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Amanda Milling Minister of State (Foreign, Commonwealth and Development Office) 5:12 pm, 24th May 2022
It is a real pleasure to serve under your chairmanship, Sir Mark. I congratulate my hon. Friend Mr Djanogly on securing this important debate. We have some real experts on Georgia, and it is marvellous to see the ambassador with us in the Public Gallery. I also thank my hon. Friend for chairing the all-party parliamentary group on Georgia, and welcome the recent visit about which we have heard from several hon. Members.
The Minister for Europe and North America, my right hon. Friend James Cleverly, would have liked to have taken part in this debate, but he is currently travelling on ministerial duties. It is therefore my pleasure to respond on behalf of the Government, and I am grateful to hon. Members for their contributions and the points raised.
The United Kingdom fully supports Georgia's sovereignty, territorial integrity and Euro-Atlantic aspirations. Diplomatic relations between our countries are the strongest they have been since they resumed 30 years ago. As my hon. Friend the Member for Huntingdon and others have mentioned, we enjoy excellent political, parliamentary, security and economic co-operation. Our landmark agreement on strategic partnership and co-operation was the first the UK concluded with an eastern European country after leaving the European Union. The agreement, which sets out our unwavering support for Georgia, and our joint commitment to peace and security, also provides the framework for deepening our economic and business ties. It is testament to the strong bonds between us.
We continue to stand shoulder to shoulder in the face of Russia's illegal, unprovoked invasion of Ukraine, which has had such dire consequences for the Black sea region. Russian aggression against its neighbours is nothing new, but the scale, speed and brazenness of Putin's assault on Ukraine has underlined the threat that countries such as Georgia continue to face. On the first day of the invasion, Russia took territory greater than the size of Georgia. It is of course true that heroic Ukrainian resistance has driven Russian forces back from Kyiv, but Ukrainian suffering under the Russian attack and occupation has been catastrophic. Russia's invasion of Ukraine has therefore confirmed Georgia's view that it will never be safe until it joins the EU and NATO, as Members have mentioned.
Of course, Georgia does not need to look at Ukraine to understand Russian aggression. For decades, Russia has tried to exert control over Georgia and the region by fuelling conflict and division. Following the 2008 war, which resulted in Russia's recognition of the Georgian breakaway regions of Abkhazia and South Ossetia, Georgia has faced relentless pressure and hybrid attacks from Russia. Today, roughly 20% of Georgia's territory is under Russian control, with Russian troops just 30 minutes from Tbilisi. In parallel, Russia deploys trade restrictions and other forms of economic and political pressure to try to break the will of the people of Georgia. Despite all that, Georgia has bravely stood with the people of Ukraine in their hour of need.
As the Minister for Europe highlighted during his call with the Georgian Foreign Minister on 28 February, the UK remains a steadfast supporter of Georgia's sovereignty, territorial integrity and Euro-Atlantic aspirations. The UK will also continue to use our influential role in the Council of Europe, the Organisation for Security and Co-operation in Europe and the UN to call on Russia to withdraw its troops from Abkhazia and South Ossetia. Like the overwhelming majority of the international community, the UK does not recognise those breakaway regions.
As colleagues have asked questions in relation to the breakaway territories, it is worth clarifying that the UK does not refer to them as "occupied" due to the wide-ranging implications that would have for UK policy. Any acknowledgment of occupation would provide additional powers, in law, to the Russian Federation. The UK's position is consistent with the position of the UN, OSCE and EU as conflict mediators, with NATO institutionally, and with most international partners.
Russia's support for the breakaway regions' so-called independence demonstrates contempt for the very foundations of international relations—sovereignty, territorial integrity, and the right of nations to decide their own future, free from aggression and fear of invasion. We condemn the recent announcement by the de facto authorities in South Ossetia of their intent to carry out an illegal referendum on membership of the Russian Federation. We also consistently call on the Russian Federation to fulfil its clear obligations under the EU-mediated ceasefire agreement of 2008. It must withdraw its forces to pre-conflict positions and meet its other commitments to dialogue under the ceasefire agreement.
Despite Russia's constant threats and interference, the Georgian people have bravely chosen the path towards Euro-Atlantic integration, with more than 70% of the population in favour. The UK remains steadfast in our support for Georgia's aspirations, including its recent EU membership application. EU membership is a sovereign choice for Georgia and EU member states. This Government support that choice and strongly believe that no third country should have a veto over Georgia's decision. We also believe that further integration with the EU and NATO will deliver greater prosperity and security for Georgia and for Europe.
The UK will continue to support Georgia in its implementation of the EU association agreement and its NATO commitments. We are leading calls in NATO to step up practical and political support to Georgia as a matter of urgency. We continue to encourage all allies to deliver on commitments made under the substantial NATO-Georgia package, including assisting Georgia in the implementation of reforms and enhancing resilience, accountability and transparency. During the April NATO Foreign Ministers meeting, the Foreign Secretary agreed a package of additional support to Georgia, boosting work to build resilience and defence capacity. We will continue to develop this with the Georgian Government ahead of the Madrid NATO leaders summit in June.
Colleagues mentioned security. We are supporting Georgia in cyber-space and at sea. On cyber, along with international partners, we are supporting Georgia's cyber-security strategy and wider work in this realm. In these times of hybrid warfare, Georgia must have the strongest possible defences. When it comes to security in the Black sea, the UK routinely provided a maritime presence before the recent Russian invasion of Ukraine. That includes, as colleagues have mentioned, HMS Defender's visits last June to Odesa in Ukraine and Batumi in Georgia. We are keen to re-establish that presence and to expand co-ordination among international allies.
We are encouraging Georgia to accelerate democratic reforms and overcome polarisation in the political arena, as that is crucial to achieving its ambition of greater Euro-Atlantic integration. Genuine, far-reaching reforms will anchor Georgia's democracy against those who would seek to undermine it.
Let me conclude by reaffirming the UK's unwavering support for Georgia. Drawing on our strong and enduring relationship, and with our international partners, we will continue to help Georgia boost its security, strengthen its democratic institutions and achieve its Euro-Atlantic goals.

redpajama_set_name: RedPajamaCommonCrawl


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Meet Sean Elo-Rivera.
Committed husband, son, brother and friend – and your candidate for San Diego City Council. Learn about Sean's humble beginnings, professional experience, and why he's the community's choice for District 9.
Sean's Bio Sean's Resume
Sean's Story.
Sean is a husband, son, brother, and committed friend who is fueled by love.
His family's diversity and experiences riding an up-and-down roller coaster in and out of the middle class will forever shape the way Sean sees the world and motivate him to make it better.
A first-generation college student, Sean attended Golden West Community College. He then transferred to and earned his bachelor's degree from Chapman University, where he studied psychology, sociology, and history. While in school, Sean was an award-winning high school swimming and water polo coach. Inspired by President Obama's historic 2008 Presidential campaign to make a more widespread impact, Sean went abroad and served as an English and Special Needs teacher in Peru and volunteered as an environmental preservationist in Ecuador. He then taught English in a rural South Korean community.
Top: Baby Sean with his mom
Bottom: Sean with his wife and parents
Above: Sean graduating from Cal Western School of Law
Sean subsequently came to San Diego to attend California Western School of Law where he was selected to receive a Creative Problem Solving Scholarship. At Cal Western, he served in multiple leadership roles, including president of La Raza Student Association and Amnesty International and as a Student Representative.
Inspired by his diverse background and belief in the importance of historically disadvantaged communities working together, Sean also worked to strengthen the Student Diversity Coalition. Sean received a Pro Bono and Public Service Honors Society Award for his work with the City Heights Community Law Project, where he helped bring free legal clinics to schools.
It was this work in City Heights schools that made Sean fall in love with the community.
For the first time, he was in a community that resembled his family. Folks with roots all over the world who came here seeking safety and opportunity. Families struggling to get by and neighbors from different cultures working through their differences. Most importantly, Sean saw how beautiful it is when a community overcomes those struggles and differences to come together for their families and communities.
After law school, Sean came to work in District 9 as a director at Mid-City CAN*, a local nonprofit. While there, Sean led a team of dedicated community organizers as they worked with the community to turn their hopes and dreams into reality. They fought for no-cost bus passes for youth, better food in schools, and for critical changes to prevent our young people from being treated unfairly by the justice system. He also helped build a civic engagement team to help ensure District 9 voices were represented at the polls.
* For reference purposes only, does not denote endorsement
It was while registering students to vote that Sean was inspired to run for a seat on the San Diego Community College Board of Trustees. Two years later, with the help of a team of committed students, Sean shocked the political establishment and won the opportunity to serve. As a Trustee, Sean and four other elected board members work to ensure the 100,000 students and 5,000 employees of the San Diego Community College District are being provided the support and resources they need to succeed.
In addition to now serving a Trustee, Sean is the executive director of Youth Will where he works with young people to help make San Diego a world-class region where children and youth can thrive. When he's not at work, Sean remains committed to improving the community. He is a RISE Urban Leadership Fellow, serves as a board member of multiple nonprofit organizations, including the Regional Task Force on the Homeless and Community HousingWorks. Sean also enjoys traveling and eating with his wife Angela.
Top: Sean working with activists in City Heights
Bottom: Sean swearing in as an SDCCD Trustee
Sean's Resume.
The credentials to meet the moment.
This Fall, San Diego's District 9 residents won't just be voting in a political race; they will be hiring a new leader. Sean is the only candidate with the professional experience and credentials to meet the enormous challenges of today and lead San Diego to a brighter future.
Governing Experience
Oversaw $700 million budget
Served 100,000 community college students
Saved taxpayers $80 million in 2019
Educational Experience
Bachelor of Arts, Chapman University
Juris Doctor California Western School of Law
Executive Experience
Hired and supervised staff
Managed finances, met payroll
Led large organizations
Community Affiliations*
Community HousingWorks, Board Member and Governance Committee Chair
San Diego Regional Task Force on the Homeless, Board Member
Tariq Khamisa Foundation, Board Member
RISE San Diego Urban Leadership Fellow
* Affiliation does not denote endorsement
Invest in Opportunity for All.
Together, we can transform America's Finest City for some into a world-class city for all. Sean is taking $0 from corporations and is relying on the grassroots to fuel his campaign. Choose an amount to quick donate:
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Call/text: (619) 908-0148 (Se habla Español)
Talk to Sean: Sean@SeanEloRivera.com
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Caleb Crain Reads McNally Jackson Books
By Ian MacAllen on Tuesday, August 13th, 2013 at 12:39 am
Caleb Crain's first novel, Necessary Errors, released last week, has received mostly high praise in book reviews. Slate went as far as calling the novel a "new model for contemporary fiction."
Lorin Stein, editor of The Paris Review, joined Caleb Crain for a reading and discussion at McNally Jackson Books.
The novel follows a group of friends, Americans, living in a bohemian Prague in the mid-1990s. This is not an unfamiliar trope for gen-x, and is indeed the premise of Arthur Phillips's 2003 novel, Prague. Aaron Hamburger, in the New York Times describes the period: "In the immediate aftermath of its nonviolent Velvet Revolution, during which the Czech Republic transitioned from Communism to democracy, Prague was filled with young American adventurers like myself who'd come with plans of making various forms of art, though mostly what we did was hang out. We'd been seduced by the promise of cheap rents, cheap food, cheap beer"
Crain read a section of the novel where the protagonists faces the imminent slaughter of a pig before bowing out. It seems both strange and foreign all at once, and setting the novel in the 1990s, before the internet and cellular phones in a place that seems foreign is the point.
The first question Lorin Stein asks pertains to Slate's characterization of the novel as a "new model" and Stein's own interpretation of that as being "not normal."
Crain explains he always saw himself and the text as a little bit weird. He references his novella as another example of his own strangeness: he began that by writing dialogue, and so its dialogue heavy. His intent was to move away from that, but Necessary Errors, also ends up heavy on dialogue. That, he sees, is part of the strangeness. He suggests perhaps its the influence of mid-century authors like Henry Green.
Though the characters end up discussing politics, Crain never intended it as a political novel. Instead, its about young people who take themselves very seriously. When the characters talk about politics, it is more about hinting at motives or plot rather than the issues themselves.
And though the novel relies heavily on dialogue, especially with characters in large groups, Crain carries off the narrative naturally. Stein mentions that in an early draft that Crain showed him, often characters announced their arrivals and departures in dialogue. Ultimately though, Crain skillfully managed these group conversation situations so that they flow smoothly.
Crain explained that he hears his characters speak in conversation making the distinctions in voice and rhythm, even in large groups, evolve naturally. When the voices don't flow, he knows he'll need to rewrite the scene. He also notes that any outside conversation, even when he cannot hear the actual words of a conversation, merely the cadence, he is thrown off. He works in silence.
One of the challenges with these conversations was in instances when the characters end up talking about writing. Crain wanted to impute pretentious attitudes on the characters, but not a pretension from from "the novelist;" that is, the characters, writers in their early twenties, might sound a little pretentious, but he didn't want any sense that these moments were his own voice speaking about writing or the process.
Stein asks Crain what differentiates his novel from normal novels, what is it that makes it weird or strange or stand out.
"Novelists always write the novel they want to read," Crain says. There is a frenetic tone as contemporary novelists deliberately search for plot twists and end up avoiding the real problems of real people. His examples of real problems include: age, not being loved by the people you love, not making enough money, not knowing how to do something you want to do. Instead, many contemporary novelists end up finding odd, esoteric plot problems creating characters who are impossible to relate to.
Crain spent seven years working on Necessary Errors. He never really revealed to people that he was working on the novel until he came to the end. It felt to him like "you're an adult and you're playing." He compares novel writing to playing in a sandbox; now that the novel is finished, he doesn't get to play in it anymore.
He wrote the novel sequentially from an outline. He realized he was finished because he had come to the end of his outline. And though he finds the praise his novel has so far received rewarding, the real pleasure came from writing itself. "Writing was like a drug."
Caleb Crain
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Долоадай, Дуладай () — монгольский военачальник, живший во второй половине XII — начале XIII века, сподвижник Чингисхана и один из его нойонов-тысячников.

Происходил из рода джалаир. Его отец Кадан и брат Илугай также состояли на службе у Чингиса. Хотя в основных источниках по монгольской истории нет никаких упоминаний ни о деятельности Долоадая, ни когда и при каких обстоятельствах он со своими близкими попал к монгольскому хану, всё же известно, что в 1206 году он вошёл в число девяноста пяти человек, за свои заслуги пожалованных Чингисханом в нойоны-тысячники. Примечательно, что Долоадай со своей тысячей воинов находился под начальствованием самого Чингисхана, в то время как туменом Илугая ведал сын и наследник Чингиса Угэдэй. Хотя незадолго до собственной смерти в 1227 году Чингисхан завещал большую часть своих людей младшему сыну Толую, по восшествии на престол Угэдэй забрал у брата несколько туменов, в том числе под командованием Долоадая, и отдал их в услужение своему сыну Годану.

Примечания

Источники

Библиография

Военачальники XIII века

redpajama_set_name: RedPajamaWikipedia


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An Alternative Assets smorgasbord plots new IPO in mid Feb
One of the big worries for investors in the investment trust sector has been the relative paucity of new IPOs, especially in the IPO sector. We've seen a few alternative funds list, such as the Gresham House Energy Storage fund and SDCL's energy efficiency fund but overall investors seem rather more interested in existing funds raising extra money rather than brand new concepts.
The good news is that we should be about to see two new, properly alternative funds list on the stock market in the next month. I've already mentioned the putative global agriculture fund which I'll review in more detail at the end of this week.
Yesterday though came news of something really very different. Its called Cabot Square Alternatives Plc and is targeting an initial £200m with the proposed ticker ALTS. The placing closes 13th February and the book is being run by Cantor Fitzgerald.
The pitch? It's investing in a range of slightly less mature alternative asset niches ranging from social property to lending into renewables. The twist is that
It invests in less mature alternative assets, including lending to infrastructure and property assets and
It co-invests in the equity of the fund managers it works with for each investment niche.
In a sense, it's a kind of fund for investing in less mature alternatives that would traditionally only be available to larger institutions. And who are the underlying funds and asset managers? The IM lists outfits such as the following: Signature Care homes, MedicX healthcare, PRS Holdings, Equitix Infrastructure, Storage King and NetZero Buildings – an offsite manufacturer of buildings I presume.
If the manager does raise the full £200m, it plans to invest about 47% in renewable assets such as solar, 28% in social housing and 25% in 'sustainable assets'. About 7% of the fundraising will be invested in equity 9and working capital) with the managers and the rest in the underlying assets of which a fair chunk (around 44%0 will be structured as debt – and 80% invested in the UK.
We get a bit more granularity about the investment strategy by looking at the disclosed pipeline which I summarised in the graphic below, which seems to suggest three main investment platforms: Rosewood, Phoenix and TBD (?).
Rosewood might comprise £5 to £10m in equity and working capital plus £200m in renewable infra assets, many of them structured as loans. These could be Short term loans to UK renewables, ranging from £3m to £20m loans for 1 to 3 years with a bullet repayment, and leverage upto 85%, interest 6 to 7%. Projects could also include solar in Spain, plus Solar refinancing, and the buy out of an operational AD plant. There's also financing of hydro project, and finance for battery storage plants. So a real mixed bag.
Phoenix might comprise of £2 to £3m in equity plus £125m invested in infrastructure assets – again they predict loans in the £5m to £15m range, with 4 to 12-year terms, and a focus on sustainable assets plus shared ownership.
The manager behind the investment trust (main market) is Cabot Square Capital, which was established in 1996, and is an AIFM with £760 million AUM in private equity – key managers include Keith Maddin, who will be the fund manager and Partner responsible for infrastructure and property investing. Overall the manager boasts a 15 year track record of successfully investing in this space with a 23% IRR, 2.8x Money Multiple based on £285 million of total value creation. The ;argest single loss, to date, has been a £1 million investment in Aleltho.
As you'd expect this is primarily an income play targeting 3% dividend in first year, 5% in the second year and growing thereafter with a total NAV return projected between 8% – 10% p.a. NAV total return. The AMC is set at 1% up to £100m and the placing closes on 13 February.


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Published on December 30, 2018 in The Latest by Kevin Ewoldt
Whenever I hit the town for New Years Eve, live music is a must. While I certainly understand the argument "New Years Eve is the most overrated night of the year!" … New Years Eve live music shows are a different breed. What Phish does at Madison Square Garden is a prime example. All the…
A smiling and thankful, Bill Wilson, to the raucous, sold-out crowd at the end of the night: "YOU MADE MY
Black Joe Lewis Talks New Album – Fusion of Blues, Rock, and Soul
The Charleston Pour House has been on a tear these last couple months with incredible bands rolling through and that
Interview: Moon Taxi Talks About Their Long Grind to Success and Their Many Charleston, SC, Shows
This weekend is one of the better music weekends in Charleston I can remember the three years I've lived here.
Published on December 15, 2018 in Concerts by Kevin Ewoldt
A smiling and thankful, Bill Wilson, to the raucous, sold-out crowd at the end of the night: "YOU MADE MY DREAMS COME TRUE. YOU'VE MADE MY DAY, MY YEAR…MY LIFE!!" Bill Wilson's story is an inspiring one. The Post and Courier did an amazing job detailing his path to this night, but the TL;DR is that…
Whenever I hit the town for New Years Eve, live music is a must. While I certainly understand the argument
Published on October 18, 2018 in Interviews by Kevin Ewoldt
The Charleston Pour House has been on a tear these last couple months with incredible bands rolling through and that trend continues when the Austin, TX, sextet, Black Joe Lewis and The Honeybears bring their funk/rock/soul dance party to town. I had the chance to chat with Joe about his incredible new album, the trials…
Published on September 27, 2018 in Interviews by Kevin Ewoldt
This weekend is one of the better music weekends in Charleston I can remember the three years I've lived here. Moon Taxi, an indie rock band from Nashville, who has been pumping out quality hits album after album, is visiting the intimate Charleston Resort Harbor this Saturday night. That's right…a band that played the big…
Interview: Steep Canyon Rangers Talk New Album, Festivals, and Upcoming Charleston Music Hall Gig
Published on January 30, 2018 in Interviews by Kevin Ewoldt
I feel like there is a silent majority of music fans, myself included, that genuinely enjoys live, bluegrass music but for whatever reason never streams it when it comes to daily life. I didn't know a lot about the Grammy winning, Steep Canyon Rangers, but that changed quickly with some research and chatting with lead…
SUSTO Returns Home for 21-song Show; Introduce New Song 'Rock On'
Published on October 23, 2017 in Concerts by Kevin Ewoldt
While SUSTO continues to introduce themselves to new fans nationwide (and internationally with a solo handful of gigs supporting Band of Horses), they have been household names in Charleston, SC, for a few years. Their last show in town was in February 2017 at the Music Farm, though as a regular follower of them locally…
The Artisanals Discuss Debut Album and the Long, Hard Process for Perfection
Published on June 23, 2017 in Interviews by Kevin Ewoldt
(Feature image borrowed with love from @waxminister) One of the joys of being a music fan is the many great people one meets at shows. It happens often where the conversation steers towards the best concerts we've ever seen, which almost always leads to the instances where we saw a now very famous band in…
Published on April 19, 2017 in Interviews by Josh White
The jamband scene can be crowded- just do a quick search to see how the genre has grown in recent years. Many talented acts are working overtime to attract fans. The successful ones key in on the live experience in an effort to build their base, playing as many dates as they can handle. It takes…
Interview: Moon Taxi Talks About Self Producing their New Album, Tentative Dates, and Coachella
Published on April 13, 2017 in Interviews by Kevin Ewoldt
April 6th and 7th were two dates I've had triple circled on my calendar for many months. On that first day, Moon Taxi was opening for the Flaming Lips playing an all Rage Against the Machine covers set at Augusta (Masters Thursday). The following night they were playing a small club gig in my hometown of Charleston,…
Video: Listen to Moon Taxi's "Two High" off their new album
Published on April 11, 2017 in The Latest by Kevin Ewoldt
In what seemed liked a setlist of never ending hits at the sold out Music Farm this past Friday in Charleston, SC, Moon Taxi found room to mix in one of their new songs, "Two High," off their upcoming record. The (TBD named) album, which is not yet finished, is tentatively scheduled for a late summer release though bassist…


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Winter Billboard Launched in Times Square
December 11, 2012 American Atheists Billboards
Cranford, NJ—American Atheists' latest billboard, located in the heart of New York City, is set to launch on December 11, 2012. Strategically positioned in Times Square (across from the M&M store), the billboard will display images of Santa and Jesus with the message, "Keep the merry! Dump the myth!"
David Silverman, President of American Atheists stated, "We know that a large population of 'Christians' are actually atheists who feel trapped in their family's religion. If you know god is a myth, you do not have to lie and call yourself 'Christian' in order to have a festive holiday season. You can be merry without the myth, and indeed, you should."
Mr. Silverman continued, "We encourage people to be honest with themselves and their families this year. If you don't believe in god, tell your family—honesty is the greatest gift, and they deserve it."
Teresa MacBain, Communications Director and a former pastor stated, "The true beauty of the season—family, friends, and love—have nothing to do with the gods of yesteryear. Indeed, the season is far more enjoyable without the religious baggage of guilt and judgmentalism. Dump the myth and have a happy holiday season."
The billboard will remain in Times Square from December 11 through January 10, 2013.
Your ticket for the: Winter Billboard Launched in Times Square


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text:
What is it people fail to understand about Chinese Democracy? 0 Members and 1 Guest are viewing this topic. « previous next »
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Author Topic: What is it people fail to understand about Chinese Democracy? (Read 160062 times)
GNR_Green
Green Army
Re: What is it people fail to understand about Chinese Democracy?
The music isn't the problem. It's PR. Green Day are big because they are easily marketed. GN'R are neither easily marketed (not since 1992 anyway) and in fact fail to even attempt to market themselves by not even playing gigs. The poor reception outside of the fans is due to bad or no PR. In fact GN'R have even done a good job at alienating the fans never mind the doubters!
"Said if they had someone to buy it, Said I'm sure they'd sell my soul"
peter7411226
Quote from: GNR_Green on June 18, 2009, 03:54:20 PM
You make valid points but you also need some info for PR to market you. I think a definitive statement has to come out saying who's in the band. Finally say This is My Band rather than give dismissive statements. I think the band members deserve that. They deserve to be recognized for there contributions. The reunion rumors and speculation will always exist until they make some sort of definitive statement regarding the band.
Anywaythewindblows
Quote from: peter7411226 on June 19, 2009, 11:02:11 AM
The reunion rumors and speculation will always exist until they make some sort of definitive statement regarding the band.
I thought Axl was pretty clear about the reunion thing in the last interviews, weren't those some kind of definitive statements?
Foro de GN'R en espa?ol: http://gnrhispana.foroactivo.net/forum.htm
Quote from: Anywaythewindblows on June 19, 2009, 11:45:47 AM
His answer on who was in the lineup was pretty vague in that interview. What im saying is that someone should come out and say who is in the band right now. Promote this lineup as GNR. Let the world know who is in the band. Till they do this im sure the speculations about reunions will always be around.
Quote from: peter7411226 on June 19, 2009, 12:35:28 PM
Till they do this im sure the speculations about reunions will always be around.
Well, that's up to the speculators if they want to waste their lives speculating about a reunion when Axl has said in plain English that it ain't happenin'.
I know that I'm a classic case
Quote from: Bodhi on June 18, 2009, 02:33:21 PM
Quote from: ppbebe on June 18, 2009, 02:26:36 PM
Save for the die hards like us most people around the world still think that the old members are still in the band.
Anyone who thinks that doesn't know who are the old members, I imagine.
not always..there are just casual rock fans out there, the ones in their 30's and 40's who have kids and a busy life who can't keep up with the band like we do. They just ASSUME that Slash is in the band since it has the name Guns N Roses on it. These are also the same people who have no idea "Chinese Democracy" came out. The amount of people I meet who have no idea the album even came out is disturbing...
dude, let me tell you that ur damn wrong bout that, Im in my 30's work 2 jobs and I exactly know whos in the band, and pretty much lot of my friends do, I have a 15 year old kid whos a fan also, he and hes friends love GNR and love Cinese Dem, but they dont knwo exactly whos in the band, and is not theyr fault, the band is changin members every now and then, been times when even we didnt know whos in the band!....
freddiebrph
I'm a llama!
He also saID IN THE SAME INTERVIEW that a better video was coming out in a few weeks. That was also pretty clear.
Quote from: freddiebrph on June 20, 2009, 11:43:17 AM
So you're comparing a plan that didn't work out for reasons you absolutely ignore with a solid desire, right?
Quote from: Anywaythewindblows on June 20, 2009, 12:31:01 PM
Hahaha. Good point!
Some people......
Jim Bob
Finckadelic
You are an asshole and everyone knows it
that "never say never" group, will they ever go away?
I think Axl's desires have been stated in the most straightforward terms. Shouldnt' even be a discussion anymore.
younggunner
2004 4eva!
Its something different and will be a big surprise
not saying it would happen...but theres always a chance. He can change his mind tomorrow. He his human. Might wake up one day and say fuk it...who knows.
With Axl, anything is possible
"...regardless of the outcome, our hearts, lives and our passion has been put into this project every step of the way. If for no other reason, we feel those elements alone merit your consideration..."
Deliverance Banjo Player
I am Back!!!!!!
I am definitely a never say never person.
I accept what Axl is doing and I support it, but since RIR III he went from hating everybody to now only hating Slash. So in my mind, that is still progress.
Who ever thought he'd want to collaborate with Duff?
Who Says You Can't Go Home to HTGTH?
Its always the same. These "reasons" that no one ever knows. How can I ignore reasons, when I dont even know what they are? With solid desire? The only thing I desire is for my favorite front man to keep doing what I believe he does best. entertain people. Last I read, it had something to do with Lars? Whatever! All I was saying was he said 2 things. The video was coming, but never did. Sorry, but I see things in life pretty simple, if Axl wanted a video for better, we would have one. Its really not that hard, bands do it everyday. So my point was< He said he video was coming, it never did. The reasons really dont matter. He also said a renuion would never happen, but again, since the fans never really get reasons (solid facts) for anything this band does, it really would not be a big surprise.
« Last Edit: June 20, 2009, 09:31:15 PM by freddiebrph » Logged
Quote from: freddiebrph on June 20, 2009, 09:22:31 PM
Well, you might feel Axl has cheated you, but as much as I'd love to see the Better video, it is something that it's not up to me, so worrying doesn't make much sense.
And yes, bands release videos all the time. "Bands" are not Guns N' Roses, you know. And even when sometimes a promise cannot be satisfied or a release can be delayed, I prefer the GN'R way: making great music and performing awesome concerts (when it comes the right time). I think that if there's no Better video out there is because something wasn't ok, and there's no point in playing detectives. My life goes on meanwhile.
I agree with you that he said the video would shortly come out and it didn't. True. And no reasons were given.
But when Axl said that he doesn't want to have anything to do with Slash, he gave us a ton of reasons on the chats and he expressed his ultimate feeling of beeing as far as he could of Slash and his supporters. The Better video wasn't a thing that depended entirely on his desire, I guess. The Slash thing, yes.
Gargh!
Danny Cockroach
plus have the general public ever been supportive to the 'most dangerous' band? Really?
Well, enough of them did for the band to fill stadia back in the day.
As for people still thinking a reunion will happen... well, that perception doesn't come only from Axl. Every now and then Slash or Matt (or more often Adler) will be asked for the umpteenth time "So, what about a GnR reunion?", and they answer: "Hmm, a reunion? Yeah, who knows maybe someday..." This is then jumped on and people assume that a reunion is just around the corner. Axl can say that it won't happen as often as he wants, it just takes one "maybe someday" from a former member to get the rumour mill going again. When Axl himself says "Hmm, maybe Duff," that pricks folks' ears. That's life.
Axl would also probably need to get into more magazines etc. saying "Nope, not going to happen," than he has done so far. Yes, he's done a couple of interviews and come on the fan boards (which was braw, not denying it), but if his priority was making sure people don't hanker after a reunion he'd have to say it more often in more media, and he probably can't be bothered with that (who could?).
Welcome to the ZooFarm: www.myspace.com/dannycockrach
Please check us out and leave us some feedback. If you live near us, it'd be great to see you at a show or something. Rock on!
Albert S Miller
Simply can't get much better than this!!!
Quote from: Gargh! on June 21, 2009, 10:55:42 AM
Nothing to share with the media in regards to this, he shared his feelings with alot of his fans right here on this very board, so really... whats to talk about, right?
Turn my sorrow into treasured gold, you'll pay me back in kind and reap just what you've sown !!
you see the irony there don't you?
I do yes, but I was making a wider point - that this is a band that A LOT of people cared for once.
Axl could say no renuin until hes blue in the face. It will always linger until he or Slash dies. And until then it will always be possible. Axl beats to his own drum. At one time he despised all of the alumni..as D pointed out. Not it seems as if he just hates Slash and prob Sorum. But who cares about Sorum. Again, not saying it will happen but its always going to be possible.
I respect whatever Axl does.
It would have been nice to see him dominate with the new band for a decade...2-4 albums, tours, etc....and then wrap up the bow and come out smellin like a rose later on and granting a reunion when he was done with that,,,
fuck a reunion. shouldn't even be a topic of discussion on this board any longer.


text:
State Highway 266 (SH 266) is a state highway in the U.S. state of Colorado. SH 266's western terminus is at U.S. Route 50 (US 50) and SH 71 in Rocky Ford, and the eastern terminus is at SH 109 near Cheraw.

Route description
SH 266 runs , starting at a junction with  US 50 in Rocky Ford.  The highway goes east, crosses the Arkansas River and ends at a junction with  SH 109 near Cheraw.

Major intersections

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External links

266
Transportation in Otero County, Colorado


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text:
Dropping Names
A Memoir – People and Events That Changed the World
Susans site
teaching & performing artist, author
← Chapter Five – Toronto
Chapter Seven – Shuffling in Buffalo →
Chapter Six – Omega Institute
Posted on April 27, 2011 by susanslackblog
Omega Institute
Back in Buffalo, raising a son, not quite so much time for jam sessions, I wrote and recorded my first album, "Sunrise" and put a photo of my little guy on the cover, in the buff from the back pointing to a reflecting sun rising over the water. Also joined with six other people in creating a free local newspaper with articles and calenders of groups teaching yoga, meditation, healing, healthy eating and all the activities and practices known back then as "weird", called "The Network of Light". I wrote columns, interviews, collected calendar items and begged for ads. I bought a used, um, what were they called…oh right…I bought a computer. No internet yet but it sure beat the heck out of white-out on a typewriter.
So where are the famous people as promised in the title? Be patient. A teaser: I encounter the most famous person in the world! But that comes later.
At this point, I somehow found a catalog for a summer camp for adults. Hidden away in the Berkshire Mountains in east New York State, Omega Institute was one of the trailblazers of honoring all traditions. True, Esalen Institute on the west coast at Big Sur was founded in 1962 and Naropa, an accredited University in Bolder Colorado in 1974 were a little earlier. Omega comes in third in 1977. I saw that it had been conceived by students of Pir Vilayat Inayat Khan, the head of the Sufi Order, the same organization whose members had independently chosen to pick up the pieces at the World Symposium on Humanity. Omega was offering courses from people who were deeply committed to their own spiritual and/or artistic traditions so one could study with a Zen Buddhist from Japan, a Native American shaman/elder or an African drummer. Remember, back in the early 80s this was relatively unheard of; people of different paths all teaching on one campus. Most weren't on self help book tours as it is today. They were merely doing what they were internally called to do, externally supported by the happenstance of where they were born. The decisions on which teachers to invite were made thoughtfully and usually someone on the deciding committee had personal experience with them.
So there is this catalog in front of me and as I flip I see a face that looks familiar. The name was Baba Olatunji. I don't know how long it took me to make the connection but this was the man who had recorded the album, "Drums of Passion" that I found in the library and played on my little record player years earlier. Wow. The real thing. My inspiration. I was there.
At this this time I was playing two second-hand, repainted black fiberglass congas which I schlepped all the way across New York State and into the very big space at Omega where the six day course would be held. I set the drums up right in the front row, as close as I could get to the portable blackboard that was green and a grand looking drum that I imagined to be the teacher's. It was. Almost five feet high and mostly cylindrical, it was perched on a custom-made black metal stand. Strips of beautifully smooth, dark stained wood flared delicately up to a 16" diameter head made of white animal skin. There was no other drum like in on the planet. It waited there patiently with the rest of us for Baba to enter.
Born outside of the capitol city of Abuja in Lagos State, Nigeria, West Africa to the Yoruba people, Michael Babatundi Olatunji found his way to the US by winning a scholarship he had read about in 'Readers Digest'. Though his degree was in Diplomacy, he had the ancient rhythms of his homeland in his blood. (Just as you could now hum the incessant music from the ice cream truck, only better) He formed a band and opened a center in New York City to bring in some extra money and because this was America's first introduction to authentic African music it caught fire. "Drums of Passion" was recorded in 1959 for Columbia records at his center, which by the way was pushed along with the help of none other that John Coltrane. Baba spoke seven languages including his native tongue of Yoruba (pronounced Your-r Ba).
But we, or at least I, knew none of this while we waited at Omega Institute for the exotic African drum teacher to appear. He did without fanfare. Wearing, as he always did when I saw him, traditional Nigerian clothing – long kaftan type of top commonly called boubou and kufi style cap. He was very well aware, as we politely patronized the foreigner, that he was an ambassador of sorts and he accepted our stupidity with love. He spoke with vowels as broad as the sea as he gave the syllabus for the class. Then finally he walked to the THE DRUM, raised his elbows and played. It spoke with a voice that is branded into my senses: deep, mellow, soothing and wild at the same time with at least three layers of overtones that gave it a melodic quality. I could feel it as I breathed deeply. There was definitely a love affair going on between it and Baba. No one else knew where it's pleasure spot was but him. He teased the song out of it with strong, definite gestures. As he played he sang a song in Yoruba, in a voice so loud it was probably heard across the entire campus. Interesting that some students giggled nervously probably because they had never heard an African language (or maybe anything but English, except for maybe Dean Martin singing "That's Amore'".)
And of course there were the actual rhythms. West African poly rhythms (many rhythms going on at once) sound very complex but are really very simple parts that are woven together. The real challenge is in the weaving. But for Doris Day-listening, Beatles-grooving ears like ours, even the easy parts were, well let's say it again, challenging. Years later I learned, but will insert here, that traditional rhythms, developed in smaller communities and passed down aurally, are of course, all tied together with the language being spoken in that community. All the subtle nuances of the patterns are way beyond the non-speaker-of that -language's ability to discern. Also taking into account the sounds of the wind, the trees, the animals and birds, climate and cultural duties in which the language and rhythms were developed, it may be safe to say that white people don't have a snowballs chance in hell of getting them so right that a blind person from that culture couldn't tell your DNA had passed through the Caucasus mountains. But Baba was there to try anyway. Besides, the point wasn't to replicate exactly. That's what happens to music when it is written down. (I double-dog dare you to try and write down classical West African poly rhythms.) Music and arts of all kinds naturally morph. And we sitting there, unbeknownst to us at the time, were the morphers.
Baba had devised a method of teaching using verbal Yoruba syllables – Gun, go, do, pa & ta. He had us speak the rhythms before playing: "GUN go do GUN go do" over and over till we caught a little of the feeling. Baba didn't make up this way of teaching drum rhythms. It is the norm all over Africa, Asia and the Middle East. "If you can say it you can play it" the axiom goes. Finally after instructions on how not to hurt our hands we played very simple little parts. Holy cow. I had never heard that many drums play at once. We thought we were hot as hell. I'm sure Baba was probably thinking almost the same thing – leaving out the "hot as" part. In any case, we progressed, deeper and deeper into the sounds, the swaying, the power, the discipline and of course the bonding that ultimately brings a group together, hearts all beating together with the drums.
One of the ways Baba excelled in transferring this almost unteachable art was that through his Gun- go-do exercises, he had synthesized basic underlying patterns running through many traditional West African rhythms. If in the future I/we would come across any complex rhythms from Mali or Ivory Coast or Guinea or wherever, we could break them down into familiar chunks and not be totally lost inside them, and be able to play something that sounded close-ish. If you have had an opportunity to read what brain research has discovered about how brains learn, you know that new learning takes place more effectively when there is already a similar learning waiting in the brain for a twin or least sibling of the original information, that is almost like it. The original memory is strengthen by the repetition and the newer memory builds it's own house in the same neighborhood. So the more similar learning, the bigger the neighborhood becomes. The more you know, the bigger your capacity grows to learn even more.
He also had us sing in Yoruba as we played. Brain researchers also acknowledge that performing more than one associated task at the same time (like singing while drumming or playing table tennis) networks a lot of brain neighborhoods together. (Very helpful when playing "Jeopardy" among other important tasks.) Baba was genius.
Playing the ancient, woven rhythms that had been played for thousands of years made me feel like I had finally joined the human race. Apparently I was not the only who felt this music deeper that my bones. Put on your history hat for a moment and remember that people from West Africa, who knew and played and danced to these very same rhythms were being kidnapped from their homes for hundreds of years and sold in the slave trade. Though most who were brought to the US were not allowed to speak or sing anything even resembling Africa, they cleverly managed to keep reminders, subliminal codes, generation to generation, in the rhythms of work songs and "Negro Spirituals" and in the cadence of their accents. The man who collected the Brer Rabbit stories (no not Uncle Remus – he was a made up character created to make black people seem safe and docile not for particularly racist ends, but instead to sell magazines) Joel Chandler Harris was a white man who had no idea he was writing down ancient African folktales. He thought they were just cute animal stories that the readers of his magazine would like. But he had some background in music and when he heard the African American slaves singing he remarked to several acquaintances that there was something unique and unreproducible about the rhythms he heard. A bit of an understatement because it was that golden thread of connection to the tantalizing, soul moving rhythms of Africa that gave birth to almost all of what we call American music – from ragtime, to jazz, blues and rock and roll and hip hop. And if you mix in a little Scottish-influenced Appalachian music you've got Rockabilly and Country Western. So as I and my classmates and all of the hundreds of thousands of people that Baba taught and inspired, learned and listened to him, we were actually closing a big circle, or maybe continuing on a spiral of musical evolution but now with a big dose of pure unadulterated, original DNA mother music. Grateful Dead's Mickey Hart (I played with him once) was so moved he collaborated with Baba and inadvertently jump started the drum circle phenomenon that can be found in every major and many minor US cities. (for better or worse)
One evening toward the end of our week with Baba we performed for the whole Omega campus. He had me sit in the front and suggested to others they could follow me if they got lost. Privately he told me I played very well. That one comment burst me into a confidence that allowed me to step right up to the guy drummers back home and say "Hey, I'm playing here" when told to let the big boys play. I never got any sexist crap from Baba. Without his support I might have just given up because the pushback from men drummers was so strong. I returned to study with him the next year and he greeted me warmly by name. The next year a friend named Stephanie organized a big event in Buffalo to bring Baba to Buffalo for a Juneteenth celebration (Emancipation Proclamation anniversary). She asked me to prepare a large number of local drummers by teaching them Baba's Gun go do introductory rhythms. The idea was after months of practice, to play as he entered the celebration. At the last minute the Buffalo African American community who was in charge of the event, held in a public park, told us not to play there because most of us were white. We all lost.
The last time I saw Baba was at that Buffalo event. He was having health problems even then. When he passed in 2003 there were memorial services for him all around the world. Hundreds of thousands of drummers gathered in many locations to 'drum him up'. There was lots of national news coverage. He had discretely but not so quietly crept into our national collective consciousness.
After Baba I chose to study with another percussionist teaching a summer course at Omega. Collin Wolcott was a highly respected, dearly loved, extremely creative and talented co-founder of the group, "Oregon". The real reason I wanted to study with him was because while I was in San Francisco, seven months pregnant, I went to their concert. The whole time they played, my baby was moving in a way he had never moved before. Any other time it was a kick in the kidneys, or some other jock move. But this time I swear he was in there dancing, in a round rolling sort of way. Externally it made me nauseous, but internally I was overtaken with bliss that the little being inside there was able to so profoundly and innocently enjoy those sounds. I wanted what they were having.
They were the vanguard musicians of what one might call "New Age" or "World" music, although at the time there were no such things. Labels like Windham Hill and Narada might not even exist without them opening the market. All four members of Oregon had played with the Paul Winter Consort, founded by the soprano saxophone player of the same name, who most famously was the first to record whale songs and wolf calls and compose music around those melodies. Most of what Collin and the rest of Oregon played was improvised, perhaps starting with a theme they had worked with previously. Definitely a jazz feel to what they did, a big dash of Western classical, Native American, East Indian and beautiful indescribable sound scapes with entrancing rhythms. They recorded over 20 albums together. Collin also recorded with many other top artists of his day including Miles Davis, Richie Havens, and even U2 sampled his music..
His band mate Ralph Towner said this about the way Collin worked: (from collinwolcott.com) ."I can still feel the weight of Collin's hand on my shoulder. It was as if a large, compact animal had gently perched there. With those firm but gentle hands he would coax every sound he could possibly find from any object with a potential for music in it. Anything that would attract his curiosity such as a shell, a box, a traditional instrument, would receive his full attention as he methodically rapped, tugged, plucked on it or breathed through it until he determined whether it would qualify to join his arsenal of musical instruments. He combined the scholarly approach with the instinctive, the passionate with the pragmatic in the most complete and successful ways that I had ever seen. The beauty of such a man lives and teaches us forever. In stressful times, his example still is available for advice and solace. His formidable strength and gentleness still exists and helps to guide us in this life."
I had no idea what to expect from Collin's workshop at Omega. Since so much of what he did was creative and in the moment, I wondered how he could transfer that. I guess Collin wondered too, because he took a more studied approach that week. He had been trained in classical Indian music by Ravi Shankar and Alla Rakka. On the first day of class he whipped out some papers he had copied of Indian tabla rhythms. Holy cow. It is the most complex music I have ever encountered. As in most older music forms we spoke the patterns from the papers with the syllables ta ka ti ki in every imaginable arrangement. There is absolutely no way to get from one's first ta ka ti ki to proficiency on the tablas unless the class happened to last for ten years. Any musician of consequence will tell you it takes ten years to master an instrument. And as it turns out brain researchers are also bearing witness to this fact. Take that Guitar Heroes.
So I think the point of what he was teaching that week was an oh so small sampling of that particular culture's artistry. It left me with three things: (1) a total awe and appreciation for the music. (2) a definite removal of "learn to play tablas" from my to-do list and (3) a shining, undying model of what it means to be a whole human being.
Within the next year Collin was on tour in Buffalo with a newer group that he co-founded, CODONA with COllin, DOn Cherry and NAna Vasconcelos. They recorded 3 albums for ECM and were on tour supporting one of them. I was writing for a local music magazine and arranged for an interview. When I walked into the dressing room after the amazing concert, Collin remembered me and my name and gave me a warm smile and hug, then introduced me to Don and Nana and each gave me a warm hug. It was a totally unexpected, unrehearsed gesture that felt like a ceremony. What an ideal atmosphere to play music in. Spontaneous love. Trust. In the moment. I asked Collin what he hoped people would get from his music. He said people were free to do whatever they wanted with it. Once it left his instrument, it was not his.
Of course after all these years I am paraphrasing, but the main gist of what he said really turned me around. I had expected him to say 'I hope people are healed' or ' I hope they feel joy' or something like that. Instead, in that one simple statement he showed his elegant state of imperceptible ego. The music wasn't about him or what he wanted it to be, it simply was.
Within a year of that interview news came that he had been killed in a bus accident in Germany while on tour with Oregon. I was surprised at how much I grieved. He left behind a wife and lovely young daughter whom we met at Omega. I cried for her because this was the kind of man that should be raising children and now this girl had gotten all she was going to get from her father. I cried for the unborn music. And I cried a little for myself, knowing his loving live music wouldn't enter my senses again. I let go of a fantasy that maybe some day I would get to jam with him. But here pondering the question now I realize I actually do jam with him when I play music and observe as the instrument releases the sound and vibration into the world, knowing as some mystics say that sound continues on into the universe for eons.
Earlier I mentioned that Collin had played with the Paul Winter Consort, the first, at least in my hearing, to combine substantive eclectic new age-ish world music with music from nature. Different musicians floated in and out of the group. I listened to his music regularly and was smitten with it's blending of genres and high level of musicianship, and the resulting feeling that everything was okay.
On one of my trips to Omega, Paul Winter was billed to perform on the summer solstice. Imagine my joy. He performed on his signature soprano sax and then five minutes before the official moment of most intense sun of the year the whole camp, hundreds of people, joined hands in a big circle and sang a song from one of his albums. And guess who found herself unintentionally standing next to him, holding hands? Moi. I took an internal photo for my gallery.
Hopefully at this point I knew how not to be star struck so I did not sweat all over his hand. He was a slightly reserved person so I did not strike up a conversation. I took the moment as it was, appreciating the circumstance, singing with Paul Winter at the moment of summer solstice and I knew everything was okay.
My last year at Omega I was actually on staff, invited to play drums for Dr. Saadi Neil Douglas-Klotz. He led the Dances of Universal Peace which are a newly organized form of what people have been doing together for at least 20,000 years. By holding hands in a circle and singing songs, the brain relaxes and it's possible even in these times to think of something other than oneself. You get to feel part of a community. I had been involved with this practice for about 10 years at this point and had met Neil a few years earlier by hosting weekends for him just outside of Buffalo. He would later go on to write a pivotal book, "Prayer of the Cosmos" (publisher's title – not his) that was a translation of the prayer that Jesus spoke, commonly called the Lord's Prayer. Neil learned Aramaic, the language of trade in 33AD, and looked at the prayer as written in several sources predating the St. James version. It reads a great deal differently.
So there we were at Omega. I was officially on staff which meant – aha—I got to eat in the staff dining room! I don't know if you are able to appreciate the import of this. In all the years of attending as a student, the staff dining room was closed to the general public. But I was no longer the public. I was staff and I could eat in the room marked "Staff" over the doorway. I wondered what was in there? Hawaiian luaus with fire twirlers? Waiters in tuxedos popping champagne corks? I trepidly stepped under the arch, waiting for a moment as though mistletoe hung above. There was none. I entered. It looked exactly the same as the main dining room only smaller. It served exactly the same food as out there in the public buffet line, only less. Oh well.
I dished up my food from the pans in the steam table, and as was my custom at events like this, I selected a seat next to someone I did not know. There was a gentleman with a mustache sitting alone so I asked him if the seat was available and he said yes. I said "Hi my name is Susan" He answered "Hi. I'm Phil". Get ready for the next big name drop. It was Phil Jackson. If you are like me I absolutely did not not know anything about him. I asked him what he was teaching and he said basketball. "Oh that's nice" I said. "Do you play basketball?" He was really tall which I could not see yet because he was sitting down, but still I had to look up at him as we chewed. He told me used to play but now he coached.
For those who still don't know who Phil Jackson is (and I did not learn until I returned home) he was the coach of the Chicago Bulls – you know the Michael Jordan team that won all the championships. "When does basketball season happen?" I asked, not really caring. Truthfully there was not much I cared less about than sports, but I thought I needed to be polite.
His manner with me was very quiet and humble, gentle almost. In reflection I think he might have appreciated someone not asking all about Michael Jordan. He asked me what I was doing there. I told him. He seemed a bit familiar with the work of the Dances of Universal Peace, or Sufi Dancing as it had been called. I mostly remember feeling very comfy with him. We both had to get to our classes so we stood and said a little good bye. Did I mention that he was very tall. It is worth mentioning several times.
When I got home and asked my son if he'd ever heard of him he pretty much flipped and wanted to know why I didn't get his autograph. It had never occurred to me. As my son and I talked further, after he caught his breath and his complexion turned to normal, I realized that Michael Jordan was the guy responsible for those ridiculously expensive sneakers he could not live without.
Okay so we are still waiting to hear about the most famous person the world, right? That's in the next chapter; promise.
About susanslackblog
Author, drummer, vocalist, dancer
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This entry was posted in Memoir and tagged Baba Olatunji, Colin Wolcott, Paul Winter, Phil Jackson. Bookmark the permalink.
2 Responses to Chapter Six – Omega Institute
mountaindance says:
Great post! Thank you!!
susanslackblog says:
Hi Joann – Thanks for reading. So glad you enjoyed. I try to teach a little bit about the people who taught me. Susan
Chapter One – Studio Arena Theatre
Chapter Eight – Sarasota FL
Chapter Seven – Shuffling in Buffalo
Chapter Five – Toronto
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Buffalo New York


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New issue out now: 4K vs 8K, OLED vs QLED – it's the ultimate TV showdown!
By Becky Scarrott 2019-06-26T09:10:29Z
Find your next TV here
Do you need to know, once and for all, the actual difference between OLED and QLED – and what this really means in terms of viewer experience? Trying to work out whether 8K is worthy of the hype? Your search for truth ends the moment you grab the latest copy of What Hi-Fi? – in other words, it ends today my friend.
Working on a dream
This month we're kicking things off with Sony's new 85in 8K behemoth, we'll tell you whether delving deep into your sky-rockets to pit yourself right on the cutting-edge of TV tech is really worth it. Believe it or not, the KD-85ZG9 we went 12 rounds with for this issue even has an even bigger, 98in brother. It costs £85,000. We'll just leave that thought with you...
You can subscribe or buy the latest issue here, or buy the digital edition on iPhone, iPad, Android devices or Kindle edition
** Subscribers note: our What Hi-Fi? magazine app is updating! We've been busy working away behind the scenes on a fresh new look for the app. You'll need to update to the latest version to continue reading issues of the magazine on your smartphone or tablet. **
Game, set and match
Guiding your imaginations carefully back down to earth – but only for a moment – our Clash of the Titans special lets you stand back and watch as three flagship TVs, from a trio of heavyweight manufacturers, go head-to-head.
These 65 inch TVs are all under £4,000, but which model will be the one to hold its sword aloft and shout, "I command Olympus. Remember who you serve!"?
Setting the 'bar
Obviously it's not all TVs in this issue – hi-fidelity sound remains as close to our hearts as grass-court tennis is to Roger Federer. Our extensive First Tests section this month includes two turntables, namely the Dual CS 505-4 and Sony PS-LX310BT, the Audiolab M-DAC nano, the SoundMagic E11BT in-ear headphones and the Devialet Phantom Reactor 600 wireless speaker, to name but a few.
There are also TV speakers. We've done all the time-consuming research for you, lining up a selection of soundbars and soundbases that belong to a very select and special group – all of them (from brands like Sonos, Q Acoustics and Dali) are five-star specials.
Sonically great, bar none
Soundbars not really your thing? No worries. Our Erasing the Bar feature offers five speaker system alternatives, proving that whatever your price range there's a speaker option for you.
For our Insider section this month, we've spoken at length with an industry legend, former Marantz designer Ken Ishwata. We talk about his 40-year service to the brand, the KI product development process, his music file preferences – and his enduring hi-fi show celebrity status.
Wired for sound
Upgrading the cables you're using to hook up your speakers could make a huge difference to your hi-fi system's overall performance. This particular aspect of hi-fi isn't perhaps as captivating as beautiful record players or brushed aluminium power amps, but they can be every bit as crucial and provide a good value investment to boost your system.
Towers of power
How about a pair of four-figure floorstanders? We took the Acoustic Energy AE309, Bowers & Wilkins 603, Fyne Audio F501 and Neat Iota Alpha speakers for a spin this month. Each pair did its very best to win over our hearts, and each has something to offer the right set up. But there has to be a winner. Find out in this month's issue.
Retro fabulous
Our Temptations section features some pretty expensive kit, but it's important to note here that one isn't obliged to order simply because one has perused the menu. Amongst the delectable offerings featured this month are JBL's L100 Classic speakers (check out the fabulously retro orange foam grille) and the Sony VPL-VW870ES projector.
On top of all this, we orchestrated a deep dive on BBC iPlayer's 4K content, and of course included our definitive guide to the best home entertainment your money can buy, in our regularly updated Buyer's Guide.
If you need us, we'll be in front of a massive 4K TV...


BEIJING — Due to the growing interest in caravaning and all segments of mobile vacationing in China, the seventh All in Caravaning (AiC) trade fair will be held at a bigger exhibition center, the Etrong International Exhibition & Convention Center in Beijing from June 22 to 24.
"With this year's event we will take it to the next level of quality," said Stefan Koschke, global head of caravaning and outdoor at Messe Düsseldorf..
"In addition to growth in terms of exhibition space and exhibitor numbers we also expect a record number of visitors," he added. "These impressive developments at AiC confirm that caravaning as a form for vacationing is very popular in Chinese society.
At AiC 2018, more than 700 national and international exhibitors will showcase their products on 377,000 square feet of exhibition space to an expected 30,000 visitors. At the first event in 2012, 53 exhibitors took part on 54,000 square feet.
With the larger outdoor space at the Etrong International Exhibition & Convention Center, the ancillary program could also be enhanced, he explained.
The "outdoor summer camp" awaits young visitors and kids with adventure games, rugby, climbing towers, a cycling concourse as well as many other fun activities and sports such as the soccer zone.
For the first time, motorhome and caravan fans will have the opportunity to stay overnight in their own vehicles close to the exhibition center. The ranges and activities will be complemented by technical lectures and special shows.
"All in Caravaning has developed into the most important platform in China for this sector which is still very young in this country," said Koschke. "It is the leading trade fair for motorhomes, caravans, accessories and travel destinations, while featuring an ancillary program that attracts both long-time enthusiasts and newly interested families.
It is also a meeting point for experts from the caravanning and tourism industries, fostering the exchange of national and international experiences, he noted.
Organized by Messe Düsseldorf Shanghai, AiC benefits from Messe Düsseldorf's wide-ranging industry knowledge and experience with Caravn Salon, the largest international trade fair for RVs and motorhomes held annually in Düsseldorf, Germany.
Last year, that event attracted a record 232,000 visitors in 10 days.
For more information on visiting or exhibiting at All in Caravaning 2018, contact Messe Düsseldorf North America at 312.781.5180; email info@mdna.com; or visit either www.aicshow.com/en or www.mdna.com.


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Goldman Sachs unit invests in Toronto-based Slate Asset Management
Goldman Sachs buys stake in Toronto's Slate Asset Management
TORONTO -- Goldman Sachs' (GS.N) asset management-focused unit has taken a minority stake in Toronto-based alternative investment firm Slate Asset Management LP.
Slate announced a passive, non-voting minority equity investment from Goldman Sachs Asset Management's Petershill program, but did not disclose the financial terms.
The Toronto-based firm with a focus on real estate and real assets says it will use the U.S. banking giant's investment to enhance its platform, as well as increase certain investments.
Slate says the day-to-day operations and management of the company will remain unchanged.
Slate has more than $6 billion in assets under management, and has completed more than $11 billion of transactions across Canada, the U.S. and Europe.
Goldman's Petershill program provides strategic capital to mid-sized asset management firms and has investments in more than 20 companies.
Onex snaps up wealth manager Gluskin Sheff in $445M deal
GMP's Stifel deal gives rise to 'pure play' Canadian wealth firm


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61st Emmy Awards Nominees and Winners
Directing For A Miniseries, Movie Or A Dramatic Special
Writing For A Miniseries, Movie Or A Dramatic Special
Lead Actress In A Miniseries Or A Movie
Lead Actor In A Miniseries Or A Movie
Directing For A Variety, Music Or Comedy Series
Directing For A Variety, Music Or Comedy Special
Writing For A Variety, Music Or Comedy Series
Writing For A Variety, Music Or Comedy Special
Host For A Reality Or Reality-Competition Program
Reality - Competition Program
Reality Program
Exceptional Merit In Nonfiction Filmmaking
Directing For Nonfiction Programming
Nonfiction Special
Writing For Nonfiction Programming
Animated Program (Less Than One Hour)
Animated Program (For Programming One Hour Or More)
Individual Achievement In Animation
Special Class - Short-Format Animated Programs
Art Direction For A Miniseries Or Movie
Art Direction For A Multi-Camera Series
Art Direction For A Single-Camera Series
Art Direction For Variety, Music Or Nonfiction Programming
Casting For A Comedy Series
Casting For A Drama Series
Casting For A Miniseries, Movie Or A Special
Children's Nonfiction Program
Cinematography For A Half-Hour Series
Cinematography For A Miniseries Or Movie
Cinematography For A One Hour Series
Cinematography For Nonfiction Programming
Cinematography For Reality Programming
Costumes For A Miniseries, Movie Or A Special
Costumes For A Series
Costumes For A Variety, Music Program Or A Special
Creative Achievement In Interactive Media - Fiction
Creative Achievement In Interactive Media - Nonfiction
Hairstyling For A Miniseries Or A Movie
Hairstyling For A Multi-Camera Series Or Special
Hairstyling For A Single-Camera Series
Makeup For A Miniseries Or A Movie (Non-Prosthetic)
Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)
Makeup For A Single-Camera Series (Non-Prosthetic)
Prosthetic Makeup For A Series, Miniseries, Movie Or A Special
Lighting Direction (Electronic, Multi-Camera) For Variety, Music Or Comedy Programming
Technical Direction, Camerawork, Video Control For A Miniseries, Movie Or A Special
Technical Direction, Camerawork, Video Control For A Series
Music Composition For A Miniseries, Movie Or A Special (Original Dramatic Score)
Music Composition For A Series (Original Dramatic Score)
Original Main Title Theme Music
Original Music And Lyrics
Picture Editing For A Comedy Series (Single Or Multi-Camera)
Picture Editing For A Special (Single Or Multi-Camera)
Picture Editing For Nonfiction Programming
Picture Editing For Reality Programming
Short Form Picture Editing
Single-Camera Picture Editing For A Drama Series
Sound Editing For Nonfiction Programming (Single Or Multi-Camera)
Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation
Sound Mixing For A Comedy Or Drama Series (One Hour)
Sound Mixing For A Miniseries Or A Movie
Sound Mixing For A Variety Or Music Series Or Special
Sound Mixing For Nonfiction Programming
Short-Format Programs
Special Class - Short-Format Live-Action Entertainment Programs
Special Class - Short-Format Nonfiction Programs
Special Class Programs
Special Visual Effects For A Miniseries, Movie Or A Special
Stunt Coordination
Outstanding Special Class - Short-format Live-Action Entertainment Programs - 2009
30 Rock's Kenneth the Web Page
Jack McBrayer, Producer
Eric Gurian, Producer
Josh Silberman, Producer
Tracey Wigfield, Producer
Bill Sell, Producer
Battlestar Galactica: The Face Of The Enemy
RONALD D. MOORE, Executive Producer
David Eick, Executive Producer
Jane Espenson, Executive Producer
Harvey Frand, Produced By
Bruce Springsteen and the E Street Band Super Bowl Halftime Show
Don Mischer, Executive Producer
Ricky Kirshner, Executive Producer
Glenn Weiss, Executive Producer
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