text:
Smile (The Beach Boys album)
Planned LP cover, with Frank Holmes artwork and "Duophonic stereo" banner on top
Studio album by The Beach Boys
November 1, 2011 (Vinyl, HDCD, AAC, MP3)
Except "Good Vibrations": recorded February 17 – September 1, 1966
Psychedelic rock[1]
Psychedelic pop[2]
Baroque pop[2]
Acid rock[3]
48:24[4]
The Beach Boys chronology
The Warmth of the Sun
(2007) Smile
Singles from Smile
"Good Vibrations"
"Cabin Essence"
"Heroes and Villains"
"Vega-Tables"
The A.V. Club (A)[6]
Consequence of Sound (Hot)[7]
The Guardian [8]
One Thirty BPM (100%)[10]
Paste [11]
Pitchfork Media (10/10)[12]
Rolling Stone [13]
Smile (sometimes typeset with the idiosyncratic partial capitalization SMiLE) is a previously unreleased album by The Beach Boys recorded throughout 1966 and 1967. The project was intended by its creator Brian Wilson as the follow-up to Pet Sounds, but was never completed in its original form. During the years Smile remained unavailable, it had come to be regarded as the most famous unreleased album of all time.
The project was resurrected in 2003, and a critically acclaimed [14] newly recorded version was released by Wilson in 2004. During the 37 years from its cancellation to the release of Wilson's version, Smile acquired considerable mystique, and bootlegged tracks from the album circulated widely among Beach Boys collectors. Many of the tracks which were originally recorded for Smile eventually found their way onto subsequent Beach Boys albums.
In 2011 a box set, known as The Smile Sessions, was released, featuring a version of the album reconstructed from the original recordings, along with many session highlights and outtakes; it received universal critical acclaim.[15]
2 Studio techniques
3 Recordings
3.1 "Heroes and Villains"
3.2 "Surf's Up"
3.3 Other songs
4 Project collapse
5 Smiley Smile
6 Fame and reception
7 Recent events
7.1 Brian Wilson's Smile
7.2 Bootlegs and reconstructions
7.3 The Smile Sessions
8.1 The Smile Sessions (2xCD)
8.1.1 CD 1
8.2 The Smile Sessions (2xLP)
8.2.1 LP 1
8.3 The Smile Sessions box set edition (5xCD, 2xLP, 2x7" singles)
8.3.8 7" single 1
9 The Beach Boys Play Smile
9.1 Main version
9.2 Alternate version
10 Sales chart positions
In an October 1966 interview, Brian Wilson quipped that the Beach Boys' next project was "a teenage symphony to God".[16] His plan was to take his work on Pet Sounds to a new level, with an album-length suite of specially-written songs which were both thematically and musically linked, and would be recorded using the unusual sounds and innovative production techniques which had made their recent hit "Good Vibrations" so successful.
The genesis of Smile lay during the recording of Pet Sounds. On February 17, 1966, during the sessions for Pet Sounds, Brian Wilson started work on a new single, "Good Vibrations". The most expensive — at a cost of more than $50,000 — and complex pop recording at the time. "Good Vibrations" was created by an unprecedented recording technique: nearly 30 minutes of barely-related musical sections were recorded, then painstakingly spliced together and reduced into a three-minute pop song. Many within the Beach Boys' camp were skeptical, but the song quickly became the band's biggest hit yet, which went to #1 in both Britain and the USA. Smile was intended to be an entire album produced in the same fashion.
Crucial to the inception and creation of Smile was Wilson's meeting with singer, musician, composer and lyricist Van Dyke Parks. Wilson invited Parks to write lyrics for the new album in the Spring of 1966, when the project was provisionally being called Dumb Angel. The two quickly formed a close and fruitful working relationship, and between April and September 1966 they co-wrote a number of major songs, including "Surf's Up", "Heroes and Villains", "Wonderful", "Cabin Essence" and "Wind Chimes", all of which were written in the famous sandbox that Brian had installed in his home. Their first collaboration was "Heroes and Villains". Wilson has recalled that when he played the song's descending melody line to him, Parks devised the opening line on the spot. Their most acclaimed song, "Surf's Up", was written in the course of a single night.
Pet Sounds lyricist Tony Asher wrote the original lyrics for "Good Vibrations", but the hit version released in October 1966 featured a new set of lyrics co-written by Brian Wilson and the Beach Boys' Mike Love. Wilson had in fact asked Parks to write new lyrics for "Good Vibrations", but Parks declined, preferring not to enter a project which was already underway.
Although the precise nature of its original conception is still hotly debated, several key features of Smile are generally acknowledged: both musically and lyrically, Wilson and Parks intended Smile to be explicitly American in style and subject, a direct reaction to the British dominance of popular music at the time. It was supposedly conceived as a musical journey across America from east to west, beginning at Plymouth Rock and ending in Hawaii, as well as traversing some of the great themes of modern American history and culture, including the impact of white settlement on native Americans, the influence of the Spanish, the Wild West, and the opening up of the country by railroad and highway.
As the name implies, humor was a key ingredient, and the Smile songs are replete with word play, puns and multiple meanings. A good example is "Vega-Tables", which includes the lines "I'm gonna do well, my vegetables, cart off and sell my vegetables"; the phrase "...cart off and..." is a bilingual pun on the word Kartoffeln, which is German for potatoes. At one stage, Wilson apparently toyed with the idea of expanding Smile to include an additional "humor" record, and a number of recordings were made in this vein, although they were apparently unsuccessful, so the idea was dropped. Another likely remnant of this facet of the project is the Smiley Smile track "She's Goin' Bald", a reworking of an earlier Smile track known as "He Gives Speeches".
Wilson is known to have been deeply influenced by the music of George Gershwin at an early age (especially "Rhapsody in Blue"), and Smile emulates both Gershwin's emphatic American-ness, and the episodic and programmatic characteristics of the composer's works. A short scene featuring Brian at the piano in the DVD documentary on the making of Smile 2003 suggests that Brian may have directly based the main riff of "Heroes and Villains" on a variation or inversion of a fragment of "Rhapsody in Blue".
Smile also drew heavily on American popular music of the past; Wilson's innovative original compositions were interwoven with snippets of significant songs of yesteryear, including "The Old Master Painter" (made famous by Peggy Lee), the perennial "You Are My Sunshine", Johnny Mercer's jazz standard "I Wanna Be Around" (recorded by Tony Bennett), the song "Gee" by noted '50s doo-wop group The Crows, as well as quotations from other pop-culture reference points, such as the Woody Woodpecker theme.
Many of these smaller tracks, and many other short instrumental and vocal pieces were evidently intended to serve as bridging sections that would have been edited in to provide links between the major songs. The cut-up structure and heavily edited production style of Smile was certainly unique for its time in mainstream popular music, and it suggests that Brian was aware of the techniques of musique concrète and the usage of chance operations in making art—an approach which, according to musicologist Ian MacDonald, was also exerting a strong influence on the Beatles at this point.
Wilson's experiments with LSD were undoubtedly a significant influence on the texture and structure of the work, and one of the strongest intellectual influences on his thinking at this time was his friend Loren Schwartz, who is said to have introduced Brian to both marijuana and LSD.
Writer Bill Tobelman suggests that Smile is filled with coded references to Brian's life and his recent LSD experiences (a presumed Lake Arrowhead, California 'trip' being the most important). He also argues it was heavily influenced by Wilson's interest in Zen philosophy — notably the Zen technique of using absurd humor and paradoxical riddles (the koan) to liberate the mind from preconceptions — and that Smile as a whole can be interpreted as an extended Zen koan.[17] Tobelman modified his theory upon discovering the construction of the Smile riddle was based upon Arthur Koestler's book, The Act of Creation.
Studio techniques
Brian Wilson developed his "classic" production method over several years, perfecting it with the recording of Pet Sounds during 1965 and 1966. In this period it was still common for mainstream pop recordings to be recorded live in the studio in a single take, but Wilson developed a more modular approach that relied on recent advances in recording technology, using both 4-track and the newer 8-track audio recorders. He produced the tracks for Pet Sounds in two major blocks—while the rest of the group were away on tour he recorded the elaborate instrumental backing tracks using a band of first-call Los Angeles session players (now often referred to as "The Wrecking Crew") and these backing tracks were typically recorded live in a single take onto a 4-track recorder.
While the rest of the group was out on tour, Wilson recorded and mixed a full set of finished backing tracks from the various 4-track work parts had been assembled onto an 8-track tape. By the time the group returned from touring, these had been mixed down onto one track of a second 8-track tape. Wilson then recorded the group vocals, using the then-novel technique of assigning each backing voice onto its own track on a second 8-track tape, with the remaining eighth track left 'open' for additional "sweetening" vocal or instrumental overdubs.
Unfortunately, especially in the case of "Good Vibrations", this second 8-track tape containing all the discrete vocal overdubs has gone missing since early 1967, so even though the original instrumental work parts can be re-assembled re-synched and remixed into true Stereophonic Sound instead of mono or Duophonic, there are unfortunately no other sources for the vocals. Although numerous people have had varying amounts of success re-synching the instrumental versions from box sets to the mono single mixes and then extracting out a close approximation of the vocal track, exactly-correct results will never be possible until and unless the second 8-track is discovered.
With "Good Vibrations", Wilson took this modular approach to recording even further, experimenting with compiling the finished track by editing together the numerous sections from multiple versions recorded at the lengthy tracking sessions. Instead of taping each backing track as a more-or-less complete performance (as had been the model for previous Beach Boys recordings) he split the arrangement into sections, recording multiple takes of each section and developing and changing the arrangements and the production as the sessions proceeded. He sometimes recorded the same section at several different studios, to exploit the unique sonic characteristics or special effects available in each. Then, he selected the best performances of each section and edited these together to create a composite which combined the best features of production and performance. The resulting final mix broke new ground in popular recording, since each section of the song was presented in its own distinct sonic 'envelope', rather than the homogeneous production sound of a conventional "one take" studio recording.
Wilson took this technical exploration even further with the songs on Smile. Working mainly at United Western Recorders in the same small recording studio (No.3) where the backing tracks for Pet Sounds were mainly recorded (so he could work with his favorite engineer, Chuck Britz) and sometimes Gold Star Studios in Los Angeles (Phil Spector's favorite studio), he began a long and complex series of sessions (approximately 50 overall, not including the 17 sessions needed for Good Vibrations) in late 1966 that continued until early 1967. He also used Sunset Sound Studios and Columbia Studios on Sunset Boulevard. Columbia Studios had the only 8-track audio recorder available amongst the major recording studios at the time, so as was the case for Pet Sounds, the vocal sessions for Smile were usually done at Columbia.
Much of Smile was recorded in this 'modular' manner - the finished tracks are edited composite recordings, assembled from multiple versions of the various parts of the final arrangement. Many (officially) unreleased Smile fragments are either alternate versions of the various instrumental or vocal segments of each song, or alternates of the passages intended to provide transitions between the main songs. There are also many unreleased alternate mixes of the same songs and passages, containing incomplete or experimental 'draft' mixes of the various songs and links.
Although stereo recording was increasingly popular, Wilson always made his final mixes in mono, as did rival producer Phil Spector. Wilson did so for several reasons—he personally felt that mono mixing provided more sonic control over what the listener heard, minimizing the vagaries of speaker placement and sound system quality. It was also motivated by the knowledge that pop radio broadcast in mono, and most domestic and car radios and record players were monophonic. Another more personal reason for Wilson's preference was deafness in his right ear.
Recording for the new LP, now officially named Smile, began in earnest in August 1966 and continued until mid-December.
In early December, Capitol Records was given a handwritten list of twelve tracks planned for Smile, for use on the LP back cover. This list was long considered crucial evidence of Wilson's intentions for the piece, but since the track listing (as printed by Capitol on the never-used album covers) carried the standard advisory "see label for correct playing order", it can only be taken as confirming Brian's apparent choice of songs at that time, and not their exact sequence. However, in 2006 it was realized that the handwriting on the list was not Brian's, but someone else's; furthermore, when shown a copy of the list, Brian himself stated that he had never seen it before. A comparison of the handwriting indicates that it may have been written by Carl Wilson, or possibly Brian's sister-in-law, Diane Rovell.
Capitol began production on a lavish gatefold cover with a 12-page booklet. Cover artwork was commissioned from Frank Holmes, a friend of Van Dyke Parks, and color photographs of the group were taken by Guy Webster. 466,000 covers and 419,000 booklets were printed by early January 1967; promotional materials were sent to record distributors and dealers, and ads were placed in Billboard and teenage magazines including Teen Set.
Some time in December, Brian informed Capitol that Smile would not be ready that month, but he advised that he would deliver it "prior to January 15". Wilson's conception of the work evidently changed around this time, probably as a result of disagreements within the band. Early in 1967, work was halted on all the Smile tracks except for "Heroes and Villains" and "Vega-Tables".
Main article: Heroes and Villains
"Heroes and Villains" was a semi-autobiographical piece, obliquely referencing the experiences of both Parks and Wilson, couched as a Wild West fantasy, and featuring some of Parks' most intriguing lyrics. It is also the keystone for the musical structure of the album, and like "Good Vibrations", it was edited together from many discrete sections. The complexity of Wilson's production at this time can be gauged by the sheer bulk of session material that has survived—more than 60 tracks (most of the first two CDs) in the new 6-CD Capitol Smile boxed set are session recordings for "Heroes and Villains".
The considerable time and effort that Wilson devoted to "Heroes and Villains" is indicative of its importance, both as a single and as part of Smile — sessions for the various versions and sections extended over more than a year, from May 1966 to July 1967, and there are dozens of takes of each section of the song and multiple versions of both the variant sections and the various attempted final mixes.
Most tracks on Smile, including "Do You Like Worms", "I'm In Great Shape", "Vega-Tables", and "My Only Sunshine" were originally considered as sections for "Heroes and Villains". Dialogue from the "Our Prayer" sessions suggest that it was also meant for inclusion as part of "Heroes and Villains", rather than being its own independent track.
"Surf's Up"
Brian Wilson's performance of "Surf's Up" shown on Inside Pop: The Rock Revolution.
Main article: Surf's Up (song)
The centerpiece of Smile—"Surf's Up"—was written in one night and was certainly fully composed by November 1966, when Brian Wilson was filmed performing the song on piano for a CBS news special on popular music Inside Pop: The Rock Revolution, hosted by Leonard Bernstein and David Oppenheim aired on April 26, 1967. "Surf's Up" was featured on Oppenheim's portion of the show. Wilson also made a studio demo with double-tracked solo vocal and piano around this time, which was eventually released on the Beach Boys' 30th anniversary boxed set.
A nearly or fully completed backing track for the first (2:20) section was recorded and mixed in November 1966, but vocals and other overdubs were still to be added, and work on the middle and closing sections was either never undertaken or never finished. It is notable that the flourishes played on muted trumpet in the verses of "Surf's Up" are almost identical to the familiar 'laughing' refrain of the Woody Woodpecker theme song. This musical reference recurs in the instrumental piece "Fall Breaks And Back To Winter" on the album Smiley Smile (which was in fact subtitled "W. Woodpecker Symphony").
A full-length version of "Surf's Up" was eventually assembled by Carl Wilson and released on the 1971 Beach Boys album Surf's Up. The 1971 track was edited together from the two major basic tracks; Carl and the group recorded new vocals over the original 1966 "Part 1" backing track, which was edited together with the 1966 studio demo of Brian performing the second half solo on a piano, with new group vocals and additional instrumental overdubs in the closing section.
The following is based upon the handwritten note given to Capitol Records in December 1966. It was given to Capitol in order for the track titles to be included on the album cover; however, the original cover states "see record for running order". It has not been conclusively proven whose handwriting is actually on the note.
All the evidence, including interviews with Brian himself, state that a final definitive running order was never decided upon until the release of the 2004 Smile.
"Do You Like Worms?"
"Wind Chimes"
"I'm in Great Shape"
"Child Is Father of the Man"
"The Elements"
"The Old Master Painter"
Of these tracks, "Good Vibrations" was completed by Brian Wilson before the original recording sessions and released in October just as the sessions were getting underway. All of the other tracks were either not recorded or only exist in part-completed form (although versions of "Heroes and Villains", "Cabin Essence", "Wonderful", "Vega-Tables" and "Surf's Up" were released by the Beach Boys in later years). "The Elements" was a reputed 'suite' which encompassed the four classical elements: Air, Fire, Earth, and Water. However, only Part One of the Elements suite (Fire) is known to exist as a recording. Bootleg versions of the recording sessions have also labelled this track "Mrs O'Leary's Cow". It has been speculated that other tracks made during the Smile era (such as "Cool Cool Water") might form part of the Elements suite but this is unconfirmed. "I'm in Great Shape" and "The Old Master Painter" only exist as a small fragments of tracks and it is not possible to determine their overall structure. Nearly all Smile-era recordings lack their full vocal arrangements, lyrics and melodies which has lead to much speculation about the true nature of the original songs.[citation needed]
Project collapse
According to most sources, Brian Wilson began to encounter serious problems with Smile around late November 1966; some of this can be ascribed to his increasingly fragile mental state (by then, he was beginning to exhibit signs of depression and paranoia), but it is now evident that there was vehement opposition to the project from within the band.
It is reported that, during the recording session for the "Fire" section of the "Elements Suite" at Gold Star Studios on November 28, Brian became irrationally concerned that the music had been responsible for starting several fires in the neighborhood of the studio.
For many years, it was rumored that Wilson had tried to burn the tapes of this session, but that was not the case, although he did abandon the "Fire" piece for good. No recording of anything but the introduction to the original "Fire" tapes has been released, though most of the song was heard on the 1985 Beach Boys television special (and subsequent VHS and DVD release), The Beach Boys: An American Band. It has also been noted, in several accounts, that Parks deliberately stayed away from the session (during which Wilson encouraged the musicians to wear toy firemen hats), and that he later described Wilson's behavior as "regressive".
In addition to Brian's possible mental health problems, and his many personal, family and creative pressures, there were other significant business and legal pressures surrounding the Beach Boys during the recording of Smile. These included Carl Wilson's call-up notice for the draft (which he was to fight as a conscientious objector), plus the commencement of the group's contractual dispute with Capitol over royalty payments. In addition, there was the band's attempt to terminate their then-present contract, which was a legacy of Murry's management, and establish their own label, Brother Records.
During early 1967, Brian's behavior became increasingly erratic, and his use of drugs escalated, but while this was a concern for some of his friends, he was still completely functional in the studio. Although stories of his sometimes bizarre "off-duty" behavior became the stuff of legend, the session musicians who worked with him during this period have stated that he was totally professional in the studio.
In retrospect, arguably the most significant reason why Smile was repeatedly postponed, and finally scrapped, was conflict within the group, particularly the increasing antagonism between Mike Love and the Wilson/Parks partnership, although Bruce Johnston has also indicated in a web forum discussion that there was also opposition to the project from Capitol Records and from Murry Wilson.
Love later stated that he was suspicious of the new friends with whom Brian was associating — and that his opposition to these people whom he regarded as hangers-on, who were exploiting Brian and supplying him with "hard" drugs — was another major source of conflict. Love has suggested that some of those who have since been critical of him did so because he had told them to "take a hike". Love also denied disliking Pet Sounds, and claimed that he liked the Smile music and only disliked the lyrics. However, this is strongly disputed by several other participants, most notably Van Dyke Parks. Responding to Love's claims in a letter to the editor of UK music magazine Mojo, Parks was strongly critical of Love's comments — which he described as "revisionism" — and he was unequivocal in citing Love's hostility to Smile as one of the major factors in Brian's decision to abandon the project. On the DVD that accompanied the 2004 Smile release, Brian himself also makes it clear that Love's antagonism was one of the major deciding factors in the cancellation of the album, stating "he hated it."[18]
"The reasons that I didn't release Smile: (for) one, Mike didn't like it...he hated it. He hated it."
- Brian Wilson, Beautiful Dreamer: Brian Wilson & the Story of Smile. [18]
The growing conflict within the Beach Boys about Smile came to a head during December 1966. The December 6, 1966 session for "Cabin Essence" was apparently the scene of a climactic argument between Van Dyke Parks and Mike Love about the song's lyrics, and the situation evidently worsened during the December 15 vocal sessions for "Surf's Up" and "Wonderful". The group was filmed by CBS during this session which, according to Jules Siegel, went "very badly". Later the same day, Wilson recorded his now-legendary solo piano demo of "Surf's Up". Although there were more Smile sessions (on December 23, January 9, and January 23), work on the major tracks effectively stopped after December 15.
Another significant event, cited in the Beautiful Dreamer documentary, was Brian's first hearing of The Beatles' new single "Strawberry Fields Forever". He heard the song while driving his car, and was so struck by it that he had to pull over and listen; he then commented to Michael Vosse, his passenger, that The Beatles had "got there first". Although he apparently later laughed about that comment, the stunning new Beatles production had affected him deeply.
After the episode, Wilson vehemently continued work mostly on "Heroes and Villains". Throughout the first half of 1967, the album's release date was repeatedly postponed as Wilson tinkered with the recordings, experimenting with different takes and mixes, unable or unwilling to supply a completed version of the album. In early March 1967, after gradually distancing himself from Wilson and the group and frustrated by the lack of progress, Van Dyke Parks finally quit the project.
Capitol evidently still hoped to the last that Smile might eventually appear, but on 6 May, only a few weeks before the release of The Beatles' groundbreaking Sgt. Pepper's Lonely Hearts Club Band album, The Beach Boys' press officer Derek Taylor announced to the British press that the Smile project had been shelved, and that the album would not be released.[19]
Jack Rieley revealed during a 1996 online Q&A that the commercial failure of "Heroes and Villains" was the final cataclysmic blow to the Smile project and Wilson's self-confidence as a musician.
Brian blirted [sic] it out one evening at Bellagio, and later spoke about it several times in agonizing detail. He had expected that Heroes would be greeted by Capitol as the work which put the Beach Boys on a creative par with the Beatles. All the adoration and promotional backup Capitol was giving the Beatles would also flow to his music because of Heroes, he thought. And the public? It would greet Heroes with the same level of overwhelming enthusiasm that the Beatles got with record after record. As it was, Capitol execs were divided about Heroes. Some loved it but others castigated the track, longing instead for still more surfing/cars songs. The public bought the record in respectable but surely not wowy zowy numbers. For Brian, this was the ultimate failure. His surfing/car songs were the ones they loved the most. His musical growth, unlike that of Messrs. Lennon and McCartney, did not translate into commercial ascendancy or public glory.[20]
Smiley Smile
Main article: Smiley Smile
The Beach Boys still needed to complete an album to fulfil their obligations to Capitol Records, so a replacement was hastily recorded. Following the stillbirth of Smile, Wilson retreated to his Beverly Hills house, and this became the venue for the recording of much of the Beach Boys' next album, Smiley Smile (which Carl Wilson described as "a bunt instead of a grand-slam"[21]).
Released that September, the new LP included new recordings of several key Smile tracks, including an alternate edit of "Heroes and Villains", and new versions of "Wonderful", "Vege-tables" and "Wind Chimes", along with a drastically-scaled down re-arrangement of "Mrs O'Leary's Cow" - retitled as "Fall Breaks and Back to Winter (Woody Woodpecker Symphony)" - plus several 'new' tracks which were somewhat still linked to Smile; "Little Pad" bears a thematic similarity to Smile's "Love To Say Da Da", and "She's Going Bald" was a rearrangement (with altered lyrics) of the Smile track "He Gives Speeches". The album was poorly received by critics and was the group's poorest-selling LP to date in the USA, although it fared considerably better in Britain, where it reached #9 on the album chart.
Brian Wilson gradually retreated from the public eye and over the ensuing years became increasingly disabled by his mental health problems. As his legend grew, the Smile period came to be seen as the pivotal episode in his decline and became tagged as one of the most notorious celebrity drug casualties of the rock era.[22]
Fame and reception
By the beginning of the 1990s, Smile had earned its place as the most famous unreleased pop album, and was a focal point for bootleg recording makers and collectors.[23] A 1988 proposed sequencing of the album by engineer Mark Linett eventually leaked to the public. In 1993, fans were treated to a goldmine of official archival Smile material that was included in the 5CD boxed set Good Vibrations: Thirty Years of The Beach Boys. The second disc of the set included almost thirty minutes of original Smile recordings, including versions of "Our Prayer", "Wonderful", "Cabin Essence", "Wind Chimes", "Do You Like Worms", "Vege-Tables", "I Love to Say Da-Da", an alternate version of "Heroes and Villains" and numerous linking segments featuring the "Heroes and Villains" theme, plus Brian's fabled demo recording of "Surf's Up", which Elvis Costello compared to discovering an original recording of Mozart in performance.
These recordings, sequenced by David Leaf, made it clear that Smile had been much closer to completion than had previously been thought, and this prompted much excitement by fans over what additional songs might exist, and debate about how the songs fitted into the Smile running order. There was hope that the box set would be followed by an official Smile release, but failed to materialize.
With the emerging popularity of the Internet in the mid 1990s, the bootlegged Smile recordings became more widely available through a series of websites and "tape trees". A few websites actually offered full downloads of the tracks, and fan edits and arrangements started to appear. Beginning in 1997, the bootleg label Sea of Tunes (named after The Beach Boys original publishing company) began releasing a series of CDs featuring high quality outtakes, session tracks and alternate recordings that ranged across the group's entire career; these reportedly drew on official session recordings that had been copied onto digital videotape fourteen years earlier, during the making of The Beach Boys: An American Band documentary in 1984. Among these was a 3-CD set featuring over three hours of sessions for "Good Vibrations", and several multi-CD sets containing a significant number of the tracking, overdubbing and mixing sessions for Smile.[24]
Brian Wilson's Smile
Main article: Smile (Brian Wilson album)
Brian Wilson and Van Dyke Parks would eventually revisit and complete the Smile project with Brian's touring musicians in 2004, 37 years after its conception. First, in a series of concerts (debuting at London's Royal Festival Hall on February 20, 2004), then as the solo album Brian Wilson Presents Smile, released in September 2004. The album debuted at number 13 on the Billboard 200 chart, and later earned 3 Grammy nominations, winning Brian Wilson his first solo Grammy award for Best Rock Instrumental Performance ("Mrs. O'Leary's Cow"). In 2005, the album won graphic artist Mark London and Nonesuch/Elektra Records the 2005 ALEX award for Best Vinyl Package.
Bootlegs and reconstructions
While bootlegs and fan reconstructions were no news to the band, the release of Brian Wilson's Smile brought new life to the scene, as fans now had a "blueprint" to work with, in addition to the already vast amount of sessions released both officially and unofficially, making it a lot easier to construct "correct" bootlegs of the album. It should however be noted that the original track listing and running order never was decided upon until 2004.[25]
The Smile Sessions
On February 3, 2011, Alan Jardine spoke to Examiner.com to inform them that "Capitol Records plans to issue a Beach Boys version of Smile sometime this summer to begin the celebration of The Beach Boys' 50th anniversary. Smile is the Holy Grail for Beach Boys' fans, so it will be good." Jardine also mentioned that The Beach Boys "didn't do any new recording. I'm happy to see it finally come out. Brian's changed his mind about releasing the material, but it was inevitable, wasn't it?"
After these reports, speculation concerning an official release of Smile started mounting in fan circuits, only to be confirmed on March 11 by Capitol Records that an official release would emerge sometime during 2011. It was also reported that the record would feature a main track list in mono (as was the case with other contemporary Beach Boys records of the time), but also include recording segments in stereo. The album was released online via iTunes on October 31, 2011, and the next day on CD, vinyl, and via other online services in digital download, in a 2-CD package under the title The Smile Sessions. It is available in a standard 2-CD package, as well as a limited edition box set comprising 5 CDs, 2 LPs, 2 45rpm singles and a 60 page booklet. The 5-CD version is also available online via Spotify's digital streaming service. The album originally had a tentative July 12 release date, but this was later pushed back to August 9, 2011, to give the producers enough time to finish the missing pieces of the album. As that date approached, the release was again pushed back to a tentative date of October 4, 2011, but was ultimately released during the period of October 31 and November 1 of 2011.[26]
Although many believe that the track listing presented in The Smile Sessions is different than what it would have been on the original 1967 Smile album, interviews by Mark Linett and others say that they "will certainly...present the whole piece as close to it as was envisioned, or as is envisioned, as possible".[27] Of course, no one can possibly ever know what exactly the album would have been like had it been released in 1967. Brian Wilson has stated that the exact running order was not decided upon until 2004, and that the original Smile would have been less "uplifting".[28]
All songs were written by Wilson and Van Dyke Parks, except where noted.
1. "Our Prayer" 1:05
2. "Gee"1" (William Davis, Morris Levy) 0:51
3. "Heroes and Villains" 4:52
4. "Do You Like Worms (Roll Plymouth Rock)" 3:35
5. "I'm in Great Shape2" 0:28
6. "Barnyard" 0:48
7. "My Only Sunshine (The Old Master Painter / You Are My Sunshine)" (Haven Gillespie/Jimmie Davis, Charles Mitchell) 1:55
8. "Cabin Essence" 3:30
9. "Wonderful" 2:04
10. "Look (Song for Children)" (Brian Wilson) 2:31
11. "Child Is Father of the Man" 2:10
12. "Surf's Up" 4:12
Side three
13. "I Wanna Be Around / Workshop" (Johnny Mercer/Brian Wilson) 1:23
14. "Vega-Tables" 3:49
15. "Holidays" (Brian Wilson) 2:32
16. "Wind Chimes" 3:06
17. "The Elements: Fire" (Brian Wilson) 2:35
18. "Love To Say Dada" (Brian Wilson) 2:32
19. "Good Vibrations" (Brian Wilson, Mike Love) 4:15
1. Part of "Our Prayer" on previous versions
2. Track 11 (following "Surf's Up") on previous versions
The Smile Sessions (2xCD)
"Our Prayer" – 1:06
"Gee" – 0:51
"Heroes and Villains" – 4:53
"Do You Like Worms (Roll Plymouth Rock)" – 3:36
"I'm in Great Shape" – 0:29
"Barnyard" – 0:48
"My Only Sunshine (The Old Master Painter / You Are My Sunshine)" – 1:57
"Cabin Essence" – 3:32
"Wonderful" – 2:04
"Look (Song for Children)" – 2:31
"Child is Father of the Man" – 2:14
"Surf's Up" – 4:12
"I Wanna Be Around / Workshop" – 1:23
"Vega-Tables" – 3:49
"Holidays" – 2:33
"Wind Chimes" – 3:06
"The Elements: Fire (Mrs. O'Leary's Cow)" – 2:35
"Love to Say Dada" – 2:32
"Good Vibrations" – 4:13
"You're Welcome" – 1:08
"Heroes and Villains (Stereo Mix)" – 4:53
"Heroes and Villains Sections (Stereo Mix)" – 7:16
"Vega-Tables Demo" – 1:46
"He Gives Speeches" – 1:14
"Smile Backing Vocals Montage" – 8:30
"Surf's Up 1967 (Solo Version)" – 4:09
"Psycodelic Sounds: Brian Falls into a Piano" – 1:30
"Smile Retail Promo Advertisement" (hidden track) - 1:02
"Our Prayer 'Dialog' (9/19/66)" – 3:02
"Heroes and Villains: Part 1" – 3:08
"Heroes and Villains: Children Were Raised (1/27/67)" – 2:07
"Heroes and Villains: Prelude to Fade (2/15/67)" – 3:42
"My Only Sunshine (11/14/66)" – 6:52
"Cabin Essence (10/3/66)" – 5:19
"Surf's Up: 1st Movement (11/4/66)" – 4:55
"Surf's Up: Piano Demo (12/15/66)" – 3:53
"Vega-Tables: Fade (4/12/67)" – 5:25
"The Elements: Fire session (11/28/66)" – 8:27
"Cool, Cool Water (Version 2) (10/26/67–10/29/67)" – 3:32
"Good Vibrations Session Highlights" – 8:20
Source: brianwilson.com[4]
The Smile Sessions (2xLP)
"Our Prayer"
"Gee"
"Do You Like Worms (Roll Plymouth Rock)"
"I'm in Great Shape"
"Barnyard"
"My Only Sunshine (The Old Master Painter / You Are My Sunshine)"
"Look (Song for Children)"
"Surf's Up"
"I Wanna Be Around / Workshop"
"Holidays"
"The Elements: Fire (Mrs. O'Leary's Cow)"
"Love to Say Dada"
"You're Welcome (Stereo Mix)"
"Vega-Tables (Stereo Mix)"
"Wind Chimes (Stereo Mix)"
"Cabin Essence (Session Highlights and Stereo Backing Track)"
"Surf's Up (Session Excerpt and Stereo Mix)"
The Smile Sessions box set edition (5xCD, 2xLP, 2x7" singles)
"Our Prayer (10/4/66)" – 6:37
"Heroes and Villains" session (10/20/66)
"Heroes and Villains: Verse (Master Take)" – 0:57
"Heroes and Villains: Barnyard (Master Take)" – 1:12
"Heroes and Villains: I'm in Great Shape (10/27/66)" – 4:59
"Heroes and Villains: Intro (Early Version) circa 12/66" – 0:35
"Heroes and Villains" session (1/3/67)
"Heroes and Villains: Do a Lot" – 0:53
"Heroes and Villains: Bag of Tricks" – 2:58
"Heroes and Villains: Mission Pak" – 0:55
"Heroes and Villains: Bridge to Indians" – 1:47
"Heroes and Villains: Part 1 Tag" – 1:19
"Heroes and Villains: Pickup to 3rd Verse" – 0:55
"Heroes and Villains" session (1/27/67)
"Heroes and Villains: Children Were Raised" – 2:07
"Heroes and Villains: Part 2 (Cantina track)" – 1:21
"Heroes and Villains: Whistling Bridge" – 1:14
"Heroes and Villains: Cantina" – 1:36
"Heroes and Villains: All Day" – 2:19
"Heroes and Villains: Verse Edit Experiment" – 0:48
"Heroes and Villains: Prelude to Fade" – 3:43
"Heroes and Villains: Piano Theme" – 2:43
"Heroes and Villains: Part 2 (Gee) (Master Take)" – 2:36
"Heroes and Villains: Part 2 Revised" – 1:54
"Heroes and Villains: Part 2 Revised (Master Take)" – 0:48
"Heroes and Villains: Part 3 (Animals) (Master Take)" – 1:18
"Heroes and Villains: Part Two (Master Take) (2/27/67)" – 1:44
"Heroes and Villains: Fade (2/28/67)" – 6:35
"Heroes and Villains: Verse Remake" – 4:16
"Heroes and Villains: Organ Waltz / Intro" – 2:04
"Heroes and Villains: Chorus Vocals" – 0:48
"Heroes and Villains: Barbershop" – 1:50
"Heroes and Villains: Children Were Raised (Remake)" – 1:06
"Heroes and Villains: Children Were Raised (Master Take Overdubs Mix 1)" – 0:26
"Heroes and Villains: Children Were Raised (Master Take A Capella)" – 0:27
"Heroes and Villains Piano Demo (incorporating 'I'm in Great Shape' and 'Barnyard') Brian with Van Dyke Parks and 'Humble Harve' Miller, KHJ Radio (11/4/66)" – 4:17
"Psycodelic Sounds: Brian Falls into a Microphone (11/4/66)" – 1:10
"Psycodelic Sounds: Moaning Laughing (11/4/66)" – 1:09
"Do You Like Worms" session (10/18/66)
"Do You Like Worms: Part 1" – 5:21
"Do You Like Worms: Part 2 (Bicycle Rider)" – 1:55
"Do You Like Worms: Bicycle Rider Overdubs (Heroes and Villains Part 2) (1/5/67)" – 0:22
"The Old Master Painter / You Are My Sunshine"
"My Only Sunshine: Parts 1 & 2 (11/14/66)" – 6:51
"My Only Sunshine: Part 2 (Master Take With Vocal Overdubs) (2/10/67)" – 0:45
"Cabin Essence" session (10/3/66)
"Cabin Essence: Verse" – 2:14
"Cabin Essence: Chorus" – 2:28
"Cabin Essence: Tag" – 2:31
"Wonderful (Version 1) (8/25/66)" – 2:59
"Wonderful" (Version 2 "Rock With Me, Henry") session (1/9/67)
"Wonderful (Version 2)" – 3:25
"Wonderful (Version 2 Tag)" – 2:54
"Wonderful (Version 3) (4/10/67?)" – 2:41
"Look" ("Song for Children")
"Look (8/12/66)" – 4:52
"Child is Father of the Man (Version 1) (10/7/66)" – 4:57
"Child is Father of the Man (Version 2) (10/11/66)" – 5:38
"Surf's Up: Talking Horns (11/7/66)" – 3:42
"Surf's Up: Piano Demo (Master Take) (12/15/66)" – 3:52
"I Wanna Be Around / Workshop (Friday Night)"
"I Wanna Be Around (11/29/66)" – 3:08
"Vegetables" sessions (4/4/67–4/11/67)
"Vegetables: Verse (Master Take Track) (4/4/67–4/11/67)" – 2:02
"Vegetables: Sleep a Lot (Chorus)" – 2:34
"Vegetables: Chorus 1 (Master Take)" – 1:05
"Vegetables: 2nd Chorus (Master Take Track and Backing Vocals)" – 1:03
"Vegetables: Insert (Part 4) (Master Take)" – 0:37
"Vegetables: Crunching Session" (hidden track) - 1:02
"Workshop Session" (hidden track) - 1:40
"Vegetables" sessions (continued)
"Vegetables: Fade (4/12/67)" – 5:25
"Vegetables: Ballad Insert (4/14/67)" – 1:03
"Holidays (9/8/66)" – 7:32
"Wind Chimes (Version 1) (8/3/66)" – 6:46
"Wind Chimes" (Version 2) session (10/5/66)
"Wind Chimes (Version 2)" – 5:00
"Wind Chimes (Version 2 Tag)" – 2:51
"The Elements (Fire) (11/28/66)" – 8:27
"Da Da" session (12/22/66)
"Da Da (Taped Piano Strings)" – 1:00
"Da Da (Fender Rhodes)" – 1:21
"Love to Say Dada" sessions (5/16/67–5/18/67)
"Love to Say Dada: Part 1 (5/16/67)" – 1:22
"Love to Say Dada: Part 2 (Master Take) (5/17/67)" – 1:21
"Love to Say Dada: Part 2 (Second Day) (5/18/67)" – 2:00
"Cool, Cool Water"
"Cool, Cool Water (Version 1) (6/7/67)" – 2:21
"Cool, Cool Water (Version 2) (10/26/67 & 10/29/67)" – 3:31
Smile additional sessions
"You're Welcome (12/15/66)" – 6:41
"You're With Me Tonight (6/6/67–6/7/67)" – 2:46
"Tune X (3/3/67–3/31/67)" – 2:18
"I Don't Know (1/12/67)" – 3:03
"Three Blind Mice (10/15/65)" – 2:11
"Teeter Totter Love (Jasper Dailey) (1/25/67 & 2/9/67)" – 1:49
"Psycodelic Sounds - Underwater Chant (11/4/66)" – 1:45
"Hal Blaine Vega-Tables Promo Session (11/16/66)" – 1:28
"Heroes and Villains: Early Version Outtake Sections (1/67–2/67)" – 5:04
"The Elements: Fire (Mrs. O'Leary's Cow) (Burning Wood Session)" (hidden track) - 0:45
"Good Vibrations" sessions
"Good Vibrations: Gold Star 2/18/66 (The Pet Sounds Session)" – 7:27
"Good Vibrations: Gold Star 4/9/66" – 6:57
"Good Vibrations: Western 5/4/66 (First Chorus)" – 2:24
"Good Vibrations: Western 5/4/66 (Second Chorus & Fade)" – 3:28
"Good Vibrations: Sunset Sound 5/24/66 (Part 1)" – 1:20
"Good Vibrations: Sunset Sound 5/24/66 (Parts 2 & 3)" – 1:45
"Good Vibrations: Western 5/27/66 (Part C)" – 3:32
"Good Vibrations: Western 5/27/66 (Chorus)" – 3:04
"Good Vibrations: Western 5/27/66 (Fade Sequence)" – 1:56
"Good Vibrations (Inspiration): Western 6/2/66 (Part 1)" – 2:44
"Good Vibrations: Western 6/16/66 (Part 1)" – 6:24
"Good Vibrations: Western 6/16/66 (Part 2 & Verse)" – 1:06
"Good Vibrations: Western 6/16/66 (Part 2 Continued)" – 5:55
"Good Vibrations (Persuasion): Western 9/1/66" – 1:49
"Good Vibrations: Western 9/1/66 (New Bridge)" – 3:39
"Good Vibrations: Session Masters" – 6:13
"Good Vibrations: Single Version Stereo Track" – 3:49
"Good Good Good Vibrations (First Version With Overdubs) 3/66" – 3:41
"Good Vibrations: Alternate Edit 8/24/66" – 3:32
"Good Vibrations: Tape Rewind" (hidden track) - 0:27
7" single 1
"Heroes And Villains Part One"
"Heroes And Villains Part Two"
The Beach Boys Play Smile
As of 2011, iTunes is offering two playlists of tracks recorded by The Beach Boys during the Smile sessions.[29]
"Our Prayer" (Good Vibrations: Thirty Years of the Beach Boys)
"Heroes and Villains (Alternate Take)" (Smiley Smile / Wild Honey)
"Do You Like Worms" (Good Vibrations: Thirty Years of the Beach Boys)
"Cabinessence" (20/20)
"Wonderful" (Good Vibrations: Thirty Years of the Beach Boys)
"Surf's Up" (Surf's Up)
"Vegetables" (Good Vibrations: Thirty Years of the Beach Boys)
"Wind Chimes" (Good Vibrations: Thirty Years of the Beach Boys)
"Heroes and Villains (Intro)" (Good Vibrations: Thirty Years of the Beach Boys)
"I Love to Say Da Da" (Good Vibrations: Thirty Years of the Beach Boys)
"Good Vibrations" (Smiley Smile)
Alternate version
"Our Prayer" (20/20)
"Heroes and Villains" (Smiley Smile)
"Cabinessence" (Good Vibrations: Thirty Years of the Beach Boys)
"Wonderful" (Smiley Smile)
"Surf's Up" (Good Vibrations: Thirty Years of the Beach Boys)
"Vegetables" (Smiley Smile)
"Wind Chimes" (Smiley Smile)
"Cool Cool Water" (Good Vibrations: Thirty Years of the Beach Boys)
"Good Vibrations (Early Take)" (Smiley Smile / Wild Honey)
Sales chart positions
2011 US Billboard Hot 200 Albums Chart 27
2011 UK Album Chart 25
^ J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukie, Michigan: Hal Leonard, 2003), ISBN 978-0-634-05548-5, p. 39.
^ a b Smile [Not Released] - The Beach Boys | AllMusic
^ Vernon Joynson,"The acid trip: a complete guide to psychedelic music",(Babylon Books, 1984),p.8.
^ a b c d "Press Release". brianwilson.com. 2011-08-30. http://brianwilson.com/news/press_08-30-11.html. Retrieved 2011-10-10.
^ "The SMiLE Sessions". Allmusic. http://www.allmusic.com/album/the-smile-sessions-r2320750. Retrieved 2011-11-11.
^ Murray, Noel (2011-11-08). "The Smile Sessions". One Thirty BPM. http://www.avclub.com/articles/the-beach-boys-the-smile-sessions,64694/. Retrieved 2011-11-11.
^ Roffman, Michael (2011-11-03). "The Smile Sessions". Consequence of Sound. http://consequenceofsound.net/2011/11/album-review-the-beach-boys-the-smile-sessions/. Retrieved 2011-11-11.
^ Petridis, Alexis (2011-10-27). "The Smile Sessions". The Guardian. http://www.guardian.co.uk/music/2011/oct/27/beach-boys-smile-sessions-review. Retrieved 2011-11-11.
^ Wood, Mikael (2011-10-31). "The Smile Sessions". Los Angeles Times. http://latimesblogs.latimes.com/music_blog/2011/10/album-review-the-beach-boys-the-smile-sessions.html. Retrieved 2011-11-11.
^ McMullen, Chase (2011-11-09). "The SMiLE Sessions". One Thirty BPM. http://onethirtybpm.com/reviews/album-review-the-beach-boys-the-smile-sessions/. Retrieved 2011-11-11.
^ Kane, Tyler (2011-11-01). "The SMiLE Sessions". Paste. http://www.pastemagazine.com/articles/2011/11/the-beach-boys-the-smile-sessions.html. Retrieved 2011-11-11.
^ Richardson, Mark (2011-11-02). "The Smile Sessions". Pitchfork Media. http://pitchfork.com/reviews/albums/16000-the-smile-sessions/. Retrieved 2011-11-11.
^ Fricke, David (2011-11-01). "The Smile Sessions Box Set". Rolling Stone. http://www.rollingstone.com/music/albumreviews/the-smile-sessions-box-set-20111101. Retrieved 2011-11-11.
^ "Smile - Brian Wilson". http://www.metacritic.com/music/smile/brian-wilson. Retrieved 11 November 2011.
^ "The SMiLE Sessions - The Beach Boys". http://www.metacritic.com/music/the-smile-sessions. Retrieved 11 November 2011.
^ Richardson, Derk (June 28, 2011). "Wilson's SMiLE / Brian Wilson finally finishes his 'teenage symphony to God'". The San Francisco Chronicle. http://sfgate.com/cgi-bin/article.cgi?file=/gate/archive/2004/10/28/derk.DTL.
^ Bill Tobelman - The Zen Interpretation of Brian Wilson & Van Dyke Parks' SMiLE
^ a b Brian Wilson, quoted in Beautiful Dreamer: Brian Wilson & the story of Smile (Warner Vision/LSL Productions, 2005)
^ Carlin, Peter Ames. [ Catch A Wave: The Rise, Fall & Redemption of the Beach Boys' Brian Wilson], p. 120.]
^ Jack Rieley's comments & Surf's Up
^ "Smiley Smile review". http://www.cokemachineglow.com/reviews/beachboys_smileysmile1967.html. Archived June 5, 2011 at the Wayback Machine
^ VH1's Most Shocking Music Moments
^ "The Smile Sessions review". http://pitchfork.com/reviews/albums/16000-the-smile-sessions/.
^ BeachBoys.com (unofficial website) - Rarities: Sea of Tunes III
^ Brian Wilson: Beautiful Dreamer
^ "Beach Boys' 'Smile Sessions' Bumped to August 9 Street Date". Direct Current. http://www.directcurrentmusic.com/dc-music-news-feed/2011/5/4/beach-boys-smile-sessions-bumped-to-august-9-street-date.html. Retrieved 10 August 2011.
^ Christman, Ed (2011-03-11). "Beach Boys Engineer Mark Linett Talks 'Smile' Release". Billboard. http://www.billboard.com/#/features/beach-boys-engineer-talks-about-the-smile-1005071622.story. Retrieved 2011-10-10.
^ "Ear Candy Mag interview with Brian Wilson (10-16-04)". http://earcandymag.com/brianwilson-2004.htm.
^ The Beach Boys Play Smile
Siegel, Jules. "Goodbye Surfing, Hello God!", Cheetah Magazine #1 (October 1967)
Priore, Domenic. Look, Listen, Vibrate, Smile: The Book about the Mysterious Beach Boys Album. (Surfin' Colours Hollywood, 1987)
Priore, Domenic. Smile: The Story of Brian Wilson's Lost Masterpiece. (Bobcat Books, 2007) [ISBN 1860746276]
Rockument-Beach Boy's Smile Sessions with commentary and links to music
http://theelements.ca/hnv/heroesandvillains.htm[dead link]
Stylus Magazine article
The Smile Shop - The Smile Sessions Information Site
Wilson explains SMiLE
An interview with "Smile" historian Domenic Priore
Background information and essays on the making of
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Dr. Irfan Al-Alawi, international director of the Center for Islamic Pluralism and executive director of the Islamic Heritage Research Foundation, was interviewed by BBC Radio in the UK on 10 April 2008, regarding the auction of sacred treasure from Mecca and Medina. Please Note: The show itself cannot be accessed. CIP is working on archiving all such appearances.


text:
De Blasio, City Council Look to Move Ahead with Private Sector Retirement Savings Program
September 05, 2019 | by Samar Khurshid
Feb. 2016 (photo: Demetrius Freeman/Mayoral Photography Office)
In his State of the City speech in January, Mayor Bill de Blasio promised that the city would create a system of retirement security for millions of New Yorkers who work in the private sector and may not have access to employer-provided savings plans. It was a revival of an effort the mayor had first pushed in 2016 but that bumped up against the change in presidential administrations and federal approvals apparently needed. But eight months after de Blasio's speech at the start of this year, the New York City Council is ready to look at the idea through two bills that will be examined at a hearing later this month.
"We'll create a universal retirement system in our city, because if you've worked for decades, then you've earned the right to retire in peace," the mayor declared in January. There has been little public movement since, but as the mayor continues his presidential campaign, an initial Council hearing provides new promise.
De Blasio first put forward a "Retirement Security for All" proposal in 2016, but the legislative effort to achieve it was cut short in 2017 when President Donald Trump approved new federal regulations passed by a Republican-led Congress that undid an Obama era rule and limited municipalities from creating private-sector retirement programs. City officials believe they can still move ahead, however.
In May 2018, City Council Members Ben Kallos and I. Daneek Miller sponsored the pair of bills that would establish such retirement savings programs for roughly 2 million private sector employees working in New York City.
Kallos' bill would create individual retirement accounts (IRAs) for workers at New York City businesses that employ 10 or more people and do not currently offer such programs. Employees would be automatically enrolled unless they choose to opt out and the IRAs would be funded through payroll deductions at a default rate. Though they would have to help administer the paperwork, employers would not have to contribute to the savings, nor would any public funds be directed to the individual accounts. The bill also sets up a complaint mechanism for employees in case businesses do not comply and creates varying civil penalties for violations of the law.
Miller's bill creates an unpaid three-member retirement savings board appointed by the mayor to oversee the private IRAs. The board would be responsible for investing IRA funds and contracting with financial institutions to manage them; it would also be charged with ensuring that fees for the programs remain low and for informing employers and employees of their rights and responsibilities under the law.
"All New Yorkers deserve the opportunity to plan for the future and save for their retirement," said Laura Feyer, a spokesperson for the mayor's office, in a statement. "The Mayor called for retirement security for all New Yorkers in his State of the City earlier this year, and we look forward to working with the City Council to make retirement security a reality for millions of New Yorkers."
Despite what seem to be hurdles at the federal level, both bills will be considered on September 23 at a joint hearing of the City Council's Committee on Civil Service and Labor, which Miller chairs, and Committee on Contracts.
Miller said the city's involvement in the program, through the board his bill would create, will mitigate some of the administrative burdens that small businesses would otherwise face. "We want to try to fill a gap here," he said in a phone interview. "I think there's a real opportunity for a win-win for everybody involved to provide sensible retirement opportunities."
Miller said the need to pass retirement security legislation was much like the issue of climate change, something that needs to be addressed sooner rather than later. "A crisis is a terrible thing to waste," he added, referring to the stark data around the many thousands of New Yorkers who have little to no retirement savings.
Kallos said in an interview that he is confident the proposals will pass and stand up to scrutiny under the federal Employee Retirement Income Security Act of 1974, citing other jurisdictions that have advanced similar programs, including New York State.
"What has changed is that several jurisdictions have moved forward with the program with thousands of Americans gaining access to retirement accounts for the first time ever, and we're not seeing those plans being challenged," he said. "And that seems to be putting forward a pathway for us."
At least ten states including New York have enacted legislation to allow private sector retirement programs. In last year's state budget, the Legislature approved the creation of the New York State Secure Choice Savings Program, which, unlike the Council proposal, is a voluntary opt-in plan for private sector employers rather than an opt-out one. It is meant to be formulated over two years.
"I think there's a national energy around this," Kallos said. "The mayor, he's bringing universal pre-K around the country. And I think that in a nation that is growing more and more concerned about how and when they will be able to retire and whether social security will even be there for them, having 'Retirement Security for All' is something important for the mayor to interject into a national conversation."
Kallos expects an aggressive timeline, saying that the bills could pass as soon as October and be signed into law by the mayor by November. If so, and even as they simply get new consideration and attention, they could provide a headline issue that the mayor can tout if he continues to seek the Democratic nomination for president.
On the campaign trail, de Blasio has focused on issues he believes are of paramount importance to "working people," including his signature universal pre-kindergarten program. That includes his boasts of a proposal to give paid personal leave to private sector employees, something the mayor has repeatedly said will happen this year even though the City Council does not appear close to approving it.
"When the mayor's chosen to champion issues, he's made it happen," Kallos said.
Beth Finkel, state director of AARP New York, praised the Council's and mayor's efforts. "We're very interested in anything that helps people to be more prepared financially for their retirement," she said, noting that individuals are 15 times more likely to save for retirement if they have access to a savings program that automatically makes payroll deductions. "That's our mission, that people can age with dignity and be prepared for their retirement. And you can't wake up when you're older and say, okay, now's the time. So having something like this in place where people can save throughout their career, that's exactly the type of policy that AARP is very, very supportive of."
AARP members, Miller, and Kallos were among those who celebrated at the February 2016 City Hall rally de Blasio held to advance the retirement savings plan, which has stalled in the three-plus years since.
Both Kallos and Miller expect little opposition at the local level, but there is a possibility that the bills may come under fire from private groups such as the ERISA Industry Committee, which lobbies on behalf of the country's largest private employers with regards to employee benefits policies, or companies that sell retirement investment products.
"Retirement Security for All is tantamount to what would be the equivalent of a public option for insurance companies," Kallos said. "And ultimately, companies that sell 401(k), 403(b) and other investment products have traditionally opposed this because they would rather see people not saving for retirement than see competition. And I think the real competition is having the fees that they can charge undermined."
Tags: Ben Kallos • Bill de Blasio • City Council • I. Daneek Miller • Private Sector Retirement

redpajama_set_name: RedPajamaCommonCrawl


text:
Supply-chain sources say Facebook Portal sales are 'very low'
After the company's many privacy sins, people are apparently hesitant to put a Facebook device with a camera in their living rooms. Imagine that.
[Photo: courtesy of Facebook]
Surprise, surprise. Facebook's Portal video-chat device—which puts a camera and a sensitive microphone in your living room—isn't flying off the shelves, say supply-chain sources and store sales reps.
The device, which launched a little over a year ago, has been plagued by the privacy concerns of would-be buyers from the start.
And Creative Strategies analyst Ben Bajarin tells Fast Company that his sources at the companies that supply parts for the Portal say that shipments of the devices are "very low."
"The orders for the components were not high to begin with, and the build volumes were low," Bajarin says. "They [Facebook] never meant to build up a large inventory."
Bajarin says the Portal is selling in the "hundreds of thousands" per year range, not in the millions.
Rakuten, which tracks online device sales, says Portal accounts for 0.6% of units sold in the overall smart-speaker category, and 3.9% of smart speakers with screens (such as Amazon's Echo Show and Google Home).
Anecdotal accounts seem to echo Bajarin's sources. A sales rep at a Best Buy store in midtown Manhattan said they'd sold "hardly any" of the Portals at all. And a rep at the main San Francisco store said the devices sold reasonably well when they launched last year but have slowed since then.
Facebook didn't immediately respond to a request for comment.
The irony is that, from a pure technology perspective, the Portal may be the best device on the market. The device uses superior computer-vision AI to focus on the people in conference calls, as if a real cameraman were framing the shots.
"I've always said that Portal is a really great product and had some other big tech company like Google or Amazon or Microsoft launched it, this hardware would have done much better," Bajarin said.
Facebook doubled down on Portal this year with the June announcement of a second generation of the device, which supports WhatsApp video chats, not just Facebook Messenger chats.
The Portal competes with the Google Home and Amazon's Echo Show devices. The Portal supports Amazon's Alexa, which runs in parallel with the Facebook assistant on the device. Amazon says Alexa running on Portal supports "most of" the same functionality supported by Alexa in Amazon's Echo Show device.
Facebook delayed the release of the original Portal from May until December last year because the company was embroiled in data-privacy scandals and feared the public might not be in the mood to accept a Facebook camera in the living room. It's unlikely the public's mood has improved much since then.
"I do think the heart of the matter is that Facebook has lost people's trust to the point that Facebook may never evolve beyond what it is as an online place people see stuff from their friends," Bajarin said. "Basically, a social wall."
Marcus Baram contributed to this story.
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text:
« How to invest in cryptocurrency in Nigeria | After a record year, the wine industry faces supply chain and war impacts »
Organizer of Miss Rwanda in Police Net Over Sexual Assault
By theGazetteNGR
Editorinchief theGazetteNGR
Posted: April 27, 2022 at 3:45 PM, Updated: April 27, 2022 at 3:45 PM
This is what happened to Dieudonne Ishimwe, who organized the Miss Rwanda beauty pageant. She has been arrested because she is accused of sexually assaulting someone.
According to a police statement released on Wednesday (April 27), Prince Kid, a well-known former artist, was arrested on Tuesday.
On many occasions, the 36-year-old is accused of abusing former Miss Rwanda contestants. A spokesman for the Rwandan Independent Bureau (RIB) told AFP that the 36-year-old is accused of doing this.
He added that the case would be referred to the prosecutor's office "in due course."
Ishimwe is the CEO of Rwanda Inspiration Backup, the company that puts on the Miss Rwanda pageant every year.
His arrest comes after the organization announced this week that its communications director, a former Miss Rwanda, had quit after four years on the job.
The alleged arrest has caused quite a stir on social media, with the hashtag #missrwanda dominating the trending topics on Wednesday morning.
This came after a discussion on Twitter on Tuesday in which some former contestants talked about how they worked with the person who runs the beauty pageant.
Gov Fintiri Enjoins Muslims to Remember, Share Their God-given Wealth
Patience Jonathan To Convert Abuja Hotel To Isolation Centre
Abortion put the topic of inflation on hold
While some were surprised by the charges, others claimed the allegations were false.
Days after his arrest, A$AP Rocky and Rihanna were spotted
Simi was stunned by Adekunle Gold Appearance on Nigerian Idol
Justin Bieber was sued for copyright infringement
Don Jazzy Reunites with his Ex-wife, After 18 Years Apart
Kendrick Lamar Performs Three Songs on SNL, joined by Sampha
Trevor Noah: Will Late-Night Talk Shows Survive?
Jennifer Lopez and Ben Affleck are having a pleasant lunch date
Pusha T Resigns As President of Kanye West's G.O.O.D. Music
Has Will Smith apologized to Chris Rock After Oscars slap?
"No Guidance" Copyright lawsuit Against Chris Brown Dropped By Defendant


Exclusive to Alexander McQueen stores and online. White smooth classic calf leather lace up sneaker with oversized rounded rubber toe. Perforated air hole detail on the side and Alexander McQueen logo on tongue and back counter. Oversized rubber sole. Dimensions Heel height 4.5 inches Material 100% Calf-skin leather Product code441631WHGP59000 Fit: The model is a standard IT 42.


Selected to 2018 Sundance's "Next" competition section, White Rabbit is a quirky lesbian relationship comedy and a millennial satire on wannabe artists and identity politics. It stars and is co-written by Korean-American comedienne Vivien Bang (Yes Man, Memoirs of a Geisha) who plays a lovably clueless protagonist, Sophia Lee. While temping at odd jobs on TaskRabbit app, Sophia also performs awkward, politically confrontational performance art at shoppers in supermarkets and makes demeaning selfie YouTube videos that no one watches. When a filmmaker reaches out to discuss an acting role in his film, she is excited to explore the opportunity, only to realize he can't distinguish between her art and her real-life identity. At the same time, a chance encounter buds into romance, but in the "whatever, just go with the flow" world of modern LA, how can one figure out what the hell is up with love? Or personal meaning? Or anything for that matter?


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NYPD commissioner seeks Penn Station security barrier
(The following story by Steve Ritea appeared on the Newsday website on April 10.)
NEW YORK — Calling Penn Station "the single most critical transit hub in the United States," Police Commissioner Ray Kelly is asking the Metropolitan Transportation Authority, Madison Square Garden and other stakeholders to complete a security barrier around the station that should have been up years ago.
"The only near-term option for improving the protection of this complex is a sound security perimeter," Kelly said in a March 25 letter to the Garden, the MTA, Amtrak and Vornado Realty Trust, which owns much of the property in the area.
Three years ago, the MTA allocated $15 million for large posts and barriers around the perimeter of the station, designed to thwart potential terrorist attacks from the street.
But according to MTA spokesman Jeremy Soffin, "Madison Square Garden has refused to accommodate the security plan and we cannot proceed with this important project without their permission and cooperation."
In a statement, Garden spokesman Barry Watkins said large planters were constructed around Penn Station several years ago and Garden officials are "working with the NYPD, Vornado and Amtrak to make that a permanent barrier to protect all properties in the area." Watkins did not mention the MTA.
Vornado and Amtrak declined to comment. Kelly did not respond to requests for comment.
"My staff has had multiple meetings with your representatives, but there is still no resolution to the handful of issues holding up the agreement," Kelly said in the letter, obtained by WNBC/4 television. "The impasse has gone on for too long."
A source familiar with the negotiations said the Garden wants payment for lost revenue if construction affects any events there. Watkins denied that.
Long Island Rail Road Commuters Council President Gerard Bringmann said he is frustrated by the holdups.
"If a terrorist really wants to make a splash, that's a place they could go," he said. "It definitely needs that extra security."
Commuter Erik Ortmann, 39, an attorney who lives in East Islip, said the addition of barriers would make him "feel a little more secure.
"But what's to say someone's not going to walk in with something like this," he said, pointing to his briefcase, "and we're all gone."
"This is an easy target here," said Arthur Kerr, 44, a salesman who lives in Bellerose and the upstate city of Rome. "We need that, especially after 9/11."
Dominic Hart, 24, a security guard from Edison, N.J., was more skeptical.
"Using physical security like that isn't going to really help," he said. "For this kind of volume, what makes people safer is more police on duty."
The Long Island Rail Road, the nation's busiest commuter railroad, carries about 288,000 passengers on a typical weekday, the vast majority of them into and out of Penn Station.


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The UPS and the diesel generator are two devices for keeping a server functional in case there are problems with the primary source - an interruption or shaky current that cannot keep the server functional, for instance. UPS is an abbreviation for Uninterruptible Power Supply, even though it is frequently called Uninterruptible Power Source too. The UPS is, basically, an efficient battery which is attached to the web server and to the power network constantly, so if there is any disruption, it is already operating, that permits the server to continue running without losing any data. The diesel generator is an engine which will power up a whole data center. It needs some time to start working and it is the UPS which gives it this time. These two power solutions are an absolute necessity for any facility or hosting company that wants to stop data loss and hardware damage resulting from an unexpected electric power issue.
The 99.9% network and web server uptime guarantee that we provide you with is, in part, a result of the power backup setup which we have in each of the three data centers in which we offer cloud hosting packages - in Chicago (USA), in London (UK), and in Sydney (Australia). If you acquire a new account to create or move your sites, it will be set up on a progressive cloud platform that consists of several clusters dealing with your content. Every server in the particular cluster has its own potent enterprise-class UPS to keep it operational no matter what, until a number of electrical power generators boot up and give the required power for the whole center to remain operational for a lot of hours. You will not notice anything even in case there's an outage, because our backup units will be able to power all the devices and we won't have to restrict the quantity of working hosting servers or the network equipment that manages the traffic to your sites.
If you buy a semi-dedicated server account from our company, it shall be set up on a cutting-edge hosting platform in a data center with an outstanding infrastructure. The Chicago-based data center uses an individual UPS for every single hosting server or network switch located there to make certain that the correct operation of any unit will not be disrupted until powerful generators start producing the necessary electric power. The latter will power the entire center for quite a while without the need to turn off any devices, so each of the sites hosted on our servers will continue to function at maximum speed and with no effect on their capabilities. These electrical power backup options permit us to guarantee that any outage will never be a reason for your Internet sites to go offline or to have reduced functionality.


Allas-Bocage is a town situated in the Charente-Maritime département (Poitou-Charentes région). The town of Allas-Bocage belongs to the canton of Mirambeau and the district of Jonzac. The inhabitants number of Allas-Bocage in the 1999 population census was 150. The town's surface is 10.9 km². Allas-Bocage has the following code INSEE: 17005 and is associated with the following postal code: 17150. It is situated at an altitude of about 70 meters.
The town in France furthest from Allas-Bocage is Bonifacio (895.8 km as the crow flies).
Homonyms: There is no other town with the name ''Allas-Bocage'' in France.
Suggest a new link about Allas-Bocage ?


Website defacement is an attack on a website that changes the visual appearance of the site or a webpage. Defacement is generally used to spread messages by politically motivated "cyber protesters" or hacktivists. Web defacement is often considered a minor form of Cyber Attack, very much like a petty crime. Web defacement is relatively easier to carry out than other forms of Cyber Attacks, such incidents are in fact quite common. Moreover, as these attacks are often targeted at web pages with significant traffic, they get noticed and exposed quickly. According to CERT-In's annual report 26244 websites in India (including 18403 websites with .in domain) were defaced by hackers.
The year began with yet another defacement attack originated from Pakistan. The website of Indian Revenue Services was defaced by Pakistan based hacker group.
Later, the Computer Emergency Response Team of India (CERT-In) conducted a Security Audit of the portal and took utmost care that no Secret or Vital Information was to be uploaded to the said URL.
In the month of May, Utkal Unversity based in Bhubaneswar got to see a Pakistani flag with some pro-Pakistani messages on their website. However, the hacker only defaced the site and did not damage nor steal any information. The hacker had posted "K9 Cyber Army" message on the pages defaced by it. This website was hosted by All India Online under a dedicated server. Currently, This website is hosted by National Informatics Center(NIC). A year ago, data theft also affected OJEE admission and a large number of seats remained vacant because of poaching of students.
Karnataka Police was also one among many government websites that were defaced last year. The same Pakistani hacker responsible for hacking into an Unnamed Indian Bank's Payment gateway was found guilty. It was a major embarrassment for the Karnataka State Government, soon the page was restored shortly afterwards in a matter of minutes and a probe was initiated later for further investigation.
The carelessness towards cyber security by Indian Government was exposed when multiple websites of Indian Embassies and Offices of Ministry of External Affairs in various countries were vandalised by pro-Pakistani hackers twice in a year.
Both the incidents involved websites of Indian Embassies & Ministry of External Affairs offices of Tajikistan, Romania, Greece, Turkey, Mexico, Sao Paolo, Pretoria, Switzerland, Italy, Mali, South Africa, Libya and Malawi. Later it was revealed that the hacked sites were vulnerable to SQL Injection and allowed the attackers to steal database information by simply injecting malicious commands.
An article from Hackernews claims that the targeted websites did not even have proper hashing and encryption for storing credentials in database. They also mentioned that the hackers dubbed as Kapustkiy and Kasimierz, who took responsibility for hacking the websites second time. It also says that they hacked the websites just to make sure that the administrators pay attention towards security of these very crucial websites.


As with any good project or relationship, learning is part of what you trade. If you're committed and serious about the venture, you share yourself with the people involved and you're open to new experiences and ways of looking at things, even if it's uncomfortable. This week I've experienced two situations that have challenged how I look at myself, my parenting, and my writing… Thought I'd share them with you.
The first came when a friend and fantastic writer focused her blog on "Choosing Stories." In it, she talks about how we as parents who write about our children who have Down syndrome construct their story and choose how we portray them, and ultimately Down syndrome, to our readers. She skillfully links the way she, as an adult, feels about the stories her parents tell about her childhood, to the way our children will view what we write. Will they approve of what we said? Will they tell us we're completely wrong about how we portrayed them? It's a great piece - her work is always fabulous - and it gave me pause to think about what I share about Josh and how I feel about parent narratives in general.
As far as what I write about Josh, I try as often as possible to use his own words in the telling. I've also shared all the pictures / videos I post of him and he LOVES them. He likes the idea of being "famous" and you can tell he's proud that I want to share them and others "like" and comment on them. But, the stories about my experiences of being his parent are more a commentary on other people - schools, doctors, government institutions - than they are about Josh.
In creating "The Road We've Shared," my goal has been to create a space where all parent narratives are welcome and valued – even and especially if they don't agree with mine. It's my opinion that the only way we can grow and learn is if we actually take the time to listen and value other perspectives. For example, I chose guardianship as the first topic of the month specifically because I know that there are lots of different ways to see and experience it. From my perspective as facilitator on TRWS, it was a fabulous success! We had contributions and stories from a wide range of families – from parents who view guardianship as a last resort to those who see it as the only logical choice given the current legal system.
So what about the stories that are out there that some feel are detrimental to the social justice mission? There have been lots of stories and critiques from parents along the road. Some have said that certain stories about what parents really feel are harmful and may lead to further discrimination and stereotyping of people who have Down syndrome.
Both pieces, and the fact that I am scheduled to talk at the IDSC 321 Conference about sharing stories, have caused me to re-think and fine-tune my perspective on parent narratives.
Second, as parents, we need to be aware and careful when we tell our stories. They are OUR stories; how WE see things; how WE feel, and what WE have experienced. They shouldn't be used to make blanket assumptions about all parents or all people who have Down syndrome. Heck, we shouldn't even assume they are the same stories our son/daughter/sibling etc. would tell about themselves.
If you've read this far I'm sure you can tell that I've been doing a lot of self-reflecting on this topic lately. I'd love to get some input from others! I'll be doing lots more work on this over the next month.
If you'd like to hear more about it you can join me and the other founders of TRWS at the IDSC 321 conference.
*Update: View part 2 of this post on The Road We've Shared!


"not magic, not math… still pretty good. shared vocabulary is useful"
why do we code? for work; to learn; for fun.
learning & fun → side projects. "[devs] need side projects, code or otherwise, to continue to survive"
"we do not need horrible people that happen to write good code in our communities"
"failures of communication cannot be automated away"
"collaboration fails because 1) people are afraid of being wrong 2) people are afraid of being misunderstood"
"the process of writing software is abstraction & pattern extraction"
"hide info behind an interface so you can change it"
how do design patterns promote modularity?
none of these patterns are Right; "it's tradeoffs all the way down"
what problem are you trying to solve? what tools?
you can change systems and patterns!


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ASTK18224U SUMMER19: Democracy and Democratization in Comparative Perspective
Bachelor student: 10 ECTS
Master student: 7.5 ECTS
Summer School 2019 Program
Week 31, 32 and 33
31 July – 16 August
Lectures: Monday, Wednesday & Friday 9-14 (NB. This is a tentative schedule)
The study of democracy and democratisation has a long history in the subfield of Comprative Politics. Interest in this topic has expanded dramatically with "The Third Wave of Democratisation" that has swept much of Latin America, Southern Europe, East Asia, Africa, Eastern Europe and the former Soviet Union during the past three decades. By the start of the 21st century, nearly two-thirds of the world's states could reasonably be described as democracies. The prevalence of democracy today represents a significant advance from the early 1970s, when more than two-thirds of the world's states were under authoritarian rule. That progress, however, should not be taken for granted. Many of the world's newer democracies depart significantly from the liberal ideal, occupying an uneasy middle group or "illiberal democracies"—a governing system in which citizens elect their political leaders but freedom is curtailed by the government. Thus, their democratic prospects remain fragile and backsliding toward autocracy or suffer an outbreak of internal civil war. Furthermore, the Arab Middle East and countries like China, North Korea and Cuba have weathered all waves of democratisation during the past three decades. It remains the only region and countries in which genuine democratic change is absent.
MODULE AIMS
The module has four main goals. The first is to introduce students to the major issues, theories, concepts, and arguments in the literature on recent democratisation and reasons for, and processes by which, countries move from authoritarian conditions to the status of a democracy. The second goal of the course is to give students a comparative perspective on some of the major cases of transitions from dictatorship to democracy. The third goal is to considers how far the trend towards democracy might recently have come to an end, manifested in the growing number of countries that have not moved beyond partial democracy or even reverted back to authoritarianism. Finally, we considers the problem or major challenges of democratic transition and consolidation in plural societies marked by social and ethnic cleavages.
Lecture Topics (Tentative)
Unit 1 Defining democracy and the scope of our course
Unit 2 The Third and fourth Wave of democratization
Unit 3 Domestic Theories of Democratization
Unit 4 Political Culture Religion and democratization
Unit 5 Social forces Structure and Strategy
Unit 6 Process-oriented explanations - Transitology school
Unit 7 International Factors: Diffusion, Promotion, Force
Unit 8 Democratization and Violence/Peace
Unit 9 Democratization in Latin America
Unit 10 Between Democracy and Dictatorship in Post-Communist
Unit 11 Between Democracy and Authoritarianism in Asia
Unit 12 Developmental State and Authoritarian Resilience in China
Unit 13 Democratization and Hybrid regimes in Africa
Unit 14 Authoritarianism, Popular Revolts and Democratization in the Middle East and North Africa
• By the end of the module it is intended that the student will be able to:
• Demonstrate knowledge of recent trends in the spread of democracy
throughout the world;
• Demonstrate an understanding of the different theoretical approaches
to democratization and analyze and assess the factors that contribute to
countries' shift from authoritarian to democratic status, in particular the
relative role of social, cultural, political and economic forces;
• Identify the key international actors involved in democracy promotion
and analyze and assess their aims and practices;
• Apply conceptual tools to analyze democratization processes in particular cases;
• Students should also have;
•Developed a good overview of key theoretical issues and debates on democracy and democratization including the various schemas used to categorize different states of democratic rule, and measurement of such transition in developing countries;
• Developed the ability to apply and evaluate different theoretical frameworks to explain recent trends in regime change and the record of international democracy promotion efforts;
• Developed their capacity for the critical examine to the extent to which the nature, features and causes of democratization across countries
display common traits, or whether country or regional specificities are more apparent;
• Developed the ability to assess the merits of competing characterizations of and explanations for the relationship between democracy and violence in plural societies, along with the role played by political institutions in overcoming such cleavages;
• Developed the ability to critically analyses and present both in oral and written form, key issues and works on the problems of democratization.
Student will: develop a broad, comparative understanding of the mechanisms behind democratic transitions from a historical and social scientific perspective to acquire the competence to assess present-day democratic development on a national level
Course materials: Required books.
Grugel, Jean and Matthew Louis Bishop (2014) Democratization a Critical Introduction, Second edition. New York: Palgrave Macmillan:
Jørgen Møller and Svend-Erik Skaaning (2013) Democracy and Democratization in Comparative Perspective: Conceptions, Conjunctures, Causes and Consequences. Abingdon: Routledge. Available in e-bookform
All other required readings (e.g., articles, book chapters) will be made available on Absalon a month before the classes start. Login at https://intranet.ku.dk The syllabus is also available upon request.
Recommended Academic Qualifications
There are no prerequisites, other than a keen interest in politics and society in the global south and post-Communist countries.
Teaching will take the form of lectures, student presentations and class discussions based on the assigned readings.
If you are not enrolled at political science please use this form:
http://politicalscience.ku.dk/summer_school/application_form/
Free assignment
Free written assignment
Grade 12 is given for an outstanding performance: the student lives up to the course's goal description in an independent and convincing manner with no or few and minor shortcomings
Grade 7 is given for a good performance: the student is confidently able to live up to the goal description, albeit with several shortcomings
Grade 02 is given for an adequate performance: the minimum acceptable performance in which the student is only able to live up to the goal description in an insecure and incomplete manner
Course capacity
Continuing and further education
Department of Political Science, Study Council
Yosef Kamal Ibssa (2-8072477a766a35727c356b72)


Most of the Indian film's background scores are nothing but the instrumental versions of the songs in the movie. Especially, the scenes immediately preceeding the song, will have an instrumental version of it. It isn't just used as a precursor for the song that is about to come. Sometimes these instrumental versions and its variations of the best song of the movie becomes the defining theme of the movie and it is used throughout. In this series, I am going to post such instrumental versions of the songs from the movie. Since it is easy to find the movie from the song, I am going to mention the name of the movie while posting the piece unlike a background score quiz. And the first in this series is a drop from ocean of such Illayaraja's background score pieces.
This instrumental version of 'Oliyilae' song from Azhaghi is a compilation of all the variations that appears throught the movie. Just listen the beautiful strings backing throughout the song.
unbelievable! such a haunting piece of instrumental. i can just replay the associated scenes in my mind. could you please please send me a copy of this file? greatly appreciate it.
this is too haunting for words.
I love the first piece, which I remember listening at the end the movie in the beach scene.


There is a lot of background noise to this recording of the session at Camden Homeless Solidarity, I56 Kentish Town Road. However, the session covers a wide range of topics with a focus on homelessness and poverty. We were joined in discussion by people visiting the free shop and added interesting dimensions to the conversation.


Follow the right procedure. For first time, prefer taking help of a nail expert like us who is specialise in acrypic.
We only use best quality products.
There are beauty salons around town do do acrylic, you can try them, but for what I've seen they are not specialise in acrylic, and they will scare you off by saying "oh don't go there, they use the electric files and it's damage your nails…etc" and many things like that. This is so untrue. Again, i don't want to explain much because people go with what they're happy with. it's true or not, please visit our salon, i will show you proof of how people nails got damaged and where they got it done.


It is an oil that immediately conveys the feeling of quality and genuineness of the product, the link with its land and the peasant culture that our Frantoio maintains and wants to continue to maintain. "San Felice" is in fact a locality of the Val d'Illasi, which in an ancient representation is the background to an original label in the shape of a stamp. Obtained from fully ripe olives, it is yellow / green with a characteristic scent of fresh olives; it is particularly appreciated for the harmony and roundness of taste, the balance in the bitter and spicy components and the great predisposition to adaptability to everyday use. The San Felice oil will be able to enhance even the simplest dishes of the Italian gastronomic tradition.


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Tea Party Express Endorses Marilinda Garcia in New Hampshire's 2nd Congressional District
Sacramento, CA – Tea Party Express, the nation's largest Tea Party political action committee, proudly endorses Marilinda Garcia for Congress.
Tea Party Express Executive Director Taylor Budowich said, "America's economic and cultural greatness can only be fully ensured by conservative, pro-growth ideas. So if we are to safeguard future generations from the plight of liberal policies, we desperately need the leaders of tomorrow, today. Marilinda Garcia is exactly the kind of young, promising leader that will bring conservative solutions into the 21st century.
"Marilinda has already proven to be a leader without limits. She has sponsored bills in the New Hampshire State House like the Innovative Job Growth program, which aims to infuse entrepreneurs with early stage seed capital. She has been unafraid to demand transparency and reform broken programs through her 'Price Transparency Act' and 'Destination Specialty Treatment Center' bills.
"We are encouraged by Marilinda's fighting spirit and adherence to conservative values. She will become a formidable force in Congress and a bold, conservative leader for years to come. Tea Party Express is proud to support Marilinda and urge voters of New Hampshire's 2nd Congressional District to cast their vote for her on election day." Budowich concluded.
Comments from local Tea Party leaders:
"I'm very happy to support Marilinda Garcia who has dedicated her efforts to promoting smaller government solutions with less regulation and more personal freedom and liberty. New Hampshire residents will be very fortunate to have Marilinda represent them in Washington DC, with her message of opportunity for all."
Doris Hohensee, Candidate for State Senate, District 13
"Marilinda Garcia is a great choice. Energetic and very smart. A great replacement for the current occupant of that seat. She represents young New Hampshire citizens and they should rally behind her."
Ed Naile, Chair of the Coalition for New Hampshire Taxpayers
"We need leaders, not administrators, bold solutions, not stale political rhetoric and the status quo. Marilinda Garcia provides a stark contrast to Annie Kuster. Marilinda Garcia, was a designated "Rising Star" by the Republican National Committee, and has worked tirelessly in the New Hampshire state legislature to make New Hampshire a more prosperous and economically free state."
Aaron Day, Stark360 PAC Chairman
"Marilinda Garcia will make a great addition to the U.S. Congress representing the citizens of New Hampshire. She will hold true to the conservative values of her constituents and deserves our support. She will be a much needed improvement over the current incumbent."
Tim Condon, Esq., Republican Liberty Caucus of New Hampshire


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£94,888 grant for Pembrokeshire community partnership project
Together for Change, led by Solva Care, awarded £94,888 by The National Lottery Community Fund Wales
Together for Change, a project led by Solva Care, has been awarded nearly £95,000 from the National Lottery
TOGETHER for Change, Pembrokeshire's independent partnership programme lead by Solva Care, has secured a £94,888 grant from The National Lottery Community Fund Wales.
Together for Change is a partnership programme bringing together public organisations, voluntary groups and charities to develop and protect the future of community-led action in Pembrokeshire to keep people safe and well.
The project is run by the local charity Solva Care, working closely with the established county - wide support organisations Pavs and Planed.
Solva Care trustee, Sue Denman, spokesperson for the programme explained:
"Community groups have always been crucial to the health and wellbeing of the population, but Covid-19 has shown just how important they are by adapting quickly and creatively to meet recent challenges, which have been extreme.
"An amazing number of new groups have also emerged, adding to and filling the gaps in support across the county.
"Solva Care, Pavs and Planed are delighted to have received this National Lottery grant.
"We will use it to support local communities by ensuring that they have a voice in decision making, by helping to share good practice and providing mentoring.
"This will help to leave a positive legacy from the impact of Covid-19."
Andrew Owen, head of funding at The National Lottery Community Fund in Wales added:
"Interest in community groups is higher than it has ever been, and Together For Change is ideally placed to support groups to grow and connect, making the third and public sector in Pembrokeshire more effective.
"National Lottery players raise £30 million each week for good causes throughout the UK and this grant is one of many we have given to amazing groups across Wales."


text:
The Merlin Chronicles is a short story collection edited by Mike Ashley published by Robinson Publishing in 1995.

Plot summary
The Merlin Chronicles features twenty-two short stories in 450 pages with them common theme being Merlin, the King's mage.

Reception
Steve Faragher reviewed The Merlin Chronicles for Arcane magazine, rating it a 6 out of 10 overall. Faragher comments that "some of the stories are brilliant and with the option to just dip in occasionally rather than read the entire book from cover to cover, you could find yourself rewarded by this good-value book."

Reviews
Review by Jeanne Cavelos (1996) in Realms of Fantasy, February 1996
Review by Don D'Ammassa (1996) in Science Fiction Chronicle, #190 October 1996

References

1995 novels

redpajama_set_name: RedPajamaWikipedia


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