text:
Q: New paragraph without indent in KOMA Script This might be the stupidest question ever asked on TeX.sx, but I recently changed my paragraphing style and now run into problems. Consider the following MWE:
\documentclass{scrartcl}

\begin{document}

This is a line. This is a line. This is a line. This is a line. This is a line.

Indented new paragraph. Indented new paragraph. Indented new paragraph. Indented new paragraph. Indented new paragraph.\\

New block again indented. Should not be indented.

\end{document}

It produces the following output:

In my opinion, there should not be an indented in the second paragraph. How do I avoid this?

A: Manual solution: Add \noindent at the beginning of the paragraph that shouldn't be indented.
Automatic solution: Enable parskip, i.e. space in between paragraphs and create a custom macro for "indented linebreaks". This works, but by all means isn't pretty. What I wrote in my comment to your question still applies, and have a look at p. 49f (0.5 pages) of section 3.1.3 of the KOMA-Script manual about the disadvantages of parskip.
\documentclass[parskip=full]{scrartcl}

\newcommand{\mylinebreak}{\newline\hspace*{11pt}}% 11pt is about the standard \parindent
                 %(but only if you don't use a font size option to your document class!)

\begin{document}

This is a line. This is a line. This is a line. This is a line. This is a line.\mylinebreak
Indented new paragraph. Indented new paragraph. Indented new paragraph. Indented new paragraph. Indented new paragraph.

New block again indented. Should not be indented.

\end{document}

To find out the current \parindent (e.g. if you've loaded a document class with a 12pt option), remove the parskip option and add \the\parskip to your document body, which will print the current value of \parindent to your document.

redpajama_set_name: RedPajamaStackExchange


text:
huggies.com
Critical Issues to Attend 9
✔ Edit the .htaccess file and keep the redirection of your page to the minium (0 or 1).
✔ Extend the registration of your domain for a longer period.
✔ Reduce the length of the meta description and ensure it only contains 70 to 160 characters.
✔ Add more meta keywords for your page and allows it to contains 10 to 20 words.
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Baby Products, Care & Parenting Advice | Huggies® US
Huggies® is with you during every step of your journey into motherhood. Discover our baby products + a wealth of information on pregnancy, baby care & parenting!
Baby Products, Care & Parenting Advice | Huggies® US www.huggies.com/
Huggies® is with you during every step of your journey into motherhood. Discover our baby products + a wealth of information on pregnancy, baby care & ...
The keywords is too short!
Keyword Occurrences in Different Sections
1 word : 100% (1/1)
keywords 1 (0.11%)
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diapers 48 5.16%
huggies 37 3.97%
wipes 28 3.01%
baby 21 2.26%
explore 18 1.93%
skin 17 1.83%
pregnancy 15 1.61%
rsquo 15 1.61%
rewards 14 1.50%
care 13 1.40%
reg 12 1.29%
size 11 1.18%
tips 10 1.07%
lbs 9 0.97%
articles 9 0.97%
parenting 9 0.97%
products 9 0.97%
free 8 0.86%
tools 8 0.86%
learn 8 0.86%
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0.86 seconds - 18.76 Kb/s
16 Kb (16,135 bytes) 7 Kb (7,265 bytes) 9 Kb (8,870 bytes) 81.91 %
4 redirections were detected for loading this page.
Excellent! the websites https://www.huggies.com/en-us/ and http://huggies.com are resolved to the same url :https://www.huggies.com/en-us/
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You may use url rewrite techniques to make these 20 urls to be SEO friendly.
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http://huggies.com/-/media/feature/search/huggies-mbl-search-icon.png search image
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http://huggies.com/-/med...a/Feature/media/Media-Annotations/Dotted-Half-Circle.png annotation
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http://huggies.com/-/media/feature/navigation/icon/top-Icon.png Alternate Text
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http://huggies.com/-/med...ore.jpg?h=39&w=132&hash=D2D4D7EF56229014957D0D793979B3F3 App Store
http://huggies.com/-/med...lay.jpg?h=39&w=133&hash=2C5D9B5F2245E46E92069E0AEFD83886 Google Play
Too many (4) external style sheet files , it will slow down the downloading.
http://huggies.com/asset...mes/cssComponent/globalComponent/globalComponent.min.css stylesheet
http://huggies.com/assets/css/themes/cssComponent/homepage/homepage.min.css stylesheet
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http://huggies.com/layouts/system/VisitorIdentification.js text/javascript
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http://huggies.com/Coveo/Hive/js/CoveoForSitecore.Lazy.min.js text/javascript
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http://huggies.com/en-us/newsletter Sign Up For Email Newsletter
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Facebook Likes 270
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Facebook Comments 345
Tweets 0
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your server (IP : 104.16.245.7) is located at United States
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huggies.com ( 11 characters )
Domain Registrar : CSC Corporate Domains, Inc.
26 years, 331 days old 1 year, 334 days ago 0 years, 33 days from today
Domain Name Servers used by huggies.com
alfred.ns.cloudflare.com 162.159.44.131
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Domain is going to expire in less than a year time (0 years, 33 days from today), try to renew it for more than one year!

redpajama_set_name: RedPajamaCommonCrawl


text:
Quinnipiac University medical student receives Arnold P. Gold Foundation funding to develop grocery voucher program to address food insecurity among type II diabetes patients at Fair Haven Community Health Care
Arangan, who lives in North Haven, will use the fellowship for her project, "Grocery Voucher Pilot: Addressing Food Insecurity Among Low-Income Patients with Type II Diabetes in New Haven, Connecticut."
Chris	on July 2, 2020
Janani Arangan, a second-year medical student at the Frank H. Netter MD School of Medicine at Quinnipiac University.
Janani Arangan, a second-year medical student at the Frank H. Netter MD School of Medicine at Quinnipiac University, has received a $2,000 Student Summer Fellowship from the Arnold P. Gold Foundation.
"My project seeks to create a sustainable grocery voucher program where patients from Fair Haven Community Health Care, who are low income and have type II diabetes, can afford foods that are good for their health," she said.
Arangan learned about the needs of Fair Haven patients while volunteering at a health fair in her first year of medical school.
"At the fair, I discovered that many Fair Haven residents have limited access to healthy foods, encounter language barriers in seeking services, and may not have access to governmental assistance due to immigration status," she said. "This was happening right here in New Haven, our local community."
Arangan decided to help. She reached out and connected with Dr. Mellisa Pensa, a family medicine physician at Fair Haven Community Health Care. They decided to form a partnership between the clinic and a nearby C-Town Supermarkets. They designed a program in which clinic patients with type II diabetes can consult a diabetic nurse educator, then receive $25 vouchers for groceries at C-Town.
She is enrolling Fair Haven patients into the pilot program this summer. They will receive vouchers once a month over three months. Arangan will track their progress and the success of the program through interviews and surveys as part of her final capstone project at Quinnipiac.
"We know that patients with diabetes and who are low-income are especially vulnerable during Covid-19," she said. "Food insecurity is a major issue. The voucher program aims to empower patients by giving them a choice in how they purchase food and providing opportunities to engage with the clinic to improve their health."
Arangan said she will use the Gold fellowship to pay for her living expenses this summer while she works on her project. She also received a fellowship from Quinnipiac to support her work. Dr. Pensa helped secure a grant to pay for the grocery vouchers.
The Gold fellowship was extremely competitive. Arangan will be required to submit a final report to the foundation at the end of the grant period.
"We received over 70 very strong applications this year leading to a difficult review process," the foundation wrote to Arangan. "Our review committee was impressed with your application and the work you proposed, and we are excited to support your project."
"The grants are a big help, because the money allows me to focus solely on the project," said Arangan, who earned bachelor's degrees in environmental health and Portuguese and Spanish from Duke University, and completed a pre-health postbaccalaureate program at California State University, East Bay.
The Gold Student Summer Fellowship program offers opportunities for medical students to complete a research or service project related to community health. Projects must be focused on understanding and/or enhancing culturally competent practice, developing skills to become a relationship-centered physician, and addressing a public health need in an underserved community or population. The foundation is particularly interested in projects that encourage collegial and interprofessional teamwork, are creative, and designed and implemented by students, and, will encourage a lasting or systemic change.
Category: Education, Health & Fitness, People in the News
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text:
Call Tol1 Free: 1-800-784-6010 or (Local phone 1-814-701-0063)
Resources providing historical information as well as spiritual encouragement from the history of the church, the Body of Christ, in contrast with the "church" of the religious system.
The Ancient History of Universalism: From the Time of the Apostles, to the Era of the Reformation (#1155) by Hosea Ballou 2nd (1796-1861). This classic work traces the early history of those who believed in the eventual salvation of all (sometime referred to as a "Universtalist.") "The work is one of decided ability, and is written with great candor and a careful examination of authorities." Dr. Edward Beecher (1803-1895). (fc) paperback, 330 pages $21.95
Foxe's Book of Martyrs (#2640) by John Foxe (1516-1587). One of the most influential authors of the English Reformation, Foxe was an English historian and martyrologist, who studied at Brasenose College, Oxford, and Magdalen College School. By the time he was twenty-five, he had read the Latin and Greek fathers, the schoolmen, the canon law, and had acquired great skill in the Hebrew language. Foxe resigned from his college in 1545 after becoming a Protestant and thereby subscribing to beliefs condemned by the Church of England under Henry VIII. Foxe would personally witness the burning of William Cowbridge in September 1538.
In the forty years between 1547 and his death, he produced some forty works in English and Latin. His classic, Foxe's Book of Martyrs, was originally published in 1554. It was an account of the martyrs of Western history but emphasizing the sufferings of English Protestants and proto-Protestants from the fourteenth century through the reign of Mary I. With particular emphasis on England and Scotland, it includes accounts of the sufferings of believers under the Catholic Church. The book went through four editions in Foxe's lifetime and a number of later editions and abridgements. Facsimile Paperback. 424 Pages. $19.95
I Will Have One Doctrine and One Discipline: The Influence of Religion and Politics on the King James Bible (#6230) by Ross Purdy. A brief but insightful overview of the history surrounding the publication of the King James Version of 1611. ISBN: 9781934251089 -- 148pp. PB $14.95
Josephus and the Bible (#2091) by A. J. Pollock. It has largely escaped the notice of Christians at the present time that such a history exists as that of Flavius Josephus. Further, the few, who do know of its existence, are largely unaware how very providential it is, that such a history, written by a Jew, living in Palestine at the time when the incidents of our Lord's life were largely known, is available. Later on Josephus was an eye-witness of the horrors that marked the siege of Jerusalem under Vespasian, the Roman general, and the destruction of the Temple by Titus, and has written an account of these terrible happenings in great detail. Paperback. 32 pages. (fc) $4.95
Modern History of Universalism: Extending from the Epoch of the Reformation to the Present Time (#1193) by Thomas Whittemore (1800-1861). This is Volume 1 (the 1860 expanded European portion of the 1830 Edition). The Modern History of Universalism was among Whittemore's most important works. It was designed to be the companion work to The first edition was published in 1830. It deals with Universalist developments from the Protestant Reformation in Europe and then in America. Over the next thirty years Whittemore greatly expanded this history. In 1860 he published the first of what was to be a two-volume set. This first volume deals with European developments from the time of the Reformation. A second volume was to deal with American developments. He died a year later leaving the second volume unfinished. The 1830 single-volume edition remains the only current source of his work extending into the American history of Universalism. Volume 1 of the 1860 edition is a tremendous expansion of the European content contained in the 1830 edition. An avid student of Universalist history would require both the 1830 and 1860 editions. (fc) paperback, 408 pages $23.95
Notes on the History of Dispensationalism in America (#5009) by Gary S. Dykes. This is a brief but important look at the teachers and ministries that influenced Dispensationalism in America. It is refreshing to see someone honest and brave enough to include some of the early dispensational influences, such as Vladimir Gelesnoff and A. E. Knoch, F. H. Robison, Alan Burns, and other authors that our readers would be familiar with, for their contributions to right division. Facsimile. 32 pages. Paperback. $6.95
Pagan Christianity: Exploring the Roots of Our Church Practices (#3106) by Frank Viola & George Barna. Have you ever wondered why we Christians do what we do for church every Sunday morning? Have you ever asked yourself any of the following questions: Why do we "dress up" for church? Why does the pastor preach a sermon every Sunday? Why do we have pulpits and pews? Why do we have church buildings, steeples, choirs, and seminaries? Where did these things come from? This book proposes that most of what we Christians do in our churches has no root in the Scriptures! It rather has its origin in pagan culture. As shocking as that sounds, Viola proves his point by documenting every claim he makes. Fully footnoted, Pagan Christianity is the first book ever penned that documents the entire story of our modern church practices. If you are a Christian who is content with status quo "churchianity," then you will not want to read this book. It is reserved for those who are ready to embark on an eye-opening venture that challenges every aspect of their church experience. Revised, Expanded, 293 page. Paperback. $17.95
Plowboy's Bible, The: God's Word for Common Man (#4425) by Clyde L. Pilkington, Jr. Shocking conclusions from the man that brought you The King James Bible Song. This book represents years of study and a significant change in understanding. Raised on and trained in a "King James Only" position, most of the author's teaching ministry was centered on the defense of the KJV. He had early associations with major proponents of this position and their followers. He actively taught classes and seminars on the subject of Bible versions. For many years he distributed thousands of books from a collection of over 100 different titles in support of the KJV position. Here he shares what he has come to see that has caused him to completely abandon his former position. 254pp PB $19.95
The Two Babylons (#2602) by Alexander Hislop (1807-1865). Hislop was a Free Church of Scotland minister known for his criticisms of the Roman Catholic Church. He was born and raised in Duns, Berwickshire. First published as a pamphlet in Edinburgh in 1853, The Two Babylons was greatly expanded in 1858, and since that time has appeared in many editions in Great Britain and the United States. The book shows that the Catholic Church was a Babylonian mystery cult, and pagan. He documents that Roman Catholic religious practices are pagan practices grafted onto true Christianity during the reign of Constantine. He documents the merger between the Roman state religion and its adoration of the mother and child was transferred to Christianity, merging Christian characters with pagan mythology. It traces Papal worship to the worship of Nimrod and his wife, complete in every detail. Offering proof for every statement, it includes more than 260 original sources of facts, citing title and place and date of publication of each. Illustrated with 61 woodcuts from Nineveh, Babylon, Egypt, Pompeii, and other ancient lands.
"The Two Babylons is one of the great books in the Christian literature of apologetics. It is written in the classical style, with a wealth of material in the footnotes buttressing the facts brought forth in the argument. … The author of The Two Babylons demonstrates that almost all of the practices of the Roman cult have been brought over from paganism. When we come to see that the worship of the Virgin Mary is really the worship of Venus, Astarte, and that it comes from Babylon, the center of the system is revealed to be Satanic. … By all means circulate this book." – Donald Grey Barnhouse, D.D (1895-1960) Facsimile Paperback. 354 Pages. $19.95
Universalism: The Prevailing Doctrine of the Christian Church - During the First Five Hundred Years (#1230) by J.W. (John Wesley) Hanson (1823-1901). (fc) paperback, 328 pages. $22.95
The Works of Flavius Josephus - The Antiquities of the Jews (#2664) by Flavius Josephus (37-100 a.d.). Translated by William Whiston (1667-1752). Revised Translation by A. R. Shilleto (1848-1894). Topographical Notes by Sir. C. W. Wilson (1836-1905). 3 Volume Facsimile Set. Paperback. 1390 Pages. $69.95
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The Chicago-based comedy troupe Die Hanswurste will doubtless go down in theater history for the hoax they pulled off two years ago, when they pretended to be a German company trained in the secrets of "German clown work" by a mysterious, publicity-shy director named Veidt. But given their success what could these guys do for an encore? Perpetrate another hoax? Who would believe them? Who would even dare cover them? Hedy Weiss of the Sun-Times, who fell for the trick when she reviewed Klown, ended up printing a correction several days later, admitting that she'd been fooled by the disinformation in the press materials. When do you think she's going to go to another Hanswurste show? Soon after hell turns into a giant Slurpee is my guess, but I've been wrong before.
What perfected Die Hanswurste's hoax was the fact that Klown was a wonderfully funny show, if a bit cruel and dark--just the sort of fine fringe show by a small local company that's routinely overshadowed by big-budget productions and shows with snob appeal, like those by La Compagnie Philippe Genty.
How do you follow such a debut? Well, Die Hanswurste has created two shows. One is based on the idea of lying to the press, stirring up trouble, and generally acting like a bunch of spoiled, publicity-starved actors: Richard Roper, Richard Christensen, and Alburt Williams Are Big Fat Idiots. The other is based on the recognition that crying wolf is a trick you can pull off only once and that Klown was a success--it ended up running off and on for more than a year--not because it embarrassed anyone but because it was great comedy.
The better of the two shows, Hats on Fire/Shoes on Fire, is performed by Dan Griffiths and Joel Jeske in full clown costume, including greasepaint. Like Klown it's essentially an evening of related comedy sketches expertly executed by a team who clearly understand how to entertain an audience and who enjoy performing together. As in Klown, most of the comedy is based on character. Again and again Jeske's sloppy, childish, ne'er-do-well Oste wins laughs with the awkward way he fouls things up even though he's working hard to please Griffiths's vain, authoritarian character Oper. And again and again we see Oper, who's both easily angered and very concerned that he seem unruffled, blow his stack while trying to maintain his cool.
From the start, when Oper and Oste's graceful entrance is marred by Oste not being able to open his door, we know we're in the hands of professionals. The scene that unfolds--involving many variations on the theme of one clown, then the other, tugging at a door and getting furious or terrified--is worthy of the great ones of silent comedy: Chaplin, Keaton, Lloyd, each of whom is given a nod in the show. Lloyd's trademark round, black-rimmed glasses show up in the silly dance that gives Hats on Fire/Shoes on Fire its name: Oste and Oper do an eccentric tap dance with their shoes and top hats ablaze. The show ends with a comic turn from a Keaton movie, which I won't reveal for fear of ruining it. And Chaplin's sweet, mischievous spirit appears throughout, in the precision and economy of Griffiths's and Jeske's physical comedy, in their expert use of music (one song even quotes from Modern Times), and in their willingness to leaven slapstick with a touch of sentiment and humanity. Like Chaplin and Lloyd and Keaton, Jeske and Griffiths know that the little things in life are what power comedy: the doors that refuse to open and the sheet music that won't fold right and the many tiny tics and foibles that drive other people crazy.
Jeske and Griffith test how well they know their comedy when they perform an expurgated version of Hats on Fire/Shoes on Fire at the Fringe festival, Klown: The Children's Show. Though it's performed without flaming footwear and other potentially dangerous items--like the routine in which Oper and Oste consume two bottles of liquor and get falling-down drunk--this kinder version of the show is nevertheless sophisticated enough to keep parents laughing even as it pleases the children.
Not that kids are necessarily a clown's toughest audience, cliches to the contrary. Kids readily identify with clowns, especially silly, childish ones like Oste who are constantly being corrected and punished by parentlike martinets like Oper. At this show the kids sometimes got the jokes faster than the adults, especially when they revolved around getting caught doing something wrong, as when Oste kept interrupting Oper's serious song with funny sound effects. But the adults eventually laughed too. It just took them longer to warm to Jeske and Griffiths, as if they'd been benumbed by a thousand bad children's shows and couldn't believe they were actually seeing one worth watching.
Die Hanswurste is also capable of creating brain-rotting theater. Three days after seeing Richard Roper, Richard Christensen, and Alburt Williams Are Big Fat Idiots, a mean-spirited evening of pointless satire and failed comedy, my brain still hurts. It's beyond me what Kevin Sherman, Brian Potrafka, and Michael Werner thought they were doing when they wrote this hour-long exercise in audience torture.
What is clear is that they tried to reprise their hoax of a few years ago by spreading rumors that the three local journalists whose names are misspelled in the show's title had filed a "class-action civil lawsuit" against Die Hanswurste for calling them big fat idiots. Die Hanswurste even went so far as to leave a message on Albert Williams's voice mail at the Reader announcing that they understood he was suing them (he's not). And reportedly they sent a copy of papers they said related to this lawsuit to Chris Jones at New City.
Big surprise, no one snapped at Die Hanswurste's bait. By showtime, all they'd accomplished with their flurry of press releases was to totally confuse the press about the title. In some releases Roeper, Christiansen, and Williams's names were spelled right, in others wrong, while still others substituted other critics' names. I've even heard there's a release out there referring to "Richard Helbig," though I never got that one.
Basically Richard Roper, Richard Christensen, and Alburt Williams Are Big Fat Idiots is just one more Second City-style comedy revue with two differences: no blackouts separate the scenes, and no laughter interrupts the hopeless material.
The "highlights" of the show include the routine "Twenty ways to tell if you're a redneck," in which a stand-up repeats the question "Are you stupid?" 20 times; a pointless jab at elementary-school art classes; and a bland sketch about a husband-and- wife team of chauffeurs who drive their boss to and from work and resent his power over them, though they don't do anything about it. The only bit that works happens to involve Joel Jeske, in one of only two brief appearances here. He coughs out an impassioned, Hitler-esque speech in German (perhaps another reference to Chaplin, this time The Great Dictator) before running out of the theater screaming. Though this routine would have seemed rather bland in Hats on Fire, it's positively brilliant in the context of this show.
The only sketch that relates to the title is a gratuitous attack on Williams and on Roadworks Productions. In this childish, badly written bit, an actor impersonates Williams (poorly) as he goes through a fanciful hard day's night in the theater: introducing a show at Roadworks, announcing to the audience that the Reader's supposed "board of directors" have anointed Roadworks as the next theater, watching a god-awful production (a parody of chamber theater that's as dismal as everything else in this show), and then hanging out, basking in the production's afterglow and chatting up and fawning over the lead actress.
I suppose that as public figures we critics are as ripe for parody as anyone. But such dull-witted work hardly counts as satire--for one thing, it doesn't come close to the truth. By comparison Sean Abley's pointless, baffling slash at critic Lawrence Bommer in Second City Didn't Want Us seems positively brilliant. Nor does the rest of the material in this small-minded show, which inspired only the most forced laughs from a crowd of less than 20 friends on opening night, count as comedy.
By the end of the evening it's obvious who the idiots are--and they're not the critics listed in the title.
Art accompanying story in printed newspaper (not available in this archive): photo/Scott Blair.


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Regional fire departments lack support
Fire departments in the Regional District Okanagan-Similkameen lack support
Jan. 9, 2019 4:40 p.m.
The chair of the Regional District Okanagan-Similkameen says she fears support for the region's seven fire departments is worse than it was two years ago.
"I just fear we've gotten worse and the current situation is less support than it was two years ago and if it carries on this way there is no support," said Karla Kozakevich, director for Area E (Naramata) and the chair of the board.
Kozakevich made those comments during the recent board meeting where the issue of the fire departments and how they manage human resources, records management and financial obligations was discussed.
Related: Naramata fire chief could return to duties in January
Issues surrounding installing a single regulatory bylaw for the RDOS' seven fire departments (Tulameen, Keremeos, Kaleden, Okanagan Falls, Narmata, Anarchist Mountain and Willowbrook) came to a head last April.
At that time, after much debate with directors, and dissent from several of the fire chiefs, the board chose to abandon one regulatory bylaw for all departments, opting instead to have seven bylaws. The decision means the chiefs are direct employees of the board, instead of reporting to CAO or other senior staff, and in charge of their own administration, records management and human resources. It also meant elimination of the position of emergency services supervisor, which was tasked with helping behind the scenes operations of the fire departments.
Kozakevich said since April she's been asked to help fire chiefs in administration and other duties and she is not qualified.
"In my opinion our current system is not working. It's not working for me, it's been eight months since we repealed 2566 (the one regulatory bylaw). I'm not a manager of fire departments and I'm not a human resources manager, so they're coming to me to try and help them with their needs. I know the board as a whole is their bosses and it's not just me, but it's all coming to me," she said.
Directors heard at the meeting the firefighters association, which includes chiefs from all departments but Tulameen, was working on drafting their own regulatory bylaw, but it continues to lack legal components. The chiefs' bylaw is currently waiting to be reviewed by lawyers. It's been sent back several times for legal reasons.
Related: Chiefs back in control of regional departments
Several directors asked if a chiefs' representative could sit with a lawyer to hammer out the legal requirements of the bylaw.
Bill Newell, CAO of the RDOS, said that could be an option.
Mark Pendergraft, director for Area A (Rural Osoyoos), said issues of human resources, and administration are not new and predate the provincial playbook which tightened regulations on fire departments.
"Don't for a minute think this is the result of last year's decisions. These policies are three, four, five years old… We didn't give support when it was needed. The problem is a lack of trust," he said.
Newell said support has not been adequate in the past.
"In my mind they don't need support from someone who knows how to run a fire department, how to run a fire. They know how to run a fire ground. Where we've let them down in the past is the support we've offered them as far as administrative support, as far as records management, human resource management. They know how to fight a fire. They don't need our assistance on that," he said.
Bob Coyne who represents Area H (Rural Princeton/Tulameen) has been outspoken about being against the chiefs' reporting directly to the board, saying the Tulameen chief is in support of one regulatory bylaw.
"My fire department isn't involved in any of this stuff going on and Tulameen should not be paying for these other people to sit out and argue. As far as I'm concerned this whole thing has been disastrous. We have to at some point acknowledge that people in the fire department are our employees and that we have to be in charge of those people," he said.
editor@keremeosreview.com.
@TaraBowieBC
editor@keremeosreview.com
No easy way out? Trump boxed in by politics amid shutdown
Man seeks bail after confession motivated to kill common-law wife: B.C. Crown


What are the international admission requirements for Auburn University at Montgomery?
Once the Office of Global Initiatives has received all required documentation including transcripts, test scores, certificates, or evaluations, then the following processing timelines apply. Business days do not include weekends, national holidays, or periods where the university is closed for breaks.
Can I apply as an international transfer student?
Yes. Transfer applicants should have a cumulative grade point average of a 2.0 or higher. If you have passed fewer than 24 semester hours, you must also meet freshman admission requirements.
How do I transfer credit from an international institution?
Does Auburn University at Montgomery offer conditional admission?
AUM may offer you conditional admission if you are an international student who requires English language instruction before you can begin your studies at the university level. If you are conditionally admitted, you will attend AUM's ESL Program to study English. After you complete an undergraduate application, please send us an e-mail request . Students requesting conditional admission must meet all of the university's international undergraduate admission requirements except the English proficiency requirement. AUM does not offer conditional admission for any graduate programs.
If you are an undergraduate student that scores a 5.0 on the IELTS test or a 57-60 on the internet-based TOEFL, you may be eligible for the International Pathways (IP) program. A student admitted into the IP program will enroll in a combination of academic and ESL classes through AUM's ESL program. Students requesting admission to the IP program must fill out an undergraduate application and meet all of the university's international undergraduate admission requirements except the English proficiency requirement.
Are there student groups/clubs on campus?
What is the best way to contact Office of Global Initiatives?
I am currently attending a school in the United States and have been accepted to Auburn University at Montgomery. How do I transfer my I-20 to Auburn University at Montgomery?
Please contact the Office of Global Initiatives to receive a copy of"Transfer Eligibility Form". Your current university must complete the form and email the form to global@aum.edu .
How do I get an F-1 student visa?


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Der Blackwater River ( für "Schwarzwasser-Fluss") ist ein rechter Nebenfluss des Mackenzie River in den Nordwest-Territorien Kanadas.

Der Blackwater River entspringt südlich von Fish Lake und Tseepantee Lake. Er fließt von dort nach Norden zum Blackwater Lake, den er in westlicher Richtung durchfließt. Er durchbricht anschließend die Franklin Mountains und setzt seinen Lauf nach Westen fort und mündet schließlich etwa 60 km nördlich von Wrigley in den Mackenzie River. Der Blackwater River hat eine Länge von ca. 250 km.

Einzelnachweise

redpajama_set_name: RedPajamaWikipedia


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Music Reviews: June 2018 issue
Here are selected music reviews from Goldmine's June 2018 issue: from Ringo Starr reissues to Harvey Kubernik's latest books.
Goldmine1
Capitol/UMe
(Vinyl Reissue)
Goodnight Vienna
"Congratulations. How dare you? And please write me a hit song." The contents of a telegram John Lennon sent Ringo Starr in 1974 speaks volumes about the hitmaking machine Starr had become in the wake of the demise of The Beatles. After a slow start out of the gate with the 1070 genre exercises Beaucoups of Blues and Sentimental Journey, Starr hit the Top 10 on both sides of the pond with the classic singles "It Don't Come Easy" and "Back Off Boogaloo" in 1971 and 1972, respectively. And in 1973 and '74, the hits just kept on comin' -— five Top 10 hits were culled from the Ringo and Goodnight Vienna albums, with two (the George Harrison-penned "Photograph" and a cover of the golden oldie "You're Sixteen") reaching No. 1.
Rightly considered to be not only the commercial but the artistic pinnacles of Starr's recorded career, Capitol/UMe has released remastered editions of Ringo and Goodnight Vienna on 180-gram heavyweight vinyl, with the remastering more than ably handled by one Ron McMaster. (Great name for a remastering engineer, right?) Said remastering breathes new life into both records, with a newfound sharpness and clarity breathed into tunes such as the stately, Paul McCartney-written "Six O'Clock" (a hit single that never was), Allen Toussaint's brassy "Occapella," and a slinky, spicy take of Randy Newman's "Have You Seen My Baby," with the late Marc Bolan on guitar.
Both records are notable for their cast of musical characters, which include John Lennon, Paul McCartney and George Harrison (all three were onboard for Ringo — albeit never together — as both songwriters and performers), as well as heavyweights such as the aforementioned Marc Bolan, Robbie Robertson, Steve Cropper, Klaus Voormann, Levon Helm, Billy Preston, Nicky Hopkins, Jim Keltner, Tom Scott, Bobby Keyes, Rick Danko, Garth Hudson, Harry Nilsson and Martha Reeves (all featured on Ringo). Lennon, Preston, Robertson, Voormann, Cropper, Nilsson and Hopkins returned for guest shots on Goodnight Vienna, and were joined by luminaries such as Dr. John (his piano solo on the otherwise slight "Oo-Wee" is pure gold), guitarist Jesse Ed Davis, and Elton John, who handled the keyboard duties on the lighthearted "Snookeroo," which was custom written for Ringo by Elton and his songwriting partner Bernie Taupin.
But Ringo is clearly the headliner in the all-star(r) affairs, and his affable personality and genial, everyman vocals add to the fun, whether he's trying his hand at sincerely emoting (on Harry Nilsson's wonderful ballad "Easy for Me" from Goodnight Vienna) or gamely covering pre-Beatles classics such "You're Sixteen" and the Platters' "Only You" (for which Lennon recorded a guide vocal for Starr to follow).
Again, both LPs sound absolutely fantastic and great care was taken to replicate the packaging of the original releases, from the custom record labels down to Ringo's gatefold sleeve and booklet with drawings from Klaus Voormann. While Ringo is certainly the more consistently successful of the two releases — Goodnight Vienna includes a few less-than-stellar cuts, including a bland version of Roger Miller's country balled "Husbands and Wives" — both albums are worth picking up, as they showcase Ringo Starr as a musical force to be reckoned with. He'd never reach these heights again, but it was fun while it lasted.
—John M. Borack
Legacy Recordings (CD)
Just as Willie Nelson's about to celebrate his 85th birthday comes a new album called Last Man Standing. What's clear is that the years have only made this American music master better. And in this case, better comes in the form of a laid back, easy rider version of ole Shotgun Willie.
The album, his 11th with Legacy Recordings is a real tasty treat that is reminiscent of the Fort Worth sounds of Delbert McClinton and Glen Clark. The music has soul, unfolds with ease, and Willie casually rides along, pulling back on his vocals and putting the whole thing into cruise. In fact, the song that embodies this best is the title track that opens the record. It's a funky slow ride that he steers forward like a late night trucker behind the wheel. It's hands down fun from start to finish.
While the record was cut at Sound Emporium Studios in Nashville, it has an inherent Texas feel to it. Songs like "Ready To Roar" ladder right up to Bob Wills and His Texas Playboys. It's a "Limestone County"-infused waltz if ever there was one. Texas swing sits right in Willie's wheelhouse and here he just shines. There's also the ballads, the place where Willie's legend is often anchored. There's a realness to his delivery on songs like "Me and You" that make them something that you connect to quickly. That's their magic.
There's the comedic turn on "Bad Breath" that doesn't quite land like a well told joke. And toward the end of the record the album comes apart a bit, losing some focus as songs seem like they were added in haste. The closer "Very Far To Crawl" is a dark downer and an odd way to wrap up what otherwise can be considered a fun ride. But overall, it's a record that's pretty much complete 'feel good.' When you spin a barrelhouse rocker like "I Ain't Got Nothin'" it's hard to keep the foot from tappin' and keeping time.
One of the things Willie has been blessed with (and let's face it, has earned) is one of the best backing bands in music. These cats are right there with Lyle's Large band and Vince Gill's Time Jumpers. The guitar picking evident here by James Mitchell is awe inspiring, interrupted only by the steel work of Mike Johnson. This is no time to forget the fiddle play offered on this record by Alison Krauss. It glistens.
The record may best be a celebration of the long standing partnership Nelson enjoys with his songwriting collaborator Buddy Cannon. Their songwriting protocol involves sharing lyrics via text messaging, and that way of going about business is how these 11 songs came to be. Buddy has produced more than a dozen of Nelson's records. Their writing is clever, in the vein of a trickster. Nothing gets too complicated, instead the intent seems to write music that the listener will enjoy as much as these two have making it. Given Willie's method of doing each take differently in the studio, it sure sounds like the ones he went with sure do embody that writing strategy the best.
—Ray Chelstowski
THE EPIC YEARS
Cherry Red Records
(4-CD Box Set)
In a February 2018 interview with BBC Radio 6 Music, Clare Grogan, lead vocalist with the Scottish band Altered Images, said of the band, "We pretty much started off wanting to be Siouxsie and the Banshees because that was the band that we loved, so we naturally emulated that. And, as time went by, we were trying to discover what our own sound was." That description perfectly encapsulates what the listener will find on this excellent 4-CD overview of the band's work.
"Dead Pop Stars," Altered Images' debut single, is a fantastic blast of off-kilter pop-rock that certainly channels the Banshees. And it sounds light years away from the pop sheen of "Don't Talk To Me About Love," the big single from 1983's Bite album. In between those two singles, the band went from echoing the Banshees and Buzzcocks to their own signature sound.
This set includes the band's three studio albums for Epic — 1981's Happy Birthday, 1982's Pinky Blue, and 1983's Bite — as well as a fourth disc of dance mixes of seven tracks. Bonus tracks include the 7-inch-single versions of some of the album tracks. An information-packed booklet of liner notes is also included.
Siouxsie and the Banshees' patronage of Altered Images included giving them a support slot on a U.K. tour in 1980. Steve Severin of the Banshees largely produced Altered Images' debut album Happy Birthday, except for the bouncy title track, which was added to the album late in the game and was produced by Martin Rushent. In addition to the title track, highlights of Happy Birthday include the atmospheric "Real Toys," the Buzzcocks-sounding "Legionnaire," and the off-kilter "Midnight," which is the highlight of the album. As strong as the album is, it would have been even better if the fantastic "Dead Pop Stars" had been included. But the song does appear as a bonus track here.
The poppy but rocking "I Could Be Happy" is the standout track on second album Pinky Blue. The atmospheric title track and the dreamlike "Goodnight And I Wish" are other highlights of the album. And the band takes Neil Diamond's "Song Sung Blue" and make it their own.
Third album Bite shows a change in direction, which is indicated with the photo of a glam Grogan on its cover. Some of the album, including the fantastic dance-pop single "Don't Talk To Me About Love," was recorded in Los Angeles with Blondie producer Mike Chapman, with the remainder being done in London with Tony Visconti. Highlights of Bite include the dance rock of "Bring Me Closer," the mellow "Love To Stay," the pop-rocker "Change Of Heart," and the mellow and understated "Thinking About You."
The album of 12-inch dance mixes supplies a nice coda to the collection. While Altered Images existed only for a few years, this set shows how innovative and brilliant they could be.
—John Curley
DEREK TAYLOR
Faber & Faber (Paperback)
"This book was started in the sixties somewhere, as random notes," Derek Taylor writes in the first sentence of his memoir, originally published in 1973. And it finishes much the same. It's a series of vignettes by man who, as he readily admits, doesn't really want to write a book. It's a point he gleefully emphasizes by also running this critique from an editor who saw an earlier version of manuscript, which he found "contains much amusing, informative, interesting material. The problem is that overall it lacks direction, depth and cohesion. One episode follows another — seemingly at random — with little attempt at interconnection and too often subjects are touched upon and swiftly left half explored."
That's an assessment that still holds up today. The book is a great first draft that you wish had been more fully fleshed out. After all, Taylor has wonderful stories to share: about his time as The Beatles' press agent on their first U.S. tour, as a Hollywood publicist looking after the likes of The Beach Boys and The Byrds, and as the head of Apple Corp's press office, from beginning to nearly the end. And that just takes you to 1970.
It's still a terrifically entertaining read, one that vividly depicts the highs and lows of the decade for Taylor: watching boxing films with Nancy Sinatra, attempting to stay in Mae West's good graces, taking insult after insult from Paul McCartney (he comes across as the meanest of The Beatles), and trying not to show his horror when he's confronted by a driver's casual racism on that first U.S. Beatles tour.
As Time Goes By had been out of print for years; this new edition comes with an introduction by British author Jon Savage. Sadly, Taylor died of cancer in 1997. As one of The Beatles' inner circle, he had a privileged position, making his observations of the Fab Four among the most insightful. At least we do have this volume of pen portraits of a bygone era, all related with Taylor's trademark humor, self-deprecation, and love. Essential for Beatles fans, though you will be left wanting more.
RICK BUCKLER AND IAN SNOWBALL
THE DEAD STRAIGHT GUIDE TO THE JAM
Red Planet (Paperback)
THE JAM: THE START TO '77
Self-Published (Paperback)
This pair of books on the British rockers The Jam are nice complements to the 2015 memoir by Buckler, The Jam's drummer, which was titled That's Entertainment: My Life In The Jam. (Buckler's That's Entertainment was reviewed in the September 2015 issue of Goldmine—Ed.)
While That's Entertainment is Buckler's story, The Dead Straight Guide To The Jam is more of an overarching history of the band. Buckler joined The Jam in June 1973. The front of the book discusses how the band got together and its early years. The Jam were a trio: Buckler, Paul Weller (vocals and guitar), and Bruce Foxton (bass and vocals). But the importance of various people, including producer Vic Coppersmith-Heaven to band manager John Weller (Paul's father), as the "fourth member" of the band is discussed. Buckler also reveals that their label, Polydor, initially wanted to replace John Weller with a more experienced manager and that the band refused to sign unless the label let the senior Weller remain on board. One of the best bits of the book is Buckler's discussion of The Jam's disdain for making videos, how the band hated having to act in videos and the video shoots that sometimes seemed endless. The book also includes interesting insights from Buckler on what he considers to be The Jam's top 50 songs, a discussion of cover versions by The Jam, tour dates, awards, books about The Jam and the individual members, and a listing of TV appearances. A good piece by Simon Wells on The Jam's final concert in Brighton, England in December 1982 is also featured.
The Jam: The Start To '77 is limited to 1,000 copies, all of which are signed by Buckler. The book tells the story of The Jam from their founding in the band's hometown of Woking, Surrey, England in 1972 through the end of 1977. The main emphasis of the book is on 1977, since that year was the start of The Jam's recording career and a year in which they released two albums of new material. The story is told in text by Buckler and co-author Ian Snowball while terrific drawings by Richard Schiller illustrate the book. It includes many comments by Buckler as well as remembrances from fans. The Jam's tour dates for 1977, which included their first shows in the United States, are listed toward the back of the book. A second illustrated book about The Jam that concerns 1978 through the breakup of the band at the end of 1982 is in the works.
ASTRID KIRCHHERR
ASTRID KIRCHHERR WITH THE BEATLES
Damani (Hardback)
Astrid Kirchherr was the first person to take artistic photos of The Beatles, seeing in them something no one else — not even The Beatles themselves — had recognized. Her iconic shot of the then-five piece group at a German fairground imbued them with a world-weariness beyond their age (no Beatle was over 20 at the time). She saw their underlying charisma at a time when they were still raw and unformed. As such, her photos provide an invaluable record of the group in their early years.
Her work has appeared in numerous Beatles books, including high-priced editions from Genesis Publications. This new book is not only reasonably priced, it also presents a spectrum of her work, from that first 1960 session to a headshot for George Harrison's 1968 Wonderwall Music album. Beatles fans will have seen most photos before, though some have more detail. There's an uncropped image of a very serious Stuart Sutcliffe, sitting in a chair in Reinhard Wolf's photo studio (where Kirchherr worked), next to a mirror and adjoining table of liquor bottles; in the uncropped shot, you can see Kirchherr's reflection in the mirror. There are also contact sheets with a few previously unseen shots.
The book doesn't only present Kirchherr's work; there are also a number of photos of her. There's a series of shots from a 1963 trip to Tenerife when Kirchherr accompanied Harrison, Paul McCartney, and Ringo Starr on vacation. The group were rising stars, yet here they relax unbothered by the kind of crowds that would make this kind of trip impossible in less than a year. In 1964, she and photographer Max Scheler photographed The Beatles while they were shooting A Hard Day's Night, and there's a nice shot of Kirchherr and Starr sleeping on each other's shoulder. The book also notes that several photos shot at this time were mistakenly attributed to Scheler, and are correctly credited here.
There's an introduction with some biographical information, but Kirchherr herself isn't interviewed at all. Which is a shame. It would've been insightful to have her discuss her work; details of how she set up the photos, her reflections on her pictures all these years later. It's also a shame she felt too burdened by the "Beatles Photographer" label to give up photography entirely; she clearly had her own visual aesthetic, and it would've been fascinating to see how her work evolved.
It's nonetheless a great way to pick up a range of Kirchherr's photos in one volume.
THRAK: The Complete Scores
7D Media (Hardbook)
Sheet music transcriptions of progressive rock albums have traditionally been a mixed bag. The rhythms are odd, the notes played elusive, and the otherworldliness of the music makes it hard to convey in the form of little black dots. Sheet music books of such bands as Yes and Genesis were sometimes lacking; despite good efforts made to present the music as accurately as possible, there could be errors, and indications that the transcribers just didn't get the music.
One can only imagine, therefore, the challenges of presenting the music of King Crimson in sheet music form — and not just any King Crimson music, but the 1995 album THRAK, one of the most pivotal and complex collections the band's released in its 50-year history.
Amazingly, it's been done — and done well. THRAK: The Complete Scores presents the 13 pieces that comprise THRAK in accurate notation that, while not fully conveying the power and impact of this music, certainly presents it for appreciation in a different form, while serving as a helpful instruction manual for aspiring prog musicians who wanted to figure out just what the band played on this crazy masterpiece.
THRAK represented a new start for a band that has experienced many reboots since its formation in 1968. The four-piece version of the band, comprising founder Robert Fripp (guitar), Adrian Belew (vocals/guitar), Tony Levin (bass) and Bill Bruford (drums), went on hiatus in 1984, and there was no indication it was coming back in any form. That is, until a new King Crimson emerged, reuniting the 1980's quartet, but adding an additional drummer (Pat Mastelotto) and bassist (Trey Gunn) for a six-piece "double trio" in which there were two players for each main instrument (guitar/bass/drums).
The band navigated this tricky formation in clever ways. As shown in a diagram on the CD cover (retained on the back cover of the new book), the six players were specifically placed in the stereo spectrum for the audio mix, with Gunn on the far left focusing on Chapman Stick (a guitar/bass hybrid that is hammered rather than plucked), Levin on the far right playing more conventional bass guitar (and upright bass), Fripp and Mastelotto on left-center, and Belew and Bruford at right-center. When one listened to the album on headphones, you could hear the different elements that, say, the drummers were bringing to the music, with Mastelotto laying down the core beat on acoustic drums on the left while Bruford played odd-timed accents on electronic percussion on the right.
With so much going on, that makes for an exciting, adventurous listening experience, but to actually document it as sheet music can't have been easy. Yet here it is. Gabriel Ricco did the transcriptions and engraving, but the book also benefits greatly from the participation of someone who was there: Trey Gunn, who is credited with tablature and editing. His presence ensures the accuracy of the transcriptions here, and they are faultless.
Smartly, Ricco and Gunn break it down, line by line, according to who played what. So there is a line of "Guitar (Belew)" above a line of "Guitar (Fripp)" and so on. The introduction explains the unique tuning Fripp used on these recordings, while noting the standard tuning Belew and Levin used, along with the tuning of Gunn's Chapman Stick.
This is not easy stuff. It is complex, challenging music, at times avant-garde in the best King Crimson tradition, and the multiple moving parts on the album result in layers of music that may seem buried on the recordings but are revealed in this form.
And that's what this truly is: a new form of a classic album. If you want to hear it, there's an excellent 30th anniversary edition that came out in 2016 and is still readily available. But if you're open to experiencing it in a different way, or just looking to wrap your fingers around those snaky guitar lines on epics such as "Dinosaur" and "VROOOM VROOOM," THRAK: The Complete Scores will be a worthwhile purchase.
—Howard Whitman
Ritchie Blackmore's RAINBOW
Memories in Rock II
Minstrel Hall Music
Trumpets sounded for him and hosannas were sung when Ritchie Blackmore returned to hard rock in 2016 after a prolonged, self-imposed exile, where he focused all his energy on medieval and Renaissance music. Devotees of the dazzling fret wizardry of his glorious past hoped for a grandiose world tour and a new album, and all of that could still happen. That year, however, they got just three shows in the U.K. from the revamped Rainbow – paltry rewards for such long-suffering patience.
Now comes a rousing, bombastic two-CD/DVD set of scintillating live recordings from those performances that mostly separates the wheat from the chaff, even if a half-hearted version of "Since You've Been Gone" strains to capture the heat and essence of the original. Otherwise, this collection of classics from Blackmore's Rainbow and Deep Purple years sizzles, offering crisp, clear audio documentation of those concerts for those still angry over missing them, as well as an enlightening and entertaining DVD of revealing, behind-the-scenes interviews with a wide cast of characters, from band members to the crew. It gets particularly exciting when live and rehearsal footage pops up.
Still, it's Blackmore's fire and brimstone and sheer bravado that captivates, his fierce riffs and supernatural solos calling the faithful to worship on Memories in Rock II. As Blackmore and company bang out raucous, high-stepping romps through "Man on a Silver Mountain" with amplified crunch and segue seamlessly into an equally feverish detour through "Woman from Tokyo," their slow, tantalizing readings of a roughed-up "Mistreated" – bluesy and cathartic – and a resonant "Soldier of Fortune" are to be savored rather than quickly devoured. The same could be said for the mystical "Child in Time," where singer Ronnie Romero unleashes blood-curdling screams that give Ian Gillan a run for his money, and the dark magic of "Perfect Strangers" surges with relentless force.
Keep an ear out for the group's new single, the '70s rock throwback "Waiting for a Sign," with its nasty grooves. Fall under the enthralling spell cast by "Catch the Rainbow" before gathering 'round for another wicked, snarling retelling of "Smoke on the Water" and witnessing the crazed, neo-classical chaos of "Difficult to Cure." Blackmore's story is one that never gets old.
— Peter Lindblad
EVERY NIGHT IS SATURDAY NIGHT
BMG (Hardback)
Genre: Rockabilly
The trailblazing rockabilly pioneer finally tells her story, from meeting up with Elvis, touring with an integrated band during the very segregated 1950s, and working with Jack White. A must for every Jackson fan.
Harper (Hardback)
Genre: Musical theater
When composer Andrew Lloyd Webber and lyricist Tim Rice unveiled Jesus Christ Superstar, they made the phrase "rock musical" no longer a contradiction in terms. Lots of detail over how classic works like Superstar, Evita, and The Phantom of the Opera were created (Deep Purple's Ian Gillan was chosen as Jesus after Lloyd Webber heard his "primal scream" on a demo). Perfect for musical afiocionados.
MEMPHIS RENT PARTY
Bloomsbury Publishing (Hardback)
Genre: Rock 'n' Roll, R&B, Soul
Robert Gordon knows Memphis music inside and out, as well as the colorful characters who populate the city. This book features published and previously unpublished stories about notable folks he's encountered, and there's a great piece on the fight over Robert Johnson's estate. Pick up the tie-in CD (on Fat Possum Records), full of hot tracks for your own rent party.
JIMMY MCDONOUGH
Da Capo (Hardback)
A first-rate biography of Al Green, capturing his many personal contradictions, as a man of God who nonetheless had trouble walking the straight and narrow (not to mention his disinclination to pay his musicians). McDonough also examines Green's work, illustrating exactly why he's revered as a singer.
By Lee Zimmerman
HARVEY KUBERNIK
THE DOORS: SUMMER'S GONE
(Otherworld Cottage Industries)
Genre: Rock History
Summary: Kubernik fearlessly tackles a subject that's been written and discussed countless times since the band first appeared some 50 plus years ago, that being the evolution and tumultuous journey undertaken by Jim Morrison and the Doors. Here again, Kubernik avoids any heady discourse and focuses instead on allowing those who were there --the band's Robby Krieger, Ray Manzarek and John Densmore, as well as such noted fellow travellers as label executive Jac Holtzman, musical contemporaries Paul Katner, Grace Slick, Chris Darrow and Peter Lewis, producer Bruce Botnick and dozens of others -- offer their recollections from a unique first person perspective. A fascinating oral history told in remarkable detail, this is a Doors bio that ranks as among the more expansive.
(Sterling)
Summary: As a producer, record company executive, author, documentary maker, and contributor to any number of leading music publications -- Goldmine included -- Harvey Kubernik is in an ideal position to look back and analyze the seismic shift that transpired in music and culture half a century ago, culminating in the so-called "Summer of Love." It's a subject that's been covered frequently, but wisely, Kubernik lets other authoritative voices -- ex Rolling Stones manager Andrew Loog Oldham, the Byrds' Roger McGuinn, the Turtles' Howard Kaylan, filmmaker D.A. Pennebaker, Yes guitarist Steve Howe among the many -- share their reflections and insights as well. A sumptuous, oversized book filled with colorful graphics and scores of little-seen photos, 1967 may not be the definitive word on the subject, but it's certainly among the most expansive.
INSIDE CAVE HOLLYWOOD: THE HARVEY KUBERNIK MUSIC INNERVIEWS and INTERVIEWS Collection VOL.1
(Cave Hollywood Music)
Summary: If the lengthy full title isn't evidence enough, Inside Cave Hollywood is a remarkably ambitious tome, one that attempts to tie together the emergence of several ground-breaking artists and icons, any one of which could fill several volumes all on their own. Indeed, linking Jimi Hendrix, Bob Marley, the Supreme, Elton John, Frank Sinatra. Leonard Cohen, Motown and Chess Records in a single volume spanning less than 200 pages seems like overreach at best and an unwieldy attempt at worst. Best read as individual chapters without expecting a continuous trajectory to keep one's interest intact, the book succeeds as a series of succinct snapshots that are brief but illuminative regardless.
IT WAS FIFTY YEARS AGO TODAY
Summary: Here again, Kubernik expounds on a subject that's been covered more times than nearly any other literary discourse imaginable -- that is, The Beatles' conquest of America and the subsequent generational changes that they left in their wake. Yet once again, the insights Kubernik gathers from others who witnessed history in the making -- some notable (Brian Wilson), others obscure (Ian Whitcomb), and still others situated somewhere in-between (Billy Mumy) -- take the narrative to a different level and offer opportunity to include details that are surprisingly revealing. (Cult deejay Rodney Bingenheimer's description of a day spent with George Harrison during the Beatle's lone visit to California in 1967 being one of the more fascinating examples.) Granted, It Was Fifty Years Ago Today isn't the definitive volume its title might lead one to believe, but as far as detailing the moments behind the magic, it's an intriguing read indeed.
New ReleasesQuick PicksThe JamDEREK TAYLORAndrew Lloyd Webbervinyl recordsmusic reviewsRick BucklerKing CrimsonHarvey KubernikAstrid KirchherrAltered ImagesCDsBeatlesRitchie Blackmore's RainbowRobert GordonWanda JacksonBox SetsWillie NelsonGillian G. GaarRingo Starral greenJohn Curleycherry red records


If you've ever walked through the ground floor hallway of CLII with your head down staring at your smartphone, you've walked right by some hidden treasures.
The World Religions case, located on the ground floor of Rock Valley College's CLII building.
In a display case below a modestly designed sign that says "World Religions" sits numerous artifacts- statues, rosaries, crosses, books- representing 13 different religions from across the world, including Hinduism, Buddhism, Confucianism, Taoism, Sikhism, Christianity, Unitarianism, Native Spirituality, Zoroastrianism, Jainism, Judaism, Islam, and Baha'i Faith.
The display was put together two years ago by RVC Professor Emeritus Kanwal Prashar and the pieces were donated to the college from the private collection of Prashar and his wife, Meenakshi. Some have been passed down in the Prashar family, while others have been given to Prashar by students from over the years.
The oldest piece, estimated to be from the early 1900's, is Nataraja, the dancing Shiva (the third of the Hindu Trinity of Brahma, Vishnu and Shiva). Nataraja first appeared on sculptures from the Gupta period in the 5th century CE. Shiva is the Lord of destruction and renewal. There are several explanations for this icon. One explanation is that the Shiva's dance here quickens life through his rhythmic activity releasing human souls from the snare of illusion and dancing in the heart of the devotee. The small figure crushed under Shiva's right foot is supposed to be a demon.
Nataraja, the dancing Shiva, first appeared on sculptures from the Gupta period in the 5th century CE.
You can see photos and in-depth descriptions of a few more of the interesting pieces from the collection at the bottom of the page.
The collection is more than just a display case in the basement of CLII. The artifacts are often used by Prashar and fellow colleagues who teach World Religions at RVC to enhance the lessons taught in class.
Prashar hopes the collection will expand and find a more prominent home when the remodel of CLII is completed in the future.
In the meantime, the next time you are on the lower level of the building, take a timeout from your device and stop to appreciate the significance of this unique collection of religious treasures.
The World Religions (PHL-155) course at Rock Valley College is a survey of the major religions of the world. The course includes a philosophical examination of the histories and selected teachings, practices and institutions of major Eastern and Western religions, such as Buddhism, Christianity, Confucianism, Hinduism, Jainism, Judaism, Shinto, Sikhism, and Taoism.
These two white marble statues, exquisitely carved and colorfully decorated, are from the First Hindu Epic (the Ramayana). Lord Rama was the seventh incarnate of Lord Vishnu. It is Rama's victory over Ravana (the demonic King of Sri Lanka), celebrated as DIWALI (DEEPAVALI), which is called "The Festival of Lights", and the most important Hindu festival.
Taj Mahal Replica: A white marble monument, built by the Moghul Emperor Shah Johan (1592-1666), in memory of his favorite queen Mumtaz Mahal, who died during childbirth. It is in the city of Agra, India on the banks of the river Jamuna. It took 15 years (1632-1647) to complete. It is the "most beautiful, feminine and proportionate" building in the world, and is one of the Seven Modern Wonders of the World. On either side of it are two identical red stone mosques, one for the use of the royal family and the other for public use.
A totem represents "Animism". This replica (totem) stands for the complex beliefs and rituals of our Native Americans. It also honors ancestors and various spirits and is sacred to our indigenous groups.


I am requested by the Council of the ⸻ Association to return to you the draft of a paper on The Truth of Alchemy, which you have been good enough to offer to read at our forthcoming meeting, and to inform you that the Council do not see their way to including it in the programme.
The Secretary of the ⸻ Association begs respectfully to inform Mr Karswell that it is impossible for him to communicate the name of any person or persons to whom the draft of Mr Karswell's paper may have been submitted; and further desires to intimate that he cannot undertake to reply to any further letters on this subject.
'Why, my dear, just at present Mr Karswell is a very angry man. But I don't know much about him otherwise, except that he is a person of wealth, his address is Lufford Abbey, Warwickshire, and he's an alchemist, apparently, and wants to tell us all about it; and that's about all—except that I don't want to meet him for the next week or two.
'The usual thing, my dear, the usual thing: he sent in a draft of a paper he wanted to read at the next meeting, and we referred it to Edward Dunning—almost the only man in England who knows about these things—and he said it was perfectly hopeless, so we declined it. So Karswell has been pelting me with letters ever since. The last thing he wanted was the name of the man we referred his nonsense to; you saw my answer to that.
'Is he a friend of yours?' asked Mr Secretary, with a private wink to his wife.
The question let loose a torrent of declamation. There was really nothing to be said for Mr Karswell. Nobody knew what he did with himself: his servants were a horrible set of people; he had invented a new religion for himself, and practised no one could tell what appalling rites; he was very easily offended, and never forgave anybody; he had a dreadful face (so the lady insisted, her husband somewhat demurring); he never did a kind action, and whatever influence he did exert was mischievous.
'Yes, I think he has all the possibilities of a distinguished criminal, has Karswell,' said the host.
The car stopped. Mr Dunning, still contemplating the blue letters on the yellow ground, had to be stimulated to rise by a word from the conductor.
Next day he went to town again. The car (it was the same car) was too full in the morning to allow of his getting a word with the conductor: he could only be sure that the curious advertisement had been made away with. The close of the day brought a further element of mystery into the transaction. He had missed the tram, or else preferred walking home, but at a rather late hour, while he was at work in his study, one of the maids came to say that two men from the tramways was very anxious to speak to him. This was a reminder of the advertisement, which he had, he says, nearly forgotten. He had the men in—they were the conductor and driver of the car—and when the matter of refreshment had been attended to, asked what Mr Timms had had to say about the advertisement.
'Well, sir, that's what we took the liberty to step round about,' said the conductor. 'Mr Timms 'e give William 'ere the rough side of his tongue about that: 'cordin' to 'im there warn't no advertisement of that description sent in, nor ordered, nor paid for, nor put up, nor nothink, let alone not bein' there, and we was playing the fool takin' up his time. "Well," I says, "if that's the case, all I ask of you, Mr Timms," I says, "is to take and look at it for yourself," I says. "Of course if it ain't there," I says, "you may take and call me what you like." "Right," he says, "I will": and we went straight off. Now, I leave it to you, sir, if that ad., as we term 'em, with 'Arrington on it warn't as plain as ever you see anythink—blue letters on yeller glass, and as I says at the time, and you borne me out, reg'lar in the glass, because, if you remember, you recollect of me swabbing it with my duster.' 'To be sure I do, quite clearly—well?' 'You may say well, I don't think. Mr Timms he gets in that car with a light—no, he telled William to 'old the light outside. "Now," he says, "where's your precious ad. what we've 'eard so much about?" "'Ere it is," I says, "Mr Timms," and I laid my 'and on it.' The conductor paused.
It was in a somewhat pensive frame of mind that Mr Dunning passed on the following day into the Select Manuscript Room of the British Museum, and filled up tickets for Harley 3586, and some other volumes. After a few minutes they were brought to him, and he was settling the one he wanted first upon the desk, when he thought he heard his own name whispered behind him. He turned round hastily, and in doing so, brushed his little portfolio of loose papers on to the floor. He saw no one he recognized except one of the staff in charge of the room, who nodded to him, and he proceeded to pick up his papers. He thought he had them all, and was turning to begin work, when a stout gentleman at the table behind him, who was just rising to leave, and had collected his own belongings, touched him on the shoulder, saying, 'May I give you this? I think it should be yours,' and handed him a missing quire.
'It is mine, thank you,' said Mr Dunning. In another moment the man had left the room. Upon finishing his work for the afternoon, Mr Dunning had some conversation with the assistant in charge, and took occasion to ask who the stout gentleman was.
More than once on the way home that day Mr Dunning confessed to himself that he did not look forward with his usual cheerfulness to a solitary evening. It seemed to him that something ill-defined and impalpable had stepped in between him and his fellow-men—had taken him in charge, as it were. He wanted to sit close up to his neighbours in the train and in the tram, but as luck would have it both train and car were markedly empty.
The solitary evening was thus obviated; at the expense of some distress and inconvenience, it is true. Mr Dunning spent the time pleasantly enough with the doctor (a rather recent settler), and returned to his lonely home at about 11.30. The night he passed is not one on which he looks back with any satisfaction. He was in bed and the light was out. He was wondering if the charwoman would come early enough to get him hot water next morning, when he heard the unmistakable sound of his study door opening. No step followed it on the passage floor, but the sound must mean mischief, for he knew that he had shut the door that evening after putting his papers away in his desk. It was rather shame than courage that induced him to slip out into the passage and lean over the banister in his nightgown, listening. No light was visible; no further sound came: only a gust of warm, or even hot air played for an instant round his shins. He went back and decided to lock himself into his room. There was more unpleasantness, however. Either an economical suburban company had decided that their light would not be required in the small hours, and had stopped working, or else something was wrong with the meter; the effect was in any case that the electric light was off. The obvious course was to find a match, and also to consult his watch: he might as well know how many hours of discomfort awaited him. So he put his hand into the well-known nook under the pillow: only, it did not get so far.
What he touched was, according to his account, a mouth, with teeth, and with hair about it, and, he declares, not the mouth of a human being. I do not think it is any use to guess what he said or did; but he was in a spare room with the door locked and his ear to it before he was clearly conscious again. And there he spent the rest of a most miserable night, looking every moment for some fumbling at the door: but nothing came.
The venturing back to his own room in the morning was attended with many listenings and quiverings. The door stood open, fortunately, and the blinds were up (the servants had been out of the house before the hour of drawing them down); there was, to be short, no trace of an inhabitant.
The watch, too, was in its usual place; nothing was disturbed, only the wardrobe door had swung open, in accordance with its confirmed habit. A ring at the back door now announced the charwoman, who had been ordered the night before, and nerved Mr Dunning, after letting her in, to continue his search in other parts of the house. It was equally fruitless.
The day thus begun went on dismally enough. He dared not go to the Museum: in spite of what the assistant had said, Karswell might turn up there, and Dunning felt he could not cope with a probably hostile stranger. His own house was odious; he hated sponging on the doctor. He spent some little time in a call at the Nursing Home, where he was slightly cheered by a good report of his housekeeper and maid. Towards lunch-time he betook himself to his club, again experiencing a gleam of satisfaction at seeing the Secretary of the Association. At luncheon Dunning told his friend the more material of his woes, but could not bring himself to speak of those that weighed most heavily on his spirits.
'My poor dear man,' said the Secretary, 'what an upset! Look here: we're alone at home, absolutely. You must put up with us. Yes! no excuse: send your things in this afternoon.' Dunning was unable to stand out: he was, in truth, becoming acutely anxious, as the hours went on, as to what that night might have waiting for him. He was almost happy as he hurried home to pack up.
His friends, when they had time to take stock of him, were rather shocked at his lorn appearance, and did their best to keep him up to the mark. Not altogether without success: but, when the two men were smoking alone later, Dunning became dull again.
Gayton whistled. 'What makes you think that?' he said.
Conversation dropped again; Gayton became more and more strongly impressed with the desolateness that came over Dunning's face and bearing, and finally—though with a considerable effort—he asked him point-blank whether something serious was not bothering him.
Gayton was thoroughly startled, and at the moment could only ask why. Then the complete story of Dunning's experiences came out—what had happened in the tramcar, in his own house, and in the street, the troubling of spirit that had crept over him, and still held him; and he ended with the question he had begun with. Gayton was at a loss how to answer him. To tell the story of Harrington's end would perhaps be right; only, Dunning was in a nervous state, the story was a grim one, and he could not help asking himself whether there were not a connecting link between these two cases, in the person of Karswell.
It was a difficult concession for a scientific man, but it could be eased by the phrase 'hypnotic suggestion'. In the end he decided that his answer tonight should be guarded; he would talk the situation over with his wife. So he said that he had known Harrington at Cambridge, and believed he had died suddenly in 1889, adding a few details about the man and his published work. He did talk over the matter with Mrs Gayton, and, as he had anticipated, she leapt at once to the conclusion which had been hovering before him. It was she who reminded him of the surviving brother, Henry Harrington, and she also who suggested that he might be got hold of by means of their hosts of the day before.
'He might be a hopeless crank,' objected Gayton.
'That could be ascertained from the Bennetts, who knew him,' Mrs Gayton retorted; and she undertook to see the Bennetts the very next day.
A long consultation took place. The paper was narrowly examined. As Harrington had said, the characters on it were more like Runes than anything else, but not decipherable by either man, and both hesitated to copy them, for fear, as they confessed, of perpetuating whatever evil purpose they might conceal. So it has remained impossible (if I may anticipate a little) to ascertain what was conveyed in this curious message or commission. Both Dunning and Harrington are firmly convinced that it had the effect of bringing its possessors into very undesirable company. That it must be returned to the source whence it came they were agreed, and further, that the only safe and certain way was that of personal service; and here contrivance would be necessary, for Dunning was known by sight to Karswell. He must, for one thing, alter his appearance by shaving his beard. But then might not the blow fall first? Harrington thought they could time it. He knew the date of the concert at which the 'black spot' had been put on his brother: it was June 18th. The death had followed on Sept. 18th. Dunning reminded him that three months had been mentioned on the inscription on the car-window.
Karswell was on the alert, but gave no sign of recognition. Dunning took the seat not immediately facing him, and attempted, vainly at first, then with increasing command of his faculties, to reckon the possibilities of making the desired transfer. Opposite to Karswell, and next to Dunning, was a heap of Karswell's coats on the seat. It would be of no use to slip the paper into these—he would not be safe, or would not feel so, unless in some way it could be proffered by him and accepted by the other. There was a handbag, open, and with papers in it. Could he manage to conceal this (so that perhaps Karswell might leave the carriage without it), and then find and give it to him? This was the plan that suggested itself. If he could only have counselled with Harrington! but that could not be. The minutes went on. More than once Karswell rose and went out into the corridor. The second time Dunning was on the point of attempting to make the bag fall off the seat, but he caught Harrington's eye, and read in it a warning.
After a brief glance at the ticket inside, Karswell uttered the hoped-for response, 'Yes, it is; much obliged to you, sir,' and he placed it in his breast pocket.
Even in the few moments that remained—moments of tense anxiety, for they knew not to what a premature finding of the paper might lead—both men noticed that the carriage seemed to darken about them and to grow warmer; that Karswell was fidgety and oppressed; that he drew the heap of loose coats near to him and cast it back as if it repelled him; and that he then sat upright and glanced anxiously at both. They, with sickening anxiety, busied themselves in collecting their belongings; but they both thought that Karswell was on the point of speaking when the train stopped at Dover Town. It was natural that in the short space between town and pier they should both go into the corridor.
At the pier they got out, but so empty was the train that they were forced to linger on the platform until Karswell should have passed ahead of them with his porter on the way to the boat, and only then was it safe for them to exchange a pressure of the hand and a word of concentrated congratulation. The effect upon Dunning was to make him almost faint. Harrington made him lean up against the wall, while he himself went forward a few yards within sight of the gangway to the boat, at which Karswell had now arrived. The man at the head of it examined his ticket, and, laden with coats he passed down into the boat.
'What the devil do you mean by the other gentleman?' Karswell's snarling voice called back from the deck. The man bent over and looked at him.
In five minutes more there was nothing but the lessening lights of the boat, the long line of the Dover lamps, the night breeze, and the moon.
Long and long the two sat in their room at the 'Lord Warden'. In spite of the removal of their greatest anxiety, they were oppressed with a doubt, not of the lightest. Had they been justified in sending a man to his death, as they believed they had? Ought they not to warn him, at least?
So telegrams were left at the hotel office.
This page was last edited on 22 August 2017, at 10:45.


text:
cask 'duplicacy-web-edition' do
  version '1.2.1'
  sha256 '167bdcaac51de13c5b28f22deafb43b271fa760ed55075997005159397ed5c79'

  # acrosync.com/duplicacy-web was verified as official when first introduced to the cask
  url "https://acrosync.com/duplicacy-web/duplicacy_web_osx_x64_#{version}.dmg"
  appcast 'https://duplicacy.com/download.html'
  name 'Duplicacy Web Edition'
  homepage 'https://duplicacy.com/'

  app 'Duplicacy Web Edition.app'

  zap trash: '~/.duplicacy-web'
end

redpajama_set_name: RedPajamaGithub