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|Sophistication and Success
Would Dhea Mix With Cymbalta
Would Dhea Mix With Cymbalta
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Office Health Tips Infographic
If you work 40 hours a week in your office, you're spending roughy one quarter of your life at your workplace. Given how much time is spent in an office environment, there is increasing awareness of the importance of embracing a healthy lifestyle while at the office. With this is mind, Solutions Office Interiors, and new and used business furniture provider in the San Francisco Bay Area, has created the following infographic on Office Health Tips.
Office Health Tips Infographic
The infographic is divided into six different sections related to different aspects of health in the workplace, including:
- Diet & meal plans
- Walking and taking breaks from sitting on a regular basis
- Hydration and drinking sufficient water
- Stretching and keeping the neck, back, wrist, and ankles
- Taking breaks from the computer screen
- Ergonomics and the importance of ergonomically-friendly furniture
Please feel free to share your thoughts, questions, and comments on the infographic, and thanks for checking it out!
Copyright 2013 Solutions Office Interiors
Author: nKlik Inc.
Founder of Pick Analysis. He likes to surf around the web and explore contents related to his interest. You can follow his Social Network accounts at Twitter and Google+.

subset: commoncrawl


text:
Create an Account - Increase your productivity, customize your experience, and engage in information you care about.
It is not an exaggeration to say that for more than sixty years, very few performances of live theatre in St. Augustine have not the beneficiary of a contribution by Tom and Jean Rahner.
Whether through their leadership to build a thriving theatre community, or by actively staging productions from the intimate to the grand, or working diligently to ensure that the performing arts have a place to perform, Tom and Jean Rahner are synonymous with live theatre in St. Augustine.
The Rahners' extraordinary contributions to performing arts in the city will be recognized when the St. Augustine City Commission presents its highest award, the Order of La Florida, to the couple on Monday, September 9. The ceremony will start at 4 pm in The Alcazar Room, 75 King Street and will be available for live and on-demand viewing.
The Rahners have drawn on their wide ranging talents to bring live theatre to the St. Augustine community in many locations and many forms. Together and as individuals their work includes every aspect of the theatre with each having spent time on stage, back stage and running the front of the house. They have each filled the role of actor, choreographer, stage manager, theatre manager, production designer, director, and producer and in doing so have enriched the cultural landscape of St. Augustine for decades.
Tom, a St. Augustine native, began performing as a puppeteer with his own one-man marionette show in his early teens. He also appeared in productions staged by the Artillery Lane Theater and St. Augustine's Little Theatre. In addition to college productions, Tom was employed professionally in summer theatre and historic outdoor drama.
After graduation in 1957 from the University of Florida with majors in English and theatre, Tom joined the U.S. Army, but before his induction, he appeared with Jean's brothers in the St. Augustine Little Theater production of Stalag Seventeen. Her brothers invited Tom to their home for dinner, where he met their sister, Jean. Within five months, Jean and Tom were engaged to marry. When Tom was deployed to Germany, Jean joined him there for their wedding in the summer of 1959.
After Tom's discharge, the couple returned to St. Augustine and Tom took a teaching position with the St. Johns County School District teaching fifth grade for a year, followed by two years at St. Augustine High School.
With the approaching 400th anniversary of the founding of St. Augustine in 1965, one of the most ambitious projects being planned was by the 400th Anniversary Committee. Its goal was to build a 2,000 seat amphitheater in Anastasia State Park to host a summer-long historical outdoor drama about the founding of St. Augustine written just for the occasion.
In 1963 Tom took the position as the theatre's manager overseeing construction and operations to ensure the facility would meet its opening deadline. That goal was met and in June 1965 Cross and Sword debuted at the St. Augustine Amphitheatre with Tom as the theatre's general manager and also playing the comic lead in the play whose 100+ member cast included Jean.
In 1968 Tom took on the role as the director of Cross and Sword seeing it designated as Florida's official state play. He held that position for a decade during which he and Jean performed lead roles and Jean served as the play's marketing director until its last season in 1996.
It was also in 1968 that Tom joined the faculty of the newly opened Flagler College. It was the beginning of a more than three-decades-long relationship with the college and its Theater Department.
That same year Jean enrolled at the college as a part-time student and took a position in the college's bookkeeping office. She completed her bachelor's degree in Theatre Arts in 1978 and returned to the campus as an instructor and to direct a wide variety of student productions.
In 1973, famed motion picture and TV actor Richard Boone directed a production of The Dog In The Manger, by Renaissance Spanish playwright Lope de Vega. The local Bicentennial Commission produced the play in the Lightner Museum Casino as a precursor to the festivities of the 1976 celebration. Jean was cast in the leading romantic role of Countess Diana and Tom played her comic servant, Tristan.
While the college's Theatre Department was growing, it had no theatre until 1975 when Tom designed and oversaw the construction of the college's first theatre, a 185-seat facility in The Governor's House, which served the college and the community for 13 years. As part of the college's participation in evets commemorating the Bicentennial, Tom directed the theater's first performance, The Beaux' Stratagem, a play last performed 200 years before by British soldiers in St. Augustine.
In the early 1980s Jean, who had begun her performing career in 1959 with the St. Augustine Little Theater, was one of the founders of a newly created dinner theatre in St. Augustine at the Monson Motor Lodge. In those early years, Jean would simultaneously be working as actor, director, and manager, working both the front and back of the house at times on the same night. The dinner theatre filled a need for live theatre in the city and provided popular stage entertainment to both residents and tour groups into the 1990s.
For the centennial of the opening of the Hotel Ponce de Leon in 1988, now Flagler College, Tom wrote and performed, and Jean directed and produced Henry Flagler Remembers, a one-man show that was responsible for introducing the railroad and hotel builder to a wide audience that heretofore was unaware of his importance in Florida history. The production continued for twenty-five years in venues ranging from Marathon in the Keys to Tallahassee and as far afield as Louisville, Ky.
In 1993 Jean co-founded Limelight Theatre and, as with so many other theater projects in her experience, played many roles in the development of the theatre and its reputation for artistic quality. Having seen the Limelight Theatre prosper and gain a well-earned reputation as the premier live theater stage in St. Augustine, Jean retired in 2005 and launched A Classic Theatre, a semi-professional theatre established to bring classic, historic and original theatrical works to the community.
In 1991 Tom had yet another opportunity to participate in the design and construction of a theatre: the 800-seat, state-of-the art Flagler College auditorium. The auditorium was immediately put to use, and in 1996 hosted the premiere and six-week run of Flagler: Empire Builder of Florida, a musical written by Tom, composed by former resident Daniel Humbert and produced by Limelight Theatre, another successful collaboration by the Rahners.
After more than three decades as a member of the Flagler College faculty, Tom retired from teaching in 1999 and in retirement has turned his attention to making museum quality scale models. Tom has been named an Honorary Alumni of the college and received the designation of Associate Professor Emeritus, Theatre Arts.
In June 2019 Jean was named one of Flagler College's 50 Alumni of Distinction marking the 50th anniversary of the college's founding. A recipient of numerous awards for her work in theater, Jean continues to participate in the arts including her current service on the committee studying the possibilities of a cultural arts center in St. Augustine.
Performers, like teachers, can never know the full extent of their influence. A question answered in a classroom may not have its full impact until years later, and a moment experienced in a live theatre may not fully resonate until long after the play has ended.
Tom and Jean Rahner are both teachers and performers and while they may never know the full reach of their influence, their community is fully aware of their contributions to the arts and their leadership that has inspired and enriched their community. For all they have done for St. Augustine, the City Commission honors them with the Order of La Florida Award.
The Order of La Florida was created by the city commission in 1975 to recognize a person "who over a long period of time has unselfishly devoted his or her time and talent to the welfare and betterment of St. Augustine's citizens and heritage, who has exemplified the finest qualities of citizenship, and has contributed extraordinary services to the community." Recipients must be 55 years of age and there may not be more than nine living recipients at any one time. A nomination originates with a member of the city commission and is presented to the city manager who then puts it before the entire commission for confirmation. The Rahners were nominated by Mayor Tracy Upchurch.
The Rahners will receive the 21st Order of La Florida award. Other recipients and the date each award was presented are:


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The Garden Centre Cushion is a pretty, nostalgic design by Elsy and Vine, whose Happy Days Cushion we featured some time ago.
Elsy and Vine designs mix childhood memories with a love of traditional materials and crafts. The Garden Centre Cushion features a pattern worthy of Orla Kiely. It is available in either mustard or blue, and each one is handmade so no two will be entirely identical.
Buy at Folly Home priced £39.95.


text: dling Posted August 25, 2018 (edited) Have any of you pre ordered this game ? I have . I played the last two games and really enjoyed them. The graphics I thought was very good and story line in both was also good. I'm really looking forward to playing this one. It looks awesome . Edited August 25, 2018 by dling Quote Share this post Link to post Share on other sites


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The client is a senior IT sales executive who needed a personal brand overhaul across LinkedIn as well as the establishment of a business-focused Twitter account. His LinkedIn provided very little insight into his background, experience or personality. Helping prospective clients to connect was key to the updates required. Following a structured interview I obtained additional details to allow me to re-write his profile information to emphasis his depth of knowledge in the field of IT and the benefits working with him could provide to a senior executive with an IT mandate. In addition to content writing, I also undertook a professional photo shoot to obtain appropriate professional images to use in his personal brand update.
Emphasising the client's personality, experience and knowledge through creative copywriting together with key images from the professional photo shoot created a warm, approachable personal brand that resonated with current and potential customers.
Raylene turned my LinkedIn profile from a poorly constructed version of my CV to a professional executive profile relevant to my clients and their businesses. Together with the witty twitter bio she wrote for me it's provided me with a sustained upswing in profile views, growth of my professional network and unsolicited positive feedback as a result of her work.
– Stephen Lucas, Global Business Development Executive, DXC Technology


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Efficacy and Safety Study of Octreotide Implant in Patients With Acromegaly
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT00765323
Recruitment Status : Terminated
First Posted : October 2, 2008
Last Update Posted : September 27, 2013
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
|Condition or disease
|Drug: Octreotide Implant Drug: Sandostatin LAR Depot
|Phase 3
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|169 participants
|Intervention Model:
|Parallel Assignment
|None (Open Label)
|Primary Purpose:
|Official Title:
|Phase III, Open-Label, Multicenter International Study to Evaluate the Efficacy and Safety of an Octreotide Implant vs. Sandostatin LAR Depot in Patients With Acromegaly
|Study Start Date :
|September 2008
|Actual Primary Completion Date :
|February 2011
|Actual Study Completion Date :
|June 2011
Active Comparator: 1
84 mg octreotide implant for 6 months
Drug: Octreotide Implant
84 mg octreotide subcutaneous implant for 6 months
Other Name: somatostatin analogue
Active Comparator: 2
Injections of Sandostatin LAR Depot(20, 30, 40 mg) every 4 weeks
Drug: Sandostatin LAR Depot
Injections of Sandostatin LAR (dose range ~10-40 mg every 28 days)
Other Name: somatostatin analogue
- Efficacy based on IGF-1, GH, signs and symptoms scores, tumor size, QoL and Patient Treatment Assessments [ Time Frame: 12 months ]
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years to 80 Years (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- Male and female patients with acromegaly
- Confirmed diagnosis of a growth hormone-secreting tumor
- Received a stable dose of monthly octreotide depot injections for a minimum of 3 consecutive months immediately prior to screening
- Must show a response to octreotide treatment with documented laboratory results at the screening visits defined as follows: IGF-1 < 20% above the upper limit of normal age and sex-adjusted levels and GH ≤ 2.5 ng/mL
Exclusion Criteria:
- Patients with pituitary surgery less than 3 months prior to screening
- Uncontrolled diabetes defined as having a fasting glucose > 150 mg/dl and HbA1c >= 9%
- Symptomatic cholelithiasis
- Received pegvisomant, Lanreotide, or a dopamine agonist within 3 months of screening, or at any time during the trial
- Received radiotherapy for pituitary tumor or any radiotherapy above the neck at any time before Screening
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT00765323
|Responsible Party:
|Endo Pharmaceuticals
|ClinicalTrials.gov Identifier:
|Other Study ID Numbers:
|First Posted:
|October 2, 2008 Key Record Dates
|Last Update Posted:
|September 27, 2013
|Last Verified:
|September 2013
Sandostatin LAR
Growth hormone
Bone Diseases, Endocrine
Bone Diseases
Musculoskeletal Diseases
Pituitary Diseases
Hypothalamic Diseases
Brain Diseases
Central Nervous System Diseases
Nervous System Diseases
Endocrine System Diseases
Gastrointestinal Agents
Antineoplastic Agents, Hormonal
Antineoplastic Agents
Hormones, Hormone Substitutes, and Hormone Antagonists
Physiological Effects of Drugs


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Grindcore is an extreme fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such as: thrashcore,[3][4] crust punk,[1] hardcore punk, extreme metal, and industrial. Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavily distorted, down-tuned guitars, grinding overdriven bass, high speed tempo, blast beats, and vocals which consist of growls and high-pitched shrieks. Early groups like Napalm Death are credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum. Lyrical themes range from a primary focus on social and political concerns, to gory subject matter and black humor.
|Stylistic origins
|Cultural origins
|Mid-1980s, England
|Derivative forms
|Fusion genres
|Regional scenes
|Other topics
A trait of grindcore is the "microsong". Several bands have produced songs that are only seconds in length.[5] British band Napalm Death holds the Guinness World Record for shortest song ever recorded with the one-second "You Suffer" (1987). Many bands, such as Agoraphobic Nosebleed, record simple phrases that may be rhythmically sprawled out across an instrumental lasting only a couple of bars in length.
A variety of microgenres have subsequently emerged, often labeling bands according to traits that deviate from regular grindcore, including goregrind, focused on themes of gore (e.g. mutilation and pathology), and pornogrind, fixated on pornographic lyrical themes. Another offshoot is electrogrind (or cybergrind) which incorporates electronic music elements such as sampling and programmed drums. Although influential within hardcore and extreme metal, grindcore remains an underground form of music.
Grindcore evolved as a blend of thrash metal,[6] thrashcore[3] and hardcore punk. The name derives from the fact that grind is a British term for thrash; that term was appended to -core from hardcore.[7] Grindcore relies on standard hardcore punk instrumentation: electric guitar, bass and drums.[8] However, grindcore alters the usual practices of metal or rock music in regard to song structure and tone.[8] The vocal style is "ranging from high-pitched shrieks to low, throat-shredding growls and barks."[8] In some cases, no clear lyrics exist. Vocals may be used as merely an added sound effect, a common practice with bands such as the experimental Naked City.
A characteristic of some grindcore songs is the "microsong," lasting only a few seconds. In 2001, the Guinness Book of World Records awarded Brutal Truth the record for "Shortest Music Video" for 1994's "Collateral Damage" (the song lasts four seconds). In 2007, the video for the Napalm Death song "You Suffer" set a new "Shortest Music Video" record: 1.3 seconds.[9] Beyond the microsong, it is characteristic of grindcore to have short songs in general; for example, Carcass' debut album Reek of Putrefaction (1988) consists of 22 tracks with an average length of 1 minute and 48 seconds. It is also not uncommon for grindcore albums to be very short when compared to other genres, usually consisting of a large track list but having a total length of only 15 to 20 minutes.
Many grindcore groups experiment with down-tuned guitars and play mostly with down picking, power chords and heavy distortion. While the vinyl A-side of Napalm Death's debut, 1987's Scum, is set to Eb tuning, on side B, the guitars are tuned down to C. Their second album From Enslavement to Obliteration and the Mentally Murdered EP were tuned to C♯. Harmony Corruption, their third full-length album, was tuned up to a D. Bolt Thrower went further, dropping 3½ steps down (A).[10] Bass is tuned low as well, and is often distorted.
Blast beatEdit
The blast beat is a drum beat characteristic of grindcore in all its forms,[11] although its usage predates the genre itself, as it is native to jazz.[citation needed] In Adam MacGregor's definition, "the blast-beat generally comprises a repeated, sixteenth-note figure played at a very fast tempo, and divided uniformly among the kick drum, snare and ride, crash, or hi-hat cymbal."[11] Blast beats have been described as "maniacal percussive explosions, less about rhythm per second than sheer sonic violence."[12] Napalm Death coined the term,[12] though this style of drumming had previously been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish group Asocial on their 1982 demo.[13] Dirty Rotten Imbeciles ("No Sense"),[11] Stormtroopers of Death ("Milk"),[14] Sarcófago ("Satanas"),[15] Sepultura ("Antichrist"),[16] and Repulsion[17] also included the technique prior to Napalm Death's emergence.
Lyrical themesEdit
Grindcore lyrics are typically provocative. A number of grindcore musicians are committed to political and ethical causes, generally leaning towards the far left in connection to grindcore's punk roots.[18] For example, Napalm Death's songs address a variety of anarchist concerns, in the tradition of anarcho-punk. These themes include anti-racism, feminism, anti-militarism, and anti-capitalism. Early grindcore bands including Napalm Death, Agathocles and Carcass made animal rights one of their primary lyrical themes.[19] Some of them, such as Cattle Decapitation and Carcass, have expressed disgust with human behavior and animal abuse, and are, in some cases, vegetarians or vegans.[20] Carcass' work in particular is often identified as the origin of the goregrind style, which is devoted to "bodily" themes.[21] Groups that shift their bodily focus to sexual matters, such as Gut and the Meat Shits, are sometimes referred to as pornogrind.[22] Seth Putnam's lyrics are notorious for their black comedy,[23] while The Locust tend toward satirical collage, indebted to William S. Burroughs' cut-up method.[24]
The early grindcore scene relied on an international network of tape trading and DIY production.[25] The most widely acknowledged precursors of the grindcore sound are Siege,[26] a hardcore punk group, and Repulsion, an early death metal outfit.[17] Siege, from Weymouth, Massachusetts, were influenced by classic American hardcore (Minor Threat, Black Flag, Void) and by British groups like Discharge, Venom, and Motörhead.[27] Siege's goal was maximum velocity: "We would listen to the fastest punk and hardcore bands we could find and say, 'Okay, we're gonna deliberately write something that is faster than them'", drummer Robert Williams recalled.[27]
Repulsion is often credited with inventing the classic grind blast beat (played at 190 bpm), as well as its distinctive bass tone.[17] Shane Embury, in particular, advocates the band as the origin of Napalm Death's later innovations.[17] Kevin Sharp of Brutal Truth declares that "Horrified was and still is the defining core of what grind became; a perfect mix of hardcore punk with metallic gore, speed and distortion."[28]
Other groups in the British grindcore scene, such as Heresy and Unseen Terror, have emphasized the influence of American hardcore punk, including Septic Death, as well as Swedish D-beat.[29] Sore Throat cites Discharge, Disorder, and a variety of European D-beat and thrash metal groups, including Hellhammer,[30] and American hardcore groups, such as Poison Idea and D.R.I.[30] Japanese hardcore, particularly GISM, is also mentioned by a number of originators of the style.[31] Other key groups cited by current and former members of Napalm Death as formative influences include Discharge,[32] Amebix,[33] Throbbing Gristle,[34] and the aforementioned Dirty Rotten Imbeciles.[34] Post-punk, such as Killing Joke[32] and Joy Division,[35] was also cited as an influence on early Napalm Death.
British grindcoreEdit
|External video
|Napalm Death live in Germany, 1987, from YouTube, authorized by Earache Records.
Grindcore, as such, was developed during the mid-1980s in the United Kingdom by Napalm Death, a group who emerged from the anarcho-punk scene in Birmingham, England.[3] While their first recordings were in the vein of Crass,[3] they eventually became associated with crust punk.[36] The group began to take on increasing elements of thrashcore, post-punk, and power electronics.[37] The group also went through many changes in personnel.[38] A major shift in style took place after Mick Harris became the group's drummer.[38] Punk historian Ian Glasper indicates that "For several months gob-smacked audiences weren't sure whether Napalm Death were actually a serious band any longer, such was the undeniable novelty of their hyper-speed new drummer."[38] Albert Mudrian's research suggests that the name "grindcore" was coined by Harris. When asked about coming up with the term, Harris said:
Grindcore came from "grind", which was the only word I could use to describe Swans after buying their first record in '84. Then with this new hardcore movement that started to really blossom in '85, I thought "grind" really fit because of the speed so I started to call it grindcore.[39]
Other sources contradict Harris' claim. In a Spin magazine article written about the genre, Steven Blush declares that "the man often credited" for dubbing the style grindcore was Shane Embury, Napalm Death's bassist since 1987. Embury offers his own account of how the grindcore "sound" came to be:
As far as how this whole sound got started, we were really into Celtic Frost, Siege – which is a hardcore band from Boston – a lot of hardcore and death-metal bands, and some industrial-noise bands like the early Swans. So, we just created a mesh of all those things. It's just everything going at a hundred miles per hour, basically.[40]
Earache Records founder Digby Pearson concurs with Embury, saying that Napalm Death "put hardcore and metal through an accelerator."[41] Pearson, however, said that grindcore "wasn't just about the speed of [the] drums, blast beats, etc." He claimed that "it actually was coined to describe the guitars - heavy, downtuned, bleak, harsh riffing guitars [that] 'grind', so that's what the genre was described as, by the musicians who were its innovators [and] proponents."[42]
While abrasive, grindcore achieved a measure of mainstream visibility. New Musical Express featured Napalm Death on their cover in 1988, declaring them "the fastest band in the world."[43] As James Hoare, deputy editor of Terrorizer, writes:
It can be argued that no strand of extreme metal (with a touch of hardcore and post-punk tossed in for flavouring), has had so big an impact outside the gated community of patch-jackets and circle-pits as grindcore has in the UK. [...] the genre is a part of the British musical experience.[44]
Napalm Death's seismic impact inspired other British grindcore groups in the 1980s, among them Extreme Noise Terror,[36] Carcass and Sore Throat.[45] Extreme Noise Terror, from Ipswich, formed in 1984.[46] With the goal of becoming "the most extreme hardcore punk band of all time,"[47] the group took Mick Harris from Napalm Death in 1987.[48] Ian Glasper describes the group as "pissed-off hateful noise with its roots somewhere between early Discharge and Disorder, with [vocalists] Dean [Jones] and Phil [Vane] pushing their trademark vocal extremity to its absolute limit."[48] In 1991, the group collaborated with the acid house group The KLF, appearing onstage with the group at the Brit Awards in 1992.[49] Carcass released Reek of Putrefaction in 1988, which John Peel declared his favorite album of the year despite its very poor production.[50] The band's focus on gore and anatomical decay, lyrically and in sleeve artwork, inspired the goregrind subgenre.[21] Sore Throat, said by Ian Glasper to have taken "perhaps the most uncompromisingly anti-music stance"[51] were inspired by crust punk as well as industrial music.[52] Some listeners, such as Digby Pearson, considered them to be simply an in-joke or parody of grindcore.[53]
In the subsequent decade, two pioneers of the style became increasingly commercially viable. According to Nielsen Soundscan, Napalm Death sold 367,654 units between May 1991 and November 2003, while Carcass sold 220,374 units in the same period.[54] The inclusion of Napalm Death's "Twist the Knife (Slowly)" on the Mortal Kombat soundtrack brought the band much greater visibility, as the compilation scored a Top 10 position in the Billboard 200 chart[55] and went platinum in less than a year.[56] The originators of the style have expressed some ambivalence regarding the subsequent popularity of grindcore. Pete Hurley, the guitarist of Extreme Noise Terror, declared that he had no interest in being remembered as a pioneer of this style: "grindcore was a legendarily stupid term coined by a hyperactive kid from the West Midlands, and it had nothing to do with us whatsoever. ENT were, are, and - I suspect - always will be a hardcore punk band... not a grindcore band, a stenchcore band, a trampcore band, or any other sub-sub-sub-core genre-defining term you can come up with."[57] Lee Dorian of Napalm Death indicated that "Unfortunately, I think the same thing happened to grindcore, if you want to call it that, as happened to punk rock - all the great original bands were just plagiarised by a billion other bands who just copied their style identically, making it no longer original and no longer extreme."[58]
North American grindcoreEdit
Journalist Kevin Stewart-Panko argues that the American grindcore of the 1990s borrowed from three sources: British grindcore, the American precursors, and death metal.[59] As early Napalm Death albums were not widely distributed in the United States, American groups tended to take inspiration from later works, such as Harmony Corruption.[59] American groups also often employ riffs taken from crossover thrash or thrash metal.[59] Early American grind practitioners included Terrorizer and Assück.[45] Anal Cunt, a particularly dissonant group who lacked a bass player, were also particularly influential.[59] Their style was sometimes referred to as "noisecore" or "noisegrind", described by Giulio of Cripple Bastards as "the most anti-musical and nihilistic face of extreme music at that time."[25][60] Brutal Truth was a groundbreaking group in the American scene at the beginning of the 1990s.[45]
However, Sharp indicates that they were more inspired by the thrash metal of Dark Angel than the British groups.[28] Discordance Axis had a more technical style of playing than many of the predecessors, and had a much more ornate visual and production style.[59] Scott Hull is prominent in the contemporary grindcore scene, through his participation in Pig Destroyer and Agoraphobic Nosebleed.[61] ANb's Frozen Corpse Stuffed with Dope has been described as "the Paul's Boutique of grindcore", by Village Voice critic Phil Freeman, for its "hyper-referential, impossibly dense barrage of samples, blast beats, answering machine messages, and incomprehensibly bellowed rants."[62] Pig Destroyer is inspired by thrash metal, such as Dark Angel and Slayer, the sludge metal of The Melvins, and grindcore practiced by Brutal Truth,[63] while Agoraphobic Nosebleed takes cues from thrashcore and powerviolence, like D.R.I. and Crossed Out.[63] Pig Destroyer's style is sometimes referred to as "deathgrind",[64] because of the prevalence of death metal influences, as are Cattle Decapitation.[65]
|External video
|Pig Destroyer's "Gravedancer", from YouTube, authorized by Relapse Records.
The Locust, from San Diego,[61] also take inspiration from powerviolence (Crossed Out, Dropdead), first-wave screamo (Angel Hair), obscure experimental rock (Art Bears, Renaldo and the Loaf), and death metal.[66] The Locust were sometimes described as "hipster grind" because of their fan base and fashion choices.[59] In Los Angeles, Hole also initially drew influence from grindcore in their early releases, particularly on their singles "Dicknail" and "Teenage Whore", as well as on their debut album, Pretty on the Inside (1991),[67] all of which featured sexually provocative and violent lyrics, as well as the heavy distortion and fluctuating tempo that distinguished the genre. Frontwoman Courtney Love stated that she wanted to capture the distinguishing elements of grindcore while incorporating more pop-based melodic structure, although the band distanced themselves from the style in their later releases.[67]
Other later prominent grindcore groups of North America include Brujeria,[68] Soilent Green,[69] Cephalic Carnage, Impetigo,[70] and Circle of Dead Children.[71] Fuck the Facts, a Canadian group, practice classic grindcore, characterized by the "metronome-precision drumming and riffing [that] abound, as well as vocal screams and growls" by AllMusic reviewer Greg Prato.[72]
Continental European grindcoreEdit
European groups, such as Agathocles, from Belgium,[45] Patareni, of Croatia, and Fear of God, from Switzerland, are important early practitioners of the style.[73] Filthy Christians, who signed to Earache Records in 1989, introduced the style in Sweden,[74] D.D.T. & Fear of Dog were pioneering grind & noise in Serbia since mid-end of '80, Extreme Smoke 57 in Slovenia at the early beginning of the '90, while Cripple Bastards established Italian grindcore.[29] Giulio of Cripple Bastards asserts that the name itself took some time to migrate from Britain, with the style being referred to as "death-thrashcore" for a time in Europe.[29]Nasum, who emerged from the Swedish death metal scene,[75] became a popular group, addressing political topics from a personal perspective.[76]
Anders Jakobson, their drummer, reported that "It was all these different types of people who enjoyed what we were doing. [...] We made grindcore a bit easier to listen to at the expense of the diehard grindcore fans who thought that we were, well, not sellouts, but not really true to the original essence of grindcore."[76] Other Swedish groups, such as General Surgery and Regurgitate, practiced goregrind.[77] Inhume, from the Netherlands,[78] Rotten Sound, from Finland,[79] and Leng Tch'e, from Belgium,[80] were subsequent European groups who practiced grindcore with death metal inflections. In 2000s, the Belgium-based Aborted "had grown into the role of key contributors to the death-grind genres".[81]
Grindcore in Asian countriesEdit
In 2010, Singaporean band Wormrot signed a recording contract with Earache Records.[82][83]
Japanese noise rock group Boredoms have borrowed elements of grind,[8][84] and toured with Brutal Truth in 1993.[85] The Japanese grindcore group Gore Beyond Necropsy formed in 1989, and later collaborated with noise music artist Merzbow.[86] Naked City, led by avant-garde jazz saxophonist John Zorn, performed an avant-garde form of polystylistic, grindcore-influenced punk jazz.[87][88] Zorn later formed the Painkiller project with ambient dub producer Bill Laswell on bass guitar and Mick Harris on drums,[89] which also collaborated with Justin Broadrick on some work.[90] In addition, grindcore was one influence on the powerviolence movement within American hardcore punk, and has affected some strains of metalcore. Some musicians have also produced hybrids between grind and electronic music.
Powerviolence is a raw and dissonant subgenre of hardcore punk.[91][92] The style is closely related to thrashcore[91] and similar to grindcore. While powerviolence took inspiration from Napalm Death and other early grind bands, powerviolence groups avoided elements of heavy metal.[93] Its nascent form was pioneered in the late 1980s in the music of hardcore punk band Infest, who mixed youth crew hardcore elements with noisier, sludgier qualities of Lärm and Siege.[91][92] The microgenre solidified into its most commonly recognized form in the early 1990s, with the sounds of bands such as Man Is the Bastard, Crossed Out, No Comment, Capitalist Casualties, and Manpig.[91]
Powerviolence bands focus on speed, brevity, bizarre timing breakdowns, and constant tempo changes.[91] Powerviolence songs are often very short; it is not uncommon for some to last less than 30 seconds.[91] Some groups, particularly Man Is the Bastard, took influence from sludge metal and noise music.[91][92] Lyrically and conceptually, powerviolence groups were very raw and underproduced, both sonically and in their packaging.[91][92] Some groups (Man Is the Bastard, Azucares and Dropdead) took influence from anarcho-punk and crust punk, emphasizing animal rights and anti-militarism.[92] The Locust[94] and Agoraphobic Nosebleed later reincorporated elements of powerviolence into grindcore.[63]
Industrial and electronic influenceEdit
Among other influences, Napalm Death took impetus from the industrial music scene.[34] Subsequently, Napalm Death's former guitarist, Justin Broadrick, went on to a career in industrial metal with Godflesh.[32] Mick Harris, in his post-Napalm Death project, Scorn, briefly experimented with the style.[95] Scorn also worked in the industrial hip hop[96] and isolationist styles.[97] Fear Factory[98] have also cited debts to the genre. Digital hardcore is an initially German hybrid of hardcore punk and hardcore techno.[99] Agoraphobic Nosebleed and the Locust have solicited remixes from digital hardcore producers and noise musicians.[100][101] James Plotkin, Dave Witte, and Speedranch participated in the Phantomsmasher project, which melds grindcore and digital hardcore. Alec Empire collaborated with Justin Broadrick, on the first Curse of the Golden Vampire album,[102] and with Gabe Serbian, of the Locust, live in Japan.[103] Japanoise icon Merzbow also participated in the Empire/Serbian show.[103]
The 21st century also saw the development of "electrogrind" (or "cybergrind"),[104][105] practiced by The Berzerker, Body Hammer, Gigantic Brain and Genghis Tron which borrows from electronic music.[60] These groups built on the work of Agoraphobic Nosebleed, Enemy Soil and The Locust, as well as industrial metal.[104] The Berzerker also appropriated the distorted Roland TR-909 kick drums of gabber producers.[106] Many later electrogrind groups were caricatured for their hipster connections.[104]
In the mid-1990s, mathcore groups[107][108] such as The Dillinger Escape Plan,[109] Some Girls,[110] and Daughters[111][112] began to take inspiration from developments in grindcore. These groups also include elements of post-hardcore.[107] In addition to mathcore some early screamo groups,[113] like Circle Takes the Square and Orchid,[114] have been associated with grindcore by some commentators.
Crust punkEdit
Crust punk had a major impact on grindcore's emergence. The first grindcore, practiced by British bands such as Napalm Death and Extreme Noise Terror, emerged from the crust punk scene. This early style is sometimes dubbed "crustgrind".[1]
Blackened grindcoreEdit
Blackened grindcore is a fusion genre that combines elements of black metal and grindcore.[115] Notable bands include Vomit Fist,[116] Dendritic Arbor,[117] Sunlight's Bane,[118] Scumpulse,[119] Malevich,[120] Absvrdist,[121] and early Rotting Christ.[122]
Noisegrind is a microgenre that combines elements of grindcore and harsh noise.[123] Notable bands include Holy Grinder,[124] Sete Star Sept,[125] Full of Hell,[126] Fear of God,[123]Insufferable,[127] and early Knelt Rote.[128]
See alsoEdit
- ^ a b c "In Grind We Crust," p. 46.
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- ^ Metal: The Definitive Guide (Garry Sharpe-Young), US Death Metal and Grindcore
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- ^ Sarcófago,
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- ^ "Grindcore Special," p. 46.
- ^ Barchi, Rodrigo (January 2017). "O ruído infame das ecologias menores". Revista do Lhiste (in Portuguese). Vol. 4 no. 6. Porto Alegre, Brazil. pp. 190 (Napalm Death), 191 (Carcass) and 193-194 (Agathocles). ISSN 2359-5973. Archived from the original on 18 March 2019. Retrieved 24 March 2019.
O grindcore, em sua herança punk libertária, absorve e dissemina as mais diversas preocupações entre os próprios punks, [...] Uma das mais caras é a questão dos direitos dos animais, o vegetarianismo, o veganismo e o que é chamado de especismo.
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- ^ Andrew Childers, "The Body Electric", "Grind and Punishment" March 15, 2010 [23] Access Date: March 22, 2011
- ^ Liz Ciavarella, "The Berzerker: Sonic Discontent," Metal Maniacs, vol. 26, no. 2, February 2009, p. 80-81.
- ^ a b Steve Carlson, Hell Songs review, "Blog Critics", October 19, 2006. [24] Access date: September 13, 2008.
- ^ "San Diego Reader"[25] Access date: March 27, 2011.
- ^ Kahn-Harris, Keith (2007). Extreme Metal. Berg Publishers. p. 4. ISBN 978-1-84520-399-3.
Contemporary grindcore bands such as The Dillinger Escape Plan [...] have developed avant-garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz.
- ^ Corey Apar, Heaven's Pregnant Teens review, Allmusic. [26] Access date: August 24, 2008.
- ^ Joe Davenport, Hell Songs review, Delusions of Adequacy, August 24, 2006. [27] Access date: August 25, 2008.
- ^ Stewart Mason, Daughters biography, Allmusic. [28] Access date: August 25, 2008.
- ^ "Another interesting sub-subgenre was this strange crossover of first-generation emo and grind. Bands like Reversal of Man or Orchid may not have stood the test of time, but it was a pretty cool sound at the time and one that was pretty uniquely American. - Greg Pratt, "Altered States," "Grindcore Special" part 2, p. 43.
- ^ Ryan Buege, "Circle Takes the Square is in the Studio". Metal Injection, June 15, 2008. [29] Access date: July 8, 2008
- ^ "Converse Rubber Tracks x MetalSucks 2015 Preview: Dendritic Arbor". Metal Sucks. 16 September 2015.
- ^ "Father-son blackened-grindcore band Vomit Fist premiere "Under The Rind" lyric video". Alternative Press. 10 September 2014.
- ^ "Blackened Grindcore Innovators Dendritic Arbor Announce Fall Tour". Metal Sucks. 19 October 2015.
- ^ "Video Premiere: Sunlight's Bane - 'Begrudging Soul'". Decibel Magazine. 21 June 2017.
- ^ "Video Premiere: Scumpulse - 'Rotten'". Decibel Magazine. 12 February 2018.
- ^ "Full Stream: Malevich / Iron Gag - 'Split'". Decibel Magazine. 1 May 2018.
- ^ "Exclusive: Tech-Death Supergroup ABHORRENT Show Us "The Elegance Of Asymmetry"". Metal Injection. 5 November 2015.
- ^ "Rotting Christ: Kata Ton Daimona Eaytoy". Pop Matters. 15 May 2013.
- ^ a b "Fear of God Founder Erich Keller Talks Grindcore History, Album Reissue - Decibel Magazine". 6 March 2018.
- ^ "Holy Grinder Cult of Extermination". exclaim.ca.
- ^ "Live Wire: Violence in action - Taipei Times". taipeitimes.com.
- ^ "6 New Songs You Need to Hear This Week". 1 June 2018.
- ^ https://insufferable.bandcamp.com/album/the-tightening-grip
- ^ "The Monday Grind: KNELT ROTE Trespass Is A Grindcore/Black Metal Face-Peeler". 6 February 2017.
- Appleford, Steve (1998). "The family that plays together". Guitar. 15 (12): 40–42, 45–46, 49–50, 53–54, 57.
- Blush, Steven (1991). "Grindcore". Spin. 7 (3): 35–36.
- Carcass (1988). Reek of Putrefaction. [CD]. Nottingham, UK: Earache Compact Discs, Cassettes & Records. (1994).
- Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0
- Glasper, Ian (2009). Trapped in a Scene: UK Hardcore 1985-1989. Cherry Red Books. ISBN 978-1-901447-61-3
- Grindcore Special (2009), Terrorizer, 180, 41–56, and 181, 41–56.
- Johnson, Richard (2007). "Napalm death" (PDF). Disposable Underground. 15 (38): 02–04. Archived from the original (PDF) on 2008-07-06.
- Lilker, Danny (2007). "A User's Guide to Grindcore." Grind Your Mind: A History of Grindcore [CD]. Liner notes. Mayan Records, MYNDD056.
- Mudrian, Albert (2004). Choosing Death: The Improbable History of Death Metal and Grindcore. Los Angeles, CA: Feral House.
- Sarcófago. (1986). Satanas. On Warfare Noise [CD]. Belo Horizonte, MG: Cogumelo Records. (2007).
- Sepultura (1986). Antichrist. On Morbid Visions [CD]. New York: Roadrunner Records. (1997).


text:
October 20, 2020
|Easy Django Reinhardt Released by Alfred
|Monday, 25 August 2008 01:48
Alfred is distributing two volumes filled with works of renowned guitarist Django Reinhardt. Featuring the original recordings and now easy enough for every musician to learn, Alfred introduces Easy Django, Volume 1 and Easy Django, Volume 2.
The compilation is a good way to study the great Django Reinhardt. It includes TAB transcriptions, play-along tracks, and the original Django recordings. Each book contains ten songs selected for their medium tempos and easier chord progressions. Each melody is written out in notation and TAB, and the first full guitar solo is fully transcribed. Learn by listening to the original recordings and then play along with the slowed-down, sound-alike, play-along recordings with the included CD.
Easy Django, Volume 1 and Easy Django, Volume 2 are now available as book and CD sets for $34.95 each. You can pick up your copies at your local retail store or buy them at alfred.com.
Easy Django, Volume 1 songs: Belleville ∙ Blues clair ∙ Daphne ∙ Douce ambiance ∙ Les yeaux noirs (Black Eyes) ∙ Manor de mes reves ∙ Minor Swing ∙ Nuages ∙ Swing 42 ∙ Troublant Bolero.
Easy Django, Volume 2 songs: Artillerie lourde ∙ Dinette ∙ Melodie au crepuscule ∙ Minor Blues ∙ Stomping at Decca ∙ Sweet Chorus ∙ Swing 39 ∙ Swing 41 ∙ Swing Guitars ∙ Tears.
Press release
Source: Alfred


text:
Mondays and Tuesdays are full training days, Wednesday is my half training day, Thursday to Saturday are full days and I have Sundays off.
That's my usual week at the National Tennis Centre in Roehampton, south-west London. So unless I'm in a tournament, my weekend will start with me coming home from a training session, and having an ice bath.
It's actual ice with a bit of water in and the baths help train my muscles: I have one most days. I'm in it for 10 minutes up to my shoulders but after two minutes, you don't feel it at all. Everything just freezes.
I've recently started living in a flat in Putney. I used to live with my parents, but they moved to Greece earlier this year after living in Wimbledon for a long time. My two black labrador dogs, Ella and Kiri, have gone over with them, so the evenings are rather lonely and quiet at the moment.
On Saturday mornings I'm back at Roehampton. I usually hit twice in a practice day, each time for an hour and a half or two hours. What do I do? Sometimes match practice where you play a practice set, or sometimes a mixture of things.
I've been doing a lot of work on my serve, because that hasn't been ideal in the last few tournaments. In practice, it's all fine. But then you end up serving for the match in a tournament, and the nerves kick in and it doesn't go to plan at all. I'd say my serve is a work in progress.
Adidas has a Play Development Programme and there are a couple of very experienced coaches I've been working with since I was about 12. It's a good set-up but after Wimbledon this year I'll be looking for something a bit more permanent. At the moment though I'm doing non-stop tournaments, and it would be very difficult to get into a rhythm with a new coach.
I have quite a long lunch break to rest and recover before the next session. We have some very good chefs at the national centre who come up with inventive ways of incorporating things like quinoa into my diet. After my second session I see a physio, have a massage and fit an ice bath in.
On an ideal Saturday I would get home from training at about 7.30pm, have dinner and do some reading. I am big into biographies and I've read most of the tennis ones. If you're a tennis fan I would say Agassi's is the best. When I'm waiting around at a tournament, I read on a Kindle.
There aren't many other sports which are quite as individual as tennis. You can have on-court coaching during matches (apart from the Grand Slams), but I like figuring things out myself when I'm on court. You simply have to refocus on what you've learnt in practice.
Off-court, I am friendly with most of the other girls on tour. You find your group who you hang out with, so it's not that lonely and I play against all the girls I'm friends with, usually more than once a year. When I'm on court facing them I take it just as seriously as any other match. Obviously we are both trying to win, but then at the end of the day we go out for dinner together quite happily.
My perfect Sunday would definitely start with a lie-in. I wake up super-early during practice weeks and tournaments, usually at 6.30am. If you're not on court early during a tournament, you have to try to get on to a practice court as early as you can.
The courts are limited because everyone wants their own time, so a good time to get a court is between 8.30am and 10am. I learnt that from Steffi Graf who used to always practise from 7am. Except I usually practise in the afternoons as well.
On Sunday mornings I might go and do a Zumba dancing class. A couple of my friends train at the Virgin Active in Chiswick, so I go there for a class. I used to play there myself when I was a lot younger and I might get recognised a bit, but everyone takes their Zumba very seriously so it's fine.
If people do approach me, they usually tell me I'm taller in real life than they thought I was. I am 5ft 11in, but because most people have seen me playing with Andy Murray, who's 6ft 2, I look quite small next to him.
Andy is great. He's such an easy person to play with, because he is so good. Whenever the ball comes to me, I just try to get it in and he does the rest of the work. When he won the US Open it was a big deal for everyone in British tennis. It was such an inspiration, to see him finally win a slam after being in finals so many times. I think everyone worked a bit harder after that and thought, "Yeah, I can get there."
On Sundays I might go for brunch at Le Pain Quotidien café in Wimbledon village. I'm a Wimbledon girl at heart. My favourite time there is two days before the tournament when everything is still and quiet and ready to go.
I love the middle Sunday, too: it's crazy to have this day of nothing in the middle of a tournament. It never happens anywhere else.
Stepping out into Centre Court is amazing. It's kind of surreal. You go past all the famous quotations on the walls and can see all the trophies just sitting there. It's incredible.
The first time I played on Centre Court I was about 15 and as I was going on, Roger Federer was coming off court and said, "Good luck, Laura" and all I could think was, "Oh my God, Federer just spoke to me!"
On my perfect Sunday evening I would go out for dinner with my friends or go to the cinema. I don't really like films about tennis as I can't take them seriously. In Wimbledon, with Paul Bettany and Kirsten Dunst, it was so obvious they weren't very good at tennis.
Am I under pressure, as the British number one woman? There is always pressure. I have had pressure since I was 14, and I just kind of got on with it. It's probably taken a bit longer than everyone expected for me to get to where I am now, but you have injuries and things that pop up, which you have to deal with. I think I've done a pretty OK job so far.
But now Wimbledon's coming up, I'm injury-free and I've been playing well. I'm just a couple of places away from being seeded, so with luck, by the time Wimbledon comes around I will be seeded and won't have to play Serena first round.
Herbal tea or stiff drink?
I like green tea. Is that herbal? I don't really drink booze at all.
Favourite perfume?
Burberry Body in the winter and Marc Jacobs Daisy in summer.
Favourite tennis surface?
Both grass and hard, but grass is ideal. That is my game, and I love it.
Key stroke?
My forehand down the line. If it's a really tight point and a really close match, I am always pretty confident it's going to come off.
Favourite holiday destination?
I haven't had an actual holiday since I was 14. You get two weeks off at the end of the year, but by that time all you want to do is stay at home.
Favourite television show?
Game Of Thrones is my number one, but I love Suits and New Girl too. And in America, I really got into The Voice.
My dogs
My racquets
My phone
My Burberry coat with jewels on the shoulders
My 2012 Olympic medal
Laura Robson is a Junior Tennis Ambassador for Virgin Active Health & Racquet Clubs; virginactive.co.uk


text: Kurier, an Austrian newspaper, critically attacked the Austrian MFA because of the fact, that former federal officials and politicians who had compromised themselves, still use their diplomatic passports, Radio Liberty reports.One of them, Hubert Gorbach, a former minister of transport and Vice-Chancellor of Austria and now the head of Gorbach Consulting firm and a consultant for Wintertechnik Engeneering. Both companies have a number of projects in Russia and Belarus relating to snow technologies and infrastructure at winter resorts.Gorbach confirmed in an interview to Kurier he has a diplomatic passport and said it is a generally accepted practice to issue such documents as a bonus to former high-ranking officials and politicians.The name of the former Austrian vice-chancellor and minister of transport began to appear in press in various scandals – from drunk driving to suspicion of corruption and accusations of friendship with authoritarian regimes, including the regime of Lukashenka.In December 2010, Gorbach was invited as an observer and "honourable figure in international politics" (as said by Belarusian foreign minister Syarhei Martynau) to the presidential elections in Belarus. Estimating the elections results, Gorbach told Belarusian and Austrian media that at the polling station he worked "Lukashenka polled about 70% of the vote, which is close to the final outcome".Regarding the events following the elections, "the honourable figure in the international politics" said:"The protesters tried to storm the election commission headquarters. The windows were broken. I am sure everyone has a right to defend himself. Furthermore, the basic principle of democracy is the consent with the majority. I heard that the demonstrations were planned in advance, regardless of the vote results".Some months later, in spring 2011, Gorbach told Associated Press, when driven into a corner by questions about his cooperation with the Belarusian regime, that he condemns "violence in all its forms". He assured he had been in a hotel room after the December elections in Minsk and heard nothing about the brutal police crackdown on the protest demonstration.


text:
The ethnographic Ukrainian cuisine's restaurant Kumanets is situated in Odesa's very center in a couple of steps from Deribasovskaya Street. Building's design and its interiors are carried out in country house style: wattle fences, jags, carts and other attributes of rural life.
Restaurant's menu offers traditional Ukrainian cuisine's dishes: borsht with pamushkas, vareniki with various stuffings, mezhivo from eggplants. All guests are inevitably served brown bread with lard. The chef develops new menu for each festive occasion and only facility's specialties - famous salo (pork fat) in chocolate and salad 'Kumanets' - remain unchanged. There also a lot of desserts in restaurant's menu.
Every day national background music plays, and Friday through Sunday live music sounds in the facility.


text:
The Ski School Stuben am Arlberg
is your partner in the snow. The ski school was founded in 1924. The first head of the ski school was Friedrich Schneider, the brother of the famous Hannes Schneider. In those days, the foundation stone of the Ski School Stuben am Arlberg, which has been successful until today, was laid with a lot of passion and love for skiing.
Arlberg Alpin – the Alpin- & Freeride Center in Stuben am Arlberg
Arlberg Alpin is an Alpin- and Freeridecenter which specialises in Freeriding, Heliskiing and Ski tours. Experience the finest Freeride regions and Ski Tours around the Arlberg.
Schneesport Schule Skiaktiv – Stuben am Arlberg
No matter if your´re alone, just for two or with friends / family – your personal ski instructor is the perfect partner for your winter holidays.


text:
Just over a month ago a teaser trailer hit the web for The Hangover Part 2 and today we are graced with a poster that shows Alan (Zach Galifianakis), Phil (Bradley Cooper), Stu (Ed Helms) and the drug dealing monkey.
Hmmm... This is interesting. I guess we will have to see how this plays out.
Huh, not a bad poster all-in-all. It's definitely better than some floating head design. Still no Doug though.....
My theory:
They are the lost ones and Doug is looking for them.


text:
Humans on Mars: Who Will Be First?
We've landed rovers there. We've drilled holes into its rocks. We've even scooped up its soil and studied it to the most finite particle.
But when are we finally going to put our own footprints on Mars?
President Obama says we'll get a human to the Red Planet by 2030, but this isn't the first time a mission like this was mulled by the United States. The world has wondered what's next for humans in space ever since Neil Armstrong set foot on the moon in 1969. It only seems natural to look to our celestial neighbor for our next adventure — and now people outside of NASA are vying for that ultimate journey.
We will put a human on Mars eventually. The real question is who will do it first.
The Mars Society
The Mars Society has pushed for a manned mission to the fourth planet since the early 1990s. It continues to be one of the most influential advocacy groups for the idea because it operates — oftentimes behind the scenes — of other commercial and government Mars endeavors. It doesn't hurt that it's headed up by Robert Zubrin, an eccentric aerospace engineer who worked with a small team in the 1990s to create a detailed plan for NASA that outlined a way to get humans to Mars in a cost-effective way.
When NASA turned down the proposal, Zubrin turned it into a book, called The Case For Mars, and the Mars Society was born. Today, it has an almost cult-like following of hundreds of volunteers around the world who spread the word about manned missions to Mars.
But what sets the Mars Society apart from any other private endeavor is its research stations. The organization built its Flashline Mars Arctic Research Station inside a giant crater on Devon Island, which is about 100 miles north of Resolute in Nunavut, Canada. Crews from around the world — a mix of scientists, engineers and journalists — live in the station for extended periods of time, conducting experiments as though they're on Mars.
A more accessible twin sister, the Mars Desert Research Station, is located in Hanksville, Utah. Starting in late fall and going through early spring, crews live in the remote, two-story station for two-week intervals. They simulate a true Mars mission, from not leaving the habitat without wearing a spacesuit, to maintaining little to no communication with the outside world.
Though it's not perfect — they are in 100% gravity, after all — Zubrin hopes that these stations will inspire NASA to do similar projects for its future Mars astronauts.
"I would like nothing better than for NASA to copy us and say, 'Okay, we see what you're trying to do here, but your simulation is primitive. We can do this much more realistically. Step aside,'" Zubrin said. "Then they can leave us behind."
Mars One
The biggest technical hurdles to getting humans on Mars are landing a vehicle — the two-ton Curiosity rover is the heaviest thing we've sent to Mars — and taking off once the astronauts are ready to come home.
Dutch entrepreneur Bas Lansdorp thinks he has a solution to the latter problem: a one-way mission. He started Mars One a few years ago to find the first crew of people willing to live out the rest of their lives on another planet in the first human colony. Then every few years, Mars One would send more crews to populate the colony and replenish resources.
In a marketing blitz over the past year, Lansdorp has touted his campaign and called for applicants. The only requirement to be on the crew? You must be 18 years old. The rest you can learn in training over the next eight years, before launching to the Red Planet in 2023. So far, hundreds of thousands of people have applied to Mars One, and the pool has been narrowed down to 1,058.
There are the extreme technical difficulties that Lansdorp never seems to address — he claims he'll use SpaceX technology, but a SpaceX spokesperson told us no partnership is in the works. Thus, he'll have to fund the venture. By his calculations, Lansdorp needs $6 billion for the first mission, seemingly a bargain when you consider NASA's Curiosity rover cost $2.5 billion.
However, Lansdorp has a business plan. He'll turn the mission into one big reality television show that the whole world will watch. And with billions of viewers, advertising and sponsorship dollars should come easy, right? That's what Lansdorp is banking on, at least.
So far, Mars One received some funding from Lockheed-Martin, but Lansdorp repeatedly says he will not partner with federal space agencies like NASA to make this happen.
Inspiration Mars
What do you get a multimillionaire who already has everything, including a trip to space? For Dennis Tito, the next big thing is a quick spin around Mars.
Though the American engineer was the very first space tourist in 2001, Tito won't be going on this Martian vacation. Instead, he formed Inspiration Mars and is looking for an adventurous married couple to go on a privately financed spaceflight to the planet by 2018. The crew wouldn't land, they'd only circle the planet.
Tito says the biggest concern is the grueling journey, which would take more than 500 days and wreak havoc on even the fittest of bodies due to the extended time in zero gravity.
Tito hired a group of scientists and engineers to plan out the mission and account for major risks, including both mental and physical health. They found that one of the biggest challenges will be that isolation, which is how Tito arrived at the idea of sending a married couple. They'll already know they can stand to be around each other for an extended period of time.
Like Mars One, Tito's team proposes using SpaceX's Dragon space capsule to get to Mars, although the private space company has yet to run any test flights with humans on board.
Tito's plan is grandiose indeed, and he even admitted in November that it was probably impossible without significant support and funding from NASA. But never count out a guy who paid for his own roundtrip ticket to space.
Who do you think will get to Mars first? Tell us in the comments.


text:
Stock Futures Signal Muted End to Choppy Week on Wall Street
|10/16/2020 | 08:34am
By Joe Wallace
U.S. stock futures wobbled Friday ahead of data on retail sales and industrial production, signaling a potentially muted end to a volatile week on Wall Street.
Futures tied to the S&P 500 wavered between gains and losses after the broad stocks gauge fell for a third straight day Thursday. The benchmark is on track to eke out its most tepid one-week advance for this year. Contracts for the technology-heavy Nasdaq-100 edged up 0.3%.
Stocks have been buffeted in recent days by spikes in coronavirus infection levels and uncertainty around the likelihood of a second batch of economic stimulus being delivered before Election Day. Investors say a new round of relief is needed to keep the U.S. economy in recovery mode.
"There are some pretty significant concerns that we're going to see a ramp-up in infections in the U.S.," said Ronald Temple, head of U.S. equity at Lazard Asset Management. "I am worried that could be a headwind between now and year-end."
The burst of infection could prompt authorities to bring in new curbs, Mr. Temple said, and is likely to make consumers more cautious. Many investors are overly bullish about the chances of a vaccine being developed and distributed, he said.
Pfizer said Friday it could be ready to apply for emergency-use authorization of its vaccine by late November, the first time a leading Western vaccine developer provided such a specific timeline. Shares in the pharmaceutical giant rose around 1% before the bell in New York.
White House and Democratic negotiators agreed Thursday to include a national coronavirus-testing strategy in relief legislation. Many Republican lawmakers are wary of approving another bill approaching $2 trillion in size, but President Trump on Thursday insisted they will back him despite their current misgivings.
"They might get something together, but it's really surprising that it hasn't happened yet," said Jonas Goltermann, senior markets economist at Capital Economics.
Another factor weighing on stocks is concern about how quickly drugmakers will be able to come to market with an immunization shot, Mr. Goltermann added, pointing to the pause in trials of Johnson & Johnson's vaccine. "That's arguably even more important than the fiscal stimulus."
More than half a dozen states reported record numbers of new coronavirus cases Thursday, pushing the U.S.'s single-day total above 60,000 for the first time in over two months. Midwestern states including Ohio, Wisconsin and Michigan were particularly hard hit.
Investors are awaiting the latest data on U.S. retail sales, due to be published at 8:30 a.m. ET. Sales likely rose for a fifth month in a row in September as consumers prepared for further months of working and studying from home by spending on appliances and vehicles.
Consumer spending may falter over the winter if Washington doesn't deliver a new round of stimulus, according to Mr. Temple. "The longer this persists without that extra unemployment benefit the more likely we are to see evictions, mortgage delinquencies and other kinds of credit defaults," he said.
Other data indicate the economy is already losing momentum. New applications for unemployment benefits, a proxy for layoffs, last week rose to the highest level since late August.
Earnings season is rolling on, with State Street, Bank of New York Mellon and oil-field-services company Schlumberger due to file quarterly results before the bell in New York. J.B. Hunt Transport Services is set to report earnings after the close of trading.
In overseas markets, European stocks recouped some recent losses, pushing the Stoxx Europe 600 up 0.4%. Asian markets were mixed by the close of trading, with China's Shanghai Composite Index ticking up 0.1% and Japan's Nikkei 225 losing 0.4%.
Giving European stocks a lift, Thyssenkrupp jumped 14% after the German industrial conglomerate said it was examining a bid by Liberty Steel Group to acquire its steel operations. Fellow steelmakers ArcelorMittal and Voestalpine also advanced.
European luxury stocks gained ground after LVMH Moët Hennessy Louis Vuitton said strong growth at its biggest fashion brands buoyed revenue in the third quarter. Shares in the region's auto makers climbed after Daimler sounded an upbeat note for the rest of 2020. Shares of Man Group rose 5.6% after the investment manager said funds under management grew in the third quarter.
Traders will also parse data in U.S. industrial production, due from the Federal Reserve at 9:15 a.m. ET, and a preliminary reading at 10 a.m. of the Michigan Consumer Sentiment Index for this month. Economists expect industrial output to have continued its recovery in September, though at a slower pace than earlier in the summer.
Yields on 10-year Treasury notes edged down to 0.722%, from 0.730% Thursday. The WSJ Dollar Index, which tracks the U.S. currency against a basket of others, ticked down less than 0.1%.
U.S. crude-oil futures fell 1.1% to $40.53 a barrel ahead of weekly data on the number of active oil rigs from Baker Hughes.
Write to Joe Wallace at firstname.lastname@example.com
(END) Dow Jones Newswires


text:
Texas, Hood County Marriage Records Index, 1875 - 2010
To obtain information about individuals married in Hood County, Texas, the Texas, Hood County Marriage Records index is the place to go. This archive holds 22,991 records in its collection that date between 1875 and 2010. The records and marriage licenses were all retrieved from the Hood County Clerk, where they are currently on file today. Individuals can learn more information about the Texas, Hood County Marriage Records by visiting the Hood County Clerk website.
Information Available In This Collection
The Texas, Hood County Marriage Records index offers basic information on individuals who were married in Hood County or had their marriage recorded there. When available, records include full names of both the bride and groom, the date of the marriage and the location where the marriage officially took place. The archive also lists the date when the marriage was recorded for easier retrieval of documents.
Finding a specific document in an archive this size can be easier said than done. However, the Hood County Clerk catalogues all of their marriage licenses in this collection according to a unique document number to make retrieval as fast and accurate as possible.
About the Hood County Clerk
All of the marriage licenses and records in the Texas, Hood County Marriage Records archive are administrated by the Hood County Clerk. To obtain original copies of the records of this collection, contact the Hood County Clerk at:
Hood County Clerk
201 W. Bridge Street
Granbury, TX 76048
With a unique document number assigned to each file, it is much easier to find the specific record you are looking for. The Hood County Clerk offers services to those looking for specific documents in person at their office at the Hood County Justice Center or by mail. There is also an online search available through the County Clerk's website; however, phone requests for document searches will not be accepted.
The Texas, Hood County Marriage Records in the Hood County Clerk are recorded in chronological order by marriage date, or alphabetically, according to the last name of either the bride or groom. The Hood County Clerk has been serving their region of Texas since 1836, taking over for the Spanish secretary that handled such matters during the Spanish-Mexican rule of the area.
Texas Record Collections
Find Records Now for Free
Start your free trial today to learn more about your ancestors using our powerful and intuitive search. Cancel any time, no strings attached.


text:
The mainstream media is—once again—carrying out a nakedly partisan attack on the nation's oldest civil rights organization, the National Rifle Association. This time the mainstream "news" organizations are attempting to assert that the NRA is a bunch of radicals that is so "gun crazy" that they even support terrorists buying guns.
The Daily News made that absurd claim earlier in the week, and the network of Dan Rather is doing so today.
The National Rifle Association is both a firearms training organization and a civil rights group, and opposes long-running Democrat attempts to abuse utterly arbitrary terror watch lists ripe for abuse as a method for unscrupulous politicians and bureaucrats to "other" American citizens and resident aliens, stripping them of human rights.
Criminals, domestic violence suspects, substance abusers, and the dangerously mentally ill lose their gun rights after being either arrested and tried and convicted in a court of law, or from being examined by mental health professionals and then having their right to own arms suspended in a court of law. They have their civil rights protected throughout thanks to due process.
There is no due process that places people on the terror watch list.
Government employees may arbitrarily place anyone on the terrorist watch list, for any reason, or no reason whatsoever.
Racial profiling and religious profiling are at the heart of the watch lists, as is the Orwellian practice of putting in people who exhibit "wrongthink," which ensnared me in January of 2013.
More than 300,000 people on the watch lists have no known association with terrorist groups. Some are merely relatives, co-workers, or neighbors of people under investigation.
Your neighbor Phil is an honorably discharged soldier, an active duty police officer, and an Oathkeeper? Your cousin Rachel is a "community organizer" and "equality advocate?" You've made your political views known by liking or sharing memes on social media?
A real liberal media would be blasting the utterly arbitrary and capricious nature of the watch lists and the government's penchant for targeting the innocent, but the simple fact of the matter is that the modern Democrat Party that fills most newsrooms is quite happy that totalitarian government punishes "wrongthink."
These are the same journalists who have given the Obama Administration a pass for using the FBI and IRS to target political enemies, after all.
Other civil rights groups should be blasting these secret government lists that have exploded under the Obama Administration, but we haven't heard a peep from most of them.
The National Rifle Association seemingly stands alone not just for your Second Amendment gun rights, but your first Amendment rights to free speech, to free association, and the religion of your choice, your Fourth Amendment rights against unreasonable searches, your Fifth Amendment rights to due process, and your Sixth Amendment right to face your accuser.
Those of you who claim to support equal rights or civil rights or dare describe yourself as a "liberal" without supporting the NRA in this battle are frauds.


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For any photo-rejuvenation, skin Resurfacing or laser treatments please avoid sun exposure to your chosen area/s for at least 4 weeks prior to treatments and ensure the skin is as light as possible, including no fake tan.
Possible side effects of Pigmentation removal, skin ablation, IPL, capillaries/spider vein treatment, Rosacea treatment, Acne treatment, Scarring, Anti Aging collagen Rejuvenation can include mild redness of the skin, mild irritation, local swelling, temporary small pimple like bumps, mild discomfort or tenderness, dry skin, hypo pigmentation (lightening of the skin) or hyper pigmentation (darkening of the skin), blistering and a very small risk of scarring.
Please arrive 5 minutes early to sign consent forms and note that if you are late your treatment may have to be cut short or cancelled.
Undergoing any treatments performed by the Skin Est Clinics assumes you understand the treatment may involve risks of complications or injury from both known or unknown causes, and you freely assume these risks.
Skin Est Clinics will not knowingly treat anyone who is pregnant, or who have hormonal imbalances, keloid scarring, uncontrolled diabetes or anyone who is on any medication that may effect the outcome of the treatment unless we are presented with a Doctor's certificate. It is your responsibility to inform your clinician if any of these conditions develop during the time you are receiving treatments. Prior to initiation of treatment any raised pigmented lesions should be correctly identified by a doctor to be benign and recommended for light based treatment.
You have the right to refuse treatment.
Due to the nature of this treatment, an exact result cannot be predicted and no guarantees have been made as to the results that may be obtained. No promises of permanence are made regarding laser assisted hair removal or skin care or ablative treatments.
You must adhere to all safety precautions and regulations advised to you during laser treatments and including post skin care recommendations. Sun exposure (both prior to and after treatment) and not adhering to post care instructions provided may increase chances of complications.
If the client is a minor under the age of 18, the consent of a parent/guardian having legal custody will also be required before treatment.