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You are here: Home / News / FAI Ford Cup Fourth Round Replay
FAI Ford Cup Fourth Round Replay
Match Sponsor
Limerick FC 0 - 0 Sporting Fingal (AET)
Sporting Fingal win 4 - 3 on penalties
Limerick Penalty Scorers: Stephen O'Flynn, Pat Purcell, Thomas Lyons
The holders prevail by the skin of their teeth from a penalty shootout after a classic cup tie at Jackman Park on Monday night.
Sporting took control of the game from the off with precision passing and some fantastic football, Eamonn Zayed showing off his ability in the early stages with some excellent touches.
Limerick's main threat appeared to be ex-Cork City winger Timmy Kiely. His speed and direction seemed to cause unrest among the Fingal backline. However the first chance fell to Fingal's captain Shaun Williams, who had his volley just dip too late to trouble Dave Ryan.
The game became more open as it went on, with Limerick looking menacing and playing some premier standard football of their own. With John Tierney's pace, anything seemed possible for the home side.
The best chance of the first half fell to Ronan Finn who was unmarked in the six yard box. His bullet header was saved somehow by the Limerick stopper. An amazing save to say the least, from very close range.
Tierney once more was the threat for Lims as his speed and trickery was too much for John Frost. He side stepped him, but was unable to strike at goal.
As the second half began Limerick ventured forward a bit more, with Shane Clarke coming close. However, Limerick's attacking menace was soon to be halted as seventeen year old Lee O'Mara was sent off for two bookable offences. Limerick knew counter attack would be the order of the day.
Stephen O'Flynn came on half way through the second half, and found it hard as the lone striker, surrounded by 2 and 3 Fingal defenders when receiving the ball. O'Flynn had a couple of half chances that he worked for himself but was unable to convert. Once again, John Tierney would have to lead Limerick's charge for a goal.
Late on Tierney took a strike from all of thirty yards. It appeared goalbound, only the crossbar stood in the way of Limerick getting the breakthrough. Remarkably, the rebound fell to Shane Clarke, who somehow managed to miss the target from right under the frame of the goal. Heartbreak for the very vocal home crowd.
The match went into extra time with both sets of players appearing jaded. The best chance of the first period of extra time fell once more to Fingal's playmaker, Ronan Finn. Only one outcome appeared possible as he closed in on goal. Surprisingly the ball went straight into the side netting and Limerick were let off the hook.
A shootout was to decide this fourth round cup tie. With all of the first six penalties scored, Timmy Kiely stepped up. His spot kick was saved by Quigley and was answered by Shaun Williams converting. Sean Kelly sent his penalty over the bar as the cup holders progress to face St Pat's at Inchicore in the quarter finals.
Limerick: Ryan, O'Mara, Purcell, White, Kelly, Kiely, Sullivan, Judge (Stanley 101), Coughlan (O'Flynn 58), Tierney, Clarke (Lyons 65).
Unused Subs: McGuinness, Bhandarkar, O'Callaghan.
Sporting Fingal: Quigley, Browne, Frost, Hawkins, Maher, Byrne (Crowe 106), Finn, McFaul (Cahill 76), Williams, Zayed (Kirby 92), O'Neill.
Unused Subs: Clarke, Gannon, Fitzgerald, James.
Referee: Anthony Buttimer.
Attendance: 625 (approx.)


Let your little one show her playful side with this Black & White Striped Surprise Summer Dress from Wauw Capow. The cotton blend dress has a crew neck, short sleeves and a flared shape to allow lots of running around. Pair this with pink and yellow accessories for the perfect summer outfit.


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Нижче подано список усіх населених пунктів району Мі-Зочі. Центр району виділений жирним нарисом.

Примітки

Населені пункти Сан-Томе і Принсіпі

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Time-to-Pregnancy
"Time-to-Pregnancy" is a descriptor in the National Library of Medicine's controlled vocabulary thesaurus, MeSH (Medical Subject Headings). Descriptors are arranged in a hierarchical structure, which enables searching at various levels of specificity.
Time interval, or number of non-contraceptive menstrual cycles that it takes for a couple to conceive.
G08.686.210.500
Time to Pregnancy
Time-to-Pregnancies
Below are MeSH descriptors whose meaning is more general than "Time-to-Pregnancy".
Biological Sciences [G]
Reproductive and Urinary Physiological Phenomena [G08]
Reproductive Physiological Phenomena [G08.686]
Fertility [G08.686.210]
Time-to-Pregnancy [G08.686.210.500]
Below are MeSH descriptors whose meaning is related to "Time-to-Pregnancy".
Ovarian Reserve
Below are MeSH descriptors whose meaning is more specific than "Time-to-Pregnancy".
This graph shows the total number of publications written about "Time-to-Pregnancy" by people in this website by year, and whether "Time-to-Pregnancy" was a major or minor topic of these publications.
Below are the most recent publications written about "Time-to-Pregnancy" by people in Profiles.

redpajama_set_name: RedPajamaCommonCrawl


Like most great inventions, the KidCo SwingPod™ portable Baby Swing was born out of necessity. Desperate for a way to calm his fussy baby, a father came up with an idea to combine swaddling and swinging to calm his baby. The SwingPod™ is the only baby swing and baby swaddle that is portable and packable, perfect for taking on those trips to grandma and grandpa's house.


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Family Home Theater
Stuff the kids can/can't see—your resource for family movie night.
Best Baseball Movies
Best Family Adventure Films
Best Romantic Comedies
Review of MULAN (2020) (Blu-ray combo)
James Plath, Family Home Theater	Action-Adventure, Fantasy, PG-13 rated	Disney live-action remakes	Leave a comment
Grade: B/B-
When it comes to live-action remakes of Disney animated films, there are two types of people: those who want a near-exact copy of the original, and those willing to accept the live-action version as a completely new work of art and entertainment. And people who expect Disney to remain faithful to the 1998 original aren't loving this 2020 remake of Mulan: Where are the songs? Where's Mushu? Where's the cricket? Where's Shang? And what the heck is a witch doing in this story?
Yeah, about that: Disney opted to go the Crouching Tiger, Hidden Dragon route, with an emphasis on mysticism and the fantastic in a film that showcases martial arts action sequences, along with a heaping portion of qi. It's not exactly new territory for them. Disney-owned Miramax rolled out Hero in 2002 just two years after Crouching Tiger changed the landscape for martial arts movies. As in Hero, the fight sequences in Mulan 2020 are gravity-defying and poetic in their movement and choreography, even if the fights themselves aren't quite as spectacular as those you encounter in some of the best martial arts films. Which is to say, überfans of martial arts flicks aren't loving this film so much either, because Disney likes to steer the ship right down the middle, aiming always for a general audience. The sequences are less violent and bloody so the film could earn a PG-13 rating.
The live-action villain, Böri Khan (Jason Scott Lee) may not be as deliciously villainous as Shan Yu from the animated version, but his witch cohort, Xianniang (Gong Li), is menacing enough for both of them. She's also a shape shifter who can break apart and reassemble into hundreds of bat-like flying creatures. The live-action Mulan (Yifei Liu) doesn't have any cutesy animal companions, and there's less suggestion of attraction between her and the Commander (Donnie Yen) than there was in the animated version. Otherwise, the plot remains essentially the same. When invaders threaten China, the Emperor decrees that every family should send one man to fight to save the empire. Poor old Hua Zhou, a military hero in previous wars, can't even accept his orders without falling. So naturally his feisty daughter Mulan decides to take his place and leaves in the dead of night with his armor, his sword, and his mount. If she's discovered, she'll be put to death for not recognizing her place as a woman.
Mulan 2020 is directed by Niki Caro (Whale Rider), and the film's feminist themes come across even more forcefully than they did in the animated version. Young Mulan is already a warrior-woman in the making when we first see her as a child fearlessly chasing a chicken across rooftops (chickens on the roof?) and using a staff with the prowess of former martial arts star Jet Li, who plays the Emperor of China in this version. Though the live-action Mulan has to endure the same embarrassing encounters with a matchmaker, at least her father acknowledges the warrior and qi (life force) within her. So off she goes—without his knowledge or blessing and without the comedic talking dragon and cricket—to train with other draftees and eventually fight the invaders. More
Review of JUMANJI: THE NEXT LEVEL (Blu-ray combo)
James Plath, Family Home Theater	Action-Adventure, Fantasy, PG-13 rated	Jumanji, The Rock	Leave a comment
Fantasy Action-Adventure
Before I offer my family's take on Jumanji: The Next Level, I'd like to point out that the Internet Movie Database readers thought it was almost as good as Jumanji: Welcome to the Jungle (6.8 vs. 6.9/10) and 87 percent of the audience at Rotten Tomatoes rated them dead even.
Our family's reaction came closer to the Tomatometer Critics, who gave it a 71 percent "fresh" rating compared to the 76 percent rating they had given Welcome to the Jungle. We didn't think it was as good.
Welcome to the Jungle effectively used the Breakfast Club formula of grouping different teen personalities together so that we knew, by the time they entered the game, what they were afraid of, what they most wanted, and how they acted normally, so we could appreciate their every movement as an avatar within the game that had sucked them inside. The writing was crisp and it all made sense.
This time, though, the beginning is slow and which characters are which avatars is a bit muddled. When we watch Spencer (Alex Wolff) drag through some pre-game scenes that are supposed to explain why he goes back into the game, those scenes seem unnecessary because they don't really offer much in the way of an explanation. They just slow the narrative. Same with the introduction of Spencer's Grandpa Eddie (Danny DeVito) and his estranged business partner Milo (Danny Glover). The camera time they get feels wasted, given DeVito's and Glover's talents. You find yourself thinking, "Come on, get on with it." More
Review of NE ZHA (Blu-ray combo)
James Plath, Family Home Theater	Animation, Fantasy, PG-13 rated	Nezha	Leave a comment
Not Rated (would be PG-13)
Animated fantasy-adventure
The ancient Chinese philosophy of yin and yang (light/dark, positive/negative) is at the heart of Ne Zha, an animated feature film from Chinese director Jiaozi that shuns the harsh angularity of anime in favor of the rounded contours that typically characterize western animation.
In fact, there are moments in this 3D computer animated fantasy when you might find yourself thinking of Disney's more traditionally rendered Mulan, especially when a governor named Li Jing (Hao) is drawn in the same style as a younger version of Mulan's father. The governor and Madam Yin (Qi) learn that the Primeval Lord of Heaven has decided that they will be the ones to raise one half two beings that came from the Heavenly Pearl. The other half is being raised and controlled by the Dragon King, who seems determined to prove that even the good offspring of the Primeval Lord of Heaven can be used for evil purposes.
But of the two, Nezha is the hellraiser. In fact, the full Chinese title of the film translates as "Birth of the demon child Nezha." He's like Dennis the Menace and Stitch rolled into one—a little fireball that his doting parents love, nonetheless, and want to protect. Because of his temperament and frankly evil laugh, he's ostracized by his community, and probably justifiably so. I mean, he is prophesized to bring destruction to the world, so why would people cozy up to him? But eventually the community learns they have to count on him. More
Review of DRAGONHEART: VENGEANCE (Blu-ray combo)
James Plath, Family Home Theater	Action-Adventure, Fantasy, PG-13 rated	Dragonheart, Dragons, Family movies, Movie reviews	Leave a comment
Grade: C+/B-
Entire family: No
2020, 97 min., Color
Rated PG-13 for sequences of violence and action, and some bloody images
Aspect ratio: 1.78:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: C
Includes: Blu-ray, DVD, Digital Code
Dragonheart: Vengeance is the third direct-to-video "prequel" to the cult-favorite 1996 fantasy adventure starring Dennis Quaid and the voice of Sean Connery, and the good news is that it doesn't look like the typical slap-it-together direct-to-video release.
Aside from some noticeable green screen work in less than a handful of spots, the CGI effects and animation are strong enough to make you forget that this spawn of Dragonheart never saw the dim light of theaters. But apart from those strong production values, Dragonheart: Vengeance is a mixed bag.
On the plus side, the two main characters are instantly likeable. The more screen time they get, the more you like watching farm boy Lukas (Jack Kane) and mercenary swordsman Darius (Joseph Millson) as they set about to avenge the murder of the boy's family and eventually take on the evil king. On the minus side, haven't we already seen a family-less Luke hooking up with a profit-minded rogue adventurer who then take on the Emperor—albeit with a galactic rebel army? And haven't we seen Darius's "look" before in Aragorn?
Instead of Sean Connery's voice, the dragon in this film is powered by Helena Bonham Carter ("You're a girl dragon?"). Carter is always the consummate professional, and it's a nice touch having the dragon breathe ice and not fire. But some of the lines that are written seem way too contemporary, and the script doesn't allow for the same playful interaction as in the original film. Instead of a con game where the mercenary and dragon worked together to extort money from frightened villagers (and banter like buddy cops in the process), this dragon is a reluctant dragon—as much of a pacifist as those old-time Western heroes who need to have someone close to them threatened or die before they'll take action. More
Review of THE KNIGHT OF SHADOWS (Blu-ray)
James Plath, Family Home Theater	Action-Adventure, Fantasy, PG rated	Leave a comment
Grade: C-/?
2019, 109 min., Color
Not rated (would be PG for crude humor and action violence)
Aspect ratio: 16×9 widescreen
Featured audio: DTS-HDMA 5.1 Mandarin (and English dubbed) with English subtitles
Bonus features: C+ (better than the film!)
If you look at the cover of The Knight of Shadows with its tagline "Martial Arts Fantasy Adventure" and see Jackie Chan and a serious-looking co-star in period garb, you'd think you're in store for a serious adventure. You get a similar impression if you read the Imdb.com or Amazon.com description that the studio provided: "A legendary demon hunter (Jackie Chan), tracking down beasts that enter the human dimension, assisted by a lawman protégé and a motley group of friendly monsters." Still promising, right? Even if you watch the official trailer, with its strange H.R. Pufnstuf-style characters, you never get the sense that silliness ever tries to hijack the film.
Then you watch the film and go, seriously?
Director Jia Yan tries to juggle the comedy and martial arts adventure, and if they were knives he'd still be in the emergency room getting stitched up. This is a film that lurches clumsily between Three Stooges silliness (three law enforcement officers in The Knight of Shadows do their best to ruin Moe, Larry, and Curly for future generations) and cartoonish creatures that are just poorly designed and clumsily integrated into the plot—as if Jia Yan looked at the first print and thought, "We have to do more with this film to attract small children." Let's put in a pig character, and a cross between a fairy and Groot, and a character whose only function is to talk about "farts" and throwing his own special brand of f-bombs here and there.
The influential Chinese website Douban gave The Knight of Shadows a 4.3 out of 10, and I'd have to say that my family and I had nearly the same reaction. I'd go ever-so-slightly higher because there are some wonderful serious action sequences that seem to come out of nowhere, but make you wish that the director had chosen to go this route instead of trying to straddle the fantasy fanboy and Saturday morning cartoon audiences. More
Review of PAN'S LABYRINTH (4K UltraHD combo)
James Plath, Family Home Theater	4K Ultra HD, Drama, Fantasy, R rated, War	Leave a comment
Entire family: No (16 and older)
Fantasy-drama-war
Rated R for graphic violence and some language
Featured audio: Spanish DTS-HDMA 5.1
Bonus features: B+
Includes: 4K Ultra HD, Blu-ray, Digital Code
Strange. Dark. Sad. Beautiful. Haunting. Powerful.
That describes Guillermo del Toro's Oscar-winning Best Picture The Shape of Water (2017), and it also aptly describes the Mexican director's earlier wartime fantasy-drama, Pan's Labyrinth (2006).
Del Toro introduces the new 4K HD release (in Spanish, with English subtitles) by saying simply, "This movie almost killed me." That's easy to believe, because Pan's Labyrinth takes a lot out of audiences too. With del Toro's fairy tales for adults, you know you're going to find the film visually stunning, narratively compelling, and, ultimately, deeply moving.
The action takes during place during WWII (1944) in Franco's fascist Spain. Ofelia (played confidently and sympathetically by Ivana Baquero) is riding in a military car with her pregnant mother to a country outpost run by the ruthless and sadistic Captain Vidal—who married the mother, Carmen (Ariadna Gil), after her husband died in the war. He had sent for them because he wanted his baby to be born near him. In the car, Ofelia reads a fairytale about a princess who fled her father's underground kingdom to live in the world above, where she was subject to that world's illnesses and death. But her father knew that one day her spirit would return to him in the form of another. More
Review of ALADDIN (2019) (Blu-ray combo)
James Plath, Family Home Theater	Action-Adventure, Entire Family, Fantasy, PG rated	Leave a comment
Entire family: Yes
Adventure-Fantasy
Rated PG for some action/peril
Includes: Blu-ray, DVD, Digital
While Disney's live-action adaptations of their animated classics have been hit or (near) miss, the 2019 remake of Aladdin is a hit—and don't let any of the Will-Smith-shouldn't-have-been-the-Genie complainers tell you differently. Smith is just fine as the genie whose many moods and mannerisms help pace the film. And if you don't believe me, go to Rotten Tomatoes, where you'll see that Aladdin received the highest audience rating of any of the live-action remakes.
Smith said that he loved Robin Williams' manic performance in the 1992 animated classic, but he had no intention of trying to duplicate it—partly because it was the right thing to do out of respect for Williams, but partly because it was the sane thing to do. You can't beat Williams at manic improvisation, so you might as well carve out your own niche. Smith manages to entertain as the bright blue genie, who fast-talks, sass-talks, back-talks, and even throws in some improvisations of his own—all while managing to carve out his own version of the character.
Meanwhile, Disney struck casting gold with Egyptian actor Mena Massoud as Aladdin and Anglo-Indian singer-songwriter Naomi Scott as Jasmine. Today's teens and tweens are into Hollywood's beautiful twentysomethings, but don't look for Massoud to be bare-chested throughout the film, as the animated Aladdin was. Director Guy Ritchie thought it would be too distracting on a human, and he's probably right. Massoud and Scott have great chemistry together and individually they're charismatic, warm, and talented. Young viewers might also recognize Scott from the Disney channel movie Lemonade Mouth and the TV series Life Bites. More
Review of ISN'T IT ROMANTIC (Blu-ray)
James Plath, Family Home Theater	Fantasy, PG-13 rated, Romantic Comedy	Leave a comment
Romantic Comedy-Fantasy
Rated PG-13 for Language, some sexual material, and a brief drug reference
Isn't It Romantic?
Uh, not really, I'm sorry to say.
This 2019 film from Todd Strauss-Schulson (A Very Harold & Kumar 3D Christmas) seems to want to satirize romantic comedies while also following the formula and hoping audiences will walk away feeling warm and fuzzy about the possibility of romance for everyone—whether they're "beautiful people" or not. As admirable as that message may be, it's tough to have it both ways, and the film falls flat as satire and also disappoints as a romantic comedy.
"Flat" is really the operative word here. For most of the 89-minute runtime, Isn't It Romantic has zero energy—flat as a half-bottle of beer that's been left out overnight. Actors seem to be just going through the motions. One big problem is the script by Erin Cardillo, Dana Fox, and Katie Silberman. It's just plain dull, and limp lines contribute to the overall flatness. Too often, gags go on unmercifully long. We don't, for example, get a lot of laughs, insight or plot exposition as Natalie (Rebel Wilson) goes on and on about why she hates the rom-com formula in a montage that we're guessing is supposed to be funny. As for the gimmick the writers employ to give Natalie a conk on the head and put her smack dab in the middle of a romantic comedy, the film is frankly more fun and interesting without it. And unfortunately, that gimmick occupies the bulk of the film. More
Review of AQUAMAN (2018) (Blu-ray combo)
James Plath, Family Home Theater	Action-Adventure, Fantasy	Leave a comment
Entire family: Yes (parental judgment required)
Fantasy-Adventure
Rated PG-13 for sequences of sci-fi violence and action and for some language
Aspect ratio: 2.41:1 and 1.78:1
Featured audio: Dolby Atmos TrueHD
Bonus features: A-/B+
Critics at Rotten Tomatoes only gave Aquaman a 65 percent "fresh" rating, but I think maybe they've got a trident stuck somewhere. What do they want from a superhero movie? It can't possibly be the same things my family wants, because this 2018 action-adventure starring Jason Momoa checked all our boxes.
Epic story? Check. At 143 minutes it might be around 10 minutes too long, but we get a wide sweeping origin story that begins when the Queen of Atlantis washes ashore and is taken in by a lighthouse keeper (Temuera Morrison), with whom she eventually falls in love and has a son—a little demigod they name Arthur. The Queen (Nicole Kidman) had been fleeing an arranged marriage with the King of Atlantis, and there's no running from a guy like that. She sacrifices herself so her son and earthbound husband can live—but not before instructing her trusted advisor, Vulko (Willem Dafoe), to secretly teach her son how to become a powerful warrior well schooled in the ways of the ocean and its people. There are plenty of complications, but not so many that they get tangled up with each other and end up tripping the narrative. At some point this turns into a quest story, with Arthur searching to find the powerful Trident of Atlan that would allow him to triumph over his half-brother and take the throne he's destined to occupy because as half-man and half-Atlantean he's in a position to unite the two worlds—or at least stop an Atlantean-led invasion of the "surface" people. More
Review of FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD (Blu-ray combo)
James Plath, Family Home Theater	Entire Family, Fantasy, PG-13 rated	Leave a comment
Rated PG-13 for some sequences of fantasy action
Bonus features: B+ (includes extended cut)
Includes: Blu-ray, DVD, Digital (extended cut included)
Our whole family loved Fantastic Beasts and Where to Find Them. But we were split on Fantastic Beasts: The Crimes of Grindelwald.
My wife, who had read the screenplay and all the Harry Potter books and has a good memory, thought it was a really good movie, somewhere in the B+ range. The only thing she didn't like was a plot point that's already been so widely discussed on the Internet that it's not much of a spoiler: Voldemort's snake, Nagini, turns out to be an enchanted woman.
Meanwhile, my son, who didn't read the screenplay but still has a good memory and grasp of characters in complicated plots, thought it was a B- at best. And my daughter and I, who found ourselves confused throughout much of the movie, gave it a B-/C+. In other words, I agreed with critics who slammed J.K. Rowling for creating an unnecessarily complicated but relatively low-stakes plot.
Naturally, I assumed that the more you know going into the film, the more you'll like it—until I read how überfans criticized Rowling for confusing even herself by violating her own timeline. I didn't notice. I was too confused.
For me, it was like watching an action movie with terrific special effects in a foreign language with no subtitles. It was like listening to an opera sung in German where you kind of know what's going on, but not really. More
Review of THE MERGER (DVD)
THE PIRATES (2014) (Blu-ray)
Review of THE MIRACLE WORKER (1962) (Blu-ray)
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Review of TEXAS ACROSS THE RIVER (Blu-ray)
Review of LOVE AND MONSTERS (Blu-ray)
GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES (Blu-ray)
Review of THE FIRST KING: BIRTH OF AN EMPIRE (Blu-ray combo)
GOLDEN SHOES (DVD)
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Praise for Roving Eye Press
As Roving Eye Press begins work on our next set of publications for 2016, I reflect on what we've already achieved. Since Fall 2014, we have re-published four Bob Brown titles: The Readies, Words, Gems: A Censored Anthology, and 1450-1950.
Recent reviews have been glowingly enthusiastic and reaffirmed our mission and our own readings of the significance of the literary and artistic work of Bob Brown. What these reviews don't reflect, however, is the journey to make this press a reality and the friendships we've made along the way. We have received dozens of emails, letters, and packages from scholars, artists, printers, gallery owners, archivists, librarians, teachers, students, and general readers with praise, thanks, questions, purchase orders . . . sharing their interest and debt to Brown, as well as their own Brownian experiments (taking the form of digital exhibits, online databases, multimedia projects, poetry, essays, and letterpress prints). Wow! Thanks to these readers, we at Roving Eye have consequently experienced what Brown surely felt when corresponding and collaborating with Nancy Cunard, William Carlos Williams, Gertrude Stein . . .
The latest news in Brown studies is the forthcoming publication of Craig Saper's biography of Bob Brown, The Amazing Adventures of Bob Brown: A Real-Life Zelig Who Wrote His Way Through The 20th Century (Fordham University Press, forthcoming 2016). The title was recently listed on Amazon We are eagerly awaiting this title and hope to throw a release party for this publication . . . Details to follow . . .
In the meantime, please check out some of the recent reviews of the Roving Eye Press catalog and stay tuned for upcoming titles.
Recent Selected Reviews
"Language Lessons: The Poetry of Bob Brown," Rev. of The Readies, Words, and Gems: A Censored Anthology by Douglas Messerli in Hyperallergic.
"A Bob Brown Omnibus," Rev. of The Readies, Words, and Gems: A Censored Anthology by Spencer Dew in decomP Magazine.
"Operating of Words," Rev. of The Readies, Words, and Gems: A Censored Anthology by Douglas Messerli in The PIP (Project for Innovative Poetry).
"Bob Brown's 1450-1950," Rev. of 1450-1950 by Gretchen Wagner in The Manhattan Book Review.
This entry was posted on November 8, 2015 by k.a.wisniewski in Books/Book-making, Printing History, Roving Eye Press, Writing/Publishing and tagged Publishing, Roving Eye Press, Small Press.
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Vers les lueurs est le neuvième album studio de Dominique A paru le  sur le label Cinq7 de Wagram Music.

Historique de l'album
Comme souvent, Dominique A écrit cet album en opposition au précédent. Son précédent album, La Musique, avait été enregistré sur un studio portatif dans sa cuisine et était assez électronique. Vers les lueurs est travaillé avec une formation rock, celle qui l'accompagnait sur la tournée précédente, à laquelle s'ajoute un quintet à vent, très présent sur la plupart des titres, mené par le clarinettiste Michel Aumont. L'album est enregistré du 3 au  au Jet Studio de Bruxelles en Belgique sous la supervision de Dominique Brusson et de Géraldine Capart puis mixé par le premier du 3 au  et masterisé par la seconde la semaine suivante.

La publication de cet album, associée à celle des rééditions de ses albums des années 1990-2000, permet à Dominique A de remporter le  la Victoire de la musique de l'« Artiste masculin de l'année », ce qu'il considère être un changement de regard sur sa personne et son travail.

Liste des titres de l'album
Toutes les chansons sont écrites et composées par Dominique A, sauf mention

En , paraît une seconde édition avec des titres complémentaires enregistrés du 26 au  par la même équipe et publiés dans un second disque accompagnant l'album.

Réception critique et du public
Vers les lueurs reçoit lors de sa publication un excellent accueil critique. L'album atteint lors de sa sortie la  du top 100 en France où il reste classé durant dix semaines consécutives.

Musiciens
Les musiciens ayant participé à l'album sont :
 Dominique A : chant, guitares
 Michel Aumont : clarinette et clarinette basse
 Sophie Bernado : basson
 Cédric Châtelain : hautbois et cor anglais
 Sylvaine Hélary : flûte traversière, flûtes
 Daniel Paboeuf : clarinette et saxophone soprane
 Sébastien Buffet : batterie et percussions
 David Euverte : piano
 Jeff Hallam : basse électrique et contrebasse
 Nicolas Méheust : orgues (sur 13)
 Thomas Poli : guitares et synthés

Notes et références

Album de Dominique A
Album musical sorti en 2012


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Giuseppe Petito (né le  à Civitavecchia, dans la province de Rome dans le Latium) est un dirigeant d'équipe cycliste et ancien coureur cycliste italien. Professionnel de 1981 à 1996, il a notamment remporté une étape du Tour d'Espagne 1983. Il est ensuite directeur sportif de 1997 à 2010.

Biographie

Palmarès

Palmarès amateur
 1979
  Champion d'Italie sur route amateurs (Trofeo Gianfranco Bianchin)
 Coppa Giulio Burci
 1980
 Monte-Carlo-Alassio
 1981
 Trophée de la ville de Castelfidardo

Palmarès professionnel
 1982
  du Tour de Suède
  du Tour de Suède
  du Tour de Sardaigne
  du Tour de la province de Syracuse
  du Tour de Vénétie
 1983
  du Tour d'Espagne
  du Tour de la province de Reggio de Calabre
  de Tirreno-Adriatico
 1984
 Trofeo Laigueglia
 GP Cecina
  de Tirreno-Adriatico
 1985
  du Grand Prix du Midi libre
 1986
  du Tirreno-Adriatico
  de Milan-San Remo
 1987
 Tour de Campanie
  de Tirreno-Adriatico
 1988
  du Tour de Calabre
  de Milan-San Remo
 1989
  du Tour d'Italie (contre-la-montre par équipes)
  de Paris-Nice
 1991
  de la Semaine cycliste internationale
  de la Semaine cycliste internationale
  du Trofeo Laigueglia
  du Tour d'Aragon
  du Grand Prix de l'industrie et de l'artisanat de Larciano
  de Tirreno-Adriatico
 1993
  du Tour des Pouilles

Résultats sur les grands tours

Tour de France
2 participations
 1986 : abandon ()
 1994 : abandon ()

Tour d'Italie
11 participations
 1982 : abandon
 1983 :
 1984 :
 1985 :
 1986 :
 1987 :
 1988 :
 1989 : , vainqueur de la  (contre-la-montre par équipes)
 1991 :
 1992 :
 1993 :

Tour d'Espagne
4 participations
 1983 : abandon (), vainqueur de la
 1984 : abandon ()
 1994 :
 1995 :

Distinctions
 Mémorial Gastone Nencini (révélation italienne de l'année) : 1982

Liens externes

Coureur cycliste italien
Coureur cycliste aux Jeux olympiques d'été de 1980
Vainqueur d'étape du Tour d'Espagne
Naissance en février 1960
Naissance à Civitavecchia
Sportif italien du XXe siècle
Sportif italien du XXIe siècle


text:
Abe Lebewohl (1931–1996) was the founder of the Second Avenue Deli.  The deli has been described as "possibly the Big Apple's  most well-known delicatessen" which was "famed worldwide as a hotspot for celebrities and regular Joe's alike."

Biography
Lebewohl was born in Kulykiv, Ukraine.  His father was sent to Siberia when the Soviets occupied western Ukraine and his mother to Kazakhstan.  When the family was reunited, they made their way to Italy after spending time in Poland and Austria. In 1950, after five years in Italy, they emigrated to the United States, settling in a six story walk up in Williamsburg, Brooklyn.

While making a daytime run to the bank on March 4, 1996, he was murdered.  The gunman has never been caught. He is survived by his daughters Sharon Lebewohl, Felicia Lebewohl-Rosen and his brother Jack.

References

Deaths by firearm in Manhattan
People murdered in New York City
1931 births
1996 deaths
1996 murders in the United States
American restaurateurs
Ukrainian emigrants to the United States
People from Williamsburg, Brooklyn


text:
Henry Richard Inigo Jones
M, #69981, b. 17 December 1891, d. 4 September 1914
Henry Richard Inigo Jones was born on 17 December 1891. He was the son of Maj.-Gen. Inigo Richmund Jones and Elinor Margaret Charteris.1 He died on 4 September 1914 at age 22, killed in action.
He lived at Kelston Park, Somerset, EnglandG. He fought in the First World War.
Maud Evelyn Inigo Jones1
F, #69982, d. 30 April 1976
Maud Evelyn Inigo Jones was the daughter of Maj.-Gen. Inigo Richmund Jones and Elinor Margaret Charteris.1 She married, firstly, Richard Assheton Cross, 2nd Viscount Cross, son of Hon. William Henry Cross and Mary Lewthwaite, on 11 February 1918.1 She married, secondly, Guy Hope Caldwell, son of Major Robert Hanson Caldwell, on 18 April 1944.1 She died on 30 April 1976.1
After her marriage, Maud Evelyn Inigo Jones was styled as Viscountess Cross on 11 February 1918. From 11 February 1918, her married name became Cross. From 18 April 1944, her married name became Caldwell.
Children of Maud Evelyn Inigo Jones and Richard Assheton Cross, 2nd Viscount Cross
Hon. Idonea Mary Ellice Cross+2 b. 30 Nov 1918, d. 1994
Assheton Henry Cross, 3rd Viscount Cross+1 b. 7 May 1920, d. 5 Dec 2004
Hon. Richmund Gilfred Cross1 b. 6 Jan 1922, d. 13 May 1944
Hon. John Michael Inigo Cross+1 b. 23 Mar 1923, d. 2 Feb 1951
Richard Assheton Cross, 2nd Viscount Cross1
M, #69983, b. 28 January 1882, d. 14 March 1932
Last Edited=20 Feb 2011
Richard Assheton Cross, 2nd Viscount Cross was born on 28 January 1882.1 He was the son of Hon. William Henry Cross and Mary Lewthwaite.1,2 He married Maud Evelyn Inigo Jones, daughter of Maj.-Gen. Inigo Richmund Jones and Elinor Margaret Charteris, on 11 February 1918.1 He died on 14 March 1932 at age 50.1
He was educated at Eton College, Windsor, Berkshire, EnglandG.1 He graduated from University College, Oxford University, Oxford, Oxfordshire, EnglandG, with a Master of Arts (M.A.)1 He succeeded as the 2nd Viscount Cross, of Broughton-in-Furness, co. Lancaster [U.K., 1886] on 8 January 1914.1 He was Principal of the Treasury.1
Children of Richard Assheton Cross, 2nd Viscount Cross and Maud Evelyn Inigo Jones
Guy Hope Caldwell1
M, #69984, d. 10 October 1948
Guy Hope Caldwell was the son of Major Robert Hanson Caldwell.1 He married Maud Evelyn Inigo Jones, daughter of Maj.-Gen. Inigo Richmund Jones and Elinor Margaret Charteris, on 18 April 1944.1 He died on 10 October 1948.1
Major Robert Hanson Caldwell1
Child of Major Robert Hanson Caldwell
Guy Hope Caldwell1 d. 10 Oct 1948
Assheton Henry Cross, 3rd Viscount Cross1
M, #69986, b. 7 May 1920, d. 5 December 2004
Assheton Henry Cross, 3rd Viscount Cross was born on 7 May 1920.1 He was the son of Richard Assheton Cross, 2nd Viscount Cross and Maud Evelyn Inigo Jones.1 He married, firstly, Patricia Mary Hewetson, daughter of Edward Pearson Hewetson, on 12 January 1952.1 He married, secondly, Victoria Stoward, daughter of John William Stoward, on 24 March 1972.1 He married, thirdly, Patricia J. Noake on 12 November 1983 at Richmond upon Thames, Surrey, England.1 He and Patricia J. Noake were divorced in 1987.1 He and Patricia Mary Hewetson were divorced in 1958.1 He and Victoria Stoward were divorced in 1977.1 He died on 5 December 2004 at age 84.2
He was educated at Shrewsbury School, Shrewsbury, Shropshire, EnglandG.1 He succeeded as the 3rd Viscount Cross, of Broughton-in-Furness, co. Lancaster [U.K., 1886] on 14 March 1932.1 He fought in the Second World War.1 He gained the rank of Lieutenant in the Scots Guards.1 He was educated at Magdalene College, Cambridge University, Cambridge, Cambridgeshire, EnglandG.1 He was a racing driver.1 He lived in 2003 at Wildwood, Itchenor, Sussex, EnglandG.1 On his death, his title became extinct.2
Children of Assheton Henry Cross, 3rd Viscount Cross and Patricia Mary Hewetson
Hon. Venetia Clare Cross+3 b. 6 Apr 1953
Hon. Nicola Cross+3 b. 14 Dec 1954
Alexander Balfour, 3rd Lord Balfour, Baron of Glenawley1
M, #69987, d. after 1636
Alexander Balfour, 3rd Lord Balfour, Baron of Glenawley was the son of James Balfour, 1st Lord Balfour, Baron of Glenawley and Grisold Balfour.1 He died after 1636, without issue.1
He succeeded as the 3rd Lord Balfour, Baron of Glenawley, co. Fermanagh [I., 1619] on 26 February 1635/36.1
On his death, his title became extinct.1
[S6] G.E. Cokayne; with Vicary Gibbs, H.A. Doubleday, Geoffrey H. White, Duncan Warrand and Lord Howard de Walden, editors, The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom, Extant, Extinct or Dormant, new ed., 13 volumes in 14 (1910-1959; reprint in 6 volumes, Gloucester, U.K.: Alan Sutton Publishing, 2000), volume I, page 383. Hereinafter cited as The Complete Peerage.
Harold Harington Balfour, 1st Baron Balfour of Inchrye1
M, #69988, b. 1 November 1897, d. 21 September 1988
Harold Harington Balfour, 1st Baron Balfour of Inchrye was born on 1 November 1897.1 He was the son of Colonel Nigel Harington Balfour and Grace Annette Marie Madocks.1,2 He married, firstly, Diana Blanche Harvey, daughter of Sir Robert Grenville Harvey, 2nd Bt. and Emily Blanche Murray, on 15 December 1921.1 He and Diana Blanche Harvey were divorced in 1946.1 He married, secondly, Mary Ainslie Profumo, daughter of Baron Albert Peter Anthony Profumo, on 2 January 1947.1 He died on 21 September 1988 at age 90.1
He was educated at Chilverton Elms School, Dover, Kent, EnglandG.1 He fought in the First World War, with the 60th Rifles, Royal Flying Corps and Royal Air Force.2 He was educated at Royal Naval College, Osborne, Isle of Wight, EnglandG.1 He was awarded the Military Cross (M.C.) and bar.1 He held the office of Member of Parliament (M.P.) (Conservative) for the Isle of Thanet between 1929 and 1945.2 He held the office of Parliamentary Under-Secretary for Air between 1938 and 1944.2 He held the office of Minister Resident for West Africa between 1944 and 1945.2 He gained the title of 1st Baron Balfour of Inchrye, of Shefford, co. Berks [U.K.] on 5 July 1945.1 He was a director of BEA between 1955 and 1966.2
Child of Harold Harington Balfour, 1st Baron Balfour of Inchrye and Diana Blanche Harvey
Ian Balfour, 2nd Baron Balfour of Inchrye+3 b. 21 Dec 1924, d. 14 Apr 2013
Child of Harold Harington Balfour, 1st Baron Balfour of Inchrye and Mary Ainslie Profumo
Hon. Mary Ann Balfour+2 b. 22 Jul 1949
[S2] Peter W. Hammond, editor, The Complete Peerage or a History of the House of Lords and All its Members From the Earliest Times, Volume XIV: Addenda & Corrigenda (Stroud, Gloucestershire, U.K.: Sutton Publishing, 1998), page 762. Hereinafter cited as The Complete Peerage, Volume XIV.
[S8] BP1999 volume 1, page 175. See link for full details for this source. Hereinafter cited as. [S8]
[S2] Peter W. Hammond, The Complete Peerage, Volume XIV, page 763.
Hon. Venetia Clare Cross1
F, #69989, b. 6 April 1953
Last Edited=2 Mar 2012
Hon. Venetia Clare Cross was born on 6 April 1953.1 She is the daughter of Assheton Henry Cross, 3rd Viscount Cross and Patricia Mary Hewetson.2 She married, firstly, Reverend Norman Hill, son of Charles Hill, in 1986.1 She married, secondly, Andrew Davies in 2011.3
From 1986, her married name became Hill.1 From 2011, her married name became Davies.3
Child of Hon. Venetia Clare Cross and Reverend Norman Hill
Gregory Hill2 b. 24 Jun 1989
[S2263] Audley Burnett, "re: Burnett Family," e-mail message to Darryl Roger Lundy, 28 April 2007. Hereinafter cited as "re: Burnett Family."
Hon. Nicola Cross1
F, #69990, b. 14 December 1954
Hon. Nicola Cross was born on 14 December 1954.1 She is the daughter of Assheton Henry Cross, 3rd Viscount Cross and Patricia Mary Hewetson.2 She married Audley George Parry Burnett, son of Lt. Col. George Parry Burnett and Natalie Wales Winslow, in 1992.1
Children of Hon. Nicola Cross and Audley George Parry Burnett
Galen Assheton Parry Burnett3 b. 1992
Fay Natalie Cross Burnett3 b. 1995
Rhodri George Parry Burnett3 b. 1998


text:
in: Cast, Actors
Johnson, Eric
Eric Johnson is best known for his role as Whitney Fordman who is Clark
His role in Small Ville
Kent's love rival on the CW drama series "Smallville". He also portrayed the teen Tristan in the "Legend of the Fall" and also he portrayed as Tyler in Ginger Snaps: Unleashed . His tv credits include The ghost whisperer, The Unit , Criminal Minds and The Dead Zone. He recently assumed the title role in the Syfy Network's Flash Gordon. He was showcased the made for television movie Scorn which won a 2001 Canadian television Gemini Award for Best Tv movie and he was also nominated for Best Actor.
More Rookie Blue Wiki
1 Gail Peck
2 Chris Diaz
3 Jerry Barber


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text:
GIANCARLO TONIUTTI
Interview by Daniel Varela
Unusual music resources and blurred boundaries between art disciplines are main factors related to the "genre" known as Sound Art. Starting from old analog synthesizers and cosmic rock improvisations, Giancarlo Toniutti studied electronic music at the Conservatory in Venice in early eighties. His interest in visuals, installations and other art forms has been reflected in many of his works like recent projects with Italian visual artist Luisa Tomasetig and other phenomena simply defined by Toniutti as "sound sites" as well as projects based on heterogeneous approaches to sonic acoustic materials.
His music has a unique character. An excellent example is his work "KO/USK," made in collaboration with Siegmar Fricke using a varied amount of stones as only sound source, without any electronic manipulation. Another remarkable sound experience is "Tahta Tahla," a collaborative work with Englishman Andrew Chalk, developing a very particular sense of sonic manipulations of natural sound objects.
It must be said that Toniutti's interests as an artist are involved within a more complex and integrative conceptual world. He is a researcher on Language studies, including toponymycal (place names) investigations and ethnographics. Siberia, Mongolia, Arctic, Caucasus and Native America cultures are of interest to him as well as Physics (especially theories by French mathematician René Thom) and Philosophy. Drawing from these varied sources, Toniutti has developed a strong body of work including personal ideas on composition and human behaviour.
PSF: How did you start with music, considering your studies in Philology (language) and Anthropology?
I have been dealing with music since I was about 14 (it was about 1977) when I discovered German electronic music (Schulze, Tangerine Dream, Popol Vuh, and then Cluster, Schnitzler etc.). So it had been almost natural to me, when I got to the high school, to gather a friend and think (as many do and did in garage bands) of doing noise improvisations in his glassworks' shed. Then step by step it was natural as well to move into some more "serious" effort in composing. The anthropology, linguistics and so on studies came later on, and it was just another parallel interest in research about human beings and their world.
PSF: Could you describe how you plan a project? Have you some general kind of work approach or it is very different from each work to another?
I have been changing my personal attitude to music composing/working through these 28 years, of course. But I could say that generally I am now used to trying to settle some sketch of the compositional process as a first step into specific projects. So with that, starting from there and from a specific timbral and sound idea (the idea of a sound process, or a sound category for example), I usually tend to try to make these things go together, while trying to let any element, micro or macro-process of the project, canalize by itself with further steps into (the project). So, I think I can say that there is some general approach. And this has mainly to do with analyzing the final macro-structural idea (this depending on specific choices, basically linked to a specific project) through the lens of the processes I'd like to get involved into. But any project has its own characters, because of the sound "category" (or categories) I intend to employ as a basic feature of the project. So, there is a constant shifting from one plane to the other. From macro to micro and then back to macro and so on, up to a certain point when all the articulatory levels come into consideration so that I have to cope also with the mesostructural question implied therein...
In any case, most generally ideas start from specific sound timbral categories I somehow get involved into both for theoretical and (of course) accidental reasons. From such first steps (first structure of the processes), I gather ideas and reasons behind such structure and try to analyze it macrostructurally, in a way "composing" the general process. Then all the processes start.
PSF: Could you describe some of your projects and their structural ideas?
Probably I could write full books about each one of them, with interesting things and less interesting ones, because works depend on so many aspects and imply so many others. Concerning the strictly structural aspect, e.g. speaking of "KO/USK," there has been a double trajectory in composing/recording it. On one side, following a decision implying the use of such sound sources (stones), a decision linked to ideas concerned with low resonance materials, granular/dusty timbral nature and things like these (which of course implied many other consequential aspects on the compositional and structural level), I adopted the very nature of the material to have them resonating. I mean I accepted the limits (and character) of the material and their only possibilities to generate sound (by friction and percussion). This of course led me to the "collection" of material and recordings that already had a structural nature, depending on the very possibilities of their sound generation (in the specific context, some very pointillistic and at the same time moted organization of the sounds, with a short "envelope" - sharp attack, short decay etc.).
On the other hand, my interest was connected with the organization of sound forms provided with some sort of a layered continuum, with no single fulcrum, around which organizing the single structures. My idea was to have different attractors, different knots which would organize and canalize the micro-structural events and would give them single and multiple balances. So in the end, results would have been those of having some non-equilibrium of far-from-equilibrium forms within larger organized structures (macro-structures). This can be a general approach I mostly have, of course. And it gets different results due to the difference in the very nature of the sound sources which obviously modify the organizational landscape (because of their differences in envelope, in timbral qualities, in spatial characters etc.).
PSF: Have you some formal plans in terms of "composition"? Is your work based on juxtapositions/mixings of materials?
As I tried to explain above, I have mostly a composite approach to composition. It has to do with some formal technique (but not academic ones), and it has to do with also some kind of "juxtaposition" (more about this later), and it has to do with association and more. As I said, there is usually a general plan, I like to keep as a referent to the work, which I constantly come back to. But also there is, strongly considered, the force of the "accident" as part of the processes, so that when I put together recordings, I tend not to exactly plan where they cross each other, or how they do that, in terms of microcompositional articulations. I let the single structures try to find their own way therein and my role tends to be one of control over specific parameters (like saturation, density, velocity, dynamics, timbral nature, etc.) of the whole organization of the sounds. Articulation is a way I like to describe all this.
PSF: Have you some kind of affinity for text sound / sound poetry composition considering your interest in languages?
I have no interest in sound poetry or even the use of voice in music. I think voice is too much self-oriented, and it is too pregnant for the human ear, too charged with specific psycho-acoustical motivational backgrounds to supply a composition with something more then already-known parameters. Then texts etc. are even a step further into this. And I have no interest to work in sound like a narrative effort.
PSF: Abstract musics (drone, experimental electroacoustics, field recordings, sound art) have their own language, maybe their own flow and "narrative" in terms of presentation, development and transformation of sound material. Have you some reflection about this point?
Yes we could say that what you call "abstract music" could have its own "narrative" though I think that using the notion of "narrative flow" would be a bit ambiguous in this sense (at least concerning my work). I admit that some form of narration is part of any aspect in life and in art as well. But at the same time, I recognize some modules pertaining to the narrative form, which are not part of my own structural approach to the sound organization and composition. Narratives are part of a "flow" which is basically teleological, in that it starts somewhere with a sense to arrive somewhere else, whereas my music tends to be somewhere and remains almost there, tending nowhere in particular. In geometrical terms I would see (I mostly have ever seen) my music as a point, whereas many musics are lines. Narration is a line from A to B at least. Even deconstructed narration has the same teleological need. If I have this instance of "avoiding" narration within my music, I think it depends on the high value I give to narration (oral narrative especially) and its mechanics, which have their own field of action. I always thought that music is something else and being something else needs some other organizational/structural tool.
PSF: I'm very interested in your study of ancient languages and cultures. Could you comment on this focus of your work? Why do you have such a particular interest in arcane/ distant social organizations?
My interest in ancient as well as marginal social organizations, as you call them, is mainly dictated by a reason. I think we can learn more from marginal aspects than core ones because the centre is already well known and also it is very much open to constant mixing and re-organizing processes, while in marginal elements one can "more easily" discover different approaches to the world organization, to the view of the world. And this makes sense to me, because our view of the world and its reasons. are of course a product of our historical development, evolution. But it is, as a product of historical evolution, just one of the possible ways to organize the world. My interest in marginal contexts depends properly on this possibility to see that there are (there has been and there could be) different ways of looking to the world processes. which might cast a light onto our own ways, and onto more basically (deeper) fundamentals of the human thought processes.
PSF: Could you comment on what are these fundamentals? Are you interested in some particular idea/way to communicate experiences or human feelings? Or are you more involved in a kind of "abstract"/subjective personal experience?
I have a very little interest in subjective personal views. I mean, of course any view is a personal view, but have little interest in trying to demonstrate to the world that my personal experience can be taken as some form of example, especially because it is taken as such in any case. It is its nature to be taken as such, thus I wouldn't see much value in creating a discourse about this. Similarly I have a rather uninterested approach concerning the communication of experiences or feelings. Of course, I am speaking of the artistic field (in personal life, it is obviously another matter...!?!).
My interest in trying to understand and see (as much as this is possible and has some sense) what I called the fundamentals, is linked to a basic view. We cannot take ourselves as real parameters for the understanding of the world, because we are inevitably part of our own observation of the world itself, and we are so immersed in this dialogue between ourselves and the world, that each effort to see beyond the pure speculative side of the problem would only cast light on what we like to think, more than what we really think or the way we do this. By observing the world's differential characters, by observing the different cultures and the way they organize reality, through their linguistic differences and what's behind these differences and what they imply (e.g. in terms of the relation between genders, between subject and object or patient and agent etc.) I try to find forms of continuity which can cast some light about common modalities, common dynamics of the human psychism in general (and this could be enlarged to the animal world at least). The scope of all this is trying to understand more on some of the fundamental dynamics behind our own way of perceiving the world and the needs behind such ways etc. The needs for art (which is widespread in all cultures), the reason behind the insurgence of language in the humankind and the like. My idea is that by better knowing these mechanisms we could better find ourselves a place
PSF: Do you have some interest to "dive" in some deep human aspects? Have you some extramusical/ ideological/philosophical interest that support some compositional attitude? I think for instance of Francisco López interest's in Rumanian/French philiosopher Emil Cioran, or the many aspects behind John Duncan´s work.
Yes, in a way I have some "deep" aspect I am following with my work. Something has been said answering to your question number 4 (about planning compositions and use of juxtapositions). But I can add some more. I have a general interest in discovering what is part of the so-called "universals" of human beings as an animal (as a part of the whole living world), and what pertains to single socio-cultures. What is culture in anthropological terms, and then what is part of the universal psychism of the human being as a genus. My idea behind all this is to try to understand a bit more how we organize our human mind, generically said, basing on what and from what. That said, I must add that there is no strict philosophical "school" or single philosopher I am following. I can anyway refer to the work of French mathematician René Thom for some basic concomitant approach to many of these aspects. How much this supports my compositional attitude is difficult to say, if we analyze all this in strict logical terms. But certainly there is much from these perspectives which pours into musical and compositional attitudes of mine....
PSF: In which aspects does a mathematical/physical theory like Thom´s Catastrophe interact with your work? Could you comment about the "not so logical" terms of your work?
Thom's theoretical work (which goes well beyond his "catastrophe theory") has been quite relevant in understanding how forms organize. His models of the development of forms, definition of forms and their interaction, the dynamics behind forms and their interaction has been very relevant because it has led me to recognize forms, some kind of individuality and see them not as pure matter to be dominated by my hands, but matters which try to come in "conflict" with the rest of the world (myself included)- 'conflict' meant in the Heraclitus notion of it. I think this has enlarged my view of the structures into some very fundamental acceptance of what's behind structures. And in this sense I have slowly accepted to shift from a very rational and logical relation to the sound matter towards a "not so logical" (as you say) view of it. This has nothing to do with irrational thinking, especially in the "intuitivistic" view of Cageian school. What I am speaking of is a more deep though not mystic view of the problem. It has to do with the fundamentals I was speaking about above. With the fact that we act in the world not only because of our cultural or logical tools, but also because of some pre-cultural dynamics, which I like to see and recognize a place (for).


Northumberland Town Cemetery, Aka Groveton Cemetery is located at approximately 330 Main St US Rt. 3 in Northumberland, NH. The cemetery's true identity is a bit obscure since there are different names on two signs on the property. The photo above is the sign on Rt. 3. The photo below is inside the gate.


Golden Sands Hotel Apartments, part of A.A. Al Moosa Enterprises, witnessed an increase of 10 per cent in visitor arrivals from India in 2017 and is expecting to double the growth this year. The property hopes to continue to attract and get a bigger share of this market through an aggressive marketing campaign and participation in trade shows such as SATTE, South Asia's leading travel show set to be held in New Delhi, India from January 31 to February 2, 2018.
India is the number one source market for Dubai's inbound tourism, with 1,478,000 Indian tourists arriving in the city between January and September 2017, a 20 per cent increase over the same period in 2016. Recent reports indicated that around nine million Indians are expected to travel to the GCC by 2021, with the UAE expected to see a 10.8 per cent increase.
"Golden Sands is known in the India market for the quality of service, high standard facilities and convenient location. With over 20,000 attendees this year, we'd like to take every opportunity to connect, grow and learn from our partners and meet with potential clients to discuss possible collaboration to increase our share of this attractive market," said Mohammed Khoori, General Manager, Golden Sands Hotel Apartments.


text:
National hypersonic ground test facility to be built in Purdue Aerospace District
A first-of-its-kind in the U.S. facility to test hypersonic technologies will be constructed in the Purdue Aerospace District adjacent to the Purdue University campus, already a hotbed for hypersonics research and aerospace technology developments.
The Hypersonic Ground Test Center, or HGTC, announced Monday (Aug. 9) during a two-day Hypersonics Summit hosted by Purdue and the National Defense Industrial Association, will be a central shared utility that supports multiple test cells and laboratories.
The announcement of the HGTC comes on the heels of two major recent announcements for plans in the Purdue Aerospace District. On July 27, the university and research foundation announced plans for the construction of the 65,000-squre-foot Hypersonic Applied Research Facility. That facility will house the only Mach 8 quiet wind tunnel in the world as well as a hypersonic pulse (HYPULSE) shock tunnel. On Aug. 2, it was announced that Rolls-Royce will significantly expand its already large footprint at Purdue. Its new test facilities will be used to develop high-altitude and hybrid-electric engines to power the next generation of U.S. military aircraft.
"At Purdue, we're committed to research at the very frontiers of science, especially when it can contribute to the national security of Americans," Purdue President Mitch Daniels said. "Becoming home to the nation's premier hypersonics facilities can make such a contribution, while providing enormous new opportunities for our researchers, aspiring entrepreneurs, and job seeking graduates."
Mark J. Lewis, executive director of the Emerging Technology Institute, a nonpartisan think tank focused on technology critical to the future of national defense, and the chief scientific advisor to NineTwelve, said, "We need to do more than match our peer competitors, we need to leapfrog them quickly. This facility will help us make that happen."
The HGTC will be administered by a new nonprofit consortium of national defense industry partners that will manage capital and operational costs. Rolls-Royce North America is the first aerospace industry member of the HGTC consortium. Other national industry partners and potential interested government entities are being recruited.
The HGTC facility will house two separate testing streams; partners can conduct tests in the 3.5-5.0 Mach range or the 4.5-7.5 Mach range. Multiple companies can undertake work simultaneously on site, while being ensured full protection of intellectual property and sensitive work. These facilities will be available for long-term lease to allow guaranteed, timely access for contractors to conduct tests at their preferred schedule and duration.
Tom Bell, chairman and CEO, Rolls-Royce North America, said, "Rolls-Royce is proud to be the founding member of this significant new addition to aerospace research. We credit leadership from the state of Indiana, Purdue University and Purdue Research Foundation for their important vision and investment leading to the creation of the Hypersonics Ground Test Center. Rolls-Royce has a unique history in high-speed propulsion, dating to the Concorde aircraft and 30 years of experience on hypersonics research with our Department of Defense customers through our LibertyWorks advanced technology unit in Indianapolis. We are keenly interested in the area of hypersonic propulsion and currently exploring development of advanced supersonic and high-Mach propulsion systems with our customers."
Indiana Gov. Eric Holcomb said the HGTC is another example of how the state of Indiana and industry succeed together.
"Creating this first-in-the-nation center is possible because we have industry partners that aren't just on the cutting edge but are reinventing where the edge is," Holcomb said. "Couple that with the many thriving communities in Tippecanoe County, and a gushing pipeline of top talent at Purdue including researchers, students and graduates prepared to make the next giant leaps in both aerospace and hypersonic innovation. It's because of days like today that our economy remains strong and Indiana reigns as one of the best places in the world to do business."
U.S. Sen. Todd Young of Indiana, said, "The transformational technologies being developed and tested at Purdue will help America win the 21st century. Not only will these ideas create the jobs of tomorrow, they will ensure that the American military remains the strongest and most advanced fighting force in the world."
Purdue University and Purdue Research Foundation will fund the construction of the HGTC.
PRF president and CEO Brian Edelman said, "Building the Hypersonic Ground Test Center would not be possible without a recent multimillion-dollar investment to further expand facilities in the Purdue Aerospace District. That investment from Rolls-Royce, the university and PRF, along with support from the state, West Lafayette, Lafayette and Tippecanoe County, laid the foundation for creating the HGTC."
The HGTC draft design, capabilities and requirements were developed by Zionsville, Indiana-based NineTwelve, in coordination with PRF. Chad Pittman, president of NineTwelve, said he and the NineTwelve team are excited to be a valuable resources for the facility and the partnerships it has and will continue to attract in the vital space of the nation's defense needs."
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Department of Clinical Genetics /
Prenatal Diagnosis /
C.A. Brezinka (Christoph), A.M. Hagenaars (A.), J.W. Wladimiroff (Juriy) and F.J. Los
Fetal ductus venosus flow velocity waveforms and maternal serum AFP before and after first-trimester transabdominal chorionic villus sampling
Prenatal Diagnosis , Volume 15 - Issue 8 p. 699- 703
Doppler flow velocity waveform recording in the fetal ductus venosus and umbilical artery as well as maternal blood sampling for serum alpha-fetoprotein (MSAFP) was performed before and after transabdominal chorion villus sampling (TACVS) in 36 women of advanced maternal age (≥ 36 years). Gestational age ranged between 11 and 13 weeks. No chromosomal anomaly was detected. No statistically significant difference was observed in ductus venosus velocity parameters or in the umbilical artery pulsatility index (PI) before and after CVS in 35 women with a normal pregnancy outcome. One case resulted in fetal loss. Post-CVS median MSAFP levels at 12 weeks (25 kIU/1) and 13 weeks (35 kIU/1) were significantly higher than pre-CVS levels. In three cases, post-CVS MSAFP levels were higher than 600 kIU/1, correlating with feto-maternal transfusions of approximately 1.0–1.4 ml, i.e., of around 40 per cent of feto-placental blood volume. One of these cases displayed absence of fetal peripheral blood flow velocities and fetal bradycardia following TACVS, resulting in fetal loss 1 week later. The remaining two cases had a normal pregnancy outcome, but showed a more than 50 per cent reduction in ductus venosus velocity after TACVS, whereas umbilical artery PI remained unchanged. However, similar velocity changes were associated with only small feto-maternal transfusions. Umbilical artery PI values remained unchanged.
Keywords Chorion villus sampling, Doppler flow velocities, Ductus venosus
Persistent URL doi.org/10.1002/pd.1970150804, hdl.handle.net/1765/65869
Journal Prenatal Diagnosis
Organisation Department of Clinical Genetics
Brezinka, C.A, Hagenaars, A.M, Wladimiroff, J.W, & Los, F.J. (1995). Fetal ductus venosus flow velocity waveforms and maternal serum AFP before and after first-trimester transabdominal chorionic villus sampling. Prenatal Diagnosis, 15(8), 699–703. doi:10.1002/pd.1970150804


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Waltham police chief guilty in domestic assault
Jurors concluded he beat his wife
By Jaclyn Reiss Globe Correspondent,June 27, 2013, 12:00 a.m.
Police Chief Thomas LaCroix in Waltham District Court.Patrick Whittemore/Boston Herald/Pool
A Concord District Court jury found Waltham Police Chief Thomas LaCroix guilty Wednesday of twice assaulting his wife, Andrea, in fits of anger on June 12 last year at the couple's home in Maynard.
Andrea LaCroix had earlier testified that her husband has never attacked her.
The jury convicted Thomas LaCroix on two assault and battery counts, one in which he picked up his wife and threw her in the couple's garage and another that left her with a bloody, swollen lip.
He was acquitted on charges that he assaulted his wife by slamming her head on a kitchen countertop, that he attacked his wife's friend Shannon Policano, and that he threatened to kill both if they went to police.
Reached by telephone, Thomas LaCroix declined to comment.
His attorney, Thomas Drechsler, said that he is considering an appeal.
"My client — he's a fighter, and we will continue to review options in this case,'' he said.
Judge J. Elizabeth Cremens set sentencing for July 10. LaCroix faces up to 2½ years in jail for each assault and battery count.
LaCroix has been on paid leave from his chief's job since his arrest by Maynard police on June 14 last year.
Mayor Jeannette McCarthy said Waltham is going through an administrative process to stop paying LaCroix, and that city officials will begin an investigation into whether LaCroix should continue to keep his job.
The guilty verdicts followed about six hours of deliberations and came after Andrea LaCroix had testified that her husband has never assaulted her.
"My husband has never laid a hand on me, ever,'' she said in testimony during the five-day trial.
LaCroix said she injured herself when she fell while attacking her husband during a long and bitter argument.
But Policano testified that Andrea LaCroix showed up on her doorstep, shaking and with a swollen and bloody lip.
She said LaCroix told her "Tom just beat the [expletive] out of me."
Policano also testified that when she and Andrea went to the LaCroix home to retrieve Andrea's clothes and cellphone, she saw Thomas LaCroix slam his wife's head into the kitchen counter and pick her up and throw her in the garage.
Also, two employees at TJX headquarters in Framingham, where Andrea works as an audit manager, testified she told them, in separate conversations on June 13 last year, that her husband had assaulted her. One of the witnesses said she noticed Andrea's swollen lip and bruises.
On Wednesday, before the verdicts were delivered, jurors had asked to see a magnified version of a surveillance video that was taken of Andrea after she went to the Maynard Police Department on the night of June 12 last year.
In his closing remarks Tuesday, Drechsler pointed to the surveillance video which, he said, showed that Andrea was walking normally without a limp.
He also cited medical records in which a doctor wrote that Andrea's lip was not swollen, as Policano said, and that she did not have bruises on her arms and legs, as her work friend Claire Coen testified.
Drechsler said Policano made "gross exaggerations" in her accusations.
He chastised prosecutors for meddling in a married couple's private affairs.
"The only two people who were there during the argument was Andrea and her husband," he said.
But in her closing statement, prosecutor Suzanne Kontz said that one of the surveillance videos Drechsler mentioned clearly showed Andrea having trouble sitting down and standing up.
Kontz also said the doctor who examined Andrea LaCroix reported spending only 2 minutes with her, versus the one hour and 10 minutes a nurse did.
The nurse, Angela Jean, testified Monday that she had reported that Andrea LaCroix told her she was "pulled and thrown."
Kontz questioned the credibility of Andrea LaCroix's testimony, noting that she had stated that, from the beginning, she was worried about her husband's job security and that she was a beneficiary of his pension.
"She has an absolute motive for the testimony,'' Kontz said. "She told you."
Jaclyn Reiss can be reached at jaclyn.reiss@globe.com.


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New Music – Picsel 'The Heat'
New single from British band Picsel is the last release to come from their upcoming album 'Modern Life Discovery'. It's called 'The Heat' and for good reason, because this song is seriously hot.
'The Heat' opens as if it is about to roar into an aggressive, alternative sound, however it takes a quick turn to introduce something far more melodic. The vocal lines are super catchy and the track walks the line between summery indie anthems and heavy alt sounds quite wonderfully. The dynamic throughout this one really gives it an edge and showcases that the band are more than capable of writing a hook laden tune.


The first facility in the Páty Industrial Park has officially been inaugurated. The 23,000-sqm logistics centre was developed by Inpark and serves as a regional car parts distribution hub operated by logistics service provider Kühne+Nagel. The HUF 5 billion project created 160 new jobs.


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Kristallnacht in America
73 years later, the horror repeats itself:
On 73rd Anniversary, Kristallnacht Comes to America: Cars Set on Fire as More Swastikas Turn Up in NYC: "Looks Like a War Zone"
This happened on the 73rd anniversay of Kristallnacht: the "Night of Broken Glass," referring to the wave of violent anti-Jewish pogroms that took place on November 9 and 10, 1938, throughout Germany, annexed Austria, and in areas of the Sudetenland in Czechoslovakia. It set the stage for what was to come. Welcome to O-merica.
Kristallnacht 11. November 1938
While TV and media culture whores handwring and lament about imaginary "islamophobia," Jew-hatred spikes to worldwide record levels. Who cares? No one. Welcome to America under siege by the leftists and Islamic supremacists.
What a horror — imagine this scene for those who witnessed it in Germany.
Police Investigate Antisemitic Arson and vandalism in Midwood (credit: CBS 2)
NEW YORK (CBSNewYork) – There's shock and outrage in Brooklyn today after several cars were torched and numerous pieces of anti-Semitic vandalism took place in Midwood.
The incident was discovered at around 5 a.m., when residents awoke to see cars burning.
Sounds like a case of  "I killed my Jew…?!"
A Jewish woman was murdered on a sidewalk in Flatbush late Tuesday, leaving communities rocked by anti-Semitic riots and vandalism on edge….From Israel National News via Vlad Tepes
At least three cars were set ablaze and dozens of pieces of anti-Semitic graffiti were plastered along benches. The cars were damaged and the benches vandalized along Ocean Parkway between Avenues I and J. Among the vandalism: "KKK" scrawled nearby, as well as numerous swastikas.
1010 WINS' Steve Sandberg reports
"People are nervous, people are concerned," Assemblyman Dov Hikind said. "The police are putting extra manpower into the community at synagogues and all over."
The incident occurred on the anniversary of Kristallnacht, when Hitler's Nazi's launched a pogrom against Jews in Germany and Austria.
"I'm used to swastikas, but three cars destroyed is a whole new dimension," said Hikind. "Three cars completely destroyed as if someone had dropped them bomb on them is just a real tragedy."
"The burning of cars and vandalism of benches in Midwood this morning represents a truly hateful act of prejudice," said Public Advocate Bill De Blasio in a statement. "That it took place on the anniversary of Kristallnacht leaves no doubt that this attack is a hate crime in every sense, and I applaud the NYPD for investigating it as such."
New York City Councilman David Greenfield is offering a $1,000 reward for information leading to the arrest and conviction of the person – or persons – responsible for the incident.
"We will not accept anti-Semitism in our community. There is zero tolerance for such acts of hatred and ignorance," said Councilman Greenfield in a statement. "I'm confident that these hateful people will be caught and punished to the full extent of the law."
Just a week ago, two libraries and a synagogue in Queens were vandalized with swastikas.
Anyone with any information is asked to call Crime Stoppers at 1-800-577-TIPS (8477). All calls are kept confidential. You can also log on to the Crime Stoppers website, or text your tip to CRIMES and then enter TIP577.
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Those who know me will know I'm a pretty big metalhead. I used to play bass guitar in the hallways in high school and wear a Metallica shirt under my uniform. I never got into Mötley Crüe until college, however, despite discovering them in 2005 on the soundtrack to Tony Hawk's American Wasteland. Then I began to learn how excessive their lifestyle was. That lifestyle is front and center in the new Netflix movie about the band called The Dirt, based on the book of the same name written by the band and Neil Strauss. The movie, like the book, chronicles the rise and fall of the so-called "most notorious rock band" but how does all that debauchery translate to film?
The film is admittedly very rough. There are certainly highlights of the film, from its soundtrack to its ability to capture a certain space and time so well, in this case, Sunset Boulevard in the 80s. The performances are mixed, ranging from great to forgettable. Then there's the excess and the partying, that definitely passes insanity. Sometimes though, the shenanigan scenes feel like they're there more to shock and disgust, and made me think of a Jackass skit. That's likely because the director of his biopic, Jeff Tremaine, was the co-creator of that popular TV series, which glorified stupidity and bad behaviour. The Dirt takes that mentality and cranks the volume up so loud that the amps broke.
The film stars Douglas Booth (The Riot Club, The Limehouse Golem) as the band's founding member and bassist, Nikki Sixx. Born Frank Feranna Jr, he would go on to get his own mother arrested by cutting his own wrists and blaming her. Years later and the runaway troublemaker is looking to start a new band. Jamming in a dingy apartment in Los Angeles, he works on writing material with Tommy Lee (Colson Baker, a.k.a Machine Gun Kelly), a scrawny drummer from a good home. Game of Thrones' Iwan Rhedon steps in as Mick Mars, the "older" member of a band who at least has some self-respect and refuses to partake in the womanizing and much of the debauchery of the band, likely due to his diagnosis of ankylosing spondylitis. But the band had no singer, so they recruit Tommy's high school pal Vince Neil (Daniel Webber, 11.22.63), who currently has a good thing going on fronting a cover band. It isn't long before they rally together and form Mötley Crüe with the sole ambition to shock and awe, unlike anyone before them.
And shock and awe they will. I felt like I needed a shower after watching this movie. Imagine the most excessive and hedonic acts you can think of and crank it up to 100 out of a maximum of 10. This is the most difficult part to critique about this movie, as the band was known for trashing hotel rooms, spending thousands of dollars of drugs a day, getting into a bar fight on their first show and participating in all manner of debaucherous and hedonistic behaviour with women. A scene, that felt like it was there just to show off the insanity of the lifestyle, features Ozzy Osborne (Tony Cavalero, nailing the voice) snorting ants and licking urine. What's the point of this scene other than to make the viewer feel disgusted? Well, seeing as the event is recorded in their book, it makes it an event that happened and while it serves no purpose to the plot, it's meant to dehumanize these characters. The further the movie goes on, the less you feel like rooting for them. Until they hit rock bottom of course, and even then, you have to question if you should be. For the record though, Ozzy has no memory of ever snorting ants, but considering his drug-laced antics in the 80s, one might imagine his memory is a bit hazy.
Watching off of their antics, however, can be exhausting to watch and after a while, it does get repetitive and stale. In a weird move, either to highlight how high they were or just for the sake of making a more narratively pleasing movie, some of the characters break the fourth wall (this movie is narrated) and talk to the audience directly, informing them that what's actually happening on screen didn't actually happen this way, making us question why we're watching this version of events. The film also doesn't have too much behind the scenes moments showcasing how certain songs were written, save for a brief look at "Live Wire", which goes from fast to faster and then perfected on the second take, and a brief scene in the booth during the recording of "Same ol' Situation", which sees Sixx directing Vince on vocal delivery, only to have Vince nail it on the second try. This is a shame because many of Mötley Crüe's songs are straight up rock'n' roll classics and seeing the band working on some of those jams would've been a treat. I wish the movie put more emphasis on the music. For comparison, check out this clip from the critically acclaimed Straight Outta Compton.
Of course, things go from bad to worse for the band. Nikki Sixx ends up battling with heroin, Tommy with infidelity and Vince ends up having the most gut-wrenching arc when a tragedy at home almost destroys him. And that's after he killed someone in vehicular manslaughter. Mick Mars is kinda just there, being weird, emo and ghostly.
The performances are hit and miss as well, with Booth nailing Nikki Sixx. His battle with heroin addiction is done superbly and he's easily the highlight of the movie. But Baker, a musician before being an actor, has some rough line delivery some as Tommy. At least it looks like he's having fun with the role. Daniel Webber has ups and downs as Vince, who is stuck lip-syncing the real songs but gets to handle some of the more human moments when it comes to dealing with his daughter. Iwan does a good job as Mick while simultaneously doing not much. I would've liked to have gotten to know him more and how he coped with his condition and why he was more content drinking alone in a corner than party it up with his bandmates. The film, produced by the band, thankfully doesn't shy away from how horrible they were in the past and how many demons they faced later on. However, whenever something major like death, overdose or Tommy assaulting his finance happens, the script pushes it aside rather quickly. This is a huge problem for the little characterization these characters get. Even minor moments, such as naming the band are presented quickly.
And that may be true for The Dirt, but it does it as such a base level that it comes nowhere near the quality of two movies Sixx himself referenced. I will say that the film's first act is actually strong but the crazier and bigger they get, the less personal the story becomes as the movie races through the years. For comparison, Martin Scorsese's The Wolf of Wall Street rivals The Dirt in terms of how obscene it got but took three hours to build up the characters and invest you in the story. When big moments happened Wolf, the movie had time to explore it. The Dirt's biggest problem is that it didn't take time to properly explore the relationships and personal battles each member faced. Perhaps this would have benefited by being a TV mini-series, which each episode focusing on the time around one of their albums.
There was a lot of potential here, but turning decades of bad decisions and releasing some killer tracks at the same time deserved more than an hour and forty minutes of screentime. If you wanted to see a riveting character study about seriously messed up individuals, you won't find it here. But if you're okay with watching a shallow portrait of Sunset Boulevard in the 80s, know your Rainbow Bar and Grills from your Whiskey a Go Gos and can get a kick out of rocking out to some of the music in 80s hair metal, then you may enjoy this passively. Douglas Booth shines as Nikki Sixx but nothing much else stands out. For a more complete look at the band, maybe read the book instead. Before you go, why not check out our review of the action flick Triple Threat and check out who will be at the Montreal Comiccon. Oh, and be sure to enter our Avengers: Endgame contest!
Nikki Sixx quote source: Classic Rock magazine, page 49.