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The Smartisan U1: A Chinese Rainbow Android By A Steve Jobs Disciple [Review]
by Wang Boyuan Sep 11, 2015 Jun 7, 2020
In case you don't know, Smartisan is a newbie in Chinese phone manufacture space with only one smartphone in the market before the U1.
It is famous for its interestingly unparalleled motto: 'the idealism' or 情怀 in Chinese, which is the trademark gimmick of their fan base. While Xiaomi and other competitors were attracting millions of buyers with high price-performance ratio product, Smartisan's 2014 crafted flagship T1 was tagged 3000-3500 RMB at launch, and dropped sharply to 1980-2450 RMB after 4 months.
It ended up suffering from a capacity problem. By August 2015, 255,000 T1s were sold, which is a few zeros less than Xiaomi, who resembles a bit more market pragmatism.
After all the trials and errors in making their debutante, it is rational to say, U1 is Smartisan's compromise between quality and price. U1 sells only ¥999 ($140, 32GB version), and the OS is of full charisma just like the founder Luo Yonghao. For those who'd never drop money on an non-iPhone phone (like me), 999 RMB is worth a try. And how am I going to keep it or not after trial? The phone itself will answer it.
Weighs: 155 g
Qualcomm Snapdragon 615 1.5 GHz qcta-core processor
Dual-SIM (4G/2G)
16GB / 32GB Storage
13MP rear, 5MP front camera
MSRP: 16GB ¥899/ 32GB ¥999
Product info page (in Chinese)
NFC is still there
Pretty hardware design
Interchangable rear covers
The OS is special in looking
No support for China Telecom network
No 5GHz band in WiFi
No memory expansion
The second SIM slot only has 2G connectivity
Design: No Alarms and No Surprises
For a gadget phone in 1000 RMB range, we weren't be prepared for ultimate craftsmanship and extreme performance; and all you can expect is a practical and solid phone.
At this point, U1 does the job well. Although the phone is made of plastic, the overall visual impression does not look that cheap. The rear cover is also masked by a rubber-like touch backing, which makes it feel less like a plastic toy, more like a real phone.
As the CEO Luo Yonghao mentioned on Weibo, U1 is a brand new product line for Smartisan, so don't go judging it as the successor to the T1, the U1 is at one third of the T1 and we have to keep that in mind.
It doesn't follow T1's extreme symmetry rule, thought the U1 still has some Smartisan T1 features, like the symmetrical left and right side keys as well as the all-in-one pill shape sensor & speaker in upper front.
The back is curved plastic instead of iPhone 4-like flat glass. The power button is now in pill shape while the T1's is symmetrically round to meet with the shape of headphone jack; the three physical navigation buttons have been abandoned.
The phone itself doesn't necessarily finish ahead of other Chinese budget phones, it's looks haven't particularly tempted me (even it has the iconic rear cover), but it's not the ugliest phone on the market. To me it is an appropriate budget phone; big, solid, and ready to use.
Smartisan OS: A Paranoid Android
In China people can't get access to most of the Google service so to provide a handy OS modification is a must for the smartphone makers, as well as an opportunity to set themselves apart. In the 1000 RMB range, the hardware is on par with other competitors, it's the software that sets it apart.
Smartisan OS is the reason this "artisan" was willing to bend down compromise in hardware design.
This Android mod reflects the aesthetic taste of its CEO Luo Yonghao, the former English teacher and Chinese online celebrity, which is a skeuomorphism of the long abandoned design language after Apple's Steve Jobs passed away.
Skeuomorphism, Skeuomorphism, Realism
As for Android mods, I think Smartisan OS is the bravest, and finest dedication to Apple's lost skeuomorphism.
— 王博源 Wang Boyuan (@thisboyuan) August 21, 2015
Since Apple turned to a 2D design in 2013, there's barely a company that will put more focus on designing the older, iconic icons and UI. I myself hate to see the mobile UI becoming that thin, light and surreal. I often recall the stunning design of the iTunes metallic slider in iOS 6, reflecting with the phone tilting. Luo Yonghao is a crazy fan of Steve Jobs and a devoted follower of this "heavy" design language, so what Smartisan OS showcased are all based on his early tastes and values.
Note, Timer and Music are significantly reflecting Smartisan's design
The UI in Smartisan OS reminds me mostly of iOS 6 and prior, which is thick, heavy and textured. There's even a hint of paranoia in the way Luo and his team have done this, every element is visual realism. So there is light, there is shadow, there are water drops, there is texture.
You can't hate the UI for being so elaborate, although it looks like a mixed sketchbook of quick illustrations downloading from Dribble. And when the designers are too focused on adding realistic design to digital, it is easy to fall down to the other extreme, just like the Huawei Watch that makes TechCrunch's John Biggs feel weird.
Notice the lights?
For example, the icon on the left is for the Smartisan Forum, but the message inside the icon is vague for non-Chinese users. "To pour water" is a Chinese Internet idiom for salivating over something. So the water (or saliva) is intends to show off beautiful design, but it makes no sense to foreign buyers.
Anyway, I like the boldness, and dedication to the skeuomorph which is actually pleasantly convergent from other Android mods. I guess Steve Jobs and Scott Forstall would be interested to see this, but also mad to see it on Android.
Commitment to Detail
The Smartisan OS is indeed as handy as jailbroken iOS. The system gives a bulk of useful functions and tweaks to make the user feel comfortable. To be honest I myself quite like the system, because of the wealth of options. The side keys are customisable, so is the theme. Not only can users change from a 3×3 or 4×4 grids theme, but also the original Andriod 4.4 Kitkat theme.
The unique OCD (yes, obsessive-compulsive disorder) settings are not like the accessibility settings in other systems, and they are a strange reminder that some companies in China are out of touch with the politically correct foreign buyers. In China OCD is more like a compliment for the people who can't ignore the details, so the Smartisan see themselves as proud designers with this setting, no harassment nor discrimination.
In the OCD settings users can easily enable the function of swiping to clear all the badges, or hiding the icon label. The shaft in the virtual vinyl player in Music app can also be hidden – what a disorder it is!
It is an enjoyable pleasure to see the exquisite animations in Smartisan OS. Neat and bright, the animations take on the role that iOS 6 used to play. From lock screen to app switch, you will find a similar but fresh feeling.
Thanks to Smartisan's paranoia, the Smartisan OS is finally a unique one, and everyone may have their own Smartisan system because of the inclusive options and settings.
Smaritsan OS will name your screenshots with the apps you snapped in
Performance/Battery: Fitter Happier
Smartisan is a ready-to-use phone, and yes it has 18 removable bloatware apps in OS 2.0. As for benchmark performance, Smartisan is famous for intentionally underclocking its CPU when the system detects any benchmark app running. So what I can say is, the phone fits the OS, and it runs fluently for most of the time but the animation does lag under some circumstances. The Qualcomm heat flaw? No sign of it yet.
The standby time is 5 to 6 hours, just enough for a day's use. Although it has no quick charge or hardware based power saving tech, a straightforward power saving mode which only allow phone calls and SMS is included in its OS. Also when the battery goes flat during a call, the system will automatically send a message to the other end saying you are out of battery. So despite the unsurprising battery, at least it has plan B for low battery communication.
Display/Camera: No Surprises
The display is a okay, standard HD screen, not much to emphasis. The rear camera comes with a 12.78MP f/2.0 set of lens, it focuses quick and the speed of imaging is quick too, combined with its two side keys, it is really handy to take snaps. Anyway, the camera is not bad for a budget phone, the function of its app is easy to use too.
Would I take it or not? Firstly, the hardware is not outstanding, even compare to other budget phones, but the software is really, really special and worth trying.
Luo said this U1 is made for young men, and I can't agree more. The inner being of this phone is brave and rebellious, just like the youngsters. Even though he is once again betraying his lack of knowledge about the foreign market with such statements. Secondly, the design is almost IKEA-like in style, which represents the "cheap and chic" concept.
Finally, Smartisan themselves are young. The company started from a joke and endless controversy, and it didn't get defeated. I'd love to see it go to the US and Japan.
In a word, I like the Smartisan OS, and I can't wait to see the flagship Smartisan T2 coming this year.
Smartisan Hopes to Woo Consumers With a Minimalist New Flagship
Smartisan founder Luo Yonghao offering cross-border e-commerce training in China: report
Troubled smartphone maker Smartisan seeking revival upon $150m funding
Tagged: CHINA, IoT, Smartisan
Wang Boyuan
Blogger and translator. More by Wang Boyuan


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Die Liste der Naturdenkmale in Gunningen nennt die verordneten Naturdenkmale (ND) der im baden-württembergischen Landkreis Tuttlingen liegenden Gemeinde Gunningen. In Gunningen gibt es insgesamt ein als Naturdenkmal geschütztes Objekt, es handelt sich um ein flächenhaftes Naturdenkmal (FND), es gibt kein Einzelgebilde-Naturdenkmal (END).

Stand: 31. Oktober 2016.

Flächenhafte Naturdenkmale (FND)

Weblinks
 Schutzgebietsverzeichnis der Landesanstalt für Umwelt, Messungen und Naturschutz Baden-Württemberg
 Übersichtstabelle: FND

!Naturdenkmale
Gunningen

redpajama_set_name: RedPajamaWikipedia


D.C. Law Library - D.C. Law 20-237. Inspector General Qualifications Amendment Act of 2014.
D.C. Law 20-237. Inspector General Qualifications Amendment Act of 2014.
↪ D.C. Law 20-237. Inspector General Qualifications Amendment Act of 2014.
Law 20-237, the "Inspector General Qualifications Amendment Act of 2014," was introduced in Council and assigned Bill No. 20-951. The Bill was adopted on first and second readings on Dec. 2, 2014, and Dec. 17, 2014, respectively. Signed by the Mayor on Jan. 6, 2015, it was assigned Act No. 20-562 and transmitted to Congress for its review. D.C. Law 20-237 became effective on Mar. 11, 2015.


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Photo Credit To Going nowhere: Robert and Grace Mugabe. EPA/Aaron Ufumeli
Zimbabwe's finance minister makes a doomed pitch to London's big businesses
in: Africa, Business, Economy, Economy, News, Zimbabwe
Stephen Chan, SOAS, University of London
As British politics descended into a post-EU referendum melee of opportunism, betrayal, resignations, and votes of no confidence, the UK was in no position to lecture others on good governance. Fitting then, perhaps, that it received a rare visit from one of the world's more benighted regimes.
A delegation of senior ministers from the Zimbabwean government came to London. It was led by Robert Mugabe's finance minister, Patrick Chinamasa, who's proven to be good at his job inasmuch as he's conducting himself with decorum in an impossible situation.
Zimbabwe has no money, and its government has no fiscal plan. Its reserves are emptied, tax revenues are inadequate, public funds are still ransacked, and much of the country's remaining formal employment is in an unproductive public service. Doctors, nurses and teachers are striking over unpaid wages, and their protests are turning into violent clashes with police. Foreign governments are not helping with standby budgetary support, and foreign corporations are not keen to invest in such a volatile country.
Part of that volatility is because of the power struggle now engulfing the ruling party. One of its wings, led by liberation war hero Joice Mujuru, has been entirely purged. The vice-president, Emerson Mnangagwa, is under heavy fire from a pro-Mugabe faction calling itself the Group of 40 (G40) – a younger group who are not in their 70s, as is Mnangagwa, and certainly not in their 90s, as is Mugabe. Their talisman is Mugabe's wife, Grace.
The G40's members may be young enough not to have fought in the liberation war, but their announcements are still steeped in liberation rhetoric. That may or may not help it take control, but it has nothing to do with good governance. For all its influence over the party, the G40 has no plausible plan to address the problems Chinamasa and Zimbabwe face.
What is left of the opposition, meanwhile, is deeply divided, and its longtime leader, the charismatic Morgan Tsvangirai, has cancer.
And while opposition figure Tendai Biti, a successful finance minister during the coalition government of 2009-13, came to London with Chinamasa, he has little to offer. His plans require a political accommodation with the West, and he surely knows that investment will only be prompted by an embrace of political pragmatism – something in short supply in Mugabe's Zimbabwe.
Nationalism placated
Few of London's heavyweight business figures came to listen to Chinamasa's pitch, and for good reason. Apart from Zimbabwe's deeply uninviting atmosphere of political and economic volatility, there is its rigid "indigenisation" legislation, which requires that all companies operating in the country must be majority-owned by indigenous Zimbabweans. Few foreign companies will invest the billions of dollars Zimbabwe needs only to be shorn of their assets just like that.
Squeezed: Patrick Chinamasa.
BBC World Service/Flickr, CC BY-NC
President Mugabe has assured the outside world that reasonable accommodations will be made, and that pragmatism will rule. But Chinamasa will know, as will every corporation's legal team, that large investment is not forthcoming without legal protections, and courts of law that can be counted on to uphold them.
But Mugabe is simply not trusted by the rest of the world, and he dares not mandate a change to the indigenisation law – especially not now, as his health declines and as he perhaps secretly looks to secure his wife's path to succeed him.
Indigenisation was meant to placate Zimbabwean nationalism, which still percolates among younger generations as well as older ones. Keeping that force in check is not just an imperative of political survival; it's an ideological and emotional commitment, one Mugabe himself made with the land seizures that began in 2000.
The upshot is that national integrity is measured not in philosophical terms, nor in terms of the vibrancy of the state in all sectors, but simply in the reductive terms of the ownership of property and capital.
Far from a muscular, technocratic programme to protect Zimbabweans' interests, it has become a fetish. Speaking in the City of London, Chinamasa and his colleagues were obliged to wear it round their necks like an albatross.
Stephen Chan, Professor of World Politics, SOAS, University of London
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redpajama_set_name: RedPajamaCommonCrawl


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Prof. Federico M. Rossi
CONICET-UNSAM, Argentina / Humboldt-GIGA, Germany
Op-Eds & Blogs
The Poor's Struggle for Political Incorporation
'The wave of anti-austerity protest that spread globally in response to exclusionary neoliberal policies in the 2010s had, in Latin American social movements, a major source of inspiration which calls for more scientific reflection. Theoretically original and empirically rich, this volume provides a most valuable contribution in this direction, bridging social movement studies and historical institutionalism, through a critical conceptualization of contentious politics as a relational phenomenon.'
Donatella della Porta, Centre of Social Movements Studies, Scuola Normale Superiore
'Federico M. Rossi's study of the unemployed workers' movement in Argentina sheds new light on the patterns of social mobilization that lie behind the political reincorporation of popular sectors following neoliberal reform in Latin America. Rossi explains how historical patterns of class-based corporatist representation have given way to new kinds of social actors, more territorial forms of collective action, and new repertoires of contentious politics. This book is essential reading for anyone who wants to understand how Argentina's piqueteros and other grass-roots actors have reshaped state-society relations and constructed new forms of social citizenship that challenge market orthodoxy.'
Kenneth M. Roberts, Cornell University
'The Poor People's Struggle for Incorporation provides a refreshing new framework on how popular movements struggle within historical pendulums swaying between social exclusion and institutional access. Focusing on arguably one of the most potent social movements in contemporary Latin America, the unemployed workers' movement, Rossi passionately demonstrates how economically marginalized groups negotiate the treacherous path toward inclusion through assertive and strategic interactions with the state, political parties, and ossifying corporatist structures. In short, The Poor People's Struggle offers a fascinating new model on how to understand the complex terrain of social movement mobilizations in the age of free market driven globalization.'
Paul Almeida, University of California, Merced
'Federico M. Rossi has written what is certainly the definitive, most thoroughly researched study of the piqueteros from their origins to the present. …it will stand unchallenged for some time as the essential point of reference for any study of the piqueteros and Argentine politics in general for these years.'
James Brennan, The Americas: A Quarterly Review of Latin American History
'… the book establishes a much needed and very fruitful theoretical dialogue between historical institutionalism and social movement studies, one that addresses, on the one hand, the structuralist determinism of the former and, on the other, the limitations of actor centered approaches that understand social change as the direct outcome of actors' intentions and strategies. … Rossi offers a nonlinear understanding of history that is crucial to understanding the dynamics of inclusion and exclusion and the emergence of new patterns of a state-society relationship that builds in former legacies and is also innovative.'
Renata Motta, Contemporary Sociology
'The Poor's Struggle for Political Incorporation is a landmark text for those studying social movements in Latin America. It revisits and updates Collier and Collier's (1991) classic study of the incorporation of labour movements by the state and parties in the mid 20th century … Rossi argues that early 21st century Latin America witnessed a second wave of incorporation following the disincorporation of labour movements under neoliberal regimes. Of key interest to geographers is Rossi's argument that this second wave was primarily territorially based, rather than a labour based process.'
Sam Halvorsen, Antipode: A Radical Journal of Geography
'… the volume argues for the need to consider not simply repertoires of contention, which privilege contentious collective action, but in general repertoires of strategies combined with the stock of legacies. This allows the researcher to decide in individual cases to what extent more contingent strategies, both contentious and institutional, were constrained by the longer history of how protest was done. This is an insightful contribution to Charles Tilly's famous concept of the repertoire of contention, showing how a careful dialogue between northern and Latin American scholarship can make a significant contribution to both.'
Anna Krausova, Latin American Research Review
'Rossi offers two main concepts to make sense of the movement's trajectory: 'stock of legacies' and 'repertoire of strategies.' The former is understood as the sedimentation of experiences among activists, whose previous struggles shape the available strategies that their movements can deploy. The 'repertoire of strategies' is perhaps the book's main contribution and the concept that social movement scholars might find more relevant and applicable to other settings. In a nutshell, this idea makes reference to the set of options that social movements employ to achieve their goals. The fruitfulness of the 'repertoire of strategies' is that it seeks to encompass not only contentious collective action, but also the non-contentious or collaborative relationships between social movements and governments…'
Pablo Lapegna, Social Movement Studies
'Rossi's book provides an excellent and detailed account of Argentina's piquetero movement, and is recommended for any scholar or individual interested in Argentina's recent political history. The work and analysis that went into sketching out each stage of the movement is extraordinary and interesting, and provides an example of a successful poor people's movement … The consideration of the historical roots of strategies is appreciated and needed in social movement literature.'
Cynthia Williams, Mobilization: An International Quarterly
'The main concepts used to construct this macro-historical narrative … makes a remarkable contribution to social movement studies by defining the notions of 'repertoire of strategies' and 'stock of legacies'. Constructed around blind spots in Charles Tilly's traditional notion of repertoire, these concepts are presented as crucial means by which to avoid a teleological perspective when looking at re-incorporation processes. … By emphasizing the process whereby social movements rely on the sedimentation of past struggles and their results, Rossi manages to dissipate the structuralist foundation of Tilly's original concept.'
Tomás Gold, Journal of World-System Research
'This important book makes an original contribution to answering the fundamental question of how we can understand the relationship between processes of mobilization and sociopolitical change. While the author studies this relationship in the context of Argentina, its lessons also apply to other Latin American countries.'
Juan Pablo Ferrero, Latin American Politics and Society
'One of this book's main values, therefore, is its refreshing elements of theoretical innovation, which appear to be widely applicable beyond a specific case study. The non-teleological or normative perspective on incorporation is an effective framework for analysing contemporary Latin American macropolitical shifts. At the same time, the concepts of the repertoire of strategies and stock of legacies offer concrete tools that scholars of contentious politics, even beyond Latin America, will find useful in their own work. Another merit of the book is that it refrains from reading the Argentine case through the often-abused lenses of exceptionalism, instead situating the Piquetero movement in the context of broader transformations and macroprocesses of sociopolitical change.'
Lorenza Fontana, International Sociology
'… la hipótesis del libro es que la intensa lucha de las organizaciones sociales de algunos colectivos activistas de América Latina, todos ellos perdedores netos de largas décadas de políticas de ajuste neoliberal y desindustrialización, desembocó en la segunda ola de incorporación social de excluidos en la historia reciente de América Latina.'
Salvador Martí i Puig, América Latina Hoy
'Another valuable theoretical intervention is Rossi's distinction between horizontal and vertical opportunity structures. … Without dismissing the notion of political opportunity, Rossi notes that scholars of contention need to pay attention to divisions among elites at different levels in a polity. For instance, concerning horizontal opportunities, he focuses on elites who wield the same relative institutional power within a particular policy area. Vertical opportunities differ, even though the policy area may be the same, but division may exist between actors who occupy different positions within a state's institutional hierarchy. … This theoretical innovation will help scholars who study contention, especially in federal systems.'
Anthony Pahnke, Perspectives on Politics
'Rossi's monograph is of considerable interest, providing a large body of information on political organization and social mobilization. Its conclusions parallel those of other researchers whose work is included in this issue of Latin American Perspectives, emphasizing how important political mobilization against neoliberal policies was in securing some limited but broad-based government services and income transfers to retirees, the unemployed, and low-income households.'
Ray Bromley, Latin American Perspectives
'El análisis de Rossi muestra que el problema de la incorporación no enfoca de modo directo en los mecanismos de integración social. En ese sentido, no implica una respuesta directa a la pregunta por la constitución de una sociedad más igualitaria ni la ampliación de un Estado de bienestar; permite dar cuenta, más bien, de la reorganización de la arena política a partir de una redefinición y expansión de los actores legítimos.'
Sebastián Pereyra, Revista de la Sociedad Argentina de Análisis Político
'Rossi proposes two central and novel concepts that help us to understand social movements as agents of change that act within institutional structures, of which their own trajectories of mobilisation are also part. The first concept is the repertoire of strategies, which includes not only the strategies of mobilisation outside the movement, but also those that help to construct the movement and keep people within it mobilised. The second is the stock of legacies, which includes all the practices the movement received from other social actors and previous political processes. These two concepts are very helpful in illustrating long term processes of social mobilisation and change.'
Carolina Cepeda Másmela, Journal of Latin American Studies
'La obra de Federico Rossi muestra en profundidad el desarrollo y activación del movimiento piquetero en Argentina y cómo su impacto supuso un proceso de incorporación de un sector social antes excluido en el régimen político argentino, y lo compara con otras movilizaciones acontecidas en otros países de la región.'
Salvador Martí i Puig, Revista CIDOB d'Afers Internacionals
Prof. Federico M. Rossi, A WordPress.com Website.


AmeriGlide's 375M Heat & Massage is a three position lift chair with heat and massage units built in as standard features. An overstuffed seam back cushion, full chaise pad, hardwood-laminate frame, and integrated battery backup make this lift chair supremely relaxing and dependable! Every AmeriGlide 375M Heat & Massage also comes with a one year in-home parts & service warranty!


Serving your needs starts before your stay and continues long after if necessary. We are available 24 hours a day to address your questions and comments. Feel free to email us at info@danahotelandspa.com or call us directly at 312.202.6000.


Unlike regular meters, smart meters can automatically send usage data to your supplier. This means you don't need to read your meter yourself, and your bill will accurately reflect your actual energy usage.
They're accurate and convenient. You'll never need to send us a manual meter reading as your smart meter will send this information automatically.
Bulb is rolling out second generation smart meters to our members throughout 2019 and 2020. These meters will stay smart, even if you change supplier in the future. You can sign up for our smart meter waiting list to be the first to know when we're installing in your area. We'll invite everyone to have a new smart meter by the end of 2020.


Mango Burfi Recipe – Easy Mango Barfi Recipe with step wise pictures.
Super delicious mango burfi which taste so delicious. This is easy to make and perfect for any occasion. You can make this burfi on this beautiful mango season and enjoy.
Take ghee in a pan, add milk powder and stir fry for a min.
Add in sugar and keep mixing. Keep cooking till it thickens.
Add food colour and mix well. Keep cooking till it starts to leave the sides.
Spoon it into a greased tray and place a silver paper on top.
1)Grease a pan with some ghee and set aside.
4)Stir fry for 2 mins.
15)Now it is done. Leave it to set.


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Siemyśl (gemeente), een gemeente in Polen
 Siemyśl (plaats), hoofdplaats van bovengenoemde gemeente


Easy to use and portable to charge.
Convenient ,Charging anytime and anywhere.
Compatible with Android ,for iPhone, for iPad, MP3, MP4,other mobile phones.
Easy to and portable to charge.
4 Integrated LED indicators show Power status. Built-in 3-modes LED flashlight makes it easier in the dark: SOS/bright/average modes.
Constructed with lithium-ion battery cells and built-in microchips to ensure safety use and long lifespan. 500+ recharge cycles over the life of the battery, after 24 months still maintains unrivaled performance.
3 USB charging Port (2.4A for iPad, 2A for Samsung Tab, 1A for iPhone) for charging 3 devices simultaneously. 3 USB ports are compatible with almost all smart devices with an input of DC 5V.
Compatible and Smart: automatically adjust output based on the connected device.


I have been a big fan of Proviz and their jackets over the years and own their Nightrider, Reflect360 and Reflect360+ jackets. The Reflect jackets in particular are quite simply excellent for night riding and really do make you stand out and that bit more visible.
Below I have posted links to my reviews of these three jackets.
Of course, always innovating Proviz have recently announced that they have a new jacket that they are launching via Kickstarter. The new jacket is called the Reflect360 CRS.
This jacket is very similar to the original Reflect but the difference being they will come in five colours - yellow, blue, green, black and red - but still have all the 100% reflection that the original one had.
There are still some options available for you to back this project by pledging a certain amount of money that can get you one of the jackets for half the regular retail price.
Estimates for delivery look to be sometime in November and this can be anywhere in the world. I have posted a link to where you can find more information about the new jacket and back the project if you wish.
I have to say that I am very interested in the green version as it will go rather nicely with my new Condor road bike. You never know that might even release one in the future in orange?


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Woman Dies 11 Days After Being Arrested by Baltimore Police and Collapsing in Cell
Ethan McLeod
Photo via National Police Car Archives
A woman who suddenly collapsed and fell severely ill after she was arrested by Baltimore police officers last week passed away today.
Kim Doreen Chase, 52, was pronounced dead at Saint Agnes Hospital in Southwest Baltimore, a police spokesman said. Her exact cause of death will be determined in an autopsy.
Chase's arrest last week caused a stir not because of her alleged crime, but because of what happened after she was taken to the Southwest District police station. Chase had been wanted on a warrant for failing to appear in court in Calvert County after she was arrested on drug charges there last August, per court records.
Police took her into custody after find her near her home on Hollins Street on April 9. However, as Police Commissioner Kevin Davis later revealed in a press conference, her arresting officers allowed her a "pit stop" to her house, where she had a family member braid her hair before she was taken away by police.
Shortly after officers transported Chase in a van to the station and put her in a holding cell, she fell ill and was hospitalized. She was in critical condition for days until she passed away today.
Davis said he was certain that officers didn't use any excessive force based on body camera footage from the arrest and from inside the transport van. He did, however, suspend with pay a lieutenant involved in the arrest and placed two officers on administrative leave pending the outcome of an investigation.
The commissioner said the "only mystery" was what preexisting medical issues Chase was suffering from or what "other issues occurred" to cause her health crisis.
"The timing of the year is not lost on me," Davis added on April 10, referring to the then-approached two-year anniversary of Freddie Gray's death in police custody. Gray, as many know, suffered fatal neck injuries after being left unsecured in the back of a police transport van on April 19, 2015.
The commissioner noted the interaction between officers and Chase "did not contribute to the medical condition she's now suffering from."
"These officers knew this prisoner, they knew our detainee, they knew her by name…they knew her from the community," he said.
He did admit he was curious about officers' decision to make a "pit stop" for Chase – "that was one of the first questions I had," he said at the press conference.
An attorney listed for Chase in court records couldn't be reached Thursday.
The Special Investigations Response Team is investigating the circumstances of her arrest and collapse.
Follow Ethan
Senior Editor at Baltimore Fishbowl
Ethan has been editing and reporting for Baltimore Fishbowl since fall of 2016. His previous stops include Fox 45, CQ Researcher and Connection Newspapers in Virginia. His freelance writing has been featured in CityLab, Slate, Baltimore City Paper, DCist and elsewhere.
Latest posts by Ethan McLeod (see all)
Tuesday Morning Headlines: Pigtown bar going to auction; Council president comes to bat for former attacker in court; and more - July 16, 2019
Monday Afternoon Headlines: Man convicted of murdering ex-girlfriend whose body was found on bleachers; Massive barn fire in Howard County; and more - July 15, 2019
Baltimore is under a Code Red heat alert for the rest of the week - July 15, 2019


Happy New Year! Resolutions are flying high this time of year. Taco and Mandy discuss why you should NOT make resolutions and instead set goals to work on as a couple. Learn 10 goals you can set as a couple this year and how to make them successful.


1994 Toyota 4runner Engine Wiring Harness: Toyota runner wiring diagram get free image about. Toyota runner engine diagram ac ckets auto. .
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5-ka Listy Przebojów Trójki – składanka, wydana w roku 1987 przez Wifon, zawierająca utwory z Listy Przebojów Programu Trzeciego. Wydana z okazji 5-lecia istnienia audycji.

 Marek Niedźwiecki, opis na tylnej okładce płyty

Lista utworów
Strona A:
 Perfect - "Autobiografia" (4:33)
 Maanam - "Kocham cię kochanie moje" (4:52)
 Aya RL - "Ściana" (5:15) (na Liście jako: "Nasza ściana")
 TSA - "51" (5:49)

Strona B:
 Republika - "Obcy astronom" (5:15)
 Lombard - "Stan gotowości" (4:50)
 Kombi - "Słodkiego, miłego życia" (4:45)
 Tilt - "Rzeka miłości, morze radości, ocean szczęścia" (4:03)

Przypisy

Zobacz też
 Top Rock – przeboje Trójki
 Lista przebojów Programu III 1982–1998
 25 lat Listy Przebojów Trójki 1982–2006
 Złota Trójka 1982–2006
 Lista Przebojów Programu Trzeciego – prezentuje Piotr Baron
 30 lat Listy Przebojów Trójki 2007–2011
 Perły z Listy Przebojów Programu Trzeciego

Linki zewnętrzne
 discogs.com
 Katalog Polskich Płyt Gramofonowych

Lista Przebojów Programu Trzeciego
Albumy kompilacyjne
Albumy muzyczne wydane w roku 1987
Albumy Wifonu


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Running a small business does not mean that you, the owner, can or should serve as Jack-of-All-Trades. That mom-and-pop-shop mentality can exhaust a business owner and potentially drive a small business into the ground. No one business owner should expect to know and operate every aspect of the business efficiently, effectively and profitably.
The logical alternative is targeting small business resources to maximize profitability. Small business owners should consider hiring resources outside of their company for tasks such as bookkeeping, monthly financial reporting, payroll services, and staffing.
These three small business tips can help you avoid the mom-and-pop-shop trap and find reasonably-priced operational support.
Careful budgeting can allow small business owner to contract resources outside of the firm's core competence. If you're in the middle of the fiscal year, it's time to plan your budget for the next fiscal year so that you can incorporate resources that ultimately help you operate more effectively.
Consider budgeting for the cost of payroll service, bookkeeping and reporting resources, as these time-consuming tasks take you away from more strategic—and revenue-producing—business planning. Be generous when you budget so that you have the funds to hire third-party resources to handle critical business functions that are outside your area of expertise.
You want your company to play with the big boys? Get familiar with the differences between cash-basis and accrual accounting. Large businesses often use accrual accounting, because it more accurately depicts the financial status of the company and facilitates budgeting.
Let's say you own a multifamily property, and someone pays May rent on April 30. In accrual accounting, you book the income when it is due (the first of the month), not when it is received. This yields a clear picture of your monthly cash flow. If you book it when you actually received it, it inflates the April rent on the books and May's cash flow suffers by the rental amount.
If you're not comfortable with accrual accounting, refer to tip one and hire a bookkeeper. If you have a basic understanding of accounting, a good small business accounting software package can help with bookkeeping. Accounting software also has reporting capabilities to help you see the longer-term, big financial picture.
When we formed a small property management company nearly two years ago, our budget included hiring staff to run the properties. Initially, we budgeted and hired an entry-level leasing agent, mid-level maintenance person and senior-level manager. At the levels of pay we budgeted, our properties struggled to meet our expectations.
Lesson learned: staff your business with top-notch employees who do their jobs better than your competitors and better than you, and budget to reward them.
Shari Gould owns two limited liability companies that currently own multifamily properties in Texas, totaling 181 units. She holds bachelor's degree in journalism and a master's degree in criminal justice, specializing in information security.


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This Site: Civic Hero Awards All Sites By-Laws Extracts Minutes Agendas Services
Home > Newsroom > Civic Hero Awards > Donna Giustizia - Vaughan Civic Hero Award
Civic Hero Awards
Donna Giustizia - Ward 2 Civic Hero Award, 2010
Vaughan Council recognized Ward 2 resident Donna Giustizia with the Civic Hero Award for her work advocating for educational reforms and community needs for those affected by anaphylaxis, or severe life threatening allergies. Ms. Giustizia has children who have been diagnosed with anaphylaxis.
Ms. Giustizia spearheaded the implementation of a comprehensive school allergy plan in Ontario that was adopted by her children's school and formed the basis of the plan which was put into effect by all the schools governed by its board.
Anaphylaxis reactions are rapid and may result in death without immediate treatment. Food is the most common cause, but insect stings, medicine, latex or exercise can trigger anaphylaxis. It has been estimated that more than 600,000 Canadians are at risk of anaphylaxis.
"I would like to take this opportunity to recognize Ms. Giustizia for her efforts in assisting Canadians diagnosed with anaphylaxis and helping them to maintain a high quality of life," said Ward 2 Councillor Tony Carella, who nominated her for the award.


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Unforgettable experiences of lifetime for the musicians and audiences
Founded by Alex Yoon Chul Kim, AK productions is a full service production company producing, presenting concerts and music performances with high-profile classical musicians.
Read Alex 's bio
AK Productions proudly welcomes the legendary cellist, Bryan Epperson, as our artistic advisor.
Bryan Epperson | Cellist, Artistic Advisor
One of Canada's most charismatic chamber musicians, Bryan Epperson is principal cellist of the Canadian Opera Company Orchestra and, during the summer, the Santa Fé Opera Orchestra, as well as a regular performer at the internationally acclaimed Santa Fe Chamber Festival.
He made debuts in Milan, Venice, Siena, and Florence at the recommendation of Claudio Abbado and has since received regular invitations to perform throughout Europe and North America. Collaborations include performances with such legendary musicians as David and Igor Oistrakh, Christian Ferras, and Tibor Varga. Bryan is a founding member of the string trio Triskelion, the Cambridge Chamber Players, and the ARC Ensemble (Artists of The Royal Conservatory). In addition, he has recorded on the Naxos and Musica Viva labels and has been broadcast on NPR, the BBC, CBC, and RCA Red Seal.
In 2004, Bryan led the cello ensemble on Isabel Bayrakdarian's Juno Award-winning album Azulao. A graduate of the Curtis Institute of Music, Bryan's initial studies were with Leonard Rose, André Navarra, and George Neikrug. He subsequently served as an assistant to Antonio Janigro at the Salzburg Mozarteum. Bryan is devoted to both a 1752 Paulo Antonio Testore cello and a 928 s Porsche of almost equivalent vintage. Between the months of July and September, this machine speeds across the highways of the New Mexican desert, leaving in its wake the reverberation of Jimi Hendrix guitar riffs and the aroma of expensive Cuban cigars.
© Copyright 2018 - AK Productions


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Worst Excuses in World Football History
Charles Lawley@@charleslawleyTwitter LogoContributor IMay 22, 2013
When we all heard that Roberto Mancini had been fired from Manchester City because his approach wasn't "holistic" enough, our first reaction was "that's a terrible excuse."
Well, for some of us, our first reaction was to find a dictionary and look up what "holistic" meant, but our second reaction was "that's a terrible excuse."
But is it the worst excuse ever given in football?
Not by a long shot. There are at least 20 worse examples.
And here they are...
Blaming It on the Pitch
Following the English national team's failure to qualify for Euro 2008 after a home defeat to Croatia, the quality of pitch was blamed by members of the press, according to The Telegraph.
Wembley had hosted NFL games prior to the match, leaving the turf in a terrible condition for England's 3-2 loss.
The trouble with this excuse is, the Croatian team didn't hover five feet above the air. They had to play on that pitch, too.
The "we lost because of the pitch" excuse has recently been recycled by Harry Redknapp, when asked why QPR were so woeful this season.
Blaming It on Bouncy Balls
If the word "jabulani" means anything to you, then you'll know the actual footballs themselves have been made scapegoats for results in the past.
When his Newcastle United side were held to a draw by non-league Stevenage Borough in the 1998 FA Cup, then-Newcastle United manager and believer that Andy Carroll is worth £35 million, Kenny Dalglish, blamed the result on the balls being "too bouncy" according to The Telegraph.
Balls being bouncy. An outcome no one could have foreseen.
Blaming It on the Ball Boys
Former (for now) Chelsea and Real Madrid (forever) manager, Jose Mourinho, once cited Barcelona's lack of ball boys as a reason why his Madrid side lost to them.
Mourinho said after his side's second leg Supercopa loss at the Nou Camp:
Real Madrid gave a spectacular performance from the first to the last minute. We came here to play. What I'm about to say is not a criticism, I'm just stating a fact: there were no ball-boys in the second half, which is something typical of small teams when experiencing difficulties.
If Barcelona are a small team experiencing difficulties, what does that make Portsmouth?
Blaming It on Forgetting
What excuse did professional footballer and athlete Rio Ferdinand use for missing a drugs test?
He simply forgot.
Convincing, huh?
Well, the FA weren't that convinced. They banned him from football for eight months and gave him a £50,000 fine.
He didn't forget again.
Blaming It on Computer Games
When he was Liverpool keeper, David James once blamed his PlayStation for his letting in three howlers against Newcastle United: "I was getting carried away playing Tekken II and Tomb Raider for hours on end."
Liverpool's David James? Original PlayStation? Tekken II? Tomb Raider?
The only way that would be more of a late-'90s excuse is if Chumbawamba had said it.
Blaming It on Card Games
Frank Rijkaard isn't the sort of manager to play his cards close to his chest.
He revealed the reason his then-Netherlands side had made a disappointing start to Euro 2000: "My players prefer to play cards and have been taking little interest in what is happening elsewhere and that has disappointed me."
Cards? Don't they have Tekken II?
Blaming It on Your Own Vision
"Yabba Dabba Do!"—Fred Flintstone,
"I pity the fool"—Mr. T
"I didn't see it."—Arsene Wenger
The three greatest catchphrases in history.
Arsenal's Arsene has used the "I didn't see it" excuse that often that those good folks at The Mirror even compiled his top 10 (how very Bleacher Report of them):
10) Following the altercation between Emmanuel Adebayor and Nicklas Bendtner in the League Cup tie against Spurs, January 2008
"I did not know anything about it. I didn't see it."
9) Following a seemingly offside goal from Robin van Persie against Chelsea at Stamford Bridge, November 2008
"I do not want to score offside goals but I didn't see that, frankly."
8) Following Sol Campbell's foul on Wayne Rooney which led to a penalty against Manchester United, October 2004
"I think we were a little bit robbed. I didn't think there was any contact at all."
7) Following the infamous Pizzagate incident after the same game, October 2004
"I don't know about food throwing. I did not see if something was thrown – you'll have to ask someone else, because I don't know."
6) Following the alleged spitting incident involving Cesc Fabregas at the end of the FA Cup tie against Hull, March 2009
"I know nothing about that at all. I'm sorry, I can't speak about something I haven't seen."
5) Following Emmanuel Eboue's sending off for two yellow cards against Tottenham, February 2009
"The first yellow card was very harsh. I didn't see the second one."
4) Following Sol Campbell's serious foul on Eric Djemba-Djemba of Manchester United in the Community Shield, August 2003
"I didn't see Sol's challenge."
3) Following an incident against West Ham when Dennis Bergkamp appeared to strike Lee Bowyer in the face, January 2003
"It did not look intentional. Dennis caught him with the elbow but the player ran into him."
2) Following claims that Ashley Cole pushed Nicolas Anelka during a match against Manchester City, February 2004
"I didn't see that Ashley pushed him in the face. If the replays show it, then it's the referee's problem."
1) Following newspaper photos depicting Arsenal captain William Gallas smoking a cigarette in a nightclub, October 2008
"I didn't see the picture."
Perhaps he needs a better optician?
Blaming It on Noisy Frogs
Ukraine blamed their 4-0 thrashing at the fans of Spain in the 2006 World Cup not on a poor defensive display, but on frogs keeping them up at night.
Defender Vladislav Vashchuk claimed: "Because of the frogs' croaking we hardly got a wink of sleep. We all agreed that we would take some sticks and go and hunt them."
And for that reason alone, staying up all night killing frogs is on no team's preseason training schedule.
Blaming It on Icy Balls
When Liverpool goalkeepers aren't blaming blunders on PlayStation games, they're blaming it on ice on the ball.
Sander Westerveld explained a howler on a Boxing Day game against Middlesbrough:
The Riverside [Middlesbrough's ground] pitch had a lot of ice on it. My feet and gloves were soaking and it was unbelievably cold. It doesn't seem that Middlesbrough have undersoil heating, which is a pity because sometimes the ball had ice stuck to it.
We're not sure what he expected on a December night in North East England.
Scorching heatwave?
Blaming It on the Cheerleaders
They may be one game away from the promised land of the Premier League, but in 2011, when results weren't going Crystal Palace's way, fingers of blame were pointed.
Fans even pointed said fingers at girls who couldn't point back (because they had pompoms)—the club's cheerleading team, The Crystals.
One fan said at the time:
When they come out waving their pom-poms I just hang my head. They put everyone off the game – you see the players eyeing them up when they should be focusing on the game. The sooner they go the better.
In time, however, the Palace fans learned to (2-4-6-8, who do we) appreciate the cheerleaders.
Blaming It on Attempted Murder
Sir Alex Ferguson may be calling time on his illustrious footballing career, but let's hope he can still provide us with some thoroughly entertaining excuses in his retirement.
Earlier this season, Sir Alex tried to instigate FA disciplinary action against Swansea City's Ashley Williams. His excuse?
Because his kicking a ball at Robin van Persie's head could have killed him, according to Fergie:
It was the most dangerous thing I've seen on a football field for many, many years. Robin could have been killed. Williams should be banned for a long time because Robin's very lucky to be alive… The FA has got to look into it, irrespective of Williams having a yellow card. It was absolutely deliberate, absolutely no question. The whistle has gone, the game has stopped and he's done that right in front of the referee a foot from the player. It was the most horrendous act I've seen in a long, long time. It was a disgraceful act by the player. He could have broken his neck.
Taking a ball to the head is dangerous. That's why FIFA don't allow any player to touch footballs with their heads.
Blaming It on Your Wife's Pills
What sort of professional athlete just takes any pills, without inquiring what it is he or she is putting in their mouth?
Kolo Toure, apparently.
The Manchester City central defender cited taking his wife's diet pills as the reason he failed a drugs test and received a six-month ban.
He didn't bother mentioning why someone whose job it is to have regular physical exercise would need sleeping pills, however.
Blaming It on Lack of Ambition
When Wayne Rooney handed in a transfer request to leave Manchester United in October 2010, he cited his reason as the club's lack of ambition.
Funnily enough, Rooney's concerns about United's ambitions evaporated when they offered him a £250,000-a-week contract according to The Sun.
And he was never to hand in another transfer request again, and they all lived happily ever after…
Blaming It on Friday
In the most dramatic finish to a football league season the other side of "Agueroooooo," Arsenal went to Liverpool on the final day knowing they had to win by two goals to win the league.
If they didn't, Liverpool would be the 1989 English Champions.
In one of those "you couldn't write it (but you probably could)" moments, Arsenal won 2-0, with the second goal coming deep in injury time.
Liverpool defender Alan Hansen said they lost the game because it was played on a Friday and not a Saturday.
Arsenal managed to keep a clean sheet on a Friday, Al. Why couldn't you?
Blaming It on the Crowd Making Noise
Sutton United striker Adrian Bradnam once blamed missing an open goal on the crowd making too much noise.
Perhaps Bradnam implying he would play better in a quiet stadium was his way of hinting at a transfer to Arsenal.
Blaming It on Your Wealth
Remember Mario Balotelli? He used to play for Manchester City. He was pretty quiet. You might have missed him.
When Balotelli was involved in a car crash early in his time in England, he was found to be carrying £5,000 in cash on him. So the police asked why.
His response: "Because I am rich."
OK, maybe that's a great excuse.
Blaming It on Your Reputation
When playing for Newcastle United, football's answer to "who's that violent guy who is always sounding off on Twitter?", Joey Barton, blamed getting sent off for an incredibly reckless challenge on Liverpool's Xabi Alonso on his reputation: "I think that was more because of who I was than what I did."
Who you are is someone who just did a terrible tackle, Joseph.
Blame It on the Ghost of Nelson
In 1996, Blackpool placed the blame on letting a two-goal lead slip in a playoff match against Bradford City to the team's boardroom being haunted by the ghost of Lord Nelson.
The boardroom's wood paneling was apparently made out of wood from Horatio Nelson's ship, The Foudroyant.
Stadium manager John Turner said: "It is an old maritime superstition that sailing folk take exception to anything on their ships being touched, which could explain these strange events."
A ghost changing the outcome of football matches? That would be the worst horror movie ever.
Blaming It on the Kit
Manchester United blamed their kit for effectively making them invisible on a few losses.
They wore the hideous grey kit for five-and-a-half matches, losing four and drawing one. They only wore the kit for the first half of a match against Southampton on April 13, 1996.
United went in at half time 3-0 down, and Ferguson traded the "hairdryer" treatment for the "fashion stylist" treatment, ordering the players to change into their blue-and-white alternative away kit.
And it made all the difference…they lost 3-1.
With Sir Alex Ferguson stating: "The players don't like the grey strip. They find it difficult to pick each other out. We had to change the strip."
If you ever had to wear that fashion atrocity out in public, you would hope it made you invisible.
Blaming It on Not Having Matthew Upson or Sylvain Distin
We're not making this up: What does Rafael Benitez blame for never winning the Premier League with Liverpool?
Not signing Matthew Upson or Sylvain Distin.
Honestly:
The two players we had identified were Sylvain Distin, then with Portsmouth, and West Ham's Matthew Upson, both boasting abundant Premier League experience. Signing one of those two, plus the tall, powerful, intelligent Jovetic, would have given Liverpool the squad we needed to build on the previous year's title challenge, when we had run Manchester United so close.
Liverpool were one Matthew Upson away from winning the league. Fact.


Песня Незабудка твой любимый цветок. Беззубик и Дневная фурия.
Super flexible Valentina shows her talents of flexibility! Amazing gymnastic girl!
Advance RP Red nonRP cop.
This weekend we went to a lake called Avocado lake. Also I will change the name of my channel. Instagram: jeslo651 Music: corporate by Benzosonix.
Senko Bass fishing with a buddy from work, Fished all day to catch 2 dinks, my first bass of 2017 and Martin's first bass of 2017.
Saturday January 21, 2017 1st fishing trip of the year. Enjoy.
Here you go folks! I'm getting a little better!
Lake Avocado for the day.
Messing around with some editing and the Mavic Pro needs works but hopefully I'll get better soon.


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How do you embed music onto a web page?
It says all you have to do is copy and paste well that doesn't work, and I've tried doing it from a few sites and onto a few different pages. What am I missing?
Best Answer: I asked that question last week. Here is the whole answer too!
"Hey, I want some damn music on my page. Can I do that here at Blogdrive?
Of course you can place music on your blogdrive page, duh.
However, the folks here at blogdrive don't (with some exceptions) recommend it.
Why is that mister blogdrive man?
Well to begin with, embedded music slows the loading of your web page. Remember, there's a lot of stuff to be loaded when a visitor comes to your page, and if you've been doing quizzies and adding images, well you get the picture. Not all embedded music is compatible with all browsers and depending on what you've placed on your page, can often cause a browser to hang or crash. Making your music an option rather then setting it up for "auto-play" can help reduce such events.
Also, when using Midi files (.mid) , remember that not all sound cards are created equal. The music you're hearing when playing a midi file is not the music your visitors hear. Although there is a GM standard for instrument assignment and such, unless all your visitors have exactly the same sound card you do, the music will sound different. Often times undesirable. Sometimes, quite crappy. There are also player issues, that are beyond the scope of this writing.
We do recommend using the mp3 format for putting music on your page. It's easy to add code, and if you or your visitors have a decent mp3 player like winamp, there will not be much load on the system. Although mp3 files are usually much larger then midi files, the music is from the actual source (i.e. your favorite bands) and not just a series of electronic arrangements triggering your sound card without the use of actual instruments or vocals.
Click here to learn about adding MP3 music to your page.
That being said, here are a few ways to get music into your blogdrive page.
What file formats can be used in my page?
The <EMBED> tag plays audio files in WAV, AIFF, AU, and MIDI formats.
MIDI (.mid) format gives you sound card dependant audio. Non-vocal instrumentals (popular).
WAV (.wav) format was developed for use with Microsoft's Windows. This file format is generally used on the web for short speech.
AU (.au) was developed by Sun Micro Systems and is similar to wav, used for short speech.
AIFF (.aiff) was developed by Apple.
The following examples can be placed anywhere within your Blogdrive Main Template.
If set to false, the visitor can decide to hear music or not by pressing the play button, allowing the visitor to turn off other apps that may be using her/his sound card. This can also be set to true, making your music play automatically.
This tells browser how many times to play the midi file. X could be an integer, true, or false. Setting it to LOOP=true, will play your file repeatedly until the stop button on the console is clicked.
Browsers that do not support the EMBED tag will display the link inside <noembed> tag.
Great, where to I get MIDI (.mid) files?
Go to yahoo or google or wherever and type in something like "free midi files".
There's a whole bunch out there. If they are copyrighted you will have to get permission to use them.
As you may or may not know, they must also be uploaded to the web so they can be used."
How do you put music onto a web page?
How do you embed a music video from youtube onto your web pages?
How to embed music on to a web page?
How do I put music onto a web page?
Can anyone please tell me how to embed a song (in HTML) onto my myspace page?


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WAUKESHA, Wis. (AP) — Wisconsin Gov. Scott Walker says voters want leaders who "stand up and make tough decisions."
Walker spoke late Tuesday to a crowd of supporters at his campaign headquarters in Waukesha. During his remarks, the crowd erupted into chants of "Thank you, Scott!"
Walker defeated Democratic Milwaukee Mayor Tom Barrett to become the first governor in U.S. history to survive a recall election.
He says he wants to invite lawmakers to gather over burgers and brats as soon as next week to talk about ways to bridge the political divide that has gripped the state for more than a year.


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jesse stern
All posts tagged with: jesse stern
September 14, 2018 In In The Studio Tagged as bass drums george leger III guitar jesse stern recording single synths vocal By Jody Whitesides
We're quickly coming on the end of summer.
If the trees are any indication, we've already hit fall. If you're a student, summer has ended as school is back in session. Which means you're summer romance, the fling of your life has also recently dissipated or is about to dissolve into the ether.
Enter my new single "Till We Meet Again", a candid song about those loves we've had in life that we hope to rekindle somewhere down the road.
The journey of this song is one of several start and stops and finally a go.
Originally the intent was to write an upbeat tune for a TV show and for a library. I pulled in a bass player friend of mine to co-write it with me. However, there was a bit of miscommunication and he got miffed about the situation, which ended the direction of the song as I had envisioned.
Next I approached another bass player friend of mine, Jesse Stern, and we started working on the music. As a direction it was still to be a library track, however as we got going with it, lyrics started pouring out. He was going thru some dark stuff and was spitting out darker lyrics. Musically as it was speaking to me it had to be a bit more positive, maybe a little more longing. Suddenly we got a song that embraced all of that along with the sounds we were laying down.
During the process of the demo we got to a section of the song and were discussing how to change one bar for it's time signature. We spent a good deal of time trying to work out if we'd stick to the song's common time signature (which happens to be 4/4), or go with either 7/4, 6/4, or 5/4.
Multiple different drum fills were tried out. It was a songwriter's producing exploration into the wild blue yonder until we finally settled on one particular fill in 5/4 that provided such a sly feel to the section of the song that it was as natural as an organic ripe tomato.
Tracking the occurred in several studios. Namely mine for the acoustic guitars, synths, additional background vocals and drum programming. Yes, those are programmed drums. Jesse's studio was were the bass was tracked and some additional synths as well. Finally the vocals were tracked at George Leger's studio (Utopia Parkway Music) when it was located in Los Angeles.
One moment during tracking stands out to me. At one point George turned around in his producer's chair to show me his arms. The hair was standing straight up. He says to me, while Jesse is sitting there:
"This is your Purple Rain. You're giving me goosebumps."
Chances are you don't know George. He is a massive Prince fan. So much so, that he once took me to see Prince perform when I was down in the dumps going thru some tough shit in life. It was a shining moment. I digress. George was so taken aback by the vocal we were laying down and the quality of the song that he felt it would be my equivalent to Purple Rain. My reaction was "I sure hope you're right." Damn right, I'd love to have a song be as popular as Purple Rain. Hell, even half as popular would be ideal.
Another memorable moment came when George first noticed the bar of 5/4. He asked who the drummer was that recorded the part and who came up with the fill, he thought it was amazing. When I responded with, I programmed it, he thought I did a hell of a job. Very few people notice because of how natural it feels, it doesn't feel like a bar of 5/4. This prompted a discussion between myself, George and Jesse, mainly because it was George who originally gave me the idea of adding an odd measure in a song.
After getting all the vocals tracked, George and Jesse also sang some backgrounds. Once back in my studio, I felt I needed some additional voices for the backgrounds, so I enlisted the help of Val and Julia to sing some more parts.
George and I tackled the mix and eventually George did the mastering (as he's also a fantastic mastering engineer as well).
Now it's finally been released and is ready for your listening pleasure. I hope it gives you goosebumps like it did for George. Cause that would mean you'd tell others they need to hear and playlist it, like you will.
More music coming soon.
August 21, 2016 In News Tagged as erez ginat jesse stern single spotify thump thump thump By Jody Whitesides
New Single Thump Thump Thump
Thump Thump Thump dropped Friday August 19th 2016.
A labor of love that took a long road to fruition. I'm excited to finally have it out free in the world for you to enjoy. Interested in the lyrics and reading the liner notes? Click here.
Here's the Spotify link:
See you on the road soon!
BTW – It features Jesse Stern on bass, and Erez Ginat on drums.
August 26, 2014 In In The Studio Tagged as george leger III hit song jesse stern recording utopia parkway By Jody Whitesides
Making A Hit Song
What goes into the making of a hit song? This is a curious question. If there was one true answer, everyone would be doing it, and nothing would actually end up being a hit. Right? Conspiracy theorists like to believe that the major labels have some sort of computer algorithm that can predict if a song is a hit or not. As the British say: Bullocks. They don't know any better than any one else, the different is, they're in a position of power to sell something.
While recording Till We Meet Again, George, Jesse, and I get into a quick discussion about things that can help make a song a hit song. In this case, we're talking about a little trick that Jesse and I did with a particular transition of a song from one part to another. We changed something about the song structure in such a way that it makes people take notice. Watch the video about making a hit song and find out what we did.
Did you catch what we were talking about? Think you can go write a hit song now?
August 5, 2014 In In The Studio Tagged as 615ce g7th jesse stern ra studio taylor guitars till we meet again By Jody Whitesides
Capos And Recording
Not long ago I came across a new form of capos. In galaxy very close by. Actually it was this galaxy. More specifically it was in a town known as Anaheim. The Anaheim that sits in the California region of the planet earth. Capos are a funny business. Lots of musicians use the cheapest products they can find without thinking about how they affect the sound. I always look for the thing that will get the great sound. Oddly enough capos and the kind you use can make a difference. Which is why on such a faithful day where I found out about a company called G7th and their capos, I instantly made the switch. Why? Because they're awesome. Actually it had a couple of better reasons. First their weight. They have a good solid weight to them. Second, their ease of use. They work on some kind of engineering magic where you can set the tension as simply as closing your fingers. That way it doesn't clamp down too hard on the strings and push them out of tune. It's a love thing.
Today I'd taking you into the studio for a little clip about my upcoming song "Till We Meet Again" wherein you see me making use of the G7th's awesomeness. Click on that video and realize I too use capos to get the proper key and sound for a guitar and my voice.
So if you're looking for badass capos, especially the one I use – then you need a G7th. You won't regret it!
http://youtu.be/N0tsHT0g0oU
Yeehaw baby.
I think we're ready. Let me double check my tuning real quick.
technically with the panning you don't need to pan the microphones in my headphones
as we're recording. That's what I'm saying you can turn them back to center.
Alright. Let's see if we're
all set to go. That sounds beautiful my
head.
There's a little drum pattern that starts at what? Bar 3? You can set the record button to
the song position line to start there
'Cause that's a two bar count in for me and I start at 5. Do what? A one bar pre-roll? That's fine. As long as I know it's two bars.
We were in love…
and it was magic.
July 22, 2014 In In The Studio Tagged as barry manilow carol kaye george leger III jesse stern till we meet again By Jody Whitesides
Big Name Players In The Studio
We all like to talk shop in the studio, especially if it involves name players. Talking about amazing musicians we've had the pleasure or displeasure of working with, playing with, or meeting. Come on inside Utopia Parkway as George Leger III, Jesse Stern and I talk about some people we've met. Ok, mostly George talking about some amazing players. But still step inside, walk this way, you and me…
It starts with talking about Barry Manilow's guitarist knowing about guitar playing from over 100 years ago and then progresses into the more modern instrument of electric bass. It then quickly swings into a little chat about a very famous female bassist (big name players type) that both George and I have met, but Jesse had not.
http://youtu.be/QxCiDwpoc-I
Because the song was done in the 1800's.
He wanted to play it, like they played guitar in the 1800's. He knew enough about the history of music and guitar playing, to know what kind of chords they would have played. How they would have played the part. I was like. I talked to him after. I asked him, you know that stuff?
Yeah, I have to know that stuff.
How do you know.
I mean, do you?!?
Some. Yeah, I studied, I studied guitar for many years.
But I mean like…
And and classical and and history for different parts of the world.
That's where I started too. So I could technically say the same thing, but I don't go around spitting that kind of information out.
Well and I also…
He, but he, I mean this guy, I mean I couldn't believe what he's played. How complex it was and there's no little fret "icks" or nothing. I mean the guy is just like a fucking machine, what he was playing was unbelievable.
The history of bass, of electric bass is a lot shorter.
Than history of guitars. So.
But boy is it ever cool.
The first guy that I studied, like that I really studied not just learning the notes, but learning how the notes were played and how the tone came and all that stuff was Roger Waters.
Oh, well there you go.
And so, and then, you know from there I kinda learned, I kinda went back.
Do you know who I met and talked to for about a half hour?
Carol Kaye.
Yeah, at NAMM two or three years ago. She was sitting there all by herself.
Was she nice.
But was she nice?!?
She was awesome.
You know why we both ask that question?
Because she's not known to be nice. She's known to be very very mean.
Really?!?
She has a reputation for being very very bitter and having a chip on her shoulder.
Not with me. She was so cool.
I'm glad to hear that.
We talked about making records an' shit and everything.
She's a, I mean, obviously a phenomenal.
And I have pictures of her and me, from the NAMM show. She was so… Really?!? She's like that?
Oh yeah yeah.
That's what people say. I've never met her.
I've met her.
She wasn't like that with me man. She was just like, be just like I'm talking to you. So tell me ya know, I know you played with so and so, can you tell me what was it like when you guys first started playing. I mean you're a girl, you were playing. You know and she was like, yeah, you know I was there sometimes, just taking care of my family is really what I was doing. You know and I was really grateful to be doing that stuff. But yeah she was just like yeah I'd show up in a dresses and sessions and stuff like that and people would look at me and then I'd play my instrument and then they would look at me totally different.
Well, it could…
She was just such a sweetheart.
Well, it could very well be that maybe she's mellowing a little bit now. Because when I met her…
It could also be me. Cause I'm pretty respectful of people like that. And I'm also really, respectful of their experience.
May 27, 2014 In Video Tagged as drum fill drummers fills george leger III jesse stern recording till we meet again utopia parkway music By Jody Whitesides
Drum Fill Love
It's not often where you're in a studio talking about a drum fill. At least not often where you're proclaiming you love it. This is precisely what happened during a moment in the recording process of Till We Meet Again, a song written by myself and the awesome Jesse Stern. We're in the studio doing vocals with George Leger III when George blurts out something entirely unusual for an engineer / co-producer.
Talk about getting caught off guard, especially when drumming is like ESL. I remember wanting to be a drummer when I first wanted to learn an instrument. However that got nixed by my mom due to saying it would be too noisy. Instead I got a guitar and an amp. How much noise did that make? A whole lot more.
Imagine my surprise when a drum fill part I created elicits a response like what I get in the video. Of course the most polite response is what I gave, but seriously, in my head I was like – hey! I did that. Maybe I should have been a drummer first. What a different world I'd be in if that had been the case. I might not be the songwriter I turned out to be. Who knows, I could have become an on call studio or touring drummer. Ah, who am I kidding – I love the musician I am, but there are times. Times when I do wish I were a better drummer.
I said I love that drum fill!
Fuckin' love it.
It's a cool drum fill.
It's totally cool.
I done did that.
Totally fuckin' cool.
I have to make that a Phil Collins thing somehow.
Get it to sound like it's in a fuckin' glass room or something bizarre.
Oh lord.
Aw, c'mon man.
Have you subscribed to my YouTube Channel yet?
May 6, 2014 In In The Studio Tagged as breakdown george leger III jesse stern utopia parkway studio vocal By Jody Whitesides
Singing A Breakdown
One of the things an artist will discuss during the recording is how they will go about singing a breakdown. Which is exactly where I'm about to take you in the following video. George Leger III (co-producer), Jesse Stern (co-writer) and I take a moment to figure out the correct way for me to be singing the breakdown in Till We Meet Again. Jesse takes charge to give a mental picture of an example that should give the right vibe.
This is the breakdown where you go out onto the key, that like goes out into the middle of the crowd. And you like, hold the mic stand.
And the band.
You hold the mic stand in your left hand and you get down on your knees.
And you're just like…
Well then I should the carry on… Right?
Don't. Do, do, what you would do in that situation.
I'm thinking, carry. Well I, I think it. A softer version of what the original was.
Don't tell us. Just do it.
Yeah, yeah. Yeah.
Fuck it.
April 8, 2014 In In The Studio Tagged as ASAP Rocky FUNK george leger III hiphop jesse stern jody whitesides production rap South Park Mexican SPM By Jody Whitesides
White Men Discussing Rap
What could be more out of wack than three white men discussing rap music? That's right. Jesse Stern starts us off with an off the cuff remark about rap music and George Leger III takes over discussing the state of modern rap in Southern California. Don't get me wrong. There's a lot of rap I like for it's originality, it's beat, it's wild-blue-yonder approach. Yet listening to George talk about the artists he's hearing about from the youth group he works with, is definitely an eye opening and mind expanding situation for myself and Mr. Jesse Stern.
Find out my expression and how I react to a group that I've never heard of. Actually all the groups that George mentions are groups I hadn't heard of until he mentioned them. Jesse takes it all in stride. What ended up happening afterwards is that I'm now more aware of some of the new modern rap coming out of Southern California. Not necessarily a bad thing.
What say you? Who is rapping stuff so awesome that you can't believe they're not uber famous yet? Give me some names so I can flesh out my measly commercial rap collection.
There's a lot of really cool rap out.
Productionwise it's so minimalistic.
Uh Hmmm.
That I… it's like driving on ice.
Do you do a lot of rap?
I do where I work 'cause the kids, that's what they want to do.
That's what the kids are doing these days…
They're not producing music. They don't even know what music is. Well, that's not true. I can't really say that, 'cause… You know. They. It's been really intriguing with them to try and turn them on to other kinds of music.
And other stuff because they're so into this ridged little clique of music. ASAP Rocky, fuckin' ah, SPM, South Park Mexicans. Yeah.
Is that a band or a style.
That's a band.
I was about to say if that's a style, it's way off my radar.
There's a band down in Orange called FUNK.
They're just called FUNK?
They're just called FUNK. And like all the gangsta kids love 'em. They're all like, I want FUNK man. I hear it. Like who the fuck is FUNK? FUNK is the they're a band man.
Funk is that guy right there. He got the funk.
Well, they're, you know. Eh, South Park Mexicans, SPM, there's like four or five guys, that's all they talk about when they talk. ASAP Rocky is one of them.
Give me some more rap to check out in the comments.
– Jody
March 25, 2014 In In The Studio Tagged as compressed compression discussion distorted distortion george leger III hot jesse stern levels loud loudness mastering recording By Jody Whitesides
One Trick You Didn't Know For Loud Mastering
One thing these days that lots of people have complained about is extremely loud mastering of music and how it tends to kill the song. I'm someone who has heard many a song released where the mastering and/or mix was so brick wall limited that it ends up sounding distorted, lacking dynamics, and it's disappointing. It destroys the vibe of the recording, all in the name of attempting to stand out above all others when broadcast to the world. The end result of these loud mixes that are overly compressed and limited is one of making the song sound small and shitty. Small and shitty is not necessarily the result any self respecting musician would ever want for their releases. However, many record labels now force this concept of "make it LOUD" to the mixing engineers and the mastering guys.
Once in a while, a mistake can lead to a new discovery about how to approach doing something. Said mistake can end up starting a new way to look at a problem. Such is the case with an approach George Leger III stumbled upon while putting his mastering skills to the test for my song Touch. I have a version of Touch that has been mastered by the great John Rodd. But before I end up releasing the song, I'll consider going with a second master based on George's new technique. To put it simply, it's mind shredding loud mastering, without sounding distorted or compressed.
Watch as I get George to discuss the process of super loud mastering he stumbled upon, to my buddy Jesse Stern, who is also the co-writer on "Till We Meet Again."
Loud Mastering
So we can get the low down on all this trickery.
Well really all it is… is this is a 32 bit hard… uh, software mixer right.
But because it's 32 bit, you can crank the crap out of the levels internally. So I can take this fader and ride it up to say +9. And it won't clip.
It chops the top off, but it does it in a way that it doesn't sound dynamically compressed.
Like a soft clipping type thing?
So you can push it up and it sounds loud without sounding [distorted] compressed. Or distorted. Jody was just like: I don't know what you did man, but the file you gave me, the mastering… It's the loudest I've ever heard and it's like doesn't sound bad at all. It sounds great.
Well, yeah. He did a master of Touch.
Uh huh.
That he gave back to me and I was like it was just… what did I say? Mind shredding loud?
Yeah. It was super super loud. [it was so loud…] I didn't even realize I had done this when I did it. Until I went back and looked and I went, oh wait a minute I didn't go through this whole thing that I thought I was going through.
And I'm looking at the meters of my thing and my meters are still going up and down with all the dynamics. I'm like how the F^#$ is it so God damn loud!
Yeah. And not like: Phhhhfffftttt! Like crushed. Normally you do that and it gets crushed. What I discovered is that you can actually use this internal little mixer to jack the heck out of your levels, but it doesn't distort.
And it doesn't sound compressed.
That's cool.
It is really cool. Cause it's like you can add 6 to 9 db of limiting without it sounding at all like that's what you did. The nice thing that I like about the master that I did is… The attack of the kick and the snare are still there. Dynamically it's like BAM BAM it just sounds so good. I couldn't believe it. I was like, what the hell.
Okay, are we ready?
We're ready. We're ready. Anybody ready?
Have thoughts on loud mastering for your music – chime in in the comments below. I'm happy to discuss.
March 4, 2014 In Video Tagged as discussion feeling george leger III jesse stern music recording singing studio tracking utopia parkway music vocals By Jody Whitesides
Studio Vocal Mystery See Who I Make Fun Of
Back in the studio. This time some video was captured that pulls back the mystery of vocals. Where George Leger III, Jesse Stern and I were discussing the fine points of doing multiple takes of the same line, using different emotions. All in the name of creating the best vocal to tell the story. What comes out is a frank discussion between the three of us. I make fun of a movie. Then George really runs into an electric speech about vocals. Jesse (the white hat at the bottom left of the video window) provides a little comic relief along with giving George something cool. Followed by myself relating a story from a recording session with a large songwriter's organization. Watch what we said and did. Why? Because we're having a good time talking about what goes into a great vocal recording.
Studio Vocal Mystery
Transcription:
Sometimes it reminds me the movie La Bomba. Dude that sounded great twenty takes ago.
That's you know. No I'm not arguing that I know you gotta do and every little bit and piece, I'm, I'm fully there. I just think it's funny that the brother was like he had no concept of like, it sounded the same man. It's like, no it didn't.
I sometimes joke when I'm comping vocals and like go in between a few different takes, how about this one, and this one. and I just look at 'em and they'll say, they all sound exactly the same to me. I don't know.
We all comp different, right? Like I could give you the same data, you would come up probably… well maybe we will come up with the same. Cause it seems like we're thinking the same way I can… sense that. But some people I mean I'll give them a track, you comp it and I'll comp it. I'll come back and their comp will be totally different. You know either I go for one that has a lotta little bitty edges and stuff. Little character bits and I'll fix, I'll tune it if I have to. But, try to get the character stuff that makes, to me makes a vocal personable; have personality, right? And I have people that just absolutely like want the note to be perfect. That's what they're after. That's all they look for. Yeah. It's like, there's no… Cause you can fix… today we have the technology it makes it really easy to fix the note. You can fix the pitch. But you want to get that, you know you just started to do it. Your voice broke up a couple times in the first two lines. Which is exactly what I wanted to get.
Okay. So, anyways. I go for the feel like whatever makes me feel something. Yes!
Or what makes me kinda feel like I, I don't have words anymore. Yes. And you get that little buzz too, I get a buzz when it happens it's like I can feel it.
Well, you're a really good producer. It's fun to watch you work. Oh, thank you. That's why I like doing vocal with the man. Yeah, I wanna do vocals with him.
I, I love working. I just love producing. It's great fun. One of the things I was actually gonna say back to the vocals n something and stuff from movies and TV shows. In Canada, when they did We Are The World here. We had a song in Canada that was produced by David Foster. You know who David Foster is right Okay, do you know who Anne Murray is? yes she's like… She's a Canadian superstar, right? Exactly! She's the Canadian Stevie Nicks. Yea. Sorta. She's an… This woman has been singing her whole fucking life. She's a perfectionist. And she can usually do it on the first take. She's just that good. Well he goes and the same thing kinda happened with him. She got in the first two, first or second take, but he missed it. And they had this on the video that they did of the making of the thing, right? And, in the end it was like he he basically turned to her after he went 20 takes in. Listened to the first two takes and went: I'm so sorry. You did it already, I'm didn't even hear it. And he was embarrassed.
And it was just like… Wow. It happens. Yeah. Even to the best of the best. I mean Foster is…
You've heard heard of Harold Payne right? Do you know who Harold Payne is? He's a big time songwriter. And he helped write a song for Just Plain Folks. Which is a songwriters organization. Cause they did like a We Are The World. They brought in a bunch of different artists to sing different lines. And they had Alan O'Day producing, in the studio. Who's no slouch of a writer. He's had a couple of #1 hits. And Harold was sitting right, standing right next to me in this vocal booth. You know, to go over my line, do all this stuff. I go in. I do the first take. And I do it kinda bluesy. That's how I thought it came across. And Allan is just going take after take and I hear Harold pull my thing back and he goes. Dude, you nailed it on the first take. I'm sorry.
Stay tuned for more peeks on the inside.


Shay Frisch Peri is an Israeli artist and industrial designer living and working in Rome. Creating an almost weave-like look with the repetition of electrical adaptors and light indicators, Frisch Peri's light sculptures are like energy fields. The one that Daniela and I saw this past weekend in Chelsea (Campo 4012 N – the circular one with 'N' signifying the color black) had a wonderful glow to it as we walked into the gallery. Frisch Peri takes into consideration each individual space and the appropriate proportion of light required.
This piece, as well as Campo 1 N (the individual component used to create the larger work) will be at Haunch of Venison in Chelsea through March 3, 2012. You can see more of Shay Frisch Peri's work here and here.
This entry was posted in Architecture, Art, Industrial Design, Just Plain Cool, Light. Bookmark the permalink.


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Readability, however, is emphasized above all else. A Markdown-formatted document should be publishable as-is, as plain text, without looking like it's been marked up with tags or formatting instructions. While Markdown's syntax has been influenced by several existing text-to-HTML filters -- including Setext, atx, Textile, reStructuredText, Grutatext, and EtText -- the single biggest source of inspiration for Markdown's syntax is the format of plain text email.
To this end, Markdown's syntax is comprised entirely of punctuation characters, which punctuation characters have been carefully chosen so as to look like what they mean. E.g., asterisks around a word actually look like *emphasis*. Markdown lists look like, well, lists. Even blockquotes look like quoted passages of text, assuming you've ever used email.


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The Crooked Hill sign on the Sagtikos State Parkway was altered to read "Crooked Hillary" earlier this week.
"Crooked Hillary" is one of President Donald Trump's favorite ways to refer to his Democratic presidential opponent Hillary Clinton.
Along with "Killary," which came into existence over the Benghazi scandal that many held then-Secretary of State Clinton responsible for, "Crooked Hillary" was quickly adopted by her detractors during the contentious campaign leading up to the 2016 presidential election after Trump repeatedly coined it.
You'd think now that we're six months into Trump's controversial presidency — and eight months past Election Day — "Crooked Hillary" would be a thing of the past, but it lives on. In fact, Trump referenced "Crooked H" in a tweet, of course, just yesterday.
But wait there's more: For a brief period of time this week, an exit sign on Long Island's Sagtikos State Parkway was renamed, albeit illegally, in honor of Clinton's nickname.
The green traffic sign for Crooked Hill Road was defaced with an "ary" at the end to read "Crooked Hillary," as spotted by Twitter user @chrisbiv, who shared tweeted a photo of the sign on Wednesday.
The sign was returned back to its normal Crooked Hill glory later that day after the vandalism was reported to the Department of Transportation, Newsday reported.


text:
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text:
DOESITROCK.NET
"What Good's A Rock, Without A Roll?"
Apocalyptica @ The Forum
doesitrock November 13, 2010 Gigs
It was clear tonight was going to be special as we trundled our way to the back of the huge queue snaking down side streets and back alleys behind The Kentish Town Forum. Finally in from the cold damn air, we were just in time for the sole support act of the night Pain of Salvation.
We were immediately stuck by a wave of crushingly heavy guitars and epic bass loud enough to jolt the earth off its orbit. Now I wasn't even down the front, but I was having issues with the sound levels (not something that has ever bothered me before)! Even their equipment seemed not to like it as they kept shorting out during the first half of their set.
Thankfully they toned things down enough for me to discern what was being played, which was a series of epically struck guitar chords which made for a atmospheric noise prog backdrop of monstrous proportions. There was plenty of noise and not a lot of action sadly, but they excelled when they incorporated different instruments like keyboards and strings to form wondrous environments of rock sound. To match their meandering musical aspirations, their image was distinctly Prog rock too as they didn't have a decent haircut between them. We had a Pocahontas ponytail from the vocalist, long blonde dreadlocks from the rhythm guitarist and a Chard Kroeger mullet from the bassist, not a great showing! They seemed to go down well worth the crowd, but left e very underwhelmed & slightly deaf.
Thankfully my hearing had recovered in time for tonight's headline act, the classical metallers Apocalyptica. Immediately upon first glance you can easily tell that they are from Scandinavian, with such long and pristine hair. They stood to rapturous applause before they even got started as their armed themselves with their bows and began to play. Apocalyptica are a truly remarkable band as they play some seriously heavy metal, on three cellos'!
The sound of their instruments was astounding and utterly beautiful as the unusually sedate crowd sat back and admired the talent on display. They kicked off with some tracks from their latest album 7th Symphony which were loaded with melody and drive. With each Cellist playing a three part harmony on each track it's easy to understand just how beautiful this was to hear. I'm not undermining their rock credentials either, as when they rock out they do so in style!
Playing a cover of Metallica's Master of Puppets while bounding about stage was not only sounded truly spectacular but a technically impressive feat to pull off. They are masters of their instruments who just happen to love heavy metal, which is fine by us! Witnessing a room full of long haired heavy metal fans stare and admire classical musicians was a priceless sight.
For the occasional song during the set they were joined by a vocalist, who despite being in-tune was under powering. He was up against it tonight, as the cello firmly took centre stage tonight. During each song break, band leader Eicca Toppinen would talk with the crowd keeping a tight bond with his audience. Halfway through he said in his heavy Finnish accent…
Would it be alright If we played you song beautiful Cello music
To which a resounding roar replied in agreement. They each took seats and played out a few of their instrumental tunes which were astoundingly brilliant, playing some (what I'm told were) supremely technically difficult pieces with apparent ease. Of the 3 Cellist it was Perttu Kivilaakso who seemed to get the good harmony lines and his maestro looks matched his abilities.
They soon rocked it up again with some more covers, this time Sepultura's and another Metallica tune Seek & Destroy which each had the crowd singing their hearts out before dashing off for a well earned break. They returned to play a brief encore which included sing-along hit I Don't Care and an inspired, heavy speed metal version of the classical masterpiece Hall of The Mountain King. After nearly 2 hours they departed with monumentous applause echoing round the venue!
Such a show cannot be judged alongside any others I've seen before. It was simply unique and stunningly great. It was brilliant to see musical genius's melding 2 genres which seem to co-exist with such grace. Lovers of both classical and metal will find something to love about one of the most enigmatic bands I've ever seen! Sheer Virtuosity!
Classical, Gigs, Live Music, Metal, Rock
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So so good! I would have been slightly less complementary about Pain of Salvation!