The ease of creating comes from being able to move. However, most of ourselves find instead, paralysis.
Would you buy that the teachers that we have venerated have mostly gotten in our way--have denied our own unique learning processes, have left us frustrated and feeling inadequate, but often diving in anyway, in much pain and with much fear of failure?
I would dare to say that even those of us who excel at something feel mediocre and at odds with what we do, but we struggle through it and give the appearance that all is well. Of course, there are exceptions, (at least the appearance of them). I once read a book dedicated to the experience of several concert pianists, and I was so suprised that they had struggled, when from the outside they made it look so easy.
However, I am addressing those of you who were born an artist, but slowly watched those dreams become buried, who haven't traveled the road of their true passions--leaving those roads for the artists who you feel somehow deserve it, or were born for it.
I am here to say that in the afternoon of my life, that all of it has not been in vain. We need not blame the teachers, but rather take back our power to follow our heart's desire, and move into the 'work' of our lives that most resonates with our Soul. No one but you can know what that is. However, we are usually too afraid that we will fail, so, we don't even begin to explore that part of us. We continue doing what makes sense. We believe the labels we have put on ourselves and others. We think we've been defined and that's that.
This blog is to make you think.
Do you know your heart's desires?
I didn't. I knew what I thought I should be doing. I knew what I was pretty good at, and what paths were logical to follow, that would make sense in the world as I understood it. I was too afraid to admit what I was really drawn to, because I probably couldn't do it. It sounded too silly and impractical.
If you don't know what you desire, never fear. It is hard to know what you love when you have so many opposing beliefs.
As you become more attuned with your true self, and the force of love, you are led. No, the heart doesn't just lead you to become Mother Teresa, unless that is what you want-- but rather it leads you to the joy of your being. Maybe it is to enjoy time with your kids more, (definitely one for me) maybe it is to take up dancing (try Zumba!) or something craftier--painting anyone? It may be to finally learn that instrument, to assemble an engine, or just to make something grow. Maybe it is simply to heal, or to find peace. It can be anything--yes, anything. HINT: What makes you tick? What do you care about more than anything? What makes you feel alive?
Keep in mind that the possibilities of doing/working in this world are here to help us deal with our insane minds--to keep us busy so to speak--only we've turned this gift of doing against ourselves-rather our minds have, designating who gets what, and why we can't have it too.
When I was a young piano student, I remember picking repertoire with my teacher. He was a wonderfully intense concert pianist with a little yapper dog named Bach for short. I say was, because he has since passed on, leaving his legacy in my hands.
You might think that I should honor the dead, and I do, but not in the way you might expect. This man was one of my greatest teachers, but not because he taught me to play the piano, or introduced me to a world of music, but because he taught me to struggle.
He taught me to lift my fingers "ever higher!", even when it didn't feel good. He taught me to play louder even when my body cried out against it. He taught me that tension meant passion! You have to suffer to succeed! He made me practice hours and hours a day. He taught me to fight to be the best. He made me cry in the piano boot camp sessions. Other times he offered me donuts.
And now I see he was the best teacher I could have ever hoped for. He was just what I needed on my specific journey. You see, it never was about learning the piano for me-that was just a side-effect.
Really, it was a concentrated experience that would show me my exact view of the world, all of my limiting beliefs, all of my fears, all of my feelings of inadequacy--right there in the task of learning to play the piano. It would teach me far more than how to convincingly play a melody. It would be a relationship that showed me my exact and very simplistic and sinister perception of my world: the prison of my mind.
And the biggest surprise! In the end the piano would become my solace, a wise-old friend that I could never see before, because I felt so harassed by him. I realize that all the while this foe was imparting to me my dearest wisdom! He was my own personal Yoda.
As for my old piano teacher, he only echoed my own personal narrative. He was the voice inside my head, projected out into my experience. It sounds simplisitc, but this relationship is all I need to really see to understand anything about myself, as it is holographic to every other detail of my life!--it is also the key to my new found freedom, which becomes holographic as well.
Yes, my piano and I will play together long into my golden years, an he will be my biggest ally, because he helps me to focus my mind in the present, as he and I contend with less and less appearances of the demon critic that I'd allowed to ride with us for so many years--as I become more attuned with the force:) of love of self--and less like the demanding teacher.
Who could be your hidden Yoda? HINT: Who or what torments you the most? What do you resist the most?
What I find is that learning an art form often weeds out many whose gifts might appear a little differently from what is 'desirable'. Perhaps little Amy's biggest gift at the piano would be a soft legato tone-without the fire and brimstone. Why should she not partake? I think she should, if it makes her happy. Who am I to take her into the future and shoot her down by telling her she doesn't have what it takes. Maybe I don't have what it takes to be a teacher.
My argument here is that much joy that we have in the learning process is taken away as soon as we begin. That is why most of us quit. We are told or made to feel like we don't have what it takes--and with our own added fears and story, we have no chance. Our unique process is often denied and overridden, as we are steered away from what we love.
Methods that were devised as ways of making learning easier, become our biggest obstacles, because all flexibility and exploration is lost. There is no rooting around for techniques that feel authentic and easy--there is the aim for the student/creator to please and copy--to assume unnatural poses that hinder more than help. Only the do-er can know this, but often they have no idea what ease feels like, and so they retain what feels hard.
If my mother hadn't been so determined for me to practice, I know I would have quit, because the soul connection and curiosity I had in the beginning was mostly lost in feelings of inadequacy and competition. It hurt to play. It always felt hard.
Fortunately I've realized that this experience was only helping me to reinforce this kind of a process in every aspect of my experience--until everything felt hard--also known as paralysis.
The good news was that in the undoing, in the recovery, this is where you find the ability to move again, and the joy is splendid, because you can find the gifts and the ease that comes from a contrasting experience!
What I am asking you to think about here, is when it was that you lost your power to someone who appeared to have more knowledge than you--to have some hallowed skill or knowledge base that you revered, but that felt you had not.
When has your own unique process of learning been denied for a one-size-fits-all approach; when was it that your heart's desire became your worst nightmare and you left it behind? When was it that you quit or never began? How long have you been carrying your story? And are you happy at the road that you've traveled, staying clear of the paths with too much risk, or that you were sure you'd never weather.
Freedom from the mind, and the mind of others: this is where the journey takes on a different hue.
Success is moving past the mind and the voices that say you can't and you shouldn't, that you'll never amount to anything--and moving to this place: the place where you reclaim your power, where you thank all of your many teachers, keep what it is that they have given you that SERVES you, and LET GO of what doesn't serve you.
Of course, then it becomes your own responsibility of continuing to let go of the nefarious teacher inside of you that wants and thinks you will fail.
It takes discipline to love yourself. Let me repeat. It takes discipline to love yourself.
If you could do one thing today that would lead you back to yourself, it would be to realize that you are still on your creative path--you've never left it, only needed to experience it all before you could decide what does and doesn't feel good, and then in this moment, see what feels good.
Pick the songs you want to play, so to speak, and feel the titillating excitement of feeling the music that you love stirring in your hands--even if it is New Age music (which is a bit of a no-no in the hob-snobbery of the classical music world--and for good reason-so much beautiful classical music to feed our souls going to the grave--see David Garrett for an artist reviving it).
Respect your process. Learn by undoing and doing again in a joyful way. Let your body be your guide. If it isn't feeling good, find another way. Trust that what feels good will guide you further than any feeling that you should or shouldn't!
Find that EVERY aspect of life is reflected in your ability to create following your heart's desire. Know that there is no destination, but that it is all in working through this process of moving past the mass consciousness, the absolutes, the dictates of your own difficult mind that want you to fail, to unearth the part of you who already knows how to do, to be, and to have.
I extend this as a new pedagogy--one that works closer, and in a unique way with each participant, to aim for a more balanced experience, tuning with the desire of the heart, and freeing up the do-er, by freeing up his mind. A flexible mind is a happy mind.
Happy creating, happy exploring, and happy living and loving!
Wow!!! Thank you for this! You said exactly what I needed to hear in this moment. I love this "New Pedagogy"! You not only write beautifully, but your words fill me with hope...there is a way to connect with my wholeness, the mind does not have the final word.
Thank you mentioning David Garrett, such a brilliant violinist! Pretty hot too!
Once again, thank you for sharing your brilliance.


text:
You don't have to be British to be a Prommer
The Scarborough Philharmonic Orchestra proudly presents the "Last Night at the Proms."
"The Proms, or promenade concerts, date back to 1895, are now a BBC tradition in Britain, and popular in concert halls around the world. The 'Last Night at the Proms' is very special, with popular classics followed by British patriotic pieces," says SPO Music Director, Ronald Royer, who will conduct half of this performance.
"Of course, we've selected the music of British composers, with a special focus on choral music, featuring The Toronto Choral Society under the direction of Geoffrey Butler," who will conduct the other half, adds Ronald.
Sir Edward William Elgar was the first composer to take recorded music seriously, back in the 1910s and 1920s. The Elgar program includes his Enigma Variations, the large-scale choral ode The Music Makers, Opus 69, and music everyone will recognize, Pomp and Circumstance #1 (Land of Hope and Glory).
We'll also pay tribute to the music of Sir Charles Hubert Hastings Parry with his famous choral tune Jerusalem, which was featured in the opening ceremony of the recent London Olympics. This special night will also celebrate SPO's recent generous support provided by the Ontario Trillium Foundation. The Trillium Foundation helps build healthy and vibrant communities across Ontario through grants designed to stimulate the talent, creativity and drive within community-based organizations.
The SPO performance of "Last Night of The Proms" music selections will be held Saturday, April 6, 2013 at 8:00 p. m. at the Salvation Army Scarborough Citadel, 2021 Lawrence Avenue East (at Warden).
Tickets to the concert are available at the door or by calling the SPO Box Office at 416-429-0007 or by emailing [email protected] to reserve tickets. Prices are $30 for adults, $25 for seniors and $15 for students with ID. Group rates are available.
Media Contact: For more information or to arrange an interview, please contact Sue Payne
General Manager, at 416-755-0050 or [email protected]
« Let's get Romantic in May
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redpajama_set_name: RedPajamaCommonCrawl


The knife block by Zassenhaus in noble design optics your knives which are always handy and can easily be removed from the block. The interior of the knife block is equipped with a flexible bristle insert and suitable for knives with a blade length of up to 20 cm. The design appearance is a real eye-catcher in your kitchen.


text:
La rivière à Philias est un affluent de la rivière Portneuf, coulant sur la rive Nord-Ouest du fleuve Saint-Laurent, dans la municipalité de Portneuf-sur-Mer, dans la municipalité régionale de comté (MRC) de La Haute-Côte-Nord, dans la région administrative de la Côte-Nord, dans la Province de Québec, au Canada.

À partir de la route 138, le chemin de la Rivière des Cèdres remonte par la rive Sud la vallée de la rivière Portneuf (Côte-Nord), en passant devant l'embouchure de la rivière à Philias. Une route forestière secondaire dessert la vallée de la rivière à Philias.

La foresterie constitue la principale activité économique du secteur ; les activités récréotouristique, en second.

La surface de la rivière à Philias est habituellement gelée de la fin novembre au début avril, toutefois la circulation sécuritaire sur la glace se fait généralement de la mi-décembre à la fin mars.

Géographie
Les principaux bassins versants voisins de la rivière à Philias sont :
côté Nord : ruisseau Ruelle, rivière Noire (rivière Portneuf), rivière du Sault aux Cochons ;
côté Est : Petite rivière Noire (rivière Portneuf), Petite rivière Marguerite, Estuaire du Saint-Laurent ;
côté Sud : rivière Portneuf (Côte-Nord), rivière à la Truite (La Haute-Côte-Nord), baie de Mille-Vaches, estuaire du Saint-Laurent ;
côté Ouest : rivière Portneuf (Côte-Nord), rivière des Cèdres (rivière Portneuf), ruisseau Montisembeau, ruisseau Marcoux, ruisseau Poisson, rivière Rocheuse (rivière Portneuf).

La rivière à Philias prend sa source du côté Ouest d'une zone de marais en zone forestière. Cette source de la rivière est situé à  au Sud-Ouest d'une courbe de la rivière du Sault aux Cochons ; à  au Nord de l'embouchure de la rivière à Philias (confluence avec la rivière Portneuf (Côte-Nord) ; à  au Nord-Ouest de la confluence de la rivière Portneuf (Côte-Nord) et du fleuve Saint-Laurent ; à  au Sud-Ouest du centre-ville de Forestville.

À partir de sa source, la rivière à Philias coule entièrement en zones forestières sur  dont  vers le Sud-Ouest et le reste de son cours vers le Sud en passant du côté Est d'une montagne, jusqu'à la confluence de la rivière.

La rivière à Philias se déverse dans une courbe de la rive Nord de la rivière Portneuf dans le secteur de Portneuf-sur-Mer, à  en amont des Chutes Philias. Cette confluence est située à :
 à l'Ouest de la confluence de la rivière Portneuf et du fleuve Saint-Laurent ;
 au Sud-Ouest du centre-ville de Forestville ;
 au Nord du centre du village des Escoumins ;
 au Nord-Ouest du centre du village de Tadoussac.

Toponymie
Le terme "Philias" constitue un prénom d'origine française.

Le toponyme rivière à Philias a été officialisé le  à la Banque des noms de lieux de la Commission de toponymie du Québec.

Notes et références

Annexes

Articles connexes
Portneuf-sur-Mer, une municipalité
La Haute-Côte-Nord, une municipalité régionale de comté (MRC)
Rivière Portneuf (Côte-Nord), un cours d'eau
Liste des affluents de l'estuaire du Saint-Laurent

Liens externes

Cours d'eau sur la Côte-Nord
La Haute-Côte-Nord
2Philias

redpajama_set_name: RedPajamaWikipedia


text:
Q: Unable to Convert String To Date App crashes and showing outlet is nil I am loading a views from nib and i am successfully loaded but first one is loaded perfect but in second view getting nil outlets. below is my code.
Set a global variable to loadview by default is is 0 and it is increase when i press next button.
User is struct here :
struct User {
static var quizIndexNo      =   0
}

This method is in my ViewController
let moptViewInstance    =   MOPT()
let rmkViewInstance     =   RMK()

getting view name from this array:
    let viewName = ["MOPT","RMK"]
func loadQuizView(){

        if viewName[User.quizIndexNo] == "MOPT" {

            for views in vwOptionView.subviews {
                views.removeFromSuperview()
            }

            moptViewInstance.prepareScreenWithView(navigationController: UINavigationController(), viewSize: self.vwOptionView, viewController: self)

        } else if viewName[User.quizIndexNo] == "RMK" {

            for views in vwOptionView.subviews {
                views.removeFromSuperview()
            }
            rmkViewInstance.prepareScreenWithView(navigationController: UINavigationController(), viewSize: self.vwOptionView, viewController: self)

        }
}

// NIB View Classes
class MOPT: UIView {

@IBOutlet weak var btnPrevious: UIButton!
@IBOutlet weak var btnNext: UIButton!

var nibView: UIView!
var instanceOfQuizController : QuizCointroller!

func prepareScreenWithView(navigationController: UINavigationController, viewSize: UIView, viewController: UIViewController) {

    nibView = Bundle.main.loadNibNamed("MOPT", owner: self, options: nil)?[0] as! UIView
    nibView.tag = 200
    var tempRect = nibView.frame
    print(tempRect)

    if User.quizIndexNo == 0 {
        btnPrevious.isHidden = true
    }

    if User.quizIndexNo == 0 {
        btnNext.setTitle("Test", for: .normal)
    }

    print("Index No is: \(User.quizIndexNo) and \(Sequence.totalQuizQuestionCout)")

    if User.quizIndexNo == Sequence.totalQuizQuestionCout - 1 {
        btnNext.setTitle("Submit", for: .normal)
    }

    instanceOfQuizController = viewController as! QuizCointroller

    tempRect =  CGRect(x: 0, y: 0, width: viewSize.bounds.width, height: viewSize.bounds.height)
    viewSize.addSubview(self.nibView)
    self.nibView.frame = tempRect

}

@IBAction func btnPrev(_ sender: UIButton) {
    User.quizIndexNo -= 1
    Sequence.instanceOfQuizControllerTest.previousButtonPressed()

}
// Next button will reload next view
@IBAction func btnNext(_ sender: UIButton) {
    User.quizIndexNo += 1
   // here sequence is global variable of type ViewController
    Sequence.instanceOfQuizControllerTest.nextButtonPressed()

    }
}

Second NibView Class
    class RMK: UIView {
@IBOutlet weak var btnPrevious: UIButton!
@IBOutlet weak var btnNext: UIButton!

var nibView: UIView!
var instanceOfQuizControllerTest : QuizCointroller!

func prepareScreenWithView(navigationController: UINavigationController, viewSize: UIView, viewController: UIViewController) {

    nibView = Bundle.main.loadNibNamed("RMK", owner: self, options: nil)?[0] as! UIView
    nibView.tag = 200
    var tempRect = nibView.frame
    print(tempRect)

    if User.quizIndexNo == 1 {
        btnPrevious.isHidden = true //app is crashing here when i am trying to set title Button is showing nil
    }

    if User.quizIndexNo == 1 {
        btnNext.setTitle("Submit", for: .normal)
    }

    instanceOfQuizControllerTest = viewController as! QuizCointroller

    print("Quiz ViewController instatnce \(instanceOfQuizControllerTest)")
    tempRect =  CGRect(x: 0, y: 0, width: viewSize.bounds.width, height: viewSize.bounds.height)
    viewSize.addSubview(self.nibView)
    self.nibView.frame = tempRect

}

@IBAction func btnPrev(_ sender: UIButton) {
    User.quizIndexNo -= 1
    Sequence.instanceOfQuizControllerTest.previousButtonPressed()

}

@IBAction func btnNext(_ sender: UIButton) {

    print(instanceOfQuizControllerTest)

    User.quizIndexNo += 1
    Sequence.instanceOfQuizControllerTest.nextButtonPressed()

   }
}

redpajama_set_name: RedPajamaStackExchange


text:
KEES Retained by Active Transportation Alliance to Find New Leader
November 26, 2019 – The non-profit sector has gained economic strength in recent years, making it the third largest employer in the country. Nearly two million not-for-profits employ 10.7 million people and produce $1.9 trillion in revenue. In the past decade, employment in the sector grew by 17 percent. With demand for non-profit talent at an all-time high, search firms have plenty of work looking for candidates.
Recently, executive search and non-profit consulting firm KEES (Kistner Eddy Executive Services) was selected by the Active Transportation Alliance to find a new executive director. Heather Eddy, president and CEO, and Megan DeVoe, project manager, are leading the assignment for the search firm.
The organization is seeking an influential and innovative leader to elevate the organization's vision and enhance its efforts to expand the impact of the mission. The executive director will oversee daily operations and will lead a highly valued team. The individual will manage with a collaborative style while attracting, nurturing and retaining high-performing talent. "The role requires a dynamic relationship-builder who can cultivate and grow critical partnerships for organizational growth, accompanied by leadership and communications skills that can inspire, support and accelerate change across Chicagoland," the search firm said.
The ideal candidate will have a passion for the mission of the organization, value diversity, possess superior relationship-building skills and have a strong, vibrant public presence. "The qualified candidate will work to ensure the organization is supported by diverse, robust revenue streams which will include a well-balanced philanthropic program," KEES said. "The new executive director will bring a management approach that maintains overall financial stability. As the primary external leader, the successful candidate will often be called upon to articulate the organization's mission to the public, with private audiences, and in interactions with the press. This multi-faceted leader will empower staff, ensure a consistent mission and organizational culture, achieve revenue goals, and maintain and build key relationships and partnerships."
Active Transportation Alliance is one of the largest, most effective advocacy organizations promoting walking, bicycling, and public transportation in the U.S. Founded in 1985, it carries out an ambitious advocacy mission with the goal of creating healthy, sustainable and equitable communities.
Respected Recruiters
KEES, based in Naperville, IL, focuses on building transformative teams and leaders in the non-profit sector. The firm was founded in 2013 as an expansion of Alford Executive Search. It is woman-owned and operated and provides a wide variety of services, including executive search, specialty and interim staffing, HR consulting, leadership development and more.
Ms. Eddy has worked with non-profits and institutions to build capacity for more than 20 years. For the past 12 years, she has focused on strengthening executives, boards, managers and philanthropic leaders. She co-founded KEES and leads the organization's team after serving for 17 years in multiple executive leadership roles with the Alford Group/Alford Group Executive Search, a national consulting firm that partners with non-profits and provides fundraising and organizational strategy consulting.
Check Out These Related Articles On Searches For Non-Profits:
Comhar Partners Seeks President for Embrace Living Communities Waverly Partners Seeks CEO for Springfield Sangamon Growth Alliance Lindauer Tapped to Find Chief Development Officer for Girls Inc.
StevenDouglas Opens New Office in Bethesda
Herbert Mines Associates Finds New Board Members for Party City


Should Republican Billionaires Be Picking Democratic Candidates?
Republican billionaires know their party is going to lose control of Congress in November. So they are working to defeat progressives and make certain friendly conservative DINOs become the nominees of the Democratic Party. We can't let this happen. It's our party, not theirs.


text:
Implementation of the NICE guidelines for the primary prevention of mortality from ventricular tachyarrhythmias: implications for UK electrophysiology centres; activity modelling from the UK-HEART study
Scientific letters
N P GALL,
M T KEARNEY,
A ZAMAN*,
S O'NUNAIN,
K A A FOX†,
A FLAPAN†,
J NOLAN‡
King's College Hospital, London
*Freeman Hospital, Newcastle-upon-Tyne
†Royal Infirmary, Edinburgh
‡North Staffordshire Hospital
NP Gall, Department of Cardiology, King's College Hospital, Denmark Hill, London SE5 9RS, UK;nick.gall{at}kcl.ac.uk
http://dx.doi.org/10.1136/heart.86.2.219a
It is now well established that the implantable cardioverter-defibrillator (ICD) is the most effective treatment for the primary prevention of life threatening ventricular arrhythmia.1 2 Despite this, its widespread use in the UK for this indication has been minimal, at least in part because of perceived resource implications. In September 2000, the National Institute for Clinical Excellence (NICE) recommended electrophysiological testing (EPS) for all patients with a history of myocardial infarction who have an ejection fraction of less than 35% and three or more beats of non-sustained ventricular tachycardia (NSVT) on a 24 hour Holter monitor. NICE further recommended that all patients in whom a significant ventricular arrhythmia is induced at EPS should have an ICD implanted. The potential effect of the NICE guidelines on workload in UK electrophysiology centres has not been evaluated.
UK-HEART examined the utility of heart rate variability as a predictor of mortality in heart failure patients.3 Ambulant patients with stable heart failure were enrolled in four UK cardiac centres over a 17 month period (1 December 1993 to 30 April 1995). Patients with diabetes and atrial fibrillation were excluded; otherwise allcomers to cardiology clinics were eligible. All patients underwent echocardiographic estimation of ejection fraction and screening for arrhythmia, including NSVT, using 24 hour ambulatory electrocardiography. The baseline demographic and clinical characteristics of these patients were similar to those in MADIT1 and MUSTT,2 the two primary prevention trials on which the NICE guidelines are based.
A total of 555 patients were entered into UK-HEART, of whom 551 had interpretable 24 hour ECGs. Of these, 57 fulfilled the NICE criteria for EPS. If diabetics and patients with atrial fibrillation had been included this figure would increase to 88 as approximately 35% of heart failure populations suffer from either of these conditions.4 Recent data5 have demonstrated that a second 24 hour tape will identify a further 38% of patients with NSVT, increasing numbers to 142. In MUSTT, sustained ventricular arrhythmia was induced at EPS in 35% of patients. Other smaller studies in similar populations have found equivalent positivity rates.6 If our cohort reacted in the same way there would be 50 positive studies and hence 50 ICD implants.
During the period of recruitment 68 electrophysiological studies for ventricular arrhythmia were performed on patients within the four centres. During an equivalent, contemporary period (1998-2000), 72 studies were performed. Application of NICE guidelines would lead to a further 142 studies, equivalent to three extra per month in each of the three centres performing this procedure. During 1993-95 there were 11 ICDs implanted. Between 1998-2000 there were 79 implanted. The NICE guidelines would mean a further increase of 50, representing one extra ICD per implanting centre per month.
The UK-HEART study was primarily designed to investigate the prognostic utility of measures of heart rate variability in a heart failure population and therefore has some limitations in its application to NSVT. Diabetics and patients with atrial fibrillation were excluded from UK-HEART because of the heart rate variability analysis. Diabetics make up 20% and patients with atrial fibrillation 15% of major heart failure studies. We have assumed that if these patients had been included, our population eligible for further investigation would increase by 35%. Clearly there will be some crossover between the groups and they may have different rates of NSVT. The patients in the study were allcomers to cardiology clinics. Numbers would increase if all primary and secondary care physicians had enrolled patients.
The numbers of investigations and ICDs estimated apply to the first year of guideline implementation. The numbers requiring investigation and treatment the following year, including new diagnoses and those whose disease had progressed, would differ; theoretically fewer than in the first year. The numbers would also fall as some patients eligible for investigation or treatment would be unsuitable for non-cardiological reasons.
Trial acronyms
UK-HEART United Kingdom Heart Failure Evaluation and Assessment of Risk Trial
MADIT Multicenter Automatic Defibrillator Implantation Trial
MUSST Multicenter Unsustained Tachycardia Trial
Overall, these data provide evidence that implementation of the NICE guidelines for the use of ICDs in primary prevention is unlikely to lead to an unmanageable increase in EPS or ICD implantation in UK electrophysiology centres.
Moss AJ,
Hall WJ,
Cannom DS,
(1996) Improved survival with an implanted defibrillator in patients with coronary disease at high risk for ventricular arrhythmia. N Engl J Med 335:1933–1940.
Buxton AE,
Lee KL,
Fisher JD,
(1999) A randomised study of the prevention of sudden death in patients with coronary artery disease. N Engl J Med 341:1882–1890.
Nolan J,
Batin PD,
Andrews R,
(1998) Prospective study of heart rate variability and mortality in chronic heart failure. Results of the United Kingdom heart failure evaluation and assessment of risk trial (UK-HEART). Circulation 98:1510–1516.
McMurray JJ,
Stewart S
(2000) Epidemiology, aetiology and prognosis of heart failure. Heart 83:596–602.
Senges JC,
Daniarov B,
Becker R,
(1999) Are single Holter ECGs sufficient for risk stratification in postinfarction patients? [abstract] PACE 22:790.
Kolettis TM,
Saksena S
(1994) Prophylactic implantable cardioverter defibrillator therapy in high risk patients with coronary artery disease. Am Heart J 127:1164–1170.
British Cardiac Society


Charity loves to watch the Ace Family on Youtube and she would really like to have some of their merch. This Christmas she is asking for a super cool sweatshirt to show her love for the Ace Family.
Charity is interested in softball. It is her favorite sport. She also likes school, especially Engligh and Math, which is is in advanced placement in already. She also serves on the student council.
Hendricks County Indiana Department of Child Services requests this wish for Charity.
Amy grants the wish for Charity! Thanks Amy.
One Simple Wish sends the gift to the Hendricks County Indiana Department of Child Services for Charity.
Charity receives the gift from Hendricks County Indiana Department of Child Services!
"Charity Says: Thank you to whomever got me my Ace family sweatshirt. I am very appreciative and I'm glad that you got it for me. I will more than likely wear it any chance I get. Once again, I am sure I will like it, thank you. I'm wishing you the best! Sincerely, Charity"
Want to Help Children Like Charity?


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As the warm weather descends, I don't feel like heating up the kitchen with the oven or stove and find that cold refreshing salads and grilled foods more to my liking. This alkalizing detox salad is one of my favorite sides, not only because it is delicious but most importantly because the powerful health benefits. The main components are radishes, cucumbers and ume plum vinegar, which results in a refreshing salad with savory, umame, and sour notes.
Umeboshi vinegar is the salty, sour, and sweet by-product of the umeboshi-making process.
Traditionally, the umeboshi are dried and then preserved in a salty brine, with purple shiso leaves that add a bright red color. These days, however, some brands use red dyes in place the leaves as well as less salt, which can prompt the use of artificial preservatives. The Eden brand, which my personal favorite uses the traditional Japanese method.
Umeboshi vinegar is used widely in Japanese cooking often tossed with steamed vegetables and sprinkled over sautéed greens and rice. In the 1970s, ume plum vinegar started to become more widely known in the US when people started exploring the many health benefits of macrobiotic and Japanese cooking.
So simple and I love the sesame in this!
I have never seen that plum vinegar! I need to try it!
So yum! I make a quick pickled cucumber salad..but haven't tried radishes! Great idea!
That plum vinegar sounds fabulous! I love radishes!
Love that combination of tart umeboshi + sesame together! Delightful salad. Will pin this to make asap!!
I've never tried ume plum vinegar but now I want to! That salad looks so healthy and delicious.
Aw, I appreciated learning more about ume plum vinegar and even its health benefits! I feel the same way each spring and summer. What a lovely salad!
What a great salad idea! We have tons of radishes right now, so I can't wait to try this out!
This looks great! I've had Ume Vinegar (eden brand!) in my pantry for years and haven't used it – it's kind of embarrasing! Thanks for the push to try it! Also, I'd better check it's not expired! ha!
This sounds so refreshing and delicious! I love love LOVE radishes!!! Paired with the fun spiral cucumbers and that vinegar dressing sounds amazing!
What a lovely flavor combination. Love the colors too. So perfect for summer. Thanks for sharing !


text:
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Omega 90, the Luxembourg association for the promotion of palliative care, yesterday inaugurated the artistic project "Before I die" in the Luxembourg Gare.
The aim of the international art project "Before I die" is to encourage passers-by to reflect on their own mortality and consider what is really important to them. Already launched in 78 countries across over 4,000 walls, the project is a first in Luxembourg: for 6 weeks (until March 15) Omega 90 asbl is installing a large panel inside the Luxembourg Gare (in the glass roof) on which passers-by are invited to chalk the phrase "Before I die I want to ...".
The inauguration of this panel took place on Wednesday6 February 2019 in the Luxembourg Gare in the presence of Corinne Cahen, Minister of Family, Integration and the Greater Region, Jeannot Waringo, Chairman of the CFL Board of Directors, Roger Molitor, President of Omega 90 and Christine Dahm, Director of Omega 90.
Roger Molitor commented: "Our goal is to de-taboo death and give a place for mourning in society, in life." In this sense the project is more than symbolic, added Christine Dahm: "Passersby are encouraged to complete the beginning of the sentence "Before I die...". This is very realistic: the only thing that is sure and certain in life is that each of us will have to die one day. But where each of us is different, individual - and where the project encourages creativity - it is our way of anticipating this moment and apprehending it."
The project "Before I die" has its origins in the United States. Candy Chang, an American artist with a degree in architecture, design and town planning, created the first wall in 2009 after losing a loved one. Suffering from mourning and depression, she felt the need to know the thoughts of others about death and thus painted the exterior walls of an abandoned house in her New Orleans neighbourhood with the phrase "Before I die I want to ...". Passers-by were then invited to reflect on their life and death by expressing their thoughts on the wall. The experiment that was so successful that the project "Before I die" was born. Since then, the idea has circled the world, becoming a global art project that encourages us to reflect on our relationship with death.


text:
import React from "react";
import { connect } from "react-redux";
import { populateUserStore } from "../actions";

import Radium from "radium";
import _ from "lodash";
// import {Link} from "react-router";
import StarsSpinner from "./framework/stars-spinner";
// import Awesome from "react-fontawesome";
import Sidebar from "react-sidebar";
import SidebarContentConversation from "./sidebar-content-conversation";
import SidebarContentHome from "./sidebar-content-home";
import MaterialTitlePanel from "./material-title-panel";
import Trial from "./framework/trial-banner";
import Flex from "./framework/flex";

const styles = {
  container: {
    backgroundColor: "rgb(240,240,247)",
    height: "100%",
    margin: 0
  }
};

@connect((state) => {
  return state.user;
})
@Radium
class App extends React.Component {
  constructor(props) {
    super(props);
    this.state = {
      sidebarOpen: false
      // sidebarDocked: true,
    };
  }
  static propTypes = {
    /* react */
    dispatch: React.PropTypes.func,
    params: React.PropTypes.object,
    /* component api */
    error: React.PropTypes.object,
    loading: React.PropTypes.bool,
    user: React.PropTypes.object,
    routes: React.PropTypes.array,
    isLoggedIn: React.PropTypes.bool,
    // foo: React.PropTypes.string
  }
  static defaultProps = {
    // foo: "bar"
  }

  loadUserData() {
    this.props.dispatch(populateUserStore());
  }

  componentWillMount() {
    this.loadUserData();
    let mql = window.matchMedia(`(min-width: 800px)`);
    mql.addListener(this.mediaQueryChanged.bind(this));
    this.setState({mql: mql, docked: mql.matches});
    this.checkForAuth(this.props);
  }

  componentWillReceiveProps(nextProps) {
    this.checkForAuth(nextProps);
  }

  checkForAuth(props) {
    if (!_.isUndefined(props.isLoggedIn)) {

      var shouldRedirect = props.error ?
        (props.status === 401 || props.status === 403) :
        !props.isLoggedIn;

      if (shouldRedirect) {
        window.location = "/signin" + this.props.location.pathname;
      }
    }
  }

  componentDidMount() {
    this.mediaQueryChanged();
  }

  initIntercom() {
    if (!this.intercomInitialized) {
      const user = this.props.user;
      if (user) {
        if (!window.Intercom && user && user.uid) {
          window.initIntercom();
        }
        if (user.email) {
          /*eslint-disable */
          /* jshint ignore:start */
          Intercom("boot", {
            app_id: "nb5hla8s",
            created_at: user.created / 1000 >> 0,
            user_id: user.uid
          });
          /* jshint ignore:end */
          /*eslint-enable */
        }
        this.intercomInitialized = true;
      }
    }
  }

  updateIntercomSettings() {
    this.initIntercom();
    if (this.intercomInitialized) {
      const user = this.props.user;
      window.intercomOptions = {
        app_id: "nb5hla8s",
        widget: {
          activator: "#IntercomDefaultWidget"
        }
      };
      if (user && user.uid) {
        intercomOptions.user_id = user.uid + "";
      }
      if (user && user.email) {
        intercomOptions.email = user.email;
      }
      if (user && user.created) {
        intercomOptions.created_at = user.created / 1000 >> 0;
      }
      if (user && user.hname) {
        intercomOptions.name = user.hname;
      }
      Intercom('update', intercomOptions);
    }
  }

  componentDidUpdate() {
    this.updateIntercomSettings();
  }

  componentWillUnmount() {
    this.state.mql.removeListener(this.mediaQueryChanged.bind(this));
  }

  mediaQueryChanged() {
    this.setState({sidebarDocked: this.state.mql.matches});
  }

  onSetSidebarOpen(open) {
    this.setState({sidebarOpen: open});
  }

  handleMenuButtonClick() {
    this.setState({sidebarOpen: !this.state.sidebarOpen});
  }
  getTitleFromRoute() {
    /* ugly, but... is what it is for now */
    let title = "Admin Dashboard"; /* in leiu of default */

    if (this.props.routes[1] && this.props.routes[1].path === "integrate") {
      title = "Integrate";
    } else if (this.props.routes[1] && !this.props.routes[1].path) {
      title = "My Conversations";
    } else if (this.props.routes[1] && this.props.routes[1].path === "other-conversations") {
      title = "Conversations I Participated In";
    } else if (this.props.routes[1] && this.props.routes[1].path === "account") {
      title = "Account Management";
    } else if (this.props.routes[2] && this.props.routes[2].path === "comments") {
      title = "Moderate Comments";
    } else if (this.props.routes[2] && !this.props.routes[2].path) {
      title = "Configure Conversation";
    } else if (this.props.routes[2] && this.props.routes[2].path === "participants") {
      title = "Moderate Participants";
    } else if (this.props.routes[2] && this.props.routes[2].path === "stats") {
      title = "Conversation Statistics";
    } else if (this.props.routes[2] && this.props.routes[2].path === "export") {
      title = "Data Export";
    } else if (this.props.routes[2] && this.props.routes[2].path === "share") {
      title = "Share & Embed";
    } else if (this.props.routes[2] && this.props.routes[2].path === "live") {
      title = "See Conversation Live";
    } else if (this.props.routes[2] && this.props.routes[2].path === "summary") {
      title = "Summary";
    }

    return title;
  }
  onSidebarItemClicked() {
    this.setState({sidebarOpen: false});
  }

  renderConsole() {
    return (
      <Sidebar
        sidebar={
          this.props.params.conversation_id ?
            <SidebarContentConversation
              {...this.props}
              conversation_id={this.props.params.conversation_id}
              onSidebarItemClicked={ this.onSidebarItemClicked.bind(this) }/> :
            <SidebarContentHome
              {...this.props}
              onSidebarItemClicked={ this.onSidebarItemClicked.bind(this) } />
          }
          open={ this.state.sidebarOpen }
          docked={ this.state.sidebarDocked }

          onSetOpen={ this.onSetSidebarOpen.bind(this) }>
          <MaterialTitlePanel
            handleHamburgerClick={this.handleMenuButtonClick.bind(this)}
            showHamburger={this.state.sidebarDocked}
            name={this.props.user.hname}
            title={this.getTitleFromRoute()}>
            {
              /*trial condition*/ true ?
              <Trial title={"You have x days remaining on your trial. *Upgrade*"}/> :
                ""
              }

                { this.props.children }

            </MaterialTitlePanel>
      </Sidebar>
    )
  }
  renderSpinner() {
    return (
      <Flex styleOverrides={{height: "100%"}}>
        {"Loading pol.is..."}
      </Flex>
    )
    // return (
    //   <StarsSpinner
    //     text={""}
    //     nodeColor={ "rgb(150,150,150)" }
    //     count={ Math.floor(window.innerWidth / 10) }
    //     width={ window.innerWidth }
    //     height={ window.innerHeight }
    //     radius={ 1.5 }
    //     lineWidth={ 1 }/>
    // )
  }
  render() {
    return (

        {
          !this.props.isLoggedIn ? this.renderSpinner() : this.renderConsole()
        }

    );
  }
}

export default App;

redpajama_set_name: RedPajamaGithub


I've been a cyclist for 40-plus years—here are some of the best tips I've ever received.
A surefire way to become a better cyclist is to mix it up with faster riders. Here's a survival guide.
Race-pace and high-resistance efforts are key training elements for racing against the clock.
Despite plenty of attacks and exciting racing, stage 17 didn't change much in the overall standings.
Lance and two other break companions showed getting old doesn't mean slowing down.
Andy Schleck's mechanical today brings racing's unwritten rules back in the spotlight.
The Coach explains why Tour contenders don't attack non-stop in the mountains.


One of the highest ranking military officials of the United States, Wells is a main staple in international affairs. Wells was one of the few persons against US Senator Carter's proposal to disarm nuclear warheads using Superman. Wells' suspicions were confirmed when the Imperium horde invaded the defenseless Earth. Wells holds a seat at the World Assembly and given his military background, rallies behind having suitable defenses and is distrustful towards aliens, super humans and meta-humans.
Wells' distrust of aliens was confirmed once again when the Thanagarians proved to be hiding their true motives for Earth.


Womens Best Friend original illustration printed on soft tri blend tee. Women's fit, on the slim side but lightweight and stretchy, in grey and blue. Also available in grey is a more relaxed fit, not as slim as previous. Measure next to a tee you have to be sure.
Measurements across chest, tee flat ~ Regular slim fit women's tee (blue and grey) - S- 16.5", M-17.5", L-18.5", XL- 19.5"
Relaxed fit women's tee( grey only) - S-18", M-20", L-22", XL-24"


This peer support group is led by people who have also experienced trauma. PTSD Support Group provides a safe environment where PTSD sufferers can share their stories, listen to the experiences of others & discuss their daily problems and concerns.
This group is free and all are welcome.


text:
Q: cant compile app on phone gap - new error with depriciation I get the below errors in phonegap build. this is even when building an old version of the app that used to work. not understanding the error, any help??
Build Date: 2018-05-25 16:11:42 +0000
PLUGIN OUTPUT
Fetching plugin "cordova-plugin-inappbrowser" via npm
Installing "cordova-plugin-inappbrowser" at "3.0.0" for android
Fetching plugin "onesignal-cordova-plugin@^2.3.1" via npm
Installing "onesignal-cordova-plugin" at "2.4.1" for android
Subproject Path: CordovaLib
Fetching plugin "cordova-plugin-whitelist" via npm
Installing "cordova-plugin-whitelist" at "1.3.3" for android
This plugin is only applicable for versions of cordova-android greater than 4.0. If you have a previous platform version, you do not need this plugin since the whitelist will be built in.
Fetching plugin "cordova-plugin-geolocation@^2.4.1" via npm
Installing "cordova-plugin-geolocation" at "2.4.3" for android
Fetching plugin "cordova-plugin-compat@^1.0.0" via npm
Installing "cordova-plugin-compat" at "1.2.0" for android
COMPILE OUTPUT
:wrapper
BUILD SUCCESSFUL in 2s
1 actionable task: 1 executed
Subproject Path: CordovaLib
The Task.leftShift(Closure) method has been deprecated and is scheduled to be removed in Gradle 5.0. Please use Task.doLast(Action) instead.
    at build_3icce6xsgr7rsvstratajpe9b.run(/project/build.gradle:138)
The JavaCompile.setDependencyCacheDir() method has been deprecated and is scheduled to be removed in Gradle 4.0.
Incremental java compilation is an incubating feature.
The TaskInputs.source(Object) method has been deprecated and is scheduled to be removed in Gradle 4.0. Please use TaskInputs.file(Object).skipWhenEmpty() instead.
:preBuild UP-TO-DATE
:preReleaseBuild UP-TO-DATE
:checkReleaseManifest
:preDebugBuild UP-TO-DATE
:CordovaLib:preBuild UP-TO-DATE
:CordovaLib:preDebugBuild UP-TO-DATE
:CordovaLib:checkDebugManifest
:CordovaLib:prepareDebugDependencies
:CordovaLib:compileDebugAidl
:CordovaLib:compileDebugNdk UP-TO-DATE
:CordovaLib:compileLint
:CordovaLib:copyDebugLint UP-TO-DATE
:CordovaLib:mergeDebugShaders
:CordovaLib:compileDebugShaders
:CordovaLib:generateDebugAssets
:CordovaLib:mergeDebugAssets
:CordovaLib:mergeDebugProguardFiles
:CordovaLib:packageDebugRenderscript UP-TO-DATE
:CordovaLib:compileDebugRenderscript
:CordovaLib:generateDebugResValues
:CordovaLib:generateDebugResources
:CordovaLib:packageDebugResources
:CordovaLib:processDebugManifest
:CordovaLib:generateDebugBuildConfig
:CordovaLib:processDebugResources
:CordovaLib:generateDebugSources
:CordovaLib:incrementalDebugJavaCompilationSafeguard
:CordovaLib:compileDebugJavaWithJavac
:CordovaLib:compileDebugJavaWithJavac - is not incremental (e.g. outputs have changed, no previous execution, etc.).
Note: Some input files use or override a deprecated API.
Note: Recompile with -Xlint:deprecation for details.
:CordovaLib:processDebugJavaRes UP-TO-DATE
:CordovaLib:transformResourcesWithMergeJavaResForDebug
:CordovaLib:transformClassesAndResourcesWithSyncLibJarsForDebug
:CordovaLib:mergeDebugJniLibFolders
:CordovaLib:transformNative_libsWithMergeJniLibsForDebug
:CordovaLib:transformNative_libsWithSyncJniLibsForDebug
:CordovaLib:bundleDebug
:CordovaLib:preReleaseBuild UP-TO-DATE
:CordovaLib:checkReleaseManifest
:CordovaLib:prepareReleaseDependencies
:CordovaLib:compileReleaseAidl
:CordovaLib:compileReleaseNdk UP-TO-DATE
:CordovaLib:copyReleaseLint UP-TO-DATE
:CordovaLib:mergeReleaseShaders
:CordovaLib:compileReleaseShaders
:CordovaLib:generateReleaseAssets
:CordovaLib:mergeReleaseAssets
:CordovaLib:mergeReleaseProguardFiles
:CordovaLib:packageReleaseRenderscript UP-TO-DATE
:CordovaLib:compileReleaseRenderscript
:CordovaLib:generateReleaseResValues
:CordovaLib:generateReleaseResources
:CordovaLib:packageReleaseResources
:CordovaLib:processReleaseManifest
:CordovaLib:generateReleaseBuildConfig
:CordovaLib:processReleaseResources
:CordovaLib:generateReleaseSources
:CordovaLib:incrementalReleaseJavaCompilationSafeguard
:CordovaLib:compileReleaseJavaWithJavac
:CordovaLib:compileReleaseJavaWithJavac - is not incremental (e.g. outputs have changed, no previous execution, etc.).
Note: Some input files use or override a deprecated API.
Note: Recompile with -Xlint:deprecation for details.
:CordovaLib:processReleaseJavaRes UP-TO-DATE
:CordovaLib:transformResourcesWithMergeJavaResForRelease
:CordovaLib:transformClassesAndResourcesWithSyncLibJarsForRelease
:CordovaLib:mergeReleaseJniLibFolders
:CordovaLib:transformNative_libsWithMergeJniLibsForRelease
:CordovaLib:transformNative_libsWithSyncJniLibsForRelease
:CordovaLib:bundleRelease
:prepareAndroidArchCoreRuntime110Library
:prepareAndroidArchLifecycleLivedataCore110Library
:prepareAndroidArchLifecycleRuntime110Library
:prepareAndroidArchLifecycleViewmodel110Library
:prepareComAndroidSupportCustomtabs2711Library
:prepareComAndroidSupportSupportCompat2711Library
:prepareComAndroidSupportSupportCoreUi2711Library
:prepareComAndroidSupportSupportCoreUtils2711Library
:prepareComAndroidSupportSupportFragment2711Library
:prepareComAndroidSupportSupportMediaCompat2711Library
:prepareComAndroidSupportSupportV42711Library
:prepareComGoogleAndroidGmsPlayServicesBase1201Library
:prepareComGoogleAndroidGmsPlayServicesBaseLicense1201Library
:prepareComGoogleAndroidGmsPlayServicesBasement1201Library
:prepareComGoogleAndroidGmsPlayServicesBasementLicense1201Library
:prepareComGoogleAndroidGmsPlayServicesLocation1201Library
:prepareComGoogleAndroidGmsPlayServicesLocationLicense1201Library
:prepareComGoogleAndroidGmsPlayServicesTasks1201Library
:prepareComGoogleAndroidGmsPlayServicesTasksLicense1201Library
:prepareComGoogleFirebaseFirebaseCommon1201Library
:prepareComGoogleFirebaseFirebaseCommonLicense1201Library
:prepareComGoogleFirebaseFirebaseIid1201Library
:prepareComGoogleFirebaseFirebaseIidLicense1201Library
:prepareComGoogleFirebaseFirebaseMessaging1201Library
:prepareComGoogleFirebaseFirebaseMessagingLicense1201Library
:prepareComOnesignalOneSignal391Library
:prepareOrgApacheCordovaCordovaLib623ReleaseLibrary
:prepareReleaseDependencies
:compileReleaseAidl
:compileReleaseRenderscript
:generateReleaseBuildConfig
:generateReleaseResValues
:generateReleaseResources
:mergeReleaseResources
:processReleaseManifest
:processReleaseResourcesERROR: In  FontFamilyFont, unable to find attribute android:font
ERROR: In  FontFamilyFont, unable to find attribute android:fontStyle
ERROR: In  FontFamilyFont, unable to find attribute android:fontWeight
FAILED
FAILURE: Build failed with an exception.

*

*What went wrong:
Execution failed for task ':processReleaseResources'.

com.android.ide.common.process.ProcessException: Failed to execute aapt

*Try:
Run with --stacktrace option to get the stack trace. Run with --info or --debug option to get more log output.
BUILD FAILED
Total time: 2.249 secs
Error: /project/gradlew: Command failed with exit code 1 Error output:
Note: Some input files use or override a deprecated API.
Note: Recompile with -Xlint:deprecation for details.
Note: Some input files use or override a deprecated API.
Note: Recompile with -Xlint:deprecation for details.
ERROR: In  FontFamilyFont, unable to find attribute android:font
ERROR: In  FontFamilyFont, unable to find attribute android:fontStyle
ERROR: In  FontFamilyFont, unable to find attribute android:fontWeight
FAILURE: Build failed with an exception.

*

*What went wrong:
Execution failed for task ':processReleaseResources'.

com.android.ide.common.process.ProcessException: Failed to execute aapt

*Try:
Run with --stacktrace option to get the stack trace. Run with --info or --debug option to get more log output.
at ChildProcess.whenDone (/project/cordova/node_modules/cordova-common/src/superspawn.js:169:23)
at emitTwo (events.js:106:13)
at ChildProcess.emit (events.js:191:7)
at maybeClose (internal/child_process.js:877:16)
at Process.ChildProcess._handle.onexit (internal/child_process.js:226:5)

A: In your platforms/android folder that contains the build.gradle file, create another file called build-extras.gradle and put the following inside of it:
configurations.all {
    resolutionStrategy {
        force 'com.android.support:support-v4:27.1.0'
    }
}

I had the same issue and this fixed it for me.  I also had to update AndroidManifest.xml to point to the correct icon folder because it changed that config variable to the mipmap folders instead of the drawable folders.

A: Set your compileSdkVersion to 23 in your module's build.gradle file and  see


text:
~ Movie reviews and anything else that comes to mind
The River Wild
Posted by vinnieh in Movie Reviews
1990's, Action, Curtis Hanson, David Strathairn, John C. Reilly, Joseph Mazzello, Kevin Bacon, Meryl Streep, The River Wild, Thriller
A well directed action thriller that isn't breaking any original ground but at the same time isn't trying to, The River Wild has tension, great scenery and fine acting headed by an athletic Meryl Streep.
Gail Hartman( Meryl Streep) is a history teacher for the deaf who used to be a river guide along the rivers of Idaho. She still occasionally practices something similar, albeit in Boston and with no sign of danger or adrenaline rush. Gail is married to the distant Tom(David Strathairn); a constantly busy architect who spends more time on his job than being there for his wife and kids, in particular Roarke( Joseph Mazzello). The young boy resents his father for never being around and believes that his approaching birthday will be another when his father won't show. Gail takes Roarke to Idaho for some white water rafting, Tom surprisingly tags along but their journey down river is still awkward as Tom doesn't know how to connect with his family. Along their journey and as Gail tries to repair her strained marriage, they come across charming Wade(Kevin Bacon) and his friend Terry(John C. Reilly) . They are having trouble navigating the river and are pretty ill prepared. Gail starts to help them, which causes them, especially in the case of Wade, to become closer to Gail and Roarke. Gail enjoys the company of someone she sees as needing help and being likeminded. Roarke finds someone to talk to in Wade, in comparison with his staid father who he doesn't have the best of relationships with, stemming from Tom's frequent absence and dedication to his work. Though they are friendly at first, the fact that Wade and Terry keep popping up along the river alarms Tom and later Gail, as does some questionable actions like spying on Gail and Tom when they briefly wander off and being cagey on the reasons they are on the river. A reconnecting Gail and Tom decide to ditch Wade and Terry as subtly as possible after becoming increasingly alarmed by the duo. Just as try to escape with Roarke, they are violently stopped by Wade, who begins to show his cruel and nasty colours . It transpires that the duo have robbed a large sum of money and to evade capture decided to go down the river. They really hadn't thought their plan through very well as Wade can't swim and they must advance further than The Gauntlet to get away. The Gauntlet is a death defying set of rapids that adventurous Gail went through in her youth, but it has since been declared too dangerous following a death to one rafter and paralysis for another. Threatening the family, Wade forces Gail to take them to The Gauntlet, despite her warnings of its impending doom and how barely anyone makes it out alive. The family is separated after a scuffle between Tom and Wade. Tom, beginning to shed his image as a boring, corporate drone goes ahead on foot through the wilderness, hoping to figure out a way to ensure the safe return of his wife and son. But just how long can Gail protect her son and herself from danger as treacherous water lies ahead? And can Tom catch them up and derail Wade's deadly plans?
Curtis Hanson efficiently brings out the adventure, tension and drama at the heart of The River Wild with considerable skill. The story may seem familiar and some beats that you're well aware of take place, but Hanson has you glued with his direction. He knows it's all in the mounting of tension and then letting things take flight, complete with some surprises. The use that the family has of sign language is an inspired choice that allows them to communicate in a way unfamiliar to their kidnappers and wonderfully succeeds in being in the family back together in crisis. The first part of the film is all in the build up that effectively introduces terror through little hints that take on greater meaning once the kidnapping and forcing to help begins, the big set pieces come. And they are spectacular scenes as the beautiful yet treacherous landscape is observed( in a stunning showcase of cinematography) as a race for survival ensues. Though not every part of the story works and it can smell of contrivance, the overall content is pleasingly action packed yet has some emotion to make a difference. For a movie conveyed with action and thriller elements, The River Wild doesn't scrimp on character development or getting us to know the central players in the story. There's already some tension before anything truly suspenseful happens. The family unit is already falling apart and thankfully being well observed, while resisting the urge to go into full on soap opera on water territory. Jerry Goldsmith is on score duties and his skill in dripping suspense in is key to the atmosphere here; along with sneaking in some gorgeous pieces of moving symphony to compliment the lush surroundings about to be overtaken by nail biting tension.
The acting is of a high calibre it must be said. Heading things is the ever impressive Meryl Streep flexing a sense of physicality we are not used to from her while retaining a humanity that grounds things. Streep is a force of nature; glowing with a radiance and an intimidating stare, coupled with protectiveness, vigour and freedom. Simply stated, Meryl Streep is the driving force behind The River Wild with a dedicated role that shows off her dedication to her work, a great physical presence of toned arms and legs and how she can slot easily into any genre like the true professional she is. Projecting evil and oozing dangerous charm is the talented Kevin Bacon, whose boyish appearance is used to great effect in masking the true depravity and violence of his character before letting it out. Bacon just really knows how to unsettle here as he plays games with the other characters and tries to really get inside their heads. His frequent clashes with Streep are a highlight as they face off wonderfully in a thrill ride of a movie. I always enjoy seeing Kevin Bacon in a film and in The River Wild it is no exception. Also very strong here and an actor that I feel is often overlooked is David Strathairn, who is superb as the absent father forced into action. Strathairn gets the sense of a man too wrapped up in his life that he's become desensitised to everything important to him and also credibly charts his rise to being a reliable thinker and survivor. Once Strathairn is separated from the others, his journey begins and its pretty great to see him change so realistically and excellently from a boring workaholic to quick thinking and unrelenting in his hope of saving his family. Its a classy turn from the gifted David Strathairn. John C. Reilly shades his supporting role as lackey with some nice grey areas, while Joseph Mazzello plays the plucky kid with the right amount of spirit and hear.
For my money, The River Wild is an underrated action/thriller that is spearheaded by a sensational Streep and generates some real excitement. By the numbers as sine of it is,
14 thoughts on "The River Wild"
beetleypete said:
Despite the fact that Bacon couldn' t (from the outset) possbly conceal his delight at being cast as a wicked villain, I really enjoyed this. Full marks to Streep, and although we always knew the ending, the tension bits were suitably tense.
Thanks most of all for your mention of Strahairn, who is a woefully underused and underrated actor. He is one of the best of his generation, in my opinion.
If you have never seen this wonderful film, I recommend it. (He is in it, with Clooney)
https://en.wikipedia.org/wiki/Good_Night,_and_Good_Luck
Cheers, Pete.
vinnieh said:
Bacon is ace as the villain. And Streep equipped herself well in a genre we wouldn't normally associate her with. I love Strathairn, I'll have to give that movie a watch.
fragglerocking said:
I've seen this twice and now I want to see it again! Great review V~man, spot on!
That's a comment I loved seeing.
By Hook Or By Book ~ Book Reviews, News, & Other Stuff said:
I love the cast and think this is a fun popcorn flick.
You said it Kim. Love that cast, all delivered. And it's a blast to see Meryl Streep as an action heroine
ninvoid99 said:
This was definitely an underrated film and a solid action film with Meryl Streep in rare form. It makes me wish that she would do more action films as I think people are ready to see her in some big-ass action franchise film like Fast and the Furious. I don't smell $$$$$. I smell… A SHITLOAD OF $$$$$$$$$$$$$$$$$$
It'd be fun to see her in another action flick.
Bluebird4UDaily said:
Thank you my friend for the wonderful memories of this movie, which I totally enjoyed many times watching it.
If I bring back memories, I've done my job.
Alex Withrow (@shiftingPersona) said:
Nice review! I agree that this is an underrated '90s thriller, with some incredible cinematography. Everyone in this movie seems game for the ride, and I dig it.
I dig it too. The River looks gorgeous and that cast is having a blast
alexraphael said:
That's a good cast! Sounds a fun film.
It's a very good action thriller.
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Currently working as a songwriter and performer in Nashville, Austin, NYC, LA and the Bay Area, Matthias Clark redefines the definition singer-songwriter. Regaled by some as the most prolific improvising songwriter around, Matthias is known for his solo recordings and gigs, and as a member of King Holiday. He is an innovator on the guitar, as well as a talented composer, arranger, producer, vocalist and multi-instrumentalist. But those gifts only begin to tell the tale of this Greenwich Village native.
Baywood Jones is the band Matthias formed to Practice Electric soul jazz guitar on the central coast/ he will be joined by Wayne Alcoff on Keys/ Anthony Donatelli on horns and Luis Monge on drums. Wine.Brews.Menu. Locals! Puffer's is the place.


text:
Overture for Winds (arr. Patterson)
Felix Mendelssohn-Bartholdy (ed. Donald Patterson)
This work bears the designation Opus 24.
3 Errata
4 Program Notes
6 State Ratings
8 Works for Winds by This Composer
Year: 1824 / 2008
Duration: c. 10:00
Difficulty: IV (see Ratings for explanation)
Original Medium: Chamber orchestra
Publisher: Cimarron Music Press
Cost: Score and Parts (print) - $45.00; (digital) - $45.00
Oboe I-II
Bassoon I-II
Contrabassoon
B-flat Soprano Clarinet I-II
B-flat Trumpet
Horn in F I-II
None discovered thus far.
The Op. 24 by Felix Mendelssohn-Bartholdy was composed in July of 1824 for the court orchestra of Bad Doberan near Rostock, where the young musician was accompanying his father. Writing for the Boston Symphony, George Marke remarks, "Some artists develop their craft slowly, others seem to being at the top. There is little difference between Mendelssohn's early and his mature works."
The original score was lost but recopied by Mendelssohn in July of 1826. These two scores were entitled Nocturno and were written for the instrumentation of one flute, two clarinets, two oboes, two bassoons, two horns, one trumpet, and one English bass horn (a conical bore upright serpent in the shape of a bassoon).
In his correspondence to the publisher Simrock, Mendelssohn mentions his desire to have this eleven-instrument version published, but apparently could not locate the score as he never mentions it again to Simrock after March 4, 1839. Mendelssohn did send Simrock an Ouverture fur Harmoniemusik ("Overture for Wind Band") scored for twenty-three winds and percussion along with a four-hand piano score on November 30, 1838. The 1838 composition is a re-scoring of the Nocturno for German Band of that era and was not published until 1852 following the death of Mendelssohn.
It has been suggested by musicologists that the 1838 re-scoring was an effort to imitate the orchestral color of Weber's Preciousa Overture. In Weber's overture, a gypsy melody is introduced by a small wind band with percussion accompaniment. At this time, however, Mendelssohn was also negotiating for the publication of the overture by Mori in London. It is quite possible that the re-scoring was an attempt to acquire greater performance opportunities for his work by making it available in settings for British and German bands along with a proposed edition for orchestra.
Several editions for modern instrumentation have appeared, all using the 1838 score as their source.
- Program Note by John P. Boyd
Audio: Reference recording. MIDI realization
State Ratings
To submit a performance please join The Wind Repertory Project
University of Wisconsin-Milwaukee Wind Ensemble (John Climer, conductor) - 30 April 2021
Central Washington University (Ellensburg) Wind Ensemble (Paul Bain, conductor) - 11 March 2021
McKinney (Tx.) High School Honors Band - 2010
Works for Winds by This Composer
Adaptable Music
Scherzo (Flex instrumentation) (arr. Ambrose) (1823/2021)
All Wind Works
Concertpiece No 1 (tr. Mooren). See: Konzertstück nr. 1
Concertpiece No 2 (arr. Gee) (1831 / 1964)
Elegy (arr. Erickson) (1961)
Fingal's Cave Overture (tr. Winterbottom) (1832/1910)
Fingal's Cave Overture (tr. Seredy) (1832/1946)
Hark! The Herald Angels Sing (arr. Holcombe) (1840/1997)
Notturno (arr. Hautvast) (1842/2005)
Konzertstück nr. 1 (tr. Mooren) (1833/1998)
Konzertstück No. 1 in F minor (tr. Knox) (1833/)
March, Opus 108 (arr. Stalter) (1841/2011)
Midsummer Night's Dream (ed. Laurendeau) (1826/1904/1909)
A Midsummer Night's Dream (arr. De Meij) (1826/2022)
Nottorno. See: Ouvertüre in C für Harmoniemusik
Ouvertüre in C für Harmoniemusik (ed. Hogwood) (1824/1838/2005)
Overture for Band (ed. Garofalo) (1824/1838/1998)
Overture for Band (adapt. Greissle) (1839/1948)
Overture for Band, Opus 24 (tr. Fred) (1824/1981)
Overture for Winds (adapt. Boyd) (1824/1981)
Overture for Winds (ed. Patterson) (1824/2008)
Piano Concerto in G minor: First Movement (tr. Dahnert) (1831/1954)
Ruy Blas Overture (tr. Moses-Tobani) (1839/1900)
Scherzo from "A Midsummer Night's Dream" (arr. Blair) (1842)
Selections from "A Midsummer Night's Dream" (arr. Tarkmann) (1842/1997)
Spring Song (arr. Laurendeau) (1844/1898)
Symphony No. 2
Choral (tr. Aubin) (1840/2011?)
Trauermarsch (ed. Leidzen) (1836/1954)
War March of the Priests (1845/2013) (arr. Balfoort)
War March of the Priests (1845/2013) (ar. Stalter)
Mendelssohn, F.; Patterson, D. (2008). Overture for Winds, Op. 24: Mixed Woodwinds [score]. Cimarron Music Press: [s.l.].
Retrieved from "https://www.windrep.org/index.php?title=Overture_for_Winds_(arr._Patterson)&oldid=215324"
Grade IV
Overtures


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text:
license: >
    Licensed to the Apache Software Foundation (ASF) under one
    or more contributor license agreements.  See the NOTICE file
    distributed with this work for additional information
    regarding copyright ownership.  The ASF licenses this file
    to you under the Apache License, Version 2.0 (the
    "License"); you may not use this file except in compliance
    with the License.  You may obtain a copy of the License at

        http://www.apache.org/licenses/LICENSE-2.0

    Unless required by applicable law or agreed to in writing,
    software distributed under the License is distributed on an
    "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY
    KIND, either express or implied.  See the License for the
    specific language governing permissions and limitations
    under the License.

title: CaptureCB
---

# CaptureCB

> Auf eine erfolgreiche Media-Erfassungsvorgangs aufgerufen.

    function captureSuccess( MediaFile[] mediaFiles ) { ... };

## Beschreibung

Diese Funktion wird ausgeführt, nachdem ein erfolgreiche Capture-Vorgang abgeschlossen ist. An diesem Punkt kann eine Mediendatei erfasst wurden und entweder der Benutzer die Medien-Capture-Anwendung beendet hat oder die Capture-erreicht.

Jedes `[MediaFile](MediaFile.html)` Objekt beschreibt eine aufgenommenen Medien-Datei.

## Kleines Beispiel

    // capture callback
    function captureSuccess(mediaFiles) {
        var i, path, len;
        for (i = 0, len = mediaFiles.length; i < len; i += 1) {
            path = mediaFiles[i].fullPath;
            // do something interesting with the file
        }
    };


The next lecture will be Monday, June 23, 7 p.m. at the Millburn Library.
Please note that the meeting is on MONDAY, instead of our usual Tuesday meeting, due to a scheduling conflict.
Be sure not to miss this lecture by Susan Butler, who will discuss her award winning book, My Dear Mr. Stalin - the first and only complete collection of correspondence between President Franklin Roosevelt and Joseph Stalin. The book will be available for purchase and signing.
This lecture will be the last of this season and the Book Club will reconvene on Tuesday, September 15, when Barbara Boyer will discuss Unit 731, the book about the infamous medical unit of the Japanese. During World War II, Unit 731 performed countless medical experiments on prisoners of war and as well as many civilians.
Please remember to come early, as the Glen Avenue bridge is still under repair and traffic in the area can be very heavy, particularly during the early evening hours.
In order for the Book Club to be able to attract top notch speakers, it must be able to cover the basic expenses of travel, hotel and meals, incurred by our speakers. In the past, a number of members have made generous contributions to do just that. Please reach out to Dr. John McLaughlin if you are able to make an additional contribution to the Book Club so that we can continue to attract the top notch speakers we have enjoyed in the past.
The next lecture will be Tuesday May 20, 2014, as usual, 7 p.m., Millburn Library. Be sure not to miss this lecture by Richard Breitman who will discuss his award winning book, FDR and the Jews. The book will be available for purchase and signing for $20.
We expect an overflow crowd so please come early, and remember that the Glen Avenue Bridge is still not repaired. Consequently, traffic in the area is very heavy during the early evening hours.
In the past, a number of members have made generous contributions to help defray the expenses of travel, hotel, meals and other expenses of our speakers. For this we are grateful. We are not able to attract top notch speakers without the ability to cover expenses. We would be grateful if any our members would make an additional contribution for this purpose.


text:
Master Crook's Crime Academy: Burglary for Beginners / Robbery for Rascals (2 books in 1) Award-winning author/illustrator
by Terry Deary (author)
Suitable for 12 - 16 years
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At Master Crook's Academy, scoundrels save the day! But will light-fingered new boy Smiff turn out to have the magic touch?
Master Crook's Crime Academy
Author/Illustrator
Terry Deary was born in Sunderland in 1946 and currently lives in County Durham. Terry is a former actor, theatre-director and Drama teacher. He spends his time writing and directing for his television production company, managing his website, terry-deary.com, and touring his Horrible Histories exhibition. Terry is the author of 116 books in the UK and over 250 more worldwide, mainly for children and teenagers, including the popular non-fiction series Horrible Histories. Horrible Histories were launched in 1993 and are now sold in 28 languages from Russia to Brazil, Scandinavia to China.
In 2003, Horrible Histories celebrates its 10th Anniversary!
In 1996 Terry was the best selling British children's author with 5 of his books in the top ten best-sellers of the year (Waterstones Book Shop tables). In August 1997 he was still leading the way with thirteen titles in the top forty. (Bookseller listings). In 1999, The Daily Telegraph recorded that he outsold Enid Blyton by four to one and a Libraries survey made him the most-borrowed author of non-fiction in Britain – adult and children's books. Terry currently holds 8 out of the 10 slots for 'Most Borrowed Children's Non-Fiction' authors in the Public Lending Rights annual survey covering July 1998-June 1999. In November 1999 Books for Keeps magazine readers voted him "The outstanding children's non-fiction author of the 20th Century".
Terry's district council have awarded Terry an "oscar" as one of their top citizens and Sunderland University have awarded Terry an Honorary Doctorate in Education (HonDEd) which was awarded in July 2000.
In early 1998, the Top Ten series was launched with two titles written by Terry, Top Ten Shakespeare Stories and Top Ten Greek Legends.
Terry's latest additions to the Horrible Histories series are the Horrible Histories Special: France and Cruel Crimes and Painful Punishment. And if Horrible Histories wasn't keeping him busy enough Terry has also contributed a range of titles to the True Stories series including True Mystery Stories and True Horror Stories.
The Horrible Histories exhibition is up and running in museums around Britain until 2003. He has also just set up a television production company and is negotiating to make a series of audio tapes and writing radio scripts for BBC World Service.
"If you haven't come across 'Horrible Histories' before you've missed a true publishing phenomenon – Terry Deary seems to have invented a whole new genre with his series of books looking at history in an entirely different way." Books Magazine, July 96
"I do not like reading very much and my Mum is pleased that I have found some books I like so much that I read them without being asked!" Fan letter from 10-year-old boy
For more information why not visit www.terry-deary.com or join his fan club?


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716 properties found in Centro Histórico ().


Goal #1: To prepare dental hygienists to possess the skills and knowledge to competently assess, plan, implement and evaluate patient care services for all populations.
Competency 1: The student will demonstrate the ability to integrate foundational knowledge and clinical skills to deliver the highest standard of dental hygiene care to all populations and periodontal types using the dental hygiene process of care.
Goal #2: To prepare dental hygienists who will apply ethical reasoning and professional responsibility in performing patient care services and interactions with faculty, peers and staff.
Competency 2: The student will provide skilled care using the highest professional knowledge, judgment and ethical reasoning and decision-making following ADHA Code of Ethics and base it on knowledge with respect for all state and federal laws.
Goal #3: To prepare dental hygienists to possess the skills and knowledge to develop, implement and evaluate public oral health programs.
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Goal #4: To prepare dental hygienists who will use scientific research in problem solving and critical decision making for all professional activities.
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Goal #5: To develop dental hygienists who apply self-assessment skills to facilitate the ability to be life long learners.
Competency 5: The student will demonstrate the ability evaluate and reflect on their professional growth as a strategy for life long learning.


text:
Aimee Mann, "Bachelor No. 2, or The Last Remains of the Dodo"
April 6, 2017 April 5, 2017 Chris Kriofske
(My 100 favorite albums in chronological order: #64 – released March 7, 2000)
Track listing: How Am I Different / Nothing Is Good Enough / Red Vines / The Fall of the World's Own Optimist / Satellite / Deathly / Ghost World / Calling it Quits / Driving Sideways / Just Like Anyone / Susan / It Takes All Kinds / You Do
How many artists or bands (beyond The Beatles) can you name whose first three albums are all great? One could reasonably make a case for anyone from Talking Heads to Tori Amos (not counting Y Kant Tori Read, of course), but in this canon of 100 favorite albums, only Aimee Mann makes the grade. And yes, she did record three earlier albums as leader of the band 'Til Tuesday, but the break between them and her solo debut, Whatever is definite—you would never confuse the latter as the product of the former. That 1993 album wholly re-established Mann's career, knocking everyone who heard it sideways with its mature sound and scope; its follow-up, I'm With Stupid (1996) further expanded and fine-tuned her persona as a literate, occasionally acerbic singer/songwriter rightfully staking her claim as the alt-rock queen of the kiss-off, not to mention an endearing underdog when it came to navigating her way through major record label politics.
Speaking of which, after Interscope rejected her third album in 1999 for not having sufficient "commercial appeal", Mann bought back the rights and released it herself the following year on her own label, SuperEgo. In hindsight, Bachelor No. 2 (or, The Last Remains of the Dodo) feels no less commercial than either of the two preceding albums, but the very late '90s wasn't a stellar time to be a female artist unless your first name was Britney or Christina. Just a few years before, alt-rock-friendly women from Sheryl Crow to Paula Cole regularly crossed over to the pop charts, but closer to decade's end, they couldn't even get widespread radio airplay on alt-rock radio, which had devolved into a more male-dominated format heavy with rap-rock and nu metal. Then pushing 40, Mann was less likely than ever to get a radio or MTV hit even as fleeting as "That's Just What You Are".
Bachelor No. 2's opening salvo addresses this conundrum straight away. As "How Am I Different" proceeds at a slow, deliberate swagger, Mann repeats the song's titular question at its chorus, stretching out the word "How" to nine+ syllables, the guitars swelling like a steady pressure cooker almost ready to blow—and it does, at the subsequent bridge when she sings, with controlled but deeply felt vitriol, "Just one question before I pack / When you fuck it up later, do I get my money back?" As many a Mann song before it, one could interpret it as relating to either a personal or professional relationship; however, her recent history and the mere mention of a monetary transaction firmly nudges the song into the latter category. Although it reprises sentiments voiced on earlier tunes such as "Long Shot", "I Should've Known" and "Sugarcoated", it feels as if something really vital here's at stake, perhaps because after all this time, it keeps on happening.
Such subject matter resurfaces throughout Bachelor No. 2—she's simultaneously sharpening her attack and refining her late-Beatles derived sound. "Red Vines" picks up right where "That's Just What You Are" left off, laying a shuffling drum loop under a warm bed of guitars (including slide played by her husband, Michael "No Myth" Penn) and a gorgeous melody; it also has some of her most enigmatic lyrics to date, alluding to catching lightning bugs, "punching some pinholes / in the lid of a jar / while we wait in the car," all the while "sitting on the sidelines / with my hands tied / watching the show." Similar accusations of being held back or deemed inferior return in the catchy "Ghost World". Inspired by, but never directly referencing Daniel Clowes' comic except for its shared title (about a year before Terry Zwigoff's film adaptation), it's self-deprecating ("I'm bailing this town / or tearing it down / or probably more like hanging around,") yet also proudly defiant, concluding with her asking, "So tell me what I want, anyhow."
Jon Brion, who produced Mann's last two albums, only helms two tracks here. "The Fall of the World's Own Optimist" heavily bears his stamp with layers of guitars, antique keyboards and Lennon-esque backing vocals (Mann also co-wrote it with Elvis Costello, whom one can easily imagine mastering its chewy lyrics and melody); the other, "Deathly", is a big, bold-strokes, nearly anthem-like ballad that harkens back to other Brion productions (most notably "Stupid Thing" via its guitar solo and "Amateur", which also had backing vocals from Juliana Hatfield). It's also one of four songs that, months prior to this album's release, appeared on the soundtrack to Paul Thomas Anderson's Magnolia—a film almost entirely made up of Mann's songs and very much inspired by them as well. One character onscreen even quotes the first line of "Deathly" verbatim: "Now that I've met you / would you object to / never seeing each other again?"
Another Magnolia cut is one of Bachelor No. 2's highlights: "Driving Sideways" follows a four-chord progression that's comfortably familiar but not derivative. Mann's vocal carries nearly the entire piano-heavy song, never pausing for a significant instrumental break until the brief, guitar solo-besotted coda. Although the lyrics are as barbed as ever ("At least you know / you were taken by a pro"), Brendan O'Brien's clear-eyed production casts a warm glow over it that suits Mann's somewhat retro, power-pop aesthetic while also feeling not entirely like anything else she's previously done, emitting a '70s (rather than a late '60s) Los Angeles rock vibe.
On the two remaining Magnolia holdovers, Mann dips into other uncharted territories. Uncommonly gentle and quiet, "You Do" musically nearly resembles '70s MOR a la The Carpenters (!), complete with creamy guitars and such outdated instrumental touches as a chiming celeste and, as the liner notes describe it, "cheesy keyboards"; fortunately, her knowingly delicate vocal and cut-to-the-bone lyrics ("and I'm the one who tells you / he's another jerk,") are just a tad acerbic to be mistaken for Karen and Richard. "Nothing is Good Enough" (which appeared on Magnolia as an instrumental), on the other hand, is much closer to Bacharach/David, especially in its tap-tap-tapping piano lines and agile melodic cadences; it also fully retains Mann's proficiency for let's-get-to-the-point dressing-down, as witnessed in lyrics such as, "No, there's no one else, I find / to undermine or dash a hope / quite like you."
The wistful, laid-back "It Takes All Kinds" travels further down this path, even making an explicit reference to its primary inspiration with the couplet, "I would like to keep this vision of you intact / When we sat around and listened to Bacharach," not to mention the very Dionne Warwick-esque "do-do-do-do-do-wee-ooo" that immediately follows. Fortunately, it's a lovingly crafted pastiche; "Satellite" is an even better one. From an exquisite piano intro to graceful melodic vocal swoops on the chorus, it has an intricate arrangement where each part individually shines (timpani, bell-like keyboards, shimmering cymbals) but together makes a splendidly orchestrated whole. It exudes class and, more crucially, awe and wonderment, especially at the silent pause after she finishes each chorus of, "Baby, it's clear, from here / you're losing your atmosphere / from here, you're losing it."
As her third great album in a row, it's tempting to view Bachelor No. 2 as the final part of a trilogy, but it feels more transitional than anything. Brion's limited role here is telling, along with the way it vacillates from track to track between Beatles and Bacharach-derived ends of the '60s musical spectrum. Throughout, it takes other detours as well, such as "Calling It Quits", a gauzy, spacious attempt at trip-hop with plenty of drum programming, compressed trumpet blasts on the chorus and loads of reverb. It sounds more of-its-time than anything else here but it retains Mann's cleverness and bite ("With Monopoly money / we'll be buying the funny farm") and anticipates her later experiments with (even) moodier tempos and electronic textures. In direct contrast, "Just Like Anyone", her requiem for recently departed singer/songwriter Jeff Buckley is a simple acoustic guitar, accordion and violin ballad that clocks in at a concise 83 seconds. Yet, to her credit, like the Bacharach pastiches, neither song feels at all out of place.
While one can now view Bachelor No. 2 as an album Mann wrote and recorded when her career was in flux (the Magnolia soundtrack, which resulted in an Academy Award nomination for "Save Me" for Best Original Song, exposed her to a wider audience), it worked for the exact same reason its two predecessors did—as a songwriter, Mann was at the top of her game, and as an album, it's remarkably consistent. It plays like any great collection of songs should; one can sense the craft that went into and easily hum along with each one. Heck, even the pleasant, radio-friendly "Susan" (the most comparably rote song here) would be an absolute highlight on a Crow or Cole LP.
Neither Magnolia nor this album exactly made Mann a household name, but she's forged a more venerable career than many of her '80s new wave or '90s alt-rock peers. Her subsequent discography contains plenty of gems, from "Video" to "Labrador" to "Milwaukee" (that last one from The Both, a collaborative LP with Ted Leo); none of her later albums, however, are in quite the same league as those first three. Lost In Space lacks their sonic lucidity and tonal sharpness, The Forgotten Arm treads over well-worn musical tropes with diminishing results, @#%&! Smilers has too many distracting squelchy keyboards, etc. But those are all quibbles—when she's on, she's in the running for one of the best songwriters of her generation. Although it's still too soon to tell (having come out a week ago at this writing), her latest album, the somber, acoustic, impeccably titled Mental Illness is mighty promising—maybe even her best since Bachelor No. 2.
Up next: maybe the best obscure singer/songwriter of his generation.
"How Am I Different":
100 AlbumsAimee Mann, Bachelor No. 2, How Am I Different?, Satellite
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