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Discussion about key facts in energy, environment, the economy, and politics. Tired of ideological junk? This is your place.
Monday, July 2, 2012
Shale Gas Causes First Quarter 2012 US Carbon Emissions To Plummet Again
America's energy related carbon emissions fell about 7.5%, during the first three months of 2012 compared to the same period of 2011. And first quarter 2012 emissions are approximately 8.5% lower than emissions in the first quarter of 2010.
Total energy carbon emissions were 5,473 million tons in 2011 and last year fell below the 1996 mark of 5,501 million tons.
The first quarter 2012 reduction of 7.5% makes it possible that this year emissions will fall back essentially to the 1990 level of 5,039 million tons. That is shockingly good news.
The 1990 level of carbon emissions is an important measuring stick, as it is often used as a critical data point for judging progress in reducing a nation's carbon emissions.
Why are US carbon emissions plummeting back to 1990 levels?
First and foremost are sharp reductions from electric power production, as a result of fuel switching from coal to gas, rising renewable energy production, and increasing efficiency. Yet, the shale gas revolution, and the low-priced gas that it has made a reality, is the key driver of falling carbon emissions, especially in the last 12 months.
As of April, gas tied coal at 32% of the electric power generation market, nearly ending coal's 100 year reign on top of electricity markets. Let's remember the speed and extent of gas's rise and coal's drop: coal had 52% of the market in 2000 and 48% in 2008.
Apart from power production, reductions of carbon emissions from the transportation sector since 2007 are pushing down US Carbon emissions. First quarter 2012 transportation emissions declined by about 0.6%, compared to the same period in 2011. Rising fuel efficiency and some switching to lower carbon fuels are the main causes of falling transportation emissions.
The bottom line is that America's carbon emissions may drop back close to 1990 levels this year. That result would have been thought impossible, even at the end of 2011.
But the shale gas revolution makes a reality many things recently thought impossible. It was thought impossible to slash carbon US carbon emissions back to 1990 levels by 2012. It was thought impossible to massively, quickly cut carbon emissions and, at the same time, have lower energy bills.
Shale gas production has slashed carbon emissions and saved consumers more than $100 billion per year. Truly astonishing!
43 comments:
- AnonymousJuly 2, 2012 at 11:03 AM
Even though carbon emissions are falling, this data does beg the question as to how much owners of coal-fired power plants may have actually BENEFITTED had Congress passed a national cap and trade program. After all, these plants are being displaced now and not earning any revenue for that displaced power, whereas with cap and trade at least they would've had allowances to sell (presuming, as I think would've been likely, incumbent owners of emitting resources had been granted allowances). It would be interesting for someone to look at that question, and given today's current market conditions, the unexpected answer might be that coal plant owners may actually have BENEFITTED from the implementation of a modest national carbon cap and trade program.
ReplyDeleteReplies- AnonymousJuly 3, 2012 at 11:47 AM
While there are a few coal plants being shuttered, most of the difference is that plants are changing from coal to NatGas as a source.
As for those plants which have shuttered having benefited from a cap and trade program, they would have had to 'buy indulgences' for their CO2 emissions, thereby increasing their costs and making them less competitive. Better that they have shuttered and we are seeing a market-based shift to NatGas, which is actually reducing the cost of energy, reducing CO2 emissions radically, while not redistributing money from cap and trade indulgences. Salutations,
Do you think it at all noteworthy that from an economic standpoint you did not then create any jobs - the point on attendance applying to renewables applies to economic, social and environmental - and to not develop this initiative you also neglect other opportunities. Yes gas too along with a variety of initiatives will reduce - that we could avoid it all together - I own I have not yet to read the attached and to understand signatories of UNFCCC - GREAT WORK and to mention primary and secondary Kind regards
- AnonymousJuly 2, 2012 at 11:45 PM
Do we know how much fugitive methane emissions are associated with fracking? Could those powerful greenhouse gas emissions significantly diminish (or negate?) the climate benefit of reduced CO2 emissions?
ReplyDeleteRepliesThere are 5 studies that do a lifecycle analysis of gas versus coal emissions, including methane leakage, that conclude gas emits 50% less carbon/heat trapping pollution than coal. The studies include NETL, Carnegie Mellon University (partially funded by the Sierra Club), Worldwatch Institute, work to be false.
There is 1 study from Howarth that concludes gas is as dirty as coal. It has been appropriately shredded by another group of Cornell researchers as well as the CMU, University of Maryland and others.
The EPA adopted new air emission rules in April, 2012 that will slash methane emissions again...by as much as 90%.
Howarth himself has said that the EPA final air rules would make gas cleaner than coal.
- AnonymousJuly 3, 2012 at 1:40 AM
You actually TRUST the Feds to run a honest and clean cap and trade policy? After GE, the fall of the CCX and tons of "crony capitalism" I highly doubt it. IMO, it would of just been another gov't scam.
Considering the government's war on coal via the EPA, it would of been a moot point.
The shale gas boom is market drivin!!! Gotta luv it.
Just one thing, hope the Feds don't F**k up fracking with EPA regs....oh crap, too late!!!
Will President Obama's Re-election Doom Fracking?
Interior secretary: State fracking oversight just isn't good enough for me
http://hotair.com/archives/2012/06/26/interior-secretary-state-fracking-oversight-just-isnt-good-enough-for-me/RepliesObama and the EPA are messing up record gas production! Seriously? The President has repeatedly said gas is good for the country. Lisa Jackson has repeatedly said that fracking can be done responsibly. Their actions have generally been restrained and designed to address reasonable concerns, such as the air emission final rule in April that most of industry and environmentalists accepted. President Obama has overseen record gas production, booming domestic oil production, and declining imports. Those are the facts.
No sorry but the inputs do actually conclude otherwise - I am not addressing the infrastructure, shipping, business as usual back of office or the factory as they case maybe - just as a source of energy expended from heat and power these greenhouse gases do vary - you make the point too yes its depends on the installation how efficient is that as much as. Thanks for engaging here too. Kind regards Caroline
- AnonymousJuly 3, 2012 at 5:11 AM
The first quarter was the 4th warmest winter on record. Lower space heating requirements would have reduced both natural gas and distillate consumption and carbon emissions. So how much of the year over year decline was weather related and how much was coal to gas substitution?
ReplyDeleteRepliesThe comparison is the first quarter of 2012 to first quarter of 2011, not to the 4th quarter of 2011. Weather probably played a role. But coal went from about 44% of electricity generation in 1st quarter of 2011 to 36% in first quarter of 2012. That is an 8 percentage point decline that would amount to about 340 million tons or approximately 45 million tons per percentage point. Assuming gas displaced all 8% points of coal generation (a conservative assumption), then the net carbon reduction would be about 170 million tons.
Saw a presentation by DrillingInfo in London last week where they said the US switch to natural gas from coal equated to the carbon impact of 15 million cars off the road.
Natural gas isn't perfect but it isn't perfectly evil either. We have allegations, but no proof of shale causing people's hair to fall out etc, but coal contributes to 13,000 death a year according to the American Lung Association
Here in the UK, using diesel, which can be substituted with gas in at least freight uses, contributes to an overall eight months off life expectancy and the WHO says the impact of diesel is equal to that of passive smoking.
Some perspective is sorely neededRepliesSalutations,
Yes some of the figures are wonderful and small change can make a big difference - that this allows for solution providers. That we are talking of consequences that have significant economic, social and environmental implications. Said with equal measure of rancour and regard I am sure you will appreciate.
Kind regards
- John ThorpeJuly 3, 2012 at 7:10 AM
No it wouldn't because as ever the goal posts would have been moved. The point is not to give the first inch or you lose all hope of stopping the runaway truck.
ReplyDelete - AnonymousJuly 3, 2012 at 10:12 AM
Wasn't it an unusually temperate winter? Might that have something to do with it? I remember that one of the criticisms of the dropping unemployment rate was that it was seasonally adjusted, but there wasn't much season to adjust for, so it ended up being over-corrected.
ReplyDelete - AnonymousJuly 3, 2012 at 2:37 PM
President Obama has overseen record gas production, booming domestic oil production, and declining imports. Those are the facts.
Those might be the facts. The question is who is responsible for them? Gas production is from the states & the private sector. "Booming" (who defines booming? Obama? The EPA?) oil production is from permits issued for drilling BEFORE Obama took office. He has cut drilling on federal land. The declining imports IMO are more from the recession than anything Obama has done. Obama is no friend to the oil & coal industries. The private sector is mostly responsible for booming oil and gas production. But President Obama has not stopped it at all, despite the Gulf Coast disaster that was a horrendous failure that killed 11 and caused massive economic and environmental damage. I will check but I believe production on federal lands is also up. The decline in oil imports is huge and results from three factors: sharply rising domestic oil production; growing substitutes for oil like biofuels, CNG, electricity; and rising fuel efficiency. The US's GDP is bigger than it was in 2007, at the start of the recession/depression. GDP has increased every quarter since July 1, 2009. Decline in oil imports is again due to rising domestic oil production, higher use of oil substitutes, and much higher fuel efficiency. President Obama raised the CAFE standards twice.
ReplyDeleteThe reduction in carbon emissions is truly great news. The question now is will we make good use of this temporary boon. Will we simply use more energy since, with the competition from inexpensive gas, all fossil fuel will be cheaper. Will we use all the revenue from this windfall to put in more solar electric and wind generation. More likely the cheap fuel will stifle the installation of renewable energy and we will have much further to fall when this gas runs out in a couple of decades. And there will be no net of renewable energy to catch us.
ReplyDeleteRepliesRenewables are booming around the world, including in the US. Wind has more than doubled its capacity in the US since 2008, increasing to about 55,000 megawatts by the end of this year. Solar will have increased by more than 15 times in the USA from 2008 to 2012. Prices of solar and wind have declined substantially since 2008. Both now can be competitive in certain markets--strong wind or solar resources and high electric prices. I am optimistic about the future of renewables.
DeleteSalutations John
And a sign off with a variety of initiatives will achieve reductions.
Kind regards
Weather probably played some role
That's the point. What was the proportion of emission reductions between weather and substitution?
The decline in oil imports is huge and results from three factors: sharply rising domestic oil production; growing substitutes for oil like biofuels, CNG, electricity; and rising fuel efficiency
It is pretty difficult to keep a straight face when declining demand of crude oil petroleum products is not included as a factor.To repeat, coal was 44% of all electric generation in 2010 and about that number in the first quarter of 2011. Gas prices declined substantially in the second half and especially 4th quarter of 2011. Coal's share of generation fell to 36% for the first quarter of 2012. Its share fell to 32% in April. Each percentage point decline in coal reduces carbon emissions by about 45 million tons. It is huge.
On oil, fuel efficiency is playing a major role, Fuel efficiency, more biofuels, more gas displacing oil, even electricity displacing oil are all reasons why oil demand peaked in 2007 and is back to 1999 levels. I have repeatedly posted on declining oil demand due to efficiency and substitutes.Forget about first quarter 2012 emissions. The warm weather means that your year over year reduction in emissions due to substitution from coal to natural gas in electrical generation is overstated. The only issue was by how much.
Now the important matter. Declining demand is the major factor in the reduced import share of consumption. Period. Increased domestic production is the secondary factor. Substitution to biofuels, CNG, electricity; and rising fuel efficiency are tertiary factors.
For the sake of simplicity, if domestic consumption of crude oil and product in the near term peak year of 2005 is 20 million bpd and it declines by 1.8 million bpd in 2012, and domestic production increases by 0.9 million bpd, then the ratio of demand decline to domestic production is 2:1. By arithmetic, declining demand is twice as important as rising domestic production, ceteris paribus, in explaining the decline in the import ratio. There is no evidence in the record that the entire demand decline of 9.4% since 2005 is due to efficiency and substitutes. Furthermore, a reasonable 1% annual efficiency gain is offset by a 1% increase in population growth.We will see. But warmer weather affects total demand. It does not cause a massive drop of market share for coal that is mainly baseload generation. Coal historically has a higher market share in the first quarter of any year. Coal got displaced massively by gas and not warm weather. Thinking the opposite defies all the market data reported by EIA.
Demand for oil is down why? Fuel efficiency and increasing use of oil substitutes. More domestic production does not impact demand much at all and might actually marginally increase it. More domestic production impacts the amount of oil imports, however.This isn't the right way to fight the junk science of the climate change alarmists. The man made global warming theory is totally bogus. CO2 is NOT a pollutant. It's plant food for god's sake. Why are you implying that reducing CO2 levels is a good thing?
By doing this you only encourage the lies, and give credence to their other bogus claims like ocean acidification.
F. SwemsonRepliesThe junk science is advanced by those who say carbon dioxide and 5 other gases don't trap heat. They of course do. The junk science is advanced by those who say that raising atmospheric concentrations of heat trapping gas does not raise temperatures. it does and already has. Those who deny climate change again have a lot in common with those who deny gas is cleaner burning and is slashing carbon emissions.
DeleteNobody denies that climate changes, nor does anyone deny that the greenhouse gasses do have a very small warming effect. The issue is whether man's use of fossil fuels is the culprit in the equation, and the answer to that is no for the following reasons.
Of the total CO2 in the atmosphere, only 4% comes from our use of fossil fuels. With atmospheric CO2 levels currently at approx 390ppm, that means that our use of fossil fuels is responsible for 16ppm of CO2 in the atmosphere. That's one part CO2 for every 62,500 parts of the atmosphere. And based on that, the alarmists say that we're destroying the planet? Give me a break!
The entire greenhouse gas theory is exaggerated out of all proportion. Over 95% of greenhouse gas consists of water vapor. The other gasses account for the other 4%, most of which is CO2. We account for 4% of that. So what? CO2 is plant food. Without it, nothing would be green.
Legitimate atmospheric physicists like Dr. Richard Lindzen at MIT, have determined that a doubling of atmospheric CO2 would cause a rise of approx 1 degree Celsius. With 96% of total CO2 coming from natural sources, it's a bit absurd to claim that our use of fossil fuels is causing climate change. Do we have an effect? Yes, but other things we do have a cooling effect, and nobody knows whether the net signature of man is warming or cooling. One thing is certain, and that's the fact that if we are causing any warming, it's local (urban heat island effect) and in statistically insignificant amounts.
The other thing that's certain is that actual climate change is caused by the sun. Rising temperatures are the primary cause of rising levels of CO2. The reason for this is that when temperatures rise, the solubility of CO2 in water diminishes, causing CO2 to rise up out of the oceans, our primary CO2 sink. Rising levels of CO2 are caused by warming, not vice versa.
Another factor here is that WARMING IS GOOD!
Where did anyone ever get the absurd idea that warming was harmful? The only type of climate change that's potentially harmful to man is cooling, because crops don't grow well when it gets cold, and when that happens people starve and die. Man and all other life forms have always prospered during the earth's warm periods and suffered and starved during its cold ones.
We've been conned into thinking that we're a blight on the planet. We've been conned into using meaningless terms like carbon footprint. The only people who leave a carbon footprint on earth are coal miners when they're leaving the mines. CO2 is not carbon. They want us to equate it with coal dust. It's not the same thing. CO2 is a clear, odorless and tasteless beneficial trace gas.
The entire Global Warming movement is a hoax, in that the warming that has occurred has not been unusual, is not excessive (the planet is still relatively cool right now) and is completely natural. The Little Ice Age lasted over 400 years, we're still coming out of it. There is nothing wrong with our climate. We are not in any danger.
So it makes no sense for us to pay lip service to this monumental scientific hoax, by applauding reductions in CO2 and by ragging on Al Gore because of his huge carbon footprint. The more CO2 he produces the better. We should hate Gore because he's a liar and a con man, not because of the size of his electric bill.
fsGlobal Warming is a hoax. Really? Warming is just good. Really? The overwhelming majority of national academies of sciences around the world, including the US National Academy of Science are engaged in a hoax. Really? Is Lindzen the only legitimate scientist? Or is he an outlier? Even he has said warming is taking place. There are 100 scientists equally credentialed to Lindzen and they think to put it politely that he is wrong. Exxon CEO Rex Tillerson too does not believe this stuff. He says it is real but is an engineering problem and we will adapt. We see every year how it is going.
DeleteIn the late 1970's, everyone was worried that we were facing another ice age.
The were wrong then, & the AGW theory is wrong today.Man Made Global Warming (AGW) is a hoax... YES!
And yes, warming is good! How many people do you know who go to Northern Greenland to escape the summer's heat by comparison to those you know who go to Florida & other points south to escape the winter's cold?
And yes, a huge number of so called scientists are involved in a hoax, including prestigious organizations such as The American Physical Society (APS). Ayn Rand said:
"If the term "free scientific inquiry" is redundant, the the term "government scientific inquiry" is a contradiction in terms."
Over $50 billion dollars has been handed out to scientists who were willing to prostitute themselves to the political agenda of the UN and the major governments of the world, by producing "pseudo-science" papers and reports that back up this absurd theory.
At the most recent (2012) meeting of Nobel Laureates, a physics prize winner, Ivar Giaver gave a wonderful speech (google Ivar Giaever climate speech) explaining why he had resigned from the APS, because of their endorsement of AGW theory. He calls it "pseudo science" and his explanation and presentation is most interesting. I highly recommend it.Yes... Professor Lindzen agrees that warming has taken place, but he categorically denies that the warming was caused by man or by greenhouse gasses. He has specifically shown that temperature change drives CO2 levels, not vice versa as the AGW theory claims. BTW: 100 scientists equally credentialed as Dr. Lindzen do not exist. As the leading atmospheric physicist at MIT, Dr. Lindzen is one of a handful of the world's top experts on the subject.
He also points out, rightly, that in the last hundred years, the earth's average temperature has risen by roughly 0.8 degrees Celsius. In a system where temperatures can change 10 or 20 degrees in a matter of days or even hours, the fact that the system has varied on average by less than 1 degree over 100 years, points to what, by any rational observer's standards, must be seen as a remarkably stable system.
As far as the so called consensus of scientists is concerned, that is one of the most pernicious parts of the AGW hoax. Have you heard about the Petition Project? Google it if you haven't and look at it.
31,487 American scientists including over 9,000 with PhDs, have signed this petition which categorically states that the AGW theory is bogus
While you're on the petition page, click on the link titled "Summary of Peer-Reviewed Research" It will show a page titled "Environmental Effects of Increased Atmospheric Carbon Dioxide" Click on the chart in the lower right hand part of the page and enlarge it so it shows clearly. All of the evidence you need to understand why the AGW theory is bogus is right there in that chart. Look specifically at the period from the 1940's thru the late 1970's. If rising levels of CO2 cause temperatures to go up, then why, during that period, when CO2 levels were rising at their most rapid rate in the last hundred years, did temperatures drop steadily for over 35 years? Now compare the temperature record with the levels of solar activity for the same period. Is it that hard to see the causal relationship there?
If temperature rise is caused by increasing levels of CO2 & other greenhouse gasses, why is it that the temperatures on Mars & Jupiter's moons has been rising with the earth's since the late 1970's? Do you suppose that it was caused by SUV emissions?
Did you know that a lawsuit was filed in the British High Court, demanding that Al Gore's sic-fi horror thriller movie could not be shown to British schoolchildren because it violated a British law prohibiting the political indoctrination of schoolchildren? At trial, the plaintiffs were allowed to argue 9 of the major points made in the film, and the judge found that all 9 were either false or greatly exaggerated. The case was settled with an agreement that a disclaimer had to be read to students before it could be shown, stating that the ideas in the film were inconsistent with mainstream scientific thought on the subject. See Lord Monckton's paper on the subject: Google "Monckton 35 Inconvenient Truths"
The earth has warmed 0.8 degrees over the last hundred years. That's a fact.... but so what? During the middle ages, temperatures were at least 2 to 3 degrees Celsius warmer than they are now. There were thriving vineyards in Northern Scotland at the time. There is nothing unusual or extreme about our planet's climate. There is no climate crisis, and CO2 & warming are good!
Plummeting CO2 levels are nothing to celebrate, and they're not the proper rationale for fighting against our current administration's war on fossil fuels and the American economy. See: Google "American Thinker The Global Warming Hoax"
F. SwemsonInteresting article out today. You can find it by Googling its title:
"DC Was Much Hotter During The 1930s"
From the article:
"Lincoln, Virginia has had 1281 days since 1901 over 95 degrees. 87% of those hot days occurred when CO2 was below 350 ppm CO2. There is no connection between heatwaves in DC and CO2 – and anyone who claims there is, is either an idiot or a liar.
The 1930s saw 268 days over 95F, or an average of twenty-seven days per year.
By contrast, the decade from 2000 to 2009 saw only 43 days over 95 degrees, or an average of four days per year.
The current decade has averaged twelve days per year over 95F.
Very hot days were three to seven times more common during the 1930s, than they have been since the year 2000."
The primary cause of climate change is changing levels of solar activity. Sunspots.... CO2 levels are a byproduct of that... not its cause.
Your Honor, could you please instruct the witness to answer the question!
The question, Mr. Hanger is this: What specific petroleum substitutes and their volumes and energy density (I will preempt you and link to no increased ethanol production in the last 2 years) and efficiencies have substituted for a 1.8 million bpd decline in consumption of petroleum products since 2005?RepliesThe decline in oil demand reflects greater fuel efficiency. Cars are about 18% more fuel efficient than the ones they replace. The decline in oil demand reflects increasing biofuels that displace oil; The decline in oil demand reflects increasing natural gas for heating replacing heating oil. The decline in oil demand reflects increasing natural gas to replace oil used for electricity...see FPL's closure of oil plants and switch to gas as examples. The decline in oil demand reflects small decrease in vehicle miles traveled. The decline in oil demand reflect rising cng use by Waste Management and many other fleet operators. More than 25% of new buses bought run on cng now.
- AnonymousJuly 4, 2012 at 1:25 PM
The carbon emissions per capita is even more impressive. Just did a quick back-of-the-envelope calculation. If we return to 1990 or 1991 levels of carbon emissions, per capita that will represent a 20% decline in carbon emissions over the time period. Is this an indication of a kuznets curve in play?
ReplyDelete - AnonymousJuly 4, 2012 at 4:40 PM
1 - The private sector is mostly responsible for booming oil and gas production. But President Obama has not stopped it at all,
2 - I will check but I believe production on federal lands is also up.
3 - The decline in oil imports is huge and results from three factors:
1 - I don't think he can stop it. No federal land or permits involved in most cases.
2 - If it is, it has nothing to do with Obama's policies. He's cut the federal permits issued.
3 - I don't dispute the things you listed. IMO the recession & higher gas prices are a bigger reasons.
Let's say the economy starts growing at 3-4%, unemployment drops to 5%, & gas falls to $2.10 per gallon or lower. You honestly believe oil consumption & CO2 won't rise? It will take years to reach the above numbers, so its hard to prove one way or the other. To say the recession played no or only a small roll in the drop is way off base IMO.
Have a nice day & Happy July 4th! US GDP is now bigger than it was prior to the recession/depression that began November 2007. GDP has grown every quarter since july 2009. Would the economy be still bigger without the disaster that began in 2007? Of course. Would oil demand be higher than it is today had their been no 2007-2009 economic disaster? Yes. But the fundamental change in oil demand and oil imports have to do with the growth of fuel efficiency in cars, oil substitutes growing like biofuels and natural gas, domestic oil production going up...
ReplyDelete- AnonymousJuly 5, 2012 at 1:51 AM
Since 2009, off-shore oil production has fallen by 35,000 barrels per day. Like the overall production figures, the true off-shore decline is obscured by an increase in production from 2009-2010.
If one excludes the trend of increased off-shore production, Obama inherited and measures the decline in off-shore production from its highest point during his administration, off-shore oil production has fallen by 285,000 barrels per day.
cnsnews March 23, 2012
A new report by Congress' research division says U.S. oil production is up under President Obama, but almost all of the expansion of oil production in the U.S. came on non-federal land, not on leases from the federal government.
The report, dated Tuesday and provided to the press late Wednesday by Sen. Jeff Sessions, Alabama Republican, found that "about 96 percent of the increase [in oil production] since 2007 took place on non-federal lands."
washingtontimes.com March 22, 2012
New drilling permits approved down under Obama.
New well bores started down under Obama.
I'll concede the other things you listed have had a larger impact on the demand for oil than i thought. I've learned something from this discussion, thats a good thing. :)
My apologies if the hyper links don't work. The decline in oil demand in the transportation sector is vehicle miles driven. The decline in the last 4 years is unprecedented in the data series going back to 1987. It has nothing to do with fuel efficiencies or substitution.
ReplyDelete- AnonymousJuly 5, 2012 at 3:42 PM
If you search "oil imports down in America" you get lots of info about fuel efficiencies & substitution. To say they have nothing to do with the reduction is IMO wrong. I was surprised to see how much. Natural Gas is a big factor. The govt will find a way to mess it up. Maybe not Obama, but in the future for sure. They'll see money to be made (tax the crap out of it) add some new regulations to protect a lizard..etc etc. JMO - AnonymousJuly 15, 2012 at 12:00 PM
Excellent article. Can you provide any further information regarding the data behind the $100 billion per year in fuel cost savings. I can find all other data behind your results but I am having trouble developing data for this figure. Thanks for your help.


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Saturday 26 February 2011
Sat 26th: INCANDESCENT META-MORPH-INCESSANT A/W 2011 - The Look Book
Here are some screengrabs of the lovely look book that Teo Connor designed for the presentation day........ so pleased with the final outcome!!! There will be more to pick at the press day if you couldn't make the screening on Monday ......... details to follow shortly.......
Sat 26th: INCANDESCENT META-MORPH-INCESSANT A/W 2011
Here are the final shots of the collection............
Photographer - Elisha Smith-Leverock
Stylist - Kim Howells
Hair - Ben Jones
Make up and Nails by Yin Lee
Stylist Assistant - Reuben Esser
Model - Lindsey Byard at Next
Crown and Shin Piece by Rosy Nicholas for Fred Butler
Special thanks to Hannah Wood for Corset Construction
For press enquiries contact: firstname.lastname@example.com
Sat 26th: The Daily feature of Studio Shots of Work In Progress for my INCANDESCENT META-MORPH-INCESSANT A/W 2011
My Jacket which inspires me as I wear it
Layering Papers
Components being made
Invitations made from leftover scraps
Sketches and inspirations
The origianl origami experimentation
Tetris patchwork paper
Stylist Kim Howells in meeting, working out shapes with the body
The Daily asked me to send them some studio shots of the work in progress for an article on their site so here are some of those images and what I wrote for them.....
"The palette of the last two seasons has been silver and gold metallics, so A/W 2011 is a return to my signature psychedelic spectrum of colour. I've stripped back use of layering materials and concentrated on the purity of paper and paper folding. Shapes and silhouettes employ a new technique developed in my ongoing exploration into origami. On a recent trip back to my favourite haunts of China Town NYC, I realized that origami is an infinite craft of possibilities with no limits. My new collection is an experiment in pushing these boundaries utilizing both the top and bottom conflicting surfaces of structures for contrast in texture.
Here are images of patchwork paper, playing around with painting via collage instead of actual paint. I've transposed my hobby and routes of designing paper-cut art into my accessories. Accumulating origami squares is the best source for collecting rare colour and I initially fell in love with the craft by default, looking at instruction manuals when I bought the packs of paper. I wanted to celebrate this history to my story and run with the idea.
My collaborator Elisha Smith-Leverock has taken this direction of playfulness into her treatment for our fourth fashion film together. The individual pieces of the collection can be worn separately or slot together to make a sequence of armour to incase the body. Elisha has picked out the basic forms from the technique and wants to turn the shape into an oversized set to create an geometric world for the model to inhabit. It's going to be a jack-in-the-box sequence with a techno soundtrack to build a crescendo of fun and invigorating emotion. An explosion of colour will carry through from the scraps of on my studio floor to the final cut of the film.
See the original article here.
Sat 26th: Spine TV Art Shorts - Studio Visit
Whilst I was cooped up with cabin fever constructing the AW11 collection, Spine TV came to visit the studio to film my work process. Here is the final cut of the interview with some images Ive held back until this point and the release of my finished work. Head over to Spine TV to see the rest of the series and all the artists captured on camera.............. including David Bailey "Skulls"
Friday 25 February 2011
Friday 25th Feb: #itsPinkFridayHoe @NICKIMINAJ
I have only just discovered this portrait of Nicki Minaj by Tom Oxley from a Feb issue of NME wearing my necklace. Check out the rest of his portfolio here for more great music photography.
Friday 25th Feb: Kokon To Zai AW11
Irrespective of trends and seasons - I need this Kokon To Zai collection in my wardrobe forever. All the way from the stripey shoes, optical panelled leggings, asymmetric patchwork fin dresses, chunky warrior accessories, ball bangles and squiggle shape afro combs. It was a mash up of Oskar Schlemmer sculptural proportions, Memphis furniture graphic patterns with a dash of 80's Disney Mickey Mouse Club thrown in for good measure. For the first time, designer Koji Maruyama came to London to walk out for the encore to wave alongside Marjan Pejoski. Congratulations - I am in LOVE and desperate to try some of it on!
To see a more detailed selection of photos of the garments and jewellry, head over to Un Nouveau Ideal
(Images all by me except invitation artwork and Silhouette Ive stolen from Koji's facebook. Top to bottom: Makeup by Thomas De Kluyver, Hair pics and bangles and clothes being packed up backstage, Show styled by Anna Trevelyan with hair by Charlie Le Mindu)
Friday 25th Feb: House of The Jago AW11 "The Oath Of The Canting Crew" streetstyle
I have never been to one of the infamous "A Child Of The Jago" events before and I'm so pleased to have now experienced it for some salvation from the mainstream merry-go-round. This is what marks London out in the month of international capital city's slots in the season's fashion weeks.................. style is deep set in sub-culture and the underground is a prevalent force to contend with. The community that have grown up around the Jago scene might slip un-noticed on a daily basis in their dandy get-ups but when the individuals congregate its quite a spectacle. Everyone there looked fantastic and it wasn't the conspicuous flashy dressing that you get down at Somerset House - it was incredible credible unconscious swagger. I'm a fiend for finding hats worn with conviction and this was a collective of men baring the best in big brimmed fedoras Ive ever seen! Ive snapped some of the audience here including Jordan Bowen who is part of Stephen Jones atelier whilst finishing his own millinery studies - a name to note down! The runway show styled by Judy Blame with an excellent cast of the creme of male models with smoky smudge kohl eyes .......... I love a dude in eyeliner!! I also loved the label's own quirky hats styled with newspaper clippings, animal teeth and bones, feathers and rope tied into the band ...... topped off with badges by Pins London.
Watch this film sent over from Jago to see the highlights.........a dance-off between the tribes of the Jago from the east and the buffalo gals of Worlds End from the west.
Head to Simon Armitage and Joseph Corré aka A Child Of The Jago's famous East End flagship boutique 10 Great Eastern Street, London EC2A 3NT
Friday 25th Feb: Fashion East Men
In 2005 "Fashion East MAN" was established to give 3 menswear designers a runway show in addition to its main womenswear event. Now there is also an area of installations in Somerset House for 10 menswear designers to preview their collections to press and buyers. Whether its a still life of products or performance piece, its always the most fun arena to explore on schedule. Here is the mastermind behind Fashion East Lulu Kennedy sporting a spotty pair of wellingtons from Louise Gray's new collaboration with Nicholas Kirkwood for Pollini. Here is Louise herself at her space in the exhibit showing a few styles of screen printed stripey shirts in an offshoot capsule men's collection.......... perhaps a perfect addition to the wardrobe for her stylist Richard Sloan and his new lilac hair. Lulu is always the best ambassador for the organisation's supported designers, wearing their wares in the most comfortable and chic compositions. Looks like this Christopher Shannon scarf must have come straight off the catwalk as he had only just shown his new AW11 in the main tent moments before.
Keep an eye on her blog for new developments for Lulu's own line Lulu & Co. which brings together one unique design from a selection of 10 names previously supported in the 10 years of the Fashion East scheme.
Friday 25th Feb: Katie Eary AW11 - Report by Emily Beard
What do you get when you cross all American apple pie 50s sweetness with a Frankenstein's monster apocalypse? It would probably look a little like Katie Eary's newest collection 'Frankenstein's Lab'.
Like the classic film 'Pleasantville' there's an underlying sinister vein to the wholesome Yank imagery. The classic American varsity jacket was flashed with streaks of toxic green. Stripy jumpers and shirts appeared to sprout hair. T-shirts were slashed into webs. Models stomped in Nike Airs and clunky wedges fused with wood and prickly spikes. Even the tailoring wasn't safe, splattered with prints of creepy crawlies and animalistic leopard print. Not to mention the jewellery, where gold nuts bolts and stitches appeared to puncture the models' faces and necks.
The finale saw the models return with Donnie Darko rabbit masks, saluting the macarbe masterpiece. The collection was a marvellous monster mash up of all that is thrilling about London Fashion Week. A collection to both fear and covet.
Images and text by Emily Beard
Thursday 24 February 2011
Thurs 24th Feb: Husam El Odeh AW11 "Ephemeral"
For SS11 Husam created a collection "Alchemia" for which his gift at the presentation day was a little smelted droplet threaded on blue cotton to wear round the neck. This season, Husam's installation took shape in an accumulation of glass bottles and carnations for his new theme "Ephemeral". He lifted a flower head out of the display and dropped it in my hand............ the delicate petals had been pierced and strung onto a silver chain. It was a beautiful necklace that I wore all day in spirit of the concept, and is only now just wilting away like a butterfly that has spent its short life to share its sublime shine. Husam was wearing one on his lapel and looking the dashing part as he always does to calmly and methodically take you through his latest offering. A few pieces were on view with more to follow at the official launch next week in Paris. I love the silver watch bangle - classic charm in a cheeky reinvention of accessorizing!
To see the complete collection, head to the Rainbowwave Showroom.
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Endeavour Will Map the Earth (Updated!)
News story originally written on February 2, 2000
The Space Shuttle Endeavour will have to wait even longer. NASA scientists found a problem with the shuttle minutes before the launch. The earliest Endeavour will be ready is February 9, 2000.
The mission has been postponed numerous times. The initial launch date was last September, but faulty wiring postponed the launch until this week. The launch was next scheduled for this past Monday, but bad weather prevented liftoff. Now, this critical error has officials wondering if the mission will ever get off the ground.
The problem occurred in one of the shuttle's Master Events Controllers. They tell the shuttle's computer to release the booster rockets and fuel tank. During a final health check of the shuttle, one of these controllers failed. NASA has a firm rule not to launch if something may be wrong with a controller.


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Agency Requests Problems to Solve...For Free
And if you haven't heard, here's Trumpet Groups riff on the RFP, its Request for Problem. The agency, changing the direction this sort of communication usually flows, wants marketers to submit their problem to which the agency will reply with a solution...for free. Of course, Trumpet hopes their solutions are so good the marketer will call for more work and pay next time around.
It's an interesting approach. Or you could just label it yet another example of agency laziness, in this case making the client do all the upfront new business legwork. But we're sure that's not the case here.


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*Discount based on total value of products if sold separately.
**Tested on 30 people.


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LeBron James against Kobe Bryant, the dream NBA Finals that's never become a reality.
Maybe this is the year.
James' Miami Heat are on top of the league and got even stronger this summer, but nobody loaded up like the Lakers, who acquired Dwight Howard and Steve Nash.
James or Bryant has played in the last six NBA Finals. Now, with more help than either has ever had, they're facing title expectations once again — and a sense they're due for that long-awaited showdown with each other in June.
"If we see that matchup, Kobe vs. LeBron, I think it would break all the records," Lakers Hall of Famer and ESPN analyst Magic Johnson said. "I think the viewership would be off the charts."
It's no guarantee, of course. The Oklahoma City Thunder might still be best in the West, making a James-Kevin Durant rematch in the finals just as likely as James-Bryant. Or maybe the Boston Celtics, who came so close to knocking out the Heat last year, can finish the job this time even after Ray Allen ditched them to join James on South Beach.
But even the guys chasing the King concede how difficult it will be to dethrone him.
"I think everyone knew if he won one that it's going to be hard for everybody. ... I'm hoping there's enough good teams, and we can be one of them, that we can knock him off," Celtics coach Doc Rivers said.
"The good news is he's the clear target. We know who we're going after, there's no doubt about that. But he's awful good. He's a good guy, he's great for the league and he's a great player. That's good for everything. But now let's beat him."
The Celtics get the first shot, visiting the Heat in Tuesday's season opener. The Lakers open later that night against Dallas, and for a change all eyes at Staples Center won't be only on Bryant.
The Lakers acquired the NBA's best big man in Howard after surprisingly adding Nash, long one of the league's best point guards, earlier in the summer. Just like that, a team that couldn't get out of the second round the last two years put itself right back in the hunt for what would be Bryant's sixth championship.
"We're all determined to get there for sure," Bryant said. "The hunger from Dwight and Nash can definitely, definitely help our energy."
Howard's departure from Orlando was lengthy and messy, finally completed in August. James and Bryant were in London preparing to play in the Olympic semifinals on the day the trade was completed, and news of the deal overshadowed their victory en route to the Americans' second straight gold medal two days later.
For James, the gold was the completion of one of basketball's greatest individual seasons. He joined Michael Jordan in 1992 as the only players to win the NBA championship, the Olympic gold medal, and the regular season and finals MVP awards in the same season.
Once Jordan got to the top, he was never really knocked from it, save for one partial season after he returned from playing baseball during his first retirement. James, now considered the league's best player, has similar designs on a lengthy run.
"In a sport like this, I think the ultimate goal and the only goal is to win," James said. "You prepare to win. It doesn't happen all the time. Of course not. But that should be your mindset. Prepare your mind each and every night to win."
Dwyane Wade and Chris Bosh should be back at full strength after both were slowed by injuries in the playoffs, and the Big Three is now surrounded by Allen, the league's career leader in 3-pointers, and Rashard Lewis.
League executives are convinced of a trip back to the finals, with 96.7 percent of responses in NBA.com's GM survey picking the Heat to win the Eastern Conference. Miami got 70 percent of the vote to repeat as champion, and James was the choice of two-thirds of the responders to add another MVP award to his collection.
Things probably won't be quite as easy for the Lakers, since the Thunder should be better with their young core another year older — if they keep it together. Sixth Man of the Year James Harden could be a free agent after next season, and the small-market Thunder will have to decide if they can commit more dollars after already giving big contracts to Durant, Russell Westbrook and Serge Ibaka.
"It's a new season," said Durant, the league's three-time scoring champion. "Last year is over with. We've got to start over from day one and see where we're at."
San Antonio has had the West's best record in the regular season each of the last two years and is still hoping for one more title in the Tim Duncan era. The Los Angeles Clippers, Memphis Grizzlies and Denver Nuggets could be threats out West, and don't forget that Indiana had a 2-1 lead over Miami in the second round last season.
There's a new look in New York, which is now home to the Nets but no longer to Linsanity. When the Nets host the Knicks on Nov. 1 in the first regular-season game at the Barclays Center, their $1 billion arena in Brooklyn, Jeremy Lin won't be suiting up on the other side. The Knicks decided not to match the contract last season's breakout star from Harvard signed with the Houston Rockets.
All-Star weekend, David Stern's last before retiring as commissioner in 2014, also is headed to Houston, where James was MVP of the 2006 game.
Now he wins the awards for the games that count.
He used to come up short in the postseason, a big reason the finals matchup with Bryant hasn't happened yet. His Cleveland teams had the top seed in both 2009 and '10, but were bounced by the East teams that ended up losing to the Lakers.
It's clear James has it all figured out, taking his game to another, seemingly unstoppable level when Wade and Bosh were limited last postseason. Now, when it seems he needs it least, he has his best collection of talent around him.
When he hugged the beaten Durant after the finals, it was easy to imagine them doing it again next year. Then the Lakers pushed Bryant's championship window back open with their summer haul, constructing a lineup of Bryant, Nash, Howard and Pau Gasol that could be on its way from Hollywood to the Hall of Fame — with a trip to South Beach along the way.
"The Heat are the team to beat because they are the champs," said TNT's Shaquille O'Neal, who won titles with both franchises. "Kudos to Pat Riley for putting great shooters around his big man. The Lakers — on paper — are very, very talented. It's going to be a very interesting year and I wish both of those teams make the finals."


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Hi all.
I'm a Spanish fan of the Geomag and i'm looking for expand my collection ( about only 1034 pieces).
Anyone wants to sell specially transparent plastic rods ( silver rods, i think are known)?.
Here in Spain, i can only buy at stores the Geomag Kids version. Sad, isn'it???.
Many thanks from Spain.


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This theater image released by Boneau/Bryan-Brown shows Mary Bridget Davis performing in "A Night with Janis Joplin," at the Lyceum Theatre in New York. Davies and her "A Night With Janis Joplin," which opened Thursday, are part of a new wave of musicals featuring female singer-songwriters, a list that includes a Carole King musical making its way to Broadway. Performing with Davies is, background from left, Taprena Michelle Augustine, De'Adre Aziza, Allison Blackwell and Nikki Kimbrough. (AP Photo/Boneau/Bryan-Brown, Joan Marcus)
by Jennifer Farrar
Associated Press Writer
NEW YORK (AP) — Legendary blues and soul singer Janis Joplin was an astounding force of nature onstage and off. A new concert musical on Broadway provides a rockin' good time while imaginatively evoking her impassioned, thrilling talent.
Randy Johnson wrote and directed the tribute, "A Night With Janis Joplin." Featuring a powerful performance by Mary Bridget Davies as Joplin alongside a quartet of extremely talented singers, the loud, colorful, '60s-saturated spectacle opened Thursday night at the Lyceum Theatre.
Soulful and genuine, Davies gives a lively, energetic performance. She captures much of the exuberance and uniquely raspy wailing that made Joplin a musical legend, though she lacks Joplin's raw onstage sexuality and brash, raunchy persona. No stranger to the role, Davies has sung as Janis for years, including in this show regionally for the past year.
The onstage eight-member band, led by music director Ross Seligman as the sexy lead guitarist, performs hard-driving arrangements of Joplin hits including "Down on Me," "Piece of My Heart," "Mercedes Benz" and "Me and Bobby McGee." The musicians also invoke the spirit of Big Brother and the Holding Company, the funky, psychedelic electric blues-rock group that helped propel Joplin to stardom in 1967.
Johnson's book sentimentalizes Joplin, whitewashing her hard-drinking, drug-fueled lifestyle and focusing instead on her enthusiasm and passion for her music. Between numbers, Davies' Joplin muses extensively about the nature of the blues and blues music, and reminisces about growing up with her family in Texas.
More seminal to the show are the highlights she shares about her rise to fame and the music legends that influenced her, although her silent mouthing of their lyrics can be distracting. There's no mention of the accidental heroin overdose that killed Joplin at age 27.
Taprena Michelle Augustine, De'Adre Aziza, Allison Blackwell and Nikki Kimbrough perform as backup singers "The Joplinaires." With grace and elegance, they also represent late 1950s "girl groups" and some iconic blues singers, dramatically performing parts of signature numbers by the likes of Etta James, Odetta, Nina Simone, Bessie Smith and Aretha Franklin on a platform above the stage.
In turn, Davies performs Joplin's earthier interpretations of these hits, showing how she made them her own, such as an invigorating "Tell Mama" (with Kimbrough stunning as Etta James) and a mournful, wailing, primal version of "Summertime."
With dynamic use of lighting, projections, sound design and the choreography of Patricia Wilcox, Johnson creates a high-caliber spectacle around the compelling story of a uniquely talented singer-songwriter who embodied her generation's passionate attitudes.


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Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week:
Spacey And Fincher Make A 'House Of Cards': Academy Award-winning actor Kevin Spacey and Oscar-winning director David Fincher team up for a new Netflix original series that premieres Friday. House of Cards follows a Machiavellian politician as he schemes to take down the president of the United States.
William H. Macy Is 'Shameless' On Showtime: As the alcoholic paterfamilias Frank Gallagher on the Showtime series Shameless, the actor enjoys portraying a man with a dark side. But he says it's Frank's better qualities that make him sustainable as a character.
'House Of Cards' Is Built To Last: Two new dramas fueled by intrigue premiere this week: The Americans on FX and House of Cards on Netflix. While The Americans has its moments, House of Cards is the show that's going to make television history.
You can listen to the original interviews here:
Copyright 2021 Fresh Air. To see more, visit Fresh Air.


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According to a booklet describing a recent exhibition of Italian archeological jewelry, the "Roman goldsmith Fortunato Pio Castellani (1794-1865) revived the Etruscan 'lost' art of granulation, resulting in one of the most significant contributions to the history of jewelry making. His sons, Allessandro (1823-1883) and Agosto (1829-1914), assumed the management of the family firm in the 1850s and marked the archeologically inspired jewelry with great success, garnering widespread acclaim through their participation in numerous international exhibitions. The Castellani were also active in the cultural and political life of their country, holding various public offices and participating in the vigorous 19th-century antiquities market" ("Winter 2005 Public Programs," Bard Graduate Center, p. 23).
This Italian archeological jewelry, whose popularity obviously received a great boost from the popular paintings of Alma-Tadema, Leighton, and other Classical Revivalists, was also popular with Pre-Raphaelite artists, too. William Holman Hunt, for example, bought his wife a Roman-inspired ring. According to Geoffrey C. Munn, Allessandro Castellani opened a branch of the firm at 13 Frith Street, London.
According to the Wartski website (which has an online gallery of this jewelry), "The firm was quickly to acquire an independent reputation under its manager Carlo Giuliano (1832-1895) and, after his death, control of the business passed to his son, Arthur Giuliano (1864-1914). At first jewellery was made for resale to prominent retail houses, but in 1874 Giuliano opened shop at 115 Piccadilly and won the patronage of Queen Victoria, and later, of King Edward VII and Queen Alexandra. Giuliano's work was also popular amongst the artistic community, and the firm was asked to make up jewellery to the designs of Sir Edward Burne-Jones and Charles Ricketts, the book illustrator. William Holman-Hunt also shopped there, and there is strong evidence to suggest that Sir Lawrence Alma-Tadema used jewels by Giuliano in his work derived from Classical sources. The interest in these two firms lies both in their use of a fascinating range of materials and techniques and in their interpretation of antique sources to create jewellery in the spirit of nineteenth-century eclecticism." [Geoffrey C. Munn]
- Bard Graduate Center for Studies in the Decorative Arts, 18 West 86th Street, New York City, 18 November 2004-6 February 2005
Flower, Margaret. Victorian Jewelry. New York: Duell, Sloan and Pearce, 1951.
Gere, Charlotte. Victorian Jewelry Design. Chicago: Henry Regenery: 1972.
Munn, Geoffrey C. Castellani and Giuliano: Revivalist Jewellers of the Nineteenth Century. London: Trefoil, 1984.
Soros, Susan Weber, and Stefanie Walker. The Castellani and Italian Archeological Jewelry. New Haven: Yale UP, 2004.
O'Day, Dierdre. Victorian Jewelry. London: Letts, 1982.
Last modified 29 November 2004


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U.S. Support Of PEPFAR, Global Fund Helping To Achieve Global AIDS, TB, Malaria Goals
In this post in Huffington Post's "Impact" blog, Deborah Derrick, president of Friends of the Global Fight Against AIDS, Tuberculosis and Malaria, examines "the success of U.S. efforts to promote better global health through support for [PEPFAR] and the Global Fund to Fight AIDS, Tuberculosis and Malaria." She highlights U.S. Secretary of State Hillary Clinton's recent trip to Africa, writing that Clinton's "encouraging words" at the Reach Out Mbuya health center in Uganda reinforced U.S. commitment to an AIDS-free generation. She notes both PEPFAR and the Global Fund have supported the center and adds that "through hundreds of similar local programs all over the world, the Global Fund provides treatment to 3.6 million people who are HIV-positive."
In addition, "the Global Fund alone has financed the treatment of 260 million cases of malaria and 9.3 million cases of tuberculosis," she continues, adding, "We are also on track to cut global tuberculosis mortality in half by 2015, and a growing number of countries are making progress toward ending malaria deaths." She writes, "Through strong support of the Global Fund and PEPFAR, the Administrations of both George W. Bush and Barack Obama — with bipartisan support from Congress — have signaled that U.S. leadership recognizes the tremendous return on investment in global health," and concludes, "Every day, the U.S. commitment to better health for everyone brings us a step closer to achieving these critical goals. With continued support, they are within reach" (8/13).
The KFF Daily Global Health Policy Report summarized news and information on global health policy from hundreds of sources, from May 2009 through December 2020. All summaries are archived and available via search.


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Ornament (music)
In music, ornaments or embellishments are musical flourishes that are not necessary to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line. Many ornaments are performed as "fast notes" around a central note. The amount of ornamentation in a piece of music can vary from quite extensive (it was often so in the Baroque period) to relatively little or even none. The word agrément is used specifically to indicate the French Baroque style of ornamentation.
In the baroque period, it was common for performers to improvise ornamentation on a given melodic line. A singer performing a da capo aria, for instance, would sing the melody relatively unornamented the first time, but decorate it with additional flourishes the second time. Improvised ornamentation continues to be part of the Irish musical tradition,[1] particularly in sean-nós singing but also throughout the wider tradition as performed by the best players.
Ornamentation may also be indicated by the composer. A number of standard ornaments (described below) are indicated with standard symbols in music notation, while other ornamentations may be appended to the score in small notes, or simply written out normally. Frequently, a composer will have his or her own vocabulary of ornaments, which will be explained in a preface, much like a code. A grace note is a note written in smaller type, with or without a slash through it, to indicate that its note value does not count as part of the total time value of the bar. Alternatively, the term may refer more generally to any of the small notes used to mark some other ornament (see Appoggiatura, below), or in association with some other ornament's indication (see Trill, below), regardless of the timing used in the execution.
In Spain, melodies ornamented upon repetition ("divisions") were called "diferencias", and can be traced back to 1538, when Luis de Narváez published the first collection of such music for the vihuela.[2]
Western classical music
<templatestyles src="Module:Hatnote/styles.css"></templatestyles>
A trill, also known as a "shake", is a rapid alternation between an indicated note and the one above.
Sometimes it is expected that the trill will end with a turn (by sounding the note below rather than the note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few grace notes following the note that bears the trill indication. The trill is indicated by either a or a ~~, with the ~ representing the length of the trill, above the staff. In Baroque music, the trill is sometimes indicated with a + (plus) sign above or below the note.
<phonos file="Trill example ornaments.mid">Play</phonos>
There is also a single tone trill variously called trillo or tremolo in late Renaissance and early Baroque.
<templatestyles src="Module:Hatnote/styles.css"></templatestyles>
The mordent is thought of as a rapid alternation between an indicated note, the note above (called the upper mordent, inverted mordent, or pralltriller) or below (called the lower mordent or mordent), and the indicated note again.
The upper mordent is indicated by a short thick squiggle (which may also indicate a trill); the lower mordent is the same with a short vertical line through it:
<phonos file="Upper and lower mordent notation 1.mid">Play</phonos>
As with the trill, the exact speed with which the mordent is performed will vary according to the tempo of the piece, but, at a moderate tempo, the above might be executed as follows:
<phonos file="Upper and lower mordent execution (1).mid">Play</phonos>
Problems playing this file? See media help. |
Confusion over the meaning of the unadorned word mordent has led to the modern terms upper and lower mordent being used, rather than mordent and inverted mordent. Practice, notation, and nomenclature vary widely for all of these ornaments, that is to say, whether, by including the symbol for a mordent in a musical score, a composer intended the direction of the additional note (or notes) to be played above or below the principal note written on the sheet music varies according to when the piece was written, and in which country. This article as a whole addresses an approximate nineteenth-century standard.
In the Baroque period, a Mordant (the German or Scottish equivalent of mordent) was what later came to be called an inverted mordent and what is now often called a lower mordent. In the 19th century, however, the name mordent was generally applied to what is now called the upper mordent. Although mordents are now thought of as just a single alternation between notes, in the Baroque period a Mordant may sometimes have been executed with more than one alternation between the indicated note and the note below, making it a sort of inverted trill. Mordents of all sorts might typically, in some periods, begin with an extra inessential note (the lesser, added note), rather than with the principal note as shown in the examples here. The same applies to trills, which in Baroque and Classical times would standardly begin with the added, upper note. A lower inessential note may or may not be chromatically raised (that is, with a natural, a sharp, or even a double sharp) to make it just one semitone lower than the principal note.
<templatestyles src="Module:Hatnote/styles.css"></templatestyles>
A turn is a short figure consisting of the note above the one indicated, the note itself, the note below the one indicated, and the note itself again. It is marked by a mirrored S-shape lying on its side above the staff.
The details of its execution depend partly on the exact placement of the turn mark. The following turns:
might be executed like this:
<phonos file="Turn execution.mid">Play</phonos>
The exact speed at which the notes of a turn are executed can vary, as can its rhythm. The question of how a turn is best executed is largely one of context, convention, and taste. The lower and upper added notes may or may not be chromatically raised (see mordent).
An inverted turn (the note below the one indicated, the note itself, the note above it, and the note itself again) is usually indicated by putting a short vertical line through the normal turn sign, though sometimes the sign itself is turned upside down.
Appoggiatura (/əˌpɒdʒəˈtjʊərə/; Italian: [appoddʒaˈtuːra]) comes from the Italian verb appoggiare, "to lean upon". The long appoggiatura (as opposed to the short appoggiatura, the acciaccatura) is important melodically and often suspends the principal note by taking away the time-value of the appoggiatura prefixed to it (generally half the time value of the principal note, though in simple triple or compound meters, for example, it might receive two thirds of the time).[citation needed] The added note (the unessential note) is one degree higher or lower than the principal note; and, if lower, it may or may not be chromatically raised (see mordent).
The appoggiatura is often written as a grace note prefixed to a principal note and printed in small character, usually without the oblique stroke:
150px <phonos file="Appoggiatura_notation.mid">Play</phonos>
This may be executed as follows:
<phonos file="Appoggiatura_execution.mid">Play</phonos>
A passage with two phrases ending in appoggiaturas, followed by these phrases without them (160 KB)
Problems playing this file? See media help. |
Appoggiaturas are also usually on the strong or strongest beat of the resolution and are approached by a leap and left by step. (see http://www.ars-nova.com/Theory%20Q&A/Q93.html . Also Kent Kennan, Counterpoint, Fourth Edition, pg 40. This notation has also been used to mark an accent in the articulation of vocal music, meaning that the grace note should be emphasized, for example in Haydn's Missa Brevis in G major,[clarification needed not Hob. XXII:1 in F major?] fifth bar for soprano and tenor voices.
So-called unaccented appoggiaturas are also quite common in many periods of music, even though they are disapproved of by some early theorists (for example CPE Bach, in his Versuch über die wahre Art das Clavier zu spielen). While not being identical with the acciaccatura (see below), these are almost always quite short, and take their time from the allocation for the note that precedes them. They are more likely to be seen as full-size notes in the score, rather than in small character – at least in modern editions.
An ascending appoggiatura was previously known as a forefall, while a descending appoggiatura was known as a backfall.
<phonos file="Acciaccatura notation.mid">Play</phonos> |
Acciaccatura (/əˌtʃækəˈtjʊərə/, Italian: [attʃakkaˈtuːra]) comes from the Italian verb schiacciare, "to crush". The acciaccatura (sometimes called short appoggiatura) is perhaps best thought of as a shorter variant of the long appoggiatura, where the delay of the principal note is quick. It is written using a grace note (often a quaver, or eighth note), with an oblique stroke through the stem. The acciaccatura in the Classical period is usually performed before the beat and the emphasis is on the main note not the grace note. The appoggiatura long or short has the emphasis on the grace note.
The exact interpretation of this will vary according to the tempo of the piece, but the following is possible: <phonos file="Acciaccatura execution.mid">Play</phonos>
Whether the note should be played before or on the beat is largely a question of taste and performance practice. Exceptionally, the acciaccatura may be notated in the bar preceding the note to which it is attached, showing that it is to be played before the beat. (This guide to practice is unfortunately not available, of course, if the principal note does not fall at the beginning of the bar.)
The implication also varies with the composer and the period. For example, Mozart's and Haydn's long appoggiaturas are – to the eye – indistinguishable from Mussorgsky's and Prokofiev's before-the-beat acciaccaturas.
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A glissando is a slide from one note to another, signified by a wavy line connecting the two notes. All of the intervening diatonic or chromatic (depending on instrument and context) are heard, albeit very briefly. In this way, the glissando differs from portamento.
In contemporary classical music (especially in avant garde pieces) a glissando tends to assume the whole value of the initial note.
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A slide (Schleifer in German) instructs the performer to begin one or two scale steps below the marked note and slide upward. The schleifer usually includes a prall trill or mordent trill at the end.
Willard A. Palmer wrote, "The schleifer is a 'sliding' ornament, usually used to fill in the gap between a note and the previous one."[3]
In Baroque music
Ornaments in Baroque music take on a different meaning. Most ornaments occur on the beat, and use diatonic intervals more exclusively than ornaments in later periods do. While any table of ornaments must give a strict presentation, consideration has to be given to the tempo and note length, since at rapid tempos it would be difficult or impossible to play all of the notes that are usually required. One realisation of some common Baroque ornaments is set in the following table from the Klavierbüchlein für Wilhelm Friedemann Bach written by J.S. Bach:
<phonos file="Tableofornaments750.mid">Play</phonos>
Renaissance and early Baroque
From Silvestro Ganassi's treatise in 1535 we have instructions and examples of how musicians of the Renaissance and early Baroque periods decorated their music with improvised ornaments. Michael Praetorius spoke warmly of musicians' "sundry good and merry pranks with little runs/leaps".[this quote needs a citation]
Until the last decade of the 16th century the emphasis is on divisions, also known as diminutions, passaggi (in Italian), gorgia ("throat", first used as a term for vocal ornamentation by Nicola Vicentino in 1555), or glosas (by Ortiz, in both Spanish and Italian) – a way to decorate a simple cadence or interval with extra shorter notes. These start as simple passing notes, progress to step-wise additions and in the most complicated cases are rapid passages of equal valued notes – virtuosic flourishes. There are rules for designing them, to make sure that the original structure of the music is left intact. Towards the end of this period the divisions detailed in the treatises contain more dotted and other uneven rhythms and leaps of more than one step at a time.
Starting with Archilei (1589),[full citation needed] the treatises bring in a new set of expressive devices called graces alongside the divisions. These have a lot more rhythmic interest and are filled with affect as composers took much more interest in text portrayal. It starts with the trillo and cascate, and by the time we reach Francesco Rognoni (1620) we are also told about fashionable ornaments: portar la voce, accento, tremolo, gruppo, esclamatione and intonatio.[4]
Key treatises detailing ornamentation:
- Silvestro Ganassi dal Fontego Opera intitulata Fontegara ..., Venice 1535
- Adrianus Petit Coclico Compendium musices Nuremberg, 1552
- Diego Ortiz Tratado de glosas sobre clausulas ..., Rome, 1553
- Juan Bermudo El libro llamado declaracion de instrumentos musicales, Ossuna, 1555
- Hermann Finck Pratica musica, Wittenberg, 1556
- Tomás de Santa Maria Libro llamado arte de tañer fantasia, 1565
- Girolamo Dalla Casa Il vero modo diminuir..., Venice, 1584
- Giovanni Bassano Ricercate, passaggi et cadentie ..., Venice 1585
- Giovanni Bassano Motetti, madrigali et canzoni francesi ... diminuiti, Venice 1591
- Riccardo Rognoni Passaggi per potersi essercitare nel diminuire, Venice 1592
- Lodovico Zacconi Prattica di musica, Venice, 1592
- Giovanni Luca Conforto Breve et facile maniera ... a far passaggi, Rome 1593
- Girolamo Diruta Il transylvano, 1593
- Giovanni Battista Bovicelli Regole, passaggi di musica, madrigali e motetti passaggiati, Venice 1594
- Aurelio Virgiliano Il Dolcimelo, MS, c.1600
- Giulio Caccini Le nuove musiche, 1602
- Giovanni Girolamo Kapsberger, Libro primo di mottetti passeggiati à una voce, Rome, 1612
- Francesco Rognoni Selva de varii passaggi..., 1620
- Giovanni Girolamo Kapsberger, Libro secondo d'arie à una e piu voci, Rome, 1623
- Giovanni Battista Spadi da Faenza Libro de passaggi ascendenti e descendenti, Venice, 1624
- Johann Andreas Herbst Musica practica, 1642
Indian classical music
In Carnatic Music, the Sanskrit term gamaka (which means "to move") is used to denote ornamentation. One of the most unique forms of ornamentation in world music is the Carnatic Kampitam which is about oscillating a note in diverse ways by varying amplitude, speed or number of times the note is oscillated. This is a highly subtle, yet scientific ornamentation as the same note can be oscillated in different ways based on the raga or context within a raga. For instance, the fourth note (Ma) in Shankarabharanam or Begada allows at least three to five types of oscillation based on the phrasings within the raga.[5]
Another important gamaka in Carnatic is the "Sphuritam" which is about rendering a note twice but forcefully from a grace note immediately below it the second time. For instance, the third note (Ga) would be rendered plain first time and with a force from the second (Ri) the next time. [6] Other important Carnatic ornamentation include aahatam, pratyaahatam, tripuchham, andolam, daalu, daatu and jaru. The last is similar to Western Classical glissando.
In non-classical music
Rock and pop
Ornamentation is also used in popular music such as rock and pop. Rock piano playing has incorporated many ornaments from early 1900s blues piano styles such as boogie-woogie. Improvised ornaments in rock solos or instrumental melody lines are often idiosyncratic to specific instruments. Electric guitar players can draw from an immense array of ornaments that are specific to their instrument. Hammer-ons and pull-offs are two of the most basic techniques, and may be used in executing classical ornaments, as well as for the execution of ornaments more particular to guitar (such as tapping, which can be used as ornamentation or as a playing style in and of itself).[citation needed]
While rock and pop are typically learned by ear, with the arrangements fleshed out with improvisation, the style also includes notated music, particularly in arranged music for larger ensembles. This notated music uses some of the most-used "Classical" ornaments, such as trills and mordents.[citation needed]
Jazz music incorporates a number of ornaments, which can be divided into improvised ornaments. They are added by performers during their solo extemporizations, and as written ornaments. Improvised ornaments are often idiosyncratic to specific instruments. The Hammond organ playing in the jazz subgenre of organ trio soul jazz often features trills which outline the harmony of a chord, glisses up or down the keyboard, and turn-like decorations. Saxophone players may decorate a simple melody line with turns, grace notes, and short glissandi created with the mouth and the reed.[citation needed]
While jazz is substantially based upon improvisation, the style also includes notated music, particularly in music for larger ensembles such as big bands. Small ensembles may also use notated music for part of their performances, in arrangements of a tune's main theme. Notated jazz music incorporates most of the standard "classical" ornaments, such as trills, grace notes, and mordents. As well, written jazz notation may also include other ornaments, such as "dead" or "ghost" notes (a percussive sound, notated by an "X"), glissandi (step-wise glides between a start and destination note, written with a long line), "doit" notes and "fall" notes (annotated by curved lines above the note, indicating by direction of curve that the note should either rapidly rise or fall on the scale),[7] or an instruction to "fill" part of a bar with an embellishment (notated with diagonal slashes in the bar).[citation needed]
Celtic music
Ornamentation is a major distinguishing characteristic of Irish, Scottish, and Cape Breton music. A singer, fiddler, flautist, harpist, tin whistler, piper or a player of another instrument may add grace notes (known as 'cuts' in Irish fiddling), slides, rolls, doubling, mordents, drones, trebles (or Birls in Scottish fiddling), or a variety of other ornaments to a given melody.[citation needed]
See also
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ Elaine Sisman, "Variations, §4: Origins", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
- ↑ First Lesson in Bach for the Piano, Edited by Walter Carroll & Willard A. Palmer, p. 3
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- ↑ http://www.acharyanet.com/lesson/22-sarasvati-begada-geetam/
- ↑ http://www.acharyanet.com/lesson/jantai-varishais/
- ↑ Lua error in package.lua at line 80: module 'strict' not found.
- This article incorporates text from a publication now in the public domain: Lua error in package.lua at line 80: module 'strict' not found.
Further reading
- Donington, Robert. A Performer's Guide to Baroque Music. London: Faber & Faber, 1975.
- Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J. S. Bach. Princeton: Princeton University Press, 1978. ISBN 0-691-09123-4 (cloth); ISBN 0-691-02707-2 (pbk).
External links
- Articles with unsourced statements from August 2014
- Pages with broken file links
- Wikipedia articles needing clarification from July 2013
- Articles with unsourced statements from November 2013
- Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with no article parameter
- Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference
- Ornamentation
- Musical terminology


text:
Arrive at least 15 minutes before game time to check the field:
- Goals must be secured to ground. If held with bags, bags must be to rear of frame.
- Check nets. Be aware if there is any hole and report after the game.
- Check that the field is lined adequately.
- Make sure the home coach has put out corner markers.
- Check field for obstacles. Remove any debris, such as rocks, sticks or trash.
- Look for dangerous conditions, especially inspecting for soft areas due to wetness, holes, rocks, etc. Confer with the coaches and a Board member if you are considering canceling the game for safety concerns – but the final decision (Travel only) is up to you. Keep an eye on the weather too.
About 10 minutes before game time:
- Introduce yourself to the coaches.
- Let them know you understand the Zero Tolerance Policy. Do they?
- Collect team rosters. (travel only) Coach gives you 2 copies, keep one roster, give one to opposing coach. >Check coach pass cards.
Have players line up for inspection:
- Call attendance from rosters. (travel only) BAYS: All players must be on roster. No hand-written names.
- Soccer shoes. No metal cleats allowed. Sneakers OK. Check cleats
- All players MUST wear, and be completely covered by socks, Check shin pads
- NO JEWELRY - NO CASTS. Players must remove all jewelry, including earrings. Soft hair elastics or very flat hair "snaps" are allowed. Casts are NOT allowed.
- All players must be in uniform: Shirts must be matching or very similar. If not, players can wear pinnies. All shirts must be tucked in to start game, quarters and halves. You can ignore it if they come untucked during the game or ask player to tuck shirt in too. If extreme cold, players may wear sweatpants or leggings. They should be worn under shorts. Shirts may be worn under the uniform shirt. Goalkeepers MUST be dressed differently than players on BOTH teams. If the 2 teams have similar colors and you think it may be confusing, ask the home team to wear pinnies. This is up to you, not the coaches. Goalkeeper can wear soft-brim hat if sun is a factor. Field players may wear brimless hats if weather is cold Ask the players if they have any questions.
Call captains:
- Visiting team gets to call the coin flip
- Winner of coin flip chooses side of field, other team starts with ball
- Discuss any pertinent information with captains
After the game:
- Monitor teams as they shake hands
- Contact Referee Coordinator/Assignor to report any significant issues
- Complete the game report on the BAYS website (travel only).


text:
Jesus Lizard guitarist Duane Denison talks about the reunion of supergroup Tomahawk, his aluminum electrical guitar company Axes, and why he hates sustain.
Photo by Vincent Forcier
Last Halloween weekend marked only the second time in nearly a decade that alt-rock supergroup Tomahawk— vocalist Mike Patton (Faith No More, Mr. Bungle), guitarist Duane Denison (the Jesus Lizard), bassist Trevor Dunn (Mr. Bungle), and drummer John Stanier (Helmet)—had played a live show together. It was at the annual Voodoo Music + Arts Experience festival in New Orleans, and it was in support of the band's new January 2013 album, Oddfellows.
If you're unfamiliar with Tomahawk, the Jesus Lizard, and Denison's playing with Hank III, Firewater, Silver Jews, and the Legendary Shack Shakers, the main thing you need to know is that he eschews the blues-based mannerisms typical of so much rock music these days. Some of Denison's fanciest playing is muted—like an evil Andy Summers—and his rhythms and leads intertwine in unique ways that combine his scholarly knowledge of classical guitar with touches of flamenco and reggae to form a minimalist style many have called "jazz punk."
Denison sketched out each of Tomahawk's three albums at home on guitar and drum machine before emailing MP3s to his long-distance bandmates. Although he's always been a tasteful player, Denison has become even more enamored of space since he began writing for Patton's wild-yet-golden pipes.
"You don't have to hit people over the head," he says on Tomahawk's tour bus before the Voodoo show. "It's nice to kind of step back and let the vocals take over. If you have a guitar sound like mine that tends to be fairly bright and shrill, ear fatigue sets in pretty quick, and unless you're a super fan of that kind of thing, you're gonna tune out after a while."
Like other musicians incubated in the '90s Chicago scene that revolved around Touch and Go Records and producer Steve Albini, Denison is also known for his interesting gear. Throughout the Jesus Lizard's heyday, he played aluminum-necked Travis Bean guitars.
"Kramer also made a primitive aluminum-neck guitar," he says. "It had fake wood grain crammed in around it and a Phil Petillo [Petillo Precision Fret] fretboard that were just terrible. But even the Travis Beans … I was always fighting them."
At some point, the "fighting" became tiresome, and Denison was thrilled when Kevin Burkett of Electrical Guitar Company offered to create a custom, all-aluminum guitar for the Jesus Lizard's 2009 reunion tour. "Kevin knew I'd sold my Travis Beans off," Denison remembers. "I was in a new phase of playing and went to the Gibson ES-135."
Denison's EGC Chessie signature model is a neck-through design with hollowed-out cavities around the wings, where gill-like slits take the place of standard f-holes. Whereas the Travis Beans he was used to playing were neck-heavy, Denison's EGC models are almost tin-can light. "The newest one is the lightest so far—about 7 pounds," he beams. "We had to put some ballast in the tail to keep it balanced."
Duane Denison's signature Chessie 6-strings from Electrical Guitar Company: The brushed-aluminum axe at upper left features bolts on the front for fast
maintenance, and it and the white version at lower right feature Gibson Burstbucker pickups, while the P-90-equipped yellow model is for Denison's work
with the Legendary Shack Shakers.
While most EGCs come with single-coils, humbuckers, or P-90s made in house, the Denison Chessie comes with Gibson Burstbucker pickups. At the Voodoo fest, Denison played a white Chessie for much of the show, but EGC also made him a bright yellow Chessie with black trim and traditional f-holes. Created specifically for Denison's roots rockabilly band, the Legendary Shack Shakers, the yellow Chessie uses P-90s to produce a sound Denison says is "real toothy—just a great vintage sound. I usually avoid P-90s because of the noise and hum. When I was a kid, if the guitar was noisy you'd take tinfoil and shove it into the routing. But when the P-90s are cased in aluminum like this, the whole body is a shield and the P-90s are awesome—silent."
Of his unfinished Oddfellows-era EGC guitar, Denison says, "It's a minimalist rock machine." To enhance its mechanistic look, ECG drilled into the front of the guitar the bolts that normally line the edge of its guitars' backs. Remove the bolts, and the guitar opens in one piece for repair. Its bare aluminum neck boasts the same width and pitch as a Gibson ES-135. "I can't think of another guitar that has that combination— the pitch, the feel, plus the scale length, and all while keeping the weight down."
Asked what inspired his EGC models, Denison says much of their design is owed to the year he spent working for Gibson. "I would do 30 setups a day— bridge, tailpiece, nut, stringing it up, setting the pickups, and adjusting the action." In the process, says Denison, "I realized Les Pauls rarely have intonation issues. I really came to respect the pitch of the Gibson necks, and the Les Paul as a model of design. So [with my guitar], we put a pitch of three degrees and extended the scale length to 25 inches. If you keep it around 25, you can put heavier strings on and they don't feel so heavy. The Dunlop .011s I'm using now feel great."
Tonally, Denison says his guitars have a little more brightness and clarity than a Les Paul. "There's not as much sustain," he says, "but that's by design—the quest for sustain is misguided. I want the notes to fade. I don't want them to just howl."
One might imagine that an all-aluminum guitar could sound tinny, but Denison vouches for his Chessies' versatility. "You get all the highs— but also the lows. It's pure sounding. You're not going to get a wood tone," he admits, "but wood's overrated. People fetishistically insist on certain types of aged wood—and that does color the sound—but with rock distortion, I defy you to A/B it in a studio and tell me what year the wood was cut and what side of the hill the trees grew on and how much rainfall they had. I think it's the pickups, the strings, and the amp that make your guitar sound."
Photo by Vincent Forcier
Speaking of which amps "make" his guitar sound, Denison discloses that he recorded Oddfellows with Fender amps—a recent Super-Sonic and a '90s Vibro-King— although, live, he's been using a green-stained, 3-input prototype head from Emperor Cabinets. "It's a very good-sounding hybrid of a Hiwatt and a Fender Bassman," Denison explains. "One [input] is more UK sounding, one is more USA sounding, and one is a blend. I use the blend input most often." He routes the 100-watt, 6L6-powered amp through two Emperor 2x12 cabinets varnished to look like chocolate leather. One cab has Eminence speakers, and the other has Electro-Voice EVM12Ls.
Duane Denison's Gear
Electrical Guitar Company Chessie signature models
Emperor Cabinets 100-watt prototype head driving
two Emperor 2x12 cabs, Fender Super-Sonic, '90s
Fender Vibro-King
TC Electronic G-Force, Line 6 JM4 Looper,
Malekko Omicron pedals (Spring, Chorus, Trem,
Vibrato) and Ekko 616 Mk II analog delay, Vox
Strings, Picks, and Accessories
Jim Dunlop .011–.048 sets, DR .010–.046 sets,
Fender medium picks, G7 capos, self-made plumbing-
supply slide, Reunion Blues straps and gigbags
Whether or not it has anything to do with Denison's new gear, Tomahawk's latest album is a bit more experimental than past efforts. One example is "Waratorium," which ends in vast, hissing washes of sound. For the more textured parts on the album, Denison relied on a TC Electronic G-Force , which he augments with Malekko pedals, a Line 6 looper, and an Ernie Ball volume pedal.
Despite Denison's particularity with his guitars and his use of semi-complicated outboard gear, fans of his past work will be both delighted and unsurprised to learn that he's still all about simplicity. He unwittingly describes the charm of his own playing style when he points out perhaps the least important technical detail of his EGC Chessie guitars. "That, right there, is the 'logo,'" he says, pointing to the rectangular hole between the tuning pegs. "The lack of a logo is sort of refreshing—maybe it's kind of nice to be subtle."