Master of Music Education and a Ph.D. in Musicology. She specializes in Gospel Music as a Minister of Music, church music clinician, and music for all occasions. Having served 50 years in the Washington, DC area, relocating to Syracuse, NY in 2009, she served on the Mayors Transitional Team for the Arts in Syracuse. She teaches private music lessons in piano, voice, theory and church music administration. She is the author of several books, her latest entitled, "Gospel Music: An African American Artform" (McGraw Hill Publishers). She was recently inducted in the legacy film industry. She is a member of Alpha Kappa Alpha sorority, MENC, Phi Delta Kappa, Top Ladies of Distinction, the National Council of Negro Women, and the NAACP.
Alice Honig
Dr. Alice Sterling Honig, Professor Emerita of Child Development at Syracuse University has authored hundreds of articles & chapters and dozens of books for parents and child care providers to help children flourish. She is a licensed NY State psychologist in private practice and for 36 years she has led an intensive one-week national workshop at SU every spring, to promote Quality Infant/Toddler Care giving.
Rita Paniagua
Rita Paniagua was born in San Juan, Puerto Rico, and has been a resident of Syracuse since June of 2003. Since her arrival, she has been committed to working with the Latino community in Syracuse through the Spanish Action League. since 2007, Rita has served as La Liga's Executive Director. Among her many responsibilities she serves on various boards, councils and committees: New York State Council of the Arts Board of Directors, Puerto Rico Empires State Trade Association (PRESTA) Board of Directors, Syracuse Chiefs Charitable Foundation Board of Directors, University College/SU Advisory Board, Power Radio Advisory Board, Human Services Leadership Council, Restorative Justice Council, Latino Upstate Summit Committee, Weed and Seed Steering Committee, HSLC - and Upstate Latino Alliance.
Nancy Keefe Rhodes
Nancy is a free-lance writer, editor and curator whose work covers film, photo and visual arts. She edits the Moving Images section for the annual Stone Canoe Journal and teaches film theory spring semesters in the Transmedia Program at Syracuse University. Nancy is an alum of the Goldring Arts Journalism Masters program at the Newhouse School of Public Communications, Syracuse University. She sits on the Syracuse Public Arts Commission, is a pre-screener for the Syracuse International Film Festival, and a member of the national Women Film Critics Circle and American Pen Women. She lives in the Hawley-Green neighborhood.
Mary Alice Smothers
Mary Alice Smothers is a coordinator for P.E.A.C.E. Inc. Westside Family Resource Center. Mary Alice was born in Maryland and has been a Syracuse Westside resident for 41 years. She has been employed with
fforts for 6 years, her duties include coordinating programming and services to low income residents, working with them to make a plan to help them become self-sufficient, prior to that she served as Community Liaison for United States Department of Justice Weed and Seed Program and Parent Liaison for the Syracuse City School District. She is very active and well known in the community. She is a graduate of Leadership Greater Syracuse, Recognized by
Sterling Registry 2011-2014 for Outstanding Professional Achievements and Contributions to the Community,
Winner of
"The Risk Takers, Dream Makers Award"
twice by the Near Westside Initiative, Onondaga County Professional Youth Worker of the Year, TNT Facilitator, Mayoral appointee of the Syracuse Commission for Women; currently serve on the board of directors for Home HeadQuarters, Inc., The Near Westside Initiative, and Leadership Greater Syracuse as well as a host of many other community committees and groups to better her community. Her passion is working with youth, empowering them to succeed and giving them experiences and opportunities to broaden their horizons beyond the city limits. She teaches them social skills for success, does a lot of work advocating for and supporting youth both in and out of school, assist them in preparing for college and making a bright future for themselves. She may be contacted at
Honoring the Woman of the Year
Mayor Miner and the Syracuse Commission for Women honored
Daryl Files
as the 2013 Woman of the Year on March 27th at a ceremony in the Atrium at City Hall Commons.
Mayor Miner and the Syracuse Commission for Women honored
Linda Donalson (Hicks)
as the 2012 Woman of the Year on March 28th at a ceremony in the Atrium at City Hall Commons.
The Women's Commission presents the annual award to:
"An unsung heroine who has made a difference in her community, who has acted as a role model for other women, and who has otherwise enhanced the lives of the citizens of the City of Syracuse."
Other nominees were: •
Daryl Files
Lisa Chelenza
Margaret Charters
Michelle Walker
Sister Dolores Bush and Sister James Peter Riggeo
Veronica Clanton
Deborah Ann Willis
The 2011 award was presented to Grace Flusche, an active volunteer with refugee children, and a founder of the Westcott Cultural Fair.
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Jens Lekman / Tig Notaro
Bottom of the Hill; San Francisco, CA
I have a confession to make: I used to not like Jens Lekman. I used to think his voice was forced and that his instrumentation was overbearing. As the friend with whom I attended this show used to say, I didn't have a soul. Luckily, I've recently changed, and now I love his music. I say "luckily" because seeing Jens Lekman has made me a happier person.
I thought Tig Notaro would be Swedish, but she's a California stand-up comic who has appeared on The Sarah Silverman Program. She was also a better start to the night than 97% of opening bands I've seen. She adapted her consistently laugh-out-loud jokes very well to the audience. Thanks to her, I'm finally able to say I've used the self-defense classes my parents made me take in high school; when Tig asked the audience for feedback on her martial arts skills, I gave advice that she deemed useless with her razor-sharp wit. I didn't mind being insulted, and neither did the other crowd members she skewered during her set. If opening bands are meant to warm up the room, she ranks with Dan Deacon and Final Fantasy as the best show-starters I've seen.
But as stellar as she was, Jens was better. He started off with a request: don't post show recordings on the internet. Not because he is against recording, but because he wanted the show to be a special experience shared only between him and those in attendance. After a couple minutes, I felt lucky to be in that audience. The set was filled with as much humor as Tig's standup. A new track with the self-explanatory title "I Had An Argument With Myself on a Strange Street in Melbourne" included the lyrics "Fuck you/ No, fuck you/ Why are you hitting yourself?/ Stop hitting yourself!" (replete with Jens actually hitting himself), and Jens' between-song storytelling had the crowd in stitches. But we weren't there to see Jens Lekman The Comedian; we were there for Jens Lekman The Fantastic Musician.
As it turns out, Jens Lekman The Fantastic Musician plays songs that could fill up a small stadium. His albums don't really come off as epic, but this concert did, and it worked incredibly well. The melodies were particularly notable, as they were unencumbered by the heavy arrangements that turned me off for over a year, and Jens' voice sounds surprisingly better live than on record. Watching the set was an escapist experience, with the crowd singing and clapping along with Jens' instruction.
As the night came to a close, Jens invited the audience to the venue's back patio if they wanted to say hi. Many people, including myself, took him up on it, and he talked to everyone in earnest. It was a perfect end to the night and achieved what he'd set out to do: create a communal, positive experience. In a world where people are regularly injured at shows, we'd do well to learn a little from Jens.
PJ Harvey and John Parish
The Warfield; San Francisco, CA
I first heard PJ Harvey when I was 14 and scared to death. She's the reason us riot grrls survived high school without blowing our heads off or cutting too deep. She's also the reason behind some very sexy nights. I traded in my flowy skirts and Tori Amos fairy sensibilities for red lipstick, latex, and a snarl that could cut glass. And age hasn't dulled her blade either; PJ Harvey is still a musical schizophrenic, shape-shifting over the years from a bra-and-boots 90s rock goddess to a sleek city girl singing duets with Thom Yorke to a Victorian ghost-like piano player. We have yet to see her make the same record twice.
Ten years later, I see her in concert for the first time at San Francisco's Warfield Theatre. Needless to say, it was kind of a big deal for me. She is touring with John Parish in support of their second collaborative effort, A Woman A Man Walked By, and early on in the show, she let us know that they would only play songs from their two records, the first being Dance Hall At Louse Point. I secretly hoped she would dip into her back catalog and give us "Angelene" or "Man-Size." But PJ kept her word and performed a setlist comprised of only two albums.
Despite the absence of her solo material, I found myself overwhelmed by every single song. It's not that these songs are some of her best stuff — there are some melodramatic missteps on Dance Hall — rather, it is the spectacle of PJ Harvey, and I mean spectacle in the most creatively thrilling way. Her performances are physical manifestations of the sounds produced by John Parish and the backing band. In songs like "Pig Will Not," PJ dashed across the stage, barking like a mad dog as the drums thundered and Parish's guitar got gritty. In "A Woman a Man Walked By," PJ growls, "Stick it up your fucking ass!" and I feel something like catharsis. Then there are moments like "Rope Bridge Crossing" where PJ sways seductively and Parish turns into a bluesy saloon player. "Civil War Correspondent" ends with the band standing frozen in the white lights as PJ trembles out front, her voice crying, "Gunfire, gunfire." The lights dim and she bows her head. The audience breathes.
Fiery Furnaces
Le Poisson Rouge; New York, NY
Fiery Furnaces always have something jingling in their pockets. The last time they zigzagged across the country, they were touting "Democ-rock" and allowing fans to vote on which songs they played. This time, as part of the run-up to their new album, I'm Going Away, they pulled out another novel set list approach. Sandwiched between some toasted classics, the band stuffed a helping of fresh and juicy meat from the new disc. And they didn't throw on just a few slices. They stacked up the whole thing.
The Furnaces have always had a knack for pulling together disparate parts and making them work, and this live concept was right in line with that. They combined the ATP/Don't Look Back trend of having artists perform entire albums with the leak-battling efforts that have forced bands like Wilco to offer streaming previews before their street dates. The result: a unique live experience that trumps the banal "listening party" and also pulls fans away from those pesky Rapidshare vices. Why scour the net for that illegal download when you can go shake it with the Friedberger siblings themselves?
The Le Poisson Rouge show began with the timely "Here Comes The Summer," and then laid on a little more familiarity with "Leaky Tunnels" and "Chris Michaels." The in-the-round setup made it easy to see that there would be no keys for the night, only strings. This was quite a move for Matt Friedberger, who often comes off like a mad scientist behind his synths, but the band showed that they can roll even as a four-piece riff machine.
I'm Going Away was next, and the band bowled through the 12 tracks with a directness not typical of their prog-y history. With the new songs, the band dwells a little longer and digs a little deeper. Eleanor described three songs as being about ex-boyfriends, and the band joked about running out of ideas, but it mostly seems that the Friedbergers, along with the ace rhythm section of Jason Loewenstein and Bob D'Amico, have carved out a more steady and mature sonic groove.
Another helping of older tunes served as the night's desert, and they were a pleasant reward for the somewhat overwhelming task of digesting an entire new Fiery Furnaces release. A kraut-y version of "Single Again" was the final number, proving once more that the band's catalog can swim in a variety of sonic seas, whether surrounded by EP's punchy synths and drum machines or this night's guitar feedback and propulsive grooves.
Overall, the evening provided a wholesome meal of both old and new, with everything prepared and seasoned to match the Fiery Furnaces' current aural palate. Satiation was achieved, for sure, but the band also managed to leave mouths watering for their upcoming release.
St. Vincent / Pattern Is Movement
The Mercy Lounge; Nashville, TN
There's a reason most quality bands avoid Nashville. Aside from the infinitely lame white-horse carriage rides and hollow, slicked-up bar bands, there's the simple fact that citizens of "Music City" don't usually attend good shows. That's not to say the burgeoning house show scene isn't a welcome antidote to the general awfulness of most local music, but when the good bands come through Nashtown and only three people make it out, bands don't forget and don't return.
Imagine my surprise when a full house greeted St. Vincent and Pattern Is Movement Thursday night at the Mercy Lounge.
A few friends and I walk in on Pattern Is Movement just as "Right away" — off 2008's super-ambitious and rewarding All Together — kicks in. I'd once played a barren show in Michigan with these lads and was infinitely ready to have my mind blown by their musical acrobatics. Drummer Chris Ward flails and grooves like very few can, and lead singer/keyboardist Andrew Thiboldeaux is a contender for operatic crooner of the decade.
But alas, the glistening sweat on these two beardos was a tell-tale sign — it's the last song of their set and I've been victim to the rare "thirty-minute blunder." Who ever heard of a show starting at listed time? Well, needless to say, I was kicking myself when Ward later tells me they played a Beyoncé cover and two new songs. At any rate, it was an exceptionally good four minutes.
Just as I'm coping with a cold one, my idol walks in. No, not early '90s Christian Contemporary singer Amy Grant, but a close second: David Motherfucking Byrne. In Tennessee for Bonnaroo, Byrne is apparently a good friend of Annie Clark (a.k.a. St. Vincent), and his zen-like demeanor energizes the room in the best kind of way. By the time St. Vincent hits the stage with a four-man backing band — touting an impressive array of clarinet, flute, tenor saxophone, violin, bass, drums, electric guitar and keyboard — all eyes are on Annie and she's more than easy on the eyes.
From breaking into opener "Marry Me" and finishing with thunderous rock-jazz-freakout encore "Your Lips Are Red," however, the real transcendence is found in St. Vincent's remarkable performance. Between these bookends, Clark and band filled the set with inspired renditions of new songs "The Strangers" and "Marrow" (from last month's brilliant Actor) as well as older favorites "Now Now" and a solo rendition of "Paris Is Burning" — the latter being a ringer for the Aguilera ditty "Genie In A Bottle." Oh yes, I went there.
Due credit to the band's ultra-lush arrangements, which were air-tight in their execution. During set highlight "Marrow," between ping-ponging clarinet and sax arpeggios, I realized: as excellent as St. Vincent records are, they don't do justice to the woman's live capabilities. Even her Hendrix imitations didn't feel superfluous but ultra-melodic and on point. The only drawback was the occasionally excessive light and fog show. I even caught Byrne giggling a bit when the dry-ice reached its meridian, completely shrouding the band. Still, when used succinctly, as in the final, slowmo verses of showstopper "Your Lips Are Red," the visual effects were basically magical — a reminder that we were all witnessing an event worthy of spectacle.
Sublime Frequencies: Omar Souleyman and Group Doueh
Star and Shadow; Newcastle Upon Tyne, UK
Newcastle's premier cult cinema/low-key music venue filled up pretty quickly with people whose perceptions of Sublime Frequencies were probably as uneasy as mine. It's definitely problematic to want to imbue the music with a certain esoteric quality, something that lifts it above some "World Music" compilation state of faraway-ness with manufactured "authenticity." Naturally, the music of this excellent UK tour is just more oblique sounds from unknown places (to me at least). Sun City Girls' Alan Bishop (who also Djed and MC'd between bands) certainly has an ear for it.
Syrian Omar Souleyman interestingly took a turn opening the night with his massively electric colors and hyper-rhythms, adopting an aloofly stoic presence in white tunic dark glasses and red kieffa. The five-piece band maintained a deadpan stoked-ness, too, applying additional percussion and wobbly, wailing melodies to the rhythmic bombardment. Sometimes it almost felt like another whole dancebeat grooving underneath the main staccato sitar, coming off in every direction -- real delirious and vibrant.
Group Doueh were scheduled to perform before Souleyman on all other UK dates, so the reversal tonight seemed a contrast to the enthusiasm of many. Not that it really mattered -- the diverse crowd seemed just as excited for slower-paced rock as schizoid dance rhythms. Group Doueh are from the Western Sahara and have a more live feel, a desert rock kind of vibe: ultra melodic and recalling scorched 70s moments of the likes of James Brown with a dash of Holy Mountain-flavored psych. The performance was massively electric, and even if physically most of the group had a similar steadfastness to Souleyman's, they must've been focusing on transcendence, sometimes feeling like some mutant Jimi Hendrix. Their guitars were highly rhythmic and their tones mostly sunny, leaving a warm glow to the concrete venue.
Not sure if the show was what everyone expected in Newcastle (a city usually skipped by good tours), but it invariably met my high hopes.
Yeah Yeah Yeahs / Grand Ole Party
First Ave; Minneapolis, MN
There are rock bands, and then there are Rock Bands. It's like the difference between an actor and a Movie Star: there are people who do their job, and then there are people who completely entrance while doing it. When Karen O. slinked onstage at First Avenue, with her face lit up by a pink neon mask, the category in which she belonged was clear: capital letters only.
Yeah Yeah Yeahs emerged in the post-rock early 2000s, but they were different from the other bands that came out back then: sure, they had the same garage-band feel as, say, The Vines, but they also had a commitment to creativity that the members of Jet could only dream of. Two albums and three trends later, it's clear Yeah Yeah Yeahs were meant for greater things.
The band's newest album It's Blitz! consists almost entirely of lit fuses. Opening track "Zero" starts with an alarm clock buzz, followed by Karen O.'s purr, then everything explodes. This is also how Yeah Yeah Yeahs' Minneapolis show went, as the band quietly started the thumping "Heads Will Roll" before the song took on a volatile life of its own.
The show was easily one of the best Minneapolis concerts of the year, and while much credit is due to bassist Nick Zinner and drummer Brian Chase, it was the magnificent Karen O. who kept the audience in the palm of her hand. She bounced and strutted around the stage like Mick Jagger, but was never out of breath, and she smiled from ear to ear as if she just won a contest. Highlights included "Date With The Night," "Cheated Hearts," and "Skeletons," which reminded the audience that, while Yeah Yeah Yeahs know chaos, they can also craft a hell of a ballad.
Then, of course, there was "Maps," the inescapable and inevitable hit that propelled Yeah Yeah Yeahs to the top of every imaginable list. Although they would be forgiven for being sick of the song, Karen O. treated it like the masterpiece it is, giving a brief introduction ("this is our love song") followed by an understatedly gorgeous performance.
While most bands suffer in comparison to Yeah Yeah Yeahs, I felt rather bad for opener Grand Ole Party. Not only does the San Diego band specialize in the same pop-punk that Karen O. and co. have perfected, they are a trio – two men backing up a female singer with short dark hair. This isn't to say Grand Ole Party ripped off Yeah Yeah Yeahs, rather that they were given an unfair deal, especially since they put on a good show.
Singer Kristin Gundred banged away on drums, steadily and propulsively, while guitarist John Paul Labno and bassist Michael Krechnyak provided ample support. The whole operation chugged along mightily, with plenty of hooks and stomping rock beats. At their best, Grand Ole Party resembled The Pretenders, Franz Ferdinand, and the Talking Heads – bands who likewise made whole canvases out of spare arrangements.
A particular highlight was "Redrum Heart," which featured Gundred at her Chrissie Hynde-iest, and her bandmates at their most focused and concise. The song sounds like a B-side from pop-punk's heyday, with a modern twist. This formula is especially apparent on their record Humanimals, which was produced by Rilo Kiley's Blake Sennett. Grand Ole Party sounds better on record than they did at First Ave., where the band looked nervous and small – outsized, surely, by anticipation of Karen O.'s personality (not to mention the giant sphere, part of Yeah Yeah Yeahs' stage setup, hanging above their heads).
Grand Ole Party has been in the opening-band role for a while now, joining headliners Rilo Kiley and Rogue Wave in the past. At First Ave., the trio looked and sounded ready to be the main attraction for once, to be compared only to themselves.


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The Bitter Education of Vargas Llosa
Gutiérrez Correa's son died in a 1986 uprising by jailed militants of the deliriously Maoist guerrilla group Shining Path. The prisoners' revolt culminated in a government massacre in which more than 250 prisoners died, most of them killed in cold blood. His wife died in another Shining Path prison uprising in 1993, in which thirty-eight prisoners were killed. One might imagine from such a brief glimpse into his biography that Gutiérrez Correa's literary work is the result of a larger accumulation of resentments than Vargas Llosa can boast of, but this is not necessarily so. A Fish in the Water shows that the more blanco writer's claim on disdain, scorn, envy, bitterness, admiration, and emulation is justified, as much as by anything else, by his fictional and autobiographical character's relation to the other essential component of rancor. This is machismo, which really is indispensable to, and in many cases virtually indistinguishable from, the class and race ferment that is the raw material of both novelists.
As is the case with his recollection of the city of Piura, Vargas Llosa's understanding of how relations with the opposite sex worked during his oppressed adolescence is put to hideous good use in his novels, and remembered more rosily in the memoir.
Here is how he deals with the topic at various points in A Fish in the Water:
To make a girl fall for you and formally declare that she is your sweetheart is a custom that was to decline, little by little, until today it is something that to the younger generations, speedy and pragmatic when it comes to love, seems like prehistoric idiocy. I still have a tender memory of those rituals that love consisted of when I was an adolescent and it is to them that I owe the fact that that stage of my life has remained in my memory not only as violent and repressive but also as made up of the delicate and intense moments that compensated me for all the rest.
And here, in praise of the brothel:
Seeing a naked woman in bed has always been the most disquieting and most disturbing of experiences, something that never would have had for me that transcendental nature, deserving of so much tremulous respect and so much joyous expectation, if sex had not been, in my childhood and adolescence, surrounded by taboos, prohibitions, and prejudices, if in order to make love to a woman there had not been so many obstacles to overcome in those days.
This is ideal machismo, made up of sharp lust and delicate sentiments, and in some way redeeming. But the novelist Vargas Llosa knows better than the autobiographer about the torments of life under machismo, filled as it is for the men who suffer its weight with constant anxiety about their innumerable class- and race-related inadequacies; their lack of style, of height, of wavy hair, of power, of sleek new cars, tailored suits, a foreign accent, and all the other accoutrements that can provide access to the right category of woman. It is an anxiety that, despite the disclaimers quoted above, surfaces even in A Fish in the Water, in the form of endless adolescent debates about whether women (of one's class or beneath it) are cunts with tits or sainted apparitions (of one's class or above it), and, in either case, about how to "get inside their slits," as Vargas Llosa's teen-age friends put it. This is machismo as it really exists, a castrating condition which has to do primarily not with sex but with power. Its pain can often be made bearable only with large amounts of alcohol, or through explosions of violence, and Vargas Llosa's characters suffer from it in meticulously and accurately observed detail.
Here, in The Time of the Hero, a character who will be baptized The Slave by his classmates in the military academy, endures an inaugural hazing. He is instructed to get on all fours and fight like a dog with another freshman:
The Slave doesn't remember the face of the boy who was baptized with him. He must have belonged to one of the last sections, because he was small. His face was disfigured by fear, and, as soon as the voice stopped, he lunged against him, barking and foaming at the mouth and suddenly the Slave felt a rabid dog's bite on his shoulder and then his whole body reacted and, as he barked and bit he had the certainty that his skin had become covered with bristling fur, that his mouth was a pointy snout and that, above his torso, his tail was whipping back and forth.
"Enough," the voice said. "You've won. On the other hand, the dwarf deceived us. He's not a dog but a bitch. Do you know what happens when a dog and a bitch meet up on the street?"
"No, my cadet," the Slave said.
"They lick each other. First they sniff each other affectionately and then they lick each other."
And here, the protagonist sees the prostitute Goldifeet, with whom he is about to lose his virginity:
The woman was now sitting up. She was, in effect, quite short: her feet barely touched the ground. There was a black layer under her dyed hair, which was a disordered tangle of bold curls. The face was thickly painted and smiled at him. He lowered his head and saw two mother-of-pearl fish, alive, earthly, fleshy, "that you could swallow whole and without butter," as Vallano had said, and which were absolutely alien to the chubby body that rose from them and that insipid and formless mouth and those dead eyes that were now contemplating him.
The early part of the narrative of A Fish in the Water traces the not untypical coming of age of a Peruvian-born survivor who inhabits the ragged edges of the ragged middle class: a childhood shaped by adult incomprehension and violence as much as by the nourishing warmth of a large and loyal family. An adolescence spent in a military school, enduring and learning to avoid humiliation and—once again—violence. An apprenticeship in sex at the whorehouses and an apprenticeship in writing as a very cub (age fifteen) reporter on the sordid crime pages of a Lima daily. Love as betrayal, sex as frustration, and friendship as the enduring source of loyalty. Resentment and rancor in generous doses.
What is exceptional, of course, is the novelist, whose consuming need is to deny rancor, to transcend the moral squalor around him. At the military academy he reads Dumas from cover to cover and translates his own life into French adventure novels (La Mangachería becomes La Cour des Miracles). He courts the neighborhood girls breathlessly, not daring to imagine sex with them. He despises his father, but he remains polite, well-behaved, obedient even, when around him. At the age of twenty-one, timid and dreamy still, he marries his mother's sister-in-law, and one can speculate that he does so not only out of infatuation with the sexy Aunt Julia (a thirty-two-year-old divorcée), but out of a need to keep faith with the purest love he knows, that of his mother's family. (Having divorced Aunt Julia, Vargas Llosa is now married to his first cousin Patricia.) It is the tension between the vulnerable boy Mario's need not to be disillusioned and the novelist Vargas Llosa's fascination with the threats to his vulnerability that keeps A Fish in the Water moving forward powerfully in the chapters dedicated to his early life. And it is the adult Mario Vargas Llosa's ways of transcending his disillusionment that makes him so unfit to be a politician.
"Perhaps saying that I love my country is not true. I often loathe it," Vargas Llosa states in his memoir. And, "Although I was born in Peru, my vocation is that of a cosmopolitan and an expatriate who has always detested nationalism." This, in the course of explaining how he happened to decide to run for president. Can such a man triumph in politics? Should he?
Mario Vargas Llosa debated whether to run for president in 1987, arguably the worst year Peruvians had endured in this century. Drought parched the land. Whatever can be described as the industrial sector (a handful of manufacturers of cement, hairpins, and Inca Kola, more or less) was decrepit and near extinction. Unemployment was well over 50 percent. Inflation would soon reach the breath-taking high of 7,600 percent a year. A huge and inept bureaucracy gobbled up whatever small proportion of the government budget was not devoured by graft and interest payments on a foreign debt equivalent to 45 percent of the GNP. Shining Path, the guerrilla movement led by Abimael Guzmán—a stolid former small-town college professor otherwise known as Presidente Gonzalo—rampaged through the countryside, bringing the art of murder to new levels of senselessness and gore.
Presiding over this mess was Alan García, a toothy opportunist of some charm and no scruple, who was about to seal his country's financial disaster by declaring a moratorium on all payments on the foreign debt. By the end of García's term, Peru had been declared ineligible for foreign loans, its per capita gross national product had shrunk by 13.7 percent, and net government reserves were $142 million in the red. "The Peru of my childhood," the author writes, "was a poor and backward country: in the last decades, mainly since the beginning of [General Juan Velasco Alvarado's] dictatorship and in particular during Alan García's presidency, it had become poorer still and in many regions wretchedly poverty-stricken, a country that was going back to inhuman patterns of existence." It was clear to everyone that the 1990 presidential elections would be decided on economic issues, even more than on the urgent question of dealing with the Shining Path. One can gather from this memoir that other things were not so clear to Vargas Llosa. One was that his country's disaster could not be laid exclusively at the door of the populist demagogues he despised, that it belonged also to the conservative politicians he admired. The other was that a successful electoral campaign would have had to provide the famished, humiliated poor of Peru—that is, the great majority of his countrymen—with something that was utterly irrational under the circumstances: a sense of dignity and hope.
Barnstorming the country, addressing Amazonian Indians in Iquitos, Quechua-speakers in the Andes, mulattoes and mestizos on the coast, everywhere braving crowds he had no appetite for ("I had to accomplish miracles to conceal my dislike for that sort of semihysterical pushing and pulling, kissing, pinching and pawing"), Vargas Llosa eschewed facile promises in his speeches and campaigned instead holding aloft the banner of reason. He might have known better, but, after all, rationalism, and cordura—level-headedness—had been the ropes he had used to pull himself out of his own Peruvian chasm: although A Fish in the Water skips over the author's middle years, we know that by the time he gets into politics the disorder of his earlier life has been replaced by an orderly contemplative existence in which reading and discussion have their scheduled places. Why now should he not offer the same salvation generously to his compatriots? In the early part of the memoir he describes his extended flirtation with Marxism and the world of clandestine conspiracy so beloved of the Latin American left, but rationally, over the years, he had concluded that Marxist movements were doomed. He had evolved into a neoliberal who admired Mrs. Thatcher, and it was as a Thatcherite neoliberal that he campaigned in Peru.


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Can We at Least Agree That Kate Middleton Looks Great Topless?
The world often feels like a hate-filled and contentious place to call home. Abroad, we see terrorist attacks, riots, vitriolic reactions to vitriolic speech, murder in reaction to bigotry while at home we are in the midst of a bitter election season fueled by an orgy of money and cross-talking spite. Amidst all this contempt and disagreement, can we, at the very least, all get together and as one people, one nation of humanity, one unbroken chain of human voices, agree that Kate Middleton just looks fantastic topless?
Stephen Markley
September 24, 2012


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September 11-12, 2003, Bethesda, MD, Working Group: Injury
September 15-16, 2003, Bethesda, MD
November 3-4, 2003, Bethesda, MD, Working Group: Early Origins of Adult Health
November 12-13, 2003 Bethesda, MD, Working Group: Pregnancy and the Infant
November 2003, Bethesda, MD
Date and Location TBD, Special Committee of NCSAC, Interagency Coordination Committee, and Working Group members
December 15-16, 2003, Atlanta, GA
Date and Location TBD, Working Group: Social Environment
December 2003, Atlanta, GA, Working Group: Medicine and Pharmaceuticals
December 17, 2003, Atlanta, GA
Information for these meetings will be posted on the National Children's Study Web site.
Obesity is one of the most serious health threats to American children today. According to this year's report from the Forum on Child and Family Statistics, America's Children: Key National Indicators of Well-Being 2003, fifteen percent of American children are overweight and the statistic is growing steadily. Risks to overweight children include high blood pressure, high cholesterol, and precursors to diabetes. Many overweight children become overweight adults at risk for heart disease, stroke, arthritis, and certain cancers.
Researchers point out that lack of vigorous physical activity and improper diet are contributing factors to overweight. The National Children's Study will examine how these and other factors in a child's social and physical environment interact and contribute to the development of obesity throughout childhood. Goals include reducing childhood illness associated with overweight and obesity and improving the overall quality of daily life for American children.
Look for the next E-update in November
After more than two years of careful planning and research, the National Children's Study has entered Phase II, the pilot phase. Before the Study begins enrolling participants in late 2005, it will focus on key projects such as identifying study sites, developing protocols, and creating a repository for study samples.
During Phase I, National Children's Study planners developed working core hypotheses, built community and political interest, and worked to educate decision-makers and the general public about the Study. During Phase II, the Program Office will continue to guide these efforts, refining the hypotheses, fostering continued community support, and integrating input from partner organizations.
Starting next year, the Program Office will launch a series of projects to set the Study in motion:
These activities will position the Study for enrollment to begin in 2005 or 2006. Program staff will fine-tune the protocol, establish remaining sites, and bring in additional participants, with a plan to see results from preliminary data by 2008. In the local sites, research staff training will be ongoing and issues of local interest will be addressed as they arise. The strategy for choosing participants is being further explored via a planned workshop.
Additional efforts include the quest for sustained funding, the development and building of partnerships, and regular communication with partners. The Study will evolve as outcomes from short and long-term pilot studies and as scientific and technological advances are integrated into the Study design and methods.
The National Children's Study is starting to gain more and more attention from the media. In each E-Update, we will include recent articles or media references about the National Children's Study.
Chicago Tribune ? August 4, 2003"Disease Study's Focus on Habitat; Goal is to Connect Kids' Environment to Genetic Ailments"
Knight Ridder Newspapers ? July 24, 2003"National Study to Track Children's Experiences From Womb to Age 21"
The Diane Rehm Show, National Public Radio ? July 15, 2003"Fetal Origins of Adult Disease"
Science Magazine ? July 11, 2003"Everything You Wanted to Know About Children, for $2.7 Billion"
The Washington Post ? July 7, 2003"Theory Says Disease Tendencies Begin in Womb"
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Apparently it's recycling week next week. But they picked up my bin today. How does that work?
Still, it could be worse. The Labour Party is trying to recycle this, and gets nailed in this feature piece which paints a potential leader of the "workers' party" as an egocentric elitist. Oh well, no change there then.
-46.413056 168.356885


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The briefing has concluded.
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Live Stream || Carney Briefing – January 31, 2013
{ 9 comments }
- January 31, 2013 at 1:21 pm
These briefings always remind me of when I was a kid and the announcer would scream "Its Howdy Doody Time!" in the afternoons.
- January 31, 2013 at 1:22 pm
…let the empty propaganda begin!
- January 31, 2013 at 1:45 pm
Who was the reporter that gave Carney crap on the "Job Council" and how they never met?
I loved the tone that the reporter took, and Jay just needs to be b!tch slapped for his crap answer.
- January 31, 2013 at 5:54 pm
Totally off subject. Today was the confirmation hearing for Hagel. Senator Cruz tore the RINO to pieces and was as polite as could be while doing it. Don't think I've heard recordings played in the Senate before. It is brilliant move!
- January 31, 2013 at 6:47 pm
Hagel is not competent to run DOD.
- January 31, 2013 at 6:53 pm
Actually this is funny and oh so sad. The day after the economy contracted, and the day of the announcement that Jobs Council was disbanded, and Congress grilled Obama's astonishingly incompetent nominee for DOD, Obama's Schedule was empty. And empty because the President's priority today was a Vogue Photo Shoot. http://twitchy.com/2013/01/31/strike-a-pose-no-public-events-for-obama-today-as-vogue-crew-hits-the-white-house/
- January 31, 2013 at 7:52 pm
Jobs, immigration, and the economy are not nearly as important as a Vogue photo shoot for Obama. I'd bet it's payback for Wintour hosting all those big parties for Obama's campaign.
- January 31, 2013 at 10:33 pm
Also perhaps a little hostage taking by Wintour — I read she is not going to be an Ambassador. That said, I am sure the royal pretenders were quite delighted with all the bowing, scraping and preening.


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My 7 Top Female Vocalists (man did I get calls)
by Dan Mitchell
posted Nov 5 2009 7:03PM
I love it when we disagree on "The List", presented each night to you here on The Mountain. Tonight it was my 7 top female vocalists. Now, Jim called me and wondered how in the heck I could put Aimee Mann of Til Tuesday on tonight...well, it's MY list. But let me make a case for Aimee. First of all, incredible songwriter (I know, not singing) but it is the interpretation of her own material that has resonated with me. She writes from pain, bitterness, betrayal, love, humor, and all those emotions and traits come through in her singing. Not powerful in presence but emotive and penetrating. So that's my rationalization Jim...and I'm sticking to it! So, let me lay out "The List" tonight of my<operative word there>
Top 7 Female Vocalists;
Stevie Nicks (pre-cocaine)-Enchanting
Aimee Mann-I explained Jim!
Ann Wilson-Pure Power with Heart
Christine McVie-Simple and Sensitive
Bonnie Raitt-Incredibly Cool...Sultry and Fun
Janis Joplin-Well...She's Janis
Annie Lennox-Soulful, Powerful, Operatic, Whimisical, Gets down in the Gravel...she can do it all!
That's "The List" tonight. My 7 top Female Vocalists. There are so many who could be included if you were to make your own list...so Go Ahead! Tomorrow night I'll play the 7 Best Rock and Roll songs of all time...Literally. Join me again for "The List."
Back To Blog
My 7 Top Female Vocalists (man did I get calls)
Please Enter Your Comments Below
Assuming you are limiting yourself to "Classic Rock," (whatever that is.).... I love Bonnie, but her best stuff is not rock at all. Janis has to be, but you played "Bobby McGee," a country tune originally recorded by Roger Miller. Melissa Etheridge has to be on the list. No woman rocks harder. Grace Slick was the woman who proved that a woman could sing hard rock, not just pop ballads.
Chrissie Hynde? Perfect voice for radio rock.
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The Faculty Senate is the primary governance body for the Simmons College Faculty. The Senate provides for the Faculty a forum and a voice beyond the individual Schools that allows the Faculty to assert its viewpoint and principles in support of the general welfare of Simmons College. It serves as the primary means of communication from the Board and the Administration to the Faculty and vice versa.
The Senate comprises representatives from the College of Arts and Sciences (CAS), the School of Management (SOM), the School of Library and Information Science (SLIS), the School of Nursing and Health Sciences (SNHS), and the School of Social Work (SSW).
The Senate meets weekly during the academic year and any faculty member may attend the first part of any meeting.
Faculty Senate Representatives, Academic Year 2014-2015
- President, Melanie Kimball, SLIS
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- Josephine Atinaja-Faller, SNHS - Senator At Large
- Margaret Costello, SNHS
- Daren Graves, CAS/SSW - Senator at Large
- Indra Guertler, SOM
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- Elizabeth Metallinos-Katsaras, SNHS
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Dog Owners Guide to Key West, FL, USNeed help deciding where to stay, play, or eat with Fido in Key West, FL, US? Get the scoop on our favorite pet friendly hotels in Key West, dog friendly activities in Key West, and restaurants that allow dogs in Key West below. Or, visit the Key West Dog Forum to talk to local dog owners about the best places to bring Fido in the city.
Hotels Attractions Restaurants Events Resources
Most Popular Pet Friendly Accommodations in Key West
Banana Bay Resort and Marina Key WestBanana Bay Resort and Marina Key West welcomes a maximum of two pets, of any size, per guest room for no additional fee. Pets can be left unattended in guest rooms but guests are requested to ...
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$217 (no pet fee)
$217 (no pet fee)
Sheraton Suites Key WestSheraton Suites Key West welcomes up to two pets with a combined weight of 80lbs or less for no additional fee. Please note that a pet waiver must be signed at check-in. Pets cannot be left ...
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$259 (no pet fee)
$259 (no pet fee)
Date Palm CottagePets are allowed with prior approval from the homeowner only. Please inquire for information on pet fee and other restrictions.
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$200 + pet fee
$200 + pet fee
Conch EscapeThis 2-bedroom vacation rental is dog friendly with prior approval from the homeowner only. To check availability or request more information on the pet fee, weight limit, and other restrictions on pets at this property, please ...
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$77 + pet fee
$77 + pet fee
Doubletree Resort by Hilton Grand KeyThe Doubletree Grand Key Resort allows up to two pets, 75lbs or less, per guest room for an additional $75 per stay. All rooms are pet friendly.
Low Rates fromLEARN MORE
$259 + pet fee
$259 + pet fee
Most Popular Dog Friendly Attractions in Key West
Key West Dog BeachDog Beach in Key West, Florida is a Fido favorite. Dogs will have some fun in the sun here, but be sure to keep a close eye on your pup, as this is a rocky beach. ...
Lazy Dog KayakLazy Dog Kayak offers a couple of different options. The first is just a regular rental. Rent the kayak, put the dog in front, and off you go across the channel and down the canal. There ...
Higgs Beach Dog ParkBring your pet to run and play off-leash at this fenced Key West dog park, which includes a separate area for small pets, grassy open spaces, shade, and benches.
Wild about DolphinsEco-charters to the Dolphin Playground in the waters by Key West for snorkeling and dolphin viewing. Four hour trip, very dog friendly, have a Golden Retriever that goes on most trips, she has grown up on ...
Hog's Breath SaloonDogs are welcome here before 5:00 pm.
Most Popular Dog Friendly Restaurants in Key West
Blue HeavenIf your pooch can handle the random chickens, roosters and cats roaming around, then she is welcome to join you at Blue Heaven! A kitschy tribute to the funkiness that is Key West, Blue Heaven is ...
The Afterdeck Bar at Louie's BackyardThe Afterdeck Bar at Louie's Backyard is a Caribbean-American restaurant that's pet-friendly and has a spectacular oceanfront setting. Dogs are only allowed in the bar area, not the dining tables.
Schooner Wharf BarChill out with your pup at Schonner Wharf Bar in Key West. The atmosphere is great, and sometimes there's live music on the outdoor stage.
Sarabeth'sSarabeth's offers fresh, updated classic American cooking in a relaxed, upscale environment where dogs are welcome. PLEASE NOTE: A RECENT CITY ORDINANCE REQUIRES RESTAURANTS TO OBTAIN A PERMIT IF THEY WOULD LIKE TO CONTINUE ALLOWING DOGS ...
New York Pasta GardenThe New York Pasta Garden offers Italian favorites and dog-friendly seating.
Most Popular Dog Friendly Businesses in Key West
Bare Bones Beach Shop Inc.Bare Bones Beach Shop offers quality dog products to pamper your deserving dog or puppy. We have dog clothes, dog toys, harnesses, beds, equipment and accessories. Check out our website for secure online store for convenient ...
Rover.com Key West Dog SittersNeed to attend an important business meeting, go to a wedding, or even just have a romantic dinner without Fido when you're in Key West? If your plans will require you to be apart for a ...
Dog 30Owner Scott is all into healthy pet food choices and very knowledgeable! :-) Dog & Cat food and toys Locally made dog food and treats (made with love) - frozen yogurt Food Brands: Life Abundance, Solid ...
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