You must have heard the name of Adidas Originals. No? This brand is famous for selling sportswear. Now fashion and adidas lifestyle products are also on the market. Whether you want to buy a product from Adidas, or a sports shoe (Adidas trainers), a training dress or a bag, you will get all of them online. This means that you do not have to buy the products. With a mouse click you can purchase the Adidas product you choose.
Many online stores offer Adidas products. However, before purchasing, you must make sure that the products sold by the stores are genuine or just copies of Adidas Originals. Well, the question arises how to know if the product they sell is genuine or not. In fact, many people would read this question after reading this. You have to look at the credibility of the website. Always buy products from renowned online stores. You then have to check the customer's reviews / feedback to see if the products offered by the store are genuine or not.
In this article, let's talk about some of the most popular Adidas Trainers that have been frenzied worldwide.
Adidas Gazelle is a very popular shoe. In fact, all Adidas fans are sure that this pair of shoes in the closet. This shoe has an extra lining around the ankle and a soft striped outerwear decorated in different colors. If you like to wear black shoes, you definitely love shoes with shoes in black and white stripes. This shoe style will never go out of fashion. So if you want, you can buy a few Adidas Gazelle.
Adidas Samba Denim trainers were training shoes for frozen tracks. In 1962, these shoes were introduced. These shoes have become popular among people all over the world. Originally, they were created as a dominant indoor football boots, and now they have become brass footwear. The Adidas Samba Denim trainers have become modern street classics. Available in different color combinations. Crystals of white / royal blue and collegial gold are best combined with denim and t-shirts. The shoe is lightweight lining and white striped, royal blue leather makes Samba a timeless classic.
Adidas Beckenbauer Trainers is one of the most valuable Adidas retro-style shoes. It was introduced in the 1982s as training shoes became a focal point for all kinds of purposes. Thanks to the black, deepest earth and gold, the Beckenbauer Trainers are timeless classic throughout the year.
Adidas Spezial Trainers look good when wearing jeans. The Spezial trainers presented in 1979 were designed as indoor handball. Some of the world's best players are wearing these coaches. This classy shoe is available in three colors from Adidas, which is best available in the combination of dark blue and sky blue.


michael myers | Screaming Soup!
SCREAMING AT TIME WARP HANGOVERS AND HALLOWEEN COMIC REVIEWS!
Howdy there, Scream Freaks! Gonna keep this one short, 'cause we're still recoverin' from a mighty impressive production of "Rocky Horror Show" last night that had more dry humpin' action than a lover's lane packed with high school virgins on a Friday night! Now, we've been to numerous midnight movie rodeos to see this kooky celebration before, but this was pretty excitin' stuff, 'cause it was our first time watchin' it performed as a stage play versus a shadow cast mimickin' a movie screen behind them. Luckily, the audience was still allowed to shout all the classic profanities when cued with hands full of props and alcohol, makin' this an experience we won't soon forget. Lots of impressive singin', ingenious use of space, and it definitely had the most attractive and talented cast of yahoos we've ever seen parade around in sci-fi drag for this tireless cult phenomenon!
Anyway, for those on the edge of their bar stool waitin' for the next excitin' episode of Screaming Soup!, rest easy, 'cause it's comin'. We're tryin' to wrap it up before we start on the next parody ad for Full Moon's Dollman Kills the Full Moon Universe comic, and we're already 2/3 through the animation. Woo doggy, we can't wait for y'all to see what's comin'! We've been experimentin' with some new special effects that're makin' the animation look so good, we're committin' to this bein' the best episode we've produced yet! There's new villains, more danger, and a sneak peek at the literal hell to come for our gang.
On a side note, once we're done with this episode, we're strongly considerin' doin' a Graphic Violence video for Michael Myers's run of comics in time for the new Halloween flick. Don't hold us to it just yet, but we do have everyone of his comics and just finished rereadin' them for all the notes so we can start writin' a script. From Myers's original foray into the funny books to his last sequential killin' spree, we'll discuss each series' stories and their significance to the Halloween movies and their different timelines.


The Pokémon series are a series of role-playing games set in several different regions including Kanto, Johto, Hoenn, Sinnoh, Unova, Kalos, Alola and Galar.
The series focuses around a young player who is out to become a Pokémon master. Out of Nintendo's flagship series, it is the most recent to debut and one of the last Nintendo IP's of the nineties to debut. Although Nintendo owns the rights to the game, for example, those rights are managed by The Pokémon Company.
Any page that has [[Category:Pokémon Games]] on them will be added here automatically.
Pokemon - Quadruple Battle Action!
Pokémon Ash & Dust Anime - Episode 1: Making a Wild Entrance!
Pokémon Ash & Dust Anime - Episode 2: New Rivals for a New Region!
The Pokémon series being as popular as it is has spawned a few series spin offs which focus around all sorts of different things and have a different play style to the original series.
One of the most popular spin off franchises it focuses around Pokémon as opposed to people and is not focused on the catching of Pokémon in fact you can not catch Pokémon at all.
Another spinoff. It focuses around Humans in a more personal way and is a free romaing platformer where the characters move around in a story as a police officer in the Pokémon world interacting and co-operating with Pokémon in a new way.
In this game, Xyphyl, a red Mew, goes on an adventure to rescue the kidnapped Princess Blooe. He is trying to prove how awesome a red Mew can truly be!
What new stage would you prefer to want in SSBU?


Darren Hole's company, Dude and Arnette, first came to our attention in w2006, when we were looking to replace our existing, very noisy, dilapidated cowl which had been in situ for only six years.
We searched the internet for a company that specialised in oast house cowl construction and refurbishment and came across Dude and Arnette, which has been in oast house cowl construction in Kent since 1937. Their site seemed to tick all the boxes and we asked Darren to look at our cowl.
When he removed it we could see that the cowl was beyond repair, it was almost falling apart, and he gave us a very competitive price for a new cowl.
The workmanship and quality of the new cowl was superb. He even made a silhouette of our much loved retriever to go on the finger.
The cowl is a real feature in the area and attracts many admiring comments from neighbours and dog walkers.
However, after eleven years we felt the cowl needed a bit of tlc. We contacted Darren and he gave us a very acceptable quote for removal, repair, refurbishment, five coats of paint and refitting.
On inspection the cowl was in excellent condition, showing very little sign of wear and tear, despite everything that the elements had thrown at it over twelve years. Even Darren was impressed at how little repair would be needed, a testament to the quality of its construction.
The cowl was then taken to Darren's workplace for refurbishment and five coats of gloss paint.
It was returned on Wednesday 4th October 2017 at precisely 9.00am (Darren is very punctual) looking extremely resplendent in its five new coats of white gloss and brand new retriever silhouette. It took only twenty minutes to refit and check that everything was in working order.
The customer service offered by Darren and his team is second to none. Darren is very friendly and personable and nothing is ever too much trouble for him.
He clearly loves what he does, takes great pride in his work and it shows in the outstanding quality of their product.
His company really is a pleasure to do business with. They are professional, dedicated and reliable and we can't speak highly enough of them. We would recommend them without hesitation.


text:
Harry M B Hurwitz
Meta-Logs and Meta-Signs
Posted on February 1, 2013 by HMBH
By a meta-log I mean a written device which identifies a word or a phrase for a comment and does not involve the meaning of the word or phrase. In a sentence this means that the subject of the sentence is not what the word denotes, but that the word is an object for discussion. It can occur when I talk with others about how a particular word or a phrase is being used in ordinary speech, or in writing, as when an author is discussing how a word or a phrase has been used by another person.
The prefix *meta*, was used by Aristotle (c. 360 BC) to refer to a topic in retrospect. *Metaphysics* therefore was a discussion about material matters he had studied, a reflection about its first principles. It could be translated as "after physics", or "thinking about physics". Over successive the centuries the meaning of the word Metaphysics shifted substantially so that most people now equate it with "Pure Philosophy" as distinct from its specific areas, say, Logic, Political Philosophy, Ethics, Aesthetics. *Meta* as here used has been combined with *log*, as in *meta-log* and has been assigned a distinct, unambiguous meaning: a way of identifying words, phrases, even sentences when these are being talked about, or discussed — that is, are the subjects of a thought — and are not used in their normal, denotative way.
A problem arises however, when talking, speaking or lecturing, and not writing particularly in the latter situation, when lecturing. The speaker may wish to talk about a concept and in order to retain the interest of his audience, he raises or lowers his voice, adjust its volumes, perhaps also gesticulates in various emphatic ways: raising eyebrows, wrinkling his nose, looking skywards (a sign of desperation perhaps) and — using gestures like marching up and down the stage, or raising his hands to show the importance of what is being discussed. All these are aids which he hopes enlivens his presentation, give emphasis to particularly ideas, maintains the interest of the audience. We can refer to the lecturer punctuating his material, bringing it to the attention of the audience, making certain items more memorable.
One widely used gesture which shows that something is being quoted from another source, is to raise one's hand, extend two fingers and rapidly flap these. These are air quotes (shown above) — visual quotation marks! It shows that the words are a quotation, or refers to a concept which is widely used but which does not necessarily meet with the approval of the speaker himself. For years I used this sign whenever I used the word *instinct*, a term anathema to me at the time. The term is almost without meaning within contemporary academic psychology and, although widely used by the English speaking followers of Freud, it is a poor translation of the German word *Trieb* which means an impetus, or inchoate driving force. The term *instinct* on the other hand, as was used by some biologists at the turn of the 20th century, referred to an action pattern which was believed to be unlearned — that is, its origins were unknown — but is within the repertoire of an animal through a genetic (again, unknown) process. It was re-introduced by Konrad Lorenz and N. Tinbergen in the 1940's but in a different sense to its earlier use. This simply added to the confusion. Tinbergen often referred to innate action patterns although his famous book was called A Study of Instinct (1951).
But we also need a gesture to indicate that a term or expression is not a quotation from some existing text, but is a topic under discussion. If the subject refers to a fictitious event or something which is likely to confuse an audience, it has been customary to place it in gestural-quotes. My favorite example: the bandersnatch ( see Lewis Carroll's Alice in Wonderland). Once an audience accepts the bandersnatch as a fictitious animal, which has been given an incoherent description in the poem "The Jabberwocky", there is no need to place it in quotation marks, or give it any distinctive marking: the reader and an audience is now well prepared and is therefore unlikely to get confused. But when one wishes to discuss this "animal" and others of a similar nature, the discussion becomes "meta-talk" and one may wish to indicate this by using a distinct marker — or meta-log. In writing the meta-log I have suggested on an earlier occasion is *x*, where x refers to the object under discussion, whereas when an idea is involved which requires more than a label but an expression, we can use *xyz*. Time will tell what conventions will get adopted.
In speech, or when speaking, I propose to use a sign which is easy to use to indicate that we are in "meta-talk" mode, that is talking about a concept. The sign involves raising both hands in clinched form to shoulder level, then quickly stabbing the air with both forefingers thrust forward, like an adder on the attack. The gesture is the same whether using a single word or a whole phrase. The audience will very quickly learn what meaning is being conveyed and distinguish a quotation from a comment about the status of a concept!
This entry was posted in Commentary and tagged asterisks, language, meaning by HMBH. Bookmark the permalink.

redpajama_set_name: RedPajamaCommonCrawl


The Aon employee benefits and digital team wanted a creative and digital partner to help them deliver campaigns and add value to their digital design process, offering a fresh perspective, stretching the boundaries of the brand and delivering integrated quarterly campaigns with challenging deadlines.
Each quarter, we develop campaigns based on a thought leadership and content theme. Whilst the Aon brand is clearly defined, we work within the guidelines to create a distinct quarterly campaign with headline messaging, tiered content hierarchy, infographics and imagery.
We deliver the campaigns across all channels, including hero-pieces of printed collateral and interactive PDFs, sales presentations, social media, events, exhibitions, email and website assets, working with different members of the Aon marketing team to ensure they have exactly what they need to launch and sustain the campaign for its duration.
In addition to the campaign work, we also support the digital development team with design and UX services on their digital service offering development. We work collaboratively with their internal delivery team to design and prototype the new employee benefits digital platform which is integral to Aon's future development strategy. We continue to work as an extension of the Aon team, providing creative and digital support whenever needed. A true partnership has evolved and we enjoy an open forum to discuss new ideas, put forward best practices and add value whenever there is an opportunity.


They provided free pizza. which was very good. thank you!
Parked right in front. Couldn't have asked for better.
Found out later that adjacent lot was available.
Went early and found convenient parking on the street.
Greeting at the door. No window paneling at the ticket office.
Free Parking. Location easy to find.


What's it like to meet (3 out of 4 of) the Beatles? Read on.
February 6, 2014 in American Rewind, History.
R.I.P. Phil Everly. Where Were You editor Gus Russo shares his memories.
January 4, 2014 in American Rewind.


As you can see the bins & containers picture displayed above, the Modern Loundry Room Design, based on the many download counts this bins & containers picture has got, it means that this modern loundry room design is one of readers' most-loved bins & containers inspiration. This particular bins & containers is furnished with some great stuff, including industrial plastic storage container tote, large heavy duty plastic material, and few more such as the six snap on lids and six pack totes, etc.
This bins & containers photo, which was originally found here, is of course not just the only one we would want to recommend to you. There are tons of bins & containers photos just like this bins & containers gallery set. In the next page, we have Minimalist Interior sporting 8 x 10 wooden a-frame garden storage sheds and wooden window box planters; published related to wooden storage buildings topic. While in previous page — labeled under galleries — is the Simple Outdoor sporting wooden tough storage shed and french sliding doors.


Issues and Opportunities — Part Two by Tony Horava — In February, our issue focused on reading in the digital age. We had more papers than we could publish. This is the second installment on this crucial and challenging topic.
by Tony Horava — Tony explores the impact of social versus private reading on the transformation of our digital culture.
Going from a Shared Experience to Sharing the Experience by Brenda Boshela and Brian Hall — The authors enumerate how they are helping students to increase their reading and comprehension skills at their particular institutions.
Creating Community through Reading by Dede Elrobeh, Cindy Ortega and Renee Smith — This is about collaboration between the library and Reading faculty for students who are unprepared for college.
Why Print Collections Still Matter in the Digital Age by David M. Durant — David cautions that inevitability of print's disappearance is a choice that most libraries are ill-advised to make.
Opportunities, Challenges, and Classroom Practices by Herman A. Peterson — Experience with teaching developmental reading at a Navajo tribal nation where students have grown up in a predominantly oral culture.
Support for Communities and Classrooms by Anne Burke, Janette Hughes and Renee Sanson — This article underlines the importance of libraries in building and nurturing a digital community of learners.
Don't Forget About Small Libraries by Bob Holley — Bob expands on the fact that small libraries don't get the respect that they deserve.
Is There Such a Thing as a Nimble Academic Library? Thoughts on Governance by Allyson Mower — Is there an easier way to make decisions in libraries?
Hello to Bangladesh & Farewell to Licensing? by Ann Okerson — Can library concerns be represented in statutes around the world? Time to ramp them up.
Reviews of Reference Titles by Tom Gilson — Tom reviews Political Handbook of the World, Ancient Creatures, Encyclopedia of Asylum Therapeutics, 1750-1950s and many more.
American Crime Fiction by Dr. Michael Adams — Books we need to keep in our collections.
Monographic Musings by Deb Vaughn — In this issue, learn about the legalities of licensing in the realm of information resources and services.
Beckett by Donna Jacobs — Donna was celebrating her wedding anniversary hiking, fishing, eating and reading.
Round vs. Flat Characters by Bruce Strauch — Leslie Klinger vs. Conan Doyle Estate, Ltd. — Frustrated author goes to law school.
Copyright Column by Laura N. Gasaway — Lolly answers many intriguing questions. How about to what extent an image must be transformed so that it qualifies as fair use?
Glimpses of the Editing Life, Then and Now by Myer Kutz — Myer contrasts the editor's life in the last century to the digital world editors must now learn and navigate.
The Library is Dead. Long Live the Library by Paul Chilsen and Todd Kelley — A conversation about the library and how it is for people as well as books.
by Donald T. Hawkins — Don reports on Anticipating Demand: The User Experience as Driver: The 2015 NFAIS Annual Conference; and Creating Sustainable Community: The 2015 ACRL Conference.
Reports of Meetings — ACRL by Lynda Kellam and more reports from the 2014 Charleston Conference by Ramune Kubilius and her crack team of reporters.
by Bruce Strauch — What do flurries of doves and the Queen's English have in common? Read about it here!
How Closing a Media Service Point Led to Opening the DVD Collection and Increased DVD Circulation by Kim Wallis — A story about a big building, a lot of service points, and limited staffing.
Shifting Sands by Mark Y. Herring — Will libraries be able to make the changes that need to be made to remain relevant?
What To Do With All Those Damaged Books? by Stacey Marien and Alayne Mundt — The story of how Stacey and Alayne eliminated a considerable backlog of damaged books.
Finding Solutions for Streaming Video at Cornell University Library by Jesse Koennecke — This is about providing access to streaming video content.
Can You Give Me a "Ballpark" Price of What This Will Cost? by Michael Gruenberg — I love how Michael always brings a song into his columns.
Anatomy of a Collection by Tom Leonhardt — Tom is collecting nautical material that he can afford. What a collector he is!
Collaborating to Build: Using Consortial Collection Analysis to Inform Collection Development by Genya O'Gara and Anne Osterman — Discussion of this case study focuses on the VIVA efforts to identify copies of older less used monographs as candidates for deaccessioning or retention in shared print facilities.
Fireside Fiction Keeps the Stories Coming via Crowdfunding and Subscription by Jerry Spiller — Fireside Fiction wants to publish great stories and pay writers and artists fairly.
At the Only Edge that Means Anything/How We Understand What We Do by Dennis Brunning — Dennis is concerned with archiving books, search engine development, and desktops.
The 2014 Credo Survey by Allen McKiel and Jim Dooley — Two parallel surveys over the same questions were addressed separately to students and faculty.
Future Charleston Conference dates through 2019 can be found here!


Providing Health Care on ever level including nutritional supplements, detox services and Chiropractic Care in Fenton, MI.
Boil the water and steep the 10 Teabags for 10-15 min.
Let cool completely on counter.
Once cool put into glass jar (If all the way to the top dump about 1 and a half cups out.
Make sure it is room temperature and add the starter cup of Kombucha and the Scoby.
Place coffee filter over the jar and secure with rubber band.
Put the jar in a warm dark area at 73-83 degrees.
Wait about 10 days and taste it. You can taste it at any point. The longer it sets the less sweet, more vinegarie it will be.
Once it taste pretty good (Usually 10-13 days for me) then you are ready to bottle it.
Fill about 20% of each individual bottle with the fruit of your choice, (strawberry is my fav) let sit with a sealed bottle this time, in the same area as before and then put into the refrigerator. Once its cold it is ready to drink. Poor into a glass and enjoy.
Boil unpeeled potato until soft. Let cool slightly then peel and mash.
Stir in confectioners' sugar into the mashed potato and mix until stiff. On a piece of waxed paper or plastic wrap roll out potato mixture into 1/4 inch thick rectangle. Spread peanut butter over entire area (adjust thickness to suit taste). Roll up jellyroll-fashion wrap with plastic wrap and refrigerate for few hours. Cut into slices to serve.
Place Oats in food processor and pulse for about 10 seconds. Add remaining ingredients to food processor and process until smooth.
Note: you can then add walnuts or raisins.
Divide batter among cupcake liners and back for 18-20 min or until toothpick comes out clean.
Healthy Brownies – Full of Protein & honestly delicious!
Mix in chopped chocolate bar.
Line 9″x13″ baking dish with parchment paper or grease chilled pan lightly with coconut oil.
Press thick batter into shape.
Bake at 325 for 35-40 min or until toothpick comes out clean.
*We do not use traditional sugar due to its harmful effects on the body such as increased rick of heart disease, stroke, cancer and diabetes.
Boil medium pot of water, cook whole corn for 3 min., place in cold water, drain and cut from cob. Mix all ingredients together, refrigerate for 30 min. and serve.
Preheat oven to 400 degrees Cut squash into long 1/3 thick pieces. Toss and coat each one evenly with olive oil. Lay on a wire sheet on top of a tinfoil sheet pan and bake for 40 min., flipping half way through.
Roast Bones to bring out flavor for about 30 min. at 350.
Add Bones and 1 Gallon of filtered water to pot.
Bring to a boil for about 5 min and reduce to a simmer.
Every 2 hours take the excess off the top. Grass fed beef and healthy fed animals will have much less excess come off.
The last 30 min add the Garlic and Parsley.
Store in a jar and use within 5 days or freeze for later use.
*Bone in broth is known to have great health benefits such as reducing cellulite by improving connective tissue, increase hair growth & strength, improve digestion, re-mineralizing the teeth, boost immunity, improve allergies, brain health and liver function.
Blot Chickpeas with paper towel to dry them fully.
Toss in a bowl with oil, salt, garlic and cayenne pepper to your liking and bake for about 30-40 min. watching near the end to be sure they don't burn. Let cool and you have a healthy treat!


text:
Silverthorne snowboarder wins FIS slopestyle season title with victory in Italy, Gerard takes second
Sports Sports |
Antonio Olivero
aolivero@summitdaily.com
Silverthorne snowboarder Chris Corning, 18, smiles while hoisting the the crystal globe in Seiser Alm, Italy, his prize for finishing the 2017-18 season atop the International Ski and Snowbord Federation World Cup slopestyle leaderboard.
Courtesy FIS / Special to The Daily |
In the weeks following a medal-less 2018 Pyeongchang Winter Olympic Games, Chris Corning didn't sit and sulk. Rather, within a month of the conclusion of the Olympics, Corning took second at the Burton U.S. Open and this past weekend clinched the 2017-18 International Ski and Snowboard Federation World Cup for snowboard slopestyle.
The 18-year-old Silverthorne resident hoisted the crystal globe — the prize awarded to the FIS snowboard slopestyle World Cup champion — after he won the final World Cup event of the season in Seiser Alm, Italy.
Just over a week after his final run score of 87.95 was good enough for a second-place slopestyle finish — behind Canadian Mark McMorris — at the Burton U.S. Open in Vail, Corning took control of the competition on his first run.
On that fateful first finals trip down the Seiser Alm slopestyle course, Corning's 87.11 was good enough to best the second place score of Norwegian rider Fridtjof Tischendorf (84.36). Corning's final round heroics came after he finished the qualifying round in a tie for the top score, of 90.50, with 19-year-old Hawaiian Lyon Farrell, who finished in third place.
"I'm super stoked. That's why I came to Italy: to get this globe," Corning said. "I had to win today to make it happen, and I did. I'm also happy that Lyon stomped his run, and I'm stoked to share the podium with him."
Corning just might be riding at a higher level than he ever has before, as his qualifying and final round performances dominated the men's event at Seiser Alm.
His final round performance included a solid rail line featuring a backside 270 (three-quarters of a full rotation) in and 270 out of the first rail feature, a switch backblunt to 50-50 to backside 360 out of the second feature and a frontside 180 to switch backside 360 out of the third feature. His take on the first part of the course was followed by his execution of a switch backside 900 (two and a half full rotations), a backside triple cork 1440 and a frontside 1080 on the slopestyle course's jumps.
After a January World cup event in Laax, Switzerland, was cancelled, the 2017-18 FIS World Cup snowboard slopestyle season was comprised of three events.
At the first event in September in Cardrona, New Zealand, Corning finished in fourth-place. Nursing a nagging hip and lower back injury suffered at the U.S. Grand Prix at Copper Mountain Resort in December, Corning did not compete at the second snowboard slopestyle World Cup event of the season at Aspen Snowmass in January.
In the atypical Olympic year, Corning's fellow Silverthorne snowboarder Red Gerard, the 17-year-old Olympic slopestyle champion, did not compete in Italy but finished the season ranked second in the FIS slopestyle World Cup race, 50 points behind Corning. Silverthorne resident, Michigan native and Olympic big air silver medalist Kyle Mack, 20, also didn't compete at Seiser Alm.
Corning's 2017-18 slopestyle World Cup season title win comes nearly two years to the day after the then-16-year-old secured his first overall World Cup slopestyle title at the Spindleruv Mlyn ski resort in the Czech Republic.
Corning also leads the World Cup big air standings heading into this weekend's final big air World Cup event of the season in Quebec City, Canada. His 1,800 points in big air rank him 300 points ahead of Japan's Yuri Okubo (1,500 points).
Mack invited to X Games Norway
On Monday, Silverthorne resident Mack was one of eight snowboarders, eight skiers and 13 skateboarders who received an invitation to X Games Norway 2018, scheduled for May 18-20 in Oslo.
The Olympic big air silver medalist and Michigan native was invited to the Big Air competition along with other top international names, including 15-time X Games medalist and 2018 Olympic bronze medalist Mark McMorris.
He'll be looking for his first X Games medal. As for the other snowboarders currently invited to partake in the X Games Norway big air competition, the list includes a who's who of the best international slopestyle and big air stars: Canadian Big Air superstar and multi-time X Games medalist Max Parrot, Norwegian favorite and 2018 X Games Aspen slopestyle gold medalist Marcus Kleveland, the Olympic big air champion Sebastien Toutant of Canada and Japanese high-flyer and snowboard sensation Yuki Kadono.
Neither Gerard nor Corning are currently listed as invited for the May 18-20 event, which doesn't feature a slopestyle competition.
This year's X Games Norway big air competitions will be held on a scaffold jump, much like the sold out competitions in 2016 where 20,000 spectators watched the first-ever X Games in Norway.
Sustainably harvested aspen wood used to create this year's X Games medals
Summit Tiger Nordic skiers starts season off strong, boys place 1st, girls 2nd at Mount Massive Golf Course
Summit girls basketball wins two straight as they win in another nail biter against Battle Mountain
Colorado Avalanche Information Center stresses planning, education in report on fatal slide


text:
Clairo Has Something to Prove
In the immediate aftermath of her viral stardom, Claire Cottrill was underprepared and overwhelmed. Then she got to work.
Photo by Jimmy Bui
by Quinn Moreland
On a Friday night in Oklahoma City, everyone is air guitaring to Paramore and sipping toxic concoctions of Patrón and iced tea out of red solo cups. Leading the singalong is Claire Cottrill, who clutches a plastic water bottle like a microphone as she shouts "Why do we like to hurt so much?" and whips her dyed orange hair to the beat. On the other side of the room, near a table stacked with chips and watermelon gummies, two of her friends pull off a trick where one throws a lemon across the room and the other spears it on a knife. Someone switches the music to Beyoncé, and everyone cheers in approval. The scene could be happening at any college campus nationwide, and Cottrill looks like any 20-year-old.
Except the party is taking place in the bowels of the Chesapeake Energy Arena, and minutes earlier, Cottrill was singing her homespun songs about romance—blooming, unrequited, and everything in between—in front of thousands of people. As Clairo, Cottrill performed tracks off her eclectic, guileless debut album, Immunity, exuding an unruffled chillness. Though she confidently handled her opening set for the chart-topping pop singer Khalid, her mannerisms were small, partly because of an autoimmune disease that can make it hard for her to move, and partly because the power of her music—a blend of polished melodies and indie rock introspection—comes from the heart, not the body. After the show, she is pleasantly surprised with her performance: "Oh my god, that was so much fun!"
It's my first night traveling with Cottrill and her band as they make their way from Oklahoma to Chicago, and the Claire commanding a massive stage and belting Beyoncé is tough to square with the Claire that I interviewed a year and a half ago, when she had first become a viral phenomenon. That Claire was friendly, but also insular and guarded. She had been thrust into the spotlight after uploading a makeshift webcam video for a plinking synth-pop song called "Pretty Girl" to her YouTube page; the video has since collected more than 36 million views. But back then, at the very end of 2017, she had just played a show with Tyler, the Creator in which she struggled to emit much of a presence, singing quietly over instrumentals playing from her laptop, looking like she'd rather be anywhere else.
A few months later, she followed up the "Pretty Girl" video with a glossy, high-budget clip for her song "Flaming Hot Cheetos" that switched out her unassuming charm for a squad of dancers dressed as limp red cheese puffs and a life-size bag of "Clairitos." Some more so-so new songs trickled out. Around that time, it seemed like Cottrill might become another viral casualty—a one-trick pony who gets rolled over by the same insatiable internet culture that brought her a brief flush of fame. As former Vampire Weekend member Rostam Batmanglij, who co-produced Immunity alongside Cottrill and speaks of her with the reverence of a proud older brother, puts it to me on the phone, "If the stuff that I made when I was 17 suddenly reached 40 million people, I would probably have a meltdown."
But Claire Cottrill did not melt down. She leveled up. With a fanatical focus, she began to improve her live shows by rehearsing intensely with her band, recruiting a vocal coach and, she confesses with a cringe, watching videos of herself performing, like a football player looking to improve their tackle. After realizing she wasn't comfortable with that regrettable "Flaming Hot Cheetos" video, she removed it from her YouTube channel. She started writing music that she really believed in.
"All those things were in front of me: You suck at performing, you suck at interviews, you need to make music that's good, and you need to stop being a crybaby," she bluntly ticks off, thinking back to those early days. "It was a very low point, but it was one of the best low points because it was like, Damn. You need to work, honey."
The day after the Oklahoma City concert, we wake up in the sun-beaten parking lot of a Sheraton on the outskirts of Kansas City, Missouri. There's no show today, and Cottrill, her band, managers, and crew each do their own thing: sleep, laundry, scam a local hot yoga studio for a free class. Despite the city's legendary barbecue offerings, Cottrill wants to eat someplace familiar, so we head to Panera Bread. The subterranean lunch spot is mostly empty, aside from a Guy Fieri look-alike who wanders around offering blessings. With our soup and sandwich specials ordered, we crawl into a booth to discuss the unlikely moment that put Cottrill on arena stages, playing to teens who look up to her with starry-eyed reverence.
Originally recorded on GarageBand for a cassette compilation that was limited to 250 copies, "Pretty Girl" is a song about changing for a relationship and losing yourself along the way. "I could be a pretty girl, shut up when you want me to," Cottrill vacantly murmurs atop a stuttering drum machine. And yet, she remains strong in the face of teenage heartbreak—she could try to diminish herself while conforming to gendered expectations, but she won't. "I'm alone now, but it's better for me," she eventually decides. "I don't need all your negativity."
In the summer of 2017, Cottrill filmed the "Pretty Girl" video with her computer's camera. It shows her sitting on her bed and lip syncing alongside various knick knacks—including a figurine of Gizmo from Gremlins—and a Dunkin coffee. As she boogies in baggy sweatshirts, with a constellation of red acne dots spread across her forehead, she looks like just another girl in her room, goofing around. It was all so simple, so impromptu, that she thought nothing of it. Over its first few days online, the video gained a few hundred views, then a couple thousand, then "it just… kept going," Cottrill recalls, her voice trailing off. She still has no idea how "Pretty Girl" became a runaway success.
A few weeks later, on her first day of classes at Syracuse University's Bandier Program, a specialized school for music business, the video hit a million views. "By the time I got to school for orientation, people already knew who I was," she says, poking at her grilled cheese. Classmates began asking her why she was even in college. Once, she caught a student in her astronomy class filming her just existing.
Soon the press came knocking, wanting to know all about this mumbling voice of Generation Z. Then the record labels started reaching out. Except these weren't the scrappy, independent ones that Cottrill once dreamed of signing with, like Father/Daughter and Bayonet, but big ones like RCA and Columbia. Their attention took her by surprise. "I only recently understood that labels really do sign people because they're being talked about, not necessarily because they believe in the music," she tells me.
Though Cottrill admits that she was wooed for a bit by the majors, she ended up signing with FADER Label, the boutique New York imprint whose roster includes cheerful pop-rock acts like Matt and Kim. FADER co-founder Jon Cohen is a family friend of the Cottrills and, as "Pretty Girl" continued to spiral upward, he offered Claire a 12-song deal. Knowing that she was being guided by people she trusted, she accepted.
Around this time, a post appeared on Reddit accusing Cottrill of being an "industry plant"—a phrase sometimes lobbed at young, almost-always-female musicians in an effort to undermine their talent. The supposed evidence behind the claim involved the fact that her father, Geoff, a former chief marketing officer at Converse, had worked with the agency Cornerstone, for which Cohen is the co-CEO. As Cottrill she sees it, she was given the opportunity to sign a deal that would allow her to grow as an artist more than as a commodity; many others are not so lucky. So, at the end of her freshman year of college, she packed up her dorm room, donated half of her closet, put the rest in a suitcase, and flew to Texas for her first tour, supporting pop star Dua Lipa.
In terms of viral success stories, Clairo's is a particularly unusual case. She wasn't busking for tourists or yodelling in Walmarts. Her breakout song wasn't a gigantic bop nor was it danceable meme bait. She wasn't Lana Del Rey, tragically glamorous, or Azealia Banks, delightfully sex-positive. She was an awkward teenage girl in her room trying to turn her insecurities about feminine beauty ideals into something manageable. Yes, Cottrill posted "Pretty Girl" online, where it could be seen by anyone. But nothing about the video seems to covet validation. When every YouTube video seems to be selling something, there is power in humble autonomy. If anything, the ensuing backlash proves that, to some, it's easier to find a nefarious motive behind a girl singing in her bedroom than it is to believe in her authenticity.
Given the whirlwind and the naysayers, I ask her if she's ever regretted uploading "Pretty Girl" in the first place. She vehemently shakes her head no. "Because everything happened overnight, I have this irrational fear that it will go away just as quickly," she explains. "I just want people to stick around long enough for them to know who I really am."
After spending her earliest years in Georgia and Washington, Cottrill came of age in Carlisle, Massachusetts, a quaint town of about 5,000 outside of Boston. As she excitedly describes it, Carlisle sounds idyllic, the sort of storybook New England hamlet where the school is located on School Street, and children traipse to a family-run ice cream stand in the summer.
"Music was always in our lives," Claire's older sister Abby tells me. "There's home videos of us singing Shania Twain's 'Man! I Feel Like a Woman'—we would get really into it." Though the only artist the whole family could agree on during car trips was surfer-songwriter Jack Johnson, the Cottrill parents instilled their daughters with a diverse musical education. Claire's father favored Al Green and contemporary indie bands like the Shins, while her mother leaned towards '80s alternative acts like Cocteau Twins and New Order.
"Claire's knowledge of music is, in a lot of respects, deeper than mine," insists the 35-year-old Batmanglij. "By the time she was 14, she had access to every album on Spotify, and naturally processed all of this music. She hears it and feels it very deeply."
After abandoning proper guitar lessons in favor of YouTube tutorials, Cottrill dedicated herself to covers of indie-folk bands like Mumford & Sons, which she posted on Facebook. As she grew more confident with her abilities, she would sit on the floor of her room and record her own songs of regret and desire, written and sung in the understated vein of one of her bedroom-pop heroes, Frankie Cosmos. She uploaded these originals to her Bandcamp and SoundCloud pages, thinking of them like a diary. "It was just a private thing, a space for me to express myself," she says. "It wasn't until 'Pretty Girl' that I really understood that it wasn't so private."
Outside the bedroom, she began performing and attending DIY shows around Philadelphia and Boston. The smattering of freckles across her nose crinkles with laughter as she remembers a certain ill-fated gig. "My mom would drive me to the shows," she says, "and one time she found out that there might be drinking, so she turned around, and I had to post on the Facebook group that I couldn't perform anymore."
About a year before "Pretty Girl," Cottrill was diagnosed with juvenile rheumatoid arthritis, a condition marked by swelling and inflammation of the joints. In Cottrill's case, her knees were affected most, and when she would work on music in her bedroom, her legs would lock into stiff planks as she waited for her drum machine to record. At school, she was excused from gym and given an elevator pass that she always felt guilty using. Instead, she would struggle up the stairs, sobbing, telling herself that since her illness was invisible, it wasn't "real" enough. Right now, as she tours throughout the country, she still doesn't have 100 percent mobility back—don't even get her started on her knees—but she says she's doing a lot better.
Photo by Matt Lief Anderson
As an adolescent, Cottrill had a difficult time fitting in and maintaining friendships, perpetually feeling like an outsider. "I felt like I was trapped, like no one understood me—and maybe I didn't understand them either?" she says. "A big theme on Immunity is me going back and telling myself things I wish eighth-grade me had known."
The album begins with a stark account of a particularly dark adolescent moment, on a song called "Alewife." In quietly poetic terms, it describes a time when eighth-grade Claire considered taking her own life. "There was a night where I didn't see any worth in myself," she cautiously explains. "I was on the verge of going around the house and trying to figure out what I could do. I never left my bed, but in my mind I was going insane." Cottrill describes the track as a love song to her friend Alexa, who she called that evening when she was at her lowest, and who was so worried that she called the police. "Alewife" candidly outlines what happened next: "They showed up to my door/My parents didn't know what for/Swear I could have done it/If you weren't there when I hit the floor."
"It's important for me to talk about it," says Cottrill. "It's a part of me that really was there, and it terrifies me that that could have happened. But now I can confidently say that I'm living the life I really wanted to live when I was in eighth grade, so it feels good that I held out."
Photos by Quinn Moreland. Left, with Clairo guitarist Hayley Briasco. Right, with Snail Mail's Lindsey Jordan.
Following her initial success, Cottrill tried working with various collaborators on everything from clubby dance-pop to bilingual breakup anthems, with mixed results. But she found a compatible creative partner in Batmanglij, who was intrigued by Cottrill's willingness to excavate herself in her music. In April of last year, they had dinner together in Los Angeles before going to Batmanglij's studio and writing the wistful Immunity cut "Feel Something" in just three hours.
The pair met again in November, under the impression that they were working on songs for an EP, but the partnership became so fruitful so quickly that an album started to take form. For Cottrill, their creative relationship flourished in part due to their shared experiences. "He understood so many of my struggles, whether it was being a new artist and figuring out how to make my first record the way I wanted to, or dealing with learning about my sexuality," she says. While the pair didn't necessarily talk about Batmanglij's own experience of coming out in the public eye about a decade ago, he says he understood Cottrill's intention to explore her sexual identity. "We talked about making 'gay bops,'" he tells me with a chuckle.
In May 2018, Cottrill came out in a truly modern manner: with a tweet. "'B.O.M.D.' is also 'G.O.M.D.' for ur information," she wrote, in reference to one of her songs that describes meeting the titular boy (or girl) of her dreams. When I bring up this up, she covers her face in embarrassment and moans, "It's the dumbest tweet I've ever sent in my life, but it's fine." As a teenager from a small town, Cottrill was often afraid of admitting her queerness because of unintentionally dismissive comments classmates would make about how certain girls "dressed like a lesbian." It wasn't until after she graduated high school that she began to come to terms with her sexual identity. "When I went to college and my two best friends were gay, I had my first real conversations with people who were also figuring it out," she says. "It was so necessary for me."
She still doesn't know what she identifies as exactly, if she has to identify as anything, and Immunity indulges in the nervous energy of self-discovery. "Tell you how I felt/Sugar coated melting in your mouth," Cottrill ventures on "Bags," the record's twinkling first single, before letting her vulnerability bring her back to reality. "Pardon my emotions, I should probably keep it all to myself/Know you'd make fun of me." The song is based on the limitless potential of a real-life crush, but when I ask her about what happened next, she simply says, "We've talked. Things are good."
Even at their most lo-fi, Cottrill's songs have always turned inward, but on Immunity, she plumbs new personal depths alongside production that feels spontaneous and sophisticated at the same time. "Sinking" is about wanting to be fully capable in intimate scenarios, an insecurity that was very much on Cottrill's mind during the album's writing sessions, when her arthritis flares were so excruciating that she had trouble making it to the studio. With its loose, neo-soul-type beat, the song may sound sensual, but that's something of a feint. "If you really pay attention to what's going on, you can tell that it's about someone dealing with pain," Cottrill explains. "That's how arthritis works: You don't understand it until you look closely enough."
Even though the internet has been both Cottrill's strongest platform and her toughest agitator, she continues to give herself over to it, responding to fans' comments, explaining the stories and processes behind her songs.
"The world has already seen my diary from my whole teen life, what else do they want to know?" she says when I ask how she manages to stay vulnerable. "A cool part of what I'm going through is the fact that everyone's getting the chance to see me fuck up, but then also watch me improve. I don't mind that they know about what I'm going through—it's the least I can do, really. It's like my job now."
At a recent show, a girl in the front row sang along to "Bags," weeping. Afterward, the fan and her friends were brought backstage to meet their hero. "When I see who's standing outside at my shows, it's young girls who may or may not be dealing with similar feelings," Cottrill says. "I want to tell them that it will be fine if you're in eighth grade and you like girls and you think they're pretty—that's something that should be celebrated."
As I tuck into my bunk for the night, and we begin to roll through the middle of America, I search #Clairo on Instagram and start to scroll. There are worshipful accounts with names like @clairoheaven, @flamingclaire, and even @clairoaroundtheworld, which plops cut-out images of its idol in front of various international landmarks: a digital sea of fans who look to Claire Cottrill, and see themselves.
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Wir haben vier Presseartikel aus der goanesischen und indischen Presse zum obigen Brief ausgewählt.
Die regionale Tageszeitung "Herald" gibt einige Passagen des Briefes wieder und kommentiert unter anderem, dass der Autor des Briefes nicht davor zurückschreckt, Namen zu nennen, die "hinter der Gaskammer in Anjuna" stecken.
Die überregionale Zeitung "The Hindu" sowie die indische Online Agentur IBNS erwähnen auch wichtige Passagen des Briefes, ohne jedoch wesentliche Kommentare zu machen, während die indische Nachrichtenagentur Indo-Asian News Service (IANS) neben Zitaten aus dem Brief schreibt, ein Sprecher der IGSG habe gesagt, dass Drogen nicht das Hauptmotiv für die Attraktion der deutschen und anderer Touristen in Goa sein sollten. Auch erwähne er, dass die Deutschen sich aufgrund der Abfallsituation in Goa unwohl fühlten. Ausserdem kritisiere der Sprecher, dass indische Männer von ausserhalb Goas häufig deutsche Frauen am Strand belästigen.
Anjuna from the eyes of a foreigner!
In a hard hitting letter, a German national, whose identity has not been disclosed, has written to Chief Minister Manohar Parrikar painting an unflattering picture of Anjuna, of 'above the law' sarpanches, drugs and loud chest thumping music, making life hell for resident Anjuncars.
He has not hesitated to name those who are behind the gas chamber. During our last stay from November 2011 till April 2012 there was not a single night in more than five months without this monotone, penetrating, nerveracking and horrific so called music, unabated all night long, not even on so called 'dry days', the German national writes.
Among those causing this nightmare on Anjuna Beach are some so called 'heavy weights' - Prasad Chimulkar, son of the sarpanch of Anjuna- Caisua Sandip Chimulkar, running UV Bar, panch Edwin Nomes, running 'Curlies', Hippie's Ocean Cafe, when spoken to the owner (name unknown) according to the loud music all night long he stated: My Father is prominent, my mother is in politics, my brother is working in Germany, I know the sarpanch and the police, Shiva valley - when spoken to the owner (name unknown) he stated: Among our guests are rich businessmen from Mumbai.
They are paying everything [sic], the German national says in his grammatically error prone letter.
He also tells of the story on the streets leading to disco valley as the area has now come to be called.
Along with these drug-rave parties, hundreds if not thousands of party-people on cars bikes and scooters (often ill- maintained) coming from somewhere are flooding tsunami- like this short coastal belt of Anjuna beach in a rude and antisocial manner - speeding, honking, bawling - the same scenario when these hoards returning back to somewhere - often stoned and drunken - between midnight and 6am to 8am, he says.
Indians hailing from Northern Indian states - located at strategically well fitting points - welcome the tourists with a wide range of drugs.
Drugs are also openly pushed on the roads, beaches, in front of the drug rave spots and the men in khaki is turning a blind eye and deaf ear, he continues.
In his letter he makes reference to Parrikar's comments assuring that there will be relaxation of sound restrictions in some zones saying that that there already are not a hint of restrictions in that area.
It is the poor reality the residents of this short coastal belt of Anjuna Beach are afraid to call the police... as they fear police reprisals on them such as threatening phone calls, fire in their houses, demolished cars, poisoned pets, harassment etc. If we the so called 'foreigners call the police for help - the arrogant phrase is always the same: what do you want? we have no time. We are busy. We the so called foreigners can flee from this horrific sound and dust pollution scene... but how about the local people? Their quality of life has come down to zero! he concludes.
A German citizen, a frequent visitor to Goa, has written to Chief Minister Manohar Parrikar stating several disturbances in Anjuna, coastal tourist village in north Goa and citing drug-rave-spots and names of local "heavy weights" that cause nightmares to local inhabitants and peaceful tourists.
A copy of the letter has been released on its latest newsletter by Indo-German Society of Goa (IGSG) here this week withholding the identity of the writer.
"During our last stay from November 2011 till April 2012, there was not a single night in more than five months without this monotone, penetrating, nerve-racking, and horrific so called music, unabated all night, not even on so called dry days," the German national says.
"Drug trafficking and drug-rave-parties give Anjuna Beach a bad reputation as being the best drug spot at all in Goa – spread worldwide in international travel magazines and via social networks. Goa is called the paradise-turned-disastrous little State," says the writer of the letter.
Referring to the behaviour of Indian tourists, the writer says: "Tourist-Security-Force (seen only once in five months at Anjuna Beach) is urgently required.
Thousands of Indians walk up and down the beaches, the males revealing to be mostly voyeurs. Indian male tourists' molesting single female tourists is the order of the day and night. To make matters worse, Indian male tourists prefer to click pictures of naked little foreign children with hidden cameras. Foreign tourists get angry about this quite often, and once even forced some Indian tourists to delete the pictures," says the letter.
"It is a poor reality that the residents of this short coastal belt of Anjuna Beach are afraid to call the police... as they fear police reprisals on them such as threatening phone calls, fire in their houses, demolished cars, poisoned pets, harassment, and so on.
If we, the so called foreigners, call the police for help – the arrogant phrase is always the same: "What do you want? We have no time. We are busy."
We, the so called foreigners, can flee from this horrific sound and dust pollution scene... but how about the local people? Their quality of life has come down to zero." he concludes.
A German tourist has pleaded for "peace" for the Goans living in the coastal Anjuna, in a letter to the state Chief Minister Manohar Parrikar.
The tourist, whose identity has been kept under wraps, has spoken about four drug-rave-spots on the 1.6 kms Anjuna beach and unbearable noise pollution.
"Indians hailing from the northern states welcome the tourists with a wide range of drugs. It is openly pushed on the roads, beaches, rave parties and the men-in-khaki have given them a free hand, "he alleged in the letter.
"The hobnobbing of the policemen with drugs dealers has to come to an end…"he said requesting Parrikar for speedy crackdown of the drug dens.
The letter has also described how the local residents in the coastal belt are troubled by the foreign tourists who indulge in several other notorious acts. Music restriction is another appeal by this German tourist.
The chief minister is yet to react on the letter.
Anjuna beach had hit international headlines four years ago when the bruised skimpily clad body of British teen Scarlett Keleing Eden was found.
The case trial is still ongoing in the Goa Children's Court against two locals who allegedly drugged, molested and left the girl to die on the beach.
A German Goaphile has appealed to the state's chief minister to cleane Goa's coastline of drugs and garbage which he said was giving the state a bad name and driving away foreign tourists.
The German, who has requested anonymity as he was not seeking publicity for himself, has asked Chief Minister Manohar Parrikar to save the village of Anjuna as well as other coastal areas from the clutches of the drug mafia and the "nerve-racking and horrific" rave parties.
The chief minister's office has confirmed the receipt of the email.
"Drugs are openly pushed on roads, beaches, in front of drug-rave spots and the men in khaki (are) turning a blind eye and a deaf ear. Many are involved in drug rave parties - earning a slice of the big cake. The hobnobbing of policemen with drug dealers has to come to an end," the German whistleblower said in his letter to Parrikar.
The German national has even spelt out names of people and restaurants and beach-front establishments that deal in drugs and has demanded that Parrikar act.
"Drug trafficking and drug-rave parties give Anjuna beach the bad reputation as the best drug spot in all Goa - spread worldwide in international travel magazines and via social networks," the Goaphile complained, adding that the noise caused by raves is unbearable to the locals living in the vicinity.
Expressing his concern over the burgeoning problem of garbage management, the letter states that the sea in Goa was contaminated and was beginning to drive "foreign tourists to neighbouring states, where they can enjoy clean beaches and relaxed days and nights without the garbage, stink, drugs and crime".
A spokesperson for the Indo-German Friendship Society said that the concerns raised by the German national echoed the sentiments of its members, several of whom are Goans settled in Germany and Germans who regularly travel to Goa.
"German ladies are increasingly being molested on the beaches by domestic tourists who come from outside of Goa. It happens quite often that German ladies are even touched by Indian male tourists and asked to pose for a picture, hand in hand, with them," Germany-based Aurobindo Xavier, the society convenor, told IANS.
"Trafficking and the consuming of drugs, especially in north Goa, is a serious matter not only for Germans. Nobody likes to spend his vacations in a hotspot for drugs like it is in north Goa. Do we want Germans to come down to Goa to consume drugs? Is this the priority for tourist attraction," he asked.
Aurobindo, who has in the past made efforts to raise the issue of environment pollution as well as garbage management in Goa, said that the letter to the chief minister perfectly speaks for not only German Goa lovers, but Goans themselves.
"German tourists feel unpleasant seeing garbage piling up around in Goa. Unfortunately we Goans have been living a long time in denial of the garbage problem," Aurobindo said.
When contacted, a spokesperson for the chief minister's office (CMO) said that Parrikar was aware of the contents of the email. However, according to Aurobindo, there had been no official communication from the CMO even a month after the letter was received by Parrikar's office.


Flips the AxisDirection if the GrowthDirection is GrowthDirection.reverse.
Specifically, returns axisDirection if growthDirection is GrowthDirection.forward, otherwise returns flipAxisDirection applied to axisDirection.
This function is useful in RenderSliver subclasses that are given both an AxisDirection and a GrowthDirection and wish to compute the AxisDirection in which growth will occur.


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At present, this college offers a complete tuition scholarship to any anybody who gets admitted here. It has reduced it's hard scholarship policy. It also offers some others scholarship based on merit to meritorious students. To apply Click here.


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Brocolly Waltham 29 Brassica Oleracea is an increasingly popular nutritious vegetable, and it is delicious when eaten raw, steamed, cooked or stirfried. For a spring crop, start Brassica Oleracea seeds indoors 6-8 weeks before the last frost and transplant outside 2 weeks before the last frost. For a fall crop direct seed in the garden in later spring or early summer. The plants have to be set 18 inches apart.


Three LEGO figurines representing the Roman god Jupiter, his wife Juno and Galileo Galilei are shown here aboard the Juno spacecraft.
PASADENA, Calif. – NASA's Jupiter-bound Juno spacecraft will carry the 1.5-inch likeness of Galileo Galilei, the Roman god Jupiter and his wife Juno to Jupiter when the spacecraft launches this Friday, Aug. 5. The inclusion of the three mini-statues, or figurines, is part of a joint outreach and educational program developed as part of the partnership between NASA and the LEGO Group to inspire children to explore science, technology, engineering and mathematics.
In Greek and Roman mythology, Jupiter drew a veil of clouds around himself to hide his mischief. From Mount Olympus, Juno was able to peer through the clouds and reveal Jupiter's true nature. Juno holds a magnifying glass to signify her search for the truth, while her husband holds a lightning bolt. The third LEGO crew member is Galileo Galilei, who made several important discoveries about Jupiter, including the four largest satellites of Jupiter (named the Galilean moons in his honor). Of course, the miniature Galileo has his telescope with him on the journey.
The launch period for Juno opens Aug. 5 and extends through Aug. 26. For an Aug. 5 liftoff, the launch window opens at 8:34 a.m. PDT (11:34 a.m. EDT) and remains open through 9:43 a.m. PDT (12:43 p.m. EDT). The spacecraft is expected to arrive at Jupiter in 2016. The mission will investigate the gas giant's origins, structure, atmosphere and magnetosphere. Juno's color camera will provide close-up images of Jupiter, including the first detailed glimpse of the planet's poles.
More information about Juno is available at: http://www.nasa.gov/connect. You can follow the mission on Twitter at http://www.twitter.com/nasajuno.


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BEST OF 2019: Women in Jazz2K
Best ofMusic
By J Hunter	 On Dec 4, 2019
I'm a natural obsessive, which usually manifests itself in ignoring the big things while giving the teeny tiny stuff my full attention. Then again, it's all about perspective: what's Teeny Tiny for some may be Towering for me. For instance, one Towering issue I've been focusing on has been the pushback given to Keychange, an initiative started in the EU in 2017 but has since gone worldwide.
In essence, Keychange wants to address the elephant in the room that is (to my mind, anyway) hindering one of the most culturally inclusive musical forms on the planet: the minimization of women jazz musicians, both onstage and in the studio. In order for this genre to survive in the age of #MeToo, this attitude cannot stand. For their part, Keychange PRS has spent the last three years pushing jazz festivals & concert series to adopt a 50-50 booking policy by 2022.
I wrote about this last year, and I'm happy to report that 150 festivals and venues, including NYC's Winter Jazz festival and Charlie Parker Jazz Festival, and the EFG London Jazz Festival, have signed on to the initiative. That's a nice number until you realize how many other festivals there are in the world, and how the list doesn't include major players like Monterey, Newport, North Sea, and Montreal. The bottom line is there are still promoters and organizations who are clinging to the fiction that "There just aren't enough quality women artists to force that kind of mandate on us!"
Sadly, this is nothing new. I've attended festivals where women artists are cornered off into one-off "supergroups" when every band member could have put on her monster own set with no problem whatsoever. But I guess that would only happen if Keychange wrapped their terrible, terrifying albatross around the necks of poor, downtrodden, corporate-sponsored jazz festivals, many of whom would book Earth Wind & Fire and (what's left of) the Temptations before they'd book a female jazzer who's on the way up.
Since I don't have a festival of my own (at least, not yet), I came up with "Women in Jazz2K," a special program featuring tracks from some of the female artists I'd been playing on "Jazz2K @ The Saint" over the course of 2018. Considering I only had a couple of days to put the show together (snap decisions are like that), I think it came out well, incorporating tracks from natural born killers like Anat Cohen, Roxy Coss, Renee Rosnes, Jamie Baum, and other stalwarts.
I liked the results so much that I announced at the end of the show that "Women in Jazz2K" would be an annual part of what's become the "Jazz2K Holiday Spectacular," a series of year-end programs showcasing the best of Jazz2K for the year. I was able to take my time with "Women in Jazz2K 2019," although like all the other shows I'm doing, there were last-minute arrivals that kept sending me back to the drawing board. Hey, I wanted this mission, and those are the conditions that prevail.
In any case, here are a few of the releases I'll be sampling from:
ANAT COHEN TENTET
Triple Helix(Anzic)
One of only three returnees from "Women in Jazz2K 2018", the Tentet remains Anat Cohen's most interesting (and most intricate) project to date. Arranged & ramrodded by old schoolmate / musical director Oded Lev-Ari, Cohen launches fresh attacks on both sterling originals and brilliant covers of Astor Piazzola's "Milonga Del Angel" and Stan Kenton's "Lonesome Train." The title "track" is a 3-part "song cycle" composed by Lev-Ari that occasionally threatens to send the listener off down a winding alley with no way out. In the end, though, it's Cohen's unparalleled talent on clarinet that keeps this package together. I still prefer Anat in her standard quartet format, but as a modern-day big-band project, Triple Helixgets high marks for daring and originality.
CAMILA MEZA & THE NECTAR ORCHESTRA
Ambar(Sony Masterworks)
There's no question that I'm a Camila Meza fanboy from way back. However, Ambar forced me to confront my usually negative signal reaction when strings are applied to jazz. Just as Meza won over the audience at this year's "Jazz at The Lake", the guitarist / vocalist won me over with this beautiful, passionate date, where strings & rhythm section get equal billing but never tread on each other; props go to the arrangers in Meza's band, keyboardist Eden Ladin and bassist Noam Wiesenberg. While Meza's outstanding songwriting skills haven't dimmed a bit, we also get to experience her interpretive powers on "Elliot Smith's "Waltz #1" and the David Bowie / Pat Metheny collaboration "This is Not America." Fanboy I may be, but Ambaris a home run by any objective standard.
12 Little Spells(Concord Jazz)
In the relatively short time Esperanza Spalding has been on the scene, the former child prodigy has consistently proven that your reach should exceed your grasp. She's done this by never standing still, never being predictable, and almost never doing the same thing twice. On 12 Little Spells, the bassist / vocalist / educator takes the old saw "Music heals" and run like Allyson Felix, creating a series of mind-blowing originals dedicated to various parts of the body – from the abdominal portal to the "solar portal", and everywhere in between. Spalding mixes free jazz, prog rock, and Prince-quality funk to get every point across in her own special way. This isn't my favorite Spalding date (That's still 2016's Emily's D+Evolution, the home of Esperanza's personal Ziggy Stardust), but 12 Little Spells stands on its own as yet another provocative example of the unique gifts Esperanza Spalding keeps giving us all.
Pride & Joy(Positone)
Before there was Artemis – the all-female, all-star band that wowed the festival circuit and just got signed to Blue Note – there was Lioness, a rocking sextet from a label that's one of the best in advancing women players. Anchored by monster drummer Allison Miller and souped up by Hammond B3 wizard Akiko Tsuruga, Lioness is a band full of leaders with a front line that can swing with anyone on the menu. In addition to bringing their own powerful compositions to the party, the group also pays tribute to their elders with knockout covers of Aretha Franklin's "Think", Carla Bley's "Ida Lupino", and Melba Liston's "You Don't Say." Maybe Lioness doesn't have one of the 21stcentury's biggest divas belting out the tunes, but Pride & Joyshows how powerful one single unit can be when it stays on mission.
JENNY SCHEINMAN & ALLISON MILLER
Parlour Game (Royal Potato Family)
Between this date, Lioness, Artemis, and her own group Boom Tic Boom (More on them in a future column), Allison Miller has had quite a year, and this marvelously understated effort is a consistent smile-maker. Scheinman has been a part of Boom Tic Boom from the beginning, so the chemistry between the drummer and the violinist is as adamantine as it comes and is just one outstanding aspect of this superior collection of originals that wins you over without bowling you over. Tony Scherr's talent for laying foundations is well documented, and he gives every piece the room to dance. However, the X Factor here is pianist carmen Staaf, who contributes a second solo voice with her own history-steeped sense of lyric. The holidays should be filled with games, so adding Parlour Gameto your Christmas / Hannukah / Festivus party is definitely recommended.
BRIA SKONBERG
Nothing Never Happens (Self-released)
Maybe my tinfoil hat is on a little too tight (again), but I have a sneaking suspicion that the reason trumpeter / vocalist Bria Skonberg had to self-fund, and self-release her latest project is because the music is just so far afield from the Hot Jazz sub-genre that made her a star. We saw glimpses of Skonberg's "new direction" when she played Zankel Music Center back in May, and Nothing Never Happensgives us the blues-soaked, sharp-edged Skonberg in all her dizzying glory. There isn't anything "Hot" about Skonberg's originals "Blackout" and "So Is The day", or her covers of Queen's "I Want to Break Free" or Nancy Sinatra's "Bang Bang" – but they do burn, as does the rest of the disc. It's hard for jazz fans to see their prodigies grow up, but that's what happened with Bria Skonberg, and I couldn't be happier.
Here are the other releases appearing on "Women in Jazz2K 2019":
AMINA FIGAROVA – Road to The Sun(AmFi Records)
BRANDEE YOUNGER – Soul Awakening(Self-released)
CARMEN LUNDY – Modern Ancestors(Afrasia Productions)
IRIS ORNIG – Storyteller(Self-released)
JANE BUNNETT & MAQUEQUE – On Firm Ground / Terra Firme(Linus Entertainment)
JAZZMEIA HORN – Love & Liberation(Concord Jazz)
MICHELE ROSEWOMAN'S NEW YOR-UBA – Hallowed(Advance Dance Disques)
MYRA MELFORD'S SNOWY EGRET – The Other Side of Air(Firehouse 12)
ROXY COSS – Quintet(Outside In Music)
YELENA ECKEMOFF & MANU KATCHE – Colors(L & H Production)
NEXT WEEK: The 2019 Jazz2K Awards, and "The Rest of The Best!" Be there. Aloha.
Women in Jazz2K 2019" will be broadcast Saturday night, December 7that 12 Midnight on WVCR 88.3 /Albany, NY – streaming live at wvcr.com and on the iHeartRadio app!
Best of 2019Jazz2KWomen in Jazz
J Hunter 17 posts
J Hunter is the programmer & host of "Jazz2K @ The Saint", heard Saturday nights @ Midnight on WVCR 88.3 /Albany, NY. A member of the Jazz Journalists Association, J has previously written for the national web site All About Jazz, the late monthly magazine State of Mind, and for albanyjazz.com.
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