text:
The Band
Jake Bergaglio
Drums • Percussion • Back-Up Vocals
Phil Firetog
Vocals • Guitar
Liam Gordon
Bass • Back-Up Vocals
• GMS Special Edition Custom 4 Piece Chestnut Satin Maple drums
• GMS Hardware and Clamps
• Zildjian Cymbals
• Evans Drumheads
• Vic Firth X55A Drumsticks
• Vic Firth Legacy Wire Brushes
• Boss DB-90 Dr. Beat Metronome
• Shure PSM 200 In-Ears
• Shure SE425 In-Ear Monitors
• Remo Leon Mobley Signature Series Djembe
• LP Aspire Accents Cajon w/ CajonPort by Kickport
• LP Tambourines
• LP Twist Shakers
• Furch G22SR-A-C
• Taylor 310-CE
• Martin D12X1AE 12-String
• Fender Road Worn® '50s Telecaster®
• Fender American Deluxe Stratocaster®
• Marshall JVM 210c
• Roland AC-60
• Vox AC30
• Shure PSM 200 In-Ears
• Starky In-Ear Monitors
• Dunlop Tortex 0.88 Guitar Picks
• Levy Guitar Straps
• INTEX Cables
• Boss TU-3 Chromatic Tuner
• Caroline KILOBYTE™
• Dunlop 95Q Cry Baby® Wah Wah
• TC Electronic Corona Chorus
• TC Electronic Nova Delay
• Stymon BlueSky
• Ibanez TS-808 Keeley Modded Tube Screamer
• Ernie Ball VP JR. Passive Volume Pedal
• MBJ Guitars Specialty Custom 5-string
• Godin A4 Ultra Semi-Acoustic Bass
• Rickenbacker 4003 Bass Fireglo
• ESP LTD B-206 SM 6-String Bass
• Ampeg B500DR Bass Head
• Ampeg SVT-410HE Classic Series Bass Enclosure
• Samson Airline UHF Bass Guitar System
• Shure PSM 200 In-Ears
• Levy Guitar Straps
The Phil Firetog Trio is fronted by Phil Firetog on vocals and guitar, Who had his beginnings in the rudimentary Pop/Rock band "Paging Grace". In January 2015, Firetog started recording his full-length debut solo album "Portrait Songs" at Vudu Studios with producer Mike Watts. Their unique talents and multi faceted approach to music blending old & new, creating and ultimately gave birth to the unique sound you hear today.
Shortly after finishing the "Portrait Songs" LP, longtime friend Jake Bergaglio (Drummer) expressed an immediate interest in accompanying the project. While attending the University at Albany, Bergaglio approached bassist and fellow student Liam Gordon who was eager to join the two once hearing the material they were working on. Once the three musicians had played together, Firetog saw incredible chemistry in this small ensemble. With the lineup of the band finalized, the Phil Firetog Trio was born.
While working on "Circles" in 2016, PFT's first album together, they have finally found their voice, a rare fresh-breath of originality, playing acoustic guitars through a variety of pedals and distorted amps, creating an album and sound that is richly textured. Going from clean to grit, filling spaces sonically with complex & rhythmical grooves while still staying mainstream and appealing to a Top 40 / Adult Contemporary audience.
Our Music
Last Official Video
Upcoming Shows
Our Videos
Album Releases
Photo Gallery
Get in Touch
about 5 months ago | @philfiretogtrio


text:
Smithsonian Folkways Recordings gives new life to the UNESCO Collection of Traditional Music of the World
The UNESCO Collection of Traditional Music of the World, a pioneering effort for more than five decades to make the world's musical heritage more widely known and appreciated, takes on new life with the release by Smithsonian Folkways Recordings of more than 100 albums spanning more than 70 nations on every continent. Twelve previously unreleased albums are available on CD, digital download, streaming services, and library subscription from the Smithsonian Folkways website and all major music retailers worldwide.
Beginning on April 29, 2014, Smithsonian Folkways Recordings will release two albums per week, publishing an in-depth article about the newest releases as well as free, full-album streams to allow as much access as possible for these rare and influential recordings.
The newly released titles, that join more than a hundred previously published, include:
- Afghanistan: Music during the Civil War (1979–2001)
- Fiji: Songs of Love and Homeland—String Band Music
- Japan: Koishimaru Izutsuya: Master of the Kawachi Ondo Epics
- Oman: Arabian Weddings
- Peru: Andean Music of Life, Work, and Celebration
- Portugal: Festas in Minh
- Portugal: Music and Dance from Madeira
- Romania: Festive Music from the Maramureş Region
- South India: Ranganayaki Rajagopalan—Continuity in the Karaikudi Vīṇā Style
- Uzbekistan: Echoes of Vanished Courts
- Uzbekistan: Musical Traditions of the Karakalpaks
- Venezuela: Afro-Venezuelan Music, volumes I and II
The release of the 12 new titles was saluted by UNESCO's Cécile Duvelle, Chief of the Section for Intangible Cultural Heritage, who said, "This strategic partnership with Smithsonian Folkways Recordings, the preeminent publisher of the world's musical heritage, makes it possible for these important recordings to reach eager audiences."
The new titles, like their predecessors, are in situ field recordings of musical expressions in their community context. The recordings are accompanied by scholarly annotations and photographs. The Collection is a reflection of the immense variety of music making and of the position music holds within cultures around the globe.
The UNESCO Collection was launched in 1961 in collaboration with ethnomusicologist Alain Daniélou (1907-1994) and the International Music Council (created by UNESCO in 1949). Later, the International Institute for Comparative Music Studies and Documentation and the International Council for Traditional Music collaborated with UNESCO as the Collection grew.
The partnership established between UNESCO and the Smithsonian Institution in 2009 is aimed at supporting cultural diversity and increasing understanding among peoples through the documentation, preservation, and dissemination of sound and video recordings and educational materials related to intangible cultural heritage and its practice.
For more information please contact Edmond Moukala (ich_com(at)unesco.org) for UNESCO and Richard Burgess (BurgessR(at)si.edu) or David Horgan (HorganD(at)si.edu) at Smithsonian Folkways Recordings.

subset: commoncrawl


text:
Gulfarium Marine Adventure Park Admission Tickets
628 reviews
Treat yourself to an afternoon of dancing dolphins, playful sea lions, and more at the Gulfarium Marine Adventure Park....
We had a great time at the gulfairium. We were able to get our tickets for a discounted price through Tripshock. We spent over 5 hours there seeing everything and watching shows. We would recommend it to anyone.
We went day after a tropical depressions came trough. And they rain or shine...that was no lie :). We still had a great time.
The show's were great ..First time visiting..The staff was great..Would definitely go again
from $24


text:
Name: Chris Ridpath Email: firstname.lastname@example.com Affiliation: ATRC University of Toronto Document: W2 Item Number: Success Criterion 2.5.3 Part of Item: Comment Type: TE Comment (Including rationale for any proposed change): The text \"modify or delete data in data storage systems\" is very broad. Even submitting a search to Google will do this - Google will store info about your request. Proposed Change: Add text that describes data as important or non trivial to enter again.Received on Friday, 2 June 2006 19:13:39 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 6 January 2015 21:11:06 UTC


text:
WebCert Project Cost Management System
WebCert Project Cost Management System
We were approached to review an exiting prototype system that had been developed to serve a particular project with the view to commercialising this product. Upon reviewing the existing system Top Left Designs proposed that the basic constructs and logic of the system were sound however the product was in no way suitable for release as a commercial product. The system lacked any reasonable user interface, did not conform with industry standards and lacked a number of fucntional features that were being sought by the current users.
With this in mind we were commissioned to define the requirements and functional specifications for the new system and seek expressions of interest form developers. We are now proud to say that this significant project is signed up and willbe developed in a perod of under 3 months by a team put together that includes project managers, designers, Php developers, database designers, civil engineers and quantity surveyors.
- Published at: 30-Sep-2010
- Industry: COnstruction - Project Management
- Overview:


text:
Solar Cost Baldwin Park
With the charitable amount of sunlight in southern The golden state, solar panels are an organic way to assist Baldwin Park home owners lower the price of cooling and heating. Government rewards and city efforts make solar panels much more attractive compared to ever, and much more affordable. Solare Power has inexpensive solar power solutions to help homeowners reduce energy expenses, in addition to their carbon impact.
Solar power use the rich organic light here in Baldwin Park to convert sunlight into electricity. Solar power is fed into the electric organs at the home and in fact induces the meter to run backwards when it is producing more electricity compared to the resident requires. Home owners that have Solare Power solar powers mounted in Baldwin Park report they have decrease their power costs by as much as 80 %!
Baldwin Park has introduced a significant campaign to lower power necessities. All new city centers and significant structure restoration tasks are called for to attain LEED Silver credentials, a higher specification of eco-friendly construction. New city buildings also have to generate at least 10 % of the energy utilizing eco-friendly technologies, such as solar powers, in Baldwin Park. On top of that, solar powers will work to Baldwin Park satisfy its Electricity Prepare for a Sustainable Future. The strategy consists of a target to lessen energy use 10 % by 2012, and boost the quantity of renewable resource utilized at city centers by 2020.
Solare Energy collaborates with The golden state State companies to recognize and carry out solar and power effectiveness task opportunities. Solare Electricity aids finance solar tasks through third-party solar energy Investment Agreements.
Several consumers believe solar installments are pricey, yet the fact is that Solare Electricity could install solar powers in Baldwin Park for an affordable expense. In fact, the upfront prices are usually paid back within 8 years, leaving you with complimentary electrical energy for years.
Now, Solare Electricity supplies a pre-paid Buying power Agreement that enables house owners to go solar for less than ever before, with complete 20 year tracking and performance coverage. The property owner pays in advance for the electricity to be produced by the solar system. The system is installed by Solare Electricity and had by the funding firm. This is an excellent method for homeowners in the Baldwin Park location which desire solar powers to obtain them installed at a reduced upfront cost.
Some highlights of the program:.
– Reduced cost than purchasing organs in cash given that the financing business can benefit from the greater commercial government motivations.
– Leading performing, made in the US photovoltaic panels from Solar World.
– Monitoring, maintenance and efficiency guaranteed for 20 years.
– Versatile choices at the end of the 2 arrangement to either have the financing business take the organs away at no expense, or purchase the system at reasonable market price [anticipated to be $1 at end of term] and keep saving for an additional 15-20 years.


text:
The Colombo District Court decided today to hear the Case against Hirunika Premachandra for forcibly occupying a building and a piece of land belonging to a resident in the area.
Colombo District Judge Inoka Ranasinghe ordered to take the case for hearing on March 29th.
The case has been filed against MP Premachandra and her mother Sumana Premachandra by Rohan Wickrama and Ruwan Wijesekera.
The complainants state in their petition that the MP forcibly occupied the building and is running her office inside the building.
Meanwhile the eight supporters of Hirunika Premachandra who are currently in remand for abducting and assaulting a person in Dematagoda were produced before Magistrate Court today.
The Court ordered earlier that the suspects should be produced before an identification parade today.
Meanwhile Colombo Crime Division informed Court last Monday that the Defender Jeep 62 dash 1859, which was used to abduct the man from Dematagoda has been registered under Hirunika Premachandra's name.
They also informed Court that they referred the matter to the Attorney General to seek counsel.
Hirunika Premachandra, who has been accused of being directly involved in abduction, threatening and assault of the resident from Dematagoda has still not been arrested.


text:
Moments Of Impact
For many years, I've thought about starting a blog. I've hesitated, because I really believe that in these precious years when my little ones are little…I would rather be with them than be writing about being with them.
But in life, there are moments of impact. Moments that change you, and all you knew of life…forever. And this week…on January 28th, 2013…we experienced the deepest, most heart-wrenching, life-altering moment of impact we will probably ever face.
Our precious son, Charlie James Zeller was born without a beating heart. His body was whole and beautiful and perfect…but the breath of life was gone. No words can fully describe the sorrow and torment in this moment of impact.
Last Sunday night, I couldn't shake the feeling that I just hadn't felt Charlie kicking very much. Of all of my children, Charlie was the only one who I had felt kicking very much to begin with, so I was more concerned than I normally would have been. Since I was at 37 weeks I felt that things were fine and that I should just go in for a quick stress test. I didn't even pack a bag. I went alone. Utterly and confidently alone… because I didn't know it was going to be the darkest night of my entire life. I just didn't know. I got to the hospital and the nurse came in to check on my sweet baby's heartbeat. Every other time we've checked for the heartbeat it has taken but a moment. Charlie is my little kicker. His heartbeat is also easy to hear and fast to find. And yet, as the nurse waved her little wand around my belly…there was just silence. Silence forever. Finally, I told her, "This just isn't normal…it never takes this long." And so, an incredible doctor who just "happened" (one of a million mercies of God) to be on the floor that night, said he would come take a look with his ultrasound so I wouldn't have to wait an extra hour for the on-call doctor to arrive. By this point…I knew. I knew what silence means, but I still couldn't comprehend what that moment of silence would mean for my night, for my week, for my life.
The doctor came in and after a few moments of looking at my belly, at Charlie's home, he said, "I'm sorry. I don't see or hear anything. Your baby is gone." I couldn't even cry. I couldn't even comprehend. I just kept moving. Through the worst phone call of my life…to the person I love more than anyone in the world who was so very excited to meet his new baby boy. Through six trys and retrys of an epidural that would not even end up working. Through a long night of labor that would not end in joy, and an even longer night of the soul. Through that ultimate moment of impact when Charlie came out and we didn't even know it because of the silence. I remember looking at this beautiful, perfectly formed, and absolutely precious little body and thinking, "There he is. He is finally here. And he is gone." I knew…I knew beyond any doubt that his body was here in the hospital room of earth, but that my little boy was not here…I knew our baby was already with the Lord.
I love theology and could wax poetic on all of the verses of Scripture that bring confidence to my heart that Charlie was immediately with Jesus in heaven, but for now I'll save those. What matters is that I knew. And knowing was enough to get through the night, and give grace for that moment. Those moments of holding him, this hot little weight in my hands…who had Emma's feet, Sophie's nose, Freddo's crazy hair, Mommy's chin, and Daddy's lips. Feet I so badly wanted to hear running along behind the "big kids." A little nose I wanted to wipe every time he fell and scrapped his knees in the true fashion of a little boy. Hair I wanted to tousle, lips I wanted to kiss. And all of that…ALL of that was gone.
And then, in that moment of utter darkness the Lord brought the Bible story of Hannah and her little Samuel to my mind. I didn't remember the exact words at the time, but one thing seemed very real to me…Hannah had given her son into the Lord's hands…to live not with her, but with Him…for Samuel's whole life. I felt like the Lord was saying to me in that moment, "Will you give your precious son to me?" Will you trust Charlie into My safekeeping…in a painful and profound way…for every moment of his life?" "
Will you do what Hannah chose to do, not because you chose it, but because I have chosen this for you…I have chosen this for him? Because I have chosen to take Charlie's life."
"I prayed for this child, and the Lord has granted me what I asked of him. So now I give him to the Lord. For his whole life he will be given over to the Lord." And he worshiped the Lord there. -1 Samuel 1:27-28
When we think of what we pray for our children above all else, it is that each of our kids would know the Lord Jesus and walk with him their whole lives. And even though our hearts are breaking, and we would have loved every minute of life with our precious little boy…the dream is the same. Being pregnant with three other kids means you just don't think about the fourth kid as much as if he were your first, but over the last nine months the one thing we have prayed for most for our sweet Charlie James is that he would know Jesus someday.
Someday came so much earlier than we would have liked. But Someday came.
And so we give our little one over to the Lord, born into the arms of Jesus… for his whole life. I don't want this. I don't want this to be God's will, but I am absolutely convinced that it is. After many blood tests the doctor said he is almost certain that somewhere during Charlie's 37th week of life, the placenta became unattached from my uterine wall and our Charlie was gone in an instant. Even if I had felt it, even if I had known…nothing could have been done. I have asked God a thousand times "Why?" "Why now?" Why him?" "Why this?" but there is only one answer to that question though we keep on asking. It is the same answer I give my kids when they ask me "Why?" about something and I just need them to trust me…"Because I said so." Some moments the grief is so utterly overwhelming I don't even know how we will ever go on through another day of life without our baby boy. But I know that this is our story because God said so…and that though He slay me…though He shatter my dreams, bring to pass my deepest fears, take away what I love most…yet somehow I can really say just as Job once said, "I trust Him."
Charlie's Song
Over the next few days, weeks, years, who knows really…I will be sharing more about our sweet Charlie's story, but for now I want to share why we are calling this Charlie's song.
No words can fully express the sorrow we have felt in the last seven days. But there are some words in my heart, and for the first time in my life as a mother… taking the time to share them is one of the only ways I can love my precious baby. I'd rather be holding him. I'd rather be sleep-deprived, and angry about nursing, and overwhelmed at four kids and new motherhood… but one of the only ways we can love our 4th born son is by honoring his story and sharing the story God chose to write for our little Charlie. Please read it. Please remember his precious life. Please know Jesus and His love more through him, and all that God is teaching us through loving our sweet Charlie James.
I think about how Paul says to the Corinthians in 2 Cor. 3:2, "You yourselves are our letter, written on our hearts, known and read by everyone." And being precious, made by God, formed in my womb, and known and loved by Him…I really believe our little Charlie is as much a letter from God, written to make known God's love for the world…just as much as you and me.
But as I was thinking about little boys, I was thinking how much they are NOT writers. For the first part of boyhood, they can't write. For the rest of boyhood, most of them are forced to against their wills by well-meaning schools. Little boys don't want to be writing…they want to be playing in the mud, splashing in puddles, singing in the sun. And so…here is our little Charlie's song. Written on our hearts. May it be known and read by everyone. And may reading it…change forever how you see our precious Savior…the one who is holding our sweet Charlie today. The One who is singing to him, even as He continues to write our Charlie's Song.
With love and tears, ever desperate for your prayers,
Heaven Song
There are things that we just never, ever wanted to do. Picking out a baby casket. Choosing a place to bury our son. Saying goodbye to the child of our love. Inconceivably dark sorrows. But…there are also things we never knew. We never knew just how much the Lord Jesus lovingly carries you when you absolutely cannot even walk. We never knew how tender He can be to gently lead those who as Isaiah says, "Are with young." And we never knew how beautiful the hope of Heaven is, and what it feels to long to be there so very badly. To actually want to be in heaven…more than we want to be on earth. In the last seven days we have experienced both the things we never wanted to do and the things we never knew…and often in the very same moment.
Last week, as we went to see where our baby boy's precious body would rest until the return of Christ and resurrection of the saints, I was overcome with sorrow as I looked at the beauty surrounding that place…
The rich green hills: A little boy would have loved hiking on these green hills. The path that leads to the ocean just a few miles away: Oh how I longed for Charlie to go surfing with his daddy. The perfect little climbing tree: Charlie would have loved climbing this tree with his big brother someday. And it hurt so badly thinking of all that will never be in this beautiful place. All of the things that we will never get to see Charlie do…that we wanted, and dreamed, and planned on for as long as we have known of his life.
But it is so very true that the steadfast love of the Lord endures, and His mercies never fail. As I looked at the place we call "home," a place of green pastures and quiet waters where the Lord really has restored our souls…I was reminded of something that happened before Charlie came. A few months ago, we were driving home from a family adventure through the beautiful green hills in our town, and listening to Phil Wickham's "Heaven Song." And I remember thinking in that moment how much our hills remind me of the hills of Heaven.
As I listened to that song this week in the place where Charlie's body rests, tears of joy streamed down my cheek. God somehow even in the darkest night…is so very good. He is so good that we get to see Him someday face to Perfect face. He is so good that we will get to see our little Charlie some day, and finally get to know him as we so desperately long to.
And as we spend every day that is left of our lives apart from where Charlie is spending every day of his…my heart says in a fresh way that has never longed for Heaven so badly…
"I want to run on greener pastures, I want to dance on higher hills
I want to drink from sweeter waters, In the misty morning chill
And my soul is getting restless, For the place where I belong
I can't wait to join the angels and sing my heaven song."
I love you my sweet boy, and I can't wait to be with you and Jesus someday soon.
Your Mommy.
click here to listen to Heaven Song
What I Want You To Know About Our Sweet Boy…
Today, I have this desperate longing for baby Charlie. The day we found out we were having a boy we announced it to everyone on instagram with "Screaming for Joy, we're having a boy!" It was honestly one of the happiest days of my life, and one of my favorite moments with our sweet Charlie James. He had waved at us that afternoon during the ultrasound, and we had all gotten to see him suck his sweet baby thumb. It was such a great day.
Oh, how I wish I could hold his little hand today. There is so much I longed to know about our precious Charlie. What color were his beautiful eyes? How I long to see those eyes! Would his favorite color have been blue like his big brother, or green maybe? Would he have loved to hear "Twinkle, Twinkle" before bed or "You are my Sunshine?" Tears stream down my face as I think of all I long to know about my sweet boy. What I do know about him is so dismally inadequate when I had longed to know him for a lifetime.
I also have this desperation for you to know our Charlie James. You would have loved him, I just know it! And you will when you meet him in Heaven someday.
But here is what I do know…and I will treasure these knowings always.
Charlie was an adventurous little guy. While he was with us we had such fun times as a family. In June, Charlie went on a ministry trip to East Asia with Mommy and Daddy. In July, he went kayaking along the beautiful Central Coast of California past deserted islands, and through star fish-covered caves. In October he went hiking in the Redwoods, and to the pumpkin patch, the apple farm, and the beach. He drove all the way to Oregon and back one crazy weekend when we bought our vintage camper…which was seriously one of the only ways we "nested" in preparation for Charlie's coming. And he went to Disneyland and heard fireworks and the "It's a Small World" song…waaaaay too many times. : )
Charlie loved chocolate-covered almonds, rotisserie chicken, sparkling water, and blueberry pancakes. He loved playing soccer in my belly late at night. He loved story time and always kicked so happily while Mommy read him stories.
Charlie was loved deeply by our family. Every time I held his big sister Sophie in my arms she was right there hugging baby Charlie. He heard Mommy and Daddy's voice singing to the big kids every night at bedtime. Charlie heard his big brother singing the crazy "Awana Goodbye" song every Tuesday night. He heard our endless list of things we were "Thankful For" during November and Christmas music every day after that for a solid six weeks. He also heard the big kids playing, Mommy and Daddy laughing, and the Word of God as we'd read His love letter together as a family.
And most of all…he heard the many things I did not. Charlie heard my heart beating. He heard the ocean waves of amniotic fluid. He heard me breathing. And one day, though we'll never know the exact day, Charlie heard His maker's loving voice say, "Come with me…I am ready to take you home my sweet boy."
I wish so badly that God had written a different story. But I am learning more and more each day, that the God of Job, the God of Jacob, the God of all who call Him Father and wrestle to see His face…He is also my God. He does not change. And He always has and always will be the God of Ephesians 1:11 who does all things "according to the counsel of His will." My will? No. Your will? No. God checks with no one but Himself when He is planning each moment of our lives. He takes counsel from His will alone. That is His job. Surrender to that…is mine.
Some moments that's going well actually. Most moments it is not. But I am learning that I can praise Him and thank Him for what I do know…and that that will absolutely have to be enough for my heart today. We know that we will always be the proud parents of a beautiful baby boy named Charlie James, who loved music, and pancakes, and adventures, and is finally safe where we all long to someday be safe…in the presence of our loving Christ.
I want to close with what is now one of my favorite pictures of our precious Charlie. It's from Blue Ice Cream day and it's awesome and perfect in every way. Fred is picking his nose, I'm trying to clean off Sophie's face, and she is about to plunge into that lovely looking ice cream. It is just so classic. It is just so our crazy family. And it is a great picture of sweet Charlie in my belly. In the midst of our crazy photo shoot…there he was our baby boy. With us for eight and a half precious months in our messy, glorious, God-ordained lives.
i love you, my sweet baby. And I can't wait to finally be together again Someday.
love, mommy


text:
Looe Lifeboats
The RNLI is the charity that saves lives at sea
Royal National Lifeboat Institution, a charity registered in England and Wales (209603) and Scotland (SC037736).
Registered charity number 20003326 in the Republic of Ireland
With your support, we save lives at sea
We save lives by providing a 24-hour lifeboat search and rescue service,
seasonal lifeguards, water safety education and initiatives, and flood rescue response.
Boathouse Guides
Boathouse guides are able to provide information on the RNLI and the
history of Looe Lifeboats, as well as information about the latest shouts.
The provide material with safety advice for those enjoying the sea in the
shores around Looe. This raises income and support from the local
community, awareness of the RNLI to visitors and enhances the safety of
visitors and residents alike
Would you like to be part of a happy band of volunteers that are helping to save lives at sea without even
getting your feet wet? Could you get involved in inspiring young people and adults when they visit the
Looe Lifeboat Station by providing information and delivering key messages about the work of the RNLI,
the boats and equipment we use, and help visitors stay safe near water?
Volunteering as a Boathouse Guide member of the Lifeboat Visits team and being part of the RNLI's
Looe Lifeboat Station means playing an important role within the charity as we aim to save the lives of
people of all age groups through our visits programme. A message given today could mean a life saved
In this role you will meet and greet visitors to the Lifeboat Station, presenting our vital water safety
messages alongside promoting the work of the RNLI to motivate the next generation of RNLI supporters.
You will liaise with the other volunteer team members and the volunteer Lifeboat Visits Officer, and
together you will ensure that the visits do not impact negatively on operational procedures at the station.
In this role you will have the opportunity to meet lots of new people and develop your communication and
presentation skills. Ideally you will have experience of working with people and possess strong team
working skills alongside good communication and a willingness to be proactive in the community. If you
possess or would like to develop these qualities we would love to hear from you.
Just as we give all our Lifeboat crews the right training and equipment to carry out their lifesaving work,
we provide all of our volunteers with the necessary training and support to carry out their role effectively.
RNLI volunteers have access to a range of online learning materials, as well as opportunities for one to
one support from fellow volunteers and RNLI specialists.
Please join us in making a difference to the safety of people of all ages.
Click here
to register your interest
Our Team
Our Lifeboats
Atlantic 85
D Class
Station Management Committee
Our Shop
Photo Gallery
John Cuttell
Recent Shouts
LAUNCH - What Happens
Events Calendar
Looe Raft Race
Community Safety
About Advice OnBoard
Make a Donation
In Memoriam
Contact Us
Station Visits


text:
Prevalence of agglutinating antibodies to Neospora caninum in raccoons, Procyon lotor
Lindsay, D. S.
Spencer, J.
Rupprecht, C.
Blagburn, B. L.
MetadataShow full item record
Neospora caninum is an apicomplexan parasite that causes neonatal neuromuscular disease in dogs and abortions in cattle. Dogs are the only proven definitive host. Little is known about the prevalence of antibodies to this parasite in wildlife. Sera from 99 raccoons (Procyon lotor) were examined for agglutinating antibodies to N. caninum using the modified agglutination test employing formalin-fixed tachyzoites as antigen. Raccoons originated in Florida (n=24, collected in 1996), New Jersey (n=25, collected in 1993), Pennsylvania (n=25, collected in 1999), and Massachusetts (n=25, collected in 1993 and 1994). Ten (10%) had antibodies to AT. caninum; 9 had titers of 1:50, and 1 (1%) had a titer of 1:100. The present study indicates that raccoons have minimal exposure to N. caninum. The sera were also tested for agglutinating antibodies to Toxoplasma gondii and 46 (46%) were positive; 16 had titers of 1:50, 8 had titers of 1:100, and 22 had titers of greater than or equal to1:500.


text:
The main ingredient of detergent is benzene sulfonic acid sodium, has the good decontamination function, the use is very convenient, therefore deeply loved by the people. Now many detergent in the market has added some new ingredient, has the more stronger washing function. These main ingredients include surfactant, detergent, stabilizer, dispersant, Brightener, Flavors and enzymes.
Daily life we often use detergent, we will certainly think that washing detergent is nothing but dissolved in water to wash clothes and so on, in fact, Detergent Powder this is only a part of the use of detergent, here I would like to tell you how to use detergent properly!
1 According to the description of the use of detergent before use should look at the packaging, understand the type of washing powder, and according to the instructions on the correct use of the bag. Generally speaking, the application of warm water will be dissolved washing powder, washing powder should not be dissolved in boiling water. Detergent Powder Hacheng if dissolved in boiling water will reduce the foam and reduce the decontamination effect.
2 Washing powder do not mix with soap because some of the detergent is acidic, soap is alkaline, acid and alkali phase mix will occur neutralization, Detergent Powder but reduce their decontamination power.
3 Washing powder do not mix with disinfection liquid. Many housewives like to add some disinfectant when washing their clothes with washing powder. But this kind of laundry method is likely to make the washing and disinfection effect is greatly reduced.
4 detergent ingredients are not the same, disinfection liquid is also so. Detergent Powder If the detergent and disinfectant mixture, it is easy to chemical reaction, so that their respective efficacy is weakened.
There are five kinds of detergent ingredients: active ingredient, washing ingredient, buffer component, synergism ingredient and auxiliary ingredient. Active ingredient is the main ingredient in detergent. The washing active ingredient is a kind of material called the surfactant, reduces the adhesion between the stain and the clothing, the washing water and the hand rubs or the washing machine's agitation and so on the function, Detergent Powder causes the stain to disengage from the clothing, thus achieves the clean clothing the goal. Surfactants are mainly anionic surfactants, with fatty acid salts as an example, we explain the principle of washing, such as Rcoona, its hydrophilic base for the carboxyl group, its hydrophobic base is r groups, hydrophobic base and sewage combination, hydrophilic base and water soluble in water, so that the dirt from the clothing from the dissolved in water, to achieve decontamination purposes. The main function of the detergent is to soften the water by binding the hardness ions contained in the water so as to protect the surfactant to maximize its effectiveness. such as the so-called phosphorus, Detergent Powder phosphorus-free detergent, actually refers to the use of AIDS is phosphorus or non-phosphorus system material. Buffer composition of organic stains are generally acidic, so that the washing solution in the alkaline state is conducive to the removal of such stains, Detergent Powder so the detergent is a considerable amount of alkaline substances. Commonly used is soda ash and water glass synergism components to improve the purification effect, such as enzyme preparation (protease, lipase, amylase, etc.), bleach, bleaching promoter, etc. to improve the whiteness, such as anti-deposition agent, dirt dispersant, enzyme preparation (cellulase), fluorescent brightener, anti-dye agent; protect fabric to improve the handle of fabric, such as Softener, Cellulase, antistatic agent, color protection agent, such as auxiliary components generally do not wash the washing capacity of detergent to improve the role of improvement, but the product processing and product sensory indicators play a greater role, such as making washing powder color white, particle uniformity, no caking, pleasant aroma.


text: Smurtada 0 Report post Posted September 20, 2016 (edited) After creating a third simulation run using mesh generated by a different DEM, the simulation is not allowed to run, giving the following error message: " terminated with exit code 0, stopped in structure culvert *.f90, error code 8393" Then when I click out of that window, I get "ERROR: Could not open file *_XMDF.h5". This does not happen when using multiple simulations with the same mesh. Is there a way to run multiple simulations with different mesh? The two different mesh are generated from the same "Domain" based on different DEM layers. I look forward to any advice. Thanks! Edited September 20, 2016 by Smurtada Quote Share this post Link to post Share on other sites


text:
Step 1 of 3
Join the Turing network.
Create Username + Password:
Enter your current email address to use as your Turing username. Every email account you add in Step 3 will be available by logging in with this one username.
By signing up for and using Turing Email, you agree
to our terms of service and privacy policy.


text:
Eighty-two comments
Farewell to Chernobyl
This fantastic reel was written by the late Michael Ferry of Fiddler's Bid.
It's a really good tune, played fast or slow, and goes well with Tam Lyn and Laura and Athena
Not my cup of tea
The melody is just arpeggio's & it doesn't really go anywhere. The title is pretty naff as well.
Opus Blue
try listening to it on Catriona Macdonald's Opus Blue - it might change ur mind
Does she play the tune totally differently & call it by a different title?
Farewill to Chernobyl
Always loved this! From Opus Blue - Catriona certainly plays it with pizazz and the piano accordion part makes it haunting. Been too lazy to learn it from the cd so it's great to have the sheet. Thanks. I play box, so I;ll see if it's a good box tune or not……..
Sounds nice on the box, too
Before trying Catriona MacDonald's CD, I came across this tune in Sharon Shannon's "The Diamond Mountain Session." Supported by several fiddles, her playing sounds really nice.
To tell the truth, I've been looking for this tune for long, but oh, it cannot be played on my instrument, whistle.
Mad Baloney, how can you such terrible things, hang your head in shame! It must be the way you played it, take Fiddlin Mads advice and listen to it on catrionas album. You have to syncopeate it. Title is a bit random, but it was writen by a young so theres probably a story behind it. Its a great tune.
By the way its Tchernobyl not Chernobyl.
I stand firm in what I believe, if people keep churning out tunes like this it's going to ruin the tradition.
wat6? its extending the tradition/ Its growing, the music has to progress otherwise itl die, thats the way the tradition came about in the first place.
Just remember…..this is a "living" tradition. Not just for the posthumous works but for
the ones written this morning, etc.
Good point well made.
Wackadack - the place is spelt Chernobyl so thats where i go it from…… dunno if its right, but i head Michael Ferrey wrote after he was diagnosed with cancer - sumthin to do with the radiation from chernobyl (after it exploding) being blown over to shetland.
U think we shud post wackidoo ??
That would seem to be the plausible argument, however not every string of eight notes makes the a good tune. Many tunes have been forgotten because they are substandard. Many originally mediocre tunes have been honed by hundreds of excellent musicians changed little by little until it's a knockout tune. That's the tradition. Although it is a living tradition it is a very conservative one & changes are slow & many changes are not generally accepted. Brendan McGlichly & Charlie Lennon are famous for new tunes that have instantly become accepted, they also write nice melodic tunes & don't hang absurd names on them. Because it's a living tradition doesn't mean that everything is accepted into it.
Rooted in Shetland Tradition
Michael Ferry is definitely a great fiddler just like Jerry Holland, and many musicians, mainly Scottish though, play his tunes. I know several tunes writte by him, and they all sounds quite traditional, even if not always similar to traditional Irish.
They are deeply rooted in the local Shetland fiddle music and a bit influenced by the music from mainland of Scotland.
If some Irish musicians think that this tune goes off the tradition, that is simply because they are not familiar with the Shetland fiddle music. Don't think Irish music is orthodox and authentic.
Pick up the Scottish band, Deaf Shepherd's "Synergy" and try "Wings o' a Scorie" written by M. Ferry in 4th track. I'm sure it is also appealing to Irish musicians.
Bless you, Brad. I think it's important for the Tradition to stay alive that the experienced musicians, in whom the Tradition reposes, speak their mind clearly. Doesn't stop anyone from playing the tune, after all. This tune, btw, confirms my general impression that Scotish tunes are melodically less interesting than Irish tunes. That's of course overstated etc. etc. but just consider the Jig of Slurs.
Incidentally there is a very nice tune called The Return to Chernobyl on a House Band album (Another Setting, first tune in the Twin Katies set), that they credit to Vincent Blin from Paris.
Thats sooo insulting. You just find irish music more interesting cos its wat ure used to, if youd always listened to scottish music aswell youd have a different opinion. I rarely hear irish music so i tend to think it sounds a bit samey, BUT AT LEAST IM MAKING THE EFFORT TO FIND OUT MORE ABOUT IT. Yeah the jig of slurs is a crap session tune, but dont even try and say there arent any crap irish tunes out there too, in fact im gonna have a look now and find some, its all a matter of opinion. Ok finnished my rant, i hope you read this.
Hey fiddlin mad, ive been trying to work out who you are, i think i know now, r u my beauly b&b chum? Wackidoo shud defnitly be posted ( even if its swedish as opposed to irish) and( even if it is MELODICALY LESS INTERESTING than irish music)!!!!!!!!
And another point, whats wrong with having interesting titles ( or in some peops opinions absurd), it drws peoples attention to the tune, an interesting title grabs peoples attention. I personaly think the best tune title ever has to be Zander The Sander, altho i also like Welcome To Drunkenness.
Tune Names
It doesn't really matter what a tune is called, however I am less apt to even bother looking at a tune with an "interesting" title beacause they are generally written by someone who doesn't fully understand what a good tune is all about. Scottish music isn't crap - it's just a whole different ball of wax, I like some of it a lot. Some of the good old strathspeys & rants are excellent. Not to mention that 90% of the "traditional" Irish tunes are just re-worked Scottish pieces. I personally like Irish music better because of the humble approach, the focus is on the little details, not beating the listener over the head with flash. BTW not all Scots tunes are crap, don't feel like were running you out of town. I think there are great many reels & some of the best hornpipes too. The Silver Spire, Barrowburn Reel, The Cameronian, Lord Gordon's, Lord MacDonald's, Bonnie Kate etc are all Scotish & bulletproof tunes.
Good tunes
when u say that a tune with an interesting title is probably written by someone who doesnt understand what a good tune is all about - what would u say a good tune is all about…?
Yes, I read it
Whackadack I did read your little rant. I like it that you identify so strongly with Scottish music that are personally insulted when someone criticizes it. Interesting, too, how you can divine what I listen to and don't listen to.
But I still stand by my point about Scots music. Sorry if it offends you. Miss MacLeod is one of my all-time favorite session tunes, btw.
What I care about most, however, is that the people who play the music share their views about the music. If I am listening to a music whom I respect and who has walked the walk and he/she says "that tune is crap" or "musican X doesn't have it" that is a very valuable thing to hear. Whether I agree with it or not. For this reason I don't really like it when people who state a strong opinion get criticized or flamed for it. I think we should be strong enough like what we like, play what we play, and let others say what they will. Even if we really like that tune or Scottish music, or Sheena E, or whatever.
Farewell to Chernobyl
I love this tune….! I'm playing it as part of a medley (medley?) of tunes for my GCSE music recording - what luck that the sheet music turned up! Cheers ;)
Lizzy xxx
A good fiddle tune isnt just about melody, a good tune is made up of a selection of things: melody, harmony, rhythm, bowing, ornaments. Different selections and portions of these things affect people differently so it really is just a matter of taste.
Bloomfield, i see your point but i think theres no put down musicians or tunes, by all means suggest ways they might be improved on, but by saying simply that you dont like it benefits nobody. Im strong enough to say what i like, but im also strong enuff to hold back opinions which could be taken offensivly. No offense like 🙂
Good luck with your gcse recording Lizzy, nice choice of tune.
Tune names
Brendan McGlinchey and Charlie Lennon do indeed compose excellent tunes, but given that they composed tunes called "The Floating Crowbar" and "The Flying Wheelchair" respectively, maybe the contributer who said they "don't hang absurd names on them" might like to think again about that statement.
Question for "Bloomfield"
Do you think that Scottish tunes are "less melodically interesting than Irish tunes" to 5 million Scots?
Well said, Kenny!
Answer for Kenny
First off, no need to put quotation marks around my handle. Thanks.
Second, I've considered not answering your question because it's more of a point than a question and because I am not looking to get people's goad or infuriate them. But I will answer to say two things, the first being that I doubt that 5 million scots listen to traditional Scots Music. Maybe a tens of thousands do, probably fewer. Of those, only a fraction could reliably tell one reel or strathspey from another, and even fewer I think would be aware of enough Scottish and Irish tunes to get an impression of differences. Now this is the sort of niggly and unhelpful fact that I normally avoid as supercillious, but I brought it up because it allows me to make my second point. You weren't concerned with who actually listens to Scots music and thinks about its characteristics, but with national pride (of 5 million Scots) in their Scottish culture, music, etc. You are trying to tell me that I am insulting the Scots by picking on their music. Patriotism is like love in that it makes blind, I guess. You can of course agree or disagree with me about Scottish music, but don't turn it into a "you are dissing my country" thing. That makes the discussion a bit boring.
You also seem to think that melodic interest is a personal or subjective thing. I don't agree. This is the musical part of my answer if you will. I am happy to make all the usual disclaimers (as I did in my original post) about preferences and perceptions, but I do think that it is possible to discern different characteristics of music. You can observe that tonality are harmonies are quite different in Irish or Scots music compared to barroque music. In this fashion I think it is also possible to get a general importance of the role of melody vs. harmony, accompanyment, rhythm, and all other musical parameters. In Irish music the overwhelming emphasis is on melody. And I don't just mean that all other points, like harmony and rhythm, are conveyed through the melody (in it's purest form trad Irish music is unaccompanied liting or unison instruments), but I mean that what musicians think about most is melody. In the minds of traditional Irish musicians, what makes one of them great? It is command of the melody, the consistencies and subtle variations, and all the little things that I lack words for but that bring out the power and beauty of the melody.
Scottish music is similar in many respects to Irish music, but it is my impression that the relative importance of the melody is less. Other things are cherished as well, or while melody is central, it is not as overpoweringly important as it is in Irish music. It's a subtle thing, and it may just be that if you asked an Irish traditional musician what the most imporant thing about the music was, he/she would invariably answer "melody", while a Scottish musician might list melody as one of several most important aspects.
Farewell To Chernobyl is a super 'kick-in-the-ass', 'take-no-prisoners', 'hotter-than the-hinges-of-Hell', 'gotta-stomp-your-foot-and-holler' reel. I think Maol is being a bit snobbish, but hey, I like snobbish! Truth be told, I agree with his sentiments. Traditional players should notice that this tune entirely odd and flashy and that it doesn't quite fit in the traditional vein (Irish, Scottish or otherwise (can't be sure on the Shetland stuff)). That being said, it's still one hell of a tune and I enjoy it very much for a bit of variety.
There is no accounting for tates, but…
I cannot judge whether this tune is a great piece or just a crap, but it is absolutely true that it is already getting popular. Catriona MacDonald learned it in Australian Folk Festival from a local Banjo player, and Sharon Shannon recorded it twice, in the studio and the concert.
Great Contra dance tune!
The actuall spelling is Tchernobyl. It's a great contra dance tune. I found it in a book called the Portland Collection.
This tune is modern and new, so obviously it cant be part of the tradition yet. However, it has potential, depending on which way music developes to become part of the tradition sometime in the future.
i'd like to think this was a michael ferry of fid bid composition, and i just asumed it was, but i was a bit confused on that. on talking to leo mcann at the weekend, he said that he used to be in a band with that michael ferry, and he was pretty sure it wasn't him that wrote it. i had also heard from another person that day that it was a michael ferry from england. anyone shed any further light! amazing tune by the way, wherever it is from. (and in response to a previous comment i can tell you that more than just a fraction of tens of thousands could tell one strathspey or a reel from another thank you very much!)
keep the tunes coming rooree!
According to Catrionas album cover, the tune was written by a Michael Ferry, but i dont think its the one fae shetland. I think the one from shetlands her cousin or sumitt and on the cd she gives the impression that she doesnt know the composer.
I heard from Jean-Ann Callender that it was Michael Ferry from Fiddlers bid but maybe she got confused with the guy from england…..?
Can't believe some of the comments about this tune and Irish v. Scottish thing. Brad,as usual, is excelling himself in his conservative pomposity and as for the comments about Scottish music, well words fail me. Irish music is great, Scottish music is great ( I play in an Irish band which plays lots of Scottish tunes as well) and Farewell to Tchernobyl is a cracking tune (even if it is "just arpeggios"…..ever listened to Vivaldi?) which has been popular over in the UK and Ireland for a few years now. It always gets people going at sessions. What more do you want? If people like to play it and people like to listen to it then it's already in the tradition whether you like it or not.
Is it Brad's job on this site to stir people up (his recent rant about what you should post seems to say a lot about him too)…if so he's doing a pretty good job.
Keep playing and keep an open mind.
I think it's a great tune.Everyone's entitled to their opinion.If you like it play it &if you don't then don't, simple as that.I wrote a song called "The music police" but after seeing some comments here I can write another 6 verses. By the way what is "Traditional". For a start the only true irish dance tune is a jig everything else is imported & how many of us play irish instruments? I certainly don't.I could go on and on but the arguement is stupid
Licensing to record this tune
I love this tune. I'm looking for the person to contact in order to get permission to record it and put it on my web site.
Can anyone help in finding the license agent/copyright owner to get permission?
The truth about "Farewell to Tchernobyl", only the truth !
Sorry, my English is not very good (I am from France, near Paris).
By chance, I have just found this website with comments about my tune "Farewell to Tchernobyl". It's funny to read all the wrong stories about the tune, but these comments are finally positive and please me. Even if the facts are less romantic (!) than the comments above, I would like to give the correct "history" of this tune. "Farewell to Tchernobyl" neither come from Shetland, from Scotland, nor from Ireland, but from France … I composed it in May 1986 (in the same time of the Tchernobyl disaster). When I began to compose tunes I chose titles in relation to the news (to remember the year), but I very quickly renounce this sordid way, it is too much horrible ! First, I gave it the name "Return to Tchernobyl" but after, English-speaking musicians recorded it with the title "Farewell to Tchernobyl" and I kept this name (in English, I prefer put trust in English-speaking people !).
For almost 25 years, I have played the fiddle in sessions with my great friend Vincent Blin (very good French fiddler in Irish music, and also in old-time and bluegrass) and in the years 1985-1990, we were lucky to meet and often play with Karen Tweed and the Shannon family (Mary, Sharon, Garry) in England, Ireland and also in France (Paris, Lorient festival). With Vincent we played the tune and they enjoyed it. In the following years, they became well known musicians and played the tune in their tours and recorded it. To my knowledge, this is Garry Shannon who made the first recording on his album "Lose the head" in 1989 (album reedited on CD in 1995), with the title "Michel Ferry's" (originally the tune is in Dm, but Garry played it in Em on the flute). In 1993, Karen Tweed recorded it with "The Kathryn Tickell Band" ("Signs"), then Mary Shannon with "Bumblebees" ("Buzin'") and Sharon Shannon ("The diamond mountain session", "Live in Galway"). By now, I know some fifteen recordings of my tune (in Europe, North America, as far as Australia !), among others : Catriona Macdonald ("Opus blue"), Hanneke Cassel ("My Joy"), Catherine Fraser and Duncan Smith ("Presence"), Jigsaw ("Cut up the floor"). The score is also in tunes books : "The Portland Collection - Contra Dance Music in the Pacific Northwest " (my own basic version in Dm) and "Ireland's best fiddle tunes" (Em version).
The success of this reel is unreal for me, absolutely incredible indeed. Now, I am always very surprised ; I did nothing for that (no publicity, I have never recorded it), the popularity of the tune comes just from the musicians who play it ! Many thanks to everybody ! I would like to record all my compositions, but I am not a professional in music and I have no much time (since many years, I have to work seriously the violin !…). Don't hesitate to contact me if you are interested in the tune (permission to recording, other details, etc.).
Michel, welcome to the session, and thanks for both the tune (a gem of a reel) and it's real history. When you have the time, we'd like to see more of your compositions posted in the tune section here.
Farewell to the Comments
It strikes me, just now, that there is more talk bout this particular tune than nearly any other in The Session. In fact, if I may indulge in an ounce of hyperbole, Chernobyl/Tchernobyl's half-life took less time than reading all these postings.
I greatly appreciate the authors who consider the tunes here for their quality alone, aside from popularity. In context, just because J-Lo sells platinum doesn't make her a contributor to a healthy growing tradition.
I'm really ashamed of my very stupid comments on this tune, but yes, it's fun to read through what people think about it. I think we can't find such lengthy arguments on one particular tune anywhere else on the net.
whew.. what a thread… good reading all, and never be ashamed of what you say.. it's just you, yourself, marking a specific moment on the clock and calendar with your input..like Ferry says.. he (regretfully)titled tunes by what he heard was going on in th international news at the time..
better to say loudly than to never mark the passage of time.. doncha think?(I have said SO MANY dumb things in my life.. ) I used to toss and turn at night for things i "should have and wished I didn't say" Now, however i don't give a fecking fizzle…(I lie)
A small late addition: (T)Chernobyl is in Belarus, and is written in the Belarusian version of the Cyrillic alphabet (differing in a few respects, I think, from the Russian version). The way it is spelt in the roman alphabet (ABC…) can only be an approximation to the way the Belarusians pronounce it. The initial consonant in the name is equivalent to the sound which, in written English, is represented by the letter combination 'ch', as in 'cheese', 'China', etc. In French, there is no such sound, with 'CH' instead representing that sound which is represented in English by 'SH'. The closest approximation in French is obtained by adding a 'T', hence, 'Tchernobyl'. Similarly, in Germany, it might be spelt with 'TSCH' (cf. 'Tscheckoslowakei' for 'Czechoslovakia').
Just wanted to clear up that point - I can't bear to see people bickering over such trifles.
Chernobyl or Tchernobyl
Very learned. Except that Chernobyl or Tchernobyl is NOT in Belarus, it is in the Ukraine, or at the time of the disaster the Ukrainian Republic of the Union of Soviet Socialist Republics.
Anyone know the chords in the A section by any chance?
That is a GREAT tune! With no doubts!
The contents goes very well with the title!
When we play here in Ukraine (where Chernobyl is) people are about to cry. Us, too.
Thanks to Michel Ferry!
"Farewell to Tchernobyl / Chernobyl" ~ printed sources
As they've been mentioned, here are the full credits to printed sources as currently available and as mentioned by Michel, with one exception:
"Ireland's Best Fiddle Tunes",
compiled by Paul McNevin a Waltons publication,
does not include this tune in its contents.
"The Portland Collection: Contra Dance Music in the Pacific Northwest"
Susan Songer & Clyde Curley
Page 77 ~ "Farewell to Tchernobyl" ~ by Michel Ferry (d minor)
~ with chords…
Page 238 - 239 ~ notes:
"Hopefully this tune would be a modest warning against nuclear energy and arms everywhere in the world."
~ Michel Ferry
"Farewell to Tchernobyl / Chernobyl" ~ listed as a hornpipe
I have also come across this tune listed as a 'hornpipe'…and it works that way too, but whether straight or swung, it lends itself well to being taken at a nice leisurely and thoughtful pace, which the midi here at present seems to do…
"Farewell to Tchernobyl" ~ some suggested chord options
The following are not my own choices but 'suggested' chording from various sources:
K: d minor
|: "Dm" ~ | ~ ~ | "Am" ~ | ~ ~ | "Dm" ~ | "Dm7" ~ | "Am7" ~ | ~ ~ :|
|: "Dm" ~ | ~ ~ | "Bb" ~ | ~ ~ | "Gm" | ~ ~ | "A7" ~ | ~ ~ :|
|: "Dm" ~ | ~ ~ | "Am" ~ | ~ ~ | "Gm" ~ | ~ ~ | "C" ~ | ~ "Am" :|
|: "Dm" ~ | ~ ~ | "Bb" ~ | "C" ~ |1 "Gm" ~ | ~ ~ | "Bb" ~ | "C" ~ :|
2 "Dm" ~ | "Bb" ~ | "C" ~ | "Gm" "Am" ||
"Return From / Farewell to Tchernobyl" ~ e minor & a version for winds
K: e minor
E2 EG BEGB | EGBG AGFE | B,2 B,D FB,DF | B,DFD dAFD |
E3 G BEGB | EGBE GAB^c | d2 Ad FdAd | gfed e2 :|
|: dB |
e2 ge aege | e2 ge agfd | e2 ge aege | f2 fg feBd |
1 e2 ge aege | e2 ge agfa | b2 bg b2 fg | f2 fg fe :|
2 Bege Bege | cege cege | dfaf bagf | gfed e2 ||
& for slainte ~ K: e minor ~ or d minor on a C flute / whistle
E2 GE BE G/A/B | EGBG AGFE | D2 FD AD F/G/A | DFdA BAGF |
E3 G BEGB | EGBE F/G/A B^c | d/e/d Ad FdAf | gfe^d e2 :|
|: B^d |
e/e/e ge bege | e/e/e ge fgfB | e/e/e ge aegB | f/f/f ge fB^dB |
1 ~e2 ge b ~e3 | ~e2 ge agfa | ~b3 a b ~g3 | ~f3 g fB :|
2 ~e2 Ge Bege | cege c ~e3 | d/e/d Af bagf | a/g/f e^d e2 ||
The few 'minor' accidentals, ^d, are there to stretch Hiro's range of half holed notes… 😉
Farewell to Chernobyl by Run
Here is our version of the tune.The record quality is low.
That took awhile to figure out ~ but well worth the wait. Yes, we think in similar tempos… Thanks for the link, I'm enjoying it now, sadly to Cuban rum instead of a good vodka, one of my favourites, hard to get here, being Moskovskaya…
Whoa! ~ tempos two ways, the speed just kicked in… Slainte will like this ~ with the whistle… See Hiro, you can play it on winds… I told you so…
I still like it relaxed, and I even like taking it swung like a hornpipe / barndance….but always with definite moodiness…
Thanks for that link VAK, what a kick.
For those making the link above ~
Click on: Скачать файл: Chernobyl.mp3
The page will change and your then await the countdown in the middle, approximately 30 seconds…and well worth the wait… Once it starts playing, you can also right click and 'Save Target As' somewhere on your computer to hear it at your pleasure…
Not a whistle ~ a Sopilka
This is a small woodwind similar to a kaval, but smaller, end blown, without the fipple a whistle has ~ 6 to 10 holes, a greater number of holes allowing for some accidentals ~ wood, metal or plastic…
There are both whistle and sopilka
You are right, Ceolachan. The main melody is played on sopilka there, this is one of rare cases we use it, but some second or third voice is played by me on tin-whistle (Clarke original C) .
If you go to our site you may see a picture of Ukrainian sopilka there.
Sopilka? ~
I take it that you mean the side shot of firstname.lastname@example.com here?:
I see you've two pictures each… It looks like a fipple whistle rather than the older from of an end blown sopilka? Is it rolled tin? Do you make your own? What keys? How many holes? How's that for the opening to 60 questions? I happen to be very fond of the family of end blown winds, kavals, nai, etc… I love that sound. I have friends and acquaintances that have made a good go of it, mostly Balkan versions, Macedonian, etc., but I have as yet not acquired a decent instrument myself, though I've tried making a few ~ but not completely happy with the results.
I have a great fondness for makers of such instruments. I love things given the voice of song by the craft of hands and the ingenuity of mind ~ like the lyritsa player I'd found in Croatia who had made his instrument almost completely from things scavanged from the local dump ~ the leg of an old piano became the body, strings from scavanged wire, and the horse hair for his bow he'd stollen from a neighbours horse…
Authentic sopilkas had six holes just like tin-whistle, the tuning might be different depending on the key needed. Usually sopilka has downside windblade and narrow wind channel and high pressure consequently.
Now almost all sopilkas are tuned in C. It is usually made of peartree wood or appletree. In the middle of the 20 century it was modernised by local maker Demenchuk. He added chromatic holes on a request from conservatory musicians. Many traditional musicians dislike this modernisation though few people know that this version of the instrument is not the original one. Everyone used to 10-hole sopilkas.
In fact, it is a very cheap instrument, it can be bought for about 6-10$ here.
More pictures
Sopilka ~ Apples and Pears
Thanks for the photo, it is now saved with my other collections of various simple woodwinds. So six was the norm. I like that, as it fits with other similar instruments internationally, including the 'modern' attempt to better the form. Something was done similarly with recorders and other simple woodwinds, as if 'more is better', which with time and experience we all realize isn't the case. Pear wood and Crabapple wood, certain select species, as some are too soft, are great woods to work with, lovely stuff. I happen to be especially fond of certain crab apple woods, especially those with some figure in them.
I'll have to find some way to spend time visiting the Ukraine so I can pick up some of those whistles. Any chance of getting a better look at the blown end ~ the knife edge / wind blade? Another instrument that falls into the category of 'end blown' is the Japanese Shakuhachi / Shakahachi (5 holes, 4 in the front and one, the highest, behind):
Hey, Wikipedia has missed out on the Sopilka ~
I take it, with 10 holes, you mean two holes in the back for the thumbs? A clear side shot showing the distribution of drillings would be great too ~ but I ask too much already… Thanks again for the photos above….
Nai / Ney
To Michel Ferry
Several times I tried to send you an e-mail but failed. Possibly there is
an invalid address.
Please, send the right one on my e-mail firstname.lastname@example.com
Native American end blown flutes ~ the Anasazi flutes ~ beautiful!!!
"Farewell to Tchernobyl / Chernobyl" ~ with swing, an odd hornpipe version
R: hornpipe
K: d minor
D2 D>F A>DF>A | D>FA>F G>FE>C | A,2 A,>C E>A,C>E | A,>CE>G A>cG>F |
D2 (3FED ADFA | D2 A>D (3EFG A>=B | c2 G>c E>cG>c | f>ed>^c d2 :|
|: A^c |
d2 f>d g>df>d | (3ddd f>d g>fe>f | d2 f>d g>df>d | e2 A>c a>c (3gfe |
d2 f>d g>df>d | d2 f>d g>fe>g | e>aa>^g a2 a>f | e2 e>f e>d^c>A |
d2 (3fed g>d (3fed | d2 f>d g>fe>c | d2 (3fed g2 f>c | a>cg>c f>ce>c |
d2 f>d A>df>d | (3BBB f>d B>df>d | c2 g>e c>eg>c | a>cg>c f>c ||
Note ~ on the above tune a mistake at the beginning of the B-part ~ the two lead-in notes should not have started with the repeat sign and should merely be:
A^c | ~
"Farewell to Tchernobyl / Chernobyl" ~ the other source listed by Michel
Thanks to Michel Ferry I now have the information on the other printed source. I thought I'd played through everything but missed the entry. Here is that information:
"110 Ireland's Best Fiddle Tunes"
compiled by Paul McNevin, with chords
Waltons Publishing
Page 92 ~ "Ferry's" = the e minor version of "Farewell to Tchernobyl"
Note on the 'hornpipe' version above, that was my screwing around with the man's creation after having found it entered elsewhere as a hornpipe. A Michel has told me, the 'original' composition is a reel, but I also love swinging it as above, which I find somewhat hypnotic taken that way…
"Farewell to Tchernobyl" ~ 105 - 110 bpm
"I composed it as a reel in Dm, but it's possible to play it as a slow reel. I also prefer it not too fast. It's a good way to play it 'at a relaxed and thoughtful pace', but it's nonetheless a reel. I like a tempo of about 105 - 110 (a beat by half measure) ~ but it's live music that depends on the context and the sensibility of the musician. There are no rules…"
~ Michel Ferry
"Farewell to Tchernobyl" ~ the above version minus the arrows
R: reel
K: d minor
D2 DF ADFA | DFAF GFEC | A,2 A,C EA,CE | A,CEG AcGF |
D2 (3FED ADFA | D2 AD (3EFG A=B | c2 Gc EcGc | fed^c d2 :|
|: A^c |
d2 fd gdfd | (3ddd fd gfef | d2 fd gdfd | e2 Ac ac (3gfe |
d2 fd gdfd | d2 fd gfeg | eaa^g a2 af | e2 ef ed^cA |
d2 (3fed gd (3fed | d2 fd gfec | d2 (3fed g2 fc | acgc fcec |
d2 fd Adfd | (3BBB fd Bdfd | c2 ge cegc | acgc fc ||
The Best Version
This is the best version I have heard of this tune which I have always called Michel Ferry's.
T: Michel Ferry's
R: reel
K: EMin
|: E3G BEGB | EGBG A2 FD | B3E G/B/z E/ | BEGA (3Bcd AF |
E3G BEGB | EGBE GAB^c | d2 AF DFAf |1 gfed edBG :|2gfed edBd ||
e2 ge a2 ge | e2 ge agfd | e2 ge agfg | effe fedB |
|1 e2 ge a2 ge | e2 ge agfa | gb b2 fa a2 | fggf gfed :|
|2 Bege Bege | cege cege | dfaf dfaf | gfed edBG ||
By playing this version on a C chanter or whistle you will then be playing it in D minor.
Finally a recording of Michel's tunes
Michel has finally recorded his own tune along with thirty some others.
For years now we've been on his case in Paris trying to get him to let us hear some of his other tunes. Never managed to quite work around his innate humility and/or shyness. Finally we can hear them on his newly released self-produced CD, with Antoine Leclercq backing him on guitar. A few of these tunes are bound to become session standards around the world.
You can check it out at his web address www.thewindingway.net
Yet another version
Here's the version we play at sessions in Germany:
T: Return To Tchernobyl
C: Vincent Blin
R: Reel
K: Dm
"Dm"D2 DF ADFA|DFAD FAFD|"Am"A,2 A,C EA,CE|A,CEA, DAFE|
"Bb"D2 DF ADFA|DFAD FAD=B|"C"c2 Gc EcGe|1fedc dcAF:|2fedc dcAc||
|:"Dm"d2 fd gdfd|d2 fg gfdc|"Bb"B2 fB gBfB|"C"efef dGBA|
[1"Dm"d2 fd gdfd|d2 fg gdfg|"Bb"aAAa "Am"gAAg|"Bb"fAAf "C"eABA:|
[2"Dm"d2 fA dfdA|"Bb"B2 fB dfdB|"C"c2 gc egcg|agfe fgef|
Oops…"Read before you post, son!"
Sir! Yes, Sir!
So I have to stand corrected: In the ABC, I mentioned Vincent Blin as the composer, but it is really Michel Ferry…so sorry Michel!
Nice version on youtube
Here's a nice medley, the second of which is "Farewell to Tchernobyl".
"Michel Ferry's" / "Farewell to Tchernobyl" ~ rescued duplication
Key signature: e minor
Submitted on March 5th 2008 by ceili.
~ /tunes/8320
T: Michel Ferry's
R: reel
K: Emin
(3EEE EG BEGB | EGBG AGFA | (3ddd Ad FAdf |[1 gfed edBA :|[2 gfed edBd ||
(3eee ge aege | (3eee ge agfg | (3eee ge aege | (3fff fg fBdf |
(3eee ge aege | (3eee ge agfg | ab b2 ba a2 | ag g2 fBdf |
(3eee ge aege | (3eee ge agfg | (3eee ge aege | (3fff fg fBdf |
(3eee ge aege | ccec ggec | dfag bagf | gfed edBA |]
I know nothing about this brilliant tune, besides that I found it in an old tunebook (private collection - and with no comments) I have had for more than 20 Years. And I know that a danish banjoplayer (Bjarne Schmidt from Trad. Lads - Copenhagen) have played it years ago.
If anyone have som info about it, I'll be so happy.
# Posted on March 5th 2008 by ceili
Well ceili, I hope you're happy now… 😉
Classic tune. well done Micheal! I learnt it from other session goers in Cork 2000, but heard it previously on lose the head, opus blue and somewhere else by a guitar picker..
I had no idea who composed it or when or where, and really it s hardly relevant to the music… Who defines what is trad?
Whistle Fingers - Tutorial
I have done a whistle version on a C whistle. the quality of sound is not perfect but you will hear & see what you can don on this lovely tune :
Whistle Fingers in Eminor mode
T: Farewell To Tchernobyl
R: reel
K: Emin
E3G BEGB|EGBE BAGA|b,3d fb,df|b,dfd edBA|
E3G BEGB|EGBE BAGA|d2 Ad FdAd | f3g fedB :|
|e2ge aege|e2ge agfg|c2ge aege|f3g fedB|
e2ge aege|e2ge agfg|~b3 ~a3 ~g3 | ~f3 g fB|
|e2ge aege|e2ge agfg|c2gc acgc|f3g fedB|
Bege Bege|cege cege|d2ge bagf|gfed BAGF||
nice enough first part, I suggest trying a bit of irradiation on the second part to split and splice its genes…
great tune!
Farewell To Chernobyl, X:10
This one is intended for C-Whistles.


text:
There have been many situation in life that your might end up calling a locksmith especially when you are in a hurry and you lock your car with keys inside it or you many loose your key for your home. We normally end up looking into yellow pages and call out one in the top of the list. Well this may not be a good way out as you might be faced with scams who pretend to be a legitimate company and shall end up charging you a wholesome with no clear paper work and no proof or guarantee of their work.
This is a video from ABC news about how to avoid Bad Locksmiths
So make your right move, never call an unknown Locksmith Service Provider. Do your homework before hand and find a reliable trustworthy , legitimate, and personalized locksmith Service provider you can trace back to. So, call Fidelity Locksmith Services today and get answers to all your worries as we guarantee the service and the experience with a written proof of every agreement and work.


text:
Volume and tone controls
Today we are looking at the two volume and tone control knobs. Francis' guitar features two standard flat top control knobs both of which are held in place by a small grub screw. There are a few different styles of control knob for the Tele including various dome top versions as well as a couple of styles of flat top. Some flat tops have a bevel around the top and some have a slight step. The knobs can be metal (finished in chrome or nickel) or brass, and all have varying knurling patterns ranging from quite fine to fairly coarse.
I am fairly confident that the control knobs on the OG are standard chrome flat tops, with a medium knurl, from the late 1950s. They are quite worn these days and looking very grey with little or no shine to them. However, in the 1970s–80s they were still in fairly reasonable shape.
You will see from the first pic above that we are using a pair of standard flat top medium knurled control knobs which feature a slight bevel and we have lightly relic'd the knobs in order to be consistent with the period. The second pic shows the famous 'Lego wheel' (or 'Lego tyre' to be precise) and we will go into more detail about that later on in this post.
The style of control knob we are using is widely available and is really designed to be fitted to a old style solid shaft. However, our control plate is fitted with brand new parts and therefore has modern style split shafts. Old style knobs with grub screws fit perfectly well over the split shafts, but due to the design of the modern shafts (slightly smaller diameter than solid shafts) and the fact that the knobs are held on by a grub screw which is tightened from one side, they tend to be slightly off centre when rotated. However, there are other options such as push-fit knobs which will fit better and will not wobble when rotated, but they don't look as authentic as the old style/grub screw versions. As you will see from the two pics below, the knobs have now been added to the build.
The 'Lego wheel'
Of the two main Status Quo guitars it is Rick's Tele which is most synonymous with this unusual feature. In fact, Rick still has one fitted today. The original reason for fitting a tyre from an old Lego set was to provide a chunkier, easy to grab, volume control with more grip. (just for the sake of trivia, it's worth noting that the volume is the only control at Rick's disposal these days as the tone pot is now permanently set to full treble and was disconnected some time ago).
In 1984 (around a year before Live Aid), a small rubber tyre suddenly appeared on Francis' guitar and was fitted to the volume knob. This feature was still present on the cover of the Rollin' Home UK single (one of our main references for this build) and was removed around the time of Ain't Complaining (UK release: 13 June, 1988). Lego have been producing tyres for their building sets since the early 1960s, but they have not really changed that much over the years and they are plentiful and easy to get hold of. Of course it doesn't have to be an actual 'Lego' wheel. Any wheel from any toy car or building set will suffice, so long as it fits reasonably tightly and looks right.
If you take a look at the two pics above you will be able to make a comparison between Francis' guitar and our replica build. The flat top knobs and the tyre are now in place and they look pretty close to the original.
The first of the two pics above is a close-up from the inner sleeve (vinyl only) of the In The Army Now album (UK release: 26 August, 1986). The second pic is another still from Live Aid. Both pics clearly show the 'Lego wheel' on the volume control of Francis' guitar. There is still lots more to do on this build, so please keep checking back or alternatively use the link on the front page to subscribe to email updates for new posts.
Copyright Notice
All text content and pictures of the guitar build appearing in the pages and posts of this WordPress blog are the exclusive property of Roots Replicas (except where stated otherwise) and are protected under international copyright treaties. The text and pictures of the build contained within this blog are made available for your personal viewing enjoyment only.
All Text Copyright © 2015–19. Roots Replicas. All Rights Reserved


text:
Winthrop-University Hospital is taking on diabetes and obesity, and adding a 95,000-square-foot research and academic building to help with the battle.
The hospital on Monday is holding a topping-off ceremony to install a final steel girder signed by employees to the $80 million research and academic building under construction next to its Mineola complex. Expected to be completed by December 2014, the five-story structure will house the hospital's researchers and medical students.
Research will focus on diabetes and obesity, hospital chief executive John Collins said. About 20 percent of patients who come to Winthrop for any reason have diabetes, he said, and about 60 percent of Americans are overweight or obese -- a risk factor for Type 2 diabetes. Understanding more about basic causes of the diseases "can raise the bar" for treatment, he said.
"This focus, combined with an academic teaching environment that fosters collaboration among clinicians and researchers, will prepare the doctors of tomorrow to share in the development of leading-edge medical and scientific discoveries," he said.
Winthrop's chief research officer, Dr. Alan Jacobson, who came from Harvard's Joslin Diabetes Center about three years ago, already has assembled a team of seven full-time researchers. They are studying the role of pancreatic beta cells, which produce insulin, and complications that occur when those cells fail.
The building -- which will lead to as many as 45 new positions, including up to six more researchers -- will provide Jacobson and his colleagues needed space and state-of-the-art labs. It will also give the hospital's growing number of medical students classroom space, a simulation center, exam rooms and a 350-seat auditorium.
"We want to continue to attract young students," said hospital board chairman Charles Strain. In 2010, Winthrop became a clinical campus for Stony Brook University School of Medicine and it now has 40 third-year and 40 fourth-year medical students.
Dr. Steven Solov, director of undergraduate medical education, said the new building symbolizes the hospital's commitment to its students. "Yes, we're a community hospital, but we're also an academic facility as well," he said.
Students said the new building will enrich their experience.
"Doctors are essentially scientists," said third-year student Evan Feinberg, 23, who grew up in Long Beach. The new building is "a physical embodiment" of that, he said.
We're revamping our Comments section. Learn more and share your input.


text:
Mad Mattr, an amazingly moldable, stretchable dough-like compound, can be shaped into countless brilliantly-colored creations. Silky to the touch. An addictive super-soft modeling compound that molds and shapes easily. Make whatever comes to mind! Press it, mold it, knead it, stretch it, squeeze it, sculpt it, or just stretch it slow and watch it flow! Never dries out.
Made in Sweden.


text:
Item-Num.: SB1403
Solid color ties
Solid green silk tie
This Tie is also available as:
Product Details
This bright apple green silk tie is made from a smooth silk fabric that gives of an excellent shine. This tie matches best with white dress shirt and suits in colors of light gray, brown, and tan. Handmade tie from pure silk. Length: 58", Width: 3.5"
Product Rewiews
James's review
"Good ties."
Michael's review
"Nice appearance"
John's review
"Great Tie."
Carolyn's review
"My husband wears the tie the church, very high quality and have share your website with friends."
Cheap neckties | Red Ties | Black Tie | White Ties | Pink Ties | Yellow Ties | Orange Ties | Silver Ties | Bow Ties | Formal ties | Wedding Ties | Extra Long Ties | Women´s Ties | Tie Bars | Kids Ties | Solid Colored Ties | Striped Ties | Pocket Squares | How to tie a tie | How to fold a pocket square | Custom Ties | Uniform Ties | Womens Scarves | Custom Ties


text:
Summer Corn Dinner with the Date Dish
September 18, 2013 by Cori Sue
"It's the end of the summer, it's time to get corny!" pronounced my bestie Lindsey with excitement.
She is beautiful, intelligent, and gifted in the kitchen. But, my goodness, her jokes are a little bit corny.
We were sitting in her lovely New York City apartment, joined by my friend Lacy, a marketing maven, and Ally, a PR pro. All three ladies are relatively new to the City but no strangers to style, grace, and street smarts.
These gals are smart, successful, and gifted in the kitchen. As for me, one could bestow some accolades upon me, but "a talented cook" is not one of them.
Thankfully, Lindsey is always here to help. She often talks me through my culinary trials and tribulations by phone despite her busy life as a personal chef, culinary student, and founder of The Date Dish. And, in exchange, I update her on the latest fashion trends before her seasonal shopping trips and keep her abreast of the latest and greatest sales.
When I was in New York, after a day of shopping, we celebrated (read: mourned) the end of summer with a corn-themed, healthful girls dinner. As always, my added value came from bringing wine, bringing laughter, and bringing people together. But certainly not from cooking.
On this particular occasion, the appetizer was a chilled corn soup with shitake mushrooms, one of my favorite summer dishes. The entree was a seared salmon with succotash and pineapple slices. And, for dessert, beautifully presented lemon polenta cakes with white balsamic strawberries and homemade whipped cream.
Here are the recipes. Unfortunately, I don't think Lindsey will be able to walk each of you through them like she does with me.
Chilled Corn Soup with Shiitake Mushrooms
– 1 Tbsp unsalted butter
– 1 Tbsp olive oil
– 1/2 large onion, chopped
– 1 garlic clove, finely chopped
– 3 cups corn kernels (from 3 ears)
– Kosher salt, freshly ground pepper
– 2 sprigs thyme
– 2 1/2 cups water
– 4 shiitake mushrooms, de-stemmed and wiped clean
– 1 tbsp olive oil
1. Heat butter and oil in a medium pot over medium-high heat. Add onion and cook, stirring often, until softened and almost translucent, about 5 minutes.
2. Add garlic and cook 1 minute, stirring constantly and being careful not to burn. Add corn and thyme sprigs; season with salt and pepper (you will need a good amount of salt). Cook, stirring occasionally, until corn is softened and beginning to brown, 10-15 minutes.
3. Add 2 1/2 cups water to pot. Bring mixture to a boil, immediately reduce heat to medium-low, and simmer until corn is very soft, 10-15 minutes longer; discard thyme sprigs.
4. Purée corn soup in a blender on high until smooth for about 3 minutes (or use an immersion blender in the pot). Strain through a fine-mesh sieve into a large bowl, pressing on solids; discard solids. Transfer soup to a large bowl, cover, and chill until cold, at least 2 hours.
5. Finely dice shiitake mushrooms in very small squares, about 1/8″ wide. Right before serving, heat a small sauté pan on medium-high heat with 1 Tbsp butter (or olive oil). Add mushrooms, thyme leaves from 1 thyme sprig, and salt and pepper and sauté until golden, about 3-5 minutes. Set aside.
6. To plate, spoon 1 Tbsp of mushroom in the middle of the bowl and place in front of your guest. For presentation, carefully pour in the soup over the mushrooms and enjoy.
Seared Salmon with Succotash, Serrano Pineapple Relish and Basil Oil
– 1-2 serrano (or jalapeño) peppers, thinly sliced on a mandolin
– 1 pineapple, skin removed, cored and halved lengthwise
– 1/4 cup champagne vinegar
– 1 tbsp. butter
– 1 tbsp. olive oil
– 1/2 small onion, chopped
– 1 garlic clove, minced
– 2 ears corn
– 1/2 cup frozen baby lima beans, thawed
– 1/2 cup frozen edamame, boiled for 7 minutes
– 1 red bell pepper, seeded, finely diced
– Pinch of cayenne pepper
– 3 sprigs thyme, stems removed
– 1 tbsp. champagne vinegar
1. Prep the peppers and pineapple. Slice the serrano peppers thinly on a mandolin and place in a small bowl. Cover with champagne vinegar, about 1/4 cup, and let pickle for an hour or more. Taking 1/2 of the cut pineapple, place it flat side down and cut very 12 very thin slices (about 1/8″ each). These will be used for the base of the plate. Dice some of the remaining pineapple in very small pieces so you have about 1/4 cup of finely diced pineapple for the relish later.
2. Char the corn on the cob over a hot grill or flame from your gas stove on high heat, rotating often, about 3-5 minutes. This char will give the succotash a nice smoky flavor. Stand the corn upright and cut off the kernels with a large knife. Reserve the kernels for the succotash.
3. Heat a large sauté pan on medium heat and add oil and butter. Add onion to skillet and cook, stirring, until softened. Add garlic and cook, stirring, 1 minute. Stir in corn, lima beans, edamame, red pepper, cayenne and thyme and cook, stirring, until vegetables are tender, about 7-10 minutes. Stir in 1 Tbsp champagne vinegar and a good amount of salt and pepper to taste. Drain the pickled serrano peppers and add 1/2 of the peppers to the mixture. Toss to distribute evenly. Cook 5-10 more minutes then set aside and keep warm.
4. Add the other 1/2 of the serrano peppers to a 1/4 cup of finely minced pineapple. Set aside for garnish.
5. While the succotash is cooking, prepare the salmon. Pat salmon dry and season with salt and pepper. Heat 2 Tbsp oil in a 12-inch nonstick skillet over medium high heat. Add salmon skin side down, and sear until well browned, about 4-5 minutes. Turn heat down to medium and gently turn fish over and sear until just cooked through, 3 to 4 minutes more.
6. To plate, overlap 6 thin pineapple wedges on the bottom of the plate. Spoon 1/2 cup of succotash over the pineapple. Add the salmon on top of the succotash. Garnish with the pineapple & serrano relish. Optional: drizzle with basil oil (below)
Basil oil: Add 1 cup packed spinach to a large pot of boiling salted water and blanch for 30 seconds until just cooked and color is set. Remove with a slotted spoon and shock in ice water for a few minutes to cool. Drain and dry the basil leaves and transfer to a blender with 1/2 cup good extra virgin olive oil and a 1/2 tsp salt. Puree on high speed for 3 minutes until completely smooth. Strain through a fine sieve and reserve.
Lemon Polenta Cake with White Balsamic Macerated Strawberries and Mascarpone Cream
Macerated Strawberries
– 1 cup sliced strawberries
– 1 tbsp. sugar
– 1 tbsp. white balsamic vinegar
– 3 basil leaves, chiffonade
Polenta Cake
– 1/2 cup + 2 tbsp. all purpose flour
– 1/4 cup plus 2 Tbsp medium-fine polenta or organic cornmeal
– 3/4 tsp. baking powder
– 1/4 tsp. salt
– 1/2 cup plus 1 Tbsp sugar
– 4 oz (1 stick) unsalted butter, room temperature
– Zest of 1 lemons
– 2 large eggs, room temperature
– 1/2 tsp. vanilla extract
– 1/2 cup whole-milk ricotta (or yogurt)
Strawberry Sauce
– 2 cups frozen strawberries
– 1 1/2 tbsp. sugar
– 1 1/2 tsp. lemon juice
Mascarpone Cream
– 4 oz mascarpone cheese (sweet, Italian-style cream cheese), at room-temperature
– 1/2 cup heavy whipping cream, very cold
– 2 tbsp. powdered sugar
Strawberries: In a mixing bowl, stir together the strawberries, vinegar, basil and sugar. Set aside, and let sit for at least 30 minutes.
Polenta Cake
1. Preheat oven to 350°F with rack in the center.
2. Butter a small square or circular baking pan about 8″ by 8″.
3. Dust pan with flour; tap out excess. Whisk flour, polenta, baking powder, and salt in medium bowl. Using electric mixer, beat sugar, butter, and lemon zest in large bowl until fluffy, about 2 minutes.
4. Add eggs 1 at a time, beating well after each addition. Beat in vanilla. Add flour mixture in 3 additions alternately with ricotta in 2 additions, beating just until blended after each addition. Spread batter evenly in pan. Tap bottom of pan on counter a few times to smooth out the batter.
5. Bake cake about 22-27 minutes until golden and tester inserted into center comes out clean. Set aside to cool.
6. When cooled, run knife around cake edges to loosen. Invert cake onto cutting board. Using a 3″ cookie cutter or circular ring, cut out 2 round cakes.
7. Strawberry Sauce: Combine all ingredients in a medium nonreactive saucepan. Cook over medium-low heat, stirring occasionally, until strawberries are soft, 5 to 7 minutes
8. Mash with the back of a fork until they are all broken down. Continue to simmer another 5 to 7 minutes until everything is liquid.
9. Strain through a fine mesh sieve, pushing with the back of a spoon to extract the liquid. Serve warm or at room temperature.
10. Mascarpone Whipped Cream: Use a hand-mixer or stand-up mixer with the whisk attachment, on medium speed, blend together the mascarpone cheese (room temperature) and 1 tbsp of the powdered sugar until light and fluffy. Spoon into a separate bowl and set aside.
11. Pour the cream and the remaining sugar into the mixing bowl and blend on high-speed just until stiff peaks form, about a minute or two.
12. Turn the mixer off and carefully fold the whipped cream into the mascarpone mixture. Refrigerate until ready to use.
13. To Plate: Place individual polenta circles on the plate and top with macerated strawberries.
14. Add a spoonful with mascarpone whipped cream and garnish with a strawberry slice and small basil leaf. Drizzle with strawberry sauce.


text:
When played well pedal and lap steel can produce an emotion sapping accompaniment to songs designed to explore some of the darker places in our mind. Whether by experience or imagination, Luke Tuchscherer's initial deep dive into the world of country music has risen back to the surface with an album capturing that sound and mood. With cultured arrangements and explicit songs baring the scars of life, YOU GET SO ALONE AT TIMES IT JUST MAKES SENSE is not an album to be consumed lightly but then we all know that the best records never shy away from a little pain.
Whybirds drummer Luke has stepped forward to go alone on this debut solo release and has the potential to create more than a ripple in the UK's Americana and alt-country community, although with its deep sense of tradition perhaps the alt tag should be dropped. This record is awash with top notch writing, stellar playing and more importantly connects instantly without the need to go down the grower route. Just as the press release was enlightening and free of superlatives, Luke's writing is simple, plain but highly effective in conveying not just the message of each song but planting a measure of sincerity into the mind of the listener.
All twelve songs have a strong feel to them and a couple do leave the door slightly ajar for a brief glimpse of light. A breezy melody attaches itself to the dutiful and merciful track 'Women' which offers a little respite, just in the same way that 'Two Ships (Caroline Please)' recalls a fading optimism of what might have been. Leading the deluge of melancholic moments is the mournful 'You Don't Know Me' drowning in morbid glorious pedal steel and the equally as depressive 'Hold On'. Tears are delivered along with 'Dear Samantha' and it's a song which makes you want to re-write history. Sitting at track eleven, if you aren't engrossed in the album now and feel for the characters then perhaps another genre is the remedy.
Eleven musicians under the guidance of producer Tom Peters have contributed to the record leading the album down several distinctive sound routes such as a west coast 70's feel to 'When Day is Done' and 'Three Long Days'. Banjo and Dobro add an acoustic roots tinge to album opener '(Lord Knows) I'm a Bad Man' while drooling Hammond organ sprinkles smidgeons of soul over 'One of Us'. This song has been sent out into the wider world as the album's scout track via Sound Cloud links and free downloads from Fatea with the intention of reporting back with new fans. With its cutting lyrics reflecting a spiralling existence, it certainly is up there with the album's peak moments.
Additional musical influences on the album include some cello especially on the acoustic led 'I Don't Need You To Love Me' and there is no finer string instrument to induce sound tainted with sadness. A full string arrangement by Johnny Parry enhances '(To Make It Worse) I'm Falling In Love Again', while the album's lengthiest track 'Darling, It's Just Too Hard To Love' opens with subtly strummed ballad pretensions before launching into a concoction of instrumental delight missing only the earlier defining tones of pedal and lap steel.
The decision made by Luke Tuchscherer to follow his heart and veer down this path has been rewarded with a strong emotive album right at the core of what makes this genre so special. YOU GET SO ALONE AT TIMES IT JUST MAKES SENSE should possess two warnings: not for the faint heart but essential for those who know good music.


text:
With the National Flood Insurance Program (NFIP) set to expire at the end of the week, on Wednesday, U.S. Sen. Marco Rubio brought out a proposal to reauthorize it until the end of September 2019.
Rubio joined Republican U.S. Sens. Bill Cassidy and John Kennedy of Louisiana and U.S. Sen. Robert Menendez of New Jersey to introduce the legislation which "would ensure retroactive coverage in the event of a programmatic lapse."
"While I am frustrated with the continued need for extensions, it has become clear that we need additional time to come to a consensus on bipartisan and bicameral reforms to the NFIP," Rubio said. "Floridians who rely on this program cannot afford this uncertainty when we enter the 2019 hurricane season. I urge my colleagues to pass this important extension as soon as possible."
"More than five million Americans depend on the National Flood Insurance Program," Kennedy said. "I want to thank Sen. Rubio for his work on this long-term extension that is vital to families and the economy. For those of us who live along the Gulf Coast, the NFIP means we don't have to worry every time it rains."
"We must prevent the National Flood Insurance Program from lapsing and set the stage for long-term reforms," said Dr. Cassidy. "We need a more accountable, affordable and sustainable system that is good for Louisiana and good for taxpayers."
"The National Flood Insurance Program needs to be comprehensively reformed to make the program more fair, affordable, efficient and solvent, which is what my SAFE NFIP would do," said Menendez. "But with the NFIP extension expiring it's critical that we prevent a lapse that would disrupt the real estate market and leave thousands of families uninsured and vulnerable. This extension will give Congress time to pass a long-term reauthorization with real, meaningful reforms in line with my SAFE NFIP Act, which is the most bipartisan flood insurance bill in the Senate."
In the middle of last month, Rubio and those same senators brought out a proposal to extend the NFIP until the end of May.
"The National Flood Insurance Program is critically important to my home state of Florida," Rubio said when he pushed the six month extension. "It is extremely unfortunate that another extension is needed, but it is imperative that Congress does not allow the program to lapse. Floridians cannot afford that kind of uncertainty. I urge leadership to bring this up for a vote as soon as possible, and look forward to continued work with my colleagues on bipartisan reforms to ensure the program is affordable and sustainable."