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Grant's Spring Offensive Takes Shape
March 6, 2020 WalterCoffey Military, Virginia One comment
March 6, 1865 – Lieutenant General Ulysses S. Grant, the overall Federal commander, continued preparing to launch the spring offensive, which looked promising considering the growing number of Confederate desertions.
Lt Gen U.S. Grant | Image Credit: Wikimedia.org
The Federal Armies of the Potomac and the James had held General Robert E. Lee's Confederate Army of Northern Virginia under partial siege at Richmond and Petersburg since last summer. Grant hurried to mobilize these armies and destroy Lee before he could escape to the southwest and join forces with General Joseph E. Johnston's Confederates in North Carolina.
Grant also planned to launch offensives in other theaters of operations to prevent Lee from being reinforced. In North Carolina, separate Federal armies were joining forces to keep Johnston away from Virginia. Major General E.R.S. Canby and Brigadier General James H. Wilson were moving into Alabama to seize the important factory town of Selma and the port city of Mobile. And Major General George Stoneman was leading a cavalry force into eastern Tennessee.
Grant also needed help from the navy to protect his supply base at City Point, on the James River. Grant sent a message to Navy Secretary Gideon Welles on the 4th: "The James River is very high, and will continue so as long as the weather of the past week lasts. It would be well to have at once all the ironclads that is intended should come here."
Welles quickly responded by directing Captain Oliver S. Glisson at Hampton Roads to bring ironclads up from Wilmington. Glisson responded early on the 5th: "Your telegram was received at 15 minutes after midnight; blowing a gale of wind at the time, U.S.S. Aries sailed at daylight this morning. The monitors are expected every moment from Cape Fear, and I shall send them up the river immediately." Rear Admiral John A.B. Dahlgren, commanding the South Atlantic Blockading Squadron, was notified to send two ironclads from his command north to City Point as well.
Another part of Grant's preparation was to bring Major General Philip Sheridan's Army of the Shenandoah, fresh off their resounding victory at Waynesboro, back to the Federal armies outside Richmond and Petersburg. With the Shenandoah Valley now firmly in Federal hands, Sheridan marched unopposed and arrived at Charlottesville on the 3rd.
Grant had urged Sheridan to destroy the Virginia Central Railroad, which was one of Lee's main supply lines. The Federals spent two days finally getting this done before heading south toward the James River. Sheridan planned to wreck the James River Canal and then move east to join the spring offensive.
Sheridan's Federals moved through Goochland Court House, Beaver Dam Station, and Hanover Court House on their way back east. Sheridan reached White House, on the Pamunkey River, on the 19th. Grant arranged for him to pick up fresh horses and supplies, and he wrote to Sheridan that once his force was ready, "Start for this place as soon as you conveniently can."
Grant explained that he planned to move on Lee's southwestern flank with 50,000 troops, and Sheridan's men were needed to destroy the South Side and Danville railroads. Once that was done, Sheridan was to "then either return to this army or go on to Sherman (in North Carolina), as you may deem most practicable." Whichever option Sheridan chose, "I care but little about, the principal thing being the destruction of the only two roads left to the enemy at Richmond."
The next day, Grant sent Sheridan a more urgent message:
"I do not wish to hurry you. There is now such a possibility, if not probability, of Lee and Johnston attempting to unite that I feel extremely desirous not only of cutting the lines of communication between them, but of having a large and properly commanded cavalry force ready to act with in case such an attempt is made… I think that by Saturday next you had better start, even if you have to stop here to finish shoeing up."
Grant also reported on the progress of the other offensives starting this month:
"Stoneman started yesterday from Knoxville with a cavalry force of probably 5,000 men to penetrate southwest Virginia as far toward Lynchburg as possible.… Wilson started at the same time from Eastport toward Selma with a splendidly equipped cavalry force of 12,000 men. Canby is in motion, and I have reason to believe that Sherman and Schofield have formed a junction at Goldsboro."
Sheridan later wrote:
"The hardships of this march far exceeded those of any previous campaigns by the cavalry. Almost incessant rains had drenched us for sixteen days and nights, and the swollen streams and well nigh bottomless roads east of Staunton presented grave difficulties on every hand, but surmounting them all, we destroyed the enemy's means of subsistence, in quantities beyond computation, and permanently crippled the Virginia Central railroad, as well as the James River canal, and as each day brought us nearer the Army of the Potomac, all were filled with the comforting reflection that our work in the Shenandoah Valley had been thoroughly done, and every one was buoyed up by the cheering thought that we should soon take part in the final struggle of the war."
Meanwhile, to further hamper the Confederate war effort, the Federal high command encouraged enemy desertions by offering to pay deserters for bringing their rifles into Federal lines. Grant had asked Secretary of War Edwin M. Stanton for permission to enact this program, and Stanton replied, "There is no objection to your paying rebel deserters for their arms, horses, or anything they bring in, a full and fair price. That kind of trade will not injure the service."
Major General E.O.C. Ord, commanding the Army of the James around Bermuda Hundred, wrote how his troops promoted the program: "On the Bermuda front the order promising pay for arms and horses has been circulated with kites, bows and arrows, and newspapers." One of Ord's corps commanders, Major General John Gibbon, asked Ord to "send me more of General Grant's orders and a man who understands your mode of fixing them to a kite."
Grant wrote to Stanton on the 19th, "Will you please direct the Ordnance Department to send money here at once to pay for arms brought in by deserters. A great many are coming in now, bringing their arms with them." Three days later, Chief Ordnance Officer F.H. Parker issued a directive: "It is arranged that you are to pay for arms brought in by deserters. They will be forwarded with their arms or with receipts from the provost-marshal here. Pay them at the rate of $8 per arm…"
Desertions in the Army of Northern Virginia totaled 2,934 between February 15 and March 18, or nearly 10 percent of Lee's whole army. Some deserted for the money, but most left to ease the suffering of loved ones at home. Major General George G. Meade, commanding the Federal Army of the Potomac, wrote to Grant, "Twenty-two deserters yesterday; twenty are reported this morning. The whole Confederate army appear to have had two days' cooked rations and told to be on the alert; I think due more to an expected attack from us than any projected movement on their part."
Meanwhile, Grant continued planning his offensive, which would start as soon as the Virginia roads were dried enough for his men, horses, and guns.
Anderson, Nancy Scott; Anderson, Dwight, The Generals: Ulysses S. Grant and Robert E. Lee (New York: Vintage Books, 1987), p. 517; Catton, Bruce. Grant Takes Command (Open Road Media. Kindle Edition, 2015), p. 427, 429; CivilWarDailyGazette.com; Denney, Robert E., The Civil War Years: A Day-by-Day Chronicle (New York: Gramercy Books, 1992 [1998 edition]), p. 542, 546-48; Foote, Shelby, The Civil War: A Narrative: Volume 3: Red River to Appomattox (Vintage Civil War Library, Knopf Doubleday Publishing Group, Kindle Edition, 2011), Loc 17835-65; Fredriksen, John C., Civil War Almanac (New York: Checkmark Books, 2007), p. 561, 563-67; Freeman, Douglas Southall, Lee (Scribner, Kindle Edition, 2008), Loc 8134; Long, E.B. with Long, Barbara, The Civil War Day by Day (New York: Da Capo Press, Inc., 1971), p. 646-47, 654-55
Army of Northern VirginiaArmy of the JamesArmy of the PotomacE.O.C. OrdEdwin M. StantonGeorge G. MeadeGideon WellesJohn GibbonOliver S. GlissonPhilip SheridanRobert E. LeeUlysses S. Grant
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All You Need Is Now (single) – the Daily Duranie Review
December 8, 2010 Daily Duranie	8 Comments
As I mentioned earlier this week, Amanda and I felt that it would be fun to do our own review of each song off of the album, and today we begin that journey by reviewing All You Need Is Now. If you haven't already downloaded this song off of iTunes, you really should! As an early Christmas present from the band, the song is free for today, Wednesday December 8th, 2010!
The reality is, neither Amanda nor I are music experts – except perhaps in our own heads. This review section is purely our take on the new music and is part of an examination we are doing of the Duran Duran's music as a whole. We aren't expecting anyone to wholly agree with us, as it's purely our take – just as when you listen to music, you make your own judgements. You may find in reading that Amanda and I will not always agree or get the same take from the same song. Personally, that's what makes music so amazing: two people can listen to the same song and come away feeling completely different things.
A couple disclaimers aside from the above:
1. We are not employees of Duran Duran. They aren't holding us in duress, nor are they telling us what to say and write.
2. We pay for our own music. We do not receive early copies of their music and we listen to the same grade of music as everyone else.
The way we will handle reviews from this point forward is that both Amanda and myself will each do our own review within the blog. We have 4 basic categories that we will review – Musicality/instrumentation, Lyrics (the writing), Vocals (yes Simon – we have a "special" category just for you!), and Production (or aspects thereof). Finally, we will wrap up with overall feelings of the song, and then we will give an overall rating. Hope that makes sense – R
Our rating system is simple, and very indicative of our personality:
1 cocktail: It's really not our thing and honestly at this point the band should be sending US cocktails just to keep listening.
2 cocktails: It could really use work. There are problems in most, if not all, areas of the song/album. It's not making our ears bleed yet, but it's close.
3 cocktails: It's not bad, but it's not great either. We aren't going to turn it off, but we might not actively listen either.
4 cocktails: We're liking what we hear! It reminds us as to why we're still fans after all of this time!
5 cocktails: AMAZING! Can this band really get much better?!? This is the Duran we know and love!
Of course, we may even do half cocktails when necessary!
Amanda's take (as of now and is always subject to change!)
Musicality/Instrumentation:
This song is not static as it changes. The first part is a rather in-your-face electro. It is rather jarring and definitely not what one thinks of when they think of Duran Duran. For that reason alone, I think I like it. It is hard to miss and would definitely get people's attention. I also think it is fitting for the lyrics, which I will get to. It also reminds of the Reflex, in terms of different introductions. I remember when that song came out and everyone wondered about the beginning. Yet, now, we can't imagine the song beginning any other way. Even with the electro part, the song feels like essential Duran on all levels, including musically. The instruments are all present, which is a welcome return! I adore the fact that the song goes through all of these changes from the intro to the verses to the chorus to the build up back to the chorus to the end. Yet, throughout all of the different parts, the song is upbeat and makes you want to hear more!
Vocals:
The thing I noticed about Simon's vocals is that the mood they created in me changed as the song changed. In the beginning, he was more abrupt, more straightforward but with the chorus, he was more melodic. This change seemed to match both the music and the lyrics, which is really what matters to me in the long run!
Lyrics make a big difference in my ability to appreciate or like a song. If I can personally relate to a song, it will really enhance it for me. I think that is true for a lot of people. Anyway, I heard the chorus of this song before I knew all of the lyrics. When I heard the chorus, I felt in my gut that this song was to us, the fans. Then, the rest of the lyrics just continued that feeling! We do have to "sway" like when we were "younger" and have to let the music play "a little longer". Then, I started thinking about touring and it makes even more sense with the line about the VIP section. The message seems clear. Embrace the music. Embrace being a fan. Enjoy it. Nothing else matters but this moment. It is interesting how the lyrics start out with the line (as I hear it), "It's all up to you now," as the idea is that you have a decision to make. This decision may not be an easy one to make unless you stop thinking about everything else but the music and the present. Obviously, the lyrics really spoke to me as someone who has often not embraced this, at various points in my life and for various reasons. Now might be the right time to embrace this philosophy.
Production Aspects:
I feel like this is the one area that takes the song down some on the cocktail scale of excellence. It sounds a bit too polished. Some of the rawness seems to have been taken away. While that in no means makes it bad, it is a blown opportunity. A perfect example is the electro part. While in the beginning, I really like it and feel like it has its place but it is too loud during the second verse. It distracts from Simon's vocals and the rest of the musicality there. Plus, it would have been more fitting for how I see the song flowing. By the end of the song, there is more of a beautiful reminder that all you need is now. The electro part comes back from time to time as does real life or the worry for the future but should be pushed aside for the seize the day mentality of happiness. It should not be such a strong presence after that first chorus. On a different note, I find the inclusion of the street noises at the end of the song to be interesting. Could these noises be saying that once you accept the current status, the real world becomes a background noise. I think it is a nice touch!
This song seems to have a theme running through it, to me. It represents how people have decisions to make about how they are going to live their lives. While those decisions might be difficult and abrupt, everything becomes beautiful once the present is embraced, once one's core joy is embraced. I feel like this song could have been written as a reminder for Duranies to accept where the band is, accept the fact that the band is still around and still making beautiful music and accept that we are still fans, still Duranies. It is something that makes us happy. As a musical piece, I love that it feels like the Duran I know without being something we have already heard!
Cocktail Rating:
Rhonda's take on All You Need Is Now
Musicality/Instrumentation: I have to say that it's nice to be able to hear John again. I don't think I've heard that funky bass in many years – I love that you can feel it and hear it, yet John isn't looking to be the lead. It's a real rhythm section again, and is a welcome change from their more recent albums. Roger provides a very clear and strong back beat – and when he hits that high hat I can almost see him twirling that stick! The rhythm is impossible to ignore during the verses, and it really does well to provide the backbone. The guitar is there, although on this particular song it does not play the lead role – that seems to go to Nick, and appropriately so. If you listen during the verses, the guitar plays a call/response game with Nick's synths, and it's a beautiful thing. One thing I've always enjoyed in Duran's best music was the tug-of-war played between the guitar and synths, and it's been sorely lacking in their recent attempts. The chorus is Duran Duran perfection in every way. Both anthemic and atmospheric in the way only Duran Duran can do it. That said, I feel it's very electro in parts – dangerously close to annoyingly so. It's amazing because I would have sworn after the first couple listens that the song was originally two completely different pieces of music. The verses are strangely similar to something I have heard on more recent albums (I hate to say it, but I could imagine it being on Red Carpet Massacre), and the chorus could be straight from 1983, give or take a few years in either direction.
Vocals: Who am I to critique Simon when he is at his best? His voice is strong, and while I know that he's had the tendency as of late to sound strained and nasally, I don't hear that in this song. I know that in the past, Simon had a way of reaching notes much lower than I would have expected of someone with his vocal range – almost whispering like Barry White (a slight exaggeration) into the microphone, but this song doesn't require that, and so I don't expect it. I have tried and failed to think of one thing that could have been done differently to improve the song from a vocal standpoint.
Lyrics: I originally heard snippets of this song when it was played on Behind the Music during the credits – and I felt that lyrically, the song was more reminiscent of Simon's more recent work. His writing has been far more straightforward than the poetic, filmy imagery of his early Duran Duran days. That doesn't mean to say that the writing is at all poor, because it is not. The chorus is VERY straightforward – it says what it means and means what it says, which we should embrace and appreciate. The writing is strong, and while yes, the fans from way back when might say he's become a weaker lyricist over time, I would wholeheartedly disagree. It's far more difficult to put yourself out there in black and white than it is in a series of gray that could mean one thing to you and something completely different to the next reader/listener. Does it lose the romance of previous work, though? For me, I'd have to say no. This song is written for the fans, it's written for me, it's written for you – and I think it's even written for them. Who needs romantic flowery lyrics when you've got Simon telling you to sway in the mood? My favorite line? "Everybody's gunning for the VIP section; but you're better off running in another direction." (how'd they know I felt that way?!?) This song was written about their fans, and about themselves. It's a beautiful relationship.
Production Aspects: I hear what I hear, and on this song – it's just a little overproduced, in particular during the chorus. Unfortunately with today's music and production – to hear a song that isn't a victim to overproduction is the rarity. The music is a victim to the technology, in my mind. There is so much we can do to play with the sound of an instrument and with the mix of a song – we do too much. The chorus sounds rather flat at times, as though it's a giant brick wall of sound coming out you to hit you with force. The synths blend so much into the vocals that it can sound rather muddy, and not just because it's an iTunes file. Sometimes too much is really too much. I will also say that as far as the mix goes, the electronic part that plays during the verses is way, WAY too loud. It competes with Simon's lyrics, and that's just wrong.
Overall Impression: Here is where it gets personal. When I first heard this song on Behind the Music, tears rolled down my face. I had wondered where Duran Duran…*my* Duran Duran…had been all of these years. Of course, I'd only heard the chorus, but it was as beautiful as anything they'd ever done. I dare say it was perfection. When I had the opportunity to hear the entire song, I stumbled back a bit. The verses didn't blend well into the chorus and overall it felt very awkwardly done. I will admit that as time has gone on, I've gotten used to that – and I actually enjoy it now. The very fact that the song grows on me and changes for me over time signifies that it's something very special. Does it lend itself to the days of Rio? Is that really even a fair question?? My answer is that it's a Duran Duran song. There is nothing about this song that I wouldn't attribute completely and solely to Duran Duran, and for me – that's a victory, plain and simple. Will it get airplay? Will it be a hit? Who the hell cares?!? This is for THEM. For US. Enjoy it!!
All You Need Is Now-The Daily Duranie Video Review
Faith in This Colour – The Daily Duranie Review
AYNIN – The Daily Duranie album review
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8 thoughts on "All You Need Is Now (single) – the Daily Duranie Review"
Robin Burks says:
I wish there was a "like" button on this post. 😛
Daily Duranie says:
It's our very first review…and I must say…it's not as easy as it seemed when we had the idea!! 😀 Thanks a lot Robin!! -R
Okay, my view point is NEVER in sync w/any other Duranie. I don't know why, but there it is.
The easiest thing to talk about is the chorus. I think it's killer, and while I don't whole-heartedly agree that the synths and overall music compete with Charlie's vocals, making a muddy sound, I do think the music is rather loud. Does it take away from the chorus for a chorus' sake, no.
The verses, I couldn't agree more–jarring! I was very surprised by this, but the second time I heard it, it almost made sense. Almost like a wake up call to the fans, to the non-fans, and ultimately to themselves–LISTEN TO THIS! I think they only help draw attention to the awesome chorus.
The music: I'm glad JT can be heard, even with Nick's samples and synths all over the song. The beat is solid, as RT always is. Now, is this a return to roots? Somewhat, but I also feel that I felt that way during Astronaut in the sense that all of the instruments had their own space. For me, Astronaut really brought out JT's bass, and it was great to hear him be groovy and funky again. However, on this song it seems his staccato playing, ala the first and third album, is back. Again, what the hell do I know!
Overall impression, it's a great first track. The chorus easily permeates the subconscious and is at the same time alternative sounding and catchy. I can hum it and sing it easy enough. However, as I told my wife, what is the best thing you can say about a first single? A single that is catching everyone's attention? That it is NOT the best song on the album. To me, that speaks volumes! AYNIN is going to be on my playlist for the next year at least, and then some (knowing me!). But let me tell you, when I first heard Mediterranea, I couldn't quite grasp it. Then I heard it again and I felt, "Oh, now that's awesome!" AYNIN is for the fans. We don't need anybody else's authentication for the group we love and the songs we listen to. And Double D doesn't need any for the songs they make.
'Nuff said!
shadoefyre says:
I think it's pretty good overall. As always, I'm not sure it's a single, but I would wonder what was going on if I actually thought Duran had picked the right track to "introduce" an album to buyers. =)
Robby-Thank you for sharing your thoughts about the song! We had a lot of the same thoughts! I'll be anxious to hear your opinion about the rest of the tracks when the album comes out!
Krissie-It is hard to know if it is "single" worthy until hearing the other tracks. It seems that Duran has a very different approach this time around in terms of promotion!
zeromagis says:
I LOVE the "distorted" sounds & the rhythm in the verse and the chorus really captures me!!! ^^
A lot of people seem to be preferring the less jarring version of the radio edit, but I'm with you, zero!
I MUCH prefer the radio edit…I think the electro sounds are far, far far too loud in the album version. I think there's a version for everyone with regard to this song, though! 😉 -R
We (Amanda and Rhonda) appreciate discussion and differences of opinion. We respectfully ask that you fully read the blog before bitching us out. If you're only here to take us down a notch, note that we moderate replies (meaning we're not printing rude comments). Thanks a bunch!	Cancel reply
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Q: Multiple personal blogs merged in one In my team we would like to have a single blog that merges all the posts that each individual has in its own blog (hosted in different blogging platforms that publish RSS/ATOM feeds). Is there any web platform that does this or my only option is to code my own?
Thanks a lot!

A: From all of my searching, and that is the past hour. I can find no solution for you other then hosting one yourself. I found plenty of wordpress plugins that do just this but no wordpress hosts that allow the plugin.
But there is hope. Depending on the other people, blog.com allows atom posting. Which means you can use a desktop client that uses the atom protocol to post entries. Which if used in conjunction with their other blog would post on both sites simultaneously.
The only other option I see is email posting. Which most sites out there allow as well. So you and your fellow bloggers could post via email to multiple blogs at once.

A: If you're all using the same blog engine then you shoulld be able to export the posts and then import them back into a single instance of a blog.
For example, you could take 4 WordPress blogs, export the posts from MySQL and then turn back around and import all four sets of posts back into a single WordPress blog.
Now if you have different blog engines for your team, then you are going to have to manually massage the posts to make them work.
Good luck and hope this helps some.

A: You can aggregate the feeds with Planet.

A: There is also simplepie. :)

SimplePie is a very fast and easy-to-use feed parser, written in PHP,
  that puts the 'simple' back into 'really simple syndication'. Flexible
  enough to suit beginners and veterans alike, SimplePie is focused on
  speed, ease of use, compatibility and standards compliance.

A: Idea: Use Yahoo! Pipes or something similar to combine the RSS feeds and then use some sort of service to automatically post items from that feed to a blog. It seems you might be able to hack up some sort of solution going this route without needing to self host.

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Dirk Tol was born 18 January 1894 in Harenkarspel, North Holland, Netherlands to Kees Tol (1864-1931) and Catharina Takken (1866-1935) and died 25 September 1962 in Tuitjenhorn, North Holland, Netherlands of unspecified causes. He married Agatha C.B. Bleyendaal (1892-1927) 25 May 1918 in Harenkarspel, North Holland, Netherlands. Ancestors are from the Netherlands.


They don't ship to Massachusetts, but the deal on Wines 'Til Sold Out today is a pretty good one. They're offering the 2006 Keller Estate La Cruz Vineyard Pinot Noir at $19.49.
I visited Keller Estate in Petaluma, CA this spring. Nice place. I sought them out because Ryan Zepaltas sourced the grapes for his 95-point 2005 from this exact vineyard. I just cracked open a 2004 Keller Estate La Cruz Pinot to remind myself what the wine is all about. It's a restrained expression of Sonoma Coast Pinot Noir, full of flavor but not overbearing. Medium-body, medium-acidity, and classic Pinot Noir fruit on the nose. Not a lot of earth, but then again, I haven't found Sonoma Pinot Noirs to ever offer a lot of earth. Nice elegant stuff.
I recently had the 2005 vintage of this wine poured by the glass at A.R. Valentien at The Lodge at Torrey Pines in La Jolla, CA. I think it was $16 per glass. Steep, but showing quite nicely and I enjoyed it very much with a fantastic Chicken "Under a Brick" with Braised Escarole and Crispy Prosciutto.
All together, I thought this was a wine deal worth mentioning for folks in a position to take advantage. The deal is only available 'til sold out so act quickly.
Tons of deals lately. What are some of your sources for the best online wine deals? Even if we can't take advantage of them in some states it's interesting to hear what's out there. Let us know in the comments.


Meet Johan Söderqvist and Patrik Andrén, the two composers behind the music of Battlefield 1.
In part one of our deep dive into the music of Battlefield 1, we showed you some of the unique instruments that made the game's soundtrack. In part two, we dive deeper with Johan Söderqvist and Patrik Andrén to learn about the soundtrack's creation. Learn more about the difference between making music for games versus film, the best compliment you can get as a composer, and how to make music that surpasses the brain and goes right to the stomach.
What was the overall feeling you were trying to achieve for the Battlefield 1 musical score?
Johan: One important thing that we discussed from the start is making music that moves you, and ultimately involves the player emotionally, not just music that makes it fun to play the game. It can be hard to make music for first-person shooter games, because there is a constant sound of combat. You must find small snippets of time where you can push in some emotion.
We utilize the space in the deploys and the menus. If you can catch the emotion in there, the player will sometimes stay there and listen to the music. In fact, some people are commenting on YouTube that they feel emotionally moved and just want to stay in the menu playlists!
Patrik: We got an email yesterday from someone who basically said he was crying while playing. This is the best compliment you can get as a composer of a game.
Johan: Music has a way to surpass the brain and get into your stomach. We really try to work with that. Players are so engaged in using their heads to play the game so we try to take the emotional part and make it more significant.
How did you collaborate with other teams?
Johan: We work closely with Bence Pajor, the main sound designer and Stefan Strandberg, the Creative Director of the game. They´ve both given us a lot of great direction showing us inspirational footage and ideas.
It's very important to have this type of creative input and feedback because neither of us are gamers. We come from the film world.
Patrik: Our musical team is very important to us. Fredrik Möller (additional music) and Dave Moore (music editor and mixer) are two key players, along with many other wonderful musicians and assistants. Also, the head of the music department at EA, Steve Schnur, has supported us greatly.
Johan: And let's not forget the DICE LA team, with sound designers Jeff Wilson and Tom Hite who have collaborated closely with us on the expansion packs.
You've worked together composing music for many films and TV shows. What differences did you find in composing music for games?
Patrik: For games, we sort of write the music simultaneously while the game is being created. In the beginning, we can't see the game in pictures, but only as concept art. That means we're hungry for input from DICE. We try to absorb everything that we get as far as feelings, environments, and colors. In film, you react to the picture and the story that is more or less edited and you go from there.
Johan: That's why it's vital to share a common dream. There is not a lot of material while you're working, because the animation takes a long time to create. You have a work-in-progress for a very long time, so it's really important to carry a shared vision from start to finish. If we didn't, we would only have had about four weeks to create all the music.
What were some of the tactics you used to create a richness in the Battlefield 1 music?
Johan: It's very interesting because the in-game instances like "deploy" come up frequently. We try to do as many different variations of the music in these places as we can. Instead of having one deploy, and one menu song, we actually have 5 or 6 songs in each different place. We wanted to give the players the feeling that everything is new all the time. Even if it's just a little variation: it could be with or without a drum, or it could be a waterphone piece and then the next song could be a full orchestral piece. Every time you come into the deploy menu you would have some new content that would evoke emotions.
Patrik: There is a word called round-robin. It's means that you have a small variation of the same thing. We try to do that with the music in Battlefield 1. Basically, every time you come to a menu there's a difference or a variation in the music.
Johan: We're trying to build a world that enriches the game for the players. A feeling of a big and limitless game.
How did you incorporate the original Battlefield theme music into later game updates?
Patrik: We felt a responsibility to stay true to the original Battlefield theme and legacy. We use the theme or motifs from the theme in many songs and every time we modify it to fit the current setting. For example, in Battlefield 1 In the Name of the Tsar, it's in a Russian feel written for choir with text. You will find a little snippet of the Battlefield theme in many of the songs in the game.
Patrik and Johan after the first day of recording at Abbey Road.
How does the music change from scene to scene throughout the game?
Johan: Battlefield 1 has an overall feeling, but it should have different feelings in different places on the globe.
Patrik: We try to build a sound background and texture around each location that is interesting and fits the scene or geographical location. For example, if the scene is set in Turkey, we could use more Turkish instruments and percussion.
Johan: You could say that we are trying to find the musical world and language of the different locations. First we have the language of Battlefield 1 and then we try and find the palettes for the different locations.
Patrik: Both Johan and I are very sensitive to visuals. So perhaps we get a new map and it's a forest. We try to create something around that, an earthy, damp or woody sound. Alternatively, a desert sound would be windy, sandy and dry. We always try to capture those specific places and their elements, like the vegetation, and the colors.
Were there any key themes in Battlefield 1 that influenced your music?
Johan: I think the feeling of Battlefield 1 in the start is a bit naive. The soldiers went out to the war thinking that they would become heroes, with a "we are going to change the world" attitude.
However, it turned out to be one of the most horrific periods in the history of mankind. They were talking about bravery and honor at first, but this was the first modern war so there was no honor or bravery, it was just slaughter. There was a big difference between what they thought and what they went into.
We tried to capture that feeling of naivety, but still in the background there is pure darkness and evil. I think we tried to create this heroic sound in some parts and then it kind of changes into cataclysm and darkness and apocalypse. You have these two worlds that coexist.
You've recorded so much music for Battlefield 1 now. How do you continue to find inspiration?
Patrik: We always record new instruments with the goal to "charge" inspiration and creativity. It's a way of getting into the writing process, but it's also a time-consuming process. It takes a few days to record one instrument, and edit it, and make it work in the computer. Then you take the next instrument and you can go on for months like that. So, finally, hopefully you are fully "charged" and you just explode with music.
Want to hear more from Johan and Patrik? Learn about some of the interesting instruments and rare sounds they used in the Battlefield 1 score.


As i lay in bed about to sleep before a new day full of hiking and trails and learning about science and God with fifth graders, i wanted to share a very quick reflection with you.
Today, i got to teach the students about geology, and one of the specific topics was erosion. Erosion is defined very simply: "When rocks move." A fun fact is that trees with strong roots help to prevent erosion.
As believers we are repeatedly urged to be rooted in Christ. Whether it is a passage like Psalm 1, Jeremiah 17:7-8, Colossians 2:5-7, or one of the versions of the parable of the sower, it is extremely important to be rooted in our Christian beliefs so that we can act out what we believe.
If we look at society, it is clear that it is eroding away. As believers, we must be rooted deeply in Christ so that we can help to slow the erosion process we see so clearly around us.
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PLEASE NOTE THE PLAYROOMS WILL BE SHUT FOR FEBRUARY HALF TERM (MONDAY 18TH-WEDNESDAY 20TH) WE WILL BE BACK OPEN ON MONDAY 25TH!!
Take a Look at the Studio 74 timetable! There is a class for everybody no matter how big or small!
Stay in the loop with all major activities happening at The Playrooms including events during half terms!


When searching for landscaping design companies for your commercial property services, there are many options in Northern New Jersey to choose from. So, what characteristics should you be looking for that sets one company aside from the rest? Perhaps you're looking for a company that provides certain services, or that will work within a specified budget. Maybe you've never hired a commercial property service for your company or property before and you don't know where to start. At DeCarlo Landscaping Design, there is no question on what sets us apart from the rest. Read on to find out why you should choose DeCarlo Landscaping for your commercial property services this year.
Experience. We can't stress this one enough, maybe that's why it's our first point to make. With over 30+ years in the landscaping business and within Northern New Jersey, we believe there isn't anyone more qualified than us to know exactly what the weather conditions allow as far as planting and maintenance.
Variety Of Services. During that 30 years, we have expanded our services and offer many different commercial property services that can be tailored to any client large or small. We also know that budgets are tight and we work with companies to find a service plan that works within their budget, yet doesn't look like a budget job.
One-Stop. While some companies may only offer routine maintenance or installation, we do it all. This is one of our best qualities because when the company that designed and installed your landscape is also in charge of maintenance and upkeep, you know that it will be done correctly, with the best knowledge of the landscape and its individual requirements.
Choose a company this year that has the ability to keep your investment looking beautiful year round. Using a reliable, multi-service provider that has years of experience in the industry is your best bet that your landscaping design will be healthy, maintained and provide you years of beauty. Skip the rest and choose DeCarlo Landscaping for your commercial property services today.


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Did You Know? What Bombay High Court held when a Muslim girl raised the issue that asking her not to wear a "headscarf" in school violates her fundamental right under Article 25 of the Constitution of India?
Published on February 18, 2022 February 17, 2022 By Bhumika Indulia
In continuation to analyse a few cases wherein the issue of "headscarf" was touched upon by the Courts, today let's see what the Bombay High Court said on the wearing of "headscarf" by Muslim girl students.
Bombay High Court in Fathema Hussain Sayed v. Bharat Education Society, 2002 SCC OnLine Bom 713 dealt with the issue wherein a minor student was asked by the Principal of the school to not attend the class if she wore the head scarf.
As per Fathema the said headscarf did not violate the dress code or the discipline of the school, hence principal's direction was violative of her fundamental right of freedom of conscience and profession, propagating and practising Islam religion.
The Division Bench of R.M. Lodha and D.B. Bhosale, JJ. firstly, the Court noted that the petitioner for the self-same relief had earlier withdrawn the petition and the same was dismissed by this Court, and it was clear from the order that neither liberty to approach the Court again was sought nor granted.
Bombay High Court in view of the said Order had observed that, that neither liberty to approach the Court again was sought nor granted. It was against public policy to permit a litigant to approach the Court again and again once the matter had been withdrawn by him unconditionally.
Though the Bench added that, even if Court assumed that the minor may be permitted to file a second petition, High Court found it difficult to accept the submission of the counsel that by not permitting the petitioner to wear head scarf, the fundamental right of the petitioner under Article 25 would be violated.
Proceeding further, the Court referred to Article 25 of the Constitution, which read as follows:
"25. Freedom of conscience and free profession, practice and propagation of religion.— (1) Subject to public order, morality and health and to the other provisions of this Part, all persons are equally entitled to freedom of conscience and the right freely to profess, practise and propagate religion.
(2) Nothing in this article shall affect the operation of any existing law or prevent the State from making any law—
(a) regulating or restricting any economic, financial, political or other secular activity which may be associated with religious practice;
(b) providing for social welfare and reform or the throwing open of Hindu religious institutions of a public character to all classes and sections of Hindus.
Explanation I.— The wearing and carrying of kirpans shall be deemed to be included in the profession of the Sikh religion.
Explanation II.— In sub-clause (b) of clause (2), the reference to Hindus shall be construed as including a reference to persons professing the Sikh, Jains or Buddhist religion, and the reference to Hindu religious institutions shall be construed accordingly."
Elaborating further on the matter, the Division Bench stated that, by asking the student to maintain the dress code prescribed by school, how can it be said that it was a violation of her fundamental right of freedom of conscience and free profession, practice and propagation of religion?
While referring to the restrictions imposed in Article 25, Court added that there did not seem to be such established practice and profession of the Islam religion from covering their heads by the girls studying in all girls school.
The Counsel for the petitioner had placed reliance on verse 31 of Chapter 24-64 of Holy Quran (Quran-E-Majid).
The very significant observation of the High Court, in this case, was that:
"A girl student not wearing the head scarf or head covering studying in exclusive girls section cannot be said to in any manner acting inconsistent with the aforesaid verse 31 or violating any injunction provided in Holy Quran. It is not an obligatory overt act enjoined by Muslim religion that a girl studying in all girl section must wear head-covering. The essence of Muslim religion or Islam cannot be said to have been interfered with by directing petitioner not to wear head-scarf in the school."
Bombay High Court did not find any merit in the contention with regard to the direction of the principal being violative of Article 25 of the Constitution of India.
Hijab Case | When Karnataka High Court temporarily restrained students from wearing hijab, religious flags, saffron shawls, etc.: Read Court's interim order || A Recap
To Wear or Not to Wear? Precedents on dilemma of wearing 'Headscarf' from the Kerala High Court
Is the Bhinder case relevant in Hijab ban row? Canadian SC's decision in Rule conflicting with religious tenet of an employee
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Case BriefsTribunals/Commissions/Regulatory Bodies
CESTAT | Photographs are secondary pieces of evidence and can vary with the angle of photography; Tribunal explains while allowing appeal in regard to BIS certification
By Editor Published on January 19, 2021 April 2, 2021
Ori HC | Decision taken on land under Schedule Area must be in the direction of securing rights of citizens as guaranteed under the Constitution
By Bhumika Indulia Published on February 28, 2020 March 3, 2020
Details regarding cost incurred by Delhi Government in advertising of anti-corruption drive, directed to be disclosed
By Editor Published on March 10, 2016 May 11, 2016


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Oerlikon's Investment Proposition
Oerlikon Key Markets
Group Business Review
Letter from the Chairman
Dear Shareholders
2018 was a record year of exceptional performance for Oerlikon, exemplified by our strong top-line growth and operating profitability. The underlying success of our strategy drove revenue and the EBITDA margin in line with our full-year targets. We continued to execute our mission to become a global powerhouse in advanced materials, surface solutions and polymer processing, addressing our customers' needs and helping them resolve critical industry challenges and succeed in their businesses.
We are pleased with our performance in 2018. While we recognize there are global challenges, we successfully completed
a number of critical milestones this past year, resulting in a record year.
While we benefited from a strong macro-environment during the first half of 2018, increasing trade, political and economic concerns drove pressures in the global market toward the end of the year. However, we are pleased to have successfully navigated this environment as the demand for our technologies and services drove a substantial increase in sales over the previous year.
Reporting the sold drive systems business as discontinued operations, Oerlikon's sales improved by 26.2 % to CHF 2.6 billion (2017: CHF 2.1 billion) in 2018, while orders increased by 23.5 % to CHF 2.7 billion (2017:
CHF 2.2 billion). Group sales in 2018 includes a positive currency impact of 1.7 %. Group EBITDA was higher
at CHF 406 million, corresponding to an operating profitability margin of 15.6 % after absorbing operating expenses related to investments in our businesses. Net income for 2018 increased by 62.3 % to CHF 245 million (2017: CHF 151 milllion) and earnings per share were CHF 0.71. Compared to 2017, results from continuing operations improved by 82.1 % to CHF 173 million (2017: CHF 95 milllion). With an equity ratio of 44 %, the Group's financial position remained strong in 2018. The Group's return on capital employed (ROCE) was 12.1 %. Our net cash position at the end of the year amounted to
CHF 398 million, and cash flow from operating activities before changes in net current assets was CHF 429 million. Our strong financial base enables us to further invest in our core strategic businesses and new technologies and to support our future growth.
Over the past year, we continued to execute our strategy, which is underscored by the impressive results across our business. We achieved a major milestone by signing the agreement to divest the Drive Systems Segment to Dana Incorporated in 2018, and are pleased to have successfully closed the transaction on February 28, 2019. With this sale behind us, we will be investing further,
primarily in our Surface Solutions Segment, including
targeting acquisitions to strengthen our portfolio.
In 2018, the acquisitions of DIARC, Sucotec, DiSanto Technology and Eicker expanded our offering and presence in multiple markets and regions. For example, the DiSanto acquisition allowed Oerlikon to expand into the contract manufacturing market for additively produced medical components, particularly for orthopedic implants and instruments. The acquisition of DIARC is in line with Oerlikon Balzers' strategy to increase its foothold in the automotive industry and enhance its surface treatment portfolio, while also extending its geographic footprint in Finland. With Sucotec, Oerlikon Balzers expanded its offering with high-quality chemical vapor deposition systems for the tooling market. Finally, Oerlikon added innovative expertise in plasma nitriding to its portfolio – a heat treatment technology to increase the reliability and wear-resistance of metal parts. These acquisitions provide us with important advances in new technologies, allowing us to better address our customers' needs.
We also further strengthened our market-leading position in our Manmade Fibers Segment. In the first half of 2018, we completed the acquisition of AC-Automation, enabling the Segment to deliver additional large-scale plant automation solutions for customers in the textile industry. In 2018, we filed 87 patents and invested more than 4 % of our total sales in R&D, reflecting our commitment to develop cutting-edge solutions for our customers.
In 2018, our surface solutions business delivered strong revenues of CHF 1.5 billion and an EBITDA margin of 18.6 %. Performance in this business was driven by our end-market strengths in the aerospace, automotive and general industries. A noteworthy mention was the sale and on time delivery of our environmentally friendly ePD coating system, INUBIA I6, to Shanghai Dafangwuyu Automobile Company for chrome-like metallization of plastic parts. In our thermal spray business, we also succeeded to win new customers like Caterpillar and Moore's Industrial Service by bundling our materials, equipment and services into a total solution offering.
While we completed a number of acquisitions in 2018 to provide levers for additional growth, we also made good progress integrating our 2017 acquisitions, including Scoperta, DiaPac and Primateria. In 2018, we conducted an integration pulse check with employees from six of our acquisitions and received constructive feedback.
Importantly, in 2018, we continued our innovative work
in additive manufacturing. We increased our traction
for additive manufacturing services in the aerospace industry as evidenced by the five-year deal signed with Boeing to develop standard materials and processes for metal-based additive manufacturing, the collaboration with RUAG to qualify and accelerate series production of 3D-printed space components, and the agreement with Lufthansa Technik to establish replicable processes and standards for maintenance, repair and overhaul applications. Additionally, Oerlikon secured long-term agreements with large customers for additive manufacturing materials, representing a shift from transactional sales
to contractual relationships with key customers. To further promote collaboration in additive manufacturing, Oerlikon hosted a second successful Munich Technology Conference with over 1 000 participants, including world- renowned decision makers and industry leaders.
Our global footprint continued to expand in 2018, highlighted by the 13 additional production and service sites in close proximity to our customers. For example, a large coating center in Bielefeld, Germany, for machining, forming and plastics processing, an advanced materials production center in Plymouth Township, Michigan, USA, a new coating center in Manesar, India, and a new coating center in Johor, Malaysia, to better serve customers in the respective regions.
We also launched a number of innovative new technologies. SurfaceOne, a highly compact thermal spray coating system with an intuitive and customizable user interface, was officially introduced to the market. SurfaceOne was recognized with the Red Dot Design Award and the International Design Excellence Award for its exceptional build and capability. Our INNOVENTA family was completed with the launch of the INNOVENTA mega and INNOVENTA kila coating machines, which provide the ideal platform to process large-sized metal-forming tools, die casting molds and saw blades.
2018 was a record year for our manmade fibers business. We increased orders and sales substantially by 44.8 % and by 57.3 % respectively, and also improved the EBITDA margin to 11.7 %. The growth reflects healthy market demand in filament equipment, primarily in China, as well as notable contributions from India and Turkey. Growth was also supported by strong demand for texturing equipment, mainly in China, and an increase in sales for carpet yarn, primarily in the U.S. The magnitude of orders in 2018 has resulted in a robust pipeline, with project lead times reaching into 2021, ensuring our ability to sustain our top-line development at a high level over the next few years.
During the year, we divested our tape and monofilament business to the Starlinger Group to allow us to focus on our filament, staple fiber and nonwoven businesses. Following this strategy, we are partnering with Shaoyang Textile Machinery to jointly advance sales of our nonwoven solutions in the highly attractive hygiene market, also outside of China. In 2018, we introduced the new Staple FORCE S 1100 – an easily configurable plant that spins, draws, crimps, cuts and bales in a single process step, using a highly user-friendly process control system.
We are pleased with our performance in 2018, and look toward delivering good results in 2019. While we recognize there are global challenges, the prospects in our end markets remain attractive. We completed a number of critical milestones this past year, leaving us well-positioned to continue executing our strategy. We expect our surface solutions business to continue growing at 4 – 6 % annually and our manmade fibers business to sustain its top line development over the next few years. We will continue to invest significantly in our future and thus, in 2019, we expect the Group's order intake and sales to each exceed CHF 2.7 billion and EBITDA margin, after operating expenses from investments, to exceed 16 %.
In 2019, we will continue to drive our organic structural growth through further market-leading innovations, better alignment with customer needs, footprint expansion and digitalization initiatives. We look forward to further creating value for our customers with our unique, leading technologies, and maintaining profitable growth across our business.
In closing, I would like to personally thank our employees for their hard work and dedication, our partners and customers for their trust in our technologies and services, and finally, our shareholders for your continued support of Oerlikon.
Dr. Roland Fischer


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Heat Vision Box Office Reviews Roundtables
Colin Firth Says He "Wouldn't Work" With Woody Allen Again
1:58 AM PST 1/19/2018 by Alex Ritman
The actor joins a growing number of names to have spoken out against the director in recent weeks.
Colin Firth has joined the growing chorus of voices speaking out against Woody Allen.
"I wouldn't work with him again," the actor told The Guardian on Thursday, just hours after Dylan Farrow had given her first TV interview in which she accused her adoptive stepfather of sexually assaulting her when she was 7 years old, accusations that Allen has repeatedly denied.
Firth starred in Allen's 2013 film Magic in the Moonlight alongside Emma Stone, and adds his name to a number of actors who have worked under the director to have now expressed their regret at doing so, including Rebecca Hall, Timothee Chalamet, Mira Sorvino, Rachel Brosnahan and Greta Gerwig. Hall and Chalamet have both said they would donate their salaries from Allen's upcoming film A Rainy Day in New York to charities.
Last year, Firth was outspoken about Harvey Weinstein, who produced his Oscar-winning 2010 film The King's Speech, describing him as a "frightening man."
Alex Ritman
alex.ritman@thr.com @alexritman


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