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Saturday, 16 February 2019
Last updated 43 weeks ago
Feb 18 2014 | 12:01pm ET
Asia is in, renewable energy is out, according to a recent survey by Altius Associates. In its annual report: The Key Challenges Facing the Private Equity Sector in 2014, the private equity advisory behemoth, which has approximately $26.7 billion in assets under advisement and management, forecasts some of this year's most dynamic investment opportunities.
Altius cautions against co-investment opportunities despite their growing popularity. While often used to mitigate fees while deploying dry powder, Altius highlights the significant challenges involved in co-investment integration including adverse selection and aligning incentive. William Charlton, head of Americas investment at Altius states in the report, "a GP might have an incentive to hold the investment longer to maximize their carry while the LP might prefer an earlier exit that would generate a higher IRR."
In terms of the Asian private equity market, Altius sees the conditions for investing as generally better than any over the last few years, as "Asian managers have been able to eke out a better return multiple by an average of 60 basis points in 1H 2013 compared to 1H 2012."
Turning to emerging markets, Altius suggests that its substantially lower DPI ratio can be attributed to investing growth capital in growing companies opposed to the traditional buyout strategy of the U.S. market. In order to increase liquidity in this strategy, Altius suggests supplementing your growth strategy portfolio with other investment strategies including the purchase of secondaries, which will increase the liquidity of the portfolio.
It is no surprise then that Altius predicts the rebound of the secondary market citing the increase in primary fundraising since the "trough in 2009" as well as the changing financial regulations. With over $50 billion of private equity on their balance sheets, major financial institutions will be turning to the secondary market to achieve liquidity, says Altius. Chason Beggerow, head of secondary investments at the firm, sees the numerous advantages of adding secondaries to a portfolio, citing, "that exposure to the secondary market is additive to a private equity portfolio – adding the opportunity for strong risk adjusted returns, better portfolio visibility, and shorter hold periods."
Altius also cautions against investing in real assets, specifically renewable energy. While many investors believe renewable energy to be one of the most exciting market opportunities, Jay Yoder, head of real assets investment at Altius, said he "constantly warns investors about renewable energy as it involves investing in assets where the main sources of return are mandates in the form of forced purchases, tax credits, and subsidies. Therefore one is investing more in political decisions than in tangible assets."
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subset: commoncrawl


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Monday, August 8, 2011
Over the Wire & England Invaded
While tooling around online looking for Victorian period minis, I happened upon a mention of the miniature skirmish wargame, England Invaded. Produced by Over the Wire Games & Miniatures and available from Warrior Miniatures in the U.K., it seems to be set in an alternate history timeline where World War I broke out a couple decades early. The minis are the perfect mixture of the Victorian and the Great War, and cover the English, German, French, Turkish, American, Cossacks, and a few independent forces (the Americans all have cowboy hats).
I'm not much of a mini wargamer and have no interest in pursuing a second career as Warhammer general, but this line tickles me in just the right places. Has anyone out there had any experience playing this or with the minis? The prices aren't bad for buying them overseas, but not cheap enough to justify spending the cash without doing some research.
My attitudes and interests when it comes to RPGs have been heading in strange directions lately, and if this turns out to be a winner, I can see strange fruit being born from peculiar trees.
3 comments:
- sirlarkins said...
That's a great-looking line of minis! I'd never heard of them before, but I'd love to see what they inspire should you head down that road.
The Miniatures Page has a very active forum system. Head over to their message boards and do a search for England Invaded and you'll get a dozen threads with reviews and discussion about the figures.
- August 8, 2011 at 10:00 AM
- Timeshadows said...
The years you've mentioned are also that which holds my attention and interest most.
The mini looks great.
--Thanks for turning us on to it.
- August 8, 2011 at 10:46 AM
- ken said...
I would suggest you explore GASLIGHT. It is a simple and fun miniature wargame, that is for the exact period you are talking about, add in all the pulpiness you want or don't want. It's skirmishy scale so don't need tons of troops.
And TMP is the best place for mini news. Second is the Lead Adventure Forum, which will probably whet your appetite more, and get questions answered faster than TMP.
- August 8, 2011 at 11:06 AM


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There are many advantages to using vinyl banners. One of those advantages is that it holds up much better than other types of fabric that can be used for signs. Another is the low maintenance and easy storage. They are also an inexpensive form or advertising and are easy to customize or buy ready made.
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Tags: Custom Banners, signs, vinyl banners


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Industrial Strength Records Lowroller NI FM8 Aggression WAV REX AiFF BATTERY FM8 PATCHES | 966 MB
Lowroller: NI FM8 Aggression' is primed for serious destruction in any electronic style. Industrial Strength Samples unleashes this sonic beast of a pack by maniacal mastermind Lowroller, which comes foaming at the mouth with 50 ferocious NI FM8 Patches, plus havoc-wreaking audio shots and loops.
Brace your tracks for a flurry of diabolical Reese bass sounds, heavy leads, turbulent wobbles, ferocious growls and absolutely mad FX presets. You'll also uncover enough audio samples to churn up the dancefloor, from whip-cracking drum loops and tight one-shots to dense drones, hardcore kicks and atmospheric pads.
Scare the neighbors in any genre, including Breaks, DnB, Cross Breed, Hardcore, and Dubstep. 'Lowroller: NI FM8 Aggression' is tailored for Electronic producers working with Native Instruments' all-powerful, dynamic FM8 soft synth. Build up and break down sounds in the potent FM matrix, run loops through the arpeggiator, filters and flexible envelopes and call the shots on your own parameters.
The FM8 is an emulation of the YamahaTx81z, a single-unit rackmount comprised of three Yamaha DX-7s that changed music forever. NI's digital reincarnation far surpasses the original hardware units, bringing you a modern twist on an old classic. Preset loops can be played in any tempo and are ready to be tweaked to the next level of digital synthesis.
These monster sounds were produced from the ground up by Lowroller, the Milan native known for shucking all stereotypes, ever pushing his music past the brink. Lowroller's flawless productions lead the way across crossbreed DnB, from crowd-smashing Hardcore to the unexplored corners of Drum & Bass.
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All pro-quality presets are primed for Native Instruments FM8 and audio files are delivered as crystal-clear, 24-Bit/44.1kHz WAV and Apple Loops files, ready for Battery 4 and REX2, and of course the mighty FM8.
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Mascarpone cheese is the rich, creamy filling between layers of ladyfinger cookies in tiramisu. This cheese is sold in specialty grocery stores, but not in all markets. Look in your refrigerator for more common substitutes for mascarpone cheese in tiramisu.
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Crème fraiche is a high-fat French version of cultured sour cream. It is available in gourmet markets, but you can also make your own with a buttermilk starter. Warm 1 cup of heavy cream to 105 degrees Fahrenheit. Transfer the cream to a bowl and stir in 1 tbsp. of cultured buttermilk. Loosely cover the bowl with plastic wrap and place it in a warm spot for 24 to 36 hours, stirring every eight hours. The finished crème fraiche should have a thick consistency but remain pourable. Store the finished crème fraiche in the refrigerator for up to one week. Homemade or store-bought crème fraiche replaces mascarpone in an equal amount in any recipe, including tiramisu.
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Ricotta cheese is an Italian cheese made from the skimmed whey of the milk instead of the curds. It is usually associated with its frequent use in lasagna, but it will also replace mascarpone cheese. Ricotta has a dry, uneven texture. The Cook's Thesaurus website recommends whipping an equal amount of ricotta cheese to replace mascarpone cheese in tiramisu for a lower fat substitute. To more closely replicate the creaminess of mascarpone cheese with ricotta, the OChef website suggests blending 1 cup of heavy whipping cream into 8 oz. of ricotta cheese to replace 16 oz. of mascarpone cheese.
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You are here
You are here
Franklin Academy Alumni
As Franklin Academy begins its second decade of service to students with Nonverbal Learning Disabilities, Autism Spectrum Disorders, and Asperger's Syndrome, we are very proud of our 160 graduates. This coming May we will say goodbye to our largest class of seniors – 20 young women and 20 young men as they move on to colleges and universities across the country. Now, our oldest alumni, having completed college and graduate schools in many instances, are moving into their adult years, enjoying success in their chosen careers, and contributing in important ways to their respective communities.
During a recent reunion, the school sponsored an alumni panel discussion to provide insight and advice for current Franklin Academy students and their parents. Here are some quotes from panel participants regarding how Franklin Academy made a difference in their lives.
- Brad Dworin '07: "It gave me the confidence to believe in myself."
- Dessa Wideman '08: "The school really taught me responsibility and how to play well with others."
- Peter DeFelippo '11: "The last two years at Franklin probably changed me more than just about anything else."
- Kyle Panaro '12: "Because of Franklin I have a future, and I can make it what I want it to be."
These sentiments are reinforced in a letter that we received from Norma Fox, the parent of Patricia, class of 2011. Norma felt moved to make a donation to Franklin Academy "in appreciation for everything you and your very talented teaching staff have done for my daughter, Patricia. She is now matriculated at Mt. Holyoke College, and I sincerely believe that without all of you, she would not be where she is today. She has managed beautifully, and while she will definitely still encounter some difficulties, she is well prepared. I have heard other parents say the same things I did a few years ago: 'Franklin Academy saved my child's life.'"
How does this happen? How does Franklin Academy make a decided difference in the lives of our students and alumni? It is all about the teachers and administrators who shape this community, and we hope that you will take the time to view the following videos that provide some perspectives from alumni and their parents about our school.
Alumni Testimonials:
Parent Testimonials:


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Here's What I Got
July 1, 2010
This is my fourth attempt at a blog post. I will post something more significant when things in my head clear up.
I hope to post about the following: Gunner leaving, my trip to Washington, updates on my trip here in Florida and about my thoughts on loving someone without expecting anything in return, lessons on friendship/discipleship, ways I've humbled etc.


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Is Ringworm Contagious?
Ringworm is highly contagious and can be spread from person to person, as well as by clothing or linens used by an affected person, or from household pets. To keep ringworm from spreading
- avoid touching suspicious areas;
- maintain proper hygiene by washing the hands and body frequently and laundering the linens and clothes of an infected family member separately; and
- avoid contact sports such as wrestling until you have been treating the sores for at least 48 hours.
- If pets have ringworm, take them to a veterinarian for prompt treatment, vacuum areas where the pet spends time, disinfect surfaces and pet bedding, and wash the hands after handling a pet.


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Nihiles Ante Unum!
(Zeroes before Ones!)
The KCDX Club Tom Hammond (NØSS) memorial Contest begins at 0000 UTC on January 1,and runs through 2359 UTC on December 31. The goal is to make as many contest based contacts and multipliers as possible. A downloadable Microsoft Excel® template will be available that may be filled in and e-mailed to a special address as your log entry. See the KCDX Club website (http://www.kcdxclub.com) for details. These are the rules for the KCDXC (NØSS) Tom Hammond DX Contest:
Purpose: To promote contest activity on the bands and to provide friendly competition among the amateur radio community.
Rules: KCDXC (NØSS) Contest
(1) Activity period: The KCDX Club (NØSS) Tom Hammond Memorial Contest is a year-long activity, beginning at 0000 UTC January 1, and ending at 2359 UTC December 31.
(1a) Eligibility: This Contest is open to all Licensed Amateurs who are members of the
KCDX CLUB. To become a member visit www.kcdxclub.com and click the membership button.
(1b) Membership Requirements: To be considered a KCDX Club member dues must be paid by June 1st.
(2) Frequencies: Any authorized amateur frequency may be used. Contacts through repeaters or satellites are not allowed for credit, nor are contacts with maritime or aeronautical mobile stations. All contacts must be made entirely over amateur radio frequencies—i.e., Echolink-type contacts or IRLP do not count.
(3) Modes: Three modes will be recognized in the NØSS CONTEST—CW, SSB, and Digital.
(4) Categories: All awards are for single operator. Entries must be made under your call from your home station. There are three categories of entry:
Hi-Power/Low Power/QRP:
All contacts must be made without assistance of any sort, including, but not limited to, lists, passes, or use of higher power than the chosen category. Use of spotting nets such as a DX Cluster® is allowed.
(5) Scoring:
This is a contest based competition. Any public contest (48 hours maximum) published in QST, CQ or WA7BNM contest calendar is eligible. Each individual contest will be tabulated by the total number of QSO's made and the total number of multipliers achieved.
ARRL DX SSB 1451 Q's. – 107 mults.
CQ WW CW 1986 Q's – 406 mults.
NCJ NAQP RTTY 776 Q's – 163 mults.
CLAIMED SCORE IS ….2,847,988 pts
Each Q=1pt Each Mult =1pt QxM=Score
The NØSS score is: The sum of Q's in all contests multiplied by the sum of all Multipliers in all contests.
(6) Submissions: Submissions must be made electronically, via e-mail. All scores must be received by January 15.
(7) Verification: QSL's are not required. The operator is expected to claim contacts only from stations the operator has every reason to believe are legitimate, and only to claim contacts in which an accurate two-way exchange was clearly
accomplished. Decisions of the KCDX Contest Committee are final.
(8) Claimed Scores: Competitors are encouraged to submit claimed scores to the KCDX Contest website at 90 day intervals.
The individual category winner is required to submit his/her contest logs upon request.
(9) Results: The final listing of official scores will be posted on the KCDX Contest website. (11) Awards:
Certificates: Certificates will be issued to the winners from each ARRL Section. Where there is sufficient activity, additional certificates may be issued for other high scorers.
The KCDXC Contest Committee will award plaques to the top scorer in each category. Additional sponsors are welcome.
(12) In all cases, the rulings of the KCDXC Contest Committee and the KCDXC Contest Committee Chairman are final.
Entry (Submission) deadline for the 2013 KCDX Club (NØSS) TOM HAMMOND Regional DX Contest is January 15.
Downloadable Score Calculation Spreadsheet
provided by Don, W0XE


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One Wedding and a Funeral at Sea
It's been quite a few days. Firstly, the world stood still as a couple that hardly anyone knew got married with more pomp, glitz and ceremony than even the likes of Elton John would feel uncomfortable with, whilst their country recoiled from massive spending cuts in education & the arts. Then the United States announced that long time arch-enemy to the western world, Osama bin Laden (or OBL as Twitter lazily has it), was assassinated under the direction of Barak Obama (BO). The jubilation that surrounded both was, in my mind (and I am aware I'm in the vast minority here), quite crass. It perhaps seems odd for me to bring both events under scrutiny in the same article, but really the essence of this is about the world's reaction and not the actual events.
I'm not one to renounce romantic interludes of Willy and Kate (WAK) or defend the actions of a deranged and dangerous terrorist mind such as OBL, but how hypocritical can the western world possibly get?
Perhaps the celebration surrounding the death of OBL was the one that discomforted me most. Having seen and heard a raft of European and American people deride the burning flags and celebratory Middle Eastern behaviours every time a westerner was killed made me feel I was living in a civilised corner of the world. I hated that reaction as much as everyone else seemed to. But, as has shown this weekend, we're all the same - just as blood-thirsty & just as vulgar as those we condemned before us. Let's face it - nearly all of those blowing their vuvuzelas now want to see the gory evidence of the death before they can fully accept it and pop their party poppers with pompous pride.
The death of anyone, no matter who they are or how seemingly evil they been, can surely never be something to blast trumpets at or raise party balloons to in a civilised world. Even if the only option is to opt for two bullets in the head in order to make the world "a safer place". There's a way to handle such things when they do (and must) happen. Having a jolly old knees-up is certainly not that way in this century.
The sombre delivery of the news by BO was deliberate as, if he had delivered the news as I'm sure GWB would have done had he had been anything close to an effective president before BO, then it would have been absolutely inappropriate in a "Yippee ki-yay mutha..." kind of way. This is the reaction that I see happening today - millions of GWBs hollering like cowboys that someone's brains had been plastered against a wall (along with the deaths of several others). Just in the same way as they saw & scorned while watching reports from Afghanistan, Iran & Iraq.
It all just makes me feel very uncomfortable and very uneasy about the future and direction of humanity.
More happily, the jubilation that followed the wedding of WAK was something that annoyed me, but only to the level of a few tuts from a miserable old duffer. I just found it odd that anyone could get so excited about the relationship of a couple they never knew and would never know. I related the two because I spent the entire weekend saying to myself - why the hell is everybody waving flags and cheering about this?
It's probably because it's my birthday today and I feel horribly old and bald and would have liked to have been able to drunkenly embarrass myself at their palace party whilst mocking Willy's male pattern balding - neither of which I was or would be able to do.


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by Kelly McCartney (@theKELword) for FolkAlley.com
Oklahoma's Samantha Crain is a musical force to be reckoned with. As a singer, her phrasing and rhythms fail to follow traditional folk patterns. And, as a songwriter, her compositions prick and pry at our hearts and minds in the best possible ways. Her latest endeavor, 'Under Branch & Thorn & Tree,' puts those talents to work on a collection of songs that folds the political into the personal. From the easy swagger of "Big Rock" to the gentle folk of "Elk City," the set finds Crain in fine form.
Kelly McCartney: You're a live-to-tape, one-take kind of recording artist. Do you ever go back and fiddle with arrangements after the fact? Or do they stay true for their life cycles?
Samantha Crain: My live performances are rarely exactly like the recorded songs. I strongly believe in the fluidity of songs depending on what musicians you're playing with or the mood of the audience. However, arrangements are very important to me. Just because we do analog recording and do few takes, doesn't mean I don't give thought to arrangement; I do. I'm very deliberate in everything I do. I just do a lot of pre-recording practice and talking with the other musicians. I want everyone to be on the same page, in the same headspace, but, at the same time, in the moment and surprising. Most songs, through their lifetimes, take several different forms regarding tempo or groove; it just happens organically after you haven't listened to the recording for years.
A lot of singer/songwriters put more emphasis on the songwriting part of their craft. You weight them pretty evenly, though. Who are your influences as a singer? And how does the singing affect or inform the writing for you?
I'm really drawn to any singers who are overly emotional or do something different tonally or rhythmically. I've always been into pretty polarizing voices. I love Billie Holiday, Neil Young, Patti Smith, Roy Orbison, Marc Bolan, Lhasa de Sela, and Annie Lennox. I've been told I'm a very rhythmic singer. Its not something I'm particularly aware of, but I assume my natural inclinations to move words in certain ways affects the way I write. I don't try to study how I create; I just do it.
In your songs, you use personal perspectives to make political points. Do you ever worry that the nuance softens the blow you're landing too much? Or do you find that it's the sugar that helps the medicine go down?
I feel a little of both. Part of me feels I'm being too gentle; the other part of me thinks its the best way to get the narratives into a public consciousness. I go back and forth with how I feel about it. I probably always will. I still do believe the only way to have intelligent and meaningful conversations about anything political or social is through empathy, though. And I know empathy only comes with understanding other people's stories and lives. That is something I will always believe. So however hard or soft I'm being with my issue, the story will always be the base.
If you had to pick one song, from this album or another, that represented the heart of what you're trying to do as an artist... which one and why?
I really feel like "Elk City" on this album was a breakthrough song for me -- a song that represents the exact sort of song I'd like to keep writing for the rest of my life. Something that has humanity in the lyrics and, to me, that song is interesting musically without seeming difficult. I'm just really proud of that song. I feel like I'll want to play that song for the rest of my life.
Cultural appropriation is a hot topic these days. And it's something you've stood up to in the past, in terms of your Native American heritage. Some people argue that every culture is appropriated. Why do you think it's such a hard thing for folks to grasp that even "all-in-good-fun" mockery is still mockery?
Racism is a learned thing. Its very hard to unlearn. Moving away from cultural appropriation starts in our education system... and it's not being addressed at all really, considering the history in our history books is terribly skewed. These aren't problems that are easy to address in an abrupt manner. These are solutions we start pumping into the framework of society now for a more positive, equal future.
'Under Branch & Thorn & Tree' is out now on Ramseur Records and is available at iTunes and Amazon.com.
There's a reason sophomore albums are considered a tough nut to crack. An artist has only a year or two to write a batch of tunes that stack up to the batch from their debut that they had their whole pre-debut life to write. Whether or not that debut was successful, the artist also has to decide to stay that artistic course or branch out in a different direction. Kacey Musgraves stayed firmly put on 'Pageant Material,' her follow-up to the wildly successful 'Same Trailer, Different Park.'
Taken on its own, without any knowledge of its sibling, 'Pageant Material' is a fun and lovely album. The songs are overflowing with memorable melodies, clever catchphrases, and pitch-perfect performances. And the first five cuts, from "High Time" through "This Town," are as thoroughly appealing as anything in her arsenal. At the heart of that mini-set is the sweet-but-not-saccharin "Late to the Party" which serves very nicely as the free-wheeling Millennial's version of a love song. It also provides a wonderful counterpoint to the snappy repartee of "Dimestore Cowgirl," "Pageant Material," and "This Town."
But, then, in the number six slot is "Biscuits." The album's first single can't help but be compared to the high watermark of Musgraves' career that is "Follow Your Arrow." In fact, a casual listener would be forgiven for confusing the two -- that's how similar they are in style and substance. Throughout the second half of the cycle, the comparisons could easily continue, but taking a step back allows "Somebody to Love," "Miserable," and "Good Ol' Boys Club" to shine on their own merits, in their own lights. Trouble is, albums in an artist's career don't exist in a vacuum, so a lot of these tunes make the whole feel like 'Same Trailer, Another Different Park.'
No question, Musgraves is a talented and spirited artist who is shaking things up in the best of ways. Here's hoping she applies some of that boundary pushing to album number three.
With a title like 'Sundown over Ghost Town' and cover art of a silhouetted figure with an acoustic guitar in front of a vast, star-filled horizon, Eilen Jewell's new album sends a signal that what lies therein could easily be simple and spacious country-folk songs. Uh, not quite. Yes, there are some simple and spacious country-folk songs here -- "Half-Broke Horse," "Green Hills," and "Songbird," at the very least. Otherwise, Jewell takes the theme of coming home and has fun with it. After all, you can come home again, but it may or may not be what you remember.
In Jewell's case, the story unfolds from the point of her return to Idaho after living in Boston. Oh, and having a baby, too. Most of the lyrical content draws from those endlessly deep wells. On the whole, the set is more refined and more restrained than Jewell records past, but no less creative, in its own way. From the gentle, mandolin-filled folk of "Worried Mind" to the delightful, Tex-Mex rockabilly of "Rio Grande" to the high lonesome torch balladry of "Here with Me," the album alternately lopes and lilts in all the right places.
For instance, Jewell isn't the first artist this year to set surf rock against a spaghetti western backdrop as she does on the spirited "Hallelujah Band" -- Lord Huron, too, makes that mix on 'Strange Trails' -- but it works well and shows just how many different colors Jewell has on her artist's palette.
'Sundown Over Ghost Town' is out now on Signature Sounds, and is available at iTunes and Amazon.com.
by Elena See, for FolkAlley.com
You might not make a lot of money. You might not win awards or accolades. You might not make new friends or establish important new connections. But sometimes, following your heart and doing what you KNOW is right, what you FEEL is right - well, that's reward enough.
Maya de Vitry of The Stray Birds says this song is "an homage to music as an offering--on a back porch, singing for nobody but the birds--on a subway platform, tossed as a rope for anyone to hold--around a campfire, shared between friends and the stars." In other words, music is enough of a reason to make music.
The Stray Birds - they're a band known for their tight harmonies, their impeccable instrumentation and their ability to make their audience feel completely involved in the music they make. With "Never for Nothing," the Birds also prove how capable they are of creating incredibly vivid stories and characters with their music.
Lyrics like "I'm dripping from the rivers I never meant to cross/But I like the things I'm learning more than anything I've lost/And, oh, I have lost...but not for nothing," let the band paint a very clear picture of complicated and oh-so-human emotions. The gorgeous music video that accompanies the song, featuring Fish & Bird's Taylor Ashton and filmed and edited by Jacob Blumberg, only helps us better understand those emotions - the contradictions of hope and heartbreak, longing and gratitude, that we are all capable of feeling at the same time.
The Stray Birds' 'Best Medicine' is available via YepRoc Records at iTunes and Amazon.com.
Tour Dates
by Cindy Howes, (@CindyCast) for FolkAlley.com
Country singer Kasey Chambers, who has been a prime representative for Southern Australia's rural music tradition, strikes a balance of exploration and maintaining her core sound on her latest release 'Bittersweet,' due out via Sugar Hill Records on July 24th. It is notable that Chambers' tenth studio album, which sees her writing about freedom, sweet releases and the bittersweet, is her first release since the separation from her husband, singer/songwriter, Shane Nicholson. Her last solo album of originals was 2010's 'Little Bird' followed by the 2012 'Wreck and Ruin' collaboration with Nicholson. On listening to this new record, it is clear that she has had some life altering experiences, which have left her with a lot to say. It is not an outright breakup album, but there are certainly songs that hint strongly towards starting anew and surviving. Take, for example, the closer "I'm Alive," where she boldly professes: "And through all the blood and the sweat and the tears/Things ain't always what they appear/I made it through the hardest f****** year." On the other side of that is the title track - a duet with fellow Australian, Bernard Fanning. "Bittersweet," the slow burning ballad about the pain of needing to end a relationship, but not knowing how, is poignant and heartbreaking. Chambers' songwriting impressively displays the many complicated dynamics that ending a relationship brings out, and she sounds so free while doing so.
'Bittersweet' also marks a change sonically for Chambers, who has exclusively worked with her brother/manager Nash Chambers. This album sees her looking to broaden her range and sound with the production skills of Nick DiDia. DiDia's credits include huge sounds like Rage Against The Machine, Pearl Jam and Train. His past work's influence is not very noticeable on many tracks that have that classic Chambers' folk/country tinged sound like "Oh Grace," "I Would Do" or "Heaven or Hell." Chambers also nails that familiar sound she's known for on "House On a Hill," which marks the first duet with her father and mentor, the musician Bill Chambers. It seems like DiDia's ability to bring out this intensity and drama from Chambers' songs is unprecedented. Chambers' shows massive growth in that department in the song "Wheelbarrow," which sounds like it could be on an Alan Lomax prisoner chain-gang field recording (aside from the super dirty electric guitar). A highlight on the record is the barnburner, "Too Late To Save Me." It is hard to understand why this stirring performance is all the way on track ten on the record.
While there are elements that will be familiar from the Kasey Chambers' albums of the past: sweet alt-country sounds and that beautiful clear voice of hers, this album truly marks a turning point for her. After 15 years recording, Chambers has won multiple ARIA and CMAA awards in Australian music, including the ARIA for Country Music Album of the year for 'Bittersweet' in 2014 (The record was released last year in her native country). It's inspiring to hear a musician and songwriter who is so celebrated, broaden her range so successfully in what has been a challenging time of change in her life.
Kasey Chambers releases 'Bittersweet' via Sugar Hill Records on July 24th, available at iTunes and Amazon.com.
Upcoming tour dates
Seeing as Muscle Shoals is not more than a hop, skip, and a jump or two from their home base in Nashville -- and lead singer Gary Nichols grew up there -- the SteelDrivers headed down that way for their new set, unceremoniously titled as 'The Muscle Shoals Recordings.' But it sounds nothing like anything ever recorded in Muscle Shoals. There are no slinky bass runs, no funky horn parts, and no deep drum grooves anywhere to be found here.
That's not to say, though, that it's a bad record. It's not. It's just not what you might expect from the title. But it's exactly what you might expect from the SteelDrivers -- a head-on, taste-the-dirt blend of bluegrass, folk, and country that wraps itself around Nichols' soulful voice and the deft skills of fiddler Tammy Rogers, banjo player Richard Bailey, mandolin man Brent Truitt, and bassist Mike Fleming. For another dash of authenticity, Nichols' longtime friend and fellow Alabaman Jason Isbell even co-produced and added slide guitar to two tracks, "Brother John" and "Ashes of Yesterday."
It's a thoroughly supple, occasionally somber set, but even the darker hues have a fluidity that keep them from getting too bogged down in their own self-importance. Considering the rampant racial tensions that continue to wreak havoc on the U.S., the SteelDrivers' heartfelt ode to the Civil War in "River Runs Red" seems ever-timely as Nichols intimates that the harrowing legacy, indeed, lives on: "The winners are losers, when you count the dead. We watch it go by. We all bow our heads. The guns have gone silent, but the river runs red."
The SteelDrivers' 'The Muscle Shoals Recordings' (Rounder) is available now at iTunes and Amazon.com.
*Old Man Luedecke releases his new album 'Domestic Eccentric' on July 24. You can listen to the album in its entirety before then in the player below!*
by Elena See, FolkAlley.com
I had a friend in college who, when asked if she was homesick on the first day of our freshmen year by the well-meaning resident advisor, shrugged her shoulders and said, "Eh. Home, to me, is where your pillow is."
Mind. Blown.
What was she talking about? Home is where your dog is. Where the neighbor's front door slams loud enough so that you can hear it in your bedroom, two stories up. Where the church bells seem to ring incessantly, no matter the time of day or night. And where everything you love and hate seems to exist in some sort of comfortable chaos.
That was the first time I learned that "home" doesn't mean the same thing to everyone. To Chris "Old Man" Luedecke, for example, home is babies growing up too fast and a wife who only gets more wonderful as the years go on. Home is a rustic, quiet existence, filled with the sounds of coffee percolating, stories of true love being told around the dinner table, and, of course, the non-stop plucking and strumming of banjo strings.
For his new recording 'Domestic Eccentric,' Old Man Luedecke invited one of his musical heroes, Tim O'Brien, to his hand-crafted cabin in the woods of Nova Scotia. The two spent some time pondering the meanings of home and family and good music. Other friends gradually joined in - some in that cabin and some in other cities - and the end result is what Old Man Luedecke describes as "a rich portrait of personal friendships." From the listener's point of view, it's also a rich sonic portrait with each musician getting a well-deserved turn in the spotlight.
From the opening track "Yodelady" (which is really a love song that, yes, includes yodeling) through "The Briar and the Rose" and the oh-so-poignant "The Early Days," and winding up at the final track, "Happy Ever After," we get a very clear picture about the most important people and experiences in Old Man Luedecke's life.
If you think about it, it's really quite gracious of him to give us this personal glimpse of what makes his life tick - and it sure doesn't hurt that the musicianship surrounding these intensely individual revelations and observations is incredible. Banjo, mandolin, fiddle, bass and drums - it all serves to underscore what's most important to this banjo savant from Nova Scotia. And that, of course, is his home.
'Domestic Eccentric' is due out on July 24 via True North Records, and is availabe now for pre-order at iTunes and Amazon.com.
Sometimes, no matter how much you love a place, no matter how deeply it seems to speak to you, no matter how much it seems like home, it's simply not the right place for you. And sometimes, the healthiest thing you can do is pack up, put your boots on and leave to make a new home somewhere else. That's the realization Eilen Jewell came to awhile back. And that's what inspired her to write "Rio Grande," which you'll find on her new album 'Sundown Over Ghost Town.'
Jewell describes the album as a whole as "very autobiographical." And it's true - there are lots of personal reflections and introspective musings throughout. The real beauty of this recording, however, lies in Jewell's ability to take what's relevant to her life and turn it into something that's relevant to the lives of anyone who chooses to listen.
"Rio Grande" is a perfect example of the personal becoming universal. After all, who among us has not had the experience of longing for and despising a place at the same time? You know: that push-pull-back-forth-I-want-it-no-I-don't kind of feeling - we've all experienced it. And through the spaghetti western-esque stylings of Eilen Jewell, guitar master Jerry Miller and trumpeter Jack Gardner, we get to experience it again, this time from the outside looking in.
The video perfectly highlights that feeling, too. Shots of Jewell and the band, nearly expressionless, interspersed with landscapes that look bright and dull at the same time, that seem beautiful and desolate all at once, only serve to emphasize the contradiction she feels - I love this place so much, I want so badly to be happy and healthy here...and, sadly, it just isn't right.
'Sundown Over Ghost Town' is out now on Signature Sounds Records, and is available here at iTunes and Amazon.com.
When Pete Krebs and Leslie Beia came together as Earnest Lovers, it was a meeting of both minds and hearts. Musically, they shared a passion for classic country. Romantically, they shared a passion for each other. You don't have to look very far back in the lineage to find myriad tellings of the very same tale in Johnny and June, Dolly and Porter, George and Tammy. Krebs and Beia, though, found each other and their sound in Portland, not Nashville. Still, their EP, 'Sing Sad Songs,' could have come just as easily from the rolling hills of Tennessee, as it did the urban environs of Oregon. It's a classic collection for the modern age.
Kelly McCartney: The Earnest Lovers had an auspicious start, right? Something about a ring of fire and a winning lottery ticket? Story please.
Pete Krebs: Our first night performing together ended at about 6 am, after a night of drinking whiskey and playing songs around the fire (built inside of an old washing machine liner) in Leslie's back yard. A few hours later, we woke to a rush of feet, cursing, and someone yelling, "Call the fire department!!!" Our fire, which we thought we had extinguished fully, had smoldered, heated back up again, and burned a perfect circle through her back deck and was working on the supports underneath. This is a very awkward way to meet someone's roommates, let me tell you.
Our first weekly gig together was at a place called the Gold Dust Meridian, which we still play every Wednesday (when we're in town). That first night, a guy came up and put three lottery tickets in the tip jar. We got home and tossed them on the kitchen ledge and forgot about them for a few weeks. We finally got around to looking at them more closely and, since they were scratch-offs, each took one. Neither were winners, but the third one, we shared. We won $100 and instantly had a band fund!
Tell me about some of your favorite classic country duets and what makes them so special.
Leslie Beia: There's something very special about husband/wife duos that I find fascinating. Although the best performers, like Dolly and Porter, sing magically together and play the part on stage, there's something else at work when the relationship is both personal and professional. It's like sister or brother harmony: You can come very, very close to approximating it, but there's just this other level that can only be reached through a certain depth of familiarity.
I sometimes watch old George and Tammy videos and try to imagine what they were really feeling for each other on stage, knowing there was so much chaos behind the scenes. Sometimes she looks like she's about ready to strap him to an anvil and send him over! Pete and I are enjoying this grand adventure together with all the layers. It's a lot of work, but there's a richness we get to experience that hopefully informs the music. And to date, no one has yet purchased an anvil... so far so good!
Obviously, three chords and the truth factor in, but how do you craft new songs that sound classic and timeless?
PK: The classic country music that we love is deceptively simple music. It often deals with very complicated subjects that are communicated or implied in such a way that the underlying, deeper story is made as human as possible, and is thus very inclusive. "She Thinks I Still Care," recorded by George Jones, is a great example of this. So much is left unsaid, but the deeper story is crystal clear.
When we write our original tunes, we try to write about things we know and care about, and pay a great deal of attention to nuance and language, framing them inside the familiar sounds of classic country music that we love. The result, hopefully, reflects that deceptive simplicity which holds a deep story.
Portland doesn't seem like a honky tonk town. What's that scene like there?
PK: Portland has a historically strong traditional country music heritage that might not seem apparent at first. Willie Nelson lived here, playing the local honky tonks and DJing at a radio station in neighboring Vancouver, Washington. During the '40s and '50s, we had some of the biggest country music dance halls on the West Coast. The scene was huge thanks to the Kaiser shipyards located here during the war, which attracted thousand and thousands of workers from Texas, Oklahoma, and the Southern states. After the war was over, a lot of them stayed and the music remained strong for decades.
We're lucky to have several venues that feature country music exclusively (or at least frequently), and a pool of world-class musicians to draw from. While there's certainly a lot of modern country fans around, we have a great scene which loves and embraces the older sounds of classic country music of the '40s, '50s, and '60s.
You and Pete -- and your players -- all dress the part for gigs. Does that help summon the proper spirit?
PK: We think it's nice to get decked out when we perform because it adds something special, visually, to the show and because, back in the day, the performers seemed to always make a point of looking sharp. It's debatable whether or not songs of heartbreak and loss translate better when you're looking fancy, but it can't hurt (no pun intended).
The Earnest Lovers new EP, 'Sing Sad Songs' is out now via Elko Records, and is available at iTunes and Amazon.com.
Peter Mulvey is organizing an online benefit concert via Concert Window for the Emanuel AME Church, featuring Mulvey, Pamela Means, Vance Gilbert, Peter Yarrow and more special guests to be announced.
Pay what you can and tune in Sunday, July 12 at 3pm EDT - HERE.
by Cindy Howes, for FolkAlley.com
In response to the Charleston, SC shootings, Milwaukee singer-songwriter, Peter Mulvey, has found himself at the forefront of a folk musicians' movement with his protest song "Take Down Your Flag". The song began as a simple request for the South Carolina government to take the confederate flag down to half-staff in the wake of the massacre, in which 9 black Americans were gunned down in the Emanuel African Methodist Episcopal Church. Mulvey wrote one verse of the song and then asked other folk musicians to write 8 more verses, one for each victim. Since the song's posting online, over 200 verses have been written by songwriters like Ani Difranco, Melissa Ferrick, Anais Mitchell, Vance Gilbert, Mark Erelli and many more.
On June 30th - two weeks after the shootings - Peter Mulvey took the time to talk to Folk Alley about "Take Down Your Flag".
Interview Transcipt:
Cindy Howes: You wrote the song "Take Down Your Flag" in response to the Charleston, SC shootings on June 17. When did you actually write the song?
Peter Mulvey: I wrote the song in the dressing room, next to Ani Difranco, underneath the Calvin Theater in Northampton, on Friday June 19. I wrote it about a half hour before I went on stage, it took ten minutes.
Can you explain the moment that you were moved to write it?
It was the two days of talking. The shootings, I found out about them Wednesday night, Thursday I spent the day alone and hanging out with Pamela Means. She and I are Milwaukee ex-patriots, although I have since moved back. We've been talking about race for 25 years, she's of mixed race and we have our own stories. Then I talked to Ani and her band members before our show. Then I wrote the song just before the show. What led up to it was 25 years, actually 40 years, of thinking about this and then two days of conversation and then it was all distilled in ten minutes.
How did you come up with the idea of using other songwriters to add their own verse? Why was it important for other songwriters to add their voice and verses?
There's only so much one song can do, and the only verse I wrote which mentioned any of the victims was a verse for Susie Jackson because I was appalled that an 87-year old person could be murdered. I wrote a verse only for her as sort of a window to get into this tragedy. A fan of mine wrote and asked if I was going to write 8 more verses (for each of the victims). At that moment, a friend called and ask to cover the song. I said "Fine, but write another verse." Then Pamela Means, Ani Difranco, Erin Mckeown, Melissa Ferrick, Birds of Chicago, Paula Cole and many others have all written a verse. Jeff Daniels, the actor, told me he wrote a verse, but hasn't recorded it yet. This has kind of gotten out from under me.
Whose verses have you been surprised the most by?
Vance Gilbert. I wrote to him at one o'clock in the morning on Saturday. He told me he would do it the next morning, but then he got out of bed and wrote a verse right that moment. He sent it to me by 3 in the morning. He chose Dylan Roof as his victim. He chose the shooter as his victim. That surprised me and then what startled me more is when I wrote to him "That's an Olympic level amount of forgiveness," he wrote back and said "No. It's a verse in a song. Forgiveness is a process and I'm going to be working on it". That was a really bracing clarification of what it must feel like to have the same color skin as the people who were killed for the color of their skin and nothing more. It's like messing with the Taliban, in that; you don't even have to mess with these people for them to kill you. You can just be alive and they'll kill you for it. We who are not marked as targets, we can't know what it's like until we talk to somebody who is. That's the thing I most hope: that people will talk to each other, so they can wake up to the realities of their fellow human beings.
You told me that you only wrote one verse for "Take Down Your Flag", but in actuality, you wrote two?
Yes. I wrote a verse for Bree Newsome the incredibly brave hero who climbed that flag pole and took that flag down. She did it respectfully, with love, she had a smile on her face, and she was quoting from the bible. She and her pal who helped her, James, they didn't even let the flag touch the ground, they didn't burn it and they didn't shout profanity. They just took it down. She's made an amazing statement and she is my hero. She is in real danger now. She has messed with people who will remember her name. I am awestruck by her courage. You know, I've written a song, politicians have talked and Walmart has weighed in, but every funeral that was happening, had to happen underneath that flag. She is the only human being who has managed to give even an hour or two of relief from that small measure that must add to the pain and sorrow of those people.
The classic way of presenting a "folk protest song" is in a live setting usually feeding off the energy of other protestors (Pete Seeger, Joan Baez), but can you talk about the experience you have felt writing a protest song in 2015 and using social media as your way of spreading the word?
Yeah, it's super weird! It's super beautiful and super weird. The whole world is like this giant amalgamated, atomized, on-going concert/high school reunion. Everyone can talk to everyone in real time. I remember seeing a documentary about "We Shall Overcome" and it took months for the version to solidify, and then it swept. Now we have this weird thing where it's only been ten days and it's been sweeping, obviously a shallower version of impact within the culture, but it happens more quickly and happens in a more surreal way. I know the internet is a weird place and Facebook is a weird place, but I'm glad to see this song get out there. The first inkling of how powerful this stuff was for me was The Arab Spring and The Black Lives Matter moment. Some of the central figures, Deray McKesson and Netta Elzie, their work is almost exclusively on Twitter. It's amazing what they are accomplishing. They are holding to the fire, the President of the United States of America and twitter is allowing them to do this. It's just head spinning how everything has changed. I think it's changing for the good.
What is the next step for "Take Down Your Flag"?
We're going to be doing a benefit concert via Concert Window on July 12th in the afternoon. It'll probably start with me and probably be a rolling tag-team thing where everyone will be streaming on their feeds. The idea is to raise money. I did an impromptu one with almost no promotion on a hotel room on Friday night and about 50 people watched and donated $700 to the Emanuel Hope Fund which was immensely soothing to all the heartache here. I'm hoping we can raise thousands, if not tens of thousands of dollars. There are so many bereft children here who are going to need braces and tuition and probably therapy. The last funeral happens this Thursday when Rev. Simmons is laid to rest in Colombia. Then everyone's just gotta walk through the alien landscape of loss and we have to help them. It's just imperative that we help them.
When they first got started back in 2008, the founders of Good Old War -- Keith Goodwin, Tim Arnold, and Dan Schwartz -- carved their band name out of their own. Though they bid farewell to Arnold, the moniker still stands for the group's fourth full-length release, 'Broken Into Better Shape,' just out on Nettwerk.
The album leans heavily on raucous folk-pop to make its point, but closes with the tender acoustic ballad, "Don't Forget." While traveling around in support of the release, Goodwin and Schwartz stopped by the Mobli Beach House in Florida to lay down an even more tender, more acoustic rendering of the tune.
Schwartz explains the sparseness, "The song was written to say goodbye to a person very close to us. The music was meant to be as intimate as the lyrics are, so it was recorded that way. Because of that, it doesn't really change much in an acoustic setting. Mainly, we try to make sure we're on the meanings of songs and do our best to make sure we're expressing that whenever we play."
'Broken Into Better Shape,' is available now at iTunes and Amazon.com.
Rhiannon Giddens
Birmingham Sunday
Full Playlist


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Monday, April 14, 2014
New Audio Book Purchases
New Audio Books Purchased on April 11, 2014
Labels: Audiobooks, Purchases


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Block making in itself is an art that constantly evolves with the changes in the printing or the textile industry. With the development of textile printing the basic structure of the block changed considerably. Earlier blocks were very simple wooden structures without any handle, and were simply pressed on the fabric with hand or a wooden mallet. The result was not very even. Later on blocks with handles were developed for the ease of printing. Another system of creating an impression on fabric was the clamping the fabric, where in the cloth was pressed between two identical blocks. Later on iron hammers were used to apply pressure on the block, while the huge blocks could be pulled up and down by a pulley.
There is considerable diversity in the materials used for making blocks and in the techniques of block printing. Many factors decide what kind of block should be made for a particular situation. The most basic factor is the kind of wood. Sagwaan is considered best for the purpose and thus remains the most preferred wood. It is found in abundance in Gujarat and Madhya Pradesh. Perhaps the fact that this wood is easily available locally makes it popular with local block makers. Locally it is known as Saag or Sagi (botanically called Tectona Grandis). The colour of the sap wood is
golden yellow, which slowly changes colour, from light to dark brown and then to almost black with age. One of the most important characteristics is the natural oil contained in the wood that helps in its preservation. Due to lack of fibres, it is easier to carve very finely.10 The wood needs to be seasoned for the long life of the block. Thoroughly air dried wood is called seasoned wood.
Wood needs to be seasoned before being used for any kind of constructive purpose. Even the well seasoned wood has proportion of water, which can be removed by hot air drying. Seasoning is quicker when wood is kept in water for a long time and then dried. In villages often people keep the wood in village ponds or lakes for months for the same purpose.
The next stage is developing the design of the block. The design of the block is created on a piece of paper. The wood is then mechanically cut to the required size of the block. Once the wood is ready to use, then the design or the pattern is transferred to the wood. This is called "likhai", drawing the design on the block.
Carving the block
The next stage is the carving of the design. That requires an understanding of the basic system of blocks. When one wants to print a single colour design then only one block is required to print this design. This could be the Rekh –the outline block, or the "Jaal" a kind of block, which has a geometrical, floral or lattice work. The key outline block (from the Hindi word "rekha" which means line) defines the form of pattern. Normally Rekh in considered the "key block" which gets printed first in order to give 'clue' to other block to fit in. In some cases Rekh is split into two blocks in order to print two colours. This kind of block is known as 'chirai' (splitting) block.
To achieve a second, third or fourth colours many blocks are needed. The second colour blocks are "datta" or "Daatla" and the third block is called the "Gad". Usually these blocks are much thicker than the first block. Here we need to visualize a red flower, for example which has green leaves, brown twigs and a black outline. Thus the first block that we will print is the black outline and it will be the finest, as it defines the space. Then comes for example the red flower, this is being printed between the outline of the black and this will still be a fine block, but much thicker than
the outline. Basically one needs to imagine step by step painting of colours inside the pattern created by an outline of a pencil.
The saw is used for the basic cutting of a block of wood, which is required for making the chaapa-the block. The drill is used for making the holes in the blocks, while the chisel carves out the minutest details with the help of the hammer. Later on, the woodworker uses a file to smoothen the block. Vice and pincers are used for holding the small pieces in position. A thin layer of whitening chalk is mixed with gum and water and then it is applied on the smooth surface of the wood to take the impression of the design. The design which is drawn on a tracing paper is made in
as many colours as are required to be printed. Thus each colour represents a different block –the rekh, the gad, and the data. This design is further transferred to the wood for carving. Tiny iron chisels of various sizes are used for carving the design.
Once the engraver starts to make the block, he might realize that the inner layer of the wood is not so well seasoned or dried after being seasoned in water. Thus the blocks are immersed in local oil for a couple of days for further seasoning
Block making
1. Tracing the design on paper from an old design
2. A design being traced on paper, to be printed on the wood later
3. Design traced on to the wood for carving
4. The carving of the block
5. Detail of carving
6. A block already half carved
A block fully carved, now all the extra wood needs to
be cut from the sides.
Sizes of blocks
The sizes of the blocks can vary considerably depending upon the design, but at the same time there are certain specific sizes which are found more commonly.
For the main block which fills the entire surface of the fabric, the usual size is 6"x6", one does find blocks as big as 7"x12"also. The borders blocks are usually 6" long, but the width can vary considerably depending upon the design.It starts from half an inch and one can find border blocks as wide as 4 inches, there are adequate options.
Different sizes and styles in blocks
Wooden blocks inserted with metal to create pattern
A variety of blocks in various sizes
Matching blocks to print in combinations: The second and the broader block in the picture actually has the possibility of having another block printed between the two identical patterns on both sides.
In a buta or buti the sizes can vary considerably. From 2" till 8" long are easily available and thus the width also changes according to the length and the shape of the design.
Buta and buti blocks in different sizes


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Medical questions & health advice by board certified doctors
"I have IBS and have been experiencing diarrhea, what is causing this?"
PLEASE, if a doctor can answer, I would greatly appreciate it. I have IBS. I know I am allergic to caffeine, but drink it anyway. I am experiencing great deals of diharriah and my body is starting to feel broken down a lot. I am wondering what is causing this. I know it is the diharriah, but are my bones weakening, joints weakening? Am I hurting myself greatly and long term? Please help me. I know I should not drink caffeine but I am a student with 2 jobs so it is hard to stay awake sometime. I am 20 years old, female. Thank you
I would suggest that you schedule an appointment with a gastroenterologist. Irritable bowel syndrome is one of the most common causes of diarrhea and abdominal pain in young people. It is not a deadly condition, and does not tend to cause many other health problems such as osteoporosis or problems with the joints. We do not know exactly how irritable bowel syndrome occurs but it seems to be a problem with the way we perceive the feelings normal bowel function. It can also be due to unorganized bowel motility that occurs for other reasons. Diarrhea is not the only symptom, as constipation is often a complaint. People that have irritable bowel syndrome usually have to undergo a significant workup to rule out other causes of action. For example, people usually should undergo testing for celiac disease and have an upper and lower endoscopy to make sure there are no other problems with the bowel. If you have not undergone this investigation and you probably should. In addition there is blood work that can be done to make sure that the diarrhea is not resulting in significant loss of nutrients in your body. Again, I would suggest that you schedule an appointment with a gastroenterologist. This is the type of doctor that is most skilled that a workup for diarrhea in ruling out other causes of this symptom other than irritable bowel syndrome. If you do end up having irritable bowel and the end, then there are medications that can help with this problem.
Need more info?See a gastroenterologist today
Zocdoc Answers is for general informational purposes only and is not a substitute for professional medical advice. If you think you may have a medical emergency, call your doctor (in the United States) 911 immediately. Always seek the advice of your doctor before starting or changing treatment. Medical professionals who provide responses to health-related questions are intended third party beneficiaries with certain rights under Zocdoc's Terms of Service.


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Going broke
By ERNEST F. HOLLINGS, former U. S. senator
MARCH 22, 2011 -- Congress is full of protective politicians who refuse to lead. Most have come to Congress by way of money and polls, and they figure that if they have enough money and protect their record by voting the polls, they'll have no trouble with re-election.
Some are complaining that the President didn't consult Congress before going into Libya, but most are saying: "Shut up. Regardless of the outcome, we can't be blamed." The polls show that everybody is for defense and against taxes. That's why we're still in Iraq and Afghanistan. That's why we refuse to pay for government and continue to run trillion dollar deficits. On Morning Joe, commenting on Libya, several commentators cautioned: "We're doing nothing about Syria, Bahrain, and Yemen." We're always somewhere else in the world, but never taking care of the needs at home.
The President,
as Commander-in-Chief in the war against Libya, karaokes to Brazil stating:
"In this increasingly interconnected and fiercely competitive world,
our top priority has to be creating and sustaining new jobs and new opportunities
for our people." The President is right about the competitive world,
but the President and Congress are not competing. As Governor I led a
delegation of business executives to Brazil fifty years ago. We got jobs
then, but today Brazil is taking jobs from us. In this competitive world,
Brazil, that was buying turbines from GE, told GE that it would stop buying
them unless GE moved to Brazil. We now have an empty GE plant in South
Carolina. That's my point. All countries are competing in globalization
except the United States.
We developed Sematech in the '80s, saving Intel and Hewlett-Packard. I launched the Advanced Technology Program in the State, Justice, Commerce, Appropriation Bill to support innovation. The National Academy of Engineering had to certify the technology as innovative and it had to be approved by a committee in the Department of Commerce - no earmarks. The industry had to provide 50% of the funding. The Advanced Technology Program was highly successful, but President George W. Bush defunded it as "corporate welfare."
of crying for innovation, if President Obama would reinstitute the Advanced
Technology Program, it would create millions of jobs. But it doesn't pay
to develop innovation in the United States. Intel has long since closed
up in Silicon Valley, moved to Dublin, Ireland, then to China, and now
in Vietnam. Steve Jobs has 700,000 workers developing innovation in China
with more in South Korea and Taiwan. If President Obama had enforced Section
201 of the Trade Act to save General Motors when it was endangered, GM
would not have gone bankrupt, needing a bail-out. Enforcing Section 201
would create millions of jobs. In the trade war which ensues, President
Obama cries for education but refuses to protect the economy. We need
a lot more education in South Carolina, and we never have produced an
airplane. But Republican leaders in the Legislature packaged a $900 million
benefit for Boeing, and we are now producing Boeing's Dreamliner.
Senator Hollings of South Carolina served 38 years in the United States Senate, and for many years was Chairman of the Commerce, Space, Science & Transportation Committee. He is the author of the recently published book, Making Government Work (University of South Carolina Press, 2008).
© 2011, Ernest F. Hollings. All rights reserved. Contact us for republication permission.
About Fritz Hollings
NEWS: Hollings receives French honor
Receive commentary via The Huffington Post
The Hollings legacy
Read the new book
The University of South Carolina Press in 2008 published Making Government Work, a new book by Sen. Hollings. Learn more.


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Learn more about the historic events and milestones that led to the formation of the SAF.
Learn more about MINDEF's mission, SAF's Vision and Core Values.
Get to know our Political Office Holders and MINDEF/SAF Senior Leadership better.
Speeches | 18 Feb 2019
First, a very good morning. Ivy and I are very honoured to be here to launch the RSN's first Type 218SG submarine. Today's launch is a significant milestone for the RSN and Singapore.
Others | 18 Feb 2019
The newly launched Invincible-class submarines will join the Republic of Singapore Navy (RSN)'s surface fleet to protect Singapore and secure access to her sea lines of communication.
Singapore's defence policy is fundamentally based on the twin pillars of deterrence and diplomacy. Find out more here!
Find out how MINDEF/SAF has contributed over the years to various regional and international HADR efforts as well as maintain international security through peacekeeping and peace support efforts.
Check out the latest MINDEF/SAF events and advisories.
Last Updated on 28 Feb 2018


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Visit here: http://maps.secondlife.com/secondlife/Couture%20Boulevard/128/128/22
"What are your feelings on sensory deprivation?" This is one of the questions that comes in the BDSM version of Truthball just released in the latest of their new Gallery Edition releases in BDSM, and regular Male, and Female versions. They can also be loaded with their other question packs. Just in time for the gift giving holidays Truthball has released their latest versions of the ever popular game. The Gallery versions have been released in table top size and full size in beautiful sculpture style that need to be seen in person to fully appreciate. The male and female versions ask a variety of questions and I really enjoyed the pg chocolate questions with a friend. Truthball owner, Leesa Donner, told me all about their products. I have used the holiday version for a couple of years and just tried out the new gallery versions. These really are a great way to get to know people better. I've seen them used in clubs and at parties too. The Gallery editions are gorgeous with colors and moving particles inside the globes.
If you are not familiar with Truthball, their promo says it best,
"Best truth or dare style game in Second Life.Wanna have some REAL fun??? Do you want to score points, have fun with your SIGNIFICANT OTHER and throw the best parties? Do you want a better way to get to know someone or have them get to know you? Play TRUTHBALL to ask the questions you NEVER would DARE to ask yourself and simply knockout your guests with fun questions that will leave a lasting WOW impression. The basic TRUTHBALL offers more questions than any game in SL from sexy to silly, ..so you won't see duplicates for a long time. Over 50 more question sets are available for additional purchase. The game lasts for hours of fun. You can even write your own!" TRUTHBALL is the Best Truth or Dare Game in Second Life...thousands sold. They also have brand new question sets.
Other versions available in the store or on SL Marketplace include: Valentine, Holiday Snowglobe (cute for Christmas as it looks like a little snowglobe with a snowman, tree, and present inside), low prim, Neko, Truthkitty, Celtic, En Espanol, Bound V.III, Ultra Low Prim, DJ, St. Patricks Day, Wedding, RL Big Issues, Get 2 Know You, Cauldron, and many other editions. Check them out on SL Marketplace here: https://marketplace.secondlife.com/stores/27820?search%5Bmaturity%5D=General&search%5Bpage%5D=1&search%5Bper_page%5D=12&search%5Bstore_id%5D=27820 These make great gifts for all occasions.


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Alarmed at the prospect of losing the army's booze supply, Ol' Piet and his baggage wagon jogged away from Bungole Bushwhacka in the direction of the bridge, while The Hermit on the Mount and the Dwarf crossbows rushed in the opposite direction, hoping to save the baggage from Bungole and Oogie's goblins. As he ran, the Hermit cast cure light injury on himself, and felt the last agonies of his wounds fall away. Near the monastery, the Helblitzen stepped over the body of their fallen leader and charged into the Orc crossbows. The Goblin regiments which had been beaten at the monastery were too tattered and demoralized to rally, and streamed off to the east, past Flo's field kitchen. Flo and her girls jogged out to meet them, dugs flapping about their knees, hoping to catch some weak or wounded ones for 'da pot', but the gobbos evaded their grasp and kept running for the river, where the relative safety of their rafts awaited them. The fanatic spun menacingly toward the bolt thrower, gurgling and squealing to itself as it went. Bungole Bushwhacka and Oogie Spazzjabber's goblins pursued the Dwarf baggage train, Bungole driving his boar into the midst of the baggage bearers and killing one of them with a stroke of his long knife.
With so many dead and dying on both sides, it had seemed, for a moment, that the battle might wind down and sputter out, but all along the line, savage fighting broke out afresh. The Orc bolt thrower crew eyed the goblin fanatic nervously but stuck to their task. At last a target had appeared, and they weren't about to let it go. The launched their bolt into the flank of the halberdiers. The long, terrible shaft lanced through the ranks of the men at arms, killing three of them. The stone thrower boss once more launched his deadly load toward the middle of the fight between the Razorbacks and the Psycho Squad, hoping to hit the Dwarven contingent commander, who was laying down Orcs with his great sword. For once he was bang on target. He hit the Dwarf commander, but he hit a lot of other people, too. Three Dwarves were killed outright, including the commander of the Razorbacks, and the Dwarf commander was wounded once. Unfortunately, stones also plummeted into Scarffgagg Sorehead, who was himself wounded twice. The stone thrower boss winced and began to reload in great haste. Now that he'd hit Scarffgagg, he supposed he'd better finish him off, or he'd pay for it after the battle.
Near the monastery, the orc crossbows launched their quarrels into the oncoming ranks of the helblitzen, dropping one of the halberdiers, but lost two of their own as the halberdiers' charge hit home. In the shoving match that followed, the crossbow boys were pushed back across the north-south road. In the fight between the Red Dragons and the arrer boys, one orc was brought down and speared, but his mates dug their heels in and refused to give ground.
The sanguine struggle between the Scarffgagg Sorehead's boys and the Razorbacks claimed two more orcs and two more dwarves slain. Scarffgagg, badly wounded and with only his standard bearer still alive and fighting with him, was borne backwards by the dwarves and shoved into the ranks of the snotlings, who now became embroiled in the fight as well.
Round 8:At the other end of the meadow, the last two goblin archers fled off the field while Bad Bloody Frumpkins' eight remaining goblins rallied for some reason, turned about, formed up and got ready to head back to the fight.
Morning had passed and the sun hung high and hot over the blood field beside the hamlet of Muffburg. The little meadow was choked with the dead and dying, yet galvanized by their shared hatred, the two sides continued to hack and claw at one another. Leaping over the wall of the monastery, the last two monks raced toward the flank of the Orc crossbow boys, who were being pushed back further and further by the helblitzen. A crossbow boy and a halberdier fell in the tussle, but the orcs, though pushed back, fought doggedly on. Beside them, the arrer boys and the Red Dragons remained locked, but the Dwarves seemed finally to be getting the best of their foes. One dwarf and no less than four orcs fell, and the arrer boys were driven back yet again. Nearby, Scarffgagg Sorehead and his standard bearer were finally overcome, the Dwarf Commander laid the Orc Chief low with one last terrible stroke from his two handed sword. Characteristically, Scarffgagg refused to go down without a fight. One of his meat cleavers spitefully found its way through the Dwarf Lord's mithril armor, wounding him again. It was not enough to take the gallant Dwarf down. As Scarffgagg's standard went down beneath the press, the Dwarves pushed on into the mass of the snotlings, carving through the tiny creatures as though they were hacking down thistles. The lame weapons of the snots rang and snapped uselessly off the Dwarves' armor, but incredibly, they decided to keep on fighting.
Nothing seemed to be going right for the Orcs. The bolt thrower crew tried to get another shot off at the halberdiers but, distracted by the specter of the Goblin fanatic who was spinning around behind them, dangerously close, they lost their concentration and missed their shot. The stone thrower crew took aim once more at the mass of orcs, snotlings and dwarves near the bridge, but the boss was too busy sampling some tidbit he'd just removed from his nostril to judge the distance properly. His shot fell short.
Near the baggage cart, Bungole Bushwhacka cut down another baggage handler but, determined to defend their precious booze, Old Pete and his surviving minions refused to rout. Oogie Spazzjabber and his lads tried to charge into the fray around the wagons, but got hung up in the trees around the monastery wall and couldn't quite make it into contact. The crossbows and the Hermit on the Mount continued to jog toward the spirits-laden wagon, the Hermit casting Strenghth of Combat upon himself as he ran.
|Having finished off Scarffgagg and his lot, the dwarves wade into the snotlings. For reasons best known to themselves, the snotlings choose to fight back mainly with rude gestures, and fare poorly as a result
|The surviving monks rush to help the halberdiers finish off the crossbow boys
Nothing seemed to be going right for the Orcs. The bolt thrower crew tried to get another shot off at the halberdiers but, distracted by the specter of the Goblin fanatic who was spinning around behind them, dangerously close, they lost their concentration and missed their shot. The stone thrower crew took aim once more at the mass of orcs, snotlings and dwarves near the bridge, but the boss was too busy sampling some tidbit he'd just removed from his nostril to judge the distance properly. His shot fell short.
|Bad Bloody Frumpkin's lads rally on the very edge of the battlefield. Dammit, I need to get myself some backdrops!
Near the baggage cart, Bungole Bushwhacka cut down another baggage handler but, determined to defend their precious booze, Old Pete and his surviving minions refused to rout. Oogie Spazzjabber and his lads tried to charge into the fray around the wagons, but got hung up in the trees around the monastery wall and couldn't quite make it into contact. The crossbows and the Hermit on the Mount continued to jog toward the spirits-laden wagon, the Hermit casting Strenghth of Combat upon himself as he ran.
A climactic clash appears to be brewing around the coveted booze wagon...
The monks charged home against the crossbow boys. In the fierce scrap that followed, two orcs and a halberdier were slain. The Red Dragons' shield wall jostled the arrer boys back once more, their hedge of spear-points bringing down another three orcs in the process
Close by, the worst fears of the bolt thrower
crew regarding the fanatic were confirmed
when the wretched creature suddenly changed course and caromed straight through them, killing them both and leaving the bolt thrower standing suddenly unmanned and forlorn. The demented, blood-stained goblin swept on, heedless, and plunged into the waters of the nearby stream. The hood of his black cloak was last seen bobbing upon the dark water, carried downstream, under the bridge and off the battlefield. Their attention absorbed entirely by this appalling sight, the stone thrower crew missed their shot yet again. Bad Bloody Frumpkin and his few remaining gobbos began marching back toward the fight. No one could say quite why, as there was nothing that they could do now which could possibly make a difference to their lost cause. Flo and her girls were already packing up their field kitchen and preparing to depart in great haste, as they could now clearly see which way the wind was blowing.
The Dwarf crossbows shot two of Oogie Spazzjabbers' gobbos stone dead as they charged home against the dwarf baggage train. The goblins hacked desperately at the dwarf farriers but their blades and clubs found no mark. The Hermit on the Mount rushed into battle with Bungole Bushwhacka but found himself wounded twice for his trouble as the tough old orc scout fought back like a wildcat. For a moment, things looked grim for the army's beer supply.
But by now, anybody could see that the battle was as good as over. Snarling, Bungole seized the reins of his mount and turned the stubborn beast about. Hoisting one last middle finger over his shoulder, he disappeared into the trees near the road. Oogie Spazzjabber and the remains of his gang followed him, and the exhausted dwarves were content to let them go.
The healing potion had been just enough to keep him alive. In all the commotion, he'd been able to drag himself away through the piles of the dead. As he approached the edge of the battlefield, the sounds of strife fading behind him, Flo and her girls had spotted him and come running, knives and cleavers gleaming. He'd lifted a claw at them and made it crackle and glow with a purplish black light that promised most unhealthy things. Flo and her lot had gone sulkily back to their pot. He kept crawling. Curse it! It should have been so easy. He had expected some humies...but stunties? Where had they come from? If only he'd known, he would have done things differently. He stopped for a moment among the twisted roots of a great tree, wishing he'd had another healing potion. Or some booze, at least. If only he'd known...he might have deployed his stikkas and big shooty machines in a line in front of his Orc mobs...that would have forced the pinkies to come to him...they would have gotten chewed up by arrers and crossbows and big rocks and fanatics long before they reached his line, then the Orcs could have finished them...but it didn't happen that way. They had gotten jammed up in that little field, no room to spread out and get round 'em. War machines had got stuck in the back...couldn't see...
He noticed a skull laying near him. It was a very old skull, a root tendril growing through an eye socket. He supposed it was a sign, and forced himself to move on. The fanatics! They should have put paid to a good number of pinkies, but no! Right out of the gate, they'd gone almost no distance at all, and as soon as they'd lost their bearings, they'd gone the wrong way and carved a gory swathe straight through the ranks of their own friends, curse them! What a disaster!
He came out of the woods. Now he could see the familiar and welcome shapes of the rafts lying on the reedy riverbank. Some goblins and snotlings started when they saw him. "'Ere, you lot!" he croaked, get one a dem rafts ready! We're leavin'. I done killed all da humies. Dere ain't none left. Let's go!" The little creatures dutifully hauled their master onto a raft and grunted, gurgled and sweated as they poled the rickety craft out onto dark waters of the great river. They didn't even ask what had happened to everybody else, or where all the loot was. Rufuss Drakk lay exhausted on the edge of the raft, one bloody, stinking foot trailing in the water. What could ya do when so many things went wrong all at once? Well, he thought, gazing at the afternoon sky, there'd be another day... A day when his luck would be in.
The little column of carts and wagons filled with the women and children of Muffburg hurried on down the west road, headed for the safety of The Refnsburg. In the late afternoon, they met the Margrave of the Sudmark coming the other way with ten knights, one hundred retainers, and some of the sherriff's men. The Margrave sent the little caravan on toward the Refnsburg with two knights and twenty foot as an escort, and hurried on to Muffburg. Near evening, as the innumerable frogs and crickets began to raise their voices above the fragrances of the summer woods and meadows, he arrived at the scene of battle.
A pyre had been built for the bodies of the greenskin scum, and a few dwarves were setting it alight. The tounges of red fire shone out bright in the slowly gathering dusk. Near the Monastery the Margrave found two monks trying to pull down and expand the wall which enclosed their little habitation. The were trying to make room inside for the graves of the men who had died helping to defend it. Amoung these were Erich von Nashorn and Johann von Treuehardt. The Margrave had known both men well. He thought of von Nashorn's eldest son, little more than a boy, he'd soon find himself thrust headfirst into unforgiving manhood. Yet the father had left the son a proud mantle to wear.
The monks had offered to bury the fallen dwarves at the monastery as well, but the Dwarves had politely declined. The Dwarves would be returned to their home, and laid to rest beside their fathers in ancestral vaults that lay deep within the roots of the Thunder Mount. Already the Dwarves were hewing down boughs and binding them together to make carts and travois with which to bear their martyrs home. The Margrave thought of the four heros, two Dwarven, two Human, that had died side by side... the poet's old line rose in his mind..."A noble fellowship of death." Now who had written that?
Men and Dwarves seemed busy enough in their grieving and in their labors that no-one seemed very interested in talking to him, so taking a few men with him, and leaving the others to help, he rode down to the river. The great water rode low in his channel, as was his wont this time of year. Near the water's edge, some of von Treuhardt's men had gathered a pile of fresh hewn stakes and another pile of something else. Riding nearer, he saw what it was...the heads of all the greenskins killed on the field at Muffburg. The men, some with tears of loss and hatred still in their eyes, began driving stakes into the high, mossy bank, and fastening the sightless, thoughtless housings of their dead enemies atop them, a ferocious warning to any who might think to return this way.
The Margrave did not disturb them. He turned in the saddle to look east. High above the darkening bed of trees and the smooth brown shadow of the great rivers' waters the sky was purpling, and a few silver stars were beginning to shine out. The wind from the east was hot and sere, carrying nothing of the moisture of the river. Though the wind blew the wrong way, he could smell a little the smoke of the great pyre beginning to burn behind him. It was the longest day of the year. Soon, another summer would begin to fade.