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Call It Stormy Monday (But Tuesday Is Just as Bad)
"Stormy Monday" redirects here. For other uses, see Stormy Monday (disambiguation).
"Call It Stormy Monday (But Tuesday Is Just As Bad)"
Single by T-Bone Walker
A-side
"I Know Your Wig Has Gone"
November 1947 (1947-11)
10-inch 78 rpm record
Hollywood, California, September 13, 1947[1]
Songwriter(s)
Aaron Walker a.k.a. T-Bone Walker
Ralph Bass
T-Bone Walker singles chronology
"Bobby Sox Blues"
(1946) "Call It Stormy Monday (But Tuesday Is Just As Bad)"
(1947) "Long Skirt Baby Blues"
"Call It Stormy Monday (But Tuesday Is Just as Bad)" (commonly referred to as "Stormy Monday") is a song written and recorded by American blues electric guitar pioneer T-Bone Walker. It is a slow twelve-bar blues performed in the West Coast blues-style that features Walker's smooth, plaintive vocal and distinctive guitar work. As well as becoming a record chart hit in 1948, it inspired B.B. King and others to take up the electric guitar. "Stormy Monday" became Walker's best-known and most-recorded song.
In 1961, Bobby "Blue" Bland further popularized the song with an appearance in the pop record charts. Bland introduced a new arrangement with chord substitutions, which was later used in many subsequent renditions. His version also incorrectly used the title "Stormy Monday Blues", which was copied and resulted in royalties being paid to songwriters other than Walker. The Allman Brothers Band recorded an extended version for their first live album in 1971, with additional changes to the arrangement. Through the album's popularity and the group's concert performances, they brought "Stormy Monday" to the attention of rock audiences. Similarly, R&B singer Latimore's 1973 hit recording made it popular with a later R&B audience.
"Stormy Monday" is one of the most popular blues standards, with numerous renditions. As well as being necessary for blues musicians, it is also found in the repertoires of many jazz, soul, pop, and rock performers. The song is included in the Grammy, Rock and Roll, and Blues Foundation halls of fame as well as the U.S. Library of Congress' National Recording Registry.
2 Recording and composition
3 Releases and charts
4 Recognition and influence
5 Other renditions
5.1 Confusion over name
5.2 Bobby Bland version
5.3 The Allman Brothers Band version
5.4 Latimore version
T-Bone Walker was one of the earliest musicians to use the electric guitar.[2] After moving to Los Angeles around 1936, he began performing regularly in the clubs along Central Avenue, then the center of the city's jazz and blues music scene.[3] He started as a singer and dancer with jazz and early jump-blues bands, such as Les Hite and his orchestra, but by 1940 was playing electric guitar and singing in his own small combos.[4] His particular style of jazz-influenced blues guitar and showmanship, which included playing the guitar behind his neck and while doing the splits, brought him to the attention of Capitol Records.
In July 1942, Walker recorded "Mean Old World" and "I Got a Break, Baby" as one of the first artists for the Los Angeles-based record company.[5] Music writer Bill Dahl described the songs as "the first sign of the T-Bone Walker that blues guitar aficionados know and love, his fluid, elegant riffs and mellow, burnished vocals setting a standard that all future blues guitarists would measure themselves by".[6] Shortly thereafter, his recording career was interrupted by the 1942–44 musicians' strike and the diversion of shellac (a key material used in the manufacture of the then-standard ten-inch 78 rpm phonograph record) for the U.S. war effort during World War II. By 1946, Walker signed with producer Ralph Bass and Black & White Records. Although there is conflicting information regarding the recording date, "Call It Stormy Monday (But Tuesday Is Just as Bad)" was released as a single in November 1947.[1]
Meanwhile, "Stormy Monday Blues", a jazz single by Earl Hines and His Orchestra with Billy Eckstine on vocals had become a number one hit on Billboard magazine's Harlem Hit Parade chart in 1942 and also reached number 23 in the magazine's pop chart.[7] Credited to Eckstine, Hines, and Bob Crowder, the composition features a big band arrangement with different lyrics and does not include the words "stormy" or "Monday". The fact that both Walker's and the Eckstine/Hines song include "Stormy Monday" in the title has led to confusion regarding the songs' true titles and authorship.[8]
Recording and composition
T-Bone Walker at the American Folk Blues Festival in 1972
There are conflicting accounts about the recording date for "Call It Stormy Monday (But Tuesday Is Just as Bad)". In an interview, Walker claimed that he recorded the song in 1940 "just before the war" (the U.S. entered World War II December 7, 1941), but that it was not released because of war-time material restrictions.[8] Journalist Dave Dexter, who worked for Capitol Records in the early 1940s, believed that Walker recorded it for Capitol before the Eckstine/Hines song (March 1942), but that it was not released because of the unavailability of shellac and the recording ban.[5] However, Walker's first single as a band leader, "Mean Old World", which was recorded in July 1942, was released in 1945 by Capitol.[9] One sessionography places the recording of "Stormy Monday" on September 13, 1947, during his third session for Black & White Records.[1] Blues writer Jim O'Neal noted that blues discographies do not show a recording date before 1947.[8]
The recording took place in Hollywood, California, and was produced by Black & White's Ralph Bass. "Stormy Monday" was performed in a "club combo" or West Coast-blues style[10] with a small back-up band. The style, as heard in "Driftin' Blues" (one of the biggest hits of the 1940s),[11] evokes a more intimate musical setting than the prevailing jump-blues dance-hall style.[10] Accompanying Walker is pianist Lloyd Glenn, bassist Arthur Edwards, drummer Oscar Lee Bradley, and horn players John "Teddy" Bruckner (trumpet) and Hubert "Bumps" Myers (tenor saxophone).[1] A key feature of the song's instrumentation is Walker's prominent guitar parts, including the extensive use of ninth chords,[12] which gives the song its distinctive sound. Author Aaron Stang explained: "The real sound of this riff is based on starting each 9th chord a whole step (2 frets) above and sliding down. If we were to analyze this movement, the first chord is technically a 13th chord resolving down to a 9th chord".[12] Guitarist Duke Robillard added
The guitar chord line, it's a little guitar ninth chord figure. That was a unique thing and it became T-Bone's signature. And that chord line seems to have grabbed everybody because everybody plays it with that line in it. And it's almost like a law, that you have to, when you play 'Stormy Monday.'[13]
Walker also plays twelve bars of single-string guitar solo, which writer Lenny Carlson has described as "remain[ing] largely in the middle register, but it contains some gems, particularly in the use of space, phrasing, and melodic development".[14] The horn accompaniment has been compared to that of Count Basie's 1930s Kansas City jazz bands.[14]
Walker uses a standard I-IV-V twelve-bar blues structure for the song and it has been notated in 12/8 time in the key of G with a tempo of 66 beats per minute.[15] The lyrics chronicle the feelings of lost love through the days of week, starting on Monday: "They call it stormy Monday, but Tuesday's just as bad". The mood improves by Friday, when "the eagle flies", a metaphor for payday, which allows for carousing on Saturday.[13] The lyrics end with Sunday, "when the blues and spirituals converged [in] a continuation of a trend used by earlier Mississippi Delta blues singers"[10] and conclude with a prayer asking for the Lord's help because the singer's "Crazy about my baby, yeah send her back to me".[13]
Releases and charts
Black & White Records released "Call It Stormy Monday (But Tuesday Is Just as Bad)" in November 1947.[1] It entered Billboard's Most Played Juke Box Race Records chart on January 24, 1948, and reached number five during a six-week stay.[16] It was T-Bone Walker's second highest charting single (1947's "Bobby Sox Blues" reached number three).[16] According to an article in Billboard for April 30, 1949, the single remained a "strong seller" for Black & White, although it had been out since 1947.[17] The article also announced Capitol Records' purchase of all of Walker's Black & White released and unreleased master recordings and with it the four-year remainder of his recording contract.[17] Two months later in June, Capitol reissued the single on their label.[18]
Walker made several different studio and live recordings of the song for various record companies during his career.[19][20][21] In 1956, he recorded a version, titled "Call It Stormy Monday", with pianist Lloyd Glenn, bassist Billy Hadnott, and drummer Oscar Bradley (Glenn and Bradley had performed for the original 1947 recording).[1][22] It was produced by Nesuhi Ertegun and is included on Walker's 1959 album, T-Bone Blues, for Atlantic Records.[22][23] Writer Bill Dahl described the remake as "luxurious" with Walker's guitar "so crisp and clear it seems as though he's sitting right next to you".[24] Another recording, titled "Stormy Monday", is included on the 1968 album, Stormy Monday Blues for Bluesway Records.[25] A later recording of the song, which uses chord substitutions similar to Bobby Bland's 1961 rendition, was included on The Sounds of American Culture series on NPR in 2008.[13]
Recognition and influence
In 1983, T-Bone Walker's original "Call It Stormy Monday (But Tuesday Is Just as Bad)" was inducted into the Blues Foundation Blues Hall of Fame in the "Classic of Blues Recording — Single or Album Track" category.[26] Writing for the foundation, Jim O'Neal called it "one of the most influential records not only in blues history, but in guitar history".[26] In 1991, it was inducted into the Grammy Hall of Fame which "honor[s] recordings of lasting qualitative or historical significance".[27] The song was included as one of the "500 Songs That Shaped Rock and Roll" by the Rock and Roll Hall of Fame in 1995.[28] The U.S. National Recording Preservation Board selected the song in 2007 for inclusion in the Library of Congress' National Recording Registry of "sound recordings that are culturally, historically or aesthetically significant".[29]
B.B. King biographer David McGee referred to it as a "Mount Rushmore of a blues song".[30] Singer and writer Billy Vera noted "if T-Bone had done nothing more in his career than write and record this one tune, his esteemed place in the history of American music would be guaranteed".[1] As an early electric blues guitar soloist, Walker influenced a generation of blues musicians.[4] In several interviews, B.B. King has stated that "Stormy Monday" inspired him to begin playing electric guitar:[30]
My greatest musical debt is to T-Bone ...'Stormy Monday' was the first tune. 'They call it Stormy Monday', sang T-Bone, 'but Tuesday's just as bad'. Yes, Lord! The first line, the first thrilling notes, the first sound of his guitar, and the attitude in his voice was riveting. I especially loved 'Stormy Monday'—and I still sing it today.[30]
According to music journalist Charles Shaar Murray, other musicians similarly inspired to take up the electric guitar upon hearing Walker's song include Clarence "Gatemouth" Brown, Lowell Fulson, and Albert King.[31]
Other renditions
"Stormy Monday" has become a standard of the blues and also has a broader appeal.[2][12][26] In addition to being necessary for virtually all blues musicians, the song is known to performers in several other genres, who would not otherwise play any blues.[26] Its popularity is such that one encyclopedia entry concludes, "What bluesman does not have his own version?"[2] Billy Vera wrote "rest assured, as you read these notes, someone somewhere is performing 'Call It Stormy Monday'".[1]
Confusion over name
Due to its length, "Call It Stormy Monday (But Tuesday Is Just as Bad)" is shortened to "Call It Stormy Monday" or most often "Stormy Monday". Confusingly, it is also sometimes referred to as "Stormy Monday Blues", the same title as the 1942 song by Billy Eckstine and Earl Hines. According to T-Bone Walker, he specifically gave his song the longer name to set it apart.[8] However, trouble ensued when other artists began recording it using these shortened names. Walker blamed Duke Records owner Don Robey for giving it the wrong title for his artists, including Bobby Bland's 1962 rendition, which appeared as "Stormy Monday Blues".[8][32] Bland's version, which was an R&B and pop chart hit, was subsequently copied by other artists, who also used the incorrect title.[8] As a result, Walker lost out on royalties when his song was misnamed "Stormy Monday Blues" and the payments were forwarded to Eckstine, Hines, and Crowder.[26] Even though Latimore's 1973 hit version of the song was titled "Stormy Monday", the single incorrectly listed "Hines-Eckstine" as the composers.[33]
Bobby Bland version
American soul blues singer Bobby Bland recorded his interpretation of the song in Nashville, Tennessee, in September 1961, during the same session that produced the song, "Turn On Your Love Light".[34] Drummer John "Jabo" Starks recalled
T-Bone Walker's 'Stormy Monday Blues' was supposed to be a 'throwaway' tune. We had already finished the album, and Bobby [Bland] said, 'Hey, man, I want to do that tune. Let's do that tune, just for me'. We said, 'Okay', and we sat there and did it, just the rhythm section. I think it was two takes. Wayne Bennett, the guitar player, wanted to change something. Hamp Simmons out of Houston played an old Kay electric bass.[34]
Rather than copy Walker's arrangement, Bland felt he had to do something different with the song.[34] Most notably, his version features chord substitutions in bars seven through ten:[35]
I7 IV9 I7 I7 IV9 IV9 I7–ii7 iii7–♭iii7 ii7 V9 I7–IV9 I7–V9
This minor-chord progression had been used in several of Bland's songs, including his 1957 breakthrough number "Farther Up the Road", and is found in many subsequent renditions of "Stormy Monday". Guitarist Wayne Bennett commented that he had been influenced by T-Bone Walker and Pee Wee Crayton; Bennett's own playing on the recording influenced many guitarists, including Duane Allman.[34]
When Duke Records released Bland's version, it was inexplicably re-titled "Stormy Monday Blues". The single reached number five during a thirteen-week stay on the R&B chart.[16] It was also included on Bland's 1962 album Here's the Man!, which reached number 53 on the Billboard album chart.[34] Additionally, "Stormy Monday" went to number 43 on the pop chart and Bland made his fourth appearance on the music variety television program American Bandstand, where he performed it to dancing teenagers.[34]
The Allman Brothers Band version
Duane Allman at the Fillmore East, June 26, 1971 (late show)
Brothers Duane and Gregg Allman began performing "Stormy Monday" with their early group, the Allman Joys, and it later became part of the Allman Brothers Band's repertoire.[36] A March 1971 performance of the song at the Fillmore East concert hall in New York City was recorded and released on their At Fillmore East album in 1971.[37] Their version is based on Bobby Bland's 1961 recording,[35] but expanded to over eight minutes with improvised soloing. In the bottom of bar 8, they substituted the ♭III7 chord. Additionally, they substituted the V9 chord in bar 10 with a IVmin7 and the one in bar 12 with a V aug.[38]
The instrumentation of the song is typical of the group, consisting of vocals, two electric guitars, bass guitar, organ, and drums.[37] It demonstrates a different style of music, however, from most Allman Brothers pieces, due to its slow tempo.[36] Duane Allman takes the first solo, with Gregg Allman's organ solo shifting to a jazz-waltz feel, and Dickey Betts' guitar solo being the last before a vocal coda.[36] By means of a careful tape edit, a harmonica solo by Thom Doucette was omitted from the issued version in 1971; it was restored to the song in the 1992 release of the Fillmore Concerts.[36] At Fillmore East became one of the Allman Brothers Band's most popular and enduring albums; for rock audiences, their "Stormy Monday" became the definitive version of the song.[36]
Latimore version
American R&B singer Latimore recorded "Stormy Monday" in 1973. His rendering of the song as an uptempo, jazz-influenced piece evokes a 1962 recording by Lou Rawls that was included on Rawls' Stormy Monday album with Les McCann.[39] However, according to music writer David Whiteis, "its propulsive, pop-tinged groove and Latimore's own jubilant vocal directness made this incarnation of the classic entirely his own".[39] The song was not initially promoted as a potential hit single; however, radio audiences responded so positively that it became his first major hit.[39] "Stormy Monday" eventually reached number 27 on the R&B chart as well as number 102 on the pop chart[16] and is included on Latimore's self-titled debut album for Glades Records.[40] The Blues Foundation, in its statement about Latimore's induction to the Blues Hall of Fame in 2017, noted the importance of "Stormy Monday" on his performing career.[41]
^ a b c d e f g h Woolard, Steve; Vera, Billy (2000). Blues Masters: The Very Best of T-Bone Walker (CD notes). T-Bone Walker. Los Angeles: Rhino Records. pp. 13, 10. OCLC 44970744. R2 79894.
^ a b c Herzhaft, Gerard (1992). "Stormy Monday". Encyclopedia of the Blues. Fayetteville, Arkansas: University of Arkansas Press. pp. 472–473, 356. ISBN 1-55728-252-8.
^ Kelson, Jack (1999). Central Avenue Sounds: Jazz in Los Angeles. Oakland, California: University of California Press. p. 218. ISBN 978-0-520-22098-0.
^ a b Shadwick, Keith (2007). "T-Bone Walker". The Encyclopedia of Jazz & Blues. London: Quantum Publishing. p. 421. ISBN 978-0-681-08644-9.
^ a b Dance, Helen Oakley (1987). Stormy Monday: The T-Bone Walker Story. Baton Rouge, Louisiana: Louisiana State University Press. pp. 89–91. ISBN 978-0-8071-2458-1.
^ Dahl, Bill (1996). "T-Bone Walker". In Erlewine, Michael (ed.). All Music Guide to the Blues. San Francisco: Miller Freeman Books. p. 261. ISBN 0-87930-424-3.
^ Whitburn 1988, p. 191.
^ a b c d e f O'Neal, Jim; van Singel, Amy (2001). The Voice of the Blues: Classic Interviews from Living Blues Magazine. New York City: Routledge. pp. 147–148. ISBN 978-0-415-93653-8.
^ Billboard (November 3, 1945). "Advance Record Releases". Billboard. New York City: Nielsen Business Media. 57 (44): 77. ISSN 0006-2510.
^ a b c Cogdell Djedje, Jacqueline; Meadow, Eddie S. (1998). California Soul: Music of African Americans in the West. Oakland, California: University of California Press. pp. 225, 235. ISBN 978-0-520-20628-1.
^ Hannusch, Jeff (1992). Driftin' Blues: The Best of Charles Brown (CD booklet). Charles Brown. Hollywood, California: Aladdin Records. p. 4. OCLC 35283852. CDP-7-97989-2.
^ a b c Stang, Aaron (1998). 21st Century Guitar Song Trax 3. Los Angeles: Alfred Music. ISBN 978-0-7692-6020-4.
^ a b c d "T-Bone Walker's 'Stormy Monday'". NPR Music. Retrieved April 21, 2014.
^ a b Carlson, Lenny (2006). "Stormy Monday". In Komara, Edward (ed.). Encyclopedia of the Blues. New York City: Routledge. pp. 933–934. ISBN 978-0-415-92699-7.
^ "(They Call It) Stormy Monday". Musicnotes.com. Retrieved October 19, 2013.
^ a b c d Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. pp. 429, 45, 251. ISBN 0-89820-068-7.
^ a b "Walker to Cap; [sic] Close B&W Deal for T-Bone Wax". Billboard. New York City: Nielsen Business Media. 61 (18): 19. April 30, 1949. ISSN 0006-2510.
^ "Advance Race Records Releases". Billboard. New York City: Nielsen Business Media. 61 (24): 29. June 11, 1949. ISSN 0006-2510.
^ "T-Bone Walker: Call It Stormy Monday (But Tuesday Is Just as Bad) – Appears On". AllMusic. Retrieved April 23, 2014.
^ "T-Bone Walker: Call It Stormy Monday – Appears On". AllMusic. Retrieved April 23, 2014.
^ "T-Bone Walker: Stormy Monday – Appears On". AllMusic. Retrieved April 23, 2014.
^ a b T-Bone Blues (Album notes). T-Bone Walker. New York City: Atlantic Records. 1959. Back cover. OCLC 6881022. 8020-2. CS1 maint: others (link)
^ Blues Foundation (November 10, 2016). "2009 Hall of Fame Inductees: T-Bone Blues (Atlantic, 1959) – T-Bone Walker". The Blues Foundation. Retrieved February 9, 2017.
^ Dahl, Bill. "T-Bone Walker: T-Bone Blues – Album Review". AllMusic. Retrieved April 23, 2014.
^ T-Bone Walker: Stormy Monday Blues (Album notes). T-Bone Walker. BluesWay Records. 1968. Back cover. OCLC 7792329. BLS-6008. CS1 maint: others (link)
^ a b c d e O'Neal, Jim (November 10, 2016). "1983 Hall of Fame Inductees: Call it Stormy Monday (But Tuesday is Just as Bad) – T-Bone Walker (Black & White, 1947)". The Blues Foundation. Retrieved February 9, 2017.
^ "Grammy Hall of Fame Awards – Past Recipients". Grammy.org. 1991. Archived from the original on January 22, 2011. Retrieved October 21, 2013.
^ "500 Songs That Shaped Rock and Roll". Rock and Roll Hall of Fame. 1995. Archived from the original on May 2, 2007. Retrieved October 21, 2013.
^ "Complete National Recording Registry Listing". U.S. Library of Congress. Retrieved October 21, 2013.
^ a b c McGee, David (2005). B.B. King: There is Always One More Time. San Francisco: Backbeat Books. pp. 25–26. ISBN 978-0-87930-843-8.
^ Murray, Charles Shaar (2000). Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. New York City: St. Martin's Press. p. 105. ISBN 978-0-312-26563-2.
^ Bland's Duke single includes a writer's credit for "A. Walker", while the LP lists Billy Eckstine and Earl Hines.
^ Stormy Monday (Single label). Latimore. Glades Records. OCLC 24614436. 1716. CS1 maint: others (link)
^ a b c d e f Farley, Charles (2011). Soul of the Man: Bobby "Blue" Bland. Jackson, Mississippi: University Press of Mississippi. pp. 111–115. ISBN 978-1-60473-919-0.
^ a b Rubin, Dave (1998). Guitar Player Sessions: Licks & Lessons from the World's Greatest Guitar Players and Teachers. San Francisco: Backbeat Books. pp. 12–14. ISBN 978-0-87930-503-1.
^ a b c d e Poe, Randy (2006). Skydog: The Duane Allman Story. San Francisco: Backbeat Books. eBook. ISBN 978-0-87930-891-9.
^ a b At Fillmore East (Album notes). The Allman Brothers Band. Nashville, Tennessee: Capricorn Records. 1971. Back cover. OCLC 4696818. SD2-802. CS1 maint: others (link)
^ Brown, Robert (2006). Introducing Jazz for the Rock Guitarist. Los Angeles: Alfred Music. p. 37. ISBN 978-0-7390-2567-3.
^ a b c Whiteis, David (2013). Southern Soul-Blues. Champaign, Illinois: University of Illinois Press. p. 40. ISBN 978-0-252-03479-4.
^ "Latimore – Album Overview". AllMusic. Retrieved April 24, 2014.
^ Blues Foundation (2017). "2017 Hall of Fame Inductees: Latimore". The Blues Foundation. Retrieved July 8, 2017.


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george on Viewpoint: Convert Hudson River Rails to Multi-Use Trail
Steve B. on Viewpoint: Convert Hudson River Rails to Multi-Use Trail
Pat B on Viewpoint: Tearing Out Railroads Is Not Progress
Adk Resident on Gibson: DEC Evaded Review of Bridge Over Scenic River
Restored Lake George Boathouse Gets Preservation Award
by Anthony F. Hall
The Lake George Kayak Company has been awarded a Preservation Award by Adirondack Architectural Heritage (AARCH) for its restoration of an 1880s boathouse on Green Island.
The boathouse now serves as the Lake George Kayak Company's retail store, selling kayaks, canoes, paddleboards and boating-related gear. The restoration was completed in 2013.
According to Kate Ritter, AARCH's program director, the awards are presented annually to those who have "undertaken sensitive restorations or rehabilitations and demonstrated long-term stewardship."
The award was presented at an awards luncheon on September 29 in Inlet. The annual event is "a celebration of the work and care that individuals and organizations have put into a variety of historic resources throughout the Adirondack region."
"When people say a building can't be preserved, this demonstrates that it's possible," said Ike Wolgin, the owner of the Lake George Kayak Company. "It's nice for everyone who was involved in protecting this interesting and unique building to see it recognized."
According to Wolgin, the boathouse was built for John Boulton Simpson and his 80-ft steam yacht, Fanita.
Simpson was the New York City businessman who, along with four other investors, purchased Green Island and built the Sagamore Hotel in 1882. They also built cottages for themselves on the island, and spent the long summers entertaining themselves and one another with regattas, cruises, balls and informal parties.
According to Wolgin, Fanita was docked at Villa Nirvana, on the south shore of Green Island. But at the end of every season, she was hauled from the lake along a marine railway that extended into the boathouse and every spring, she was returned to the lake the same way.
F.R. Smith and Sons, the Bolton Landing marina, purchased the boathouse in the late 1920s, and for most of the decades that followed, it continued to be used to store and launch boats.
In recent years, though, it had fallen into disrepair; before the Lake George Kayak Company bought it two years ago, it looked as if it would collapse of its own weight if a developer didn't knock it down first.
To save the boathouse, Wolgin recruited Bolton builder Dave McAvinney, with whom he's worked on several construction projects, and architect Reuben Caldwell.
Everything that could be salvaged was salvaged, said Wolgin. The exterior siding, rather than being thrown away, was used to line the interior walls. Beams that were once used for ramps now support the uppermost level. Even the old tin roof was retained.
"We recycled, repurposed and reclaimed everything we could," said Wolgin. "From an environmental perspective, the less you send to a landfill the better. And we sent very little."
Wolgin said he appreciated AARCH's efforts to promote the appreciation of the region's varied vernacular architecture.
"There were certainly more styles than the rustic style, styles that were based on the availability of materials and the function of the buildings," said Wolgin. "Utilitarian buildings such as boathouses were the work horses of the Adirondacks, and they're easily lost. AARCH helps make certain that these buildings are better understood, so as to better preserve them."
Lake George Gets $4M For New Wastewater Plant
Lake George Hike-A-Thon July 5th
Amelia Earhart's Visit To Lake George
Anthony F. Hall
Anthony F. Hall is the editor and publisher of the Lake George Mirror.
Anthony grew up in Warrensburg and after an education that included studying with beat poet Gregory Corso on an island in the Aegean, crewing a schooner in Hawaii, traveling through Greece and Turkey studying Byzantine art and archeology, and a stint at Lehman Brothers, he returned to the Adirondacks and took a job with legendary state senator Ron Stafford.
In 1998, Anthony and his wife Lisa acquired the Lake George Mirror, once part of a chain of weekly newspapers owned by his father Rob Hall.
Established in the 1880s, the Mirror is America's oldest resort newspaper.
Tags: AARCH, Adirondack Architectural Heritage, Architecture - Historic Preservation, boating, Bolton Landing, Lake George
Marisa Muratori says:
Good for them! Nice job!

redpajama_set_name: RedPajamaCommonCrawl


Going through my image files, and I saw this. Shot on my birthday with the iPhone 7 plus at our favorite Italian restaurant. I love the Pinot Noir. The 2015 makes it special. It's a good year for most wines. Every time I see a 2015 I just buy it. The 2010 is also a very good year. Probably the best one. There aren't that much around. I was told that the 2017 is also good. I have yet to try it.


Busting out of Israel's psy-trance scene with 1999's The Gathering, Infected Mushroom have continued to evolve and grow. After transforming themselves from DJ duo to touring live band, the L.A.-based outfit composed of Amit "Duvdev" Duvdevani and Erez Eisen took their profile to a new height with 2009's Legend of the Black Shawarma, which featured Perry Farrell and Korn's Jonathon Davis. Three years later the pair are back with a new album featuring two covers and experimentations with dubstep and drum 'n' bass. We caught up with Duvdevani and Eisen during their recent trip to New York City.
And it's your first for Dim Mak.
Duvdev: We met [Dim Mak label owner] Steve Aoki in L.A. where we live. When we were shopping for labels to release the album, because it was a really electronic album, there were really two choices: Dim Mak or Ultra [Records]. Dim Mak is based in L.A. so it was easier to do it so we went with them.
So once again you had free reign with the album?
Duvdev: Free reign. [Nods head] The album was done as we like it. No supervision on the music side. That's how we like to do it.
Sonically the sounds and textures on the album are very fresh and don't sound like anyone else's. I take it that a lot of time was put into these tracks.
Erez: We always try to make our own sounds from scratch. We do this on every album and on almost every track. You're the first one who's noticed, so thanks.
Duvdev: A lot of people use sample packs so that's why you hear a lot of the same sounds. We try to avoid [using these packs]. It takes more work but the tracks sound more unique.
The live element has always been important. Are you always thinking about how a song can be realized live when you're writing in the studio?
Duvdev: The majority of our music is played live in clubs so we do think how people will react on the dance floor first of all and then how we can add a live element to it. But when we do the track, we just do it. There's not too much thinking to it; it's all about the vibe we are thinking and feeling and then we adapt it to the live show.
Over the years your sound has changed and evolved. You were once known for psy-trance, and you've since gone on to explore other musical styles.
Duvdev: We didn't "leave" psy-trance; we just tried new things. This is our eight album, and to do eight psy-trance albums would be boring for us and nothing new. That's why already on the fourth album, Converting Vegetartians, we went in a different direction. Then came IM the Supervisor, Vicious Delicious….we try each time to do a different direction and to have a lot of variety in our music. Moving away from psy-trance has brought us more fans, but we still do psy-trance once and a while because we love the genre.
How did your interest in rock manifest itself this time?
Duvdev: I really don't know. This new album is influenced by what's going on in the electronic music scene over the past two years. That's why you have dubstep, drum 'n' bass and electro. Now we need to translate it into our new show which is a new visual kind of monstrous show that we've been working on for the past year.
Let's talk about the new album, Army of Mushrooms. "Send Me An Angel" is a pretty epic song. My sense is that there's something special behind that one.
Erez: It's a song from a huge band in Israel called Mashina, and we collaborated with them in Israel and it's a favorite song from our childhood. We gave it lots of thought so that we wouldn't ruin the original song. We tried to make it better for our taste, and we felt that even [if the song is] in Hebrew we must put it on the album.
Is this the first Hebrew track you've done?
Erez: We had one word on an album but it was a phrase.
That was my next question. How did you decide on covering Foo Fighters' "The Pretender"?
Duvdev: It was our first take on drum 'n' bass. After we tested it on our shows we got so much impact from the crowd and we knew it had to be on the album. We went to the lawyers and it turned out okay. So two covers on this album and the first with covers!
The artwork is pretty amazing. Where did you find the artist?
Duvdev: Anton….whatever! We found him on the Internet. We sent him an e-mail to see if he's interested in doing a cover and he said yes. We gave him the concept, and he came with this crazy, crazy mushroom idea. We guided him and he went back and did an amazing job. We were super happy with how it turned out.
Erez: Our fans actually posted on our forum about this guy that he should do our next album cover.
Duvdev: He doesn't speak a word of English. We communicated entirely via Google translate.
Tell me about the live show.
Duvdev: The Unveiling show we're doing for the first time in L.A. next week. We've been working on it for a year, and we're going to test it out. It's a big, big thing. After that we're off to Israel to a major European tour and then back to the States to do a tour that will go through November. There will be a lot of shows to premiere this album, then we go to Australia and South America.
What's the twist this time around?
It's just me an Erez without the whole band. There's a huge structure on stage, kind of like Amon Tobin's show but bigger. We went with the same crew who did Amon Tobin's show, and they built our stage in L.A. We've been working on it for a year already. It's big, and I hope people like it a lot.
Keith and Maxim also appear on the album, as does Foo Fighters' Dave Grohl (who once played drums in some grunge trio called Nirvana), who plays drums on "Run With The Wolves." Liam Howlett and crew are promising lots of hard riffage, noise and sonic shenanigans.
The Prodigy will be giving away a free download of the brilliant title track Invaders Must Die available from the band's website on Wednesday, November 26th from 7:30pm UK time (2:30pm EST) for one week only.
There will also be a high definition video download of the song available from 12 noon on Nov 28th as part of the Xbox tival campaign. Featuring the screenwriter and star of Kidulthood and Adulthood, Noel Clarke, it will be available for free until Dec 5th on the Xtival channel on Xbox Live.


The Ministry of Labour engaged in a Memorandum of Understanding with Suan Dusit University and the Tourism Council of Thailand on development of students and workforce in the tourism and services industry.
On 2nd December 2016 at 15.00 hours, Permanent Secretary of Labour M.L. Puntrik Smiti chaired the hair removal ceremony of nagas, where 95 nagas comprising employers, employees and government officers took part in honour and commemoration of the late King Bhumibol Adulyadej.
On 30th November 2016, the Ministry of Labour's executive member led by Deputy Permanent Secretary of Labour Mr. Anurak Tossarat, Inspector-General Mr. Soothi Sukosol, the Department of Employment's Director-General Mr. Singhadet Chu-umnart, the Department of Labour Protection and Welfare's Director-General Mr. Sumet Mahosot, Deputy Director-General of the Department of Skills Development and acting Inspector-General Mr.
On the 22nd of November 2016 at 08.00 hours, Prime Minister General Prayuth Chano-ocha and the National Council for Peace and Order's (NCPO) executive committee chaired the oath-taking ceremony in honour of late King Bhumibol Adulyadej, emphasizing loyalty to the nation, religion and monarchy.
Earlier today (22 November 2016) at 08.00 hours, Permanent Secretary of Labour M.L. Puntrik Smiti chaired and led the Ministry of Labour's executive team and officers, totaling over 500 members at the ceremony declaring loyalty. The event took place at the Jompol P. Phiboonsongkram meeting room on the 5th floor of the Ministry of Labour, in honour and remembrance of late King Bhumibol Adulyadej.


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Females in Combat
Shortchanging Vets
CHRIS ADAMS and ALISON YOUNG
Knight Ridder
Part 1: Each Page is a continuation of the same story, just shorter for easy reading!
DRY RIDGE, Ky. - Like thousands of his fellow veterans of America's wars, Alfred Brown died waiting. In 1945, when he was a 19-year-old soldier fighting in Italy, shrapnel from an enemy shell ripped into his abdomen. His wounds were so severe that he was twice administered last rites. When Brown came home, the government that had promised to care for its wounded veterans instead shorted him. Not until 1981, however, did Brown realize that his monthly disability check didn't cover all the injuries he'd suffered. He launched what would become a 21-year battle.
"As a member of the so-called 'Greatest Generation,' I am well aware of the large numbers of us passing away," he wrote the nation's chief veterans judge in 2001. "I am prepared to meet our Creator. My fear is that your court will not make a decision in my case."
Brown was right. He died a year later, and his case died with him. As he closed the books on the case, Judge Kenneth Kramer acknowledged that Brown might have been right all along. Had Brown not died, the judge wrote, "I believe that the Court would likely have so held."
Tens of thousands of other veterans have returned from war only to find that they have to fight their own government to win the disability payments they're owed. A Knight Ridder investigation has found that injured soldiers who petition the U.S. Department of Veterans Affairs for those payments are often doomed by lengthy delays, hurt by inconsistent rulings and failed by the veterans representatives who try to help them.
The investigation was based on interviews with veterans and their families from around the country and on a review of internal VA documents and computerized databases that had never been released to the public. Many of the records were made available only after Knight Ridder sued the agency in federal court.


This project is called GI Learner.
It's called DLAB, which is short for Digital Learning across Boundaries.
The Digital Learning Across Boundaries (DLAB) project addresses the need to align European educational practice with ways in which digital technology is changing how and what we learn, and how we apply this in education.
The purpose of this project is to promote digital learning across the boundaries of physical spaces, across curriculum subjects and across languages and cultures, to facilitate collaborative learning across national boundaries.
Technology Outdoors: bridging formal and informal learning by extending learning beyond traditional classroom spaces and supporting learners with disadvantaged backgrounds by managing transitions positively through collaborative outdoor learning experiences.
Stem to SteAm: adding the Arts to the integrated study of Science, Technology, Engineering and Maths creating inter-disciplinary challenge-based online learning resources.
The website is taking shape, and has a range of materials.


Each year, the Chinese Government provides a number of full and partial scholarships enabling Albertans to study in China. The eligibility is wide-ranging and includes: Alberta high school graduates, post-secondary students and scholars wishing to participate in academic study at the undergraduate or graduate level, conduct scholary research, or participate in Chinese language studies.
Applications are now being accepted for the 2012/2013 Chinese Government Scholarship program with studies commencing in September 2012. The deadline to apply is December 12,2011.


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Vancouver Sleep Clinic - Ayahuasca
Having first graced the blog here in 2013 with his single Vapour, a track that's now amassed over 2 millions Soudcloud streams, Vancouver Sleep Clinic has become a name renown for quality and immense power. Even when his music is often whispered and dressed in subtle electronics Tim Bettinson seems to find a way to bring his emotive compositions to dazzling life. Here's no different as he returns with Ayahuasca, a stunning 8 minute piece showcasing his vast and expansive talents, the track spanning through synthesised and analogue elements.
"Ayahuasca is a world that I lived and breathed in over a weekend in my little studio apartment in LA" explains Bettinson. "I bought a bunch of food, shut the blinds, lined the walls with LEDs & locked myself into a journey for three days. It's the song I've always wanted to make but never been brave enough to. Something that defied any normal expectation & allowed me to express every inch of what i was feeling at the time. A place where you can shut your eyes for 8 minutes and escape reality". Free from a major label deal he felt trapped by, 2018 looks set to hold no creative limitations with his boundaries endless. I can't wait to hear what's in store.
f: www.facebook.com/VancouverSleepClinic
Genre Alternative, pop


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Regional Plan Association Issues Report on the Impacts of a Partial Shutdown of the Trans-Hudson Tunnel
It's Time to Get Real on How Life Without Gateway Will Affect the Nation:
A shutdown without a new tunnel would cost the national economy $16 billion, reduce home values by $22 billion, and lead to decreased economic productivity; job losses; increased congestion and crashes across the northeastern United States
RPA leadership heads to DC to present its findings on Capitol Hill and call for Gateway funding
NEW YORK – Shutting down the Hudson River Tunnels to repair the damage caused by Superstorm Sandy without having new tunnels already built would have far-reaching consequences across many sectors of our regional and national economy, according to a new report released today by civic organization Regional Plan Association and Arup, a multinational professional services firm.
The report, entitled A Preventable Crisis: The Economic and Human Costs of a Hudson River Rail Tunnel Shutdown, details the human and economic toll of a partial Hudson River Tunnel shutdown without the alternative that a new, fully-funded Gateway project would provide.
The report's findings are bleak, and among the most robust research on the implications of not fully funding Gateway to date:
A partial shutdown of the tunnels would mean dramatically expanded commute and travel times and increased congestion on public transportation and already stressed roadways and airports, leading to increased business and consumer costs, job loss, home devaluation, and health risks.
Effects of a four year shutdown would cost the national economy $16 billion, $1.5 billion in federal tax revenue, and $1 billion in state tax revenue outside of New York and Jersey.
"This report outlines what a grim new reality will look like. Every day that we aren't building the Gateway project, we're one day closer to real economic and social calamity that would be felt across the Tri-State area and beyond," said Tom Wright, President of Regional Plan Association. "From job availability to housing prices, the price of household goods, and even the cost of air travel, every sector of our economy would feel the effects of a partial shutdown of the trans-Hudson tunnel. Residents would feel its impact across many facets of their lives. It is a slow-moving, predictable crisis which we have the capacity to prevent. It is time to fully fund the Gateway project now."
More than 200,000 trips are taken through the existing Hudson River tunnel on a daily basis in as many as 450 trains. Rail travel below the Hudson between New Jersey and New York is already unreliable due to the tunnel's advanced age and the extensive damage sustained during Superstorm Sandy; the tunnel will soon reach the end of its useful life.
In order to repair the existing tunnel, the two tubes would need to be closed one by one, reducing the number of trains going in and out of Penn Station by as much as 75%.
The Gateway project would build a new tunnel underneath the Hudson River before undergoing any work on the original tunnel to mitigate service reduction. While funds for the Gateway project were promised by the previous federal administration, the outlook for Gateway now looks increasingly uncertain with changing federal priorities. Meanwhile, the tunnel tubes continue to deteriorate.
Without the added resource of the Gateway tunnel, emergency work on the Trans-Hudson tunnel would mean that nearly half a million people would have longer, less reliable and more crowded commutes, losing hours of productive, personal and family time and putting jobs at risk.
The report also details the impact that repair of the Trans-Hudson tunnel, if needed before new rail capacity is built, would have on a variety of people and businesses.
Key report findings include:
38,000 NJTransit riders would be unable to ride the train, forcing them into a variety of less-desirable options to get to and from work. Thousands of workers would eventually be forced to move or accept lower paying jobs closer to home.
Almost a quarter million drivers will have longer trips to work; more than half of these drivers would experience delays of a half-hour or more. An additional 170,000 riders would have longer rides on the PATH train or bus. Many commuters would need to add additional buffer time to their commutes, meaning less time for family and other priorities.
The shutdown would cost the national economy $16 billion over four years. More than half of this cost would be the result of increased work inefficiencies due to longer commutes. These wage costs alone equate to the loss of 33,000 jobs per year.
Forcing more than 10,000 drivers onto the roads would result in 38,000 additional car crashes that would result in thousands of injuries and 90-100 preventable deaths.
Transportation is nodal; other forms of transit malfunctions or shutdowns would have a compounding effect on people's ability to get around regionally. Every time PATH, the Port Authority Bus Terminal, the New York City subway, northeast airports or interstate highways experience shutdowns or delays, it would become even harder to get around regionally.
Homeowners would see their property values dip by a collective $22 billion. Owners of commercial property—offices, stores, health and education facilities, factories and warehouses—would also see a decline in property values.
$7 billion would be lost in Federal, state, and local tax revenue; including $1.5 billion in federal taxes and over $1 billion in states outside of New York and New Jersey.
Many displaced long-range Amtrak riders would fly instead, increasing DC to NYC air fares by as much as 65% and pricing out many leisure, small business and non-profit travelers.
Truck delays would cost the Northeast economy close to a billion dollars.
Regional Plan Association leadership is in Washington D.C today to present these findings to members of Congress with the hope of encouraging the full funding of the Gateway project before it's too late.
"This report is clear and decisive: New Jersey is sitting on a transportation ticking time bomb. Failing to complete construction of a new Hudson River rail tunnel before the current dilapidated tunnels are forced to shut down would cripple our economy and create real hardships for the hundreds of thousands of commuters who depend each day on a safe and reliable transportation system," said U.S. Senator Bob Menendez, Ranking Member of the Senate's transit subcommittee. "The latest RPA study outlines in unambiguous terms the havoc a Hudson rail tunnel shutdown will wreak on our regional and national economies in lost jobs, lost production, diminished revenues, and plummeting home values, senselessly putting at risk the livelihoods and economic security of hardworking families and small business owners. We can get Gateway done faster and cheaper with the Trump Administration fully on board. Not only must we move forward on Gateway without further delay, but this report underscores why we cannot afford not to."
"RPA's Hudson Tunnel report affirms what all of Gateway's supporters have been saying for years. The costs of delaying this project any longer are too high. Too high for our region's and the nation's economy. Too high for the hundreds of thousands of commuters in New York and New Jersey who rely on this century-old infrastructure every day. And too high for our climate and air quality," said U.S. Senator Charles E. Schumer.
"Today's comprehensive report from the Regional Plan Association underscores what New Jersey commuters have known for far too long: we must act now to replace the Portal Bridge, build a new Hudson River Tunnel, and repair the existing tunnels for the future of our region," said U. S. Senator Cory Booker. "This analysis should clearly demonstrate to everyone, including the Trump Administration, that the Gateway Program is one of the most urgent infrastructure projects in the country, and that inaction will cost the region and the nation billions of dollars in lost economic productivity. From increased congestion and crowding on public transportation to a significant decline in the region's real estate values, we simply cannot ignore the severity of this problem waiting to happen. The Trump Administration's refusal to act puts at risk the safety of the region and the economic vitality of the nation."
"Regional Plan Association's report makes the consequences of a partial shutdown of the Hudson River rail tunnel devastatingly clear," said New Jersey Governor Phil Governor Murphy. "A failure in the tunnel would be catastrophic. Aside from the potential loss of life and injury, it would drain billions of dollars from our regional and national economies, and cause a needless significant increase in air pollution. Only a true partnership between the Federal Government, New Jersey and New York, and other public and private stakeholders can prevent this disaster. We must build Gateway together, and keep the Northeast Corridor moving."
Jerry Zaro, Tony Coscia and Steven M. Cohen, the three Trustees of the Gateway Development Corporation, which oversees the Gateway Program, said, "This report brings the dire consequences of not building Gateway into harsh reality. Facts matter, and the facts made clear in this report are that this region and this nation will lose billions of dollars, property values will plummet and congestion and climate damage will get even worse if we allow the status quo of relying on a century old one-track-in, one-track-out system to continue. We are grateful to the RPA and Build Gateway Now coalition for their ongoing work to move the most urgent infrastructure projects in the country forward."
"As this RPA report makes clear, the economic consequences of a Trans-Hudson tunnel failure would be disastrous. Virtually every major business in the metropolitan region has employees who live or work on both sides of the Hudson," stated Kathryn Wylde, President & CEO of the Partnership for New York City. "The disruption that would result from tunnel shut-down cannot be overstated."
"This report reaffirms that the Gateway Program is not only the most important project in New York, but it is the most critical piece of infrastructure in the country," said Carlo A. Scissura, Esq., President & CEO of the New York Building Congress. "If the existing tunnels fail, it will cripple the northeast corridor, severely disrupt the lives of half a million commuters and cost our national economy $16 billion over four years. On the other hand, if completed, Gateway would transform the daily commute of hundreds of thousands of people and provide access to new jobs, industries and economic opportunities. Our message is simple – we must build Gateway now."
Julie Tighe, President of the New York League of Conservation Voters, said, "Shutting down one of the Hudson River tunnels would cripple public transportation in the entire Northeast and seriously harm the environment. Additional tunnel bottlenecks will push more cars onto highways, increasing air pollution and the transportation sector's role in climate change. This illustrates how important completing the Gateway Project is to the entire region. We thank RPA for this vital report and their continued leadership of the Build Gateway Coalition."
"NJ commuters are riding on borrowed time, and that's a big gamble for the nation's largest economy," said Robert Briant, Jr. CEO, Utility & Transportation Contractors Association. "The trans-Hudson tunnels are the weakest, yet most critical asset in our region. This report clearly shows that without action, we leave ourselves open to economic calamity for which we are wholly unprepared. Even a short-term failure of our tunnels would send the region and its economy reeling, and we cannot allow our businesses, communities, and infrastructure to continue to absorb this unnecessary risk. Building Gateway will not only create jobs and improve commutes, it will help protect our overall economic stability, making the region stronger for generations to come."
"Rebuilding the Hudson River tunnels and the connected infrastructure is not only important to reducing risk to the country's largest economic city engine, it is also important to maintain the competitiveness of NYC and the entire Northeast Corridor in the global arena," said David Armour, Chief City Executive, Siemens Corporation.
"This report is the most definitive wakeup call about what we could face if even just one existing tunnel is taken out of service and the dire implications of not moving forward immediately on the Gateway project," stated Colleen Mahr, Mayor of Fanwood, NJ and President of the NJ League of Municipalities. "Every municipality, whether a large urban area or small suburban town, will suffer steep declines in home values, revenue, and ability to attract businesses and investments. Thousands of new Transit-Oriented residential units will lose their appeal, further devastating communities and downtown business districts. The potential to devastate our region and millions of residents, workers and visitors is frightening and very real. The existing tunnels are on borrowed time."
"Essential to New Jersey's economic well-being is the ability to move people and freight within and through the state. Our current overburdened transit system is not the economic asset that it needs to be to keep the state competitive. RPA and ARUP's report highlights the severity of what has become a worsening problem and a clear direction for moving forward: we need the Gateway tunnels, and we need them now," said Peter Kasabach, Executive Director of New Jersey Future.
"A Preventable Crisis" builds upon RPA's Fourth Regional Plan, released in 2017, recommending new rail tunnels under the Hudson and East Rivers.
About Regional Plan Association
Regional Plan Association is an independent, not-for-profit civic organization that develops and promotes ideas to improve the economic health, environmental resiliency and quality of life of the New York metropolitan area. We conduct research on transportation, land use, housing, good governance and the environment. We advise cities, communities and public agencies. And we advocate for change that will contribute to the prosperity of all residents of the region. Since the 1920s, RPA has produced four landmark plans for the region, the most recent was released in November 2017. For more information, please visit www.rpa.org or fourthplan.org.
Amtrak Gateway New York News Release NJ Transit Transportation Transportation New Jersey


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'Free African Americans Virginia Franklin County' in subject
• African Americans--History (2)
• African Americans -- Employment -- Virginia -- Franklin County. (1)
• Business enterprises--Virginia--Franklin County. (1)
• Confederate States of America -- Defenses. (1)
• Coroners--Virginia--Franklin County (1)
• Death--Causes--Virginia--Franklin County (1)
• Debt--Virginia--Franklin County. (1)
• Divorce suits--Virginia--Franklin County. (1)
• Equity--Virginia--Franklin County. (1)
• Estates (Law)--Virginia--Franklin County. (1)
• Library of Virginia (3)
A Guide to the Franklin County (Va.) Free Negro and Slave Records, 1837-1864 #1145467, 1145475
The Library of VirginiaLibrary of Virginia
African Americans -- Employment -- Virginia -- Franklin County. | Confederate States of America -- Defenses. | Franklin County (Va.) -- History -- Civil War, 1861-1865 -- African Americans. | Free African Americans -- Virginia -- Franklin County. | Slave labor -- Virginia -- Franklin County. | Slaveholders -- Virginia -- Franklin County. | War -- Economic aspects -- Virginia -- Franklin County.
A Guide to the Franklin County (Va.) Chancery Causes, 1787-1912 (bulk 1833-1912) #Franklin County (Va.) Chancery Causes, 1787-001-1912-064
African Americans--History | Business enterprises--Virginia--Franklin County. | Debt--Virginia--Franklin County. | Divorce suits--Virginia--Franklin County. | Estates (Law)--Virginia--Franklin County. | Equity--Virginia--Franklin County. | Free African Americans--Virginia--Franklin County. | Land subdivision--Virginia--Franklin County. | Slavery--Virginia--Franklin County.
A Guide to the Franklin County (Va.) Coroners' Inquisitions, 1808-1901 #0007329898
African Americans--History | Coroners--Virginia--Franklin County | Death--Causes--Virginia--Franklin County | Free African Americans--Virginia--Franklin County | Infanticide--Virginia--Franklin County | Murder--Investigation--Virginia--Franklin County | Murder victims--Virginia--Franklin County | Slaveholders--Virginia--Franklin County | Slaves--Virginia--Franklin County | Suicide--Virginia--Franklin County | Women--Virginia--Franklin County


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Luther Russell
Name Luther Russell
Role Singer
Albums The Invisible Audience, Spare Change, Lowdown World (And Other Assorted Songs), Motorbike EP
People also search for Ken Bott, Fred Trujillo, Marc Ford, Dave Lipkind, Jere Bott
Luther russell halfway
Luther Russell (born November 30, 1970) is an American musician who has been recording since 1991, initially as lead singer/songwriter of his old band, The Freewheelers, who made two albums for DGC and American, respectively.
The Freewheelers
He then went solo, starting with "Lowdown World" (1997), "Down At Kit's" (1999), and "Spare Change" (2001), all recorded while living in Portland, Oregon. It was also in the great northwest that Luther produced many independent records by such acclaimed artists as Richmond Fontaine and Fernando. Since relocating back to his hometown of Los Angeles in, he released his fourth solo record entitled "Repair", which was produced by Ethan Johns (Kings of Leon, Jayhawks, Ryan Adams). Luther and Ethan also co-produced the debut album of singer Sarabeth Tucek. Prior to this, he finished producing the debut album of The Relationship featuring Brian Bell of Weezer (released 2010). After producing a string of UK singles from 2007 to 2009 and a new full-length by Horse Stories, Luther released a solo single and EP, and "The Invisible Audience" (2011).
Luther Russell has traveled and performed extensively and shared the stage with acts such as Arthur Lee, Johnny Cash, Tom Petty, Etta James, Los Lobos and Wilco.
Luther Russell is the grandson of legendary songwriter Bob Russell (1914–1970). He is also grandnephew of equally legendary songwriter Bud Green (1897–1981)
At 17, Luther formed his first band called The Bootheels with Jakob Dylan, son of Bob Dylan, later of the Wallflowers and drummer Aaron A. Brooks.
"The Freewheelers" (DGC, 1991),
"The Freewheelers Play Bob Russell" (Promo LP, 1993),
"Waitin' For George" (American Recordings, 1996).
"Lowdown World" (Highland, 1997)
"Down At Kit's" (Cravedog, 1999)
"Spare Change" (In Music We Trust, 2001)
"Repair" (2007)
"Good Music b/w Sidekick Reverb" (single) 2009
"Motorbike EP" (2010)
The Invisible Audience (2011)
A World Unknown
1st & Main
Sidekick Reverb
Dead Sun Blues
OK Already
Still Life Radio
Elder Green Blues
Broken Baskets
Nothing To See Here
In This Time
Lowdown World
Somehow or Another
Tell Me If My Love's Too Late
Right Way 'Round
Friday Night's Dead
Everybody Had It Made
Old Dirt Path
Ain't Frightening Me
Long Lost Friend
109th & Madison
Shaggyman
Framed on 8th St
Everything You Do
Thick and Thin
Luther Russell Wikipedia
Howard Barbieri
Vanessa Peretti


B.RAJASEKHAR has completed his master�s degree in Construction Management from ANNA University Chennai. Presently he is working as Assit.prof in department of civil engineering. He had published one paper.


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Creating "Fake" History – TWTW 18 February, 2018
On February 18, 2018 February 19, 2018 By marvinsk
Creating "Fake" History – Poland's Holocaust Bill – A National Shame and An Historical Disgrace
The so-called "Holocaust Bill" (originally titled the "Amendment to the Act of the Institute of National Remembrance") criminalizes any public speech that suggests that Poland or the Polish people were complicit in Nazi crimes. As mentioned in my last blog, the bill criminalizes any reference to Polish death camps, making such references punishable by fine and/or imprisonment of up to three years. The bill was signed into law earlier this month by Poland's President and only Poland's Constitutional Court can give it real life or bury it. It is difficult to put into a few, simple words the storm of protest and controvery that this bill has generated in Israel, particularly among Holocaust survivors and their families. It doesn't matter how much Poland tries to protest its active and aggressive involvement in the Holocaust, it will not, and must not, succeed. Libraries are filled with historical documents, photographs and sworn declarations that are a condemnation of the country and its cooperation with the Nazis that will forever remain a wart on the hide of Poland and the Polish people. Add to that book by Polish-born historian, Jan Grabowski, entitled Hunt for the Jews: Betrayal and Murder in German-Occupied Poland, discussed at length in an Israeli newspaper article only one year ago. The efforts by Poland's right-wing Law and Justice Party to revise history are doomed to fail, as the evidence against the Polish people, as a whole, is too great.
The bill is nothing more than a gag law, designed to white-wash Poland's participation in the murder of Polish Jews during World War II and to produce a single, historical narrative which denies – perhaps "avoids" is the better term – Poland's complicity and historical responsibility for its actions against the Jewish people during the Holocaust. In order to do that, it must, of necessity, shift the blame and its shame from itself to someone else. In this instance, the blame is shifted to the Jewish people, the victims of rampant Polish anti-semitism. Three and a half million Polish Jews made up about one-tenth of the country's population during WWII. About 90 percent of them were systematically murdered during the Holoaust.
Interestingly, the Holocaust Bill was introduced when Poland was still considering another bill, introduced in October, 2017, that would allow Polish Holocaust survivors or their children or grandchildren to file a claim for restitution of Jewish property seized by the Nazis or the post-WWII Polish regime. Adding to its national shame, Poland is the only major, European country that has not yet enacted a law for the restitution of Jewish property. Much of the proposed restitution law contains provisions that will make it difficult, if not impossible, to file a claim. If made by a Holocaust survivor, he would have to be a current citizen of Poland, as well as having lived there when his property was seized. But, there is another provision in the proposed law that precludes survivors from filing a claim, if they could have made a claim for compensation under various restitution treaties to which Poland was a party after the war. The bill also limits the type of claims that surivors could make, as well as imposing a statute of limitations on such filing of only one year from the date that the proposed bill would be passed. After that, the property would revert to the Finance Ministry of Poland.
Now, after the introduction of the Holocaust Bill, the Polish government decided, for some unknown reason, to "reexamine" the restitution bill, which will be inspected by its Justice Ministry. This could well result in killing the bill, or it being put on hold indefinitely, or for a significant period that would, for all intents and purposes, preclude any claim being made, because there is no one around who could prove it.
Is there a connection between the Holocaust Bill and the restitution bill? We cannot rule out the possibility that the latter was introduced as an excuse to withdraw the former. Why was it necessary for Poland to introduce the Holocaust Bill at this time? Follow the money and follow the property. A financial loss to the Jewish people means a financial gain for Poland.
It seems that Poland is going from bad to worse. While attending the Munich Security Conference, Polish Prime Minister Mateusz Morawiecki attempted to defend that Holocaust Bill. He responded to a question by an Israeli reporter, who asked him what Poland stood to gain from the bill. While the answer was anything but a response to the question, Morawiecki said: "The Nazis had Polish perpetrators" and added "[as] there were also Jewish perpetrators" – a term that he used three times, so there can be no doubt that this statement was intentional. Once again, Poland is attempting blame the victims for not only being victims, but also for perpetrating the atrocities of the Holocaust against themselves. The controversy surrounded this bill is certain to increase the present anti-semitism in Poland.
Israeli Knesset Member, Avi Gabby, who heads up the Zionist Camp, said, in response to Morawiecki's statedment: "Polish Prime Minister Mateusz Morawiecki speaks like the last Holocaust denier. The blood of millions of Jews cries out from Polish soil about the distortion of history and the escape from guilt. Jews were murdered in the Holocaust and Poles took an active part in their murder. The government of Israel must be here for the millions of those murdered and condemn the words of the Polish prime minister harshly."
And that's exactly what Prime Minister Benjamin Netanyahu did today, who said that the Polish Premier's claim of Jewish Perpetrators is the Holocaust is "outrageous".
Yair Lapid, the Chairman of the Yesh Atid centrist party, added, in part: "The Polish Prime Minister's statement is antisemitism of the oldest kind. The perpetrators are not the victims. The Jewish state will not allow the murdered to be blamed for their own murder."
If this wasn't enough, a member of Poland's government sent a letter last week to Polish organizations around the world, asking them to "document and react" to indications of anti-Polish sentiment and to report to Polish diplomatic missions "statements and opinions" that are injurious to "Poland's good name". Really? Report "opinions" that disagree with Poland's attempt to rewrite history? Has someone spiked Poland's kielbasa!
Prime Minister Netanyahu Under Investigation
On Tuesday of this past week, the Israel Police recommended indicting Prime Minister Benjamin Netanyahu on charges of bribery and breach of trust, stemming from gifts that he received and for making a deal with a certain newspaper for favorable coverage.
One case involved the receipt of gifts of cigars and jewelry that the Prime Minister and his wife, Sara, are suspected of having received from billionaire benefactors. At some point last year, he was questioned by the police for over four hours over having received expensive cigars. The second case relates to deals supposedly made with the publisher of a popular Israeli daily newspaper to receive more favorable coverage, if he would weaken the status of a rival newspaper that is supportive of the Prime Minister.
In response to these police recommendations, Netanyahu addressed the nation in a live speech on television. He denied any wrongdoing, saying that he would "continue to lead Israel with responsibility and dedication and loyalty", adding "I'm sure that the truth will come to light, and I'm sure that also in the next elections I will once again win your loyalty, with the grace of God."
Israel is a democratic country and one is still presumed innocent until proven guilty. Netanyahu repeatedly said in his speech: "there will be nothing because there is nothing" – an expression that he has used many times in the past. So far, nothing. As of this writing, the worst thing about the "cigar caper" is that he might be allowed to smoke them in his home. Unless there is some hard evidence of wrongdoing, the case may just go up in smoke.
Woe to those who call evil good, and good evil; Who substitute darkness for light and light for darkness; Who substitute bitter for sweet and sweet for bitter! (Isaiah 5:20)
"For nothing is hidden that will not become evident, nor anything secret that will not be known and come to light." (Luke 8:17)
And so, we begin a new week.
Bless, be blessed and be a blessing.
When Push Comes to Shove – TWTW – 10 February, 2018
Crossing the Line – TWTW – 25 February 2018


text:
Comparison of frictional resistance between self-ligating and conventional brackets tied with elastomeric and metal ligature in orthodontic archwires
Edition V19N03 | Year 2014 | Editorial Original Article | Pages 114 to 119
Vanessa Vieira Leite , Murilo Baena Lopes , Alcides Gonini Júnior , Marcio Rodrigues De Almeida , Sandra Kiss Moura , Renato Rodrigues De Almeida
Objective: To compare the frictional resistance between self-ligating and conventional brackets tied to different types of wire. Material and Methods: Abzil Kirium Capelozza (Pattern I) and Easy Clip (Roth prescription) incisor brackets were used. An elastomeric ligature or a ligating wire 0.10-in was used to ligate the wire to the Abzil bracket. Three types of orthodontic archwire alloys were assessed: 0.016-in NiTi wire, 0.016 x 0.021-in NiTi wire and 0.019 x 0.025-in steel wire. Ten observations were carried out for each bracket-archwire angulation combination. Brackets were mounted in a special appliance, positioned at 90 degrees in relation to the wire and tested in two angulations. Frictional test was performed in a Universal Testing Machine at 5 mm/min and 10 mm of displacement. The means (MPa) were submitted to ANOVA and Tukey's test set at 5% of significance. The surfaces of wires and brackets were observed at SEM. Results: Steel-tied brackets (16.48 ± 8.31) showed higher means of frictional resistance than elastomeric-tied brackets (4.29 ± 2.16 ) and self-ligating brackets (1.66 ± 1.57) (P < 0.05), which also differed from each other (P < 0.05). As for the type of wire, 0.019 x 0.025-in steel wire (5.67 ± 3.97) showed lower means (P < 0.05) than 0.16-in NiTi wire (8.26 ± 10.92) and 0.016 x 0.021-in NiTi wire (8.51 ± 7.95), which did not differ from each other (P > 0.05). No statistical differences (P > 0.05) were found between zero (7.76 ± 8.46) and five-degree (7.19 ± 7.93) angulations. Conclusions: Friction was influenced not only by the type of bracket, but also by the ligating systems. Different morphological aspects were observed for the brackets and wires studied.
Dental brackets, Wires, Friction, Self-ligating,


The Office of the Prime Minister has denied there is pressure to remove members of the Kandere Party from the Democratic Coalition for Change Government.
The Office of the Prime Minister was responding to media reports that the Prime Minister Manasseh Sogavare was under pressure to remove one of the coalition partners from the DCC Government.
In a statement issued yesterday a spokesman for the Prime Minister said Manasseh Sogavare was under no pressure.
The spokesman said there is no pressure to remove Kandere Party from the coalition.
He adds Kandere Party, like the United Democratic Party and the People's Alliance Party is committed to the coalition.
Meanwhile, the spokesman has appealed to the media fraternity to be agents of stability, purpose, substance and truth – rather than being agents of instability and divisive tactics based on untruths.
He said everyone needs to work together for the future and the betterment of Solomon Islands people and the nation.


Ylang-Ylang sensual bath oil with natural ylang ylang, aniseed and ginger essential oils, wheat bran extract and the truly moisturizing Soft Skin complex. A warm, spicy scent with a stunning undertone of the ylang ylang flower – a famous aphrodisiac – stimulates the senses, provides a feeling of undisturbed bliss and relaxation. The bath embraces us with the scent of Indonesian ylang ylang gardens, and the muslin foam, nourishing wheat bran with the moisturizing complex leave the skin silky smooth, soft and delicate.
Natural ylang ylang, aniseed and ginger essential oils, wheat bran extract, Soft Skin complex.


text:
The Dresser as master class for actors
May 9, 2019 | 12:04 am
MISSY MARAMARA, Teroy Guzman and Audie Gemora in a scene from The Dresser. — BOBOY RAMIRO/ WWW.FACEBOOK.COM/REPERTORYPHILIPPINES
By Sujata S. Mukhi
The Dresser
Directed by Loy Arcenas
Presented by Repertory Philippines
Fridays to Sundays until May 26
Onstage Theatre, Greenbelt 1
Paseo de Roxas St., Makati City
WE WERE talking with a balikbayan friend about an upcoming musical, and she assumed it was by a foreign touring company. I said that it was a local theater group that was producing it. "Are they any good?" she casually asked. "The local groups?"
"Be still my pounding heart" I thought as I was hard-pressed to give a civil answer to what I believed was an impertinent question. In a more rational moment I realized that it was just an ignorant one.
That musical is yet to happen. But I wish I could put Repertory Philippines' The Dresser on a platter, present it to my friend with fiery flourish and say, "Behold this. It is good. It is all good."
The moment Norman the Dresser (Audie Gemora) engages in the opening dialogue with her Ladyship (Missy Maramara), you realize that you are attending a Master Class for Actors, by Actors who have been spun, molded, and fired by their own theatrical experiences. They stand on that stage, owning it. It is sheer joy as an audience member to succumb to the whole of a play that is much, much greater than the sum of any one part of this very tight ensemble.
The Dresser is a veiled biography of playwright Ronald Harwood's own experience as a dresser to renowned Shakespearean actor Sir Donald Wolfit. It is a homage to the grit and grace required to put together the nuts and bolts to do theater, the behind-the-scenes of the mise-en-scène, the breakdowns before the breakthroughs of a compelling performance.
The core of the play is the relationship between Sir (Teroy Guzman), a fading star running a now bedraggled theater company, and Norman, who has been Sir's valet-servant-assistant-man Friday for decades. The company revolves around Sir's tyranny. More so Norman whose entire life pivots around servicing Sir. He knows Sir's habits, moods, quirks, and follies, and waits for morsels of acknowledgment and appreciation from his Master.
The play opens to a frantic dressing room scene as Norman and Sir's co-actor and nameless partner, known in the play only as her Ladyship, have to decide whether to push through with their touring company's production of King Lear that evening. Sir, essaying the titular role, is indisposed and in hospital, having had an anxiety attack earlier that morning. It's an hour before the house opens in wartime London in the early 1940s. Norman insists that they continue, as the company has never ever canceled a show in the past.
Sir discharges himself against doctor's orders and appears in his dressing room declaring that there will be a performance that night, much to the consternation of her Ladyship, and stage manager Madge (Tami Monsod). Sir prepares for the performance, but in between bouts of memory distortion and amnesia, he puts on blackface for Othello, cannot remember the first line of King Lear, then spouts a mash-up of the most famous Shakespearean monologues. Norman gives him moral support, regaling him with lighthearted stories to get Sir out of his dark mood and to focus on the performance at hand.
So amidst air raid alarms, panic attacks, undermanned production staff, uncharacteristic stage fright, a tipple or two, muddled lines, a distractingly flirtatious fan girl, and one of the most scathing digs at theater critics, the show does go on. After a hilarious struggle to get Sir onstage, with — horrors! — Shakespeare's dialogue improvised to cover a late entrance cue, Sir struts onward and forward as King Lear, reprising the role for the 227th time in his career.
We don't actually see the King Lear production. But we do see the goings-on backstage as Norman shakes aluminum sheets to recreate the sound of thunder, Madge gives cues for the next bit of action, Oxenby (Jeremy Domingo) makes the wind machine blow while ingénue Irene (Justine Narciso) beats the drums of war. Her Ladyship plays Cordelia and Geoffrey (Jaime del Mundo) plays King Lear's fool.
That backstage scene is excellently executed, with blinking lights, sound cues and stage business running like clockwork. You have to remind yourself that these are actors onstage roleplaying stage hands.
It's the tautness and economy of delivery that rivets. Mr. Gemora inhabits Norman like a second skin, alternately shrewd and loving, resentful and attentive. His lashing out towards the end when he realizes that he is excluded from Sir's circle of appreciation is utterly sad. Mr. Gemora plays the role with an effeminacy that may stereotypically suggest that he was gay and in love with Sir. But I find that actually quite irrelevant. Do we all not know of that caregiver or son or daughter or spouse or assistant that is left untethered when the one they have served for most of their life is gone? That was more the sense I got from his interpretation, rather than as a man in love with his master.
Mr. Guzman is a larger-than-life actor, I always look forward to watching him onstage. Sir is a man in love with himself, and is also full of doubt and recrimination. Mr. Guzman navigates Sir's demons with an exhausted frustration.
There is an exquisite scene between her Ladyship and Sir when she accuses him of putting his ambition first to gain Knighthood over his marriage to her. Ms. Maramara, a prolific actor that has surprisingly just debuted on this Rep stage, keeps a controlled fury. Maintaining a foreign accent is not easy, but it is easy to overlook this as she brings such dynamism to her Ladyship's relationship with Sir.
The one with the most unconditional love for Sir is Madge, played with a steady intensity that can be expected from any performance from Ms. Monsod. She is all business at first, very similar to her role as the Nurse in the first half of The Vibrator Play. But in a critical scene with Sir that involves the wrong kind of ring, the pain and hurt she emits is actually even more palpable than that of Norman's betrayal and isolation.
But it's Jaime del Mundo's role as Geoffrey that struck me more than I thought it would, given that it was secondary. He first enters Sir's dressing room in the Fool's costume and unrecognizable makeup, barely uttering "Yes" and "No" in a low, muffled tone with deadpan expression. Whether Mr. Del Mundo intended to or not, he steals the scene because he is so so funny. When Geoffrey confesses to Sir in a later scene his secret ambition to take on bigger roles, Mr. Del Mundo's entire demeanor, of hesitant revelation of his desire, to looking for Sir's affirmation, is spot on.
In the after-show Q&A, director Loy Arcenas, fresh from his award-winning film Larawan, shared that he opted for a more collaborative way of working with his actors. He set it up so the characterizations would organically emerge and he had several readings of the script before actual staging. That has paid off handsomely. Set Designer Ed Lacson, Jr. pulls off a richly detailed dressing room where all of Sir's key interactions take place. What is a dresser after all without a real dressing room. The sound design and period costumes squarely set the play in wartime England.
The Dresser as a play is text heavy, and as layered as ambivalent relationships are. This production deserved the treatment it got: with some of the best actors in Philippine theater who, to paraphrase Sir, will live on in the memory of many many others. But wait, not yet. May there be many many more roles for them to come before they get relegated to memory!
Tickets to The Dresser are available through TicketWorld (891-9999, www.ticketworld.com.ph) and at the gate.
Audie Gemora
Loy Arcenas
sujata s. mukhi
Teroy Guzman


text:
Apple Appstore Reviews
Apple Reviews
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How long before Siri is available on other iOS devices? Unofficial hacks out!
Mo Choudhury November 7, 2011 0
The much talked about Siri, the virtual personal assistant from Apple, is currently only available on the iPhone 4S and certainly contributing to its success. So how come it's not out for other iOS devices like the iPhone 4 or the iPad 2? There does not appear to be any purely technical problems to running Siri on the iPhone 4. That being the case, it should be capable of working just fine on the iPad lineup as well. Presumably, Apple is limiting Siri to the iPhone 4S in order to firmly establish it on the market without the iPhone 4, or even the 3GS, cutting into its market share.
Unofficially, Siri has already been ported to the iPhone 4 by developer Steve Troughton-Smith. You can check out the video of Siri on iPhone 4 here. Not only that, there is even a hack that has been made to work with the older iPhone 3GS! That is out from developers Grant Paul and the aforementioned Steve Troughton-Smith and the demonstration can be seen here.
So how long before Siri is officially available on other iOS devices? The current rumor is that Apple has assigned some engineers to do just that. Of course, the time frame of an official release is unknown. We don't foresee Apple allowing any other iOS devices to jeopardize the iPhone 4S sales during the holidays by letting one of its key features — Siri, become available on previous generations. Obviously, it's quite another story unofficially.
TAGS » Apple, hack, ios, iOS5, iPhone, iPhone 3GS, iPhone 4, iPhone4S, rumors, SIRI, unofficial
POSTED IN » Apple News, News, Tech News
About the author: Mo Choudhury View all posts by Mo Choudhury
Mo Choudhury is a graduate of Rutgers University and is an avid follower of all things technology. He also loves to discuss politics and news as well as travel, having been to 20 countries in 4 continents so far. You can reach him via email at MChoudhury@pnosker.com or twitter @MO_808.
The iPhone 6, Apple Watch, iOS 8, and more – Recap of yesterday's Apple event
Apple Shares Reach All-Time High
Apple set to debut larger screen iPhone 6 on September 9
IK Multimedia iRig Mic Review
Are you a human? * five − = 1
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About the time we left the hospital, Major Thomas, of the army, arrived at Plymouth, from head-quarters. He had left Washington retreating through New-Jersey. I spent the evening with him, in company with many devoted Whigs. We looked upon the contest as near its close, and considered ourselves a vanquished people. The young men present determined to emigrate, and seek some spot where liberty dwelt, and where the arm of British tyranny could not reach us. Major Thomas animated our desponding spirits by the assurance that Washington was not dismayed, but evinced the same serenity and confidence as ever. Upon him rested all our hopes.
The agitation and despondency produced, will hardly be appreciated by those unacquainted with the deep excitability of the public mind at that period. We were soon relieved from our gloom and apprehension, by ascertaining from an ingenious painter, who happily came in, that the supernatural intimation was the effect of a simple chemical process. We were convinced it was a device of some Tory to operate on the public feeling.
In the afternoon, an express arrived from Boston; a hand-bill was sent into the pulpit, and at the close of the service our venerable Whig Parson [Chandler] Robins, read from his desk the heart-thrilling news of the capture of the Hessians at Trenton—a happy retort upon the Tories.
Watson's memoir was published in 1856, or nearly eighty years after this reported event.
TOMORROW: An earlier version of the same anecdote.
Should that be EIGHTY years after the event (not "eight") at the end?
Either my math or my typing deteriorated after midnight.
The Magic Egg apparently wasn't hooked into the magic of Breaking News.
Eggs don't like breaking things in general, I suspect.


Alzheimer's and Dementia Services of Northern Indiana » Alzheimer's Walk Lake County – Great Moments to Remember!
Alzheimer's Walk Lake County – Great Moments to Remember!
The Alzheimer's Foundation of America (AFA) provides care and support to individuals with Alzheimer's disease and related dementia, and their caregivers and families. Through education, programs, resources and caregiving support, The Alzheimer's Foundation of America helps improve the quality of life for individuals with Alzheimer's disease and dementia, and families.
The ultimate objective of REAL Services is to assist in establishing a community in which those we serve can maintain their independence to the maximum degree possible and find meaning and satisfaction throughout their lives.


Meg has always been one to throw herself into challenges for charity, which we have all admired her for, but this row has been the biggest challenge to date!
In 2007, at the age of 17, she shaved her head in front of the whole school for Children in Need and raised over £1,000. In 2008, she ran the London Marathon, and then in 2011, Meg was Expedition Leader for a Kilimanjaro climb with her University, raising funds for a charity called Dig Deep. This involved recruiting and leading a team of students that raised £26,000. She then went onto be a part of an expedition that climbed Machu Picchu for the same charity the following year.
When Meg told me about the row, I had really mixed feelings. Part of me thought WOW what an amazing thing to do and also for two fantastic charities that mean something to the both of us, but then a part of me thought WOW, one small little boat out there in the Pacific with four girls in it – all a bit daunting if you ask me.
I couldn't be any prouder of my big sis than I am today. Often I hear people saying "Oh, wouldn't it be amazing to do this and that with my life"… and then never seem to fulfill these different dreams for one reason or another. Meg, and all of the Coxless Crew have taught me a lesson. We can all live by 'what ifs' everyday but wouldn't it be great if we could change these into 'I did it' after people's fears are faced after completing an individual challenge. That is what the #mypacific concept is – overcoming personal fears.
At the end of 2013 our Dad had a massive accident whilst training for a half marathon that he and Meg were supposed to be completing the following week. This threw our lives up into the air and tore us both to absolute shreds. Things became very difficult for us and we had no choice but to come together as a team. As our dad is still getting over his accident, our relationship with him has also suffered, and two years on and I can honestly say that as well as Meg being my sister, she is also my best friend. I am trying to express a message here that we will now always continue to live by….appreciate what you have in life because you never know when that could be taken away from you.
Growing up, Meg was always the bossy one who used to do all of the talking for me (It was always questioned why I was a late speaker). I used to point and squawk like a parrot and Meg would translate into exactly what I wanted. Meg and I had an amazing childhood, thanks to our mum, big Sal – a completely selfless, absolute inspiration for us both. We spent our time making mud pies and trying to find some poor animals to feed it to, or doing the hopscotch in the garden. We used to have a big pond outside our house, and every year we would both find the joy out of seeing how many tadpoles we could find and bring out of the pond into our hand, and watching them develop.
Every day I watch Doris, the little pink boat rowing along and getting closer and closer to Cairns battling anything that the Pacific throws at her. I know that each stroke is bringing my big sis, and The Coxless Crew closer and closer to having their feet back on the ground. I never ever thought I would say this, but I can't wait to hear Meg's voice, even if it is nagging me about something!
'First of all, thank you for your incredibly thoughtful email. It's not often I receive mail onboard and I must say, I'm impressed it found me so quickly! My senior officer and I have not stopped talking about our encounter with the girls and Doris. We initially made contact via radio as we thought they may be in some sort of difficulty. However we were then completely taken aback by not only their positivity and enthusiasm, but also their willingness to share their incredible story with us. It really is remarkable what Laura and her teammates are undertaking. Every chance I get I load up the blog and see what they've been up to. The morning after we passed each other, I firstly informed the Captain of the girls adventure and then our Cruise Director so that he could publically inform all on board of this amazing story, making reference to the coxlesscrew.com website. We currently have 2986 people on board from a huge range of nationalities, so hopefully this will help draw even more attention to the cause! What a coincidence that you yourself have cruised on the Dawn Princess! And even sat in the Captain's chair! This is something I'm still working towards! I have been with Princess for just over 5 years now since I left school at 18, and I'm finding the life at sea to be an incredibly interesting and educational one. I can also honestly say that I feel lucky to have had the opportunity to sail past Laura and the girls. It was our pleasure to talk to them, and we're even more pleased to know it gave them a boost! I will try to contact the girls directly through their website to let them know we're all behind them and wishing them all the best on this leg of the journey. Merry Christmas and a Happy New Year from all of us on the Dawn Princess!
On the first day of Christmas my true love gave to me a striped cane of candy.
On the second day of Christmas my true love gave to me two boats a passing.
On the third day of Christmas my true love gave to me three sharks a circling.
On the fourth day of Christmas my true love gave to me four Christmas hats.
Amy's blogpost brought a tear to the eye, What a lovely person. Best wishes for Mr Dyos's continuing recovery. Can't say any more ! Keep safe, safe, safe.
I believe that Laura took a shine to Harry, and inadvertently ( or not) he has revealed his age…..you cradle snatcher.
Lovely message Amy. It is difficult to express some things, and especially when may be read by hundreds. She will probably shout at you for embarrassing her.
A fantastic blog. What inspiring sisters you are. Big Sal and Mr Dyos you should be extremely proud of what amazing daughters you have!
All I can say Amy is that being able to write a blog like that you deserve a place on the boat, you two would have been called the Dyos Duo!!, We've been listening to Lizannes interview on News 24, just like Izzy she seemed to find it a natural everyday occurrence to chat on TV and we've also noticed that the Losing Sight of Shore trailer has been viewed over 6000 times on the documentary's Facebook page and your site has had 5764 hits so far, would be great to hit 6000 readers. Your popularity is steadily growing girls.
All I can say Amy is that being able to write a blog like that you deserve a place on the boat, you two would have been called the Dyos Duo!!, We've been listening to Lizanne's interview on News 24, just like Izzy she seemed to find it a natural everyday occurrence to chat on TV and we've also noticed that the Losing Sight of Shore trailer has been viewed over 6000 times on the documentary's Facebook page and your site has had 5764 hits so far, would be great to hit 6000 readers. Your popularity is steadily growing girls.


text:
Questa voce raccoglie le informazioni riguardanti lAssociazione Calcio Fiorentina nelle competizioni ufficiali della stagione 1969-1970.

Stagione
Da campione d'Italia uscente, nella stagione 1969-1970 la Fiorentina non riuscì a difendere il titolo: pur iniziando bene il campionato con quattro vittorie di fila, la squadra viola venne presto sorpassata dal  di Gigi Riva, che si aggiudicherà poi lo scudetto. Gli uomini di Bruno Pesaola, che viene insignito del Seminatore d'Oro, chiuderanno la classifica al quinto posto, a pari punti col , ma col fardello di una peggiore differenza reti.

Il cammino in Coppa dei Campioni, dove i gigliati tornavano in tabellone dopo dodici anni, vide superare nei primi turni gli svedesi dell' e i sovietici della , prima di cedere ai quarti di finale dinanzi agli scozzesi del ; allo stesso turno si arrestò l'avventura in Coppa Italia, coi toscani eliminata alla ripetizione dal .

Nelle coppe minori, la Fiorentina raggiunse la finale della Coppa delle Alpi, persa contro gli svizzeri del , mentre l'esperienza nella Coppa Anglo-Italiana si concluse già nella fase a gruppi.

Migliore marcatore fiorentino dell'annata fu Luciano Chiarugi con 19 reti.

Divise

Rosa

Giocatori acquistati per la stagione successiva ma impiegati nella Coppa delle Alpi 1970.

Risultati

Serie A

Girone di andata

Girone di ritorno

Coppa Italia

Fase a gironi

Quarti di finale

Coppa dei Campioni

Coppa Anglo-Italiana

Fase a gironi

Coppa delle Alpi

Fase a gironi

Finale

Statistiche

Statistiche di squadra

Statistiche dei giocatori
A completamento delle statistiche sono da considerare 3 autogol a favore dei viola in campionato.

Note

Bibliografia
 Giansandro Mosti. Almanacco Viola 1926-2004. Firenze, Scramasax, 2004. pp. 93–95.

Collegamenti esterni

1969-1970

redpajama_set_name: RedPajamaWikipedia


text:
Q: Set Default in a FieldEditorPreferencePage via ScopedPreferenceStore Good evening,
With java 1.7 I am trying to override the performApply() method for a FieldEditorPreferencePage using code similar to the snippet below. (the additional code doesn't make a difference, just this one method)
@Override
public void performApply() {
    scopedPreferenceStore.setDefault(PREF_KEY, value);
    super.performApply();
}

Essentially I want to update the default preference value for PREF_KEY so when the user hits Restore Defaults after applying a change, it uses the new value and not the old one.
The issue is that if I do this, when I rerun my program the new default isn't stored. If I forgo the use of setDefault(), the new default is stored.
To further clarify
With using setDefault:
If I change preference A to 100, click apply, change preference A to 25, then click restore defaults, I will see 100. If I restart my program and look at preference A I see 50.
Without using set default:
If I change preference A to 100, click apply, then click restore defaults, I will see 50. But if I change it back to 100, click apply, then restart my program and look at preference A I see 100.
What is causing this behavior and how I can I get around it?
Note: I am using a preference initializer, however I wish to dynamically change the default to the last applied user input, without the weird behavior mentioned above.

A: To set preference defaults you should use the initializer element of the org.eclipse.core.runtime.preferences extension point to define a 'preferences initializer' class. Don't try and override this in a field editor or anywhere else.
 <extension point="org.eclipse.core.runtime.preferences">
   <initializer class="com.example.MyPreferenceInitializer"/>
 </extension>

public class MyPreferenceInitializer extends AbstractPreferenceInitializer
{
  @Override
  public void initializeDefaultPreferences()
  {
    IPreferenceStore prefs = Activator.getDefault().getPreferenceStore();

    prefs.setDefault(PREF_KEY, VALUE);
  }
}

redpajama_set_name: RedPajamaStackExchange


BOSTON–The health club industry is nearing its goal of having 100 million members by the year 2010—and will very likely surpass it, according to the 2005 IHRSA Global Report, which was published in June.
In its annual report on the state of the health club industry, IHRSA estimates that there are 85 million health club members worldwide—an estimated 25 million more than there were just five years ago. Health club membership grew an average of more than seven percent a year during that period.
"Achieving 100 million members by 2010 seems a foregone conclusion," said Jay M. Ablondi, IHRSA's director of publishing, noting that it would require less than four percent average annual growth for the industry to reach its goal. Ablondi encouraged the association's members to add another 25 million members over the next five years and make "110 million by 2010" the industry's new rallying cry.
The report, which includes commentary from industry leaders across the globe, also estimates that there are more than 82,000 clubs worldwide, which generated in excess of $39 billion in revenue last year.