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Tag: music 2016
Brother Ali – All The Beauty in This Whole Life
Some time ago, Brother Ali had vitality and passion. It was a time everyone hated Hip-Hop made for partying, so some did bland, unmusical Boom Bap and others decided Hip-Hop could be about things other than killing and fucking. Nowadays it's not mind-blowing anymore and that's okay, since that era gave us Atmosphere whose followers – like Grieves and Sadistik – are the future. Brother Ali had his sure of fantastic tracks.
When I say 'vitality', I don't mean that Brother Ali gone soft or any of that crap. The best song here is "Out of Here", and his best song overall is "Faheem", a heartbreaking song for his son that's arresting from the first note and the moment Ali opens his mouth. There is vulnerability in his voice, one of an everyman who struggles with everyman issues that despite being common they're still so huge we need music to deal with them. For a long time, it was one of the first songs I offered any time someone went off on 'Hip-Hop is not music' rants.
This album continues with the more introspective, less political nature. Nothing here goes hard like "Whatcha Got", and that's okay. The problem is, Ali doesn't sound like he's really into making music. Many of these songs ramble and don't go anywhere. When they do, these are messages we're familiar with and their delivary isn't interesting or adds something new.
I'm not even sure if Ali is capable anymore. Like any rapper in this style, he had a tendency to make songs that are too dense to be interesting, but "Out of Here" should've been more powerful, darker. It should've brought the same vulnerability that made "Faheem" so arresting, yet it just coasts along. If it never sends a comforting message like how life goes on, it also doesn't provide much insight into the topic. Losing someone to suicide is confusing. It shifts paradigms. We don't just realize someone is gone, but it was death by choice. Someone actively decided that this whole project called life isn't worthwhile.
According to the story, Ali took a break from music and went on a trip around the world to learn a bit about the beauty and love and life. Just look at the title. This kind of optimism leads to two things. Either there is a madness, an untamed desire to live and experience and contain everything which often leads to gender-bending music or you get dull, non-confrontational Zen bullshit. As if being complacent, or passive or placid, or whatever bastardization of Buddhism we invent is somehow profound.
Ali's new found optimism isn't mad and engrossing. All it does is make him less confrontational, with less desire to jump fully into his ideas. "Before They Called You White" reeks of tokenism, not of anger or of intelligence. Ali wants to take on the invention of whiteness. That's an interesting topic that people don't say interesting thing about. I can't even get angry at Ali missing the cases and histories of racism not done by whites. Nothing is more West-centric than pretending whiteness is the great evil, but at least the idiots who spew that are passionate about it. At his most passionate in his song Ali says 'Post-Traumatic Slavemaster Syndrom", which is kind of cool. As for the final hook, it's ironic. If the eye can't see itself and needs critique, can I do it to all cultures?
Don't get the impression that this album provides insight into the racial struggles. Nothing here is like Macklemore's "White Privilege", an abomination that was at least interesting. The second time Ali talks about race with focus is on "Dear Black Son", but since race is everywhere in contemporary discourse the song is not interesting. I don't mind songs about the Black experience, but don't expect a "The Blacker the Berry", something that shows the pain of being marginalized, of being always afraid a random cop will shoot you or that everyone still gives you funny looks despite claiming constantly they're not racist. There is genuine pain to explore here, but this song is nothing but 'you're beautiful and don't let anybody tell you otherwise'. Considering Ali experienced losing someone to suicide, I think if anyone needs this message, they are people who don't an identity to give their life meaning.
I digress. This review should talk about how dull Ali's rapping is on this album. Whatever interesting thing he has to say on "Never Learn", the best thing about is the bluesy beat. Mostly, it makes me wish I was listening to Grieves who is so talented even when the songs are about nothing he imbues them with emotion. "Never Learn" is just cookie cutter serious Hip-Hop, pleasant on the ear and nothing else. Most of the songs are like this. I don't get it. Ali is a talented rapper and the first single, "Own Light", has some life in it. In fact, it does hint that the album might be necessary, taking introspective Hip-Hop to a more optimistic direction and creating the antithesis of Sadistik.
Sadly, the end result is introspective Hip-Hop without much going for it, either in subject matter, atmosphere, tone, wit or anything. The impression is that Ali found peace, and now he doesn't have much he needs to let out in music besides some joy in "Own Light" and sorrow in "Out of Here". In the title-track which closes the song, he praises God and overall existence. Forget, for a moment, Ligotti's pessimism and how existence is always bad. Is that how the passion and love for life should sound like? Isn't happiness and love wild, untamed emotions which we just can't contain? Aren't the best smiles those we can't control? I'm happy for Ali that he's at peace, really, but if his heart isn't in music then he doesn't have to make music.
Anyone remember "Fresh Air"? Now that's a song that could cure depression.
2 out of 5 here
Author The Brain in the JarPosted on May 5, 2017 May 5, 2017 Categories music, reviewTags 7l, 7l & esotric, abstract rude, aceyalone, action bronson, aesop rock, album, album review, all the beauty in this whole life, apathy, army of the pharaohs, asher roth, astronautalis, atmosphere, big punisher, binary star, black, black milk, black moon, black star, blackalicious, blu, blue & exile, blue scholars, blueprint, brother ali, busdriver, cage, camp lo, canibus, cannibal ox, cecil otter, celph titled, chali 2na, classified, common market, company flow, conscious hip-hop, copywrite, cunninlynguists, cyne, czarface, danger mouse & jemini, dangerdoom, dark time sunshine, dead prez, del tha funkee homosapien, deltron 3030, dem atlas, dessa, dilated peoples, doomtree, dr. octagon, edan, el-p, eligh, elzhi, eminem, esoteric, everybody, evidence, eyedea, fashawn, freeway, gang starr, gorillaz, grayskul, grieves, hail mary mallon, heiruspecs, heltah skeltah, hieroglyphics, hilltop hoods, hip-hop, hiphop, homeboy sandman, hopsin, ill bill, immortal technique, introspective hip-hop, j-live, jake one, jay z, jean grae, jedi mind tricks, jemini, jeru the damaja, jurassic 5, kanye west, kendrick lamar, killer mike, kno, kool keith, krs-one, little brother, living legends, logic, louis logic, lupe fiasco, lyrics born, mac lethal, masta ace, mf doom, mos def, mr. lif, murs, music, music 2016, music 2017, music album, music review, nappy roots, nas, new album, new music, non phixion, non-prophets, oddisee, oliver hart, one be lo, open mike eagle, organized konfusion, p.o.s., people under the stairs, pete rock, pharoahe monch, pop music, popular music, pos, prhyme, prof, public enemy, ra the rugged man, race, rakim, rap, rap metal, rap music, rapping, reflection eternal, reks, review, rhyme, rhymefest, rob sonic, royce da 59, run the jewels, sadistik, sage francis, sandpeople, sean price, shad, shadows on the sun, sims, skyzoo, slum village, snowgoons, soul position, souls of mischief, starship troopers, statik selektah, step brothers, suicide, sweatshop union, swollen members, talib kweli, tha alkoholiks, the beatnuts, the chicharones, the coup, the doppelgangaz, the dynospectrum, the gift of gab, the grouch, the grouch & eligh, the roots, the uncluded, the undisputed truth, tondeff, ugly duckling, vinnie paz, white, white people, white privilege, zion iLeave a comment on Brother Ali – All The Beauty in This Whole Life
New Found Glory – Makes Me Sick
New Found Glory exists currently for about 20 years. I know people who are younger than this band. This is so bizarre. Recently I sat with a friend and we reflected (or lamented, or celebrated) the fact we're getting older. What makes this all the more bizarre is that New Found Glory works in the genre of youth. Even if you weren't a teenager in the days of Punk Pop – I was, but was more of a Nu Metal kid – this still sounds like music for teenagers to get loud to. It was catchy, it was loud, it was angry and victorious at the same. For the 30-year-old man, a song like "My Friends Over You" means nothing. For a 16-year-old kid trying to convince himself that he's not attached to a girl, this song means everything.
In a way, this album is an acknowledgement that these dudes are getting older. Whatever their previous albums sound like, "Party on Apocalypse" is the sound of an out-of-touch adult who remembers being young, yet realizes his youth has been replaced. In style it's what you expect from a grown-up Punk-Pop band. The riffs are moved to mid-tempo and they discovered you can dance to something other than pounding drums, so you get a slightly funk rhythm. Musically it updates the genre for parties, and many bands went this way. Eventually we find our friends and want to chill with them.
The lyrics are different. Many heard about how the current generation is stupid. Just ask Socrates and how he hated writing. The lyrics are full of discorn, of venom towards the current generation. It doesn't come from an adult perspective or reminisincing on better days. It's just as suited for any 16-year-old today who's confused about how to have fun.
The first verse immediately kicks off with how the 'living for the weekend' mentality is stupid. Coming from the band with that nasty tone, they sound like the ones who are actually having fun. All these people who pass out in parking lots and care so much about their image look ridiculous. The band doesn't get angry over it, but confused and mocking. Later there's even a slight at Social Justice. It's the outsider perspective, how things look from the outside. All those people putting pictures on Facebook of them with beer bottles and all this identity politics thing, where people think their race or gender must be their whole meaning. Thankfully the chorus saves it from being just a song about being grumpy about waiting for all the trends to die. In the end it's a party song about looking at the world from outside, thinkinkg it's ridiculous and knowing you have more fun.
Two more other songs take this delusional approach – "Call Me Anti-Social" and "Your Jokes Aren't Funny". The latter is pretty obvious. Someone's jokes lost their spark, like when you're 22-years-old and memes about rape jokes just don't do it for you and actually look offensive. "Call Me Anti-Social" continues from "Apocalypse" with being even more anti-social, but there's something charming about it. Like the previous song it's another response to a world where we're surrounded by images of people being social (Which is not the same as actually being social). In this world, it's far easier to feel isolated and alone. Unless you're sticking your tongue out in Ibiza, you're no fun. As an anthem of tiredness, it's fantastic and exactly what I'd expect from a rock band who notices how different the rock landscape is now.
Everything else after that is just a retreat of Sticks & Stones. That's okay, because New Found Glory have more charm than any band they influenced and overtake them. Anyone else would've ruined "Party On Apocalypse", but it's their everyman, ordinary people with loud guitars approach that makes it so charming. So when they talk about being used for sex ("The Cheapest Thrill") or a weird unstoppable love ("Barbed Wire") it's cute.
It also lacks vigor. It lacks the authenticity of youth. I'm not saying they are pretending. I'm sure they really care about these songs and the only time a song is close to bad is because the melody is dull, like how uninspired "Blurred Vision" is with repeating a single phrase over and over. Yet what made their original material so powerful was how youthful it sounded, that it wasn't a professional band knowing their genre but a bunch of dudes who had passion for romance and were really confused over being young. "Barbed Wire" is really cute and the lyrics are adorable, but I wonder what it would've been like if they played it 15 years ago. They do sound grown-up, which is excellent for some songs. When talking about broken hearts though, they're just professionals going through the motions. It's still good, but this isn't the heart of Punk-Pop.
"Party On Apocalypse" is a fantastic and should be at the top of end-of-year lists talking about the best songs. It's everything I want from New Found Glory now that they're older. Someone should've expressed disillusionment and confusion over contemporary times and this nails it. Besides that, it's just a rehash of old material without the same youthful energy. It's fun, sure, but besides "Call Me Anti-Social" I can get everything here in better form in previous albums. Get these two tracks though.
I wish they would've used a better album title. What could be more generic?
2.5 apocalypses out of 5
Author The Brain in the JarPosted on May 1, 2017 May 1, 2017 Categories music, reviewTags +33, a loss for words, acceptance, album, album review, alkaline trio, all downhill from here, all time low, allister, amber pacific, american hi-fi, apocalypse, armor for sleep, as it is, autopilot off, bayside, better luck next time, blink-182, bodyjar, bowling for soup, box car racer, boys like girls, brand new, cartel, chunk! no captain chunk!, city lights, classic rock, cute is what we aim for, dance punk, emo, every avenue, face to face, fall out boy, farewell, fenix tx, fireworks, forever came calling, forever the sickest kids, four year strong, garage rock, go radio, gob, goldfinger, good charlotte, halifax, handguns, hard rock, hardcore punk, head on collision, hey monday, hidden in plain view, hit the lights, home grown, houston calls, i am the avalance, i call fives, indie rock, jimmy eat world, just surrender, kids in glass houses, knuckle puck, lagwagon, less than jake, linkin park, lit, lucky boys confusion, major league, makes me sick, man overboard, matchbook romance, mayday parade, me vs hero, mest, midtown, millencolin, moose blood, motion city soundtrack, music, music 2016, music album, music review, mxpx, my friends over you, neck deep, new found glory, no use for a name, over it, paramore, party on apocalypse, patent pending, plus 44, polar bear club, pop punk, pop rock, post punk, punchline, punk, punk pop, punk rock, quitedrive, real friends, relient k, rock, rock music, rock review, rufio, saves the day, say anything, seaway, senses fail, set your goals, simple plan, slick shoes, spitalfield, sr-71, state champs, such gold, sugarcult, sum 41, taking back sunday, teenage bottlerocket, the academy is, the all-american rejects, the ataris, the audition, the dangerous summer, the get up kids, the matches, the menzingers, the movielife, the red jumpsuit apparatus, the startling line, the story so far, the summer set, the swellers, the wonder years, this time next year, tonight alive, transit, turnover, unwritten law, useless id, valencia, veara, we are the in crowd, we the kings, with the punches, yellowcard, you me and everyone we know, you me at six, youth, zebraheadLeave a comment on New Found Glory – Makes Me Sick
Korn – The Serenity of Suffering
So Korn has turned into Sevendust.
The problem hearing albums like The Paradigm Shift when they come out, is that their role isn't clear. Parts of it point to Korn still experimenting, just unsure what to do with their sound. There are still bassdrops in "Never Never" and "Spikes in My Vains" had something like rapping in it. The new edition also had "Hater", their poppiest and catchiest song yet. On the other hand, a song like "Love & Meth", as good as it was, had nothing going for it but the melody. Many tracks showed no interest in sound but just kicking melodies.
In an ideal world, Korn would work on both directions. They would have some weird tracks, some poppy tracks and continue to insert new genres in unexpected places. What the new album proves is that they weren't confused at all in The Paradigm Shift. Rather, they were lacking inspiration so they couldn't do anything with the rapping in "Spikes in My Vain". They have seemed to lose almost all interest in their music.
What's so disappointing about The Serenity of Suffering is how familiar it is. Nu Metal should never sound familiar. It was always about mixing genres but being catchy at the same time. That's why silly metalheads and serious critics couldn't make sense of it. You can stop many of these songs after the first chorus. Sometimes, you can stop them halfway through the chorus. Korn exhausts their ideas within a minute into the song.
I stopped listening to "Rotting in Vain" as soon as the hook kicked in. Korn repeats the same chorus structure for "Please Come For Me", "Die Yet Another Night", "When You're Not There" and so forth. "Take Me" merely repeats its title. It was released as a single and I have to wonder what motivated them to do it. The song barely makes it to B-Side status with how lazy the chorus is. Frankly, I can't imagine anyone wanting to write such a dull hook, not even a songwritier strapped for cash. Someone should've reminded them they already had a song called "Hating" back in Untouchables.
Untouchables is a reference point for many reviewers, but what people praise about is exactly what's wrong with it. Back then, it was necessary. Korn had a bizarre sound but few hooks. "Freak on a Leash" sounds great because of the bass-heavy hook. Its melody exhausts its ideas in the first second, just like most hooks here. Now, I'm not sure what the purpose of this album. Korn proved they could write straightforward rock, so what's the point?
Yet, there are a lot of hints here of Korn, of their unique personality. "Rotting in Vain" is as generic as you can get until the middle, where Davis breaks into his skat singing. "Insane"'s hook may sound like a melodic carbon copy of "Let's Do This Now", but the band thrashes and adds some aggression to an otherwise ordinary song. Many of the songs also sound way better in the album's context than standalone. Even "Take Me" sounds better here, since it's surrounded by other Korn sounds and what dominates is their personality.
Speaking of their personality, it's not adjusted for this material. Nu Metal was always shallow, so the best Nu Metal was always aggressive, angry and with an edge of fun it. The best Korn songs are "For No One" or "Right Now", where the band was allowed to boast a little. Davis is an unimaginative lyricist, so much so that "Rotting in Vain" begs to be parodied (Only it's not attention-grabbing enough for this). So all these songs are only about hooks. There's no emotion here. The band has nothing interesting to say and in shows. That's why the album often feels like above average ordinary rock. It's being played by people who are more fun at parties, but not one you'd share your emotional troubles with.
Two tracks do stick out. "A Different World" is absolutely brilliant. It's one moment where the emotion is convincing. Davis has a lyrics focus, and the song doesn't just hurry to the chorus. That little build-up with the rolling drums contrast with the hook, which is itself a contrast. Davis sounds distresses, lashing out but literally backing against the wall while guitars smash behind him. They deliberately chose a steady rhythm. Corey's guest vocals are used brilliantly, becoming more present with every appearance of the hook. It has a guarantee in the next Greatest Hits package. There's also "Next in Line", which proves that Korn can sometimes conjure a beautiful melody. If every song had such a hook, I'd be more forgiving.
On the one hand, I'd rather hear Korn playing a bunch of ordinary rock songs than other bands. On the other, I'd rather hear Korn playing anything but ordinary rock. They still stick out like a sore thumb. You have to do when your guitars screech and Davis' voice is still one of a kind. It's not a bad album and it has "A Different World", but it has no purpose. It doesn't add anything new to their sound and its set of songs isn't particularly strong. Korn just goes through the motions, which is fine but I don't want Korn to be 'fine'.
2.5 different worlds out of 5
Author The Brain in the JarPosted on November 8, 2016 Categories music, reviewTags (hed) pe, 10 years, 36 crazyfists, 40 below summer, 4lyn, a perfect circle, adema, album review, alter bridge, amatory, american head charge, avenged sevenfold, bloodsimple, breaking benjamin, breed77, chevelle, coal chamber, cold, crazy town, dead by sunrise, death metal, deftones, device, digital summer, disturbed, dope, drowning pool, dry cell, dry kill logic, earshot, element eighty, emil bulls, endo, exilia, faith no more, fall out boy, five finger death punch, five pointe o, flaw, follow the leader, freak on a leash, fullmetal alchemist, glassjaw, godsmack, guano apes, hard rock, head, heavy metal, hed planet earth, ill nino, industrial metal, jonathan davis, kittie, korn, limp bizkit, linkin park, lostprophets, love and death, marilyn manson, metal, metalcore, metalheads, metallica, motograter, mudvayne, mushroomhead, music 2016, music review, my chemical romance, new music, nonpoint, nothingface, nu metal, one minute silence, otep, p.o.d., papa roach, pleymo, powerman 5000, primer 55, rage against the machine, rap metal, rap rock, roadrunner united, rock, rock music, saliva, scars of life, scars on broadway, serj tankian, sevendust, skindred, slaves on dope, slipknot, snot, soil, soulfly, spineshank, staind, static-x, stereomud, stone sour, stoner metal, story of the year, switched, system of a down, taproot, the paradigm shift, the path of totality, the serenity of suffering, the union underground, thrash metal, three days grace, tool, trust company, trustcompany, unloco, untitled, untouchablesLeave a comment on Korn – The Serenity of Suffering
Excision – Virus
Before we talk about the album, let's talk about the Brostep. We all know what happened. Along came a loud genre that was popular, so people decided it was stupid. Once everyone stopped with those crappy YouTube remixes of memes, the scene flourished. Excision was integral for the scene. His Shambala mixes were highly anticipated and were a document of where it was at. His two best mixes – of the years 2013 & 2014, showed Brostep turning into something different. It was no longer about plain heaviness, but switching BPM's and experimenting with odd sounds. When Skrillex collaborated with Justin Bieber, it was expected. That's how wide-eyed the scene was.
Then something happened to the water all the DJ's were drinking. Everyone took a step back to a time where it was all about cold heaviness. Never Say Die's Black Label imprint was a leader in it, and although it had some good releases its influence was incredibly negative. The new producers forgot what made Brostep so appealing in the first place. It's a Dance genre relying on ridiculousness. The more ridiculous your sounds are, the better it is. The new movement only emphasized some form of darkness. In some ways, it set out to be deliberately anti-Skrillex.
So the result was a lot of dull, heavy and no-fun bangers. The scene stagnated and it's still in a problem. What should've happened a year after Skrillex blew up happened now. Finally, heaviness overpowered it and it's embarrassing to hear MUST DIE!'s new song with Habstrakt. One of the most inventive producers is now doing nothing but white noise. Sure, there have been highlights. The recent experimentation with Deep House were a success, but overall the scene became monochromatic.
Virus sure feels like it should be the scene's savior, but keep in mind Excision's music was rarely as diverse as his mixes. In fact, he was never that diverse, not when compared to Skrillex or Knife Party or these new dudes, Barely Alive. In the current climate, there's room to worry that Virus would be the finally nail in the coffin – showing Excision completely running out of ideas, missing the entire point and just making a lot of noise.
Thankfully, Virus is closer to getting everything right about a dance album.
In terms of sound, this is still all about brutality and noise. In fact, it's less experimental than previous albums with no forays into new genres. Drum and Bass is barely here (Only the drumstep thing in "Rave Thing"). House is represented by "Mirror" and other than that, Excision powers through like 2013 never happened. It actually makes him sound of touch. After LAXX and Barely Alive, surely he can come up with some new sounds?
What didn't change is Excision's perfect understanding of the genre. Where he differs from the new boys is that there's no posturing here, no attempt to sound cool by turning the sounds down low. In fact, Excision plays this record like 2015 never happened, either. It's soaked in the mid-range madness of 2011, when it was all about roaring and being ridiculous. How else can you explain "Rave Thing"? It was out of place back in the 2015 mixes, where it roared and wobbled while everyone just growled. It's a track that constantly ups the ante, that takes the most parody-esque elements and exaggerates them. As an attempt to out-Skrillex Skrillex, it's quite brilliant.
Virus reminds me of why I love the genre it's the first place. It's so ridiculous, so oblivious to classy dance music. "Neck Brace" has Messinian, and he roars more than he raps. The drop imitates machine guns, but the sounds is right between midrange and low-range. "Harambe" literally stomps like a gorilla while alternating between the sounds of its 3 producers. "Throwin' Elbows" shows Excision can still mine this style for new sounds. At this point, he doesn't pretend to be concerned about rhythm. The drop consists of what sounds like laser beams shooting and the sound of reloading. As for "The Paradox", it's a brave attempt to make a defining song. Something is missing – it doesn't as ridiculous as it should – but it would be an attention-grabber in any mix and would require an immediate change of BPM.
A dance album can't rely on a single idea though. Even Dance artists whose genres are defined by heaviness switch it up. What's odd is how Excision does these switches. There's a foray to House in "Mirror" which borrows from the whole 'bass house' thing, but it's not too alien. Excision is finally comfortable with guitars. They're not sampled any more. "Throwin' Elbows" is loud as hell, and can "Death Wish" be classified as an EDM song at all? It's a Rap song with guitars for a chorus. Sure, there are Trap drums but the guitars play riffs.
The oddest excursions are to the sort of melodic Brostep most producers stick for tokenism. Excision now throws himself fully at them. There are 3 such tracks, and for once they have a purpose other than offering a break. "Drowning" has a glacial, sad quality to it. Compare it to "With You" which appears near the end. The former song doesn't actually have a melody, but sound design meant to create atmosphere. "Her" has Dion Timmer's chimpmunk vocals singing about a heartbreak over a weird drop. It's somewhere between melodic and wobbling, creating this odd feeling of heartbreak and acceptance. It's an odd moment of beauty that's rare in the genre.
If you look at the tracklist you probably wonder how can you sit through 16 minutes of Brostep. It's quite easy, actually. Making a dance album isn't too hard. All you need to do is make sure everything bangs and there's enough variety. All the brutal tracks bang, and there's enough offer a break while keeping the rhythm going – "Are You Ready?" is the only attempt towards contemporary Brostep and it's a nice stepdown, and while "Mirror" isn't as good as his other House tracks it's a welcome break. The only problem is putting "Harambe" as a closer, especially when "The Paradox" is right before it. The latter is epic, huge and roaring. It's a climax. "Harambe" stomps like a mid-mix banger, a track that comes with no build-up and immediately locks you in its groove. As a closer, it's perhaps the worst song.
Virus isn't exactly what I want from Excision right now. I want to see the genre expanding, mixing with others and creating one of the most vibrant musical movements. Excision is still content in the midrange, but at least he backs up his obsession. When it comes to loud, midrange Brostep then all I want are tracks like "Neck Brace", "Harambe", "The Paradox" and "G Shit". Hopefully, this will spread and the new riddim movement will die.
3.5 dead gorillas out of 5
Author The Brain in the JarPosted on November 5, 2016 Categories music, reviewTags 12th hour, 12th planet, 501, ac slater, ajapai, album review, apashe, astronaut, bar 9, bar9, bare noize, barely alive, bassnectar, bear grillz, borgore, brostep, codename x, cookie monsta, datsik, dion timmer, doctor p, document one, dodge & fuski, downlink, dubba jonny, dubstep, edm, electronic, electronic music, electronica, eptic, excision, feed me, figure, flux pavilion, funtcase, getter, habstrakt, harambe, kill the noise, knife party, koan sound, laxx, liquid stranger, megalodon, music, music 2016, music review, must die!, never say die, new music, news, noisia, protohype, review, roksonix, rottun, rusko, schoolboy, skeptiks, skism, skrillex, snails, space laces, spag heddy, terravita, the frim, tim ismag, trolley snatcha, virtual riot, virus, wavedash, wiwek, xilent, xkore, zeds dead, zomboyLeave a comment on Excision – Virus
Panic! At the Disco – Too Weird to Live, Too Rare to Die
Did Panic even want to make this album?
Every Panic album makes some kind of statement. Even Vices & Virtues had a clear aim, which was to deliver a straightforward Hard Rock record. When Panic have a target to aim for, they're unstoppable. "Vegas Lights" is your ordinary dance song about partying until you drop. It's not original and Urie adds nothing of his own, but it still bangs and the chorus is great.
Everything else is confusing. What's the purpose of this record? Is it mean to be some record inspired by Vegas? Then Vegas isn't such a fun place. "Girl That You Love" is very serious and it's a huge downfall from the fantastic "Vegas Lights" which comes before. "This is Gospel" is okay, but a weird opener. All the whoa-whoa in the chorus and it still feels too serious, like partying is for shallow stupid people. Urie comes off like he's hoping to pick up girls in a dance party by looking serious.
If this is supposed to be cliched 80's, it's the bad stuff. It's not the weird party music that Oingo Boing or early Underworld made. Rather, it's Rock music with a little noise, a little dance backing and vague sexuality. It's so toothless you wonder whether the cool kids will prefer this over the weirdos who tried to combine Industrial with Synthpop.
In fact, Urie doesn't commit to the concept. "Casual Affair" is a Space Rock rock, and a decent one. The weird wobbles leap out, sounding like they're inspired by Brostep without actually attempting it. The ballad "Far Too Young to Die" have no room in here. While it's nice to see Urie trying to bend genres, he doesn't throw himself into these ideas like he should. The boring melodies overpower the sound, instead of the sound inspiring the melodies.
Then again, perhaps it's good that he doesn't try too much to make party music. Aside from "Vegas Lights", "Nicotine" and "Girls/Girls/Boys" are very uninspired. The former is a joke. Urie stretches his voice in some way to convince me or you that the party is on with serious lyrics. The horns in the chorus aren't new, but they were better a few years later in "Crazy=Genius". The latter is another joke, a rewrite of "Somebody Told Me" about gender confusion that's not sexy or stupid. A rock band just wrote a song about sex that doesn't even have macho bullshit.
What went wrong here? Panic's strength is how traditionally ROCKSTAR! Urie is. He always sounded full of bravado, sneering at everyone while having a party. Making party rock should be the ideal for him. It should allow him to brag and boast about how cool he is.
Here, he sounds and unsure and desperate to appeal to people. So he puts a semi-dance beat behind a weak chorus with lyrics that aren't too serious and not too light. I'm sure some people are impressed by generic sentiments like 'show me your love' over muted guitars and drums, but all I hear is a band who doesn't want to make this kind of music. "Vegas Lights" and "Miss Jackson" sounds so bizarre in context. Urie actually sounds like he wanted to make those songs. They have a specific sound and as generic as "Vegas Lights" is, at least Urie sounds passionate about a simple dance song.
Panic moved on from this and made the excellent Death of a Bachelor. That one shares similarities with this one, only it's good. Whether it's soft or tough, Urie throws himself into his ideas fully. This album sounds like a band at its beginning that's afraid of drawing criticism. If you're afraid of drawing criticism, you're not worth anyone's attention.
2 girls out of 5 boys
Author The Brain in the JarPosted on July 30, 2016 July 30, 2016 Categories music, reviewTags 30 seconds to mars, 80s, album, album review, all time low, arcade fire, arctic monkeys, bastille, billy talent, cobra starship, dance music, dance punk, depeche mode, electronic dance music, electronic music, fall out boy, franz ferdinand, gerard way, good charlotte, icona pop, indie, indie rock, led zeppelin, mayday parade, modest mouse, muscles, music, music 2016, music album, music review, musie, my chemical romance, new politics, new wave, oingo boingo, panic at the disco, pop, pop music, pop punk, pop rock, popular music, post punk, psychedelic pop, punk, punk pop, punk rock, rock, rock music, sum 41, synthpop, the 1975, the academy is, the all-american rejects, the beatles, the cab, the hush sound, the killers, the neighbourhood, the used, the young veins, twenty one pilots, you me at sixLeave a comment on Panic! At the Disco – Too Weird to Live, Too Rare to Die


text:
Q: Styles are not visible in dev-tools panel I'm trying to display element styles for node with nodeId using devtools-protocol
When element is hovered and clicked I receive 4 messages in total

*

*CSS.getMatchedStylesForNode

*CSS.getComputedStyleForNode

*CSS.getPlatformFontsForNode

*CSS.getPlatformFontsForNode

to which I respond (I think) correctly, yet styles are not visible in dev-tools panel

Detailed communication:
Requests:

*

*{"id":35,"method":"CSS.getMatchedStylesForNode","params":{"nodeId":80}}

*{"id":36,"method":"CSS.getComputedStyleForNode","params":{"nodeId":80}}

*{"id":37,"method":"CSS.getPlatformFontsForNode","params":{"nodeId":80}}

*{"id":38,"method":"CSS.getInlineStylesForNode","params":{"nodeId":80}}
Responses. (Were too long, so I shorted them, CONTENT is a placeholder for their content)

*

*{"result":{"cssKeyframesRules":[],"inherited":[{ CONTENT }],"id":35}

*{"result":{"computedStyle":[{ CONTENT }],"id":36}

*{"result":{"fonts":[]},"id":37}

*{"result":{"inlineStyle":{"cssProperties":[],"cssText":"","range":{"endColumn":0,"endLine":0,"startColumn":0,"startLine":0},"shorthandEntries":[],"styleSheetId":"69061.90"}},"id":38}
I would love to hear any pointer in the direction of a solution.

A: Problem solved. Chromium CSSRule.js.

If the payload you report in getMatchedStyles includes styleSheetId's,
  then you should also report the stylesheet with this id to the
  front-end. You should emit the CSS.styleSheetAdded event for that.

A: Try this from Google Chrome Dev Tools inspect element styles not showing.

I just had this same issue and to resolve it I went into Chrome
  Developer Tools -> Settings -> Scroll to the bottom and click "Restore
  defaults and reload" then it all magically came back!
I hadn't changed anything between it working and when it stopped so
  not sure why it broke but hopefully this helps you too.

If that doesn't work, try reinstalling your Chrome web browser.

redpajama_set_name: RedPajamaStackExchange


text:
from effectThread import *
from ledFunctions import *

class effect_cop(StoppableThread):
    import time

    iInterval = 1

    BUFFER_EFFECT_COPS = 1
    def effect_cops(self):
        if self.BUFFER_EFFECT_COPS == 1:
                setRGB(255,0,0)
                self.BUFFER_EFFECT_COPS = 0
        else:
                setRGB(0,0,255)
                self.BUFFER_EFFECT_COPS = 1

    def __init__(self, iInterval):
      self.iInterval = iInterval
      StoppableThread.__init__(self)

    def run(self):
        while not self.stopped():
                self.effect_cops()
                time.sleep(self.iInterval)

redpajama_set_name: RedPajamaGithub


text:
Photography by Denise Hawrysio
Radio commission for BBC
Interactive app
John Wynne
Through his research and practise in Botswana, recording click language speech by individuals who collaborate as performers at the beginning of a process, Wynne constructs an experience that flickers on the boundaries between speech and sound, and the various levels of meaning that can be derived from human communications. Simultaneously, the work alerts the perceiver to the beauty of language and its potential as a plastic medium, to specifics and generalities, to political and economic realities, and to the troubled, yet fruitful connections that can be nurtured in spite of an intimidating geographical, linguistic, cultural, and technological divide.
Foreword to Hearing Voices
Academic and sound artist John Wynne provides an excellent example of a creative practice of 'responsible engagement with other cultures' in his sound-animated photographs of speakers of endangered languages Hearing Voices. Here the artist avoids a facile politics of alterity - what art critic Hal Foster denounced as over-identification turning into appropriation of the other - by using a number of devices that 'frame the framer'. This reveals the asymmetries and the fraught politics at work in representation and, crucially, provides some contextualization, a feature usually absent in relational art.
Chiara de Cesari
Review of Between Art and Anthropology in Journal of Museum Ethnography (2012)
Hearing Voices is a body of work based on highly endangered 'click languages' spoken by the indigenous Khoi and San peoples in the Kalahari Desert. The project includes an 8-channel photographic sound installation and an award-winning half-hour composed documentary for BBC Radio 3 described as "a capricious sound world where aural objects shift and surprise" (Resonance Magazine).
Originally designed to accompany the exhibition, Hearing Voices: Speakers/Languages is an interactive app containing sound recordings, photographs, interviews, maps and information. Updated in 2014 to accompany Volume 12 of Language Documentation and Description, the app includes a foreword by David Toop and recordings of two click-language choirs. The has been used by the Working Group for Indigenous Minorities in Southern Africa to assist in the struggle for rights and recognition of their languages and cultures.
An article by John about working with his recordings from Africa was published in the book Sonic Geography Imagined and Remembered. His presentation at 'Fieldworks: dialogues between art and anthropology' at TATE Modern in London led to a chapter in Between Art and Anthropology: Contemporary Ethnographic Practice, edited by Arnd Schneider and Chris Wright. John's article 'When is a Click not a Glitch?' was commissioned for the book Sound Art edited by Anna Colin and Tobi Maier. Language Ecology and Photographic Sound in the McWorld was published in the journal Organised Sound.

redpajama_set_name: RedPajamaCommonCrawl


Likewise, the 'study of the work of the ages of Art', a reference to the appreciation of art history, was equally important as Morris encouraged artists to look to the past for their inspiration believing that the art of his own age was inferior. Morris' solution was for a return to the values of the Gothic art of the middle Ages, where artists and craftsmen had worked together with a common purpose: to glorify God through the practice of their skills. The model for this solution was the medieval crafts guilds which he saw as a type of socialist brotherhood where everybody fulfilled themselves according to their level of ability. Morris felt that this would enhance the quality of life for all, and that artistic activity itself would be seen as a force for good in society.
The medieval crafts guilds were groups of artists, architects, and craftsmen who formed an alliance to maintain high standards of workmanship, regulate trade and competition, and protect the secrets of their crafts. The guilds were usually composed of smaller workshops of associated crafts from the same town who banded together into larger groups for their own protection and prosperity. They operated on a Master, Journeyman and Apprentice system where the master would take on apprentices to train them in the skills of his craft. The apprentices were 'bound' to work for free for that master for a period of around five to nine years. In return, the master would look after their welfare and education in the skills of his craft until they graduated as journeymen. As journeymen, they were not only paid for their work but also free to go and work for other masters. In time, if a journeyman demonstrated outstanding skill in his craft, he could advance in the guild to the position of master and take on his own apprentices.
Morris was one of the great pattern designers. His classic designs are still commercially available as wallpapers and textiles. His patterns are inspired by his intimate knowledge of natural forms discovered through drawing and stylized through his detailed knowledge of historical styles. They were usually titled with the names of the flowers that they depicted such as 'Chrysanthemum', 'Jasmine', 'Acanthus', and 'Sunflower'. In effect, Morris took the natural forms that he found outside in the woods and meadows and used them to decorate the inside of our homes.
His wallpaper designs were echoed in his textile, tapestry and carpet designs. Their images are similar, only simplified due to the limitations of a coarser medium.
Morris' design for 'Trellis', his first attempt at a wallpaper design, was based on roses growing over trellises in the garden at the Red House, his classic Arts and Crafts Movement home, at Bexleyheath in Kent. The pattern shows a medieval influence as it is recalls the ornamental decoration to be found on illuminated manuscripts and tapestries. The birds and insects which were later added to the final design were drawn by Philip Webb, the architect of the Red House. 'Trellis' was one of Morris' favourite designs and he chose it to decorate his bedroom at Kelmscott House in London where he spent his final years.
In 1891, Morris founded the Kelmscott Press, named after the village near Oxford where he had lived since 1871. The Kelmscott Press produced high quality hand-printed books to be seen and cherished as objects d'art. Morris designed and cut the typefaces, ornamental borders and title pages which were based on the style of medieval manuscripts, while the illustrations were created by the Pre-Raphaelite artist, Edward Burne-Jones. The books were printed on handmade paper, copied from 15th century Italian samples, and bound in vellum.
Although Morris looked to the past for inspiration, his aims anticipate modernist ideas on typography and layout: 'I began printing books with the hope of producing some which would have a definite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye......I found I had to consider chiefly the following things: the paper, the form of the type, the relative spacing of the letters, the words, and the lines; and lastly the position of the printed matter on the page'.
Altogether Kelmscott published 53 titles (18,000 copies in all), including 'The Nature of Gothic', a chapter from 'The Stones of Venice' by the art critic, John Ruskin. Morris, who wrote the preface praising the book, had been greatly inspired by Ruskin whose writings influenced the Arts and Crafts movement by encouraging the revival of Gothic art and architecture.
The Kelmscott Press was never a financial success as their beautifully hand-crafted books were too expensive to produce at a profit. It was an enterprise that Morris ran simply for pleasure. Kelmscott only ran for seven years and closed in 1898, two years after the death of Morris. However, the high standard of their output inspired a revival of the private press across Europe and America and influenced the development of typography and graphic design in the early 20th century.
The Arts and Crafts Movement (1850-1900) was a reaction against the Industrial Revolution. The development of the steam engine by James Watt in 1765 led to the mechanization of industry, agriculture and transportation and changed the life of the working man in Britain. The cities and towns grew to accommodate the expanding industries and the influx of workers from the countryside looking for employment. However, living standards gradually deteriorated and industrialization left people with a sense that their life had changed for the worst. Many had sacrificed a rural lifestyle 'in England's green and pleasant land' for the sake of a job in the 'dark Satanic mills' of the Industrial Revolution. As a result, they lost that feeling of security and belonging which comes from living in smaller communities.
The members of the Arts and Crafts Movement included artists, architects, designers, craftsmen and writers. They feared that industrialization was destroying the environment in which traditional skills and crafts could prosper, as machine production had taken the pride, skill and design out of the quality of goods being manufactured. They believed that hand crafted objects were superior to those made by machine and that the rural craftsman had a superior lifestyle to those who slaved in the urban mills and factories. They were convinced that the general decline of artistic standards brought on by industrialization was linked to the nation's social and moral decline.
The Arts and Crafts Movement formed into various crafts guilds to try to recreate the dignified working environment that existed in the medieval crafts guilds. They gave themselves names such as the Century Guild, the Guild of Saint George, the Art Workers Guild and the Guild of Handicraft.
The Century Guild was the first of the craft guilds to form. It was founded in 1882, under the influence of William Morris, by the architect and designer A.H. Mackmurdo. In 1884 the guild published a quarterly journal called 'Hobby Horse' to promote their aims and ideals. In particular, they championed the craft of printing as an art form which inspired Morris to found the Kelmscott Press.
Among other noteworthy guilds was the prestigious Art Workers Guild, whose membership included lecturers and principles from the leading art schools. Walter Crane, the principal of the Royal College of Art in 1897-8 and a renowned illustrator of children's books, was a founding member. The architect and theorist, W. R. Lethaby, the first Professor of Design at the RCA, became the original director and co-founder of the London Central School of Arts and Crafts, the first college to introduce craft workshops to promote Arts and Crafts principles within mainstream art education. This integration of design with art education is one of the great legacies of the Arts and Crafts Movement.
Despite its high ideals, the Arts and Crafts Movement was essentially flawed. Their opposition to modern methods of production and the tendency to look back to the medieval world, rather than forward to a progressive era of complete mechanization, was what eventually sounded the death knell of the movement. They could only fail in their socialist ideal of producing affordable quality hand-crafted design for the masses as the production costs of their designs were so high that they could only be purchased by the wealthy. Also, any movement which continually looks to the past for its inspiration must have a limited life span. There are only so many ways you can reinterpret the past without becoming repetitive.
However, the greatest legacy of the Arts and Crafts movement was their understanding of the relationship between design and our quality of life. This set the example for others who would later attempt to use the power of industrial mass production in the service of good design.
Some designers, such as Christopher Dresser whose work still looks remarkably modern, started to reject the limitations of the Arts and Crafts ideals and positively embrace the techniques of industrial manufacturing. This was the start of a design evolution that would eventually culminate in the foundation of the Bauhaus School of Art and Design which became the prototype for art education in the 20th century.
William Morris was a leading member of the Arts and Crafts Movement.
Morris is mostly known as a designer of patterns for wallpaper and textiles.
Morris was also an artist, designer, printer, typographer, bookbinder, craftsman, poet, writer and champion of socialist ideals.
Morris believed that the art and design of his own time was inferior and unworthy. He felt that this was due to the poor quality of life during the Industrial Revolution.
Morris believed that nature was the perfect example of God's design.
Morris believed that all design should be based on nature which he saw as the spiritual remedy to the inferior standards of art and design during the Industrial Revolution.
Morris said, "Have nothing in your house that you do not know to be useful, or believe to be beautiful."
Morris encouraged artists and designers to look back to medieval art for their inspiration as this was a time when artists and craftsmen worked together with equal status.
Morris founded the Kelmscott Press to create beautiful handmade books which would elevate the craft of printing to an art form.
'Honeysuckle' (1876) by William Morris.


text:
Listen: Jennifer Garner, People Magazine, Netflix discussed on Ellen on the Go
"Oh that is a hard question. You know, what I want to see? So you wouldn't it wouldn't be at probably say maybe like yard. She he d you know, like, that's good. Yeah. What did you beyond say was listening? How you kind site stuff to me like that. No alphabets me most, you know, just so, you know, her JC happened to be fans of our podcast. Dave that we have really have on a thority that they downloaded the app they listened to the podcast. Already gotten closer to be saying, Jay. We'll to the show. Yeah. How many times have you? Homecoming for four times you love it. Oh, yes. I went to the screening at Netflix x four everybody else saw in cry. I knew I was going to be emotional. It's funny because I was scared. They'd be onto it was gonna be there. So I sat on the front row just in case. Yes. So she came out, you know, close all are you in a relationship or looking or happy where you're at? You know, what this is kind of funny? I maybe it's like a generational thing. But once I had a job and some money in the Bank. It was not of a concern to me anymore. You know, good for you. It's like at this point if I'm gonna be in a relationship, then you better be my husband, you know, like the ones. Yeah. So you're not looking at data bunch of people stuff to do. Yeah. Yeah. Marking much bigger. You're listening to this. And you think your husband material, contact us at the podcast? Yes. You'll go through a very very. Very rigorous screening process. Right. And eventually someone will maybe we'll maybe come through. Trying to fix business. He's working on. Husband, and he's got money. I'm looking for us. People actually learn that it's not your podcast. This is my cast. This is what's going to happen? And I will find you a husband, and you kind of love, and you will make babies. Okay. Make sure he has a 4._0._1._K. Absolutely. Yeah. A good retirement plan. Thank you. Can we talk about people magazine's most beautiful person? Yes. Jennifer garner. Jennifer gardner. Jennifer garner. Like, just a very, right. There is like that's just a classic choice for a lot of people were like good choice because not only is she really beautiful. She really has a good soul that comes through anything. That's that's true beauty. That's what Kevin has told me. Anyway, she was saying during the break, she was like, you know, I didn't realize this was going to be a thing. But until I got here. And then I was like, oh, it's a thing. This is really a very much did not want it to be a thing. Right. And yet, here's all you need to know about Jennifer garner. When this tells you everything you need to know about her. She has chickens and when she's moving the chickens from one house to our new house.."
Ellen on the Go
Jennifer Garner, People Magazine, Netflix discussed on Ellen on the Go
Jennifer Garner People Magazine Netflix JAY Dave Bank Kevin
Oh that is a hard question. You know, what I want to see? So you wouldn't it wouldn't be at probably say maybe like yard. She he d you know, like, that's good. Yeah. What did you beyond say was listening? How you kind site stuff to me like that. No alphabets me most, you know, just so, you know, her JC happened to be fans of our podcast. Dave that we have really have on a thority that they downloaded the app they listened to the podcast. Already gotten closer to be saying, Jay. We'll to the show. Yeah. How many times have you? Homecoming for four times you love it. Oh, yes. I went to the screening at Netflix x four everybody else saw in cry. I knew I was going to be emotional. It's funny because I was scared. They'd be onto it was gonna be there. So I sat on the front row just in case. Yes. So she came out, you know, close all are you in a relationship or looking or happy where you're at? You know, what this is kind of funny? I maybe it's like a generational thing. But once I had a job and some money in the Bank. It was not of a concern to me anymore. You know, good for you. It's like at this point if I'm gonna be in a relationship, then you better be my husband, you know, like the ones. Yeah. So you're not looking at data bunch of people stuff to do. Yeah. Yeah. Marking much bigger. You're listening to this. And you think your husband material, contact us at the podcast? Yes. You'll go through a very very. Very rigorous screening process. Right. And eventually someone will maybe we'll maybe come through. Trying to fix business. He's working on. Husband, and he's got money. I'm looking for us. People actually learn that it's not your podcast. This is my cast. This is what's going to happen? And I will find you a husband, and you kind of love, and you will make babies. Okay. Make sure he has a 4._0._1._K. Absolutely. Yeah. A good retirement plan. Thank you. Can we talk about people magazine's most beautiful person? Yes. Jennifer garner. Jennifer gardner. Jennifer garner. Like, just a very, right. There is like that's just a classic choice for a lot of people were like good choice because not only is she really beautiful. She really has a good soul that comes through anything. That's that's true beauty. That's what Kevin has told me. Anyway, she was saying during the break, she was like, you know, I didn't realize this was going to be a thing. But until I got here. And then I was like, oh, it's a thing. This is really a very much did not want it to be a thing. Right. And yet, here's all you need to know about Jennifer garner. When this tells you everything you need to know about her. She has chickens and when she's moving the chickens from one house to our new house..


In the week ending September 30, the advance figure for seasonally adjusted initial claims was 260,000, a decrease of 12,000 from the previous week's unrevised level of 272,000. The 4-week moving average was 268,250, a decrease of 9,500 from the previous week's unrevised average of 277,750.
Hurricanes Harvey and Irma impacted this week's claims.
The dashed line on the graph is the current 4-week average. The four-week average of weekly unemployment claims decreased to 268,250.
This was slightly below the consensus forecast. The recent increase in claims is due to the hurricanes.


Frances Richard's first book of poems, tentatively titled See Through, is forthcoming in 2003 from Four Way Books. She is the nonfiction editor of Fence and a contributing editor of Cabinet, writes frequently about contemporary art, and teaches at NYU and Barnard College. She lives in Brooklyn.


text:
Q: How to get rid off the error: "__new__() got multiple values for argument 'order'" doing an ARIMA model in Python I am doing a simple ARIMAX model (1,0,0) with one dependent variable y, one independent variable x with 49 observations as a time series.
import pandas as pd
import statsmodels.api as sm
import statsmodels.formula.api as smf

df = pd.read_excel('/Users/gaetanlion/Google Drive/Python/Arima/df.xlsx', sheet_name = 'final')

from statsmodels.tsa.arima_model import ARIMA
endo = df['y']
exo = df['x']

''' Doing a ARIMA(1,0,0) '''
model = ARIMA(endo, exo, order = (1,0,0)).fit()

When I run this simple model, I get the mentioned error:
TypeError: __new__() got multiple values for argument 'order'

A: Ok, I was able to resolve this coding issue.  But, I am not so sure it is the best way to resolve it.
model = sm.tsa.arima.ARIMA(endo, exo, order =(1,0,0)).fit() # This works
model = ARIMA(endo, exo, order = (1,0,0)).fit() # This does not work


text:
Sat, 02 Jan, 2021 - 16:46
Former Real IRA leader dies following battle with cancer
Michael McKevitt had been diagnosed with terminal cancer a number of years ago.
Former Real IRA leader Michael McKevitt has died following a battle with cancer.
McKevitt, who was one of four men found liable for the Omagh bomb, had been diagnosed with terminal cancer a number of years ago.
He was released from prison in 2016 after serving a 20-year sentence for directing terrorism and membership of an illegal organisation.
The 71-year-old was married to Bernadette Sands McKevitt, a sister of IRA hunger striker Bobby Sands.
From Co Louth, McKevitt always denied being involved in the 1998 Omagh bombing, but in 2009 a judge ruled in a landmark civil trial that McKevitt, Liam Campbell, Colm Murphy and Seamus Daly were all liable for the bomb.
He ordered them to pay a total of £1.6 million damages to 12 relatives who took the case.
A fifth man, Seamus McKenna, was cleared of liability for the bombing.
No-one has ever been convicted of the dissident republican bomb attack in Omagh which killed 29 people, including a woman pregnant with twins.
In a statement issued by Republican Network for Unity on Facebook, they said: "(We) are deeply saddened to learn of the passing of our friend and comrade Michael McKevitt."
In 2019, McKevitt was adjudicated bankrupt in the High Court following failure to pay out the damages.


Welcome to the all-new Age of Wonders III, as today Triumph Studios releases both the Eternal Lords expansion and the massive free V1.5 Update to the main game.
Eternal Lords is the major, second expansion for the acclaimed strategy game Age of Wonders III, marking one year of continuous development since its release. With the introduction of the Tigran and Frostling races, and the new Necromancer class, players must adapt to a world on the brink of cataclysmic change. New mechanics include the Race Governance system, which allows players to tailor the features of each race in their empire to meet their strategic needs, add new layers of depth to empire development and diplomacy. Embrace forbidden powers and reign for eternity!
• The Necromancer Player Class: The Necromancer's legions are on the march to establish an eternal kingdom, unifying all the world's races in death. The Necromancer creates spectacular undead units in its cities, such as the Bone Collector, a crablike monstrosity which eats corpses to strengthen itself. Other units are summoned, such as the Banshee, which invokes despair in the hearts of the living. The Necromancer's dark magic allows players to convert towns to cities of the dead, filled obedient Ghoul minions.
• Keeper, Grey Guard and Shadow Born Leader Specializations: Champions of Good, Neutrality and Evil respectively, these three new specializations deepen the alignment mechanics and provide players of all classes powers to withstand the challenges of the new age. Learn spells to summon mighty Angels, end game units who embody the essence of each alignment.
• Frostling Player Race: Frostlings are a race of humanoids that emerged from the frozen north. Lead by their Ice Queens, they embark on frequent raids into warmer lands. Their seafaring skills, offensive fighting style and frost magic spread fear among the coastline villages they pillage. Frostings are even more deadly in their home arctic clime, where they build cities carved into the very glaciers they hope will someday grow to cover the earth.
• Eternal Lords Story Campaign. An epic battle of the forces of creation: fire versus ice, life versus death. As Arvik, heir to a broken Frostling kingdom, you awaken forbidden necromantic powers to reclaim your realm. You will find unlikely allies, and must choose between your Frostling roots and the full potential of your new found powers.
• Cosmic Happenings: The dawn of the Eternal Lords has triggered cataclysmic events that can radically shift fortunes. These events occur as the game progresses, disrupting the best laid plans and providing opportunities for cunning players to gain an advantage. Falling Clouds can fill the world with mist, giving shock weakness to machine and armored units and reducing sight range, while the March of the Troll King can summon armies of trolls to rampage across the map.
• A dozen new Mysterious Map Locations: Capture the Reef Colony Dwelling, home to horrors of the deep, and discover new treasure sites such as the Lich's Castle, Temple of the Sands and the Hall of the Forefathers to benefit your empire.
• Race Relations system, be careful who you make war with.
• More diversity among core racial units.
• Mac/Linux support, also available for all existing customers.
• "Play by Email", a new asynchronous Multiplayer Mode. In PBEM games, a player takes their turn in their own time and then uploads it to Triumph's servers. Once it is uploaded, an email is sent to the next player in the game, who may then take their turn. This allows players to play when they like, without needing to set aside a large amount of time with other people to play a game all at once.
Eternal Lords and the Mac and Linux versions of the game are set for an April 14th 2015 release and available via online stores such as Steam and GoG. The expansion will cost EUR/USD 19.99. New comers can buy the Age of Wonders III: Collection Bundle with includes all DLC.
Read our full expansion review here!
Far overdue no doubt, but appreciated nonetheless, 2 notable cards are receiving some major nerfs.
Bigpoint and Square Enix have announced the start of closed beta testing for Gameglobe.


I wanted to share my story about my alcohol addiction. Not long ago, I was one of those people reading the testimonials on the Bach Flower pages, and noticed a lot of people stopped drinking because of these Bach Flower Remedies. Although I haven't completely stopped drinking, I am now a social drinker instead of a problematic one!
Previously I could not stop drinking, once I had three glasses. Now I have my drinking much more in hand. I only drink on special occasions and I can stop whenever I feel I had a bit too much. I have become more sensitive to alcohol and I will automatically stop in time.
The Bach Flower Remedy has helped me a lot, especially in the beginning when temptation is that great. I had difficult moment, but the Bach Flower drops took those away like it was nothing!
Now, I am pretty sure of myself and have no fear of relapsing. I feel good and have no desire to undo the good that I done. That doesn't mean I won't drink anymore, but only on occasion and in moderation.
I am very happy to report you the following in this email: it's been two months since I started the treatment and I haven't touched a drop of alcohol since!
I have been taking the Bach Flower 62 Remedy for about a month now and I haven't had a drink since. Before the remedy it was difficult for me, because I would drink a lot in the weekend.
This morning I have placed my second order because my bottle is half empty. I am so pleased with the results of the Bach Flower Remedy 62 to stop drinking.
It's been six months since I stopped drinking and I feel great! No more headaches, no fatigue, more active, I'm alive again!
I wanted to share my experiences with Bach Flowers, since I have been taking them for about three months. My alcohol consumption is greatly reduced.
In my experience I no longer have cravings for alcohol. I find it very odd that it used to be a problem.
I been clean for three months!
I'm on the right track. It's been three months since my last drink and all because of the Bach Flower Remedy and the AA.


text:
Q: ASP.NET MVC bypass/simulate ws-federation/claims-based authentication In our ASP.NET MVC 5 Project we've setup the application to use ws-federation authentication with Azure Access Control.
Excerpts from our Web.config:
...
<system.identityModel.services>
    <federationConfiguration>
      <cookieHandler requireSsl="false" persistentSessionLifetime="30:0:0" />
      <wsFederation passiveRedirectEnabled="true" realm="http://our-realm/.../" reply="http://localhost/" requireHttps="false" issuer="https://ourissuername.accesscontrol.windows.net/v2/wsfederation" />
    </federationConfiguration>
</system.identityModel.services>
...
<modules runAllManagedModulesForAllRequests="true">
  <remove name="FormsAuthentication" />
  <add name="WSFederationAuthenticationModule" type="System.IdentityModel.Services.WSFederationAuthenticationModule, System.IdentityModel.Services, Version=4.0.0.0, Culture=neutral, PublicKeyToken=b77a5c561934e089" preCondition="managedHandler" />
  ...
</modules>
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Later in the application, we rely on the fact that ClaimsPrincipal.Current.Identity.IsAuthenticated and has all the required claims, at least the E-Mail address.
For stress-tesing purpose, we'd like to simulate a hard-coded ClaimsPrincipal with our custom claims (by, for example, running some custom code which is only available for this configuration) and bypass the whole wsfederation process, especially the whole redirection. We can, for example, just remove the WSFederationAuthenticationModule and are able to skip the ws-federation process but I don't know how to provide my own ClaimsPrincipal.
Any hints how to solve that with least effort? (least effort, because it's not going to be for production etc.)

A: Did you have a look at Visual Studio Identity and Access Tool add-on (https://visualstudiogallery.msdn.microsoft.com/e21bf653-dfe1-4d81-b3d3-795cb104066e)? It has development STS service to provide fake auth info for testing.


Looking for translation? Click here to translate "verbos regulares en el"
Student Evaluation of La Casa en el Arbol . Explore hundreds of Spanish Language Schools throughout Mexico, South America, Central America, Spain, and other Spanish speaking countries.
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Examples of proper use of idioms with the prepositon "en". English translation also provided.


Brachiopoda (from Latin bracchium, arm + New Latin -poda, foot) is a major invertebrate phylum, whose members, the brachiopods or lamp shells, are sessile, two-shelled, marine animals with an external morphology resembling bivalves (that is, "clams") of phylum Mollusca to which they are not closely related. Brachiopods are found either attached to substrates by a structure called a pedicle or unattached and resting on muddy bottoms. Brachiopods are suspension feeders with a distinctive feeding organ called a lophophore found only in two other suspension-feeding animal phyla, the Phoronida (phoronid worms) and the usually colonial Ectoprocta or Bryozoa. Characterized by some as a "crown" of ciliated tentacles, the lophophore is essentially a tentacle-bearing ribbon or string that is an extension (either horseshoe-shaped or circular) surrounding the mouth.
The brachiopods were a dominant group during the Paleozoic era (542-251 mya), but are less common today. Modern brachiopods range in shell size from less than five mm (1/4 of an inch) to just over eight cm (three inches). Fossil brachiopods generally fall within this size range, but some adult species have a shell of less than one millimeter across, and a few gigantic forms measuring up to 38.5 cm (15 inches) in width have been found. Some fossil forms exhibit elaborate flanges and spines. The brachiopod genus Lingula has the distinction of being the oldest, relatively unchanged animal known.
Modern brachiopods generally live in areas of cold water, either near the poles or in deep parts of the ocean.
Brachiopods come in two easily distinguished varieties. Articulate brachiopods have a hinge-like connection or articulation between the shells, whereas inarticulate brachiopods are not hinged and are held together entirely by musculature.
Brachiopods—both articulate and inarticulate—are still present in modern oceans. The most abundant are the terebratulides (class Terebratulida). The perceived resemblance of terebratulide shells to ancient oil lamps gave the brachiopods their common name "lamp shell."
The phylum most closely related to Brachiopoda is probably the small phylum Phoronida (known as "horseshoe worms"). Along with the Bryozoa/Ectoprocta and possibly the Entoprocta/Kamptozoa, these phyla constitute the informal superphylum Lophophorata. They are all characterized by their distinctive lophophore, a "crown" of ciliated tentacles used for filter feeding. This tentacle "crown" is essentially a tentacle-bearing ribbon or string that is an extension (either horseshoe-shaped or circular) surrounding the mouth (Smithsonian 2007; Luria et al. 1981).
Lingula anatina, a brachiopod that grows in coastal areas of warm seas.
Despite cursory resemblance, bivalves and brachiopods differ markedly in many ways.
Bivalves usually have a plane of symmetry parallel to the hinge and lying between the shells, whereas most brachiopods have a plane of bilateral symmetry perpendicular to the hinge and bisecting both of the shells. Each brachiopod shell is symmetrical as an individual shell, but the two of them differ in shape from each other.
Bivalves use adductor muscles to hold the two shells closed and rely on ligaments associated with the hinge to open them once the adductor muscles are relaxed; in contrast, brachiopods use muscle power for both opening (internal diductor and adjustor muscles) and closing (adductor muscles) the two shells, whether they are of the hinged (articulate) or not hinged (inarticulate) type.
Most brachiopods are attached to the substrate by means of a fleshy "stalk" or pedicle. In contrast, although some bivalves (such as oysters, mussels, and the extinct rudists) are fixed to the substrate, most are free-moving, usually by means of a muscular "foot."
Brachiopod shells may be either phosphatic or (in most groups) calcitic. Rarely, brachiopods may produce aragonitic shells.
Brachiopod fossils are often found in dense assemblages, such as these specimens of the Ordovician species Onniella meeki.
The earliest unequivocal brachiopods in the fossil record occur in the early Cambrian period (542-488 mya), with the hingeless, inarticulate forms appearing first, followed soon thereafter by the hinged, articulate forms. Putative brachiopods are also known from much older upper Neoproterozoic era (1,000-542 mya) strata, although the assignment remains uncertain.
Brachiopods are extremely common fossils throughout the Paleozoic era (542-251 mya). During the Ordovician (488-444 mya) and Silurian (444-416 mya) periods, brachiopods adapted to life in most marine environments and became particularly numerous in shallow water habitats, in some cases forming whole banks in much the same way as bivalves (such as mussels) do today. In some places, large sections of limestone strata and reef deposits are composed largely of their shells.
Throughout their long history the brachiopods have gone through several major proliferations and diversifications, and have also suffered from major extinctions as well.
A Carboniferous brachiopod Neospirifer condor, from Bolivia. Specimen is seven cm (2.75 in) across.
The major shift came with the Permian extinction about 251 mya. Before this extinction event, brachiopods were more numerous and diverse than bivalve mollusks. Afterwards, in the Mesozoic era (251-65 mya), their diversity and numbers were drastically reduced, and they were largely replaced by bivalve mollusks. Mollusks continue to dominate today and the remaining orders of brachiopods survive largely in fringe environments of more extreme cold and depth.
The inarticulate brachiopod genus Lingula has the distinction of being the oldest, relatively unchanged animal known. The oldest Lingula fossils are found in Lower Cambrian rocks dating to roughly 550 million years ago.
The origin of brachiopods is unknown. A possible ancestor is a sort of ancient "armored slug" known as Halkieria that was recently been found to have had small brachiopod-like shields on its head and tail.
It has been suggested that the slow decline of the brachiopods over the last 100 million years or so is a direct result of (1) the rise in diversity of filter feeding bivalves, which have ousted the brachiopods from their former habitats; (2) the increasing disturbance of sediments by roving deposit feeders (including many burrowing bivalves); and/or (3) the increased intensity and variety of shell-crushing predation. However, it should be noted that the greatest successes for the burrowing bivalves have been in habitats, such as the depths of sediments below the surface of the sea floor, that have never been adopted by the brachiopods.
The abundance, diversity, and rapid development of brachiopods during the Paleozoic era make them useful as index fossils when correlating strata across large areas.
In older classification schemes, phylum Brachiopoda was divided into two classes: Articulata and Inarticulata. Since most orders of brachiopods have been extinct since the end of the Paleozoic era 251 million years ago, classifications have always relied extensively on the morphology (that is, the shape) of fossils. In the last 40 years further analysis of the fossil record and of living brachiopods, including genetic study, has led to changes in taxonomy.
The taxonomy is still unstable, however, so different authors have made different groupings. In their 2000 article as part of the Treatise on Invertebrate Paleontology, Williams, Carlson, and Brunton present current ideas on brachiopod classification; their grouping is followed here. They subdivide Brachiopoda into three subphyla, eight classes, and 26 orders. These categories are believed to be approximately phylogenetic. Brachiopod diversity declined significantly at the end of the Paleozoic era. Only five orders in three classes include forms which survive today, a total of between 300 and 500 extant species. Compare this to the mid-Silurian period, when 16 orders of brachiopods coexisted.
Buckman, S. S. 1910. "Certain Jurassic (Inferior Oolite) species of ammonites and brachiopoda." Quarterly Journal of the Geological Society of London 66: 90-110.
Harper, E. M. 2005. "Evidence of predation damage in Pliocene Apletosia maxima (Brachiopoda)." Palaeontology 48: 197-208.
Luria, S. E., S. J. Gould, and S. Singer. 1981. A View of Life. Menlo Park, CA: Benjamin/Cummings Publishing Company. ISBN 0-8053-6648-2.
Williams, A., S. J. Carlson, and C. H. C. Brunton. 2000. "Brachiopod classification." Part H. in A. Williams et al. (coordinating author), R. L. Kaesler (editor). Volume 2, Brachiopoda (revised). as part of the Treatise on Invertebrate Paleontology. Boulder, CO: Geological Society of America and The University of Kansas. ISBN 0-8137-3108-9.
This page was last modified on 5 December 2008, at 22:30.


Announcement Attention Please Motorcylists Beware!
Fork Lock: High in variety! DAMM low in security!
Yupe, this post is written specifically for those who are motorcyclists! Why? Well, I would like to share with you guys about the useless fork lock. Do take notes, do not use fork lock anymore. I hope my fellow Malaysians read this.
Here's why I ha branded fork lock is nothing but a false security! About a week ago, my dream was stolen! Well, it's not the dream that we know. It's my brand new Honda EX5 Dream. If I'm not mistaken a few thief is involved in this vice. Actually they don't need much effort though.
The thief actually broke the so-called fork lock, that is supposed to prevent theft from happening! Don't get me wrong, I'm not playing the blame game here. But, if the lock is so darn easy to be broken why did retail shops even bother to sell it?
The lock that had been broken!


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AMERICAN COLLEGE OF RHEUMATOLOGY Reading Room 11.28.2019 Comment
Clinical Characteristics of Early‐Onset Gout in Outpatient Setting
AMERICAN COLLEGE OF RHEUMATOLOGY Publications Corner
01.14.2020 American College of Rheumatology Reading Room
Systemic Autoimmune Disease Among Adults Exposed to the September 11, 2001, Terrorist Attack
Arthritis & Rheumatology
Association of Ultraviolet Radiation Exposure With Dermatomyositis in a National Myositis Patient Registry
Arthritis Care & Research
Longitudinal Trajectories of Pain and Function Improvement Following Total Knee Replacement
ACR Open Rheumatology
Yan Li, MD; Paramarajan Piranavan, MD; Devi Sundaresan; and Robert Yood, MD, FACP, MACR
This Reading Room is a collaboration between MedPage Today® and:
Below is the abstract of the article. The full journal article is available to read for free on MedPage Today - click here or in the link below
The objective of this study is to investigate the clinical characteristics and treatment of patients with early‐onset gout.
We retrospectively reviewed 327 adult patients with a first diagnosis of gout from 2008 to 2016 using the database of a multispecialty group practice in New England. Patients were classified into the following groups: age 30 years or younger at first diagnosis (group 1), age 31‐40 years (group 2), and age over 40 years (group 3). The clinical characteristics and treatment of gout were compared among the three groups.
We identified 87 patients in group 1 and 140 patients in group 2. Group 3 included 100 patients randomly chosen from the 7216 patients with a first diagnosis at age over 40 years. Patients within group 1 had significantly higher serum uric acid (sUA) levels at the time of diagnosis and a more prominent family history of gout. Younger patients (groups 1 and 2) had a significantly higher body mass index than patients over 40 years of age (group 3). A substantial number of younger patients also had hypertension or hyperlipidemia. The majority of younger patients met the 2012 American College of Rheumatology (ACR) guidelines for initiating urate‐lowering therapy (ULT) on the basis of frequency of gout attacks, whereas the majority of patients over 40 years of age met the guidelines for ULT on the basis of chronic kidney disease. Patients over 40 years of age were more likely to achieve an sUA level less than 6.0 mg/dl.
Patients with a first diagnosis of gout at age 40 years or younger frequently had cardiovascular risk factors and were less likely to achieve an sUA level less than 6.0 mg/dl compared with patients over 40 years of age who were treated in routine clinical practice. Clinicians should be aware that patients with early‐onset gout may be an undertreated population with poor adherence to ULT and increased risk of recurrent gout and cardiovascular diseases.
View and Download PDF
Source Reference: Li Y, et al "Clinical Characteristics of Early‐Onset Gout in Outpatient Setting" ACR Open Rheumatol 2019; 1(7): 397-402.


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Home / Comics / Andre the Giant: Closer to Heaven (Graphic Novel) Review
Andre the Giant: Closer to Heaven (Graphic Novel) Review
Lisa April 27, 2015 Comics, Comics & Graphic Novels, News, Reviews Leave a comment 2,574 Views
Andre "The Giant" Roussimoff's persona and size towered over most. Despite being known worldwide and easily recognizable, few fans know the man behind the legend. Andre the Giant: Closer to Heaven, written by Brandon Easton and illustrated by Denis Medri, gracefully presents Andre's rise in popularity parallel to his personal saga.
The voice sounds authentically Andre's without hints of cliche or caricature. A giant of a man looking to fit into the world found his place in the ring. Andre's story is closely tied to wrestling; however, fame is not his main motivation in the sport. Easton wrote his story with care as well as humor and insight. Andre the Giant: Closer to Heaven is a surprisingly touching narrative that reveals a new side to Andre "The Giant" Roussimoff.
The graphic novel chronicles Andre's simple beginning in Molien, France on a simple farm. He grew large early and fast, making him valuable on the family farm. Eventually he felt he outgrew the farm and felt he need to leave to find where he fit in. Feeling too big for the world became a recurring theme in his life.
His size only brought scrutiny and criticism, except when he entered the ring. In wrestling, he was king. His size was an asset and people were staring in awe instead of horror or derision. Andre's story is impossible to tell without also discussing the rise of wrestling; however, Closer to Heaven quickly establishes that Andre was more than a character in the ring or on the screen.
Closer to Heaven uses wrestling's timeline to mirror Andre's life rather than being the focal point. Wrestling is where Andre always felt at home, where he returned because it was familiar and was the source of his few fleeting moments of happiness, but it also brought Andre a lot of his pain.
Easton expertly narrates the evolution of wrestling and Andre's role in it, both as a star and a regular man. Andre's problems with vices and physical deterioration from wrestling as well as his disease are presented both impartially and empathetically by Easton. There were a few times the story quickly shifted time and place, causing a sense of discontinuity; however, it was not a persistent issue. The graphic novel reads like a memoir, filled with poignant regret and happiness. Clearly a fan, Easton treated the subject with deliberate respect.
Mediar illustrated a stark and beautiful story. The placement of fewer, large panels on each page created a greater sense of size. The layout highlighted the proportion of Andre to the rest of the world. The art direction, a blunt cartoon-realism, works with the muted color palette amazingly. It echoes the frank and simple tone of the narrative.
The simplicity of the style does not interfere with the emotional connection to the story. The stark lines, blunted shapes, and muted colors heighten the succinct dialogue and set an atmosphere that balanced between pessimism and optimism. Medri illustrated the perfect accompaniment to Easton's story.
Andre the Giant: Closer to Heaven presents an honest reflection on a man known mainly for his size. Easton delicately reveals the highs and lows of Andre's life from the nostalgic perspective of the giant himself. With a voice and tone perfectly matched to Andre's demeanor, Easton's writing brings Andre back to life. The illustrations keep pace with the writing, bolstering the narrative and atmosphere.
An easy read that will capture the attention of many, Andre the Giant: Closer to Heaven presents a unique opportunity to revisit the story of a legend.
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Tags andre the giant Andre the Giant Graphic Novel comics graphic novel reviews graphic novels Lion Forge Comics wrestling
Favorite Game: Shadow of the Colossus. Favorite Moment in gaming: 100% completing Legend of Zelda: Majora's Mask. Life isn't hard, Megaman is.
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There are definite differences between the two terms, though they are sometimes used interchangeably and often confused. Both papers are similar in their structure, as they contain an introduction, literary review, body, conclusion, bibliography and appendix. Beyond that, the similarities basically end.
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Catalysis research at the Faculty of Science includes the development of new catalysts and chemical reactions to fabricate medicinal compounds, CO2 capture, continuous flow chemistry and the use of biomass to produce fuel.
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The Therapeutic Writing Institute's Winter 2019 class schedule is now available!
Registration for the upcoming Summer session is now open. Classes eligible for CEUs offer 8 hours of continuing education for counselors upon verification of satisfactory course completion and submission of course evaluation. See below for CE details.
The Therapeutic Writing Institute (TWI) is the professional training division of the Center for Journal Therapy.
The Therapeutic Writing Institute's Summer 2018 class schedule is now available!


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Q: Search Engine Results - Not Ranking I am somewhat embarassed to ask this as I feel I should know. How do i get all of my web pages to show hierarchically under the main page of my website on search engine results like the image below:

instead of the "usual" single result that appears for most web pages?
Thank you.

A: You need to know how to use Google Sitelinks
https://support.google.com/webmasters/answer/47334?hl=en&safe=strict

A: It's shows and selected by Google automatically most of the pages are most important pages of your site because the visitors from Google interested to visit theme but you can just select it If you want to show or not to show It in your site result search from Google webmaster / site link


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music and lyrics by Stephen Sondheim
book by James Lapine | directed by Gary Griffin
Linda Stephens
Old Lady/Blair Daniels
Linda Stephens returns to Chicago Shakespeare Theater, where she appeared in Follies. Other Chicago credits include: Wings (Jeff Award, Sarah Siddons Chicago's Leading Lady Award, OBIE Award, Goodman Theatre, The Public Theater); Supple In Combat, Stepping Out (Jeff Award, Steppenwolf Theatre Company); Ghosts (Court Theatre); Into the Woods, Grover's Corners (Marriott Theatre); and Steel Magnolias (Apollo Theater). Regional credits include Sunday in the Park with George as part of the Sondheim Celebration and Concert, with Stephen Sondheim (The Kennedy Center and Lincoln Center); multiple roles at The Alliance Theatre, Arena Stage, Arizona Theatre Company, ACT, Milwaukee Repertory Theater, Renaissance Theaterworks, Next Act Theatre, Milwaukee Chamber Theatre and Skylight Music Theatre. Broadway credits include: Damn Yankees (Marriott Marquis); The Man Who Came to Dinner, and the 50th Anniversary production of All My Sons, with Arthur Miller (Roundabout Theatre Company). Ms. Stephens is an award-winning narrator for Recorded Books, Inc.
Back to Sunday in the Park with George
Runing Time:
(includes intermission)
Browse the Program (PDF)
Support of the acting company of Sunday in the Park with George was provided by Merle Reskin.
Music support generously provided by Gayle and Glenn Tilles.
Music Director Brad Haak was the recipient of the Bob Tilles Music Chair, supported by the Gayle and Glenn R. Tilles Music Fund.
Sunday in the Park with George was presented in the Jentes Family Auditorium.
Originally Directed on Broadway by James Lapine
Originally Produced on Broadway by The Shubert Organization and Emanuel Azenberg
By arrangement with Playwrights Horizon, Inc. New York City which produced the original production of "Sunday in The Park With George" in 1983.