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…an evening of redness in the West: IN THE COMPANY OF SERPENTS – 'Of the Flock'
By mixing laid-back, ominous swamp guitar licks with the hazy, sun-scorched twang of the American Southwest, Denver's own In the Company of Serpents have succeeded in pushing beyond the limitations of the straight-forward yet unrelentingly heavy sludge of their self-titled debut into a realm of brimstone, lost souls, and abandoned faith that would leave Sergio Leone and Cormac McCarthy cowering and at a loss for words. 'Of The Flock' finds the duo of Grant Netzorg (vocals, guitars, fuzz) and Joseph Weller Myer (drums, apothecary) tweaking the band's brand of boot-to-the-teeth, doom-as-fuck sludge by including regional influences that ultimately provides a soundtrack suitable for terrorizing a village, avenging a tragedy, or simply to finding redemption through blood. It's clear that the band has evolved and progressed and 'Of the Flock' has a unique, distinctive tone and style that was missing from their debut.
The majority of tracks that comprise 'Of the Flock' have been rigorously road-tested in a live setting prior to the band entering the studio. Recorded locally by Jamie Hillyer and mixed and mastered by none-other than producer/engine-ear Billy Anderson, 'Of the Flock' manages to successfully capture the essence and live sound of the band—a recording feat previously achieved and rivalled by Tad Doyle's accomplishment with Uzala's excellent 'Tales of Blood & Fire'. The five tracks of In the Company of Serpents' latest burn with an intensity and ferocity that nearly matches the band's live performance, particularly on the album versions of live staples "Craven" and "Of the Flock". "Craven" manages to almost perfectly reproduce the busy, frantic drumming style of Myer along with the harsh, damning bellows of Netzorg, not to mention the guitar tone which is spot on. The title-track "Of the Flock" is another example of the band's intense live sound caught on tape. The unassuming Spaghetti Western-style guitar lick is soon replaced with blasts of fuzz and huge, spastic drumming—a potent combination underscoring Netzorg's throat-shredding demand to know, "What makes a man abandon faith?"
'Of the Flock' is, in essence, the sonic equivalent of damnation and Hellfire for the high plains drifter. Fans of the band's self-titled should have no problems making the leap to the more expansive and progressive sound that encapsulates their newest release. And, consequently, anyone who has caught their live shows and have dug what they heard will definitely be on board. The dirty, low-end riffs and drumming acrobatics have remained intact, but the duo has managed to incorporate additional influences to carve out a unique sound and vision all their own. In what has been a stellar year for heavy music, In the Company of Serpents have managed to release an album that is easily "Top 10" worthy. 'Of the Flock' manages to be huge, ugly, and uncompromising while still remaining accessible and engaging—a balancing act that few bands can successfully manage. Get the album digitally from the band's Bandcamp page, or better yet, order the vinyl.
https://www.facebook.com/InTheComapanyOfSerpents?fref=ts
http://inthecompanyofserpentsdoom.bandcamp.com/
Of the Flock by In the Company of Serpents
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... STONE MAGNUM "From Time...To Eternity" (DCD special edition Review)
After several features here - including Interviews and a review of their new album a few months ago by Andreas Schiffmann, do I need to present STONE MAGNUM again ? Well, in a few words, S.M. is a five piece Heavy/Doom Metal band from the Chicago area founded by much respectful Dean Tavernier of Skullview ... and if you're not aware of their 80's Heavy Metal infused form of Doom, this special edition of their last album "From Time...To Eternity" released this month by Witches Brew - includes the brilliant self-titled debut album (for the first time on CD) as kind of (very) special bonus and is a perfect introduction to the band, also this is an essential purchase for the fans as a unique piece, gathering both albums with lyrics and separated booklets including nice artworks and pics of the vertical quintet... !!!
Where the debut contains an underlying feeling of bleakness and negative sounding with at times rough anger and despair in the delivery - including from vocalist of the time Dean Tavernier, new album is finding a surgical balance between ominous and dynamic pieces of cursed and nasty Metal. An evolution in the overall mood and in cohesiveness after some line-up changes.
From the 1st notes of the opening title track, things are as obvious as the cover let suggest, we're in here for a real trip in the true grand Metal court - the one of no stretched-to-sleep droning riffs, no extravaganza, no keys, no precious chorus... Stone Magnum is rather consisting in an overwhelming abundance of slow to mid-paced rolling metallic Doom played with a lot of integrity and tightness, filled with tense atmospheres within a perfect representation of obscure Heavy Metal codes where guitars and vocals predomine but always to serve the composition and never turn demonstrative or as a perpetual duality.
The delivery is faultless, nothing akward, it clearly hides lots of hours composing, harmonizing lyrics and melodies and this you can hear and are used to if you know the Tavernier's manic-sharp style of 80's guitar attack, it's just that in Stone Magnum he magnifies his darkest side and this time the dude has found a pefect team of old brigants (great work of the whole rythmic section really) - respect to all of them cause each song is here a pure flow of heavy pounding hooks making you headbang hypnotically in a fusional sweating bath of doom !!! An association of names is nothing without unity and collective faith in your own sound, in that sense it's really palpable that with this album Stone Magnum made a big step forward...
There's a foreboding atmosphere on 'From Time...To Eternity' which makes songs sounding much darker and crafted collectively too. Dean is still on guitar naturally and compose + write lyrics for a great part but the comings of ex Kommandant's Nick Hernandez and Ben Elliot on bass ('Lonely God') have strengthened the band's identity.
Hernandez is vocally very close a reference of the genre - Johan Langquist (listen 'the Gallows of Ohrdruf', that's impressive) and finds here a perfect playground in the traditional yet refined soundscapes of his comparse, not only Candlemass comes to mind but also Black Sabbath (Heaven and Hell period), Trouble, Rainbow, Solitude Aeturnus... But he's not trying to clone anyone, it fits just so well with the music and probably is that his latin origins coupled with woeful stories to tell about (those rolling rrrr are amazing - especially on a very vocal-driven melodic song like 'By an Omen I went') or simply he has an awesome voice - in any cases now I understand why Dean was so deeply convinced of the benefit resulting from his introduction!
I can not end without coming back on the very nice addition of the first album which was a pretty memorable debut and deserved a CD treatment - 'Fallen Priest', 'Savior in Black', 'Grave of Cryptic Sorrows', argh I still fucking dig those ones... thanx to Witches Brew for this nice and essential release of masterful haunting Metal !!!
http://www.witchesbrewthrashes.de/
https://www.facebook.com/pages/Stone-Magnum/182549458436679
https://www.facebook.com/witchesbrewthrashes
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... Now on Full streaming : DOUBLESTONE "Wingmakers" (debut Album)
Doublestone is a 70's Retro Heavy, Doom-Rock band from Copenhagen, Denmark. On the 6th of November Doublestone will release their début album "Wingmakers" on Levitation Records.
The latest EP, "S/T", from January this year (very few copies left) was very well received throughout the scene and helped Doublestone establish themselves as a band to keep a close look out for.
This summer Doublestone recorded their debut album in a dirty basement in Copenhagen, with Tony Reed of Mos Generator/Stone Axe/Heavy Pink. The year before, Tony recorded the doom legends in Saint Vitus and loved to work on tape (reel-to-reel). He was the perfect match for the band.
The heavy grooves of "Wingmakers" takes you back to the early days of Doom/Heavy rock, while following up on the new Scandinavian wave of Stoner/Retro Rock. The simple trio set up proves itself once again and through the raw sound of live recording and tape, Doublestone blast's out one great track after another.
In the 3 years Doublestone have existed, they have released 3 EP's and played gigs with acts such as Orange Goblin, Endless Boogie, Sabbath Assembly, Sienna Root, Spiders, Toner Low, and 3AM.
Wingmakers by Doublestone
https://www.facebook.com/doublestone
.... POSTURES 's/t' (Album Review)
Sweden, vintage rock debut, female vocals ... again. Don't be prejudiced, though, as Gothenburg's Postures don't belie the promise their name might suggest to some of you: within the nine tracks on this first effort of theirs, there's nothing to be found of false gestures and poses, no caveman (and -woman) rock clichés and no average rehash of allegedly glorious days. In fact, Postures take the best from times gone by (warm synthesizers courtesy of keyboardist Mikael Edebro, who's apparently quit by now) and spice it up with their very own playfulness in a distinctly modern or rather timeless context. This is better by far than your umpteenth Graveyard, Witchcraft or Horisont rehash.
Paulina Nyström's stellar voice is, of course, the group's main characteristic, but gets highlighted by simply strong musicianship and creative songwriting to boot. After the ethereal introduction "Circles", Postures romp into "Heavy Tremor", a perfect playground for the vocalist to show off her range. It's these longer tunes - also the psychedelic "Solipse" and 13-minute monster "Quakes" in the end - which show the outfit's affinity to Progressive Rock in the classical sense, but there's no typecast fare to be had here. The music is eventful not only on the surface yet also when listening closely. The rhythm section in particular shines brightly throughout, always bridging the gap between more improvised-sounding parts and concised "don't bore us, get to the meat"-ditties like the short "Clouded Sight".
With respect to the latter, "Are We Still Breathing?" and "Clusters" (fans of flying Dutchies Gold may like this) are practically indie rock at its most condensed - another penchant, it seems, of Postures. Lastly, they don't need even the voice per se to impress (take the Floydish instrumental "Falling Into Place", where indeed everything falls into place) and prove themselves to be a safe bet if you are into oldish ambience (as conveyed by Mellotron and Hammond) in a room full of juvenile energy. Already now, Postures shine brightly, even though they lack the hit qualities which you might crave and maybe walk a bit too far on the "jammy" side of things ... Who knows,though, what the future brings? A jointventure, perchance, with the likeminded Katla?
words by Andreas Schiffmann
https://www.facebook.com/posturesmusic
http://posturesmusic.com/
POSTURES by POSTURES
... from the depths of Rotomagus : Interview with FATUM ELISUM
Tired of keyboards, violins and female choirs in Doom/Death Metal ? Wanna come back to old-school stuff but with an ambitious approach ? Then, Fatum Elisum from Rouen (Fra) should be what you need with their slow, dark and tormented form of Doom/Death !
Reminding more Bethlehem or Evoken than old Paradise Lost or Anathema, their nice debut album - released a couple of years ago - had shown a captivating personality with a real emphasis on aesthetic arrangements and solemnly mournful moods... A true promise for the future that still didn't find a suite to this day, whereas many bands become too quickly pervasive, F.E. is probably too discreet ! just a couple of gigs this year proved they were still active but Aleksey Evdokimov wanted to make sure of this and asked Alexandre (bass) a few questions about "Homo Nihilis", the band's present and future... thanx guys !
Salut Alexandre! How are you comrade? I would like to ask you introduce yourself and your band mates to our readers, so who are Fatum Elisum crew?
Hello Aleks, I'm quite fine even I'm a little bit tired of the work, I'm an educational advisor in a technichal high school. I play bass guitar in Fatum Elisum since the very beginning, and do a few clean parts on vocals. I also play bass guitar in Mhönos and in a yet not named post-black metal band, and sing in Forsaken Peddlers. The other members are Ende on vocals, Chrisophe and Hugo on guitars and my brother whose name is also Christophe who joined us in october 2008.
Fatum Elisum was born in 2007 and your first full length album "Homo Nihilis" was released in 2011, what does slow your creative activity?
Even Homo Nihilis is our first full length which was released two years ago, we did release a demo, called Fatum Elisum, in november 2008. The length of this demo was about fifty minutes, so you could see we were already working on long songs. This was re-released by Aesthetic Death in september 2009. All the songs on "Homo Nhilis" are all different than on "Fatum Elisum". In fact, we'd rather take our time to write songs, to rehearse them a lot and to work hard on them. For example, the writing process for the song " TheTwilight Prophet" took about ten months, because we did lots of changes on it before the final result. The song "Homo Nihilis" was also a long work before we got the final result. We haven't got any deadline from Stu, the boss of Aesthetic Death, that's the reason we are slowly but surely working on new songs for our second album. But the more we are growing as a band, the more the songs are longer with many parts on them. More over, when you write songs whose length are between fifteen and twenty minutes, you have to be plenty satisfied with all the riffs and the songs structures. That may explain the slow creative activity.
Band's name, the name of your debute release, it's art-work – all of these have a similar conception, may you open it for us as one of it's authors?
I am responsible for the band name, which means broken destiny. Ende writes all the lyrics, and when it was time to chose a name for the album, our choice was to be Homo Nihilis, as the songs on this album and because we are very found of latin words. Maybe, that could be a tribute for the first Candlemass album in a way. More over, Ende is inspired by authors such as Nietzche, Cioran, Camus, Artaud, ancient philosophy and lots of mythological or religious facts. It's something you could find on our lyrics, on our artworks. Anyway, we are doomed, aren't we?
Of course we are! So what does drive you to play slow depressive music from philosophical point of view?
I'm not sure the fact we are playing slow depressive music came from philosophical point of view, even authors like Camus or Cioran have some pessimistic visions. By the way, it's something important for us to be free to play the music we enjoy, and we're not as happy as society wants us to be. I think we're not living in a joyful world. I speak for myself, but playing that kind of music is something cathartic and it let me express some negative things that I witnessed everyday, maybe while reading some news or maybe some stories I saw at work, as I have some pupils who have to endure some bad situations in their life.
By the way, how did you find such art-work? It's damned remarkable, who is it's author?
Ende, our singer, is the author of the cover and all the paintings you could find on the booklet of Homo Nihilis. The cover painting is called "To dig in ourself". He has a master degree of the Art School of Rouen, so that's why we used its abilities of painting on our artworks. Each songs on Homo Nihilis has its paint, so that's why you may find some unity between our music and our visuals. It's something important for us, maybe a key for the listeners to dig our music.
Fatum Elisum performs good old death metal with epic vibe and …. Who were your teachers? Can you suppose that may attract attention of old school fans to your vision of death doom?
Our teachers were old Paradise Lost, My Dying Bride, Cathedral, Anathema, Mournful Congregation, to name a few. We just wanted to play doom death metal as the elders did it at the beginning of the nineties, nothing more, nothing less. By the way, one thing important for us when writing music, is that each of our songs, because of their length, have to tell a story in itself. I'm quite disappointed with the trademark "epic vibe", because we are not sounding like Candlemass, Solitude Aeturnus, Solstice or Isole, I'd rather used the word "tragedy" to compare with old books from Antiquity. This is also the word that came to me while listening to bands like Mournful Congregation, Mourning Beloveth, Asunder or Worship. In a way, I do not care to attract attention to old school fans of doom death metal. I know, we're not following the trend of nowadays death/doom metal with shorter songs that bands like Asphyx, Coffins or Hooded Menace play, and which I really enjoy. And we are not trendy at all, but the main goal for us is to play the music we want to hear and not giving attention about anything else. I think our music is quite cathartic for us, we can express some feelings with it.
Do you listen to new albums of Old Ones? Or "Icon" and "Turn Lose The Swans" are enough for you?
I still listen to the new albums of the Old Ones. For example, I think "The Last Spire" from Cathedral is a huge album and the perfect end for this band. "The Barghest of Whitby" from My Dying Bride was a good long song that reminded me "Turn Loose the Swan". By the way, I listen to more often old albums from the Old Ones, notably the ones from the beginning of the nineties. It's good to see that these legends are still in activity, and I still follow them, excepted the last Anathema albums who are too soft and shiny for me.
Do you see any highlights of death doom scene nowadays or does it stay in a state of stagnation? It seems that some bands have modern melodic touch as it ruins some important elements of this genre yet really strong newcomers are rare on the scene.
As I'm growing older, I become more and more nostalgic of the early nineties, not only for doom death metal, but also for many kind of music, like black metal and death metal. Maybe, this period was a kind of golden age for doom death metal, with the beginnings of Paradise Lost, Winter, My Dying Bride and Anathema, not to forgot some good bands like Ceremonium and Enchantment. But, I have the chance to see the rising of the "second coming" of this genre during the last decades. Perhaps, there used to be too much melodic and keyboards oriented bands that came out, but that's a matter of taste, even I'm not very kind of these bands. I agree that newcomers are rare on the scene, but I really enjoyed a band like Anhedonist. Anyway, I will not say that we are seeing stagnation in the scene nowadays. For example, the last album from our fellow countrymen Ataraxie is a huge piece of doom death metal with the good mix between old school vibe and new things they did not do previously. And for me, one of the best album released since the beginning of this year is "Formless" from Mourning Beloveth. As said before, it's not hype nowadays to play that kind of doom, as bands would rather play stoner doom metal like Electric Wizard, proto hipster doom metal with female singer or sludge. Well, that's not a big problem, as there are some cycles, so maybe the next big hype would be doom death metal.
Alexandre, you also play in new epic doom band Forsaken Peddlers, what's the story of this project?
I used to sing in a doom metal band called Devil's Bride during the year 2009, and Christophe, the guitar player of Fatum Elisum, was our bass player in this band at that time. The drummer of Forsaken Peddlers, Rolland, used to play with Hugo (guitarist of Fatum Elisum and Forsaken Peddlers) in a thrash metal band and also in a tribute band to Kiss. Rolland wanted to play epic doom metal, as he enjoyes Candlemass. So he spoke about this to Hugo, who agreed to form this band and said to him that I could fit for the vocals. When Christophe heard we were going to form this band, he joined us on bass guitar. That's the story.
Why did you start Forsaken Peddlers when you could concentrate onto Fatum Elisum? What are main differences between these bands?
The main reason is that we love listening to epic doom metal bands like Candlemass, Solitude Aeturnus, Solstice, Griftegard, DoomSword, and also bands like Manowar (Ross the Boss era), Manilla Road and Bathory (viking period). I think we are the sole band in France to play this kind of doom metal. Even three of us are playing also in Fatum Elisum, we really enjoy playing songs more powerful and less darker and depressive than with Fatum Elisum. The main differences between those bands are clearly audible: I only sing with clean vocals, there are not growls or shrieks on Forsaken Peddlers, and we are influenced by bands mentioned above, with more heavy metal parts, notably the speed ones. It's also something vital for us as musicians to play in many bands, as we could do different things with different people. We expect to record our first album at the end of this year.
What is the current state of Fatum Elisum? I see that you've finished two new songs – how do they sound? And how long do you plan to work over new album?
Even we are forgotten and ostracized by mostly gigs organizations, for unknown reasons, we are still searching for gigs everywhere. By the way, we are working on new songs. As you said, two of them are mostly finished. You could expect long songs, maybe darker and a little bit extreme than before, but with also new things we did not do yet, something more intricate. As said before, we'd rather take our time to write songs and to be entirely satisfied with them, but I hope we could record our second album next year.
Are these new songs decorated with sonorous parts of clean vocals as before? Did you record only vocals for "Homo Nihilis" in church or were other instruments recorded there too?
On these new songs, you will find clean vocals parts, and a little bit more from myself, but also more extreme parts. So, you will have to be patient to hear the final result.
Only the vocals were recorded in the church, it's too hard for the instruments.
We are currently thinking about our sound for the next album, something cruder, heavier and louder than on Homo Nihilis, we bought some new materials for that. We will record once again with Julien Bous, who recorded our demo and Homo Nihilis. As he knows the band and as he is a good sound engineer, we will still work with him.
Let us finish this interview onto this strange question: what book do you read now?
I'm reading some fantastic novels, like Le Horla, from Guy de Maupassant, an author of the ninetieth century who lived in Normandy. You should read from him, he had good stories, and it's sometimes the best way to know the living in countryside and in Normandy from this period.
Alexandre, thank you for your time! Please let us know when you have new releases of both Fatum Elisum and Forsaken Peddlers. Good luck mate!
https://www.facebook.com/pages/Fatum-Elisum/150291801656020
http://fatumelisum.bigcartel.com/products
... IN THE COMPANY OF SERPENTS 'Of the Flock' - streaming now in its entirety on Bandcamp !!!
Limited edition virgin VINYL pressing on clouded black/white vinyl. Artwork by Mike Lawrence Illustration. The album and sleeve will come in a custom black-on-black envelope hand sealed with signet wax.
Pre-order includes immediate download of 5 tracks in the high-quality format of your choice (MP3, FLAC, and more), plus unlimited mobile access using the free Bandcamp listening app. You'll also get the complete album the moment it's released.
Pre-order Now $20 USD or more
shipping out on or around 31 October 2013
Pre-order of Of the Flock including immediate download of 5 tracks in the high-quality format of your choice (MP3, FLAC, and more), plus unlimited mobile access using the free Bandcamp listening app. You'll also get the complete album the moment it's released.
Pre-order Now $7.77 USD or more
releases 31 October 2013
https://www.facebook.com/InTheComapanyOfSerpents
... courtesy of Kent Stump , enter THE FUZZ LAB !!!
"My name is Kent, lead vocalist and guitar player for the band Wo Fat. I originally started the Fuzz Lab website to sell Heavy 70's t shirts, since I am a big fan of 70's rock, but then decided to expand the Fuzz Lab to selling vinyl and CD's from some select bands for a couple of reasons. Firstly, I realized that there are a lot of realy cool European bands whose albums, especially on vinyl, are not easy to get in the US without either paying very high prices for them here in the US or ordering them internationally. Also, being in Wo Fat, we have played with and gotten to know a lot of great bands that aren't on labels or don't wide distribution. With the Fuzz Lab, I'm trying to offer a little marketplace where some European titles I really dig are available to people in the US while trying to keep the cost as low as I can, and the Fuzz Lab is also a place where people worldwide can hopefully discover some cool bands that they may not see in some other stores, especially som eof the great bands that we know here in Texas.
Musically here at the Fuzz Lab, we are focusing on Stoner Metal, Psychedelia, Doom Metal and heavy fuzzy, riff-driven rock.
Feel free to contact me with any questions you may have regarding the Fuzz Lab or Wo Fat."
Those are the good words I found on the Fuzz Lab website a couple of days ago and I thought they had to be shared with you all!!! Check out the site, there's already very good stuff available : Diesel King, Dopethrone, Stoned Jesus, Las Cruces, Cortez, Bite The Bullet, Switchblade Jesus, Orthodox Fuzz, The Cosmic Trigger, etc...
I wrote a little mail to Kent to congrat him and warn about an imminent post about this exciting new project and the riffmaster added:
"Yeah, the Fuzz Lab things is kind of an experiment at the moment to see if it works out. I'm hoping to reach out to some other unsigned bands and if I do okay with sales, I'll be able to expand the catalogue and carry more European titles. We are planning on coming back to Paris in May/June and I think we're probably going to play a couple French cities further south as well, like Lyon and/or Toulouse. Speaking of which, do you know any venues/ promoters in Lyon? We're also going to start recording a new album in about a month that will hopefully be out next spring."
I guess this new album will come out on SSR again ? any exciting details to reveal yet ?!
"Yes, our new album will be released on Small Stone again. We're still in the writing process so we don't have a title yet, but we plan on beginning recording in late November. Rest assured, there will be fuzz. There will be riffs aplenty and there will be heavy jams. We're hoping to release it in the spring before we come back to Europe."
This new distro lauch is following another major event which happened a couple of months ago : Kent became with Tim and Michael - his partners in Wo Fat - the new owners/operators of Crystal Clear Sound, the best full service recording studio in Dallas !!!
"Yes, we did just buy a studio and everything is going really well with it. It's a first class studio with some killer analog gear and its where all of the Wo Fat recordings have been done. We offer recording, mixing, mastering as well as cd duplication. We also offer online mixing, meaning that you can send us files for mixing from anywhere.
Here's the website: http://crystalclearsound.net/
Finally, I did forward te message to the great local Stoner band Slut Machine to Kent's request about contacts in Lyon, but also precised to Kent that other towns like Bordeaux (Make It Sabbathy) and Rennes (Blood Rites) could be interesting possibilities too - but there's a lot of factors to deal with when touring...
"Regarding the tour, thank you for the info. Let me know if you hear of anyone in Lyon. The way our routing is working out, the last part of the tour we'll be coming from southern Germany and Switzerland headed for Spain, which is why I'm asking about the Toulouse/ Lyon area because they're both on the way to Spain. We will be doing the tour with Mothership so it's a package deal. I don't know that we'll be able to fit in Rennes, though, because we're doing Paris earlier in the tour and going to the Netherlands and Freak Valley right after that...".
In any cases, I'll be coming again in Paris my friend !
http://www.thefuzzlab.com/
https://www.facebook.com/wofatriffage http:///www.wofat.net
... Hacking into your emotional mainframe : SADHAK demo 2013
In the Indian religions, a sadhak (or Sādhaka) is someone who follows a way of life to achieve its ultimate goal, "to accomplish" something. What this has to do with these Norwegians? Well, they definitely know what they want to do with their music. Apparently, it's some (or one guy, no idea, really) from High Priest of Saturn (reviewed HERE - and interviewed HERE too !). While there's some similarities with its brother band from Trondheim, it's still another beast.
Despite the hypothetical links to HPoS and Resonaut, Sadhak is not as inspired by the likes of Electric Wizard or Om. They play a very atmospheric sort of doom metal with drowned out emotional vocals. Of course, they'll probably remind you of Warning/40 Watt Sun but they're not as overtly silly and whiny. They're clean and a bit mundane at times but they're not really the focus and it wasn't really an hassle or shouldn't be for anyone. It fits though, harsh or scream vocals wouldn't work here.
The demo, released on tape and digital download, is composed of two eight to nine minutes tracks. Both tracks are quite slow and misty, there's this dark but seducing aura around the veil of their sound. The production, adequate for their songwriting, is airy and just distorted enough to be heavy. The riffs are repetitive and spaced out but it's pretty damn enjoyable. Were you expecting some technical prowess here? Who the hell cares if you can play some Necrophagist solos, go impress your friends. In the end, you'll still end up playing a sloppy rendition of Wonderwall.
The first track "On the Arrival of Man" has this cool psychedelic solo giving the band an interesting edge and although the second song "The Perfection of Wisdom" doesn't deviate from the sound created by its brother, it has these subtle keyboards parts which are almost reminding me of Summoning. A doom version of the Austrian duo would possibly be the best thing on Earth after beer and bacon, just imagine it. I guess we could simply slow the epic Rush track "The Necromancer" and add some keys and be done with it!
"Sadhak" is a pretty nice 18 minutes release and another nice add to the growing doom scene of Trondheim, there is something else than black metal in Norway. Check it out if you're a doom fan, worthy of your time.
words by Antoine Richard (review originally posted on Metantoine's Maigckal Realm - thanx man !
Sadhak by Sadhak
…haunted by the shadows: SubRosa – 'More Constant Than the Gods'
Following a two-year hiatus Salt Lake City's SubRosa have resurfaced with the intact core lineup of Rebecca Vernon, Sarah Pendleton, and Kim Pack along with the addition of a new rhythm section consisting of bassist Christian Creek and Andy Patterson on Drums. 2011's sublime 'No Help for the Mighty Ones' was a doomy, post-apocalyptic journey that was equal parts beauty and despair. For the band's latest, 'More Constant Than the Gods', SubRosa have retained their otherworldly, atmospheric approach, though the soundscapes have a heightened nightmarish quality as if awaking from a dream only to realize what was tangible in sleep is disappointingly ungraspable in wakefulness. The balance and ultimate collapse between yearning and disenchantment provides a surreal tension for the duration of the band's latest.
From the beginning, what has separated SubRosa from other acts is the band's tasteful use of violin. The addition of a second violinist for their second full-length, 'No Help for the Mighty Ones', helped to elevate the band's overall sound to soaring new heights that effortlessly shifted from majestic ebbs-and-flows to melancholic, dirge-like meditations that were simply unattained on the band's initial outings 'The Worm Has Turned' demo and 'Strega'. Together, Pendleton and Pack have helped to transform SubRosa into the hauntingly beautiful entity that it is today. With 'More Constant Than the Gods' the violin duo take on an even more atmospheric role by providing a darker, more claustrophobic backdrop for Rebecca Vernon's voice and guitar to enact her shadowy, esoteric tales of death, doom, and decay which is best represented by the dizzying, phantasmagorical din of album highlight "Fat of the Ram". This nightmarish journey heaves and swells around the unmistakable guitar tone and vocals of Vernon who manages to exude glimmers of light as well as casting impenetrable shadows—a duality that SubRosa has managed capture perfectly on their latest release.
The six tracks of 'More Constant Than the Gods' have been painstakingly composed and each one flows as a unique eddy amidst the tumultuous current of the album. "Cosey Mo", perhaps the most straight-forward track of the release, is most representative of the sound attained on 'No Help for the Mighty Ones'. Similar to "Borrowed Time, Borrowed Eyes" in both sound and structure, "Cosey Mo" is carried by the distinct, heavy riffs of Vernon with the violins serving a similar accenting role. Not only has SubRosa released a darker album, but they have pushed their boundaries into new and exciting territories. While the final track, "No Safe Harbor", is the "softest" tune to be found on the album it is arguably the most interesting musically. Melancholic piano opens the track and is eventually joined by flute. Initially, what really elevates this track above being a mere diversion is the vocals and lyrics of Vernon who is eventually joined by Pack and Pendleton to stunning effect. As the track progresses the melancholia gives way to paranoia, torment, and defiant sacrifice with the inclusion of electric guitar, cello, tortured violins, and hammered dulcimer. What began as an ode of adoration, "For you I would give up mountains of gold/And possessions untold, health of body and of soul" turns woefully sour with the lines "A perfect mirror tells no lies/That's why I shattered you/The truest mirror in my life". Amidst the collection of haunting tales, "No Safe Harbor" is perhaps the most persistent and indelible of the lot.
Whether it was the break following the demise of the band in 2011 or simply the logical trajectory following the release of 'No Help for the Mighty Ones' that is ultimately responsible for the darker, more expansive sound of the newly invigorated SubRosa is uncertain. Regardless of the reasoning, the band has crafted an ominous, heart-rending release that sticks with the listener long after the album has stopped playing. While 'No Help for the Mighty Ones' was initially more gratifying and straight-forward—a relative concept as far as SubRosa is concerned—'More Constant Than the Gods' is a worthy successor of unparalleled depth that makes this one of the year's finest albums.
http://subrosa.cc/ https://www.facebook.com/SubrosaSLC
More Constant Than The Gods by SubRosa
... Interview with Nick Davies of SERPENT VENOM - revealing New album details !!!
Past weeks have been extremely exciting in the Serpent Venom camp - with the recording of their new 2nd album and a participation at the Barcelona Day of Doom with Trouble and Pentagram... more than enough to put the band again under the Temple lights !!! 2013 will be soon history and it's already time to think about a few much anticipated albums of early 2014 with excitement, the follower to "Carnal Altar" - the best english trad' doom album of the few past years - is one of those (along with their buddies of Sigiriya!) and Nick Davies (bass) kindly agreed to speak about it ! Watch out SERPENT VENOM are back with a big dose of heavy Doom for you all ...
- Hi Nick ! Man, what a crazy first half of October for SERPENT VENOM, you've been recording your long awaited sophomore album and the day after it ended you were playing in Barcelona with Trouble and Pentagram… did you recover from those exciting but certainly exhausting times too ?
Hi Steph! Yeah it's been completely mad! The whole year has. Although we haven't been incredibly active this year due to commitments in real life, we have done a lot of very, very cool shows. Not just gigs in the UK with all the great bands our island offers, but massive shows like Hammerfest, Doom Shall Rise and, as you mentioned the Day of Doom. All of them were pretty amazing, but the last weekend was just one of the best. Recovered? Not really. I got home on the Monday and went back to work on the Tuesday and have been ever since. There's no rest for the wicked!
- Well, let's first speak about the new album; this time you recorded at Skyahmmer studios, was it different from working at the special Foel studios in Wales or the fact of working again with Chris Fielding was the most essential ?
Foel is in a lovely secluded part of Wales and a very cool studio, it has a lot of pedigree surrounding it for sure. We had 4 days to do Carnal Altar and so it was perfect for concentrating without distraction at that time. After Chris worked with us for that album, we always had him at the forefront of our minds to do the new record, so I guess you can say that yes, his involvement was very essential to what we wanted. He loves doom, he gets it, he understands the bands he records and always does a great job. Skyhammer differs from Foel because it doesn't have the same live room set up of Foel, where bass and drums were entirely live for Carnal Altar, as was some guitar parts jammed together there and then. This worked out in our favour time wise. But Skyhammer works just the same as any studio where parts are usually layered: Drums; bass; guitars; vocals, as is the standard practice. It is a perfectly well equipped studio with a great setup and is in a lovely place too. It has everything you need to get on with it and in location that is just as relaxed. I couldn't recommend the place enough, it's spot on.
- There's quite many expectations on this new album which will come out almost 3 years after your excellent debut "Carnal Altar"… First I'd like to know what happened to this split release that you were announcing late 2011 the same day of the official introduction of Roland Scriver to replace Pete Fox on guitar ?
Well we had talks with different bands and were going to record a couple of new ones and do a split. Probably involving Church Within bands. A lot was going on in our personal lives and so we had to have a bit of a rest. After touring the first record for a couple of years and only introducing one new song in that period we felt that it was about time to knuckle down and get a new record done. The split wasn't a priority any more.
- I guess that naturally as friends you were happy for Pete's opportunity to get to live in the US but maybe had a bitter taste in the mouth for the band's situation as SV was kinda in full ascension at this time ?
At the time we were upset and felt some anger, particularly as we were about to go on the road in Europe after all the hard work everyone put in, and we had to cancel two shows two days after he quit, which was bad form, but shit happens. Ultimately those feelings were the symptom of the shock of his decision to leave. A while later we met in London for the Pentagram show and all had a chat and made sure that we all saw him off on his new adventure in good standing. It was a little cathartic, but we are glad he's made the changes in his life and that he is settled and doing well.
- did it take some time to get working on new songs ?, I mean in a 1st time probably the most essential for Roland was to be ready with the 1st album songs for gigs that kept regularly coming ?
Paul called Roland after Pete left and within a week he had figured out the whole album and he jammed it with us a few days later. There was no problem there as he's a magnificent guitar player. When we got back from the tour we decided to carry on (at the airport) and a week later, we were writing what has become a new song on our new album. There is a live recording on youtube from a gig we played in Liverpool a long old time ago, but the song has evolved a bit since then. As said before, we had real life to sift through, so we took a bit of time to get back around to the band stuff. The songs took no time at all really. Roland and I would sit down with a couple of guitars (and usually a bottle of Gin - or two) and one of us would play a riff and the other would and so on. We sent riff ideas to each other via microphone recordings on our mobile phones and so we would have a massive pile of riffs. We'd piece the ideas together and then present them to the other guys. That's when the riffs started to really take shape and become songs. Everyone put in their opinions and ideas and so the album is the result of our communal effort and thoughts.
- So, Nick, could you please give some details about this new album ? maybe some song titles, if there's a concept or something special behind it…?
The album is called 'Of Things Seen and Unseen' and we are releasing it on Church Within records. We had some other label interest, but wont name names out of respect, but Oli has been a very fair and hard working man, a great friend to us all, so why go anywhere else? We recorded and mixed the album in 7 days.
The Penance you Pay
Sorrow's Bastard
Death Throes at Dawn
Lord of Life
I Awake
Let Them Starve
Pilgrims of the Sun
Burning Free.
With this album we have maintained what Serpent Venom is about, the bleakness and traditional leanings that make the band what it is, yet it is a lot more pissed off and heavy. We have naturally progressed a lot and are very proud of what we have written. Soon enough we will be giving everyone a big dose of heavy doom and then coming to get ya!
- Are you thinking about something special again for the album artwork ? the work on "carnal altar" was so beautiful that you guys need to do something as good now !
Roland actually designed the album cover for Carnal Altar and again the Vinyl artwork. He is already working on concepts for this record. The ideas he has spoken to me personally about sound very cool and again, Oli at the label wants to make it a special thing. He does this for all of his bands, so we have a record that is also a keepsake. It is very cool of him to allow us the freedom for this and not just a jewel case that I'd end up treading on, or breaking.
Credit: Adelina Gehenna (Music Trespass)
- Talking again about gigs, as you told me today, you've been lucky enough to keep a regular Live activity during those 2 last years including nice festivals with awesome bands like last week at the Barcelona Day of Doom… was that a kind of dream to play in such place with such legends like Pentagram and Trouble ? it looks like you had great times with Trouble !?
Of course it was! The guys who organise Day of Doom have actually made history by getting Pentagram and Trouble on the same bill in Europe. To be part of that was truly an honour and seems so unreal. The day after the gig we went and had some beers and lunch with Trouble, we did some sightseeing together, and then went out for dinner with them in the evening. It was pretty awe inspiring to say the least, but you could not ask for finer gentlemen to spend time with. The guys are all very friendly, warm and receptive to new people. I'm quite glad to say that we made friends with legends that day. It is something I will never forget and cannot wait to see them all again.
- In Barcelona, your set only included one song from « carnal altar »… this was pretty audacious, considering also this was your 1st spanish gig ! was the excitement to test a great number of new songs live after the new album recording that big ?
We have been playing mainly all new songs all year and decided to do the same. It was quite awkward as we were announced 'here is Serpent Venom, Carnal Altar' we played 'Four Walls....' and then launched into a set of all new stuff. But you know, why the hell not! We've done Carnal Altar for a long time and want to play the new stuff for everyone. Sure it's a huge risk and we maybe didn't please some for the lack of those songs, but the general crowd response was good, so we must be doing something right haha!
- What merchandising is still currently available ? Thanx Nick for taking the time to answer this! all the best to you and Hail the serpent!!!
We still have a limited amount of tee shirts, patches and beanies left. We have copies of Carnal Altar on regular vinyl, the special edition one and on CD. If anyone wants to speak to the band email: carnalaltar@gmail.com about bookings, merch and anything else and we'll respond as soon as we can.
I must thank you for taking your time to write to us again and it really is a pleasure to answer your questions.
Hope to see you all on the road soon!
https://www.facebook.com/pages/Serpent-Venom/109942092371705
…an evening of redness in the West: IN THE COMPANY...
... STONE MAGNUM "From Time...To Eternity" (DCD ...
... Now on Full streaming : DOUBLESTONE "Wingmaker...
... from the depths of Rotomagus : Interview with ...
... IN THE COMPANY OF SERPENTS 'Of the Flock' - st...
... courtesy of Kent Stump , enter THE FUZZ LAB !!...
... Hacking into your emotional mainframe : SADHAK...
…haunted by the shadows: SubRosa – 'More Constant ...
... Interview with Nick Davies of SERPENT VENOM -...
... HIPOXIA / GANGRENED split Tape (Review)
…Live Report : UZALA & MIKE SCHEIDT, October 17th,...
... a magic Breton ride : BRAIN PYRAMID
... CLAGG "Gather your Beasts" (Album Review)
…watch out for the reaper: NYMF – 'From the Dark'
... BLOOD RED WATER "All the Ills of Mankind" (EP ...
... like a radiant fairytale : BEELZEFUZZ "s/t" (A...
…Live Report: DENVER DOOM FEST III October 11th & ...
... an alchemy to develop : ARCADE EYES "s/t" (Alb...
... SAMSARA BLUES EXPERIMENT "Waiting for the Flo...
... find yourself lost in the SINISTER HAZE
…bridging the heavens and the underworld: an Inter...
…Fall to your knees : IRON MAN – 'South of the Ear...
... Interview with Andreas & Merethe of HIGH PRIE...
... PENDULOUS 'Mirrored Confessions' (EP review)
Autumn DOOM Quiz pt IV : ALTAR OF OBLIVION, DORMAN...
... POTERGEIST 'swampires' (Album review)
... Autumn Doom Quiz PartIII : BOOZE LORDS, CULTUR...
…Ashes to ashes: UZALA – 'Tales of Blood & Fire'
... Amazing TAPE label : TARTARUS Records !!!


I saw my first Star Wars in December 1981; my brother had bought us a brace of tickets as a welcome-home treat. (I had been away at boarding-school.) I enjoyed every minute of it, from the opening gunfight, right down to the destruction of the Death Star. I looked forward to the sequels with some eagerness.
The sequels, sadly, were a bit of a bore. By the time the Return of the Jedi had rolled around, I was burned out on the franchise. But I wasn't immune to its marketing prowess. When Star Wars was resurrected in the fin de siècle, I dutifully returned to the theaters, only to be scared off by the colossal incompetence on display in The Phantom Menace. I let myself be suckered again to watch the Attack of the Clones, but after that experience–where I'm not sure I made it through the entire movie–I was determined to not be fooled again, and did not watch Revenge of the Sith, a decision I do not regret in the slightest.
Clearly my resolve has weakened over the years, and so, this past week, I found myself in a movie-hall watching Star Wars: The Force Awakens. I should have displayed greater resolve and stayed away.
It's all here for the faithful: lightsabers, droids, Hans Solo, Chewie, stormtroopers, Death Stars–bigger and badder, an exotic menagerie of creatures, and so on. A great deal else is recycled: there is a bar scene, there is an attack on a Death Star, which always seems to have one fatally vulnerable point, a tall baddie dressed in black who breathes heavily and who has gone over to the Dark Side a long time ago, there is father-son conflict, a droid who has a personality of sorts, and contains a capsule with vital intelligence, thus becoming the most valuable object around, there are fights on pathways overhanging deep chasms, there is an air raid by tiny fighters on a Big Death Star, there is a Yoda-like figure–there is, as you can tell, very little imagination and creativity displayed by the 'story writing' team. There is also the usual inconsistent scaling and physics: objects which appear gigantic suddenly shrink, lightsabers sometimes burn, sometimes they don't, sometimes they cut through objects, sometimes they don't. The Force Awakens does showcase has a few lines which aspire to wittiness, and which appeared to inspire a few titters from the faithful around me, (especially when they were uttered by that rogue, Hans Solo.) But otherwise, there's slim pickings here.
The force isn't with this one, but then it hasn't been with the franchise for a while.
This entry was posted in Movies and tagged Attack of the Clones, Chewbacca, Death Star, droids, George Lucas, Hans Solo, lightsabers, Return of the Jedi, Revenge of the Sith, Star Wars, The Force Awakens, The Phantom Menace, Yoda.


The Fellowship has obtained a first look at DOCTOR WHO: THE TENTH DOCTOR #2 from Titan Comics. The issue, which hits stores February 15th, is written by Nick Abadzis; with art by Giorgia Sposito & Arianna Florean. The covers are by Claudia Ianniciello, Will Brooks (Photo), Rachael Smith, and Iolanda Zanfardino.


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THE DELLTONES-An Australian Vocal Group
The original Delltones were four members Brian Perkins, Noel Widerberg, Ian 'Peewee' Wilson and Warren Lucas of the Bronte Surf Club on Sydney who found they had more than being typical bronzed Aussie surfers in common. In January 1959 they combined their singing talents as The Delltones - "of tones" ( "dell" meaning 'of' in Spanish). They landed their first professional engagement by bailing up the owner of a Kings Cross nightclub in the streets, and singing for him in order to land an audition. Their arrival on the scene was just what the doctor ordered as far as King Cross regular, entrepreneur Lee Gordon was concerned.
Gordon was able to use the Delltones as backing vocalists for his legendary Big Shows. In return for singing behind Gordon's international and local stars, The Delltones were also given their own feature spot. They were also naturals for regular performances on both 'Bandstand' and 'Six O'Clock Rock'. It was the perfect platform for a successful recording career. Between September '59 and late '60 The Delltones released a succession of singles ranging from their first single, a version of the Crows' doo-wop hit 'Gee' to their version of.....
For more information about this group visit;http://en.wikipedia.org/wiki/The_Delltones

redpajama_set_name: RedPajamaCommonCrawl


1. Box, Simon (2014) Supervised learning from human performance at the computationally hard problem of optimal traffic signal control on a network of junctions. Royal Society Open Science, (140211) (doi:10.1098/rsos.140211).
2. Box, Simon, Chen, Xiaoyu, Blainey, Simon and Munro, Stuart (2014) Fine-grained traffic state estimation and visualisation. Proceedings of the Institution of Civil Engineers Civil Engineering, 167, (5), 9-16. (doi:10.1680/cien.13.00023).
3. Box, Simon, Lees-Miller, J., Snowdon, James, Hammond, James, Hamilton, Andrew, Gupta, Shashank, Wilson, R. Eddie and Waterson, Ben (2013) Lessons from proving ground experiments to investigate junction control. In, 16th International IEEE Conference on Intelligent Transport Systems, The Hague, 06 - 09 Oct 2013.
4. Box, S., Lees-Miller, J., Snowdon, J., Hammond, J., Hamilton, A., Gupta, S., Wilson, R.E. and Waterson, B. (2013) 30 cars, figure of 8, 1 show: large scale proving ground experiments to investigate junction control. In, 45th Annual Conference of the Universities' Transport Study Group, Oxford, GB, 02 - 04 Jan 2013.
5. Box, S., Snell, I., Waterson, B. and Wilson, R.E. (2013) Urban traffic state estimation for signal control using mixed data sources and the extended Kalman filter. In, 92nd Annual Meeting of the Transportation Research Board, Washington D.C., US, 13 - 17 Jan 2013.
6. Lees-Miller, John, Wilson, R. Eddie and Box, Simon (2013) Hidden Markov models for vehicle tracking with Bluetooth. In, Proceedings of the Transportation Research Board 92nd Annual Meeting, Washington, US, 13 - 17 Jan 2013. 14pp.
7. Box, S. and Waterson, B. (2013) An automated signalized junction controller that learns strategies by temporal difference reinforcement learning. Engineering Applications of Artificial Intelligence, 26, (1), 652-659. (doi:10.1016/j.engappai.2012.02.013).
8. Box, S., Snell, I., Waterson, B. and Hamilton, Andrew (2012) A methodology for traffic state estimation and signal control utilizing high wireless device penetration. In, 19th ITS World Congress, Vienna, Austria, 21 - 26 Oct 2012.
9. Waterson, Ben and Box, Simon (2012) Quantifying the impact of probe vehicle localisation data errors on signalised junction control. IET Intelligent Transport Systems, 6, (2), 197-203. (doi:10.1049/iet-its.2010.0113).
10. Box, Simon and Waterson, Ben (2012) An automated signalized junction controller that learns strategies from a human expert. Engineering Applications of Artificial Intelligence, 25, (1), 107-118. (doi:10.1016/j.engappai.2011.09.008).
11. Box, Simon and Waterson, Ben (2011) Machine learning in signalized junction control algorithms. In, 43rd Annual Conference of the Universities' Transport Study Group (UTSG), Milton Keynes, GB, 05 - 07 Jan 2011. Item not available on this server.
12. Box, Simon, Bishop, Christopher M. and Hunt, Hugh (2011) A stochastic six-degree-of-freedom flight simulator for passively controlled high power rockets. Journal of Aerospace Engineering, 24, (1), 31-45. (doi:10.1061/(ASCE)AS.1943-5525.0000051).
13. Box, Simon (2011) What can traffic lights learn from us? Traffic Engineering and Control, 52, (8) Item not available on this server.
14. Box, S. and Waterson, B.J. (2010) Comparison of signalized junction control strategies that use localization probe data. In, RTIC 2010: Better transport through technology, London, GB, 25 - 27 May 2010. (doi:10.1049/cp.2010.0387).
15. Waterson, B.J. and Box, S. (2010) Determining rail network accessibility. In, 5th IMA Conference on Mathematics in Transport , London, UK, 12 - 14 Apr 2010.
16. Box, S. and Waterson, B. J. (2010) Comparison of signalized junction control strategies using individual vehicle position data. In, 5th IMA Conference on Mathematics in Transport, London, UK, 12 - 14 Apr 2010.
17. Box, S. and Waterson, B.J. (2010) Signal control using vehicle localization probe data. In, 42nd Annual Conference of the Universities' Transport Study Group, Plymouth, UK, 05 - 07 Jan 2010.
18. Box, S. and Collings, N. (2007) A multi-channel electrical mobility spectrometer with wedge geometry—design and first evaluation. Journal of Aerosol Science, 38, (6), 656-673. (doi:10.1016/j.jaerosci.2007.04.004 ). Item not available on this server.


My name is Predrag Djape Veljkovic, I'm male and 45 Years old. My Sign of Zodiac is pisces. I live in Trstenik, Serbia.	On Flirtic.com I've been registered for 03.05.2013 years.
I like to listen to Morgan Freeman, Johnny Depp, Rok, Freddie Mercury, Vangelis, Whitney Houston, Jimi Hendrix, Oliver Dragojevic, Van Gogh, Jason Statham, Beyoncé, Stevie Wonder, Riblja Corba, Galija, Zabranjeno Pušenje, Bora Đorđević, Robbie Williams, Smak, Željko Joksimović, Europe, Annie Lennox, Piloti, Scorpions, Guns N' Roses, Madonna, Sting, Lisa Stansfield, Depeche Mode, Idoli, Bajaga, Djordje Balasevic, Kiss, The Police, Atomsko Sklonište, Azra, Louis Amstrong, Divlje Jagode, Abba, Sergej Ćetković, YU Grupa, Salvador Dali, Lena Kovačević, Rock, Eminem, Prljavo Kazalište, Will Smith, Liv Tyler, Martin Scorsese, Jack Nicholson, Eddie Murphy.


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Home : Preservation : East Village : Latest News : 01/10/12
Hearing on Proposed East 10th Street Historic District Tues., Jan. 17
After many delays, the Landmarks Preservation Commission (LPC) has finally scheduled a hearing on the proposed East 10th Street Historic District, which lies between Avenues A and B. In December, GVSHP and allied groups alerted the LPC to a plan by developer Ben Shaoul to alter and build atop 315 East 10th Street, an 1847 structure among this row of uniform and nearly pristine 19th century structures on Tompkins Square North. Following this, the LPC scheduled the long-delayed hearing on this proposed historic district, and we hope they will move ahead with designation in time to prevent this proposed destruction.
We are still awaiting the LPC scheduling a hearing on the proposed East Village/Lower East Side Historic District, which was calendared this past June with a promise of a public hearing, the next step in the approval process, to follow shortly thereafter. More than half a year later, we still await the hearing, while several buildings in the proposed district have been destroyed or are imminently threatened.
HOW TO HELP:
Attend the LPC hearing in support of landmarking the proposed East 10th Street Historic District on Tuesday, January 17th at 1:30 pm at One Centre Street (at Chambers), 9th floor hearing room (bring photo ID). Testify at the hearing in support, or just come to show support – sample testimony is HERE.
Send a letter to the LPC urging them to approve the proposed East 10th Street Historic District as soon as possible, and to move ahead with the proposed East Village/Lower East Side Historic District swiftly before more is lost – send a sample letter HERE.
Next: 01/18/12
Previous: 12/27/11


The Baja Black Plaque is a smooth black wood plaque that has space for a customized message or image. The plaque also comes with a plate made of optical crystal that is fully customizable. The Baja Black Plaque is available in three sizes.


The Source Lightning™ to USB Cable features the latest in USB technology delivering a fast and safe link to your Apple devices in a versatile 4ft length cable.
Co-ordinate your accessories for home, office or travel and connect your Apple devices with the Source Lightning™ to USB Cable.
The 4ft length is perfect for that little bit of extra length when connecting to your Apple devices or the wide range or Cygnett power devices.


How can I start up a conversation with a complete stranger? What are the perfect lines?
First, before a word is spoken, smile from your heart. Your potential soulmate's wall will begin tumbling down. Secondly, there are no perfect lines. But there are icebreakers. Starting a conversation is the most difficult part of connecting with a potential soulmate. Using the same set of lines with everyone rarely works.
You must consider the specific environment. Look for something you have in common. To start a relationship with anyone, let alone a soulmate you must have something in common. I call this the commonground. For example: The people you know at a party you are attending…or you see your potential soulmate in an elevator of a residential building, tennis club or at a local bar, or possibly your potential soulmate is walking down Michigan Avenue in Chicago.
Do you really think it is easy to start up a conversation with someone on the street, especially a future soulmate? Absolutely, if the bar or Michigan Avenue is the only commonground you have, you need to work with the situation at hand. You want to meet your soulmate, don't you? The commonground is usually just an opener. Once you have established it you are ready for the approach.
What is the best thing to say to your future soulmate? Lets use the Michigan Ave commonground.
The most important thing to remember is that when you say your opening line, you want a response. To be sure of a response, ask a question about the commonground. It doesn't need to be clever. Keep it simple.
Most courteous people will give you an answer in return. And in order to respond to a question, a person has to drop his or her wall –at least a bit. And if they are not willing to drop their defense just a little, they are not a soulmate you would care to have a relationship with.
But once they answer the question isn't that the end of the conversation?
Yes, it probably would be if you didn't add the tidbit.
Commonground: You are at a party.
This allows the other person to continue the discussion using the information you gave them. It introduces the possibility of a more personal commonground, a more interesting topic. For example, two people at a party can use the formula to open a conversation. Within a few minutes, they might find they both are gourmet cooks, work in sales, or love tennis.
There is the added plus when giving information about yourself. A person then knows something about you, and you seem less like a stranger. So in turn, the other person relaxes, opens up, and shares something too. The information you give is not your life story; it's a fragment or a tidbit.
However, do not give the person a chance to answer the question before you reveal something about yourself with the tidbit. If there is no tidbit they answer the question and then close down, going about their business. Yet, if they have the tidbit information they will be processing it as they answer the question. Thus, allowing them time to decide if and how they would like to continue on the conversation.
How easy is this to follow when you are really attracted to someone and you think they could be your soul mate?
This is why I tell my students to practice the formula with every person they meet, potential friendships, business associates, anyone you have not met before. You will not only be comfortable meeting new people, but when the love of your life shows up you won't freeze in your tracks. It will already be a habit. You won't be able to stop yourself.
It is an easy formula, a quick way to start a conversation. . It gives you just about everything you need to decide if you want to continue talking. Either party is free to end the conversation. The risk is minimal. In both cases, it has broken down the defensive wall.
The best thing about the C + Q + T formula is that it works. You are on your way to finding your soulmate!
This entry was posted in Relationships & Personal Energy and tagged Relationships, Spirit Energy on November 14, 2011 by Kathy Brown.


I am writing my blog after one full year away from SCN. Consumed by work and delayed by the fixes to new SCN, I stayed away from blogging. Today, I take my time to share some deep, personal view on SAP Fiori application – custom.
SAP Fiori evolved from being a set of apps to an UX paradigm. UX paradigm proposes to list down guidelines and principles to execute user interfaces that ensure compliance to standards. In my discussions on the technical aspect of the applications, I am torn between choosing between the principles and sticking to wireframes. Do we follow the path of the sheep and stick to grass on our way or do we raise our heads and look at the higher picture.
In most applications, we are driven by requirements. We are driven to meet the expectation. Fulfill the wants. Needs are not quantified, so why bother fulfilling it. SAP UX design methodology talks of evaluating, design and develop. When the scope to evaluate and design is compromised, we have been left the option to develop. So, when the team is cornered to develop the stated, who owns up to the responsibility to ensure the compliance to FIORI design principles.
Fiori lists down the principles in the simplest of forms, Simplicity being one of them. So, if we are in violation of non-adhering to one of them, does it disqualify being a FIORI application. Is it enough to make use of UI5 technology to make the application qualify for SAP Fiori? What are the implications of an application being Fiori or not? Is it even important? Why is it that standards and rules which are so strictly applied and made legally compliant in all industries be blatantly violated and compromised in the software industry. The only factor against software is for it being too soft on its violators. There have been numerous occasions when we read from individuals of the pressure situations when the adherence of the team is to fulfill what is requested and not provided the environment to express the willingness and freedom to explore the various principles of Fiori.
Fiori is a great concept and is something which brings the SAP haters closer to SAP than ever. SAP has put in the immense effort is making it appeal to a wider audience. It is the implementers of SAP Fiori who carry the responsibility of fulfilling that vision.
The views expressed in this blog are personal in nature and have no resemblance to any organization or individuals related.
Always a delight to hear another passionate voice on this topic.
Actually Fiori has always been about the Design – the first set of apps demonstrated that and from there it has grown and grown to a comprehensive design vision, supported by design and programming paradigms, methodologies and toolsets. Not to mention Fiori Qualities – which address exactly the topic of what really distinguishes a Fiori app from an app that just happens to be written with SAPUI5.
I agree it can be a challenge to keep the focus on end users and the principles that make Fiori a success for end users and stakeholders alike.
…we need a UX lead to look after the end to end user experience to make sure it delivers on the promise and the goals of the project.
I'd be interested in your thoughts on whether this role would help address the challenges you see on project.
I agree that a UX lead should drive the UI aspect of the development. UX lead should ensure the user's aspect of the actual solution. The manner in which the functional lead is responsible for the oData services and its logic, a UX lead shall be responsible for the UI and UX aspects of the solution.
Unfortunately, we do not live in an ideal world. Timelines and budget restrict the intentions and process with the obvious. Only if we could quantify the effort and the returns in having a UX lead, we can only talk about the best practices, but we usually fall back to our existing practices.
The UI design or UI developers should eventually be elevated to the role of UX leads which I see as a natural progression. It is for the stakeholders who invest in teams to define the role of UX lead as part of the team structure.
Keen to hear from you in this topic.
Hi Sharath, Agree that we need clear activities, deliverables, and effort estimates so that it can become part of stakeholder thinking and included in projects. That's what we are working on.
It's assuring to hear that SAP is pushing the design approach to its rightful place.
Enjoyed the Blog & comments.
My take is that we must seriously take up the ' Needs of the User Groups' & resolve them. But leave the 'Wants' – which are basically wishlists – good to have.
In situations where there is pressure from User Groups on 'Wants', the quick answer would be hold the relevant User Group responsible for the Time & Cost which would make them think again judiciously.
User Groups help in including the user requirements. However, they are slowly turning out to be mostly the functional needs. UX is not a concept fully understood by the users as it's not easily quantifiable. UX also varies from users to users and generally bipolar requirements are ignored in favor of traditional requirements and perceptions of User solutions.
In my view, UI designer should drive the UI developments and negotiate on behalf of the User's Experience with the Design team or the functional team. This would be possible only if we have such a role within the project.
Wants and Needs are part of what the Discovery and Design process is there to identify. They are certainly NOT something we should simply be asking users.
If there's one most important piece of advice for newbies in user experience it would be … "stop asking users what they want" . You'll get an answer but not the right answer or the right outcome. That's why we do end user research.
b) Turn that into user stories that guide a Minimum Viable Product approach to design – so that each iteration provides real value to the end user and that value can be justified against business priorities.
Just trying to sort out needs and wants is not enough. To properly judge end user value and business impact we need to understand the why… often end users can't give you that clearly if you ask them. Similarly its easy to categorize real needs as wants if you aren't the end user.
Hence the importance of Discovery and end user research as a a prerequisite to Design.
In other words you – as the designer – have to understand the problem – even when your end users don't or can't or can't articulate it.
If users are pressing for what you think is a Want, it's important to dig deeper and work out what is really driving that need and not dismiss it too quickly.
I was only viewing it from a Project Management & ROI perspective.


text:
Isaac La Peyrère (Bordeaux, 1596 - Aubervilliers, 30 januari 1676) was een 17e-eeuws Frans geleerde afkomstig uit een familie van hugenoten.

Bijbelkritiek
La Peyrère was een van de eerste publicerende auteurs van Bijbelkritiek, een wetenschappelijke discipline die voortkwam uit de secularisatie in de zeventiende eeuw. Hij studeerde rechten, werd advocaat en trouwde in 1624 met Suzanne Petit. Hij werd secretaris, later bibliothecaris, van een Prins van den bloede in Parijs, de Prins van Condé, die zich omringde met wetenschappers, schrijvers en denkers, onder wie Blaise Pascal en Hugo de Groot. Geleerden als Scaliger schreven wel kritisch in brieven, maar zij publiceerden geen bijbelkritiek.

De werkkring bij de machtige Franse prins gaf de bijbelcritici bescherming tegen vervolging. Aan een universiteit zouden de theologen hun werk hebben gesaboteerd. Zonder een beschermheer zouden zij vervolgd hebben kunnen worden wegens godslastering en ketterij.

La Peyrère en het jodendom

In 1643 publiceerde La Peyrère een herziene tekst onder de titel "Du Rappel des Juifs", een oproep aan het Joodse volk. Zij moesten zich onder gezag van de Franse koning stellen en terugkeren naar Israël. Dan zou Christus terugkeren op Aarde. De oproep sloot aan bij het messianisme, de verwachting van de messiaanse joden dat een Messias het koninkrijk Israël zou herstellen. De Joden die noch Christus noch de Franse koning vertrouwden zagen niets in deze oproep.

In hetzelfde boek werd een pleidooi opgenomen voor een "Joods Christelijke Kerk". Een dergelijk verbond van Joden en christenen zou een Messiaans koninkrijk mogelijk maken in Jeruzalem, dat in La Peyrère's opvatting het "middelpunt van de Wereld" was. Dit pleidooi vond bij de christenen en hun kerken geen gehoor.

De apocalyptische verwachtingen van La Peyrère kunnen worden toegeschreven aan de verschrikkingen van de godsdienstoorlogen, La Fronde in Frankrijk en de Dertigjarige Oorlog in Duitsland.

In Brussel heeft La Peyrère in 1643 contact gehad met Menasseh Ben Israel, de messiaanse rabbijn die ten tijde van Oliver Cromwell de Joden terugbracht naar Engeland.

La Peyrère als diplomaat
Tijdens een diplomatieke missie naar Zweden bezocht La Peyrère Nederland. Hij ontmoette in Leiden een Europees vermaard talenwonder, de Leidse professor Claude Saumaise (1588-1653), een man die om zijn fenomenale kennis een 'levende bibliotheek' en de 'schatbewaarder der Oudheid' werd genoemd.

Deze Saumaise was de auteur van een "geschiedenis van de astrologie" en hij was goed thuis in de tijdrekeningen van de volkeren van het Midden-Oosten die veel verder teruggaan dan het scheppingsverhaal in Genesis. In "Diatribae de annis climacteris", een chronologie van belangrijke jaartallen, stelde Saumaise dat de hemel en de aarde
volgens de overleveringen van de Babyloniërs en de oude Egyptenaren dertigduizend jaar eerder geschapen waren dan uit de in de Bijbel opgenoemde geslachtsregisters kon worden opgemaakt. Deze plaatsen de schepping in oktober van het jaar 3950 voor Christus. De ontmoeting met Saumaise was aanleiding om een revolutionair boek over de ouderdom van de wereld, de afkomst van de mens en de theologie te schrijven.

Peyrère's verdere wetenschappelijke werk
De opkomst van de exacte wetenschappen, de publicaties van Newton, Copernicus, en Saumaise en het rationalisme van de Franse filosoof René Descartes gaven aanleiding om de Bijbelverhalen te toetsen aan de onveranderlijk geachte natuurwetten. Dit nieuwe inzichten leidden tot Bijbelkritiek waardoor de ooit letterlijk genomen Heilige Schrift veranderde in een menselijk document. De Præadamitæ van La Peyrère maakte de Bijbelkritiek voor het eerst voor iedereen aanschouwelijk.

La Peyrère kon Hebreeuws en Grieks niet lezen. Hij baseerde zijn stellingen op het gepubliceerde werk van Josephus Justus Scaliger, met name op diens "Thesaurus temporum".

La Peyrère wist dat de oudste geschiedenis terugging op tijden die ver vóór de hypothetische datum van de in Genesis beschreven schepping van de wereld lagen. Ook de zeer ver teruggaande tijdrekeningen van de farao's, de Chinezen en de Azteken werden door La Peyrère daarvoor als bewijs gebruikt. Hij publiceerde zijn boek, met de stelling dat er vóór Adam mensen hadden geleefd, in 1655 onder de titel "Praeadamitae". De uitgevers waren Lodewijk Elzevier en Daniël Elzevier in Amsterdam. Het boek was in het Latijn geschreven en anoniem.

Publicaties in het Latijn werden in Nederland getolereerd, ook wanneer hun inhoud omstreden was. De Nederlandse overheden waren relatief ruimdenkend zolang een discussie alleen in geleerde kringen werd gevoerd.

Volgens La Peyrère waren de boeken van Mozes niet door Mozes geschreven en bleken allerlei wonderverhalen in het Oude Testament bij nader inzien verdichtsels van gebeurtenissen die met het verstand te volgen waren. La Peyrère gaf ook een antwoord op de door kritische lezers van Genesis gestelde vraag waar Kaïns vrouw vandaan kwam. Zij was, zo stelde hij, een van de mensen die al voor de schepping van Adam op aarde leefden. Zij was een preadamiet. La Peyrère ondersteunde deze opvatting door te verwijzen naar   Sinicae Historiae  , een werk van Martino Martini,verbonden aan de missie van de jezuïeten in China. De in China gehanteerde chronologie vanaf het derde millennium voor Christus was niet in overeenstemming te brengen met een op alleen de Bijbel gebaseerde chronologie.

Op deze nieuwe stellingen van La Peyrère werd de theorie van de polygenese gebaseerd, de theorie stelt dat de verschillende mensensoorten verschillende oorsprongen hebben.

La Peyrère theoretiseerde graag over onderwerpen waarover nog weinig bekend was zoals de herkomst van de Amerikaanse Indianen. Zijn theorieën over de historie van het Joodse volk en de oorsprong van de mens werden in de Parijse salons, de ontmoetingsplaatsen van de intellectuelen, veel besproken.

Peyrère vond steun bij de afgetreden Zweedse vorstin Christina. Hij las zijn werk in 1655 in Brussel aan haar voor en de rijke vorstin gaf hem geld om uitgave van de Praeadamitae mogelijk te maken.

La Peyrère wilde zijn "Praeadamitae" aan de Franse regeringsleider kardinaal de Richelieu opdragen maar daarmee ging de kerkvorst niet akkoord, hij verbood het boek.

De reactie op de Praeadamitae

Het boek werd een groot succes en beleefde in korte tijd vijf drukken. In heel Europa spraken geleerden over de stellingen van La Peyrère en de consequenties die daaruit voor kerk en geschiedschrijving voortvloeiden. In Nederland vond La Peyrère in de Utrechtse theoloog en hoogleraar Gisbertus Voetius een fanatieke tegenstander. Voetius was een fundamentalist en hij meende dat de theologie ook de natuurwetenschappen diende te beheersen. Ontdekkingen die niet met de leer van de kerken in overeenstemming waren mochten van Voetius niet worden gepubliceerd. Een aan het Utrechtse gemeentebestuur aangeboden memorandum van Voetius, sprekend namens zijn faculteit, was voor dat stadsbestuur reden om het boek van La Peyrère in hun stad te verbieden.<ref>De sententie sprak over "verscheydene grouwelicke ende lasterlicke opinien, directelick strydende tegens Godts Heylige Woort"</ref>

Deze censuur bracht de Staten-Generaal van de Republiek der Verenigde Nederlanden ertoe om hetzelfde te doen. De uit Praeadamitae te trekken consequentie dat Jezus niet voor alle mensen was gestorven en dat sommige mensen niet alleen vrij waren van de erfzonde maar ook ongestraft konden zondigen, of misschien wel niet konden zondigen, was een potentieel politiek probleem. In de 17e eeuw kon men zich een land waarin meerdere godsdiensten naast elkaar bestonden nog moeilijk voorstellen. De uitvoerende macht en de godsdienst waren nog nauw verbonden.

Ondanks het verbod op publicatie en verkoop verscheen in 1661 een Nederlandse vertaling van Praeadamitae onder de titel "Praeadamiten, of Oeffening over het 12, 13, en 14. vers des vijfden capittels van den brief des apostels Pauli tot den Romeynen: Waer door geleert wort: datter menschen voor Adam geweest zijn". De titel verwijst naar een interpretatie van  La Peyrère van het tekstdeel 5.12-14 van de Brief van Paulus aan de Romeinen.   12. Daarom, gelijk door een mens de zonde in de wereld ingekomen is, en door de zonde de dood; en alzo de dood tot alle mensen doorgegaan is, in welken allen gezondigd hebben. 13. Want tot de wet was de zonde in de wereld; maar de zonde wordt niet toegerekend, als er geen wet is. 14.  Maar de dood heeft geheerst van Adam tot Mozes toe, ook over degenen, die niet gezondigd hadden in de gelijkheid der overtreding van Adam, welke een voorbeeld is Desgenen, Die komen zou.

De interpretatie van La  Peyrère is dat als Adam op een moreel relevante wijze heeft gezondigd er een Adamitische wet geweest moet zijn volgens welke hij gezondigd heeft. Als de wet begon met Adam moet er een wereld bevolkt met mensen zijn geweest zonder wet.

 Arrestatie in Brussel
In het katholieke en door Spanje geregeerde Brussel kon de Prins van Condé Isaac La Peyrère niet beschermen. In februari 1655 werd La Peyrère met veel machtsvertoon gearresteerd. De overheid verhoorde hem maar zij kon een protestant om formele redenen niet als ketter veroordelen. Ketterij was namelijk per definitie de heterodoxie van katholieken. Over theologische conflicten binnen het protestantisme had de overheid geen rechtsmacht.

De rechters besloten dat zij Isaac La Peyrère niet zouden vervolgen wanneer hij katholiek werd en de paus, Alexander VII, om vergiffenis zou vragen.

Isaac La Peyrère zag een uitweg want als hij het pauselijk leergezag zou aanvaarden zou zijn in het verleden gepubliceerde boek hem niet meer worden aangerekend. Voor een katholiek is de uitleg die de pausen aan de Bijbel geven immers de leidraad. Zij bestuderen de bijbel niet verstandelijk en met respect voor het individuele geweten.

In Rome werd de bekeerde en gedoopte Isaac La Peyrère door de Paus hartelijk ontvangen. De kerkvorst begroette hem met de kwinkslag "laat ons deze pre-adamiet omhelzen".

 Isaac La Peyrère als katholiek
La Peyrère veranderde wel van geloof maar niet van aard. De eeuwige wroeter in geschriften ging door waar hij was gestopt met de these dat Adam, wanneer Adam inderdaad aan jicht zou zijn gestorven, ouders moest hebben gehad omdat jicht erfelijk is. Zijn werk heeft hem niet meer in juridische problemen gebracht.

Als katholiek bleef La Peyrère aan het openbare debat deelnemen. Hij veranderde van een kritisch bijbellezend protestant in een apologeet van een strikt katholieke theologie waarin men de bijbeltekst niet met het geweten en het verstand, maar aan het leergezag van de kerk in overeenstemming bracht. Wat er niet stond dat stond er niet en over wat er wel staat kan men alleen binnen de door de katholieke leer gestelde grenzen discussiëren.

Deze breuk met wat hij heel zijn leven had verkondigd was voor La Peyrère een juridische bescherming tegen zijn vervolgers.

Een al vroeg in de jaren 40 opgezet plan om het Franse koningschap te vervangen door een "universele christelijke monarchie" bleef La Peyrère zijn leven lang bezighouden. Ook de andere messiaanse en pre-adamitische of polygenetische gedachten doken na de bekering, in gewijzigde en iets voorzichtiger vorm, weer op. In 1670 waren de oude theorieën onderwerp van gesprek toen hij de Franse geleerde Richard Simon ontving in het klooster van de Oratorianen waar La Peyrère zich als lekenbroeder had teruggetrokken.

Simon die op zijn beurt een belangrijk Bijbelcriticus en taalkundige was, was niet onder de indruk van Peyrère's kennis maar hij prees het vernuft waarmee La Peyrère wist te argumenteren.

Op zijn sterfbed zou Isaac La Peyrère zijn biechtvader met grapjes over de eeuwigheid in de war hebben gebracht.

 De betekenis van Isaac La Peyrère
De contacten tussen geleerden als La Peyrère, Saumaise, Hugo de Groot en Ole Worm liepen vooruit op de Europese Verlichting. Toen Praeadamitae eenmaal was gepubliceerd werd het voor velen duidelijk dat men op goede gronden mocht twijfelen aan wat van de kansels werd verkondigd. Isaac La Peyrère was ook van invloed op het werk van de filosoof Baruch Spinoza.

In de 19e en 20e eeuw was het werk van Isaac La Peyrère, gelezen in de zin van een gescheiden schepping van de Joden en de andere volkeren, de "Gojim", een aanmoediging voor zowel het op de Bijbel gebaseerde polygenisme, een uitwerking van de gedachten over polygenese, dat ook in de 21e eeuw aanhangers heeft in fundamentalistisch christelijke kring, als het vaak antisemitische racisme van schrijvers als Houston Stewart Chamberlain.

 Literatuur
 Almond, Philip C. (1999). Adam and Eve in Seventeenth-Century Thought. Cambridge: Cambridge University Press. ISBN 0-521-66076-9
 Barkun, Michael (1996). Religion and the Racist Right: The Origins of the Christian Identity Movement. UNC Press. ISBN 0-8078-4638-4
 Garber, Daniel and Ayers, Michael (Eds.). (2003) Cambridge History of Seventeenth-Century Philosophy. Cambridge: Cambridge University Press. ISBN 0-521-53720-7
 Nellen, Henk (2004) Hugo de Groot.
 Popkin, R. H. (1987). Isaac La Peyrère (1596-1676): His Life, Work and Influence. Brill Academic Publishers. ISBN 90-04-08157-7
 Pyenson, Lewis (1989). Empire of Reason: Exact Sciences in Indonesia, 1840-1940''. Brill Academic Publishers. ISBN 90-04-08984-5
 Stocking Jr., George W. (1987), Victorian Anthropology. New York: Free Press.

Externe link
 Jim Bennett and Scott Mandelbrote, "The Garden, The Ark, The Tower, The Temple: biblical metaphors of knowledge in early modern Europe"

Frans theoloog
Humanistisch geleerde
Verlichtingsfilosoof
Peyrère
17e-eeuws filosoof

redpajama_set_name: RedPajamaWikipedia


text:
Q: Cauchy-Schwartz in disguise! Let $u\geqslant v\geqslant w\geqslant 0$ and $-1\leqslant a,b,c\leqslant 1$. Is the following inequality true?
$$(u^2-2auv+v^2)(v^2-2bvw+w^2)\geqslant (v^2-auv-bvw+cuw)^2$$
$\textbf{What I have done this far:}$ We can rewrite $u^2-2auv+v^2=(v-au)^2+(1-a^2)u^2$, likewise we can write  $v^2-2bvw+w^2=(v-bw)^2+(1-b^2)w^2$. Then it can be shown that the above inequality is equivalent to the following inequality
$$((v-au)^2+(1-a^2)u^2)((v-bw)^2+(1-b^2)w^2)\geqslant ((v-au)(v-bw)+(c-ab)uw)^2$$
If $c\leqslant ab$ then it holds true since $a^2,b^2\leqslant 1$ imply that the left side not smaller than $(v-au)^2(v-bw)^2$. However when $c>ab$ it is no longer clear. For some special case like $c=1,a=b=0$ it is again true. My question is then, is the inequality true for any $c>ab$?

A: It doesn't hold.
In
$$
(u^2-2auv+v^2)(v^2-2bvw+w^2)\geqslant (v^2-auv-bvw+cuw)^2
$$,
let $u=v > 0$ and $a=1$ which gives
$$
0\geqslant (-bvw + cuw)^2 = (-b + c)^2 (uw)^2
$$
which is wrong for all $b \ne c$ and $w >0$.

redpajama_set_name: RedPajamaStackExchange


Dash in Domain Name: Are Hyphenated Domain Names Good or Bad?
Yes, I know the title of this post sounds harsh: should you use a dash or a hyphen in a domain name? But to be honest with you, that is my conclusion now that I have seen this. It's solid proof that the right keyword rich domain name will out-rank a hyphenated domain name in the search results every time. Don't use a Hyphen in Domain Name, here's proof of that.
Dash in Domain Name: Is a Hyphen or Dash Good or Bad?
What is the Alternative to Dash in Domain Name?
— frictionlessowls.com – site had content rich with relevant keywords.
— www.frictionlessowls.co.uk – site had a few pages of unique content.
— frictionless-owls.com – site with machine-generated nonsensical content.
Once the SEO challenge was over, they wanted to see if it was the nonsensical content that Google didn't like or if it was the keyword rich domain name that Google liked more. So, they moved the nonsensical content over to the keyword rich domain name. And when all was said and done, even though the site has nonsensical content on it, the site ranked because of the keyword rich domain name.
What this test proves is that Google is biased towards having a hyphen in domain name–Google does not like them. Or, at least when it comes to hyphenated domain names versus non-hyphenated domain names, Google prefers the non-hyphenated domain name.
This also totally blows some SEO conspiracy-theorists' views of the Exact Match Domain update out of the water. In fact, it has been my theory all along that the EMD Update was more about commercial phrases than domain names. It just so happens that keyword rich domain names are highly sought-after, and there is "value" in a keyword rich domain name because of the number of searches per month for that keyword and the average CPC (Cost Per Click) on Google AdWords for that keyword. Therefore, Google targeted commercial phrases in that update, and NOT keyword rich domain names.
The EMD Update should have been called the "Commercial Phrase Update". But it was not, for political reasons. Could you imagine if Google had called that update the "Commercial Phrase Update"? We would be all screaming loudly–because Google did that because they wanted us to pay more on Google AdWords. But I digress.
From now on, I am not recommending use of a keyword rich hyphenated domain name for a website, you'll end up being out-ranked just about every time if you try to rank well for that main keyword. I say "just about every time" only because I know there are going to be exceptions to every rule.
I have a few keyword rich domain names for sale. Want to buy them? Oh yeah, by the way. I should point out that they have hyphens in them.
What is the alternative to a dash or hyphen in your domain name? Is there an alternative to Dash in Domain Name? The ideal alternative, of course, if buying and using the domain name without the dash or hyphen in your domain name. Sometimes that's not possible, though, as someone may not be available for purchase. You could certainly approach the owner of the domain name without the dash and ask them if it's for sale.
You could also check to see if a similar domain name, perhaps in a New gTLD, is available. So, rather than using Red-Widgets.com, maybe Red.Widgets is available. You can check the New TLDs list here and see if another ending (another TOP Level Domain TLD) is available. Then, check your favorite registrar to see if you can purchase that domain name.


text:
Ronghang awarded honorary doctorate
By Correspondent - 8 Nov 2021 11:32 AM GMT
Diphu, Nov 8: Chief Executive Member of Karbi Anglong Autonomous Council, Tuliram Ronghang has been conferred with honorary doctorate degree by Bangalore based Bharat Virtual University for Peace and Education in a impressive ceremony held at Bangalore's prestigious Shangri-La hotel in presence of a galaxy of dignitaries.
According to information, the honour has been bestowed on him for his outstanding contribution for bringing peace and harmony, also for his giving towards education and overall development of Karbi Anglong under his robust leadership. It is worth mentioning here that Tuliram Ronghang has remained most instrumental in bringing several armed insurgent outfits to the negotiating table and to the mainstream of the society.
Under his leadership social peace and harmony has returned in the vast hilly region of Assam sensibly.


text:
Delphi: The Center of the Greek World
by plato on February 18, 2020
By Edward Whelan, Contributing Writer, Classical Wisdom
Delphi was an important religious, social and cultural center in Ancient Greece. It was one of the few places where the Greeks came together; indeed, Delphi was crucial in their collective identity. This religious site played a critical role in Greek politics, which meant that a number of wars were fought over its control.
The History of Delphi
In Greek myth, it was believed that Delphi was the center of the world, known as the navel of the earth, 'omphalos'. From the Late Bronze Age the location was a religious sanctuary, the site of an oracle, and archaeological evidence suggests that the Mycenaeans had a temple dedicated to the Mother Earth goddess here.
The omphalos in the museum of Delphi
Later, it was dedicated as a sanctuary to Apollo, the god of light, poetry, and reason, as it was believed that the god killed the giant serpent Pytho at the location. This sanctuary became famous for having a female priestess who was inspired by the god and gave oracles. The Oracle at Delphi had enormous prestige and was consulted by many important persons from all the different Greek city-states. Visitors from all over the Greek world came to Delphi to honor the god Apollo, and the Athenians consulted the oracle during their wars with the Persians.
While the oracle's advice was often heeded, there were also suspicions that the oracle was bribed to provide an answer that was advantageous to some political leader or group.
Consulting the Oracle by John William Waterhouse, showing eight priestesses in a temple of prophecy
Delphic Games
Delphi was the location of one of the four Panhellenic Games, which included both athletic and non-athletic events in honor of the god Apollo. There was track, chariot racing, horse racing, wrestling, boxing and even musical contests. Greeks from all over the Mediterranean and the Black Sea would attend these Delphic or Pythian games, and in fact, the various City-States entered into a truce so that their athletes could participate.
This starting line at the Delphi stadium used for the Pythian Games at Delphi, Greece, has a design representative of that of many ancient Greek stadiums: stones with two lines in which the athletes nudged their toes, and round holes in which posts could be erected to support the start signalling mechanism.
History of Delphi
There is little of the history of Delphi before the 6th century BC. It was originally inhabited by non-Greeks but around the 6th century BC, the Phocians conquered the area and took control of the shrine. This site was very important, not only for its religious and cultural prestige, but also because of its vast wealth. The treasury of Delphi was overflowing with gold and silver, donated by pious pilgrims.
Map showing location of ancient Phocis
Delphi was reclaimed by the Athenians during the First Sacred War (597–585 BC). They established the Amphictyonic League, a political alliance designed to protect Delphi, but it later came under the control of some Athenian exiles. During the Second Sacred War (449–448 BC), which was part of the 1st Peloponnesian War, the Phocians were able to regain control of Delphi.
The Phocians gradually lost control of the sanctuary and this led one of their leaders to act out and seize its treasury. This led to the Third Sacred War (356–346 BC) between a coalition led by Phillip of Macedon and the Phocians, resulting in the destruction of the Phoceans and the rise of Macedon, who effectively came to dominate Delphi.
In the first century BC, the Thracians raided and sacked Delphi, stealing the temple's sacred fire. The location was also badly damaged later by an earthquake. These events, as well as inaccurate prophecies, led to a decline in Delphi.
Ruins of the ancient temple of Apollo at Delphi, overlooking the valley of Phocis.
The sanctuary was once more revived in the 2nd century AD, under the patronage of Emperor Hadrian. The oracle continued to flourish even after Constantine the Great made Christianity the new religion of the Roman Empire. The Pythian Games continued to be held and remained popular. Eventually as Christianity became more prominent, the sanctuary declined. It was possibly closed by the command of Emperor Theodosius the Great.
Ironically, Delphi, the center of classical Greek religion, later became a major Christian center. It is believed to have flourished until the Avar and Slav invasions of Greece in the 8th century AD. Delphi was probably fully abandoned by 900 AD.
The Architecture of Delphi
Theatre at Delphi
In its heyday, Delphi was a complex of buildings and facilities, most of which were built by Greek City-States. There are many remarkable architectural remains still to be seen at Delphi. One of the most astonishing is the Temple of Apollo, which dates from the 4th century BC. It was built in the Doric style and is believed to have been the 6th temple built on this site. All that remains is an outline of the walls and rooms and a colonnade of broken columns. There was once a large number of votive statues at the shrines in Delphi and some of these can still be seen.
Delphi was once enclosed by walls. Upon entering the sanctuary, there were a number of treasuries, and one of these, the so-called Athenian treasury, has been fully restored by modern archaeologists. The stoa of the Athenians consisted of an open public space that was a covered walkway or portico, constructed by donations made by Athens. Many of the columns of the stoa, as well as its paved floor, can still be seen.
Speculative illustration of ancient Delphi by French architect Albert Tournaire.
There was a theatre set into the hill at Delphi, built in the traditional Greek style, and it is very well preserved. The Tholos of Delphi was a circular temple and much of this remarkable building, which comprises of a number of Greek styles, has been restored. There are also a number of remains that were associated with the Pythian Games and they include the stadium and the hippodrome.
Delphi Today
Delphi is now a UNESCO World Heritage site and there are still archaeological excavations being conducted in the area. It is now a very popular tourist destination.
Dempsey, T., Reverend, The Delphic oracle, its early history, influence and fall, Oxford: B.H. Blackwell, 1918
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Tags: Delphi, Delphi Games, Delphi Oracle, Phocians, Pythia, Pythian Games
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How Can We Know Ourselves? | Classical Wisdom Weekly


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NBA Playoffs: The Chicago Bulls played their best, and it was still not enough
By Kurt HelinApr 20, 2010, 8:43 AM EDT
A harsh reality landed upon the Chicago Bulls Monday night — The Bulls played their best; their best was not good enough. They made the right decisions, they scrapped and fought inside, they played with passion.
And they lost. The final score was 112-102, and that 10-point margin is how much the Cleveland Cavaliers pulled away in the fourth quarter with their superior talent.
Joakim Noah loves to talk, but he keeps backing it up like this on the court and he can run his mouth all he wants. He had a team high 25 points on 10 of 18 shooting, plus pulled down 13 rebounds. He, along with a feisty Luol Deng (who also brought it hard for the night) were at the heart of a Bulls effort inside that included 13 offensive boards and 19 second chance points. They were at the heart of a smaller Bulls front line that helped outscore the Cavaliers 56-38 in the paint.
The Bulls also didn't turn the ball over (just four for the whole game) and they made the extra pass on offense, and 61 percent of their baskets came off assists.
And they lost. Mostly because of LeBron James.
In the end, the game is about shooting the basketball. The Bulls simply don't do that well, they haven't all season — on the season they shot 47.7 percent (eFG%, which counts a bonus for three pointers made, just like the scoreboard does), that was 28th in the league. The only teams that shot worse than the Bulls this season were New Jersey and Detroit. It's a testament to how hard they played that they overcame that shooting, both Monday night and on the season.
Cleveland, on the other hand, can shoot the ball (third best shooting team in the league). While the Bulls shot 44 percent overall and 31 percent from three in the game, the Cavaliers shot 56 percent and 50 percent from three. Do that and you win pretty much every time.
LeBron had 40 points, 15 of those in the decisive fourth quarter. While he had some plays at the rim — James Johnson, just stay out of the way next time — LeBron hit 9 of 16 on jump shots. He took four three-pointers and made two. When his outside shot is falling, he is inhuman.
But this wasn't just the LeBron James show — he sat to start the fourth quarter and the Cavs started to pull away without him. Antawn Jamison hit a pretty little floater, Delonte West had an and-1 play. Even after LeBron returned and started doing LeBron things, other guys made plays. Like Anderson Varejao hitting a clutch jump shot late — if you're Chicago you forced the Cavs to take the shot you wanted them to, and they hit it. What can you do? Also, Jamario Moon was hitting big threes all night long.
Bottom line is Cleveland is better than Chicago. Intellectually everyone knew that going in, but last night was the revelation of that fact on a gut level. The Bulls may pull out a game as the series shifts to the city with the best pizza in the nation, but last night showed us how this series will end.