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May 25, 2020 ~ delshortliffe ~ Leave a comment
#8 In My List of 10 Albums Vital (To Me)
In July of 1975, one month before Born to Run was released, I saw Bruce Springsteen in concert for the first time. It was outside, at the Carter-Barron Amphitheater in D.C., and even though I had listened to his first two albums almost obsessively, I was not prepared for what I'd see. I was there with friends who were also fans of the first two albums, neither of which had sold well. I had come to see a romantic and a story-teller, the contemplative young man in the close-up photo on the album's cover and the author of incredible narrative lyrics. Of course, I had thrilled to the rock-and-roll dreams of "Rosalita," and I wanted to be around when Kitty got back to town, but I was especially awed by the story-telling poet.
I didn't expect the skinny kid who did backflips from the grand piano, his guitar strapped in place, and who landed on sneakered feet without losing the song, and who kicked excitement into our sky-topped venue. He shot us full of energy. He lifted us up with songs about hustling, daring kids who lived among aging would-be saints, and who were also full of need, desire, and dreams.
Unlike Born to Run, the huge breakout of his career, E-Street Shuffle is pretty unpolished. The horns that open the title tune are a little off key, Bruce falls slightly flat on the ascending notes of his guitar's closing on "Incident on 57th Street," and there's some cloudiness in the overall recording quality. Bruce was not yet the exacting perfectionist he would become when he had to, on Born to Run, when his career was suddenly on the line because of his earlier album's tepid sales and because of the hype from Jon Landau's famous promise that Bruce was "the future of rock and roll." But listening to E-Street Shuffle even now, I'm taken by the charm of those early flaws. They give us that feeling of hearing the music in a small, good club where this upstart band is raising the roof with bravado, is throwing its heart, all players together, into a poetry that offers a world's worth of characters rich as any novel's.
Laundou clearly felt something like that in 1974 when he wrote that famous review of Bruce's opening act for Bonnie Raitt, at the Harvard Square Theater in Cambridge, MA. (Bonnie was also there!! Man, I wish I'd been.) Landau's full column containing the rave about Bruce is actually a kind of confessional memoir that leads slowly to his praise of Springsteen. You can find it here. It contains this key passage about the impact of that night.
"When his two-hour set ended I could only think, can anyone really be this good; can anyone say this much to me, can rock'n'roll still speak with this kind of power and glory? And then I felt the sores on my thighs where I had been pounding my hands in time for the entire concert and knew that the answer was yes.
"Springsteen does it all. He is a rock'n'roll punk, a Latin street poet, a ballet dancer, an actor, a joker, bar band leader, hot-shit rhythm guitar player, extraordinary singer, and a truly great rock'n'roll composer. He leads a band like he has been doing it forever. I racked my brains but simply can't think of a white artist who does so many things so superbly. There is no one I would rather watch on a stage today."
All that Landau found magical is captured on The Wild, The Innocent, and the E-Street Shuffle. In fact, Born to Run was at first a slight disappointment to me. It seemed too polished, too impeccably produced. I missed the rawness of the first two albums. I did quickly learn to love Born to Run — for its great songs and amazing energy (and for the mere fact it contains the opening image captured by "Screen door slams. Mary's dress waves"). Indeed, everything I loved about Bruce's first albums are also right there on Born to Run. But let's not dismiss those first two albums for their awkwardness or rawness, their lack of professional polish. The impulsive energy and searching need of Bruce Springsteen are clearly present and beautifully inspirational on his first two records and especially, I think, on The Wild, The Innocent, and the E-Street Shuffle. I ask you, for instance, to come up with a title greater than that.
And so…to the album itself.
As off-tune as those opening horns may be, they remind me of the music I heard on Frenchman's Street in New Orleans — and I mean truly out in the streets when I was there — and I really love that naturally raucous party sound that kicks in the "E-Street Shuffle." It's all strut and cockiness, as the lyric takes us down a seething street of individual characters, just "as the sweet summer nights turn into summer dreams." After the break, guitar and mandolin and drums start driving us on to the fade, but not until the horns come in to take us out. In 1974, that whole song felt like an adventure.
Sandy comes in next, as the "fireworks are hailing over Little Eden tonight, forcing the light into all those stony faces stranded on this warm July." The song is all about a yearning for escape, and in daring to bring accordion up front it breaks ground immediately. I know folks who say this is the Big Song, the sweet anthem of teenage angst and yearning that, without pulling punches, still manages to be free of whining and full of hope.
Later, Spanish Johnny shows up as the hero of an "Incident on 57th Street," where "out of the shadows came a young girl's voice / To say Johnny don't go." It's plaintive and aching, and when Johnny assures us "It's all right, Jane," we sadly know that this "cruel Romeo" won't deliver in the end. After all, "The cops have found the van." It's film noir come to rock'n'roll. It's easy money leading all the romantic boys astray. It's James Dean and Cagney and Bogart and Brando. It means that "I'll meet you tomorrow night on lovers' lane" is an empty promise, but still a promise from the heart.
I won't run down the full playlist. I'll trust every reader who knows the album to love the party of "Kitty's Back," and those who don't get a rush from "Rosalita" are probably beyond my reach anyway. But let's take time to see that Bruce brought the tuba to rock with the great arrangement on "Wild Billy's Circus Story." Don't forget that maracas and congas and celeste and Clarence's tenor and even David Sancious's brief soprano sax take their place on the album. It's a record full of young Springsteen's excitement, curiosity, and need — real need — to see that he has everything to express himself is available and beautifully deployed. It's an explosive album.
And there is also the masterpiece. "New York City Serenade." It opens with Bruce's strummed mandolin, and then David Sancious on piano comes in with classical mastery that slides into jbluesy bluesy jazz before the melodic entry into the essential song. Bruce's guitar comes in, then bass, and then Bruce's vocal begins to tell the story of Willy,
down by the railroad tracks, / sitting low in the back seat of his Cadillac. / Diamont Jackie, she's so intact / as she falls so softly beneath him / …It's midnight in Manhattan. This is no time to get cute.
The story isn't over, but the setup is complete and thorough, and David Sancious's string arrangement swells and sobs. (Sancious left the band after E-Street Shuffle, and I've missed him ever since.)
I've seen Bruce live only two more times. One was at SUNY Oneonta in '75 or '76, where a drunken crowd voiced their enthusiasm by singing drunkenly along with the songs. At the end — when Bruce came out for an encore, alone at the piano, to sing a sweetly melancholy version of "Growing Up" off his first album — they booed and jeered, calling out for "Rock and Roll!" Many years later, I went to see him at Nassau Coliseum, a hockey arena in which the acoustics made every mix muddy.
Both events were irritating, but nothing has made me lose respect for Bruce. If I'm less excited by his much later work, that may say more about my aging than about his. Nothing that came later could erase my love of his solo album, Nebraska, his commitment to The Ghost of Tom Joad, or his tribute to Pete Seeger. Whenever I see him interviewed, I pay close attention and feel full of thanks.
He has evolved. He has remained committed to his art and to social justice. He has paid respects to his roots and to all who inspired him. I have no more to ask of Springsteen, even as I remain devoted to the early, full-blooded, full-throated anthems that he gave us.
May 22, 2020 May 25, 2020 ~ delshortliffe ~ Leave a comment
#7 Out of 10 Albums Vital (To Me)
In 1975, I came home one day from my job at Liverpool High School north of Syracuse, and I found, on the living room table in the decrepit farm house I rented with three fellow teachers, my copy of Miles Davis's 1969 album Bitches Brew. On it, my housemate, Dave Eagle, had taped a note that said, "Ginger. Take this back to Del's room." Ginger was Dave's cockapoo, and the note was Dave's way of giving me a hard time about my taste in music.
I laughed and took Miles up to my room. I wasn't an avid fan of Dave's sweet folk rock (though he had an admirably sweet voice and fine guitar himself), so I had no need for him to applaud my choices in music. Besides, I was the one with the unusual taste. My housemates wanted music to be pretty and romantic or danceable or suitable to street fighting maybe, but not dense and "intellectual" and weird. But to me, Bitches Brew wasn't intellectual; it was emotive and gripping and sometimes transcendent. And that did not feel weird to me.
Nor to an awful lot of other people. Bitches Brew is Miles's second highest selling album, and it's the one that launched Miles once again into the role of most popular jazz musician in the country and probably the world (even as traditionalists said he'd abandoned jazz altogether). In some ways it meant to Miles's career what Sgt. Pepper's had meant to The Beatles', certainly by being so dramatically original, but also by being dependent not just on musicianship but also on technology and studio editing, as Miles's long-standing producer, Teo Macero, shaped the recordings into four sides of revolutionary music.
If George Martin was the 5th Beatle, Macero was the 2nd Miles. He had produced all of Miles's records since Davis signed with Columbia in 1955. As he had with Miles's earlier album In a Silent Way, on Bitches Brew "Macero used the recording studio in radical new ways…There were many special effects, like tape loops, tape delays, reverb chambers and echo effects. Through intensive tape editing, Macero concocted many totally new musical structures that were later imitated by the band in live concerts" [Wikipedia]. The album is in some ways a collage, something like Matisse's cut-outs, though Matisse used paper while Miles relied on the inventiveness and exploratory courage of all the other musicians.
Fourteen musicians join Miles on Bitches Brew, and several of them are also giants of modern music. But many were nonplussed, if happily so, by the strangeness of working on the album. In his excellent short book about Bitches Brew (and really about Miles's career), George Grella, through interviews with the musicians, describes the recording process, explaining that, although every minute in the studio was recorded, only Miles and Macero were even permitted to hear playbacks. That way no player would hear something he liked in what he'd done and then strive to repeat it when he returned to recording. Spontaneity and lack of direction were the whole point. Bennie Maupin, bass clarinetist on the session, told Grella that "Miles would set up these rhythm patterns and conduct. He'd use hand gestures and facial gestures and he walked around while the tape was rolling and motion for certain people to play and they would play for a moment and then he would wave them out…I had never been in a recording situation where anyone had done that, plus the music was just really basically totally improvised" [58]. Of course the resulting album was totally original.
Should we say it was ahead of its time? Maybe. But if so, its time has yet to arrive. Even Miles moved on to funk without seeing his accomplishments in the Bitches Brew era turn into a movement. Others have called the album influential, but without imitating its sound. George Grella argues that the album has remained "a sub rosa presence in rock and jazz," offering up ideas that "are still rippling out along the surface" of our culture [6]. But ripple out as it might, Bitches Brew has no imitators, or at least none that have garnered a fraction of the attention that Miles earned with this album. He went from playing concert halls to filling arenas. And Grella, too, in a later part of his essay, recognizes the radical singularity of the record. "There is literally no other recording anything like Bitches Brew," he writes, "and there is little in or outside music like it" [8-9].
On my list of ten most influential albums, Bitches Brew is probably the one I now listen to the least. It's not my favorite Miles Davis album; it's not in a league with Round Midnight, Kind of Blue, or Miles Smiles. Even when it comes to the electronic Miles, I listen to In a Silent Way more. But I'm nearing 70 years old and am quieter and calmer–and less thrilled by the shattering of traditions–than the 18-year-old who had his mind blown by Bitches Brew.
Still, when I went out walking today, wearing my mask and isolating against the threat of Covid-19, I listened to Bitches Brew and found myself going happily along for the ride. I could attend to each distinctive thread in the collective improvisation, each musician's spontaneous yet searching contribution to the mix. At the same time I could let my mind drift with the current of the music. It flowed and curved, dropped and lifted, paused and rippled, all with no sense of progress, no need for a destination, as I made my way back home.
Grella, George. Bitches Brew. Bloomsbury Academic. New York. 2015
#6 On My List of Vital Albums
San Francisco is the home of the Saint John Coltrane African Orthodox Church, established in 1969. I am not a member, but even I, adamantly agnostic, understand why Coltrane has led his listeners towards God, whoever or whatever That might be. It is a journey that surely began with, and probably still has at its heart, A Love Supreme.
The Facebook challenge to name ten important albums in one's life is kind of ridiculous (he said, while devoting hours to that very challenge). Who can name ten winners without feeling foolish about the many albums left off the list? All the same, I think that, if the challenge had been to name only one album that had significantly influenced my understanding and appreciation of music, and in fact of life, I could single out A Love Supreme. Coltrane's music on this record revealed the eternal to me in ways that music never had before. It shaped me very much the way I was shaped by my most profound experiences of nature.
When I discovered this Coltrane masterpiece, I found it somehow echoing Whitman's "Song of Myself," the poem that arrested my attention not only by what it said and how it felt, but by how profoundly it altered my consciousness, lifting me out of my small sense of self to experience–if only briefly, I know–an abiding sense of wonder at how small I am. In singing the song of himself, Whitman may seem all ego, but he in fact sings to celebrate his equality with, even his fusion with, all others. I am with him as the camera moves from a closeup of his face (and my face) where he (and I) loaf at ease in the grass, and then it moves up, higher and higher, revealing a multitude of other faces as well as forests and buildings and gardens and ships and roadways soldiers rivers mountains animals oceans…until a fulfilling joyfulness washes in, the sudden knowledge that something grand and sublime is at the heart of things.
It's hard to write something like that, knowing how much it smells of 1969, around when I was first discovering both Coltrane and Whitman. The fact is, I had always gone about my days, as I still do, in a pretty mundane fashion. I am, like most, caught up in quotidien concerns. I am political as hell (and Hell, no doubt, is full of politicians). But I do have touchstones that take me to a different sensibility, one that removes me from bustle and despair, busyness and anxiety, and even from the sources of pleasure that are plentiful in my blessed life. It is a spiritual thing, for lack of a better and less culturally loaded word, and A Love Supreme explains it to me.
When Coltrane breathes massively through his tenor, he in-spires me. I am rocked back by the sound.
When McCoy Tyner creates cleansing storms on his piano, I am rocked back by the sound.
When Elvin Jones throws down torrential joy from his drums, I am rocked back by the sound.
When they all come together, with the heartbeat of Jimmy Garrison's bass, I am swept away.
I, who follow no other form of worship, who shrugs off all theology, who rejects dogma and church discipline, can feel, nonetheless, A Love Supreme.
The Genius of Charles Mingus
#5 On My Facebook List of Albums Vital To Me
It was some time in the mid '70s that I heard Charles Mingus live at The Village Gate in New York. I'm sorry to say that I never saw him play before or after that one date. He was a musician I held in awe, one whose records I played repeatedly and whose stature grew larger and deeper the more I listened to them. He started that set at The Gate in his very particular and [in]famous way, by demanding silence from the audience. On one of his albums you can hear it: "No talking. No pushing of chairs. No shaking the ice in your glasses." Mingus was demanding, of his musicians and of his audience, and he had no interest in being a nightclub entertainer. He was a serious classical/jazz musician who, he insisted, should have been playing in concert halls. He was right. And today, as occasionally in his lifetime, that is where his music is played.
Later that night, I got to stand right beside him when he was otherwise alone and offstage, but I was too intimidated even to suggest to him how much I loved and admired his music. He was tall and barrel-chested, with huge hands and a wide, imposing face, and I didn't know how to strike up a conversation with genius. And besides, we were standing at adjoining urinals during his break.
I was a little surprised by a few of my Facebook friends who gave a Like to my choice of Mingus, Ah Um. I had no idea that some of them followed jazz, much less that some would know Mingus's work. Even though many critics have recognized his brilliance as a bass player, band leader, and composer, and even though he has a cult following to this day, twenty-one years after his death from ALS, not every jazz fan is a Charles Mingus fan. He was sometimes too raucous; in his later work, he sometimes went overboard with strange harmonics; and he sometimes too avidly promoted the idiosyncrasies of Eric Dolphy, probably Mingus's favorite reed player. Those (including Dolphy) are among three of the things I most love about Mingus, but they are also the things that lost him some audience, even while he became one of the most highly respected figures in "jazz."
Mingus Ah Um contains great elements representative of all his small-band compositions and musicianship: driving rhythms; haunting melodies; horn arrangements that make a septet sound like an orchestra; Danny Richmond's propulsive drumming; the energy and fine funk of Horace Parlan's piano; and, always Mingus's bass playing, which earned him the moniker "The Boss" (long before Springsteen came along). In addition, there are the horn solos–especially John Handy's and Booker Ervin's–that once again show that great players, when they work with Mingus, play their greatest. And there are the hand-claps, the chants, and Mingus's sung cues that the rest of the band immediately follows, moving into the next phrase of the arrangement, the sometimes surprising but always perfectly fitting section of the composition.
There's tremendous variety on the album, showing off the range of Mingus's heart, the masterfulness of his skills as a composer, and the reverence he had for so many of his jazz predecessors. The opening jubilance of "Better Get It In Your Soul," is followed by the sweet mournfulness of "Goodbye Porkpie Hat," Mingus's paean to the great saxophonist Lester Young. Moves like that, from jubilation to eulogy, continue, as do the tributes–to Jelly Roll Morton, Charlie Parker, and Duke Ellington, in whose big band Mingus played for a while–and whom Mingus revered.
Mingus Ah Um is not the only album that turned my head and heart to Mingus. There was also Oh, Yeah, recorded live at The Jazz Workshop. It contains, one per side, only two pieces: "New Fables" and "Meditations for a Pair of Wirecutters." Bothare remarkable, one an expression of contempt and rage, the other of sorrow and despair, and both about civil rights and setbacks. There was The Black Saint and the Sinner Lady, a poem and, to me, a ballet that I wish had been choreographed by someone by now. But as I write this, listening to Mingus Ah Um once again, there is little doubt that it was his first record to surprise and delight me so greatly that I would go on to make Mingus an ongoing source of musical joy.
I would also go on to read critical analyses of his work and articles about his musical evolution, his bands, and his exploits on and off the stage. He was a tempestuous personality. I would read and reread his memoir, Beneath the Underdog, which helped me understand his music, his intelligence, his creativity, his rage, his tenderness, and the modern history of racism in America. He made me know about vital aspects of music, of creativity, and of the kind of passionate commitment that genius seems always to demand.
The Joy of Kind of Blue
#4 of The Albums That Are Vital (To Me)
In 1974, I was traveling in Nepal and became sick with what turned out to be a combination of dysentery and hepatitis. I got past the worst of it in a British missionary hospital, a series of quonset huts in the foothills of the Himalayas. Before flying home to get my health fully back, I recuperated a while in a cheap, beautiful little hotel in a forest outside Pokhara. There I met a joyous young guy named Gary Starr, a musician from Toronto. He hung out in my room, helping me recover just by being friendly and, as he got to know me and my interests, by scat singing all the saxophone solos, both Cannonball Adderley's and John Coltrane's, from Kind of Blue. There was no doubt he rendered them accurately–and well. I had them pretty much memorized, too.
It is almost mundane to include Kind of Blue on a list of influential records. Released in 1959, it remains the best selling jazz album of all time, has been reverently analyzed by jazz fans and critics much more perceptive than I, and was recently lionized on American Masters from PBS. But the fact that I am not alone in my enthusiasm, that in fact only a jazz apostate could speak ill of Kind of Blue, does not make my passion for it insincere. I loved it the first time I heard it. I love it just as much today. It never gets old.
There is Cannonball, whose alto glides from bluesiness to the sweetly melodic with ease. There is Coltrane, young and not yet the gigantic pioneer he would soon become, but already searching beautifully for the truth in music, and already showing off his heart and technical skill, as when his solo erupts on "Freddie Freeloader." There are Paul Chambers on bass and Jimmy Cobb on drums, holding down, with perfected subtlety, the pulsing but never thumping beat. And third in that rhythm section is the guru of delicacy and invention, Bill Evans on piano. (Wynton Kelly, the regular pianist in the band at the time, plays only on "Freddie Freeloader.")
It was also Evans who wrote the album's beautiful liner notes, in which he compares the group improvisation on the album, in which only a single cut needed a second take, to "a Japanese visual art in which the artist is forced to be spontaneous. He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. Erasures or changes are impossible. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere…The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation." As that artistic comparison suggests, and as other musicians on the album have said, even they, the players, were somewhat amazed by what they had made–always with a bow to Miles himself.
It was all to the credit of Miles, who had already given birth to the cool and now simply wore it, in his clothes, his shades, his every gesture, and his musical genius. Now, with these six compositions, he was advancing modal jazz and, as he had on albums throughout the mid and late 50s, he was blowing perfectly architectural solos full of tenderness. (Savor the yearning of his solo on "Blue in Green.") I don't know how Miles did it. In his autobiography, even he admits that he could be demanding and stern, with musicians, friends, and lovers (whom he often mistreated), but he clearly inspired his bandmates. They played almost beyond themselves while working with him, and they played together with great, listening sensitivity. In addition to his playing and composition, Miles was a stellar bandleader. Having heard this band on this album, I quickly went on to pursue other work from Cannonball, Bill Evans, and especially Coltrane. They are all in my musical pantheon.
I believe Miles sits on the top tier of that pantheon. I believe he is vital in the history of jazz, and I believe that, in the mid '50s early '60s (and often in later phases, too), he played with an unmatched gentleness, full of sweetness, longing, and romance.
In my senior year of high school, a young teacher told me that when he was in college (just a year or two earlier), if you approached a friend's door and heard Kind of Blue playing behind it, you didn't knock. It was just too likely there was love-making going on in that room. I believe that, too.
Dylan Came Into My Life
May 18, 2020 May 21, 2020 ~ delshortliffe ~ 1 Comment
Why An Album Became Vital (To Me) #3
It opens with the drunken party of "Rainy Day Women" (they'll stone you, indeed) and moves into the surrealistic torch song of "Visions of Johanna," and at that point I'm pretty well hooked.
I wasn't new to Dylan when Blonde on Blonde hit my turntable, some time around 1968. My brother had given me Dylan's second album, The Freewheelin' Bob Dylan, for Christmas, in 1965. The album was two years old by then, but it hadn't made it to my suburban Pittsburgh life that early. In '65, though, my brother was a college freshman, and he was making discoveries about the broader world, and he was eager to serve as a guide to his little brother. When I unwrapped Freewheelin', I was immediately charmed by the now-famous photo of this amiably casual young man with an even more charming young woman pressed to his side, keeping them both warm on a wintry Greenwich Village Street. My brother knew that I was unaware of what I might find on the album, and he advised me to listen to it several times before passing any judgments. "Don't let his voice, which doesn't seem like a good singing voice at all, steer you wrong," he said. "Let it grow on you. You'll be glad."
He was right. I thought the songs were incredible. "Blowin' In the Wind" of course was the first hit (Had I heard Peter, Paul, & Mary's relatively insipid version of the tune at that point?), but the record is full of other classics: "A Hard Rain's A-Gonna Fall"; "Masters of War"; "Corinna, Corinna"; and the amazing "Don't Think Twice, It's All Right."
But Blond on Blonde went further. It didn't just knock me out. It shifted my consciousness. It shifted Dylan from the wunderkind of folk music to the madman visionary poet of the new exploding culture. It was with the lyrics of Blonde on Blonde that Dylan began his journey towards the Nobel Prize in Poetry.
There's the opening to "I Want You":
The guilty undertaker sighs / The lonesome organ grinder cries / The silver saxophones say I / Should refuse you. / The cracked bells and washed-out horns / Blow into my face with scorn / But it's not that way / I wasn't born to lose you.
And in track 2 there's the selfish and yearning narrator, making love to Louise while longing for Johanna:
Louise, she's all right, she's just near / She's delicate and seems like the mirror / But she just makes it all too concise and too clear / That Johanna's not here. / The ghost of electricity howls in the bones of her face / Where these visions of Johanna have now taken my place.
I love these lyrics, but I know it is lines like this that often drove my students crazy (though I never did teach Dylan lyrics), because such poetry left them angry that they were supposed to do the work of finding the "hidden meaning." I would tell them that if the poet is hiding the meaning, then the poet is a narcissist or solipsist. What kind of poets hide what they mean to say? But it is possible that the words are written not to offer an argument or point of view. To appreciate art, we sometimes must, as David Byrne would have it, "stop making sense." Some poems don't lead with meaning; some primarily evoke a sensibility, a felt knowledge, just as paintings and rock videos and even commercials can sometimes say next to nothing explicit but pull us in and make us feel the world in a nonetheless meaningful way, perhaps even a strikingly new and provocative way. And even though Dylan also writes great lyrics that make perfect sense, that more surrealistic sensibility is what Blonde on Blonde gave to me.
I could offer my idiosyncratic readings of what Dylan's more obtuse lyrics "mean." I could go mad for my admiration of "The ghost of electricity howls in the bones of her face." But if I did that, I'd also have to acknowledge that many of his lines are, for me, just painted images hanging in the corridors of the songs' narratives. And then I'd happily fall back on the music. On the fact it sounds so spontaneous as to seem unrehearsed, until we realize how beautifully tight the band is. Or on the importance of Al Kooper, another revelation on the album. Or on the fact that the melodies are sometimes so joyfully jaunty, sometimes so terribly haunting. Blend those sounds with the poems and you see that Dylan can almost simultaneously be cruel and judgmental, compassionate and empathetic. [See "Just Like a Woman" and "Sad Eyed Lady of the Lowlands."]
Blonde on Blonde taught me to recognize the paradox of egoism wed to empathy, set to music that made my heart and breathing open wide and dance.
Why Bernstein's "Rhapsody in Blue" Matters So Much (To Me)
#2 in my list of vital albums
I don't know when I first heard this album, but I'm pretty sure it was in 9th or 10th grade, which means I had been taking piano lessons for about seven years. I was already a fan of orchestral music. I had a record of Beethoven's 6th Symphony (the Pastoral, which I first met in Disney's Fantasia) and had listened to it dozens of times. I had by then also discovered jazz, so I was ripe for a love affair with Gershwin. I was also a budding romantic, as all adolescents should be, so I was enthralled by Bernstein. I didn't fully appreciate the role of a conductor then, but I did appreciate his piano. He played with with richness and sweep, his pacing flush with energy and passion.
And there he was on the cover, pointing right at me.
I had no idea, until I googled this album in hopes of writing somewhat intelligently about it, that it is considered important. NPR claims that "Leonard Bernstein's recording is a disc for the ages. It's American music performed with mid-century flair, a moment never to be recaptured. Bernstein had the feel for Rhapsody In Blue, and he does full justice to the still racy and spontaneous score. His performance of the piano solo has a smoky, sultry jazziness to it, along with a brash exuberance; there is touching tenderness in the lullaby, riveting dynamism in the fast pages."
From the opening clarinet glissando to the dramatic conclusion, the rhapsody grabbed me, shook me, and made me almost laugh with pleasure. The great orchestration, the magical piano, and the propelling jazz of Rhapsody in Blue were another great discovery in my musical education, and I did indeed lie on the floor, headphones on, and listen to it over and over again.
And one night, years later, some time in college probably, I lay in bed, waiting for sleep, and heard, without headphones or speakers or any equipment at all, the whole beautiful piece play in my head. Note for note. Vividly and at a fairly high volume. I have never understood how this could have happened. Drugs were not involved. I offer no explanation now, and at the time I was slightly scared. I only know that one night Bernstein's version of Gershwin's Rhapsody In Blue played, in its entirety, vividly in my head.
I guess I had listened to that album a lot.
Why These 10 Albums are Vital (To Me) #1
I don't usually accept Facebook challenges but, nominated by a very good friend, I decided to take on this one, which opens with this explanation.
Nominated by [that good friend of mine]…
I have been given the task of choosing ten albums that have greatly influenced my taste in music. One album per day for ten consecutive days. No explanations, no reviews, just album covers. At the completion of 10 days, I will nominate someone new.
Each day, I am reposting that explanation and then adding a picture of an album cover, until all 10 albums are shared.
I suppose boomers, some older millennials, and other vinylphiles are the last people to think in terms of albums, and especially the last to have stretched out on the floor, examining an album's covers while listening to its music for the first time–and maybe for the second, fourth, or even tenth time. In any case, based on my Facebook feed, it seems many are nostalgic for those covers.
I suppose an album that "greatly influenced my taste in music" might not remain among my favorites, but in my case, the chosen ten still matter to me. I return to them all, some on a pretty regular basis. They are dear friends, always welcome in my home.
More significantly, each one first hit me at a time when I was ripe for the hitting. Each one moved me. Each one introduced me to a musician, composer, or songwriter who demanded my further attention, and each one sent me on a journey to find other music that influenced or was influenced by what that vital album contains. Thinking about that impact is what makes this whole 10-Album exercise interesting.
If you're also interested, follow along as I reflect upon how each of the ten made my list. It will be like reading a memoir in ten short chapters.
When I was in 7th grade, I had saved up some money by hoarding my allowance and by subbing for a friend who had a paper route so massive that he often asked me to help out. And so at last I had enough to buy what I most wanted in the world: a basic KLH turntable, tuner, and set of speakers. It was a beautiful little kit, and I held on to it for years, even after I'd moved on to bigger systems, until it was stolen from my classroom by, I later learned, a minor high-school gangster. (It's a long a story.) This was the stereo that got me through college and slightly beyond, and its turntable carried several of these ten albums into my life.
At first I bought albums sparingly and tended first towards whitebread folk music that I had discovered by watching Hootenanny on TV, but also towards profound Beethoven works I had discovered by taking piano lessons and by paying some attention to my parents. But that same year, The Girl From Ipanema was a huge hit on AM Radio (the only radio we had in 1964). It was the first song on this first album on my list, the still celebrated collaboration between American jazz saxophonist Stan Getz and Brazilian guitarist Jaoa Gilberto, whose wife Astrud Gilberto sang on Ipanema and deserves a lot of the credit for the success of that great song. The album itself was a huge success. As Wikipedia tells us, "Getz/Gilberto is considered the record that popularized bossa nova worldwide and was one of the best-selling jazz albums of all time." Still, I suspect I was one of the rare 7th graders who bought the album.
It was a revelation. In my suburban room, at thirteen years old, I lay on my twin bed, my beagle Snoopy sleeping beside me, and through headphones took in the lilting Portugese of bossa nova, which pierced me with something mysteriously moving. Something that made me feel I was inventing romantic love. Both Gilbertos' voices were breathy and soothing and, I now know, wonderfully sexy. Listening today, as I write this, I can still see that girl walking the shore at Ipanema. She is, of course, "tall and tan and young and lovely." But what's more, and more important, "As she passes, each one she passes, says Aaaaaah." Oh, that sigh of delight, that exhalation of admiration and longing. And that gentle swaying, that sensual freedom, that saxophone lifting the melody towards the sky while somehow keeping us here on earth. Oh my, Astrud. Oh yes, Stan Getz. And thank you so much, Jaoa, for the chords and the rhythm. For the dance.
Whatever it was I felt in 1964, I felt it in a way more profound than I can muster now. But the album does take me back to the almost tidal movement of that music within my body when my body was increasingly confused and full of yearning.
Given all that, who wouldn't want to tune in to more of what jazz and Brazil have to offer–sometimes separately, sometimes together. Along with my older brother, whose influence on my musical taste cannot be overestimated, Getz/Gilberto launched me into my lifetime love of jazz and my less committed but real delight in the music of Brazil. Without Getz/Gilberto, would I have discovered other great sax players: Coleman Hawkins, Lester Young, Charlie Parker, John Coltrane, Wayne Shorter? Without this #1 album, would I have moved on to Carlos Jobim and more Astrud Gilberto? To Luiz Bonfa? To the remarkable film Black Orpheus or the music of Caetano Veloso or Seu Jorge? Almost certainly not.
I'll be posting #2 tomorrow.


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Key Art Design
Alex Swart
Eighties Elegance: Movie Posters From a Gilded Decade
"[They] wanna bring the Eighties back. That's okay with me, that's where they made me at." —Jay Z (Blue Magic)
1980s fashions channeled the 1940s
The 1980s was a nostalgic decade. Fashion was a fun house mirror reflection of the 1940s. The Norma Kamali-inspired wide-padded shoulder, cinch-waisted ensembles (modeled by Diane Keaton in Baby Boom, 1987) were dead ringers for World War II fashions—only more extreme. Men's suits designed by Giorgio Armani (worn by Richard Gere in American Gigolo, 1980) were cut loose, also with broad shoulders, low-gorge lapels, and a low-slung button stance that referenced "The Bold Look" of the immediate post-war period. A well-tailored Forties movie actor, Ronald Reagan, led the free world. The era's Post-Modern towers reinterpreted architectural forms of the past. And within those buildings there were fortunes to be made. "Greed is… good!" proclaimed Gordon Gekko (played by Michael Douglas) in Wall Street, 1987.
BIG PICTURES
The Internet was but a little-known novelty used by universities in the Eighties. Cross-platform marketing was still an analog affair; feature films were advertised with theatrical trailers, TV spots, outdoor media and through newspaper and magazine ads. Designer/provocateur David Carson wouldn't proclaim "The End of Print" until the next decade. And measuring 27" x 40", movie posters (the subject of this article) were at the top of the print advertising pantheon.
Best Picture Oscar® poster designed by author
I recently took another look at at the 80 Years of Oscar poster I designed for the Motion Picture Academy. Comprised of key art (the image that provides the foundation on which a movie's marketing campaign is based) representing all the movies that won the Academy Award for Best Picture up to that time, it's essentially a poster about posters. Focusing on the section commemorating the Eighties, it's clear that all of the key art representing those Best Picture winners aren't necessarily the best posters—although some are outstanding. I wondered if those old one-sheets had anything to teach us—apart from providing a visual record of our pre-digital recent past. If you're interested in movies, marketing, design, or just missing the pleasures and pursuits lost to the pandemic, read on for a guided tour of American advertising ephemera which promoted that gilded decade's award-winning films, with an occasional detour for artistic merit. I've attempted to credit the creatives involved and apologize for any errors or omissions.
Template design—big heads in the sky
STARS, STORIES, AND CONCEPTS
A studio marketing executive once said to me, "A lot of the movies are crap. At least we can make a good poster!" The good and not so-good movie posters of the Eighties mostly fit into one of three compositional schemes dating back to the silent film era: (1) the story sell illustrated as a montage or scene from the movie, (2) the concept sell consisting of juxtapositions that form a new idea, and (3) the star sell characterized by big heads in the sky, often with a small cityscape, landscape, or seascape placed in the lower quarter of the poster. Some designers sardonically called the latter format "The Warner Bros. Template" regardless of the studio or setting; whether depicting Manhattan (Bonfire of the Vanities, 1990, and the aforementioned Wall Street, 1987) or Manhattan Beach, California (Tequila Sunrise, 1988). It was a durable visual trope. The most organic use of the head in the sky convention—Darth Vader's head in outer space, to be specific—was designed by Seiniger Advertising for Star Wars: The Empire Strikes Back, 1980. More on that boutique agency later.
Pictures within posters symbolizing families falling apart
TASTE AND RESTRAINT
On the poster for the decade's first Best Picture winner, Ordinary People, 1980, photos divided by hinged picture frames represent a family separated by grief. It's a more nuanced execution than the snapshot of a family about to separate for the previous year's Best Picture winner, the divorce drama Kramer vs. Kramer.
Key art for Best Picture winners based on real-life events.
The Chariots of Fire one-sheet, 1981 Oscar winner, is striking for its vast amount of negative space which underscores a long telephoto shot of the British 1924 Olympic track and field hopefuls running across the top of the composition. This image of athletes in training suggests the long odds they would face in competition. The one-sheet for the 1982 Best Picture winner, Gandhi, created by Kaiser Creative, conveys even greater scope. A diminutive Ben Kingsley portrays the movie's namesake in what appears to be a frame taken from the movie. He is surrounded by a cropped-off crowd which implies—as spelled out by the body copy—that a "nation of 350 million people" continues just beyond the frame.
Key art in (mostly) black and white
The 1983 poster for Terms of Endearment, 1983 Best Picture winner, uses a grayscale snapshot of a mother (Shirley MacLaine) and her adult daughter (Debra Winger). The casual image is formally framed by somber black to foreshadow family tragedy. A more striking black and white poster that same year promoted the remake of the gangster film Scarface. Its strong vertical configuration is still a brain worm for designers.
Best (illustrated) Pictures of 1984 and 1985
MID-DECADE REFRESH
Illustration was often used to attract Eighties audiences to promote comedy and action/ adventure films, and occasionally for prestige pictures. Painted with a horror genre palette of red and black, a masked specter of (presumably) Salieri looms over the Amadeus one-sheet, 1984, whom the Best Picture-winning movie implicates as the cause of Wolfgang Amadeus Mozart's untimely death. As a silent visual, the key art can only hint at the sonic brilliance of the film's Mozartian score.
In 1985, illustration was also deployed for the Best Picture winner Platoon. The hi-con, agitprop graphic of an upside down helmet is adorned with a peace symbol and a soldier's dog tags which cleverly form letters within the title treatment. Like a passage from the film's elegiac score (Samuel Barber's Adagio for Strings), Mike Kaiser's copy achieves an appropriately somber tone for this anti-war film, "The first casualty of war is innocence."
PRINCES OF PRINT
Movie studio marketing departments had long since moved from New York to Los Angeles by the mid-Eighties and were outsourcing print creative to a number of boutique advertising agencies specializing in entertainment, also located in the City of Angels. For big-budget films, they included Bacon O'Brien, B.D. Fox & Friends, Frankfurt/Gips/Balkind, and Spiros. The agencies that arguably dominated Eighties key art were led by Anthony Goldschmidt and Tony Seiniger, two advertising designers (Seiniger's preferred term) with vastly different temperaments and artistic styles. Founded by the tall, urbane Yale-educated Goldschmidt, Intralink Film & Graphic Design, located on La Peer Drive in Beverly Hills, was distinguished by its understated gray and white Georgian façade. The firm was known for restrained designs such as the aforementioned Chariots of Fire poster.
Seiniger Advertising was helmed by its hard-driving namesake whose idea of weekend relaxation was racing vintage Formula 1 cars [full disclosure: I worked there]. The always busy shop (ad-speak for agency) was located in Los Angeles at the intersection of Third Street and La Jolla Avenue, equidistant to the major movie studios. The diagonally wood-sided complex (since demolished) had narrow stairways leading to aeries that served as improvised ateliers, an octagonal production room, a serene courtyard, and a subterranean-feeling trailer department was, depending on where one sat, an eagles' nest or rabbit warren of creativity (both Seiniger and Goldschmidt fielded successful trailer departments).
Most Eighties one-sheets for mainstream movies weren't overtly designed. One reason may be that studio marketers often employed focus groups to test comps (facsimiles of posters); the lowest common denominator biases of these groups may have obliviated creative risk-taking. Another explanation is that a lack of a distinctive style make Eighties key art seem less contrived, and thus a more convincing vehicle of mass communication. It sure didn't discourage the sale of movie tickets.
The polished conservative look of the Eighties, consisting of serif typography (Garamond, anyone?) and representational imagery, matched the political climate in the United States. Ronald Reagan (POTUS, 1980-1988), whose avuncular persona was first established in Warner Bros. movies and later polished on television's GE Theater, is credited with revitalizing conservatism; moreover, the successive Republican administration of George H.W. Bush (1988-1992) was called the preppie Presidency due to the president's Ivy League style.
Indie key art for Island Pictures' releases
INDIE SPIRIT
Independent films required a different mentality to reach audiences; big heads in sky wouldn't cut it with "art" film aficionados. But the lack of big-name stars left space for high-concept graphic design and edgier style. Key art for indie pictures were created by boutique agencies that included Rod Dyer & Associates and Mark Matsuno. For the Oscar-nominated Kiss of the Spider Woman, 1985, Matsuno's use of Art Deco typography (Newport Land) with a silhouetted image of a woman in a tropical setting hinted at the suppressed glamour of the film's mysterious protagonist. The agency that consistently expressed the indie spirit was Concept Arts, led by Lucinda Cowell and Ron Michaelson. For example, an unlikely Mondrian color scheme and distressed surface texture skins their poster for River's Edge, 1986, a deftly cropped image of a young woman asleep in a field. On closer inspection, the viewer realizes the woman is dead.
Seiniger's sentimental side
NOSTALGIA IS GOLDEN
The enhanced photo-assembly for the 1986 Best Picture-winner Out of Africa was more in-sync with the Eighties penchant for nostalgia. A serifed typeface replete with a swash spells out the title. In this bucolic Seiniger poster, two lovers played by Meryl Streep and Robert Redford are bathed in a golden light. However, on second glance all is not as it appears. While Streep gazes at Redford, his body is turned away from her, indicating that their relationship is ill-fated.
The power of symmetry
Symmetry conveys power—think of the aesthetics of authoritarian regimes throughout history. For a while, I avoided symmetrical design because I thought it was inherently fascist. Seiniger wasn't constrained by such naive notions. His imperial red and amber-hued one-sheet for the Best Picture winner The Last Emperor, 1987, conveys the existential absurdity of China's last royal sovereign—a child—whose pouty face is commandingly centered in front of the Forbidden City. That same year Seiniger's team—led by Senior Art Director Olga Kaljakin, whose elegant aesthetic shaped much of the firm's work in the mid-Eighties—also utilized symmetry for The Untouchables key art. The poster for this crime film is dominated by a looming Robert De Niro as Al Capone presiding over his city. The visual message is reinforced by the copy, "He ruled Chicago with absolute power."
The invisible design of Intralink
The following year's Best Picture key art for Rain Man, created at Intralink, consisted of an understated photographic image of the film's stars, Dustin Hoffman and Tom Cruise, sauntering through an allée. The diagonal perspective of the background indicates the ambling stars may have been stripped into the composition. An effortless look that took practiced effort to achieve, all before Photoshop.
Almost 3 decades separate these cinematic road trips through the Jim Crow-era South
For the decade's last Best Picture-winner Driving Miss Daisy, 1989, Dave Christiansen (an impressive talent with an equally impressive handlebar mustache) working in-house at Seiniger had channeled Norman Rockwell to paint a rearview mirror reflection of Morgan Freeman chauffeuring Jessica Tandy. Its impact is intensified by a liberal use of negative space. Christiansen's illustration represented the story of a cross-racial friendship and journey through the Jim Crow-era South—the composition would have worked equally well for the 2018 winner, Green Book.
Poster and a frame from trailer for Glory
Advertising for another Best Picture contender from 1989, Glory, handled racial themes differently. TriStar's poster for the Civil War epic was a hybrid of photography and illustration. It inexplicably obscured the identity of a group of Union soldiers within a grainy silhouette hand-tinted with patriotic hues; thereby sidestepping the central point of the movie—that Black men also fought to end slavery. Conversely, Seiniger's Glory trailer intersperses close-ups of its Black stars Denzel Washington and Morgan Freeman with shots of combat and superimposed words, "they fought for freedom" cut to the glorious sounds of Carl Orff's Carmina Burana.
BACK TO TO OUR FUTURE
Fast-forward to now. For the amateur designer, apps can select appropriate fonts and achieve rudimentary montage effects. Yet despite digital advances and the terminal condition of print, the voracious appetite of streaming platforms for content still provide opportunities for creative professionals. Back to the earlier question—does Eighties key art have anything to teach us? The small insets of those once-large movie posters reprinted on my Oscar compilation make it easier to look beyond the surface design elements and other fashionable enthusiasms of the Eighties and focus on the overall compositions. How little has changed—the star sells, story sells, and concept sells used to promote movies back in the day are still utilized. They've just been simplified for a Netflix queue. On any platform, when these selling conventions are communicated through superlative execution and, better yet, contrasted with creative inventions, they attract the attention of audiences.
©2020 Alex Swart • All rights reserved
80s movie posters
The Last Emperor
When Style and Design Agreed
The View From Our Dining Room

redpajama_set_name: RedPajamaCommonCrawl


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Vikings' defense finds groove ahead of Saints game
270dCourtney Cronin
Vikings RB Thomas gets 3-game suspension
3dCourtney Cronin
Forecasting the next three NFL seasons: 25 predictions through 2022
4dDan Graziano
From Brady's Nightmare to Dallas Sucks, the best NFL-themed beers
63dAlden Gonzalez
Vikings' decision to extend Kyle Rudolph reflects all-in mentality
37dCourtney Cronin
Cousins: I'm .500 QB, need wins for 'next level'
Source: Vikes extend Rudolph for 4 years, $36M
Packers to honor Bart Starr with helmet decal
Big Ten's 'legacy' opportunity excites Warren
Courtney CroninESPN Staff Writer
Covered the 49ers, Raiders and Warriors for the San Jose Mercury News. She joined ESPN in 2017.
MINNEAPOLIS -- While delivering a message inside the pregame huddle ahead of the Cardinals game, Vikings quarterback Kirk Cousins called on his early years in the NFL to motivate his defense over what it could do to Josh Rosen.
"Defense," Cousins bellowed, "I've been a rookie quarterback before. You can suffocate him. You can suffocate him. Make him miserable all day long, get us the ball back."
It's a piece of advice Minnesota's defense took to heart from one week to the next, shutting down Rosen and notching an even better result against Sam Darnold in the Vikings' 37-17 win over the New York Jets on Sunday.
The effect the Vikings had in frustrating and confusing Darnold was particularly noticeable as the game wore on. According to ESPN Stats & Information research, after starting the game 6-of-9 passing with a touchdown in the first quarter, Darnold went 11-of-33 with three interceptions in the final three quarters, which is the worst completion percentage in that stretch of a game by any quarterback this season with a minimum of 15 passing attempts.
Darnold also botched a handoff with running back Bilal Powell, which marked the fourth turnover forced by Minnesota.
In the midst of a three-game win streak, the Vikings' defense finds itself in a groove that wasn't easy to establish early on this season. The memories of hitting rock bottom against the Rams in Week 4 feels so long ago for a unit that's back to dictating games and giving its offense ample opportunities to score.
"Defense is back to doing them," wide receiver Stefon Diggs said. "It's no surprise. We've had some games where we've got to do our job, too. Just like this game, when they give us a turnover, we've got to get points, we've got to score. When the defense gets a turnover, the only way you take advantage of the opportunity is scoring."
What was most impressive against the Jets was the performance Minnesota turned in down several starters. Starting at nose tackle in place of Linval Joseph, who might as well have been listed "full body" on the injury report with shoulder, knee and ankle injuries, Jaleel Johnson thrived in his first career start, helping the Vikings hold the seventh-best rushing attack to a season-low 71 yards. Stephen Weatherly continues to start in place of Everson Griffen while George Iloka handled duties at strong safety for a second consecutive game in place of Andrew Sendejo (groin).
Safety Harrison Smith's interception was one of three for the Vikings against Jets rookie Sam Darnold. Steven Ryan/Getty Images
How Minnesota was able to overcome two injuries during the game is a testament to its defensive depth. Eric Wilson held things down for linebacker Anthony Barr, who went down with a hamstring injury with 11:28 left in the fourth quarter. Not long after, cornerback Xavier Rhodes suffered a left ankle injury and was replaced by rookie Holton Hill, whose impact was felt immediately as he picked off a Darnold pass and set up the Vikings for a 34-yard touchdown seven plays later. Neither Rhodes nor Barr returned to the game.
"We have to just keep fighting and get in there," coach Mike Zimmer said. "That is why it is so important that we, as coaches, continue to push these young guys, because they are going to get in the ballgame at some time."
The injuries didn't hurt the Vikings' ability to control the game, most notably with their dominant third-down defense, whose streak of consecutive stops dating back to the Eagles game finally concluded at 20 in the third quarter. The Jets were 2-of-13 on third down with their only two conversions a product of Darnold scrambling and a quarterback sneak.
The Vikings' defense dismantled rookie quarterbacks in back-to-back weeks and will look to carry the momentum it has built since Week 5 into another major test. The challenge becomes far greater when Drew Brees and the Saints come to town for a showdown on Sunday night.
New Orleans squeaked by the Ravens' No. 1 defense in a 24-23 win and carries a five-game win streak into U.S. Bank Stadium. Brees' dominance is something the Vikings are all too familiar with, dating to his second-half surge in the NFC divisional playoffs in January where he completed 17 of 22 passes for 177 yards and three touchdowns in a game that would have gone to New Orleans had it not been for Case Keenum and Diggs connecting on the Minneapolis Miracle.
The Vikings' defense should certainly feel accomplished given the way it redirected its trajectory over the past three weeks and will look to reach an even greater level of play against the highest-scoring offense in the NFL and a quarterback who just threw his 500th career touchdown pass.


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GPU miner, if you haven't quit yet, now is the time before it's way too late. Either switch over to Litecoin mining or sell your GPU before ebay will get flooded with GPU for sale bid auction. As I have predicted BTC will continue to fall some people thought it was stable at 150s, err wrong!, stable at 100? err wrong, my prediction on earlier post was it's going fall due to various factors mentioned. Furthermore, projects related to Bitcoin such as ATM machine has been halted or didn't get much attention at all to the media, so not much publicity.
My prediction is that Bitcoin will continue to fall and reset itself to lower than many people anticipated.more investors are worrying and a much higher risk to buy. However I'm not saying that it will continue to fall forever, I believe it will rise back up again some day, but not anytime soon, as more and more ASIC miner, Bitcoin miner hardware are being manufactured and shipped putting the difficulty level rise to a level that it's impossible for GPU miner and FPGA and USB Eruptor to mine efficiently these equipment will be obsoleted, even those Jalapenos will be useless just a piece of metal pretty soon. You got to have a minimum of 100GH/s miner in order to make money soon!


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ourWindsor.ca: Twitter post gets OHL ref suspended for remainder of season and playoffs
Jonathon Liedtke – ourWindsor.ca – January 31, 2012
You've got to keep tabs on what you say online as increasingly, it can be both what employers use to judge whether or not they'll hire you, and potentially even fire you for.
Fortunately for Joe Monette he didn't find himself fired, but the OHL referee has found himself suspended for the remainder of the 2012-2013 season, as well as the playoffs for his inappropriate tweet regarding both the city and residents of Sault Ste. Marie.
Last Friday when Monette was in Sault St. Marie to ref a game between the Spitfires and the Greyhounds, he posted to Twitter: "Soo Saint Marie, two words, Slim Pickens. #noteeth #hicktown #allfaties".
Immediately causing an uproar on Twitter, Monette did apologize for his actions and posted "My tweet last night was not meant to be offensive and was meant as a joke between myself and a buddy of mine that lives in the Soo. I apologize if I offended anybody", but his account (@MONZY25) has since been closed to the public.
OHL commissioner David Branch following the ordeal released a statement about the matter: "Mr. Monette displayed extremely poor judgment and the 'tweet' not only contravened the league's social networking policy, but as well was detrimental to the welfare of the league, the officiating staff and fans of the OHL," OHL commissioner David Branch said in a statement. "The league apologizes to those that may have been offended by such comments."
In an interview with OurWindsor.ca, OHL VP Ted Baker explained that in general social media has been very positive to sports leagues as "information can be disseminated; whether it be scores, game stories, particular information which would be of interest to fans and media alike. I think social networking can be very positive for a league like the OHL."
Baker noted that anybody who uses social media knows that while sometimes comments are made that you wish to take back, "you have to be careful that when you're talking through Twitter, or when you send an email, it's different than when you talk on the phone. Whenever you hit that [send] button, you can't take that back, and you can't just assume that you're speaking with one person, you have to assume that this is something that can be discussed among many."
According to Baker, the OHL has a social media policy that has been in place for roughly 3 years which deals with the OHL community [those that are involved in the day to day operations of the league: governors, GM's, coaches, trainers, team medical staff, on/off ice officials, etc].
"When we're dealing with those people that are entrusted with our game, whether it's the team the league and those that are entrusted in enforcing our policies on and off the ice, there's a standard to uphold to," explained Baker, "There's an expectation [that people will act professional]. If somebody is saying something derogatory regarding where they're going or what they're doing on behalf of the OHL as a part of the OHL community, then obviously that is where it crosses the line.
Ankur Kumar is host of Lancer Sports at CJAM 99.1FM and while he's heard about people getting in trouble at work for what they've posted on social media, he hasn't seen it in the world of sports until now.
"It's an interesting thing that happened … every time you hear about a professional getting involved in social media mishap, it blows up," explained Kumar who believes that the punishment was fair.
"Monette's a referee and he's somewhat like a designated member of the community. Every time we see somebody in a position of authority and they show some bias, I think that goes against their reputation," stated Kumar, adding, "any hint of bias in a job like his really diminishes his credibility."
Milan Pavlica, is a University of Windsor grad and lifelong hockey and OHL fan who explained that as a fan he thinks that "not only the officials, but anyone associated with the league, is responsible for what they post online. Other people get in trouble at their own work for photos of a drink at dinner, so comments like that are definitely fair game."
Pavlica noted that the OHL is a business and as such, are trying to promote an image and disparaging comments posted by employees on Twitter "definitely don't help the branding".
"It's clearly an inside joke with friends," stated Pavlica, "but at the same time the social media world and those in it don't know that so it's been taken out of context."
Twitter post gets OHL ref suspended for remainder of season and playoffs (ourwindsor.ca)
Jonathon Liedtke is the Features & Opinion Editor for the University of Windsor Lance Campus/Community Newspaper and a reporter for ourWindsor.ca. As a founding member and current Co-Chair of the Mayor's Youth Advisory Committee, he is committed to representing, connecting, engaging with and advocating for local youth. He is also a member of Windsor's "Punk with Horns" band The Nefidovs, and as such, is committed to enhancing and sustaining the arts community.
JOURNALISM, ourWindsor
Ankur Kumar, CJAM, David Branch, Joe Monette, Jon Liedtke, OHL, OHL commissioner, OHL VP, Ontario Hockey League, ourWindsor, Ted Baker, Windsor, Windsor Spitfires


text:
Lua scripts for NodeMCU
=======================
## common
Common scripts and Makefiles

## thermo
External temperature sensor for RTCOA thermostat

## catfeeder
Cat feeder with web interface

redpajama_set_name: RedPajamaGithub


Welcome to CAES Summer Programmes!
First offered in 2016, this programme is designed with a hands-on approach, the seminar series will be complemented by site visits, discussions with industry experts, group exercises and networking lunches.
The Faculty of Arts is one of the flagship faculties of the University of Hong Kong (HKU) and is an internationally renowned and leading humanities faculty. Information on our top-quality taught postgraduate programmes are available here.
The Lecture Series aims to bring high-profile speakers from the international art world such as artists, curators, art historians, directors of galleries or museums, auction house principals, conservators, to highlight the work of professionals who help to keep art accessible for audiences now and in the future, and to expand awareness of and appreciation for art.
The Faculty Student Mobility Fund is available to Arts students (BA, BA&BEd and BA&LLB) in need, who plan to participate in and have demonstrated commitment to the proposed mainland China and international learning experience starting from the academic year 2017-18.
The Committee on Gender Equality and Diversity was established in November 2016 to implement its recommendations and further review gender and diversity policies in the Faculty.
The Ground Floor Gallery, Run Run Shaw Tower, hosts exhibitions of works by staff, students and alumni of the Faculty.


text:
World Senior Championships 2015
http://www.scaccomattissimo.it/seniores2015/
The World Senior Championships 2015 takes place in the North-West Italian Spa town of Acqui Terme from the 9th to the 22nd of November, 2015.
The organisers invite all Senior women and men of the world to participate in the 25th Senior World Championship (50+ 65+). All players of any category, in good standing with their Federation for the present year, who have reached the age of 50 and 65 can participate. In accordance with FIDE regulations the Championship will be divided in 2 tournaments, age Over 50 and over 65 (open and women).
ENTRIES CLOSE THE 15 OCTOBER 2015. After that date the FIDE fee is 140 Euros.
The Senior World Championship will be played over 11 rounds. The time control is 90 minutes for 40 moves followed by 30 minutes for the rest of the game with an addition of 30 seconds per move starting from move 1.
Women Senior World Championship 2015 (50+ and 65+)
The women will play a separate tournament to determine the Woman World Champion 2015 (50+ and 65+).
The same conditions valid for men apply for entries, bookings, payments, regulations and schedule.
In case of a limited number of players, the following rules will be applied:
Minimum number of players 10 women from 2 Continents, a Round Robin tournament will be played. Between 11 and 30 women, 9 rounds will be played on a Swiss System of pairings. 31 and above, 11 rounds.
Further information, regulations and details of how to register can be found at the official website of the event http://www.scaccomattissimo.it/seniores2015/
A couple of Chess Scotland members have indicated they will be taking part in the event and I will assist them by arranging the electronic bank transfer of entry fees and accommodation deposits in one bulk payment. Any other Chess Scotland members who wish to play in the event and who would like to utilise this assistance or who would like any further information can contact me before the 7th of October for further details via finance@chessscotland.com
David Congalton


I have been in public education for the past 20+ years. I taught English at both comprehensive and alternative sites in 5 districts in Northern California and Austin, TX. Currently I am a Professional Learning Specialist and Transformational Coach for the Roseville Joint Union High School District. I have my Master of Arts in Curriculum and Instruction. I am a Google Certified Educator Level 1 and 2. I have also been a certified yoga teacher for the past 15 years. My work in Transformational Coaching, yoga and education as has led me to my passion of helping people cultivate resilience to lead happier lives.


Perkins/HealthProfession Loans - information for completion of loan notes.
Refund Information - information regarding loan disbursement and refund dates.
National Institute of Health Website - former medical students click here to view information regarding possible loan repayment programs.
electronically sign Perkins and Health Profession loans.
Sign up for electronic billing.
NSLDS for Borrowers - view Direct, FFEL & Perkins Loans. This site includes loans granted at all institutions.
IRS provisions for Student Loan Interest Deductions.
Taxpayer Relief Act of 1997 Highlights.
Forms below can be viewed with Adobe Acrobat. If you use the Interactive Forms, you MUST have Adobe Acrobat 4.0 version or better. You can obtain Acrobat as a free add in from Adobe's home page.
Deferment, Postponement, or Cancellation Form.
Revenue and Expenses Forbearance Form.
Health Profession Student Loan - Deferment Request.
Child or Family Service Agency Employee Addendum.
Early Childhood Education Cancellation Addendum.
Law Enforcement or Corrections Officer Addendum.
Provider of Early Intervention Services Cancellation Addendum.
Where do I make online payments for my Perkins, Health Profession, Nursing, and/or long and short term institutional loans?
Heartland ECSI is the billing service provider for Michigan State University that is processing student loan payments and sending monthly bills for your Perkins, Health Profession, Nursing, and/or long and short term institutional loans. Online payments for your Perkins, Health Profession, Nursing, and/or long and short term institutional loans can be made on Heartland ECSI's website (https://heartland.ecsi.net).
Whom do I contact for deferments, postponements, and cancellations?
Please contact the Michigan State University Loans Receivable Department for all questions regarding deferments, postponements, and cancellations at (517) 355-5140.
How can I view my e-signed promissory note?
If you signed your promissory note electronically, you will be able to view the promissory note through MSU's StuInfo website, under Financial Aid.
Are 1098E's tax forms available on the Heartland ECSI web portal?
Yes, 1098-E's are available on Heartland ECSI's web portal (https://heartland.ecsi.net/). Your 1098-E will also be mailed to your address of record unless you have selected to only receive your 1098-E electronically on Heartland ECSI's web portal.
How do I create and access my account on Heartland ECSI's website to make a one-time payment or set up recurring payments?
Go to https://heartland.ecsi.net and select Register.
Follow the steps under Register to create a New Profile.
Select Connect an Account to connect your loan to your profile. You will need your Heartland Key, located on your bill, to complete this step. You can also request your Heartland Key from Heartland ECSI by calling (888) 549-3274.
Where can I mail a payment?
Will recurring payments set up on Heartland ECSI's website be automatically cancelled when my loan is paid in full?
Recurring ACH payments are automatically cancelled when the balance is paid in full. Recurring credit/debit card payment do not automatically cancel. Recurring credit/debit card payments can be cancelled when the balance is paid in full by accessing Heartland ECSI website (https://heartland.ecsi.net) or by contacting customer service at (888) 549-3274.
What are the hours of operation for Heartland ECSI?
Customer Service Representative is available Monday through Friday, 8:00am – 8:00pm EST. You can call ECSI at (888) 549-3274. A live chat is also available on Heartland ECSI's website (https://heartland.ecsi.net) in the lower right hand corner.


text:
Car accident kills man whose car broke down on highway
On behalf of Vincent J. DeSalvo, Attorney at Law | Feb 2, 2016 | Car Accidents
Most people make sure that their vehicles are properly maintained and have sufficient fuel. However, that does not always prevent their vehicles from breaking down. Whenever a vehicle breaks down on the side of the highway, the risk of a car accident increases. Recently, the Louisiana State Police took the opportunity to remind and caution drivers to move into the left hand lane on multi-lane roadways to give a stranded motorist extra room.
This warning was issued in the aftermath of a crash that took the life of a Louisiana man. The preliminary report indicates that his car had broken down on Highway 171. He had gotten out of his vehicle as a southbound vehicle approached him. For some reason, the small SUV left the lane of travel and struck the man.
The victim initially survived the crash and was taken to University Health in Shreveport. Sadly, the man's injuries were too severe, and medical personnel were unable to save his life. Troopers with the Louisiana State Police do not believe that impairment was a factor. However, per protocol, toxicology samples were sent for analysis.
Even if no criminal charges are filed against the 17-year-old driver, the family of the victim could file a wrongful death claim against the driver and any other party with an ownership interest in the car she was driving. Establishing negligence in a civil court action could result in an award of damages. Any monetary restitution the family receives could help with the financial losses incurred in the aftermath of the car accident.
Source: arklatexhomepage.com, "Many man dies in accident", Nancy Cook, Jan. 24, 2016


If you would like to register a popular domain, you should consider the .DE domain name extension - it's the most popular TLD in the European Union and one of the most popular top-level domain names in the world. And with us at MEDHA4U.COM, you can register or transfer a .DE domain name at a reasonable price and grab a cost-free domain name management graphical user interface.
With MEDHA4U.COM, you can register a .DE domain for up to ten years in advance. Our Domain Manager, which embraces all aspects of domain management, allows you to change your WHOIS info, to add custom DNS records, to update your domain's MX, A, AAAA, NS, CNAME, TXT and SRV records, and much more. Our shared hosting platform is based on the powerful mixture of Linux and Apache, which allows us to offer a 99.9% uptime guarantee.


text:
using System.Linq;
using Serilog.Filters.Expressions.Tests.Support;
using Xunit;

namespace Serilog.Filters.Expressions.Tests
{
    public class ConfigurationTests
    {
        [Fact]
        public void ExpressionsControlConditionalSinks()
        {
            var sink = new CollectingSink();
            var logger = new LoggerConfiguration()
                .WriteTo.Conditional("A = 1 or A = 2", wt => wt.Sink(sink))
                .CreateLogger();

            foreach (var a in Enumerable.Range(0, 5))
                logger.Information("{A}", a);

            Assert.Equal(2, sink.Events.Count);
        }

        [Fact]
        public void ExpressionsControlConditionalEnrichment()
        {
            var sink = new CollectingSink();
            var logger = new LoggerConfiguration()
                .Enrich.When("A = 1 or A = 2", e => e.WithProperty("B", 1))
                .WriteTo.Sink(sink)
                .CreateLogger();

            foreach (var a in Enumerable.Range(0, 5))
                logger.Information("{A}", a);

            Assert.Equal(2, sink.Events.Count(e => e.Properties.ContainsKey("B")));
        }
    }
}


Born at Leeds, Yorkshire, England on 9 August 1905, son of Earl Bond and Carey Peacock, he came to Canada and was General Manager of the Brandon branch of the Plains Western Natural Gas Company. He served on the board of stewards of the First United Church of Brandon. In August 1959, he was appointed the administrative Principal of the Brandon Indian Residential School, holding the position until 1970. He died at Victoria, British Columbia on 26 October 1982, following a lengthy illness. He was survived by a wife and four children.
"Ford Bond is new Principal," Brandon Sun, 8 August 1959, page 3.
Obituary, Brandon Sun, 2 November 1982, page 18.


text:
Gelosia (The Other Tomorrow) è un film del 1930 diretto da Lloyd Bacon.

Trama

Collegamenti esterni

Film sentimentali
Film drammatici

redpajama_set_name: RedPajamaWikipedia


After more than a decade of digital disruption, the African entertainment and media industry has entered a new landscape – one where the media is no longer divided into distinct traditional and digital spheres.
Following the growth of smartphones in Nigeria and other African markets, Eskimi has reacted to the change and launched a new smartphone version for touch devices. The new version has a special touch interface and better experience for mobile web users.
With Sub-Saharan African growing at three times faster than developed markets and anticipated to drive 65% of economic growth by 2020, Africa is an attractive investment opportunity that InvestWell a new platform aims to maximise.
As Appsafrica.com previously reported the Uptake of the UberX low-cost taxi hailing app in Cape Town has been "incredible". So what about Lagos? Can Uber work in a city renowned for some of the worlds worst traffic?


text:
Gallery Gallery News News
A'IBOM COMMISSION FIRST RICE MILL
Sunday, 2 August 2020, 13:08 Sunday, 2 August 2020, 15:08 admin	0 Comments	news, nigeria, south south region
A new rice milling factory built in Ini local government area of Akwa Ibom State has been commissioned by Governor Udom Emmanuel, with a promise that it will give birth to several other factories in the area.
Governor Emmanuel who was accompanied by his wife said Ibom Agricon Rice factory was part of his administration's resolve to ensure that sooner than later, 80 percent of staple food consumed by Akwa Ibom people, are produced in the state.
The Governor maintained that it was the first rice mill in the state, promised to return to the federal constituency in a short while to commission a cocoa processing factory.
While promising to expand the factory to boost its productivity, he said the public private partnership project will give birth to the establishment of more industries in the area, thanking the youths and members of the community for the support and cooperation with the promoters of the scheme.
"Under the present economic realities in Nigeria, it is not an easy thing to put up an industry like this, and it is really the grace of God that has made us achieve this," he said.
" When you see some industries in certain places, it is because the owners of the land willingly donated their land without compensation and MOU to the investors to build such industries."
He urged all youths and stakeholders in the state to continue maintaining the peace in their respective communities to enable more investments to thrive.
He said Ini, which had hitherto had no power supply got light restored in the first Phase of his electricity project in the area, and promised to complete the second phase of the power scheme in January next year.
Mr Aniekan Dominic Utuk, the Managing Director and Chief Executive Officer of Ibom Agricon Farms limited, said the factory at current capacity can produe two metric tons per hour and promised to ensure that quality and standards are maintained to meet the expectations of the people.
Earlier the member representing Ini in the House of Assembly and Chief Whip, Emmanuel Ekpenyong thanked the Governor for prioritizing his local government in the scheme of things and promised that his people will appreciate him with their votes during next year's election.
Also speaking, the Chairman of the State Technical Committee on Agriculture and Food Sufficiency said the rice milling factory was a further boost to the industrial development of the Governor, and assured that henceforth all the rice used at the state government house will come from the factory.
Prof. Udoh said that the Family Rice is a premium long grain rice bagged in all-weather proof laminated bags, explaining further that the rice has passed through all the modern processes of rice processing devoid of dirt and contamination.
Highlight of the ceremony was the purchase of 20,000 bags of the product by Governor Emmanuel who acted as an off taker, for distribution to people during the yuletide.
Published in maiden edition, Lens Newspapers Vol. 1 No. 16.
← $60 Million Ikwe – Onna Modular Refinery to become operational in 2020
Cross River State 2020 Revised Budget Is N147.13 Billion →
Southwest Governors Wants a Development Commission
Friday, 25 December 2020, 9:26 Okokon Asanga	0
Finance Bill 2020: FEC Approves; Minister says no Tax Increment
Thursday, 19 November 2020, 11:20 Okokon Asanga	0
Maina's kinsmen ask Okon Abang to hands-off his Money Laundering Trial
Monday, 5 October 2020, 4:51 Monday, 5 October 2020, 4:51 Okokon Asanga	0


Sampled your fair share of Newquay's famous surf scene and fancy exploring the water in another, less obvious way?
Beyond the more adrenaline-charged pursuits of surfing, stand up paddle boarding, kite surfing, wind surfing and the alike – there's an array of other water bound activities that generally involve a little less exertion and a lot more inclusiveness for the entire family.
If white knuckle water sports aren't your bag, or you fancy a lazier day by, or on the ocean, then Newquay's variety of activities on offer provide a great way to discover the area, pick up a new skill and spend some quality time together as a couple, group or family – often with the added bonus of not getting your hair wet!
Edge away from the ocean and into a different type of waterland by spending the day at the lakeside during a stint of coarse fishing or angling.
From White Acres' sprawling site of 13 naturally spring fed lakes (and their off-site lakes at Trewaters and Bolingey) to Porth Reservoir and a bevy of other sites and organised fishing holidays/trips in the area; you'll encounter some beautifully natural – not to mention – sheltered spaces in which to spend some quality downtime.
Just remember to always check and comply with relevant permits/park regulations.
Free and fantastically fun, whether you wish to cool your feet with a paddle and a beach walk or go on the search for some marine life – rock pooling can provide a wealth of entertainment for all the family.
From crabs and common prawns to anemones, starfish and blennies – see how many things you can carefully spy and correctly identify during a friendly family competition that's sure to school minds both young and old; but always remember not to cause a disturbance or to remove anything from its natural environment and to keep an eye on tide times and conditions.
Essentially an active, water-led way of exploring the coastline, coasteering involves cliff jumping, rock climbing and wild swimming your way around a cluster of beaches and coves.
Sign up to an organised tour with guides, who will know the area and will be qualified in everything from water safety to first aid – as well as supplying the necessary equipment such as wetsuits, buoyancy aids and helmets.
Offering a unique perspective of Newquay's sea cliff landscape, you'll be able to roam caves and smugglers paths and swim in some seriously sublime spots, with routes mapped out according to ability and conditions to ensure a uniquely fun and safe adventure.
Pay a visit to Cornwall Zorbing Park for a water-infused ride like no other. Skim across the surface of one of the world's longest zorbing tracks in a water-filled inflatable sphere and experience a unique thrill for an ultra memorable day out that's suitable for children aged 7 years and over.
Take in the outdoors – and plenty of water – as you try your hand at harness or hydro zorbing, tumbling down the custom-built 250m-zorb run for an exhilarating, all-weather adventure.
Take to the ocean for the chance to explore Newquay's spectacular coastline and to mingle with the marine life in their natural environment for an incredibly special on-the-water experience with the award winning, Newquay Sea Safaris and Fishing.
A sea safari will not only allow you access to secret coves and unspoilt beaches, but will grant you the best position to see and learn about a range of native wildlife such as seals, dolphins and sharks.
Alternatively, cast off directly into the Atlantic Ocean for some conger, mackerel, wreck and reef fishing that'll prove an unforgettable highlight whether you're something of a seafarer or complete novice.


reThink Green brings together ideas, partners and resources to build a more sustainable community.
reThink Green's vision for a Greater Sudbury is that it be a community continuously striving towards sustainability – in which the well-being of the global and local environment, the health and happiness of the residents and a prosperous economy are properly balanced and in harmony.
To empower members through capacity building events, resources and knowledge sharing, collaboration, and community education opportunities.


On Tuesday, Sept. 27th, Cold Stone Creamery and the Make-A-Wish Foundation are inviting everyone to take part in the 10th Annual World's Largest Ice Cream Social. From 5-8 p.m., all Cold Stone locations will be giving away a FREE 3-ounce portion of the Sprinkled with Wishes Creation (Sweet Cream Ice Cream mixed with Brownie, Rainbow Sprinkles and Fudge). Guests are encouraged to make donations to the Make-A-Wish foundation during this event.
Make plans today to be a part of the 10th Annual Cold Stone Creamery Ice Cream Social next Tuesday, and help make this year the most successful yet.


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"We don't just clean rooms — we keep hospital-acquired diseases in check and make sure patients and workers are happy and satisfied," said Jarreau Jean-Woods, who works at Mount Auburn Hospital.
Jarreau Jean-Woods is on the front lines at Mount Auburn Hospital in Cambridge. Without him, infection could run rampant and safety could be compromised, everywhere from the emergency room to the maternity ward. But Jean-Woods is not a physician or nurse — he's part of the often anonymous housekeeping team. "We don't just clean rooms — we keep hospital-acquired diseases in check and make sure patients and workers are happy and satisfied," said Jean-Woods, 32, of Revere. Jean-Woods about why the "environmental services" department is much more than mops and buckets.
"Housekeeping is one of those routine amenities that you may not notice — unless it was missing. Imagine if the floors were dirty, counters unwiped, trash overflowing. Then the importance of cleanliness would be on the forefront of your mind.
"In hospitals in particular, the germ C. difficile can spread from contaminated surfaces. Following infection control procedures can lower these rates quickly. In the patient room alone, just think of all the equipment and surfaces that need to be disinfected: Not just toilets, sinks, and beds, but also curtains, walls, and even EKG monitors, walkers, and other equipment.
"We have had our share of crises, including a sprinkler malfunction where we had to relocate all the patients, then bleach the entire area. We've also had patients with bed bugs, and once discharged, all the mattresses, crevices, and furniture have to be inspected and fumigated. This is very invasive, cleaning-wise, and one of those calls that I don't like getting.