text:
The Story of The Band: From Big Pink to The Last Waltz
By Jon Kanis, January 2019
The Band in 1968: Rick Danko, Levon Helm, Richard Manuel, Garth Hudson, Robbie Robertson.
Harvey and Kenneth Kubernik's book on The Band.
When you explore the annals of rock 'n' roll aristocracy, rarely do you think of Canadians as being perched near the top of the heap (Randy Bachman, Joni Mitchell, and Neil Young notwithstanding). The gutbucket elements of rock 'n' roll belong to the greasier exponents of the Deep South. It's that gritty, grimy, salt-of-the-earth aspect of American culture that produces pearls of sinful wisdom cultivated at the crossroads of secular passion and Biblical knowledge. Rock 'n' roll is where the juke joint and the church pew lock arms, exchange salutations, and get down to the business of contemplating and celebrating our mortality. It's an existential expression as old as the hills and as profound as any philosophy.
But geography alone does not define who we become as artists, and nowhere in popular music is that truer than in the case of the Band: a quintet of four Canadians and an Arkansas cotton-picker who managed to cosmically tune into the spheres to produce a sound so rustic as to be the very definition of organic art. Marketing demons would later tag this aesthetic as "country rock" or "Americana." However, the Band's body of work sails far above the vulgarities of fashion and they deserve your respect, not to mention a significant chunk of your precious time, because at the height of their majestic powers the Band is as sensitive and soulful as a group can get.
Driving home the import of the Band's legacy on the 50th anniversary of their debut LP Music from Big Pink, is a beautiful coffee table scrapbook of photographs and memories from Harvey & Kenneth Kubernik, titled The Story of the Band: From Big Pink to The Last Waltz. The origin of the Band actually starts long before the recording of Big Pink in the spring of '68, and it continues well after the dust settled on their "farewell concert" at the Winterland Ballroom in San Francisco on Thanksgiving Day '76. It's a complex story, and the Kuberniks do a highly commendable job of capturing the essence of this dynamic band of brothers, along with some incredible photographs by Elliott Landy and John Scheele.
The Story of the Band begins with the seminal roots of rock 'n' roll and the R&B DJs who championed the genre, such as WJW's Alan Freed of Cleveland, Ohio, and explains how those sounds influenced the second generation of North American rockers to follow in the footsteps of Little Richard, Chuck Berry, Elvis Presley, Fats Domino, et al. The legendary recording artists hailing from the hollowed record labels of Sun and Stax in Memphis, Chess in Chicago, Specialty in Los Angeles, and Atlantic in New York are the place that anyone tracing the lineage of rock's roots ought to begin. Which is exactly what the five members of the Band did as they came of age in the post-World War II culture of the 1950s.
The Band's ascent to international recognition would certainly not have been possible if not for two essential figures in their career: Ronnie Hawkins and Bob Dylan. Hawkins and Dylan are the lynchpins upon which the Band's entire career revolves. Without the early roadhouse training and bullwhip discipline of Hawkins in their formative years, the Band would not have had the musical muscle, stamina, or tenaciousness to survive a season in hell when Dylan "went electric," touring with an ensemble that succeeded in offending the pious folk purists who wanted their Dylan to forever remain the work-shirted, Woody Guthrie disciple of 1963.
Ronnie Hawkins, born January 10, 1935, got his start in show business as the owner of the Rockwood Club in his hometown of Fayetteville, Arkansas. After establishing his own rockabilly group, the Hawks, Hawkins relocated north in 1960 to Ontario, Canada, bringing along drummer Levon Helm (b. May 26, 1940). Hawkins systematically replaced the other members of the Arkansas-based Hawks with Canadians: keyboardist Garth Hudson (b. August 2, 1937), pianist Richard Manuel (b. April 3, 1943), bassist Rick Danko (b. December 29, 1943), and guitarist Robbie Robertson (b. July 5, 1943), all hailing from Southwestern Ontario. Hawkins was known as a stern taskmaster, turning the Hawks into the hottest live act in Toronto with a lengthy residency at Le Coq d'Or Tavern. After recording a few singles for Roulette Records, the six members of Hawkins' band, along with saxophonist Jerry Penfound, left in 1964 to pursue their own musical agenda as the Levon Helm Sextet. Within the year Penfound departed, and they mutated into the Canadian Squires, recording two singles in 1965 ("Leave Me Alone" and "Uh Uh Uh"). Shortly thereafter they became Levon and the Hawks, recording a couple of sides for Atco, which included "The Stones I Throw (Will Free All Men)" and "He Don't Love You (and He'll Break Your Heart)." While these songs are fantastic examples of the musical direction Hawkins inspired, none of these discs made much of an impact.
When Helm, Hudson, and Robertson supplied blues singer John Hammond Jr. with musical backing for his Vanguard album So Many Roads, Hammond recommended their services to Bob Dylan when Dylan was looking for a group to accompany him on his tour of the U.S. in the fall of '65. Dylan's conversion from topical acoustic folk music to surreal electric rock 'n' roll is one of the most notorious episodes in the culture of the 20th century. In spite of achieving a #2 single on the pop charts with the transcendent "Like a Rolling Stone," the folk purists greeted Dylan with derision at the '65 Newport Folk Festival, and audience reactions remained mixed throughout the summer, fall, and into the winter. After recording the single "Can You Please Crawl Out Your Window" and contributing to the Blonde on Blonde LP, drummer Levon Helm grew weary of the hostility that Dylan's new direction was inspiring, and by the end of November left the group to work on an oilrig. The remaining Hawks continued to work with Dylan, and along with drummer Mickey Jones, they toured the U.S., Canada, Europe, and Australia in the spring of '66, as captured in the films Eat the Document and No Direction Home, numerous bootlegs, and officially on Volume 4 of The Bootleg Series Bob Dylan Live 1966 The "Royal Albert Hall" Concert. Based on the recorded evidence, the music that Dylan and the Hawks produced on stage was years ahead of its time, and these performances still stand as some of the ballsiest and most intelligent rock 'n' roll ever committed to tape.
After the '66 world tour, Dylan owed ABC-TV a one-hour film for their series Stage 66, the Macmillan Company a book (what would eventually be published as Tarantula), and his manager Albert Grossman had scheduled a massive tour for later in the year. It was under these circumstances that on July 29, 1966, Dylan flew over the handlebars of his Triumph motorcycle, suffering a mild concussion and a cracked vertebra, leading to morbid rumors that he was either dead or in a coma with brain damage. However, after a brief convalescence, journalist Al Aronowitz reported that "Dylan was writing ten new songs a week, rehearsing them in his living room with the Hawks." The silver lining of the accident was providing Dylan with the proper loophole to cancel all of his professional commitments and reassess where he was going with his life and career. This led to a period of cooling out near Woodstock, where he summoned four-fifths of the Hawks up to West Saugerties, New York.
Keeping the Hawks on a modest financial retainer, they began woodshedding in the basement of a house dubbed "Big Pink" (due to its pink exterior) over the summer and fall of 1967. Tapping into the ethereal spirit of Harry Smith's Anthology of American Folk Music, Danko, Hudson, Manuel, and Robertson began a daily routine of performing every afternoon with Dylan, performing a grab bag of traditional songs with a slew of new Dylan compositions–many of them absurd and whimsical, sounding like they were being made up on the spot. The vibe is positively cryptnotic. Captured by Hudson on a two-track reel-to-reel, these informal recordings were eventually dubbed The Basement Tapes, with 139 known performances dating between June and October of '67. The Basement Tapes provides the crucial missing link between Blonde on Blonde and John Wesley Harding in Dylan's evolution, and the exercise served as a catalyst for the Band to start crafting their own musical statements. And this is where you could say that proximity to genius equals genius.
Helm: "Watching Bob and helping Bob construct some songs helped everybody get a better idea of how to put a song together and learning that there wasn't any set formula. It could happen from a groove, from an idea, from a title. We would get a song going and all sing it. Rick would sing it, then Richard, then me, and we'd start to figure out whose song it was. At the same time there were lines that Rick sounded good on, or maybe my voice would fit on, and it was more fun for us as performers [to mix it up]."
When Grossman secured an unprecedented ten-album recording contract for the Band with Capitol Records, Helm was summoned back to the fold and the group began working in earnest on their own LP. On January 20, 1968, the Band backed up Dylan on three songs at the Woody Guthrie Memorial Concert at Carnegie Hall in New York, dubbing themselves "the Crackers," but Capitol balked at issuing an album by that name. In August of 1968, the group released Music from Big Pink, a stunning debut that drew comparisons with the country-fried sound of the Byrds and the Flying Burrito Brothers for it's stark hyperrealism and glorious eclecticism. Although their initial single "The Weight" fared poorly on the pop charts, peaking at a dismal #63, the song went on to became an iconic standard after Dennis Hopper used it in his 1969 underground classic Easy Rider. Still, the name "the Band" only appeared on the spine of Big Pink, and both the single and the LP listed the recording artist as "Jamie Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson, Levon Helm."
"Well, we were the Hawks," says Manuel in the 1978 film The Last Waltz. "And we were sailing along, and then one day the Hawks meant something else altogether," continues Robertson. Manuel: "And it was right in the middle of that whole psychedelia–Chocolate Subway Marshmallow Overcoat–those kind of names." Robertson: "When we were working with Bob Dylan and moved to Woodstock, everybody referred to us as 'the Band.' He called us the Band, our friends called us the Band, our neighbors called us the Band." Manuel: "And we started out with 'the Crackers.' We tried to call ourselves 'the Honkies.' Everybody kind of backed off from that. It was too…straight. So we decided to just call ourselves THE BAND."
Music from Big Pink took off from where The Basement Tapes left off. It was a complete team effort, with two songs co-written with Bob Dylan ("Tears of Rage" with Manuel, "This Wheel's on Fire" with Danko), four songs credited to Robertson, three credited to Manuel, and two covers: the standard "Long Black Veil" and the soon-to-be Dylan standard "I Shall Be Released." Many artists recorded songs from The Basement Tapes, including the Byrds, Peter, Paul, and Mary, and Manfred Mann. Brian Auger and Trinity laid down a walloping version of "This Wheel's on Fire," with Auger having this to say about the Band: "They were always putting the song first. I got into their albums straight away. No flashy moves, no empty notes, just taste and elegance. They played as a band, with discipline, and you could hear it. That was a real lesson for me early in my career, always wanting to solo, an ego thing. 'Settle down, Brian, and play the groove,' be it a Chicago blues or Motown, all these different feels. That's what Dylan and the Band were all about: feel."
If there was a sixth member of the Band in their nascent journey it was musician and producer John Simon, who contributed greatly to both Music from Big Pink and the eponymously-titled sophomore effort The Band. Simon's vast CV as a producer includes Big Brother and the Holding Company's Cheap Thrills, Simon & Garfunkel's Bookends, and Child Is the Father of the Man, the debut by Blood, Sweat & Tears. Al Kooper: "I put him right up there with George Martin, Jerry Ragovoy, and Phil Spector. John has an understanding of the singer-songwriter. He is an erudite musician, and that was the important thing." Simon: "There seemed to be some magic on the first session with the Band. 'Chest Fever,' 'Tears of Rage,' 'Lonesome Suzie,' and 'We Can Talk' were all cut in one afternoon! We were very well rehearsed. Fate had brought the six of us together and we worked very closely together for about three years.
"Of course, I loved the material. The songs drew from so many different traditions. The guys had a deep respect, bordering on reverence, for the roots of American music, stretching back from the music of their generation, through rockabilly and early rock 'n' roll, to the bluegrass of Appalachia, the blues of the Mississippi Delta, and even Stephen Foster and popular music of the 19th century. And it seemed to me that they had a sort of unspoken commitment to be as good as they could in order to earn their place as part of that tradition."
In Testimony, Robertson's memoir from 2016, he relates how Dylan responded to their debut. "Albert put the acetate on for Bob, who was hearing it for the first time; we had all been busy and had wanted to finish the album before we shared it with him. 'Tears of Rage' started the record, and as it played Bob looked at me like he barely recognized me. At the end of the song he yelled out, 'That was incredible, Richard!' Richard acted a little shy but thrilled. After each song Bob looked at 'his' band with proud eyes. When 'The Weight' came on, he said, 'This is fantastic.' Who wrote that song?' 'Me,' I answered. He shook his head, slapped me on the arm, and said, 'Damn! You wrote that song.' What a joy it was to push Bob's button. At the end of 'I Shall Be Released' he stood up and said, 'That was so good. You did it, man, you did it.'"
Although Music from Big Pink only reached #30 on the Billboard album chart, it was considered a revolutionary piece of work, and an artistic triumph by the likes of George Harrison, Ringo Starr, and Eric Clapton. Clapton was so impressed by the back-to-basics sound of Big Pink that he wanted to join the Band as second guitarist, and it served as an inspiration during the recording of Harrison's All Things Must Pass, and the formation of Derek and the Dominos. It was in this milieu that the enthusiasm and momentum of their debut carried over to their even greater self-titled second album. Robertson: "Before Big Pink I had this dream of having a workshop. A sanctuary where we could go into the privacy of our own world and do something, and not be on somebody else's lawn, to really be in our own environment, let alone away from studio union breaks. I said 'We want to do this thing that started in the basement of Big Pink, and we want to record at whatever time we feel the spirit. We don't want to be on somebody's clock.'" Simon: "Capitol Records had agreed to set us up with our own studio in a house in L.A., complete with instruments, mixing board, eight-track recording machine, speakers, and even a clunky, old, but wonderful EMT reverb plate. We recorded The Band principally in the pool house of a Hollywood estate that had previously been owned by Sammy Davis Jr. They would send a maintenance engineer over every couple of days to make sure the equipment was in great shape. But other than that, we were our own engineers, so there was no one on the scene except for the six of us."
Released in September of 1969, The Band is a masterpiece of narrative invention. Robertson is truly coming into his own as a lyric writer, with "Up on Cripple Creek," "The Night They Drove Old Dixie Down," and "King Harvest (Has Surely Come)," adopting the voices of characters that sound as if they have been transported from another century–or another world. The stories, the sound, and the group mind all combine to synthesize a sonic palette that borrows and extracts from every strain of popular music, but winds up sounding like no one else. (For further insight on The Band, investigate the superb 1997 Classic Albums documentary.)
An important element in the mix is the fact that the Band is the most musically ambidextrous group that's ever been. In addition to bass and vocal duties, Rick Danko doubles on guitar, violin, banjo, and trombone. Levon Helm is one of the finest drummers in the history of rock 'n' roll with a distinctive Delta drawl, but he can just as adeptly go out to center stage and play mandolin, guitar, and harmonica. Richard Manuel, generally considered the "lead singer" of the Band, is an exceptional pianist and all-round keyboardist. But when Helm plays mandolin or guitar, Manuel can get behind the kit and keep the band grooving with his own unique style of drumming. He also plays a mean lap steel guitar and saxophone. Garth Hudson can play anything: organ, keyboards, piano, accordion, saxophones, synthesizers, trumpet, horn, oboe, clarinet, flute, and piccolo. As Robertson says, "Garth was a hundred times superior musician to any of us. He could play rings around all of us put together, and his job was to play organ and horn and teach us music." If Robertson weren't such a fine songwriter and an exemplary guitarist he would almost seem to be a relative slacker in such rarified company. With such musical diversity, the Band is half a dozen groups rolled into one, and that's what makes them so incredibly dynamic.
At the summit of their creativity the Band was afforded the rare distinction of appearing on the cover of the January 12, 1970 edition of Time magazine. But as with all things "establishment," it seems that the moment you are recognized by the big machine, your underground credentials are shredded, casting the wrong kind of attention upon the subject at hand. Whatever the case, something crucial about the Band's alchemy got lost in the flurry of accolades.
It is particularly true that by the time of the Band's third album, 1970's Stage Fright, the trappings of success were beginning to take their toll on the group's unity of purpose. Drugs, particularly heroin in the case of Manuel, Helm, and Danko, were beginning to bend the group to the breaking point, even though Stage Fright features the classic title track and the sublime perfection of "The Shape I'm In," containing some of Robertson's greatest lyrics: "I just spent 60 days in the jailhouse, for the crime of having no dough. Now here I am back out on the street for the crime of having nowhere to go. Save your neck, or save your brother. Looks like it's one or the other, oh you don't know the shape I'm in."
There are songs about Faustian pacts ("Daniel and the Sacred Harp") and one of Manuel's last compositions that could be interpreted about nodding out on smack ("Sleeping"). Stage Fright is a hangover after the celebratory heights of the
first two albums and it signals a downturn in the group's collective energies.
1971's Cahoots follows in a similar vein, lacking the focus and sense of purpose of Big Pink and The Band, although it still boasts such classic material as "Life Is a Carnival," "4% Pantomime," and a cover of Dylan's "When I Paint My Masterpiece." The Band's floundering musical direction is best summarized by Robertson's
composition "Where Do We Go From Here?" "Nowhere," turns out to be the
protagonist's reply.
So, what do you do when your vehicle starts to sputter and you owe the record company a piece of product? You record a double live album, of course. And that's how the Band celebrated the New Year of 1972, by playing four nights at New York's Academy of Music, as captured on the excellent Rock of Ages album. In addition to being a stopgap measure, Rock of Ages does a superb job of summarizing this phase of the Band's career. Highlights from the first four albums were revitalized with horn arrangements by New Orleans legend Allen Toussaint, and a surprise performance with Bob Dylan on the last night was a standout moment. But in the aftermath of those performances, 1972 found the Band at a standstill.
Robertson worked on new material during the following year that turned out to be too much of a departure to fit into the Band's sound, and there was talk of recording the soundtrack to Gordon Sheppard's esoteric film Eliza Horoscope (featuring a brief cameo by Manuel) which came to naught. Danko, Helm, Manuel, and Hudson all kept busy by playing on Bobby Charles' excellent self-titled LP. Then the idea was floated about recording an album of cover songs–which is the second thing an artist does when crafting original material becomes difficult or impossible for one reason or another. According to Helm in a 2002 interview with GRITZ magazine "That was all we could do at the time. We couldn't get along–we all knew that fairness was a bunch of shit. We all knew we were getting screwed [financially], so we couldn't sit down and create no more music. 'Up on Cripple Creek' and all that stuff was over–all that collaboration was over, and that type of song was all we could do."
In spite of the developing acrimony, 1973's Moondog Matinee is a fun album to listen to at a party, but as an artistic statement it is the sound of a group that is beginning to wind down creatively. Still, their performance of "Mystery Train" is definitive, and Manuel's reading of "The Great Pretender" is the very definition of pathos, which makes his vocal stylings so gut-wrenchingly effective. Along with Danko's take on Sam Cooke's "A Change Is Gonna Come," these are performances of sublime beauty.
Fortunately, at this point in the Band's saga, Bob Dylan was experiencing another creative renaissance after a series of dubious releases that began with 1969's Nashville Skyline. When Dylan decided to tour again in 1974 for the first time in eight years, he and the Band went into Village Recorder studios in L.A. and laid down the underrated Planet Waves in three days, serving as a reminder that Dylan was still capable of coming up with compelling songs. The 30 shows performed on Tour '74 featured the Band as musical equals, as documented on the double LP Before the Flood. Critic Robert Christgau gave it an "A," stating: "At its best, this is the craziest and strongest rock and roll ever recorded…Dylan's voice settles in at a rich bellow, running over his old songs like a truck. I agree that a few of them will never walk again, but I treasure the sacrilege."
1975 found Dylan cresting another wave of inspiration, and after the critical and artistic triumph of Blood on the Tracks he was willing to finally allow some of the fabled Basement Tapes to see the light of day. Completist purists would argue for decades that Robertson as producer had shortchanged the fans by selecting the wrong takes, and leaving key songs off the compilation in order to include six Band songs recorded without Dylan in order to create the illusion of parity between Dylan and the Band. Those completists would finally get their due in 2014 with the release of the six-CD box set The Basement Tapes Complete–clearly demonstrating that not everything that was recorded in the summer of '67 was worthy of public dissemination. Still, Christgau hits the nail on the head by stating that the songs Robertson included by the Band on The Basement Tapes are "among their best…we needn't bow our heads in shame because this is the best album of 1975. It would have been the best album of 1967, too."
By the end of '75 the Band had relocated to Malibu, California, and with the assistance of engineer/producer Rob Fraboni built their own recording studio, Shangri-La, where they recorded their first album of original material since Cahoots. The result, Northern Lights–Southern Cross, is a sturdy collection of tunes featuring eight new Robertson compositions, including three classics: "Acadian Driftwood," "Ophelia," and the tear-jerker "It Makes No Difference."
As Helm rightly states in his 1993 memoir This Wheel's On Fire: "It was the best album we had done since The Band."
However, after Manuel suffered a severe neck injury from a boating accident in 1976, which caused the Band to cancel a number of scheduled performances, Robertson had decided that he was through living out of a suitcase and stated unequivocally that he would no longer tour with the Band. By September, Robertson conceived of The Last Waltz, a "farewell concert" to be held on Thanksgiving Day at the Winterland Ballroom in San Francisco, which included turkey dinner for the audience of 5,000 attendees. The event was filmed in 35mm and directed by Martin Scorcese, and in addition to the Band performing their greatest hits, they invited a stellar cast of guests to participate in the concert, including Paul Butterfield, Bobby Charles, Eric Clapton, Neil Diamond, Dr. John, Bob Dylan, Ronnie Hawkins, Muddy Waters, Joni Mitchell, Van Morrison, Ringo Starr, Ron Wood, and Neil Young.
In 1977, the Band released Islands, their final album of original material for Capitol, which is a fitting title for this lackluster collection of outtakes and half-bakes. Robertson would later refer to it as an Odds and Sods type of LP. "We weren't in album mode at the time." That same year, Scorcese filmed a number of interviews with the Band at Shangri-La and two additional performances on a MGM soundstage with Emmylou Harris and the Staple Singers to round out the The Last Waltz. The resulting documentary was released through Warner Bros. in April of 1978, along with a three-LP soundtrack, and it stands quite likely as the greatest music film of all-time. Although there was talk of continuing as a studio-only group after its release, the five members of the Band drifted in separate directions by the end of the year.
In the aftermath of The Last Waltz there are differing opinions about what the Band's legacy is and whether all five members were treated fairly on the business side of things. This aspect of the Band is ignored completely by the Kuberniks, and The Story of the Band should be viewed as a subjective art object more than a definitive biographical portrait. It's still beautiful to behold.
Helm's memoir clearly displays a well of bitterness about how the songwriting credits in the Band were attributed, and he felt that many of the songs Robertson took sole credit for were a form of group collaboration. In Musician magazine, Danko agreed with him: "I think Levon's book hits the nail on the head about where Robbie and Albert Grossman and some of those people went wrong, and when the Band stopped being the Band. When people take themselves too seriously and believe too much in their own bullshit, they usually get in trouble."
Speaking with Forbes, Helm said "When The Band came out we were surprised by some of the songwriting credits. In those days we didn't realize that song publishing–more than touring or selling records–was the secret source of the real money in the music business. We didn't know enough to ask or demand song credits. Someone had pencil-whipped us. I went on to express [to Robertson] my belief in creating music with input from everyone and reminded him that all the hot ideas from basic song concepts to the mixing and sequencing of our record were not always exclusively his. I complained that he and Albert had been making important business decisions without consulting the rest of us. And far too much cash was coming down in his and Albert's corner. Our publishing split was far from fair. I told him that he and Albert ought to try and write some music without us because they couldn't possibly find the songs unless we were all searching together. I cautioned that most so-called business moves had fucked up a lot of great bands and killed off whatever music was left in them. I told Robbie that the Band was supposed to be partners." One need only listen to the music made after the second album to understand there was more than a kernel of truth to Helm's point of view.
It is certainly notable and ironic that in the very first scene of The Last Waltz Scorsese asks Danko to explain the rules to the billiard game "Cut-throat." Danko replies by saying "The object of the game is to keep your balls on the table and knock everybody else's off."
Like the democracy employed by the Doors wherein each member of the band shares equally in the spoils and the credits, the Band would have definitely benefited from a similar arrangement. It may have helped to stem the more self-destructive aspects of the group. Such are the politics of commerce when ego and greed contaminate the communal spirit of any artistic enterprise.
In 1983, the Band reunited and resumed touring without Robertson, to positive notices. But after a performance in Winter Park, Florida, on March 4, 1986, for unknown reasons Manuel committed suicide in his motel room, at the age of 42. Danko, Hudson, and Helm continued on without him, delivering a spirited rendition of "When I Paint My Masterpiece" on October 16, 1992, at Madison Square Garden at the 30th Anniversary Concert Celebration for Bob Dylan. It was the only time that yours truly was able to see the Band perform.
In 1989 the group was inducted into the Canadian Music Hall of Fame, and in 1994 into the Rock and Roll Hall of Fame.
Danko remained active, performing gigs all the way up till December 10, 1999, where he died in his sleep at his home in Marbletown, New York. He was 55.
Helm continued to play music with his own group and also enjoyed a successful career as a film actor, appearing in Coal Miner's Daughter (1980), The Right Stuff (1983), Smooth Talk (1985), and Shooter (2007). After a long bout with throat cancer, Helm died at the age of 71 on April 19, 2012. Hudson has remained low-key over the past decade, after spending much of his post-Band time collaborating with a variety of other musicians. Robertson tried his hand at acting after the breakup of the Band (in the 1980 film Carny), and composed several film scores for Scorcese (Raging Bull, The King of Comedy, The Color of Money). He has released several solo albums, including 1998's sensational Contact from the Underworld of Redboy.
Even with 50 years of hindsight, the mythology of the Band and the human frailties that constitute the reality of what really went down within this group are difficult to reconcile. You don't have to love every artist that creates lasting art. Politics are bullshit–but great art lasts forever. That's why the Band will remain important 50 years hence. They made a significant contribution to the world during their romp through the 20th century: because in their finest moments they made a joyous sound–and that's what the celebration of existence is
all about.


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How Big Do Jumping Spiders Get – Strange Facts
A fully grown jumping spider measures about 1/8-3/4" 4mm-18mm. Jumping spiders are mistaken for other types of spiders such as the black widow because they have compact bodies and different colors like grey, brown or tan combined with green, blue, yellow or red markings that could be easily confused with other spiders.
The body can be as long as 0.98 inches depending on the species. The largest jumping spider is Hyllus giganteus, and other relatively big species include the heavy jumper spider, plexippus, phidippus and philaeus. One thing that all jumping spiders have in common is thick front legs.
Jumping spiders have the best vision, and no other spider species has such ability. The spiders can sense and take action against a movement that is up to 45 cm away from them. They are unique and do use the common webs to trap their prey. Instead, they target prey from a distant and pounce it without making a mistake.
Their excellent eyesight enables them to hunt effortlessly; the middle pair of eyes can see straight ahead of them, giving these spiders a brilliant resolution and color vision.
Jumping spiders walk around a lot and are not to their areas where their nests are.
Jumping spiders make great pets because they have a good memory, which also helps find their way back to the nest at the end of the day. They spend most of their day time hunting, especially where there is sunshine.
Their hopping ability makes them excellent hunters. But at night they can't hunt for food because their eyesight becomes poor.
As the jumping spiders age, they have problems jumping or climbing. They live from between six months and three years. These spiders lay eggs and continue living with their little ones until they are about 20 days old when they can start hunting. Female jumping spiders shed their exoskeleton to get a spiderling. It takes up to 4 weeks to hatch the babies, and during this time, the mother spider doesn't move or eat.
It is rare to find jumping spiders inside a house because they prefer outdoor spaces where a lot of sunshine and vegetation to hunt their prey. This is where they can find flea hoppers, mosquitoes, bollworms, webworms, stinkbugs and leafhoppers.
Though jumping spiders do use snare webs, they web retreats which look like a sac made of several covers. This is where they lay eggs, molt and hibernate during the night. The eggs are kept in a hammock-like area, and they may have different retreats for various activities. This gives the females ample space to hatch their eggs and raise their young ones.
How far is jumping spider able to jump?
Do jumping spiders poop?
Is a jumping spider smart?
A jumping spider jumps between 10 and 50 times the size of its body length. This spider is also referred to as "daring jumping spider" and famous for long leaps.
Spiders are structured to get rid of waste via a single opening. This means that urine and poop are excreted via the same path. They do not really poop, but they release a combined waste product, exiting via the anus.
A jumping spider has a brain as small as a sesame seed, making the spiders sound lightweight mentally. However, looking at how they hunt, they are smarter than most big animals.
Interesting Facts About Jumping Spiders
Top 10 Jumping Spider Facts – It Gets A Little Strange
Top 6 Facts About Baby Jumping Spiders – It Gets Weird
Jumping Spider Macro Photography – How To Guide + Best Macro Lenses
Great Spider Wood Aquascape Ornament Ideas – My Top 5 Picks
Is A Jumping Spider Poisonous – Do You Need To Fear?
Everything Jumping Spiders
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redpajama_set_name: RedPajamaCommonCrawl


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# non-standard frameworks (e.g., -framework foo)
#
PROJ_FRAMEWORKS=

#
# project-specific includes, with leading -I
#
PROJ_INCLUDES= -I$(LOCAL_BUILD)/include

#
# Optional C flags (warnings, optimizations, etc.)
#
PROJ_CFLAGS=

#
# Optional link flags (using cc, not ld)
#
# this is for linking against a custom libSystem...this is where it goes.
# You also need to do a setenv DYLD_LIBRARY_PATH /tmp/System/Debug to run.
PROJ_LDFLAGS= -L$(LOCAL_BUILD)

#
# Optional dependencies
#
PROJ_DEPENDS=

include ../Makefile.cdsa

redpajama_set_name: RedPajamaGithub


text:
С термина ентеоген (entheogen) се обозначава всяко едно психоактивно вещество, което е използвано с шамански, спиритуални, духовни или религиозни цели. Това са главно растения, билки и гъби, срещани в природата и представители на халюциногените, делириантите и дисоциативните вещества. Ентеогените се използват от хилядолетия и са били известни на почти всички древни цивилизации и племена. Употребата им в натурална обстановка е почти винаги свързана с ритуали.

Терминът ентеоген е неологизъм, произхождащ от гръцкия език: ἔνθεος – ентеос (което означава "в Бог") и γενέσθαι – създавам; по смисъл може да се преведе като нещо, което "създава бог в човека" .

Думата ентеоген е създадена през 1979 г. от група етноботаници с основна цел да замести думите халюциногени и психеделици поради тяхното масово навлизане в популярната култура през 60-те.

Източници

Външни препратки
 Entheogen Dot Com
 Entheogen: Awakening the Divine Within – Документален филм / YouTube

Психоактивни вещества
Религия
Шаманизъм

redpajama_set_name: RedPajamaWikipedia


Looking back at Japanese Pop Music (J-POP) in the 1990's, it is impossible to overlook the influence of Namie Amuro. J-POP is the popular hit music that plays on Japan's top 40 radio stations and dominates the top ten of the Japanese charts. Similar to trends in America and England, pop music in Japan dominates the commercial music channels, yet fails to hold the interest of more serious or underground music listeners. Serious music lovers often find, the showmanship and hype of the pop music artists is not backed up by musical depth or artistic sincerity. Namie Amuro, in the first seven years of her career, demonstrated exceptional talent as a singer, dancer, and stage performer. In the year 2000, this young singer is now only 23 years old, and still has a long career waiting for her to further develop the face of Japanese popular music.
Namie Amuro is not only an accomplished singer, she has mastered the art of stage performance. Her years of training in dance is evident in her live performances and videos. Most important, she captures the hearts of her audience by the graceful animation of her stage personality. On stage, Namie understands how to use the unique qualities of the acoustical sound of each performance hall to maximize the presentation of her vocal arrangements. Through the choreographic routines of her dance, she creates a complete artistic presentation of her musical material. Her successful musical recording career has been accented by her continued public presence and touring. By virtue of her talents, Namie Amuro has been the most notable Japanese singer to emerge from J-POP music culture.
On stage and in her public interviews, she displays an almost awkward, shy, and somewhat self conscious personality. While watching her sing, the audience can see her searching for the right tonal qualities, as she strives to get the feel of the audience and the acoustics of the room. Yet this is backed up by the presence of a thoughtful artist that understands the need to strive for perfection in each performance. While the audience is taken in by her shy personality, she overwhelms them with her mastery of the art of her singing and the execution of her dance routines. It's a winning formula that seems natural to Amuro. Namie Amuro has won the hearts of many of the fans that have come to know her music.
Namie Amuro was born on September 20, 1977, on the island of Okinawa, in Naha City, Japan. While in the sixth grade, Amuro visited an actor's training school, "Okinawa Actors' School". Namie had taken an interest in the showbiz industry after watching a young star, Hayasaka Yoshie, perform. Hayasaka Yoshie was the first popular female talent to emerge from the Okinawa Actors' School. Although Amuro was with other members of her school, it was Namie that stood out from the other classmates, and she was encouraged to begin training as a singer and dancer. From that time at the age of 12 years old, Namie began to take her training as a singer and dancer in earnest. Whenever school performances or amateur shows allowed, Namie Amuro took the stage and began to make it her home.
By the time Namie was 15 years old, she had become fast friends with four of her classmates that were also interested in singing and dance. Together with her classmates Ameku Minako (Mina), Takushi Nanako (Nana), Aragaki Hisako and Makino Anna, Namie formed a musical group they called the "Super Monkeys". The teenage girls were signed that year by the Toshiba EMI recording label and they released their first single "Mr. USA". A year later, at only 16 years old, along with the other members of the Super Monkeys, Namie moved from her home in Okinawa to the busy city of Tokyo. The Super Monkeys was a pop band that revolved around their dance routines. Due to their young age, they were not taken very seriously in those early years. Yet, the band found success in performing and recording within the fast paced musical industry culture of Tokyo.
As the "Super Monkeys" began to make a bigger name for themselves in Tokyo, it became more apparent that Namie's talent and stage presence was a marketable commodity. Ameku Minako left the group to pursue a position as a dance instructor, and the remaining girls changed their name to "Super Monkey's 4". They then released their next single, "Dancing Junk" and shortly thereafter Aragaki Hisako left the band. To fill the vacant positions they were joined by two new members, Ritsuko Matsuda (Lina) and Reina Miyauchi (Reina). At the urging of their agents, Namie took a higher profile in the musical group and in 1994 the band was renamed, "Namie Amuro with the Super Monkeys". The band's name change was noted on the release of their fourth single titled "Paradise Train".
The stage was now set for Namie to receive greater notice, and when the Super Monkeys released their fifth single, "Try Me", at the beginning of 1995, everything began to happen. "Try Me" climbed in the J-POP charts and set new sales standards with gross sales reaching over 750,000 copies. "Try Me" sales was more than all of their previous singles combined. The Super Monkeys were receiving good reviews in the J-POP press and they began reaching a wider audience. Their coming into public interest was in part because they were finally reaching an age where more people could take them seriously. As the girls matured, they slowly moved away from their snappy pop roots and took a greater influence from the increasing popularity of modern techno music. Later in the spring of 1995, at the age of 18 years old, Namie Amuro recorded her last single with her friends, the Super Monkeys. By now the group was simply known as "Namie Amuro" for their final single release of "Taiyo no Season" and "Stop the music" by Toshiba EMI.
After Namie left the Super Monkeys, the remaining members of the group launched a successful career without Amuro under the name of "MAX". The band was named after their new producer Matsura "Max" Masato. Masato took the remaining Super Monkeys to a new recording label of "Avex Trax" and produced a new CD under the band's new name. In the meantime, Matsura "Max" Masato, produced Namie Amuro's first solo album length CD, "Dance Tracks Vol 1", with the group MAX appearing as footnotes in the liner notes. The album featured remixes of the Super Monkeys trademark hits. "Dance Tracks Vol 1" launched Namie's solo career by selling over two million copies. Dance Tracks laid a hyper techno beat under a cascade of swirling midi effects, while Namie, singing in her native Japanese, laid the vocal tracks on top of Max's mix. The CD also experimented with more soulful and Latin influences in the production of some of the album's material. This was the end of Amuro's career with the Toshiba EMI recording label.
During her career with Toshiba EMI, Namie was befriended by the accomplished Japanese producer Tetsuya Komuro (TK). Komuro influenced Amuro to begin a solo career with the same recording label that "MAX" had signed with, "Avex Trax". TK had already made a name for himself as a successful producer. He had created a family of artists under his direction that now includes other J-POP musical acts such as Kahara Tomomi, Hitomi, Suzuki Ami, Ring, DOS, as well as his own band, "Globe". Komuro brought a new level of professionalism to the 19 year old Amuro's musical presentation. Together they started working in the studio to release four separate singles. In October 1995 Namie released "Body Feels Exit" selling over 135 million copies. The success of this single was followed in December 1995, with the release of a song created for a popular television series, "The Chef", titled "Chase The Chance". Then in March 1996 she released "Don't Wanna Cry". Later in June, Namie released "Your Are My Sunshine". Each of these four singles sold over one million copies. In this way, the experienced producer set the ground work for a smashing success of the first Namie Amuro album that would be released without the influence of the Super Monkeys. TK had carefully created some distance from previous associations with Amuro's early career, while building interest in her ever expanding newer fan base.
In July 1996, Tetsuya released the first true solo Namie Amuro album, "Sweet 19 Blues". The album, which featured vocal arrangements of club dance music and slower rock ballads, climbed straight to the top of the Japanese J-POP charts. Namie was coming of age and with the help of TK's production techniques , Sweet 19 Blues, had a more mature and refined sound. The dance album moved freely through diverse musical styles that included hints of R&B, Techno Dance Music, love songs, and a touch of Hip-Hop. Album sales exceeded 3.7 million copies. Namie, at only 19 years of age, was a seasoned performer and recording artist. She had already paid her dues, and was creating her own public personage as a pop artist. Her own talent and charm was reinforced by her association with Komuro. The critics were kind to her in their reviews, and Namie took center stage in the Japanese Pop Culture. Further promotion for the album was fueled by Vogue style fashion photos being released to the press. In addition, TK had ensured that a state of the art Web Site was released under the domain of www.amuro.com. The production and promotion of "Sweet 19 Blues" was almost perfectly executed. At the end of 1996, Namie Amuro became youngest artist to win the Japan Records Committee's Best Artist Prize Award with sales totals for CDs climbing over a total of 10 million copies in a single year.
The Amuro fashion had caught on with teenage Japanese girls. Like in Madonna's early career, Namie's fans imitated her fashion and hair style. Her trademark look started as shoulder length bleached brown hair, mini skirts or hot pants, and tall, black, go go boots. Girls in Tokyo's Shibuya, could be seen sporting their Amuro "wanna be" fashion. Namie didn't cling to her initial fashion statements, and began to redefine her public image. To the dismay of her "wanna be" fans, Namie cut her hair short and opted for more causal and fashionable clothing styles in her photo shoots.
The Amuro/Komuro team didn't let their success of the Sweet 19 Blues album grow cold, and immediately began releasing a string of remixed singles from the album. Press releases and fashion photos continued to provide fodder for the Japanese media machine. Together they released her single "Can You Celebrate?", in February 1997, gross sales of the single reached over 1.5 million in only five days. As interest in the young star continued to grow, she launched a successful concert tour in the spring of 1997. Her own tour was followed by her performance with the "TK Pan-Pacific Tour 97". This tour featured shared billing with the rest of the TK family of recording artists, and together they toured several Asian countries. During this tour, it became apparent that Namie's fame had reached outside her native country of Japan, and beyond the influence of Komuro's production. The tour headlined by Tetsuya Komuro's own band, "Globe" received international attention when gross ticket sales for a single concert in Taipei, Taiwan hit a total of $2,770,072 US dollars. This was even greater sales than larger name acts, such as Ireland's U2 sold. U2 total ticket sales at the same venue was almost $1 million less than the TK Show. The summer of 1997 demonstrated that the 20 year old Namie Amuro was truly an internationally acclaimed pop star.
In between breaks from her grueling touring schedule and other public performances, Namie had managed to record her second album with TK, "Concentration 20". This new album was released in July 1997. The album featured a much denser mix than some of her earlier projects. It followed the same basic R&B, Techno Dance Music, love songs, and Hip-Hop of Sweet 19 Blues; but it also featured rock guitar work mixed in the driving beat of the dance grooves. The album achieved some success, but the follow through promotion of the project was cut short soon after the album's release.
In October 1997, Amuro was married to Masaharu Maruyama (nown as Sam), from the Japanese musical group TRF. Namie announced her marriage on a special television broadcast on the Japanese TV networks. Following the news of her marriage to Sam, it was soon learned that Namie was pregnant and the happy couple would be proud parents in the spring of 1998. With the announcements of her personal situation, came further news that Amuro would take a one year break from her musical career. On May 19th of 1998, Namie gave birth to a healthy baby boy, and they named him Haruto. The Japanese meaning of the name Haruto is derived from two kanji characters meaning "Warm " and "Big". The entire episode of the marriage and then the birth of their child captivated the Japanese media. Although Namie took a break beginning in January of 1998, her career continued to move forward.
Before taking her leave, Namie took part in the "TK Presents GROOVE MUSEUM" concerts in China, during November 1997. A special CD Remix version of the song "Can you Celebrate?" was released on Christmas Day 1997, in honor of the couple's wedding and the expectation of their baby. For the second year in a row, Namie won the Japan Records Committee's Best Artist Prize Award for highest sales totals of any artist in 1997. In addition "Can You Celebrate?" won the 39th Annual Japan Record Awards Grand Prize. After performing in the 48th Kouhaku singing contest, Amuro began her one year leave of absence starting on January 1, 1998. Following the announcement of her one year leave, Namie released a new album titled "181920". This was a best hits album of her twelve most successful singles from the time when she was 18, 19, and 20 years old. Meanwhile a series of concert and MTV videos were prepared and released for television airplay and consumer purchase in 1998.
As promised Namie Amuro returned to her music career on December 31, 1998, she once again appeared on the popular Japanese variety show, 49th Kouhaku singing contest, with a very moving rendition of "Can you Celebrate?" The performer was almost unable to finish the final lines of the song, as she fell into an emotional outburst of tears. With her voice wavering in the final moments, Namie finished her performance behind a heart warming veil of tears. Slowly, Namie is began to return to her career in Japan's music industry. In 1999, she appeared on additional television performances and released new musical CDs. In December 1998 Namie released a new single "I Have Never Seen", followed by the release of the single "Respect the Power of Love" in March 1999.
The release single "Respect the Power of Love" was met with a serious dark cloud in Namie Amuro's life. Her mother was murdered by her husband's brother at 10:45 am on March 17, 1999 in Okinawa, Japan. This was on the same day as the release of the new single. The attacker, Kenji Taira, then committed suicide by drinking poison.
Namie's mother, Emiko Taira, had been a constant source of strength and encouragement to her over the years. The loss of her mother almost lead to the end of Amuro's musical career. Each song she would sing, reminds her of the loss she has suffered. While mourning in solitude, letters from concerned fans poured in with heart felt sympathy and encouragement. While she read the letters, tears streaming down her face, Namie found the courage and determination to continue onward. She decided to put aside her own loss and strive to continue to bring happiness to her fans, through her music. Namie reached out to thank her fans via the Internet to post special messages on her fan bulletin boards. She could be found checking out her fan sites and even lurking quietly in their chat rooms (much to the disbelief of the webmasters).
After two years of adjusting her family life with her career, Namie stepped back into the full glare of the spotlight on January 1, 2000. The release of her "Genius 2000" set the stage for Amuro's return to performance and touring on an international level. The new CD begins with a new message in the song "Love 2000". The lyrics begin, "Are you ready for System 2000? Imagine all of us living as one; Are you ready for System 2000? In a world that's soon to come!"
At first listen "Genius 2000" does not appear to be a groundbreaking musical statement in itself. Perhaps many of the compositions, vocal arrangements, and production effects are extensions of her earlier works, under Komuro's production. "Genius 2000" is a strong J-POP CD that went straight to the top of the charts in Japan. The CD is peppered with new hints of American Soul, R&B, and Latin music as well. Further listening and exploration into the CD reveals greater western influences in the production of the music. Amuro's management recruited the help of producer "Dallas Austin"; who has worked with artists such as TLC, Madonna, BoyZ II Men, and Michael Jackson. In addition the legendary "Sheila E.", who has worked as a solo artist and a collaborator with Prince, was brought onboard to help with the composition and production of several songs on the CD. Tetsuya Komuro's influence is evident with his usual set of production techniques that make up his formula for solid gold J-Pop.
The CD stands as a statement, that Namie Amuro is out there and still a player. The release of the CD was followed by public appearances, International tour dates, and more television visibility. Meetings with members of the American musical Trio "TLC", serve to fuel rumors of some possible introduction of Namie Amuro into the United States. In particular, "Leavin' for Las Vegas" has a very Western R&B feel that hints of influence by western bands such as "TLC". These inroads into a more western sound stand to point to the exciting possibility that Namie's future music, may be able to make significant changes in the course of J-POP.
The talented Namie Amuro has been the most notable Japanese singer to emerge from the J-POP music culture during the 1990's. In the coming years, the world will see how Amuro decides to build on the great success of her earlier career.
Japan Photo Gallery - Take a tour of beautiful Japan. Visit Japanese places including Tokyo, Kyoto, Nagoya, and Sapporo, and see cool people on the streets. Click "Next Photo" to continue the Tour and view the next photo. Or review a table of contents of photos contained in the gallery. Return to Gallery to obtain more information and options.


text:
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If you're a fan of ABC's hit TV show "Once Upon A Time", then you're going to love this Officially Licensed Captain Hook Jacket! Made from high-quality black leather, this jacket is perfect for keeping you warm and looking stylish all winter long. It features a stylish collar, front button closure, and two front pockets. The best part? The back of the jacket features a large embroidered Captain Hook logo, so everyone will know that you're a fan!
If you're looking for a jacket that will make you feel like a character from your favorite fairy tale, look no further than Captain Hook Once Upon A Time Black Leather Coat! This striking black leather coat is inspired by the character of Captain Hook from the popular TV series Once Upon A Time. It features a stylish collar, front pockets, and a comfortable fit. The jacket is made of high-quality materials and construction, ensuring that it will last for years to come. Whether you're dressing up as Captain Hook for a costume party or simply want to add some fairy tale flair to your everyday style, this jacket is sure to impress.
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text:
"It was a lot of emotion": Local men return home after making history at Boston Marathon
Posted 1:29 pm, April 23, 2018, by Anthony Sabella, Updated at 11:18PM, April 23, 2018
SUFFOLK, Va. - Fresh off an accomplishment that was years in the making, Ashton McCormick and Michael Davis are back home.
Last week, the two made history at the Boston Marathon; becoming the first duo team featuring a blind runner pushing a disabled athlete.
Davis has been pushing McCormick, who has autism, in a racing chair for six years and last year, the two qualified for Boston, their dream race, with their time at the Shamrock Marathon in Virginia Beach.
They found out they would be able to run in Boston last fall, and realized that dream last Monday with the help of a guide runner.
"[My guide runner was telling me] I was making history, I was helping people with disabilities," says Davis of the moment they crossed the finish line. "There was a lot of emotion. I was pretty close to tears."
Because of his blindness, Davis, who lives in Suffolk, says school wasn't easy and that it was hard to make friends. That's why he decided to give back to others with disabilities.
Davis and McCormick, who's 19, were paired up by a non-profit called Team Hoyt. McCormick's mother, Jennifer, says racing has done wonders for her son.
"He talks more, he's a lot more social. He's just a completely different kid than he was six years ago," she said.
Boston was the culmination of years of hard work, but it was almost derailed when Ashton, who lives in Chesapeake, became sick in the days leading up to the race.
His mom says he was getting sick the night before.
"Literally, at 1:30 in the morning I didn't know if I was going to let him race," said Jennifer. "He gets up and [I ask him], 'Do you want to race today?' He's like, 'Yes'."
Twelve hours later, McCormick and Davis crossed the finish line. They finished the race in just under six hours.
Now home with their medals, these two aren't finished partnering up. They're running their next marathon, the Marine Corps Marathon in Washington D.C., later this year.
Local racing duo makes history at the Boston Marathon
Local racing duo to make history at Boston Marathon
Local blind man, teen with autism get dream invite to run Boston Marathon
Local blind man, teen with autism team up for marathon dream
Filed in: Good News, News
Topics: Boston Marathon, Chesapeake, racing, suffolk
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Local high school students help ready wreaths for ceremony at veterans cemetery
Boston Marathon bomber appeals his death sentence, alleging juror bias
'I wasn't going down without a fight' North Carolina mom fights back against alleged carjacker
Ex-concierge who killed two Boston anesthesiologists in their penthouse gets life in prison
Camera captures porch pirate stealing roughly $1,500 worth of items in Suffolk neighborhood
She called 911 before being killed. The operator hung up when she couldn't respond
'Our lives are changed forever' Parents remember son killed in Suffolk motorcycle crash
Pets returned to local shelters after holiday excitement wears off
Company's perplexing new holiday ad has incensed the internet


There is an alternative to sitting in a classroom at school. For your senior school years you can study in an adult environment to gain a qualification and even earn while you learn.
The options available at Bendigo TAFE are more hands-on, giving you a practical work-related experience. Your prospects after studying at TAFE can take you on a path with better options for your future.
Learn in a supportive environment and as an alternative to VCE, we offer you the flexibility to match your subject choices with your interests.
You will study literacy and numeracy, work related skills, personal development and we combine these with your interests or career choice, this is known as Victorian Certificate of Applied Learning (VCAL). There are three levels of VCAL, Foundation, Intermediate and Senior; these levels follow a similar line to Years 10, 11 or 12.
Get your hands-on and on-the-job experience with VCAL - look at what really interests you and get direction for your future.
Earn money while you're learning by doing a pre-app course through Vocational Education and Training (VET) - this can lead to a certificate qualification and an apprenticeship.
After studying VCAL and gaining more confidence, you could complete your VCE or even study a diploma or head to university.
Finish your senior school years at Bendigo TAFE and get a head start in your chosen trade apprenticeship or career pathway.
VCAL foundation, intermediate and senior certificates, equivalent to years 10, 11 and 12.  Work experience and workplace learning, this could fast track you to a job.
A full certificate II qualification - a pre-apprenticeship.
 A school based apprenticeship or traineeship making you more employable after VCAL.
The diagram below shows pathway options to a trade qualification or further study.
By completing your VCAL certificate you will have gained credits towards further study. This is known as recognised prior learning (RPL) and can shorten your study time if you choose to deepen your skills at diploma or advanced diploma level.
Below is a diagram showing the possible pathways to university from completing a diploma and then onto university and your career.


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text:
The worldwide race to make solar power more efficient
Image caption Blue skies within the UK in April have been a bonanza for solar power
One of the few elements of the UK economic system to have April was solar power,
The Met Office says it has probably been the sunniest April on report and the solar power industry reported its highest ever manufacturing of electrical energy (9.68GW) within the UK at 12:30 on Monday 20 April.
With 16 solar panels on his roof Brian McCallion, from Northern Ireland, has been a type of benefitting from the great climate.
"We have had them for about five years, and we save about £1,000 per year," says Mr McCallion, who lives in Strabane, simply by the border.
"If they were more efficient we could save more," he says, "and maybe invest in batteries to store it."
Image copyright Brian McCallion
Image caption Solar panels even make sense in cloudy Northern Ireland
That effectivity could be coming. There is a worldwide race, from San Francisco to Shenzhen, to make a more efficient solar cell.
Today's common industrial solar panel converts 17-19% of the sunshine vitality hitting it to electrical energy. This is up from 12% simply 10 years in the past. But what if we may enhance this to 30%?
More efficient solar cells imply we may get a lot more than at this time's 2.4% of worldwide electrical energy provide from the solar.
Solar is already the world's quickest rising vitality know-how. Ten years in the past, there have been solely 20 gigawatts of put in solar capability globally – one gigawatt being roughly the output of a single massive power station. For context, New York City, with 8.Four million individuals makes use of about 12 gigawatt-hours of electrical energy a day.
Image caption This solar farm covers 200ha (500 acres) in southern France
By the tip of final yr, the world's put in solar power had jumped to about 600 gigawatts.
Even with the disruption brought on by Covid-19, we'll most likely add 105 gigawatts of solar capability worldwide this yr, forecasts London-based analysis firm, IHS Markit.
Most solar cells are constituted of wafer-thin slices of silicon crystals, 70% of that are made in China and Taiwan.
More Technology of Business
But wafer-based crystalline silicon is bumping fairly shut to its theoretical most effectivity.
The Shockley-Queisser limit marks the utmost effectivity for a solar cell constituted of only one materials, and for silicon that is about 32%.
However, combining six completely different supplies into what is named a multi-junction cell can push effectivity as excessive as 47%.
Another means to break via this restrict, is to use lenses to amplify the daylight falling on the solar cell, an strategy referred to as concentrated solar.
But that is an costly means to produce electrical energy, and is principally helpful on satellites.
"Not anything you would see on anybody's roof in the next decade," laughs Dr Nancy Haegel, director of supplies science on the National Renewable Energy Laboratory in Boulder, Colorado.
Image caption The know-how of the present era of solar panels is shut to its theoretical most effectivity
The quickest bettering solar know-how is named perovskites – named after Count Lev Alekseevich von Perovski, a 19th Century Russian mineralogist.
These have a selected crystal construction that's good for solar absorption. Thin movies, round 300 nanometres (a lot thinner than a human hair) might be made inexpensively from options – permitting them to be simply utilized as a coating to buildings, vehicles and even clothes.
Perovskites additionally work higher than silicon at decrease lighting intensities, on cloudy days or for indoors.
You can print them utilizing an inkjet printer, says Dr Konrad Wojciechowski, scientific director at Saule Technologies, primarily based in Oxford and Warsaw. "Paint on a substrate, and you have a photovoltaic device," he says.
With such an inexpensive, versatile, and efficient materials, you would apply it to road furnishings to power free smartphone charging, public wifi, and air high quality sensors, he explains.
He's been working with the Swedish development agency Skanska to apply perovskite layers in constructing panels.
Image copyright Insolight
Image caption Saule Technologies is utilizing perovskites in solar panels
According to Max Hoerantner, co-founder of Swift Solar, a San Francisco start-up, there are solely about 10 start-up companies on the planet engaged on perovskite know-how.
Oxford PV, a college spin-off, says it reached 28% effectivity with a industrial perovskite-based solar cell in late 2018, and may have an annual 250-megawatt manufacturing line operating this yr.
Both Oxford PV and Swift Solar make tandem solar cells – these are silicon panels which even have a skinny perovskite movie layer.
Since they're constituted of two supplies, they get to break via the Shockley-Queisser restrict.
The silicon absorbs the purple band of the seen gentle spectrum, and the perovskite the blue bit, giving the tandem greater effectivity than both materials alone.
One problem is when "you work with a material that's only been around since 2012, it's very hard to show it will last for 25 years," says Dr Hoerantner.
Image caption Insolight panels use lenses to focus gentle
Insolight, a Swiss startup, has taken a unique tack – embedding a grid of hexagonal lenses in a solar panel's protecting glass, thus concentrating gentle 200 instances.
To comply with the solar's movement, the cell array shifts horizontally by a couple of millimetres all through the day. It is a bid to make concentrated solar low-cost.
"The architecture of these conventional concentrated photovoltaics is very costly. What we've done is miniaturise the sun tracking mechanism and integrate it within the module," says Insolight's chief enterprise officer David Schuppisser.
"We've done it in a cheaper way [that] you can deploy anywhere you can deploy a conventional solar panel," he says.
The Universidad Politécnica de Madrid's solar vitality institute measured Insolight's present mannequin as having an effectivity of 29%. It is now engaged on a module that's hoped to attain 32% effectivity.
Current silicon know-how will not be fairly lifeless, although, and there are approaches to make tiny, fast wins in effectivity. One is to add an additional layer to a cell's again to mirror unabsorbed gentle again via it a second time. This improves effectivity by 1-2%.
Another is to add an out of doors layer, which lessens losses that happen the place silicon touches the metallic contacts. It's solely a "small tweak", says Xiaojing Sun, a solar analyst Wood Mackenzie analysis – including 0.5-1% in effectivity – however she says these adjustments imply producers solely want to make small alterations to their manufacturing strains.
From such small features – to using concentrated solar and perovskites – solar tech is in a race to increase effectivity and push down prices.
"Spanning this magical number 30%, this is where the solar cell industry could really make a very big difference," says Swift Solar's Max Hoerantner.


text:
Emmanuel Urey
Urey
Dr. Emanuel Urey – Dr. Urey is the Co-facilitator. He is the Senior National Consultant for Landesa's Land Rights for Sustainable Development Project in Liberia. Emmanuel holds a PhD in Environment and Resources (formerly Land Resources) from the University of Wisconsin-Madison. He has over ten years' experience in land tenure reforms in West Africa. He has been involved with land reforms in Liberia since 2010. His Master Thesis, which looked at customary land tenures in a transitional context played key roles in developing a new land rights policy and the Land Rights Bill that is currently before the Liberian Legislature. His current research focuses on the history and impacts of large-scale agriculture concessions on rural people in Liberia. He is the main protagonist in the award-winning documentary "The Land Beneath Our Feet".
Indigenous & Community Land Rights
gender equity in access to land
indigenous land rights
Landesa - Rural Development Institute
About Landesa
Landesa partners with governments and local organizations to ensure that the world's poorest families have secure rights over the land they till. Founded as the Rural Development Institute, Landesa has helped more than 105 million poor families gain legal control over their land since 1967. When families have secure rights to land, they can invest in their land to sustainably increase their harvests and reap the benefits—improved nutrition, health, and education—for generations.
Read more about Landesa - Rural Development Institute
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New Online Discussion Aims To Support the Passage of a Bill that Safeguards the Land Rights of All Liberians
community land rights
concession (land)
customary law
land tenure systems
In the fading afternoon light, Kou Berpa leads a small group out to a patch of land a short distance off of the main road in Ganta, Liberia.
The land is strewn with rocks and dried vegetation. The jagged remains of a tree stump consume one corner. It's easy to miss the green shoots scattered across the grounds – the beginnings of a crop of corn that Kou has planted.


text:
MAGAZINE ON THE ARTS OF THE ISLAMIC WORLD
about IWA
IWA – Islamic World Of Art – is a brand-new digital-only, open access magazine on Islamic art and culture, fueled by pure passion. This magazine aims at promoting, spreading and sharing news on the best, but unfortunately less known, part of the Islamic world: its wide and amazing cultural and artistic output.
In these critical days, when the Islamic world is commonly associated with terrorism, wars and fundamentalism, we find it particularly important to raise a new and neutral voice which can give dignity to the beauty that comes alongside every Islamic society.
In each issue, we will try to give a detailed picture of the newest and oldest artistic trends and creations, the cultural environment and the state of art in the Islamic world.
We are ready to become a new source of information on the Islamic world of art and build a different perspective.
Which kind of Islamic art?
Islamic art is varied and different. The 'unity in diversity' paradigm has sometimes jeopardised the representation and reception of the art produced in the Arab-Islamic world. What we want to do is to set Islamic art in context, giving insights, thoughts and new points of view on the subject.
Are you ready to get on board?
Our mission is to spread knowledge on the history of Islamic art, a topic widely discussed but sometimes not fully understood.
We want to give everyone the chance to know more about the Islamic World of Art, with an open access format, plain language and a lot of images.
It is a magazine intended for a wide audience: you do not need to be an expert in the subject to enjoy reading it.
We believe that the discussion and the study of Islamic art should not be confined within academic walls, and that the knowledge needs to be shared and fully available. We are open to discussions, new perspectives and contributions.
our backers
IWA Islamic World of Art has been possible thanks to the contribution of many people, around the world, that backed our crowdfunding campaign. The money we raised in the campaign will help us in the next months to finance the whole project and to develop new ideas.
OUR SPECIAL THANKS GO TO:
Alessandra Pezza
Andran67
Andrea Maria Bertolazzi
Brooke Davies
Carlo Bello
Emiliano Lazzaroni
Giusi Cancellieri
Luigi Suppa
Maddalena Malanchini
Mario Gallini
Martamante
Martina Gallini
Massimo Panzi
Noemi Venturin
Raffaello Cuccuini
Rawlinsarchive
Silvia Valentina Patussi
We also would like to thank those backers who have expressed a preference to remain anonymous.
GIULIA GALLINI
"If you put up a wall, think of what's left outside" (I. Calvino)
Born in Milan, but currently living in Amsterdam, I graduated with a MA thesis on the use of inscriptions in Iranian mosques. I am a researcher in Islamic art, with an insane love for inscriptions and Qur'anic texts. After having worked with a bunch of nerds I've started becoming aware of the digital world and its potentials. Currently I study, I have my own blog, and collaborate with online magazines and blogs on Islamic art. I want to break the wall dividing academic research and general knowledge: this is what IWA will be able to do. My motto: "If you put up a wall, think of what's left outside" (I. Calvino)
SARA IBRAHIM
"There is always something you don't know that is worth learning".
I was born in Milan, Italy, and soon enough I discovered my passion for books and communication. After earning a Master's Degree in Middle Eastern Languages and Societies, I focused on publishing and I can reasonably consider myself as a publishing professional. I believe in the power of words and for me IWA is only one of the infinite possible ways in which human beings can conceive Islamic art and culture, especially nowadays. My motto is: "There is always something you don't know that is worth learning".
© 2018 IWA Magazine


MICHIGAN CITY — The Comic Book and Pop Culture Club (ComPop) of the Ivy Tech Michigan City campus will be hosting special effects artist Tom Sullivan as a guest speaker Nov. 30.
Last time Tom joined the group on campus, he had a "groovy" good time, so organizers are happy to have him back.
Sullivan is the make-up, special effects, and stop motion animation artist for the original "Evil Dead" movie. He created the Necronomicon, or the "Book of the Dead," used in the movie. As many know, reading from the book is what unleashed the terrors of the deadites that Ash (Bruce Campbell) and his friends had to battle and survive in the film. Sullivan has also worked on "Evil Dead II," "The Fly II,: and did the artwork for an H.P. Lovecraft role playing game.


Three rates are available, depending on your profile: humanitarian (NGO, international organizations, academics), private sector (employee, consultant or free-lance) or student/job-seeker. You can chose to either participate only in the conference or also attend the workshops.
Speakers who are not delivering workshops will have to register if they wish to participate (Workshop tariff) while the ones hosting workshops will have free access to the whole event. As usual, CartONG volunteers helping with the event's organization can participate to the event for free.
Hurry up if you wish to benefit from our "Early Bird" tariffs, it is only available until August 31st ! But don't worry, "normal" tariffs will be available from September 1st and if you are really late, you can still buy your tickets on the conference venue.


text:
Q: Shell is detached automatically from docker container I'm using docker to develop something on macOS Apple Silicon M1. (MacMini)
I did follow things.

*

*docker pull official ubuntu/focal

*Create image

docker create -it --mount type=bind,source=${HOME}/work/dev1,destination=/root/work/dev1 --name dev1 ubuntu:focal /bin/bash

*Create container and attach it

docker start -ia dev1

After this, I have used this container with coding, running node apps and so on. But, when I keep this attached container without any input for almost 1 hour, it is detached automatically and I am back to macOS shell prompt.
It is not exited. If commmand docker ps, the container is still alive.
And if I command docker attach dev1, I can continue to interact the shell of the container.
I don't know why it is detached automatically. How can I prevent it?

A: While it doesn't really answer the questions why and how, it feels to long for comment.
Do you have the same problem if you run the container directly and attach to it with docker exec?
In the 2. step replace create with run, -ti with -d to run it detached, and /bin/bash with tail -f /dev/null so your process 1 blocks and doesn't return immediately.
docker run -d --mount type=bind,source=${HOME}/work/dev1,destination=/root/work/dev1 --name dev1 ubuntu:focal tail -f /dev/null

docker exec -ti dev1 bash

redpajama_set_name: RedPajamaStackExchange


To provide free and equal access to a variety of materials and resources for personal enrichment and to be an advocate in the community for lifelong learning.
Located nearly 20 miles from any other public library, the Spicewood Community Library provides a variety of services to the residents of this area. The library opened in 2007 with 100% private funding and no public funding has ever been provided. With fundraising success from numerous donors, the library now offers a range of programs, services and more.
Would you recommend SPICEWOOD COMMUNITY LIBRARY?


text:
Q: Google map zoom in between LatLng Bounds I have two markers on a map that should both show at the same time.
This is achieved through :
 final LatLngBounds.Builder builder = new LatLngBounds.Builder();
    for (Marker markerTemp : markers) {
        builder.include(markerTemp.getPosition());
    }

this works fine. However, when the markers are close to each other the map is very zoomed out.
This is how it happens:
1- I choose two locations that are close to each other (zoom is good)
2- I choose two locations that are far from each other (zoom is good)
3- I choose two locations which are close to each other (zoom stays the same and the markers over lap).
I have checked so many links including:
(1) https://stackoverflow.com/questions/34247347/initialize-google-map-to-zoom-to-bounds (2)
bounds google maps
(3) Setting max zoom level in google maps android api v2 (4)
Android map v2 zoom to show all the markers
(5) Adjusting google map (api v2) zoom level in android
(6)
Set a max zoom level on LatLngBounds builder
(7) android Zoom-to-Fit All Markers on Google Map v2

A: It sounds like you use a function to only zoom out when necessary, but not to zoom in as close as possible. Can you post the part that you use to animate the camera as well?
If you simply use
LatLngBounds bounds = builder.build();
map.animateCamera(CameraUpdateFactory.newLatLngBounds(bounds, 20));

it should work. And make sure to call it and do not wrap it in a check that looks if the bounds are already visible.

A: You can get distance between two location through the below function and find the zoom level based on that.
Method to find direct distance between two location
location1.distanceTo(location2);

Now to calculate the radius , use the following. dummy_radius will be half of above value
double circleRad = dummy_radius*1000;//multiply by 1000 to make units in KM

private int getZoomLevel(double radius){
            double scale = radius / 500;
            return ((int) (16 - Math.log(scale) / Math.log(2)));
}

float zoomLevel = getZoomLevel(circleRad);
mGoogleMap.animateCamera(CameraUpdateFactory.newLatLngZoom(LatLon, zoomLevel));

A: Complete solution of this problem without using map padding. This function will take all latlng object and will return back with a Pair<LatLng, Integer> where first will be the pair.first will be center and pair.second will be the zoom level.
public Pair<LatLng, Integer> getCenterWithZoomLevel(LatLng... l) {
    float max = 0;

    if (l == null || l.length == 0) {
        return null;
    }
    LatLngBounds.Builder b = new LatLngBounds.Builder();
    for (int count = 0; count < l.length; count++) {
        if (l[count] == null) {
            continue;
        }
        b.include(l[count]);
    }

    LatLng center = b.build().getCenter();

    float distance = 0;
    for (int count = 0; count < l.length; count++) {
        if (l[count] == null) {
            continue;
        }
        distance = distance(center, l[count]);
        if (distance > max) {
            max = distance;
        }
    }

    double scale = max / 1000;
    int zoom = ((int) (16 - Math.log(scale) / Math.log(2)));
    return new Pair<LatLng, Integer>(center, zoom);
}

you can use it like follwing
Pair<LatLng, Integer> pair = getCenterWithZoomLevel(l1,l2,l3..);
mGoogleMap.moveCamera(CameraUpdateFactory.newLatLngZoom(pair.first, pair.second));


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