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I'd rather talk about playing Diablo III, but since I'm working on a poky-band smartphone connection that makes playing much of anything online a lurching debacle, let's talk about Diablo III's always-on requirement, or digital rights management, or hacker-repellent — or just "Blizzard's albatross," as I'm sure some of you would rather it be called.
I'm talking about the need for a persistent Internet connection to play Diablo III. Blizzard, in its infinite 800-pound-gaming-gorilla wisdom, hath from its lofty baroque tower decreed that Diablo III be played at all times online. Oh, there's a play-by-yourself mode of sorts, one that lets you carve off a chunk of embryonic demigod before launching down gaming's longest (and slowest) loot-stuffed waterslide, bringing death-by-a-thousand-clicks to groaning/chittering/frizzling throngs of woefully inferior enemy riffraff that shuffle/scurry/sprint toward you like iron fillings to an electromagnet.
(MORE: How to Play 'Diablo III' on Your iPad)
But no, to do what in other games you'd be able to without the providence of cyber-tethering, you have to log into Blizzard's equivalent of that primitive CGI face at the end of Tron: Battle.net, Blizzard's master control program, the 800-pound-cyber-gorilla worrisomely redefining the whole "how-we-play-games" thing.
Or is it? I know many of you are angry, and part of me feels the same way you do for probably the same reasons. How dare Blizzard require we connect to the Internet to play in solo mode! How dare the company require we connect to buggy servers, for that matter — servers that have been demonstrably knocking players offline whether they're playing with others or just by themselves! How dare the company force honest, paying buyers — the majority, that is — to pay for the sins of those who'd crack and pirate the game! (Which, incidentally, looks to have happened already.) How dare they pitch their business-minded decision as a consumer win-win by removing all that old school brain-defeating complexity of, you know, manually downloading a patch to keep the game updated!
But walk with me a bit here. World of Warcraft requires an Internet connection to play. Even the hacked versions that involve pirate servers, still, by definition, require a client/server-style network connection to get the job done. And here's the thing no one talks about: WoW can be played, at least for virtually all of the core leveling parts, as a solo game, too. And if you play on one of Blizzard's PvE (player vs. environment) WoW servers, with the player vs. player angle off the table, hewing strictly to NPC storyline quests, fellow players become like the ghostly passerby in a game like Dark Souls. Could Blizzard have offered that offline? Of course. Why no "always on" indignation over that aspect of WoW? Because it was pitched as an MMO — a massively multiplayer online roleplaying game — from the start, and the expectation levels were set. All MMOs, by definition, have "always on DRM," we just don't call it that.
But with Diablo III, Blizzard's ambiguity about the game's modus operandi and post-launch technical incompetence are a double-whammy. Blizzard allowed its marketing department to pitch the game as single-player in the traditional sense (like Diablo II and Diablo before it), presenting the online modes as supplementary instead of the core experience. And the company loused up post-launch because its servers weren't prepared to handle the tsunami of new player accounts, culminating in game-snapping glitches, including ones that can yank a solo player out of the game simply because the server goofs and drops the connection. What a mess.
(MORE: Diablo III Battles Battle.net Blues as Players Slam the Game in Reviews)
In theory — that is, one where Diablo III's servers perform impeccably — the only genuine negative about Diablo III's always-on play requirement is that we can't play it without a solid Internet connection. That's still a legitimate point. One of my annual travel stops is a farm in Nowhere, Iowa, limited to my cellphone's sporadic data connection. Playing online games like WoW or Lord of the Rings Online is a crapshoot. So my holiday gaming usually involves offline stuff. At some point someone's going to pull areas like these out of the Pleistocene, but until then, I'm stuck, as are most of you with residences (or vacation cabins) in the middle of nowhere, on planes, in deserts, visiting either of the arctic circles, or anywhere else without a dependable broadband link.
But it's less and less of an argument. Companies can't design around extreme cases, and there's no design or consumer rights principle that says offline games are inherently superior to online ones. Given the industry shift to always-connected gaming, I can't really fault Blizzard (or anyone else) for having always-on requirements in games. The issue in this case is how Diablo III was marketed (that is, ambiguously) exacerbated by how it's actually performed, stability-wise, post-launch. Blizzard should have sold the game as an explicitly multiplayer experience from the get-go, and done more to ensure its stability out of the chute.
Given what's happened, Blizzard could do a lot to mend fences with Diablo III buyers by patching in an offline play checkbox, ala StarCraft II. It wouldn't just be "angry masses" placation, either, given the way the game was pitched (even while noting the always-on requirement). And going forward, Blizzard, along with the rest of the industry — laser-tuned to the precedents companies like Blizzard are setting — needs to be clear that games like these are multiplayer first and solo-play, if at all, second. Always-on as a way to thwart piracy and hacking, or just to make updating more "convenient," isn't enough — that's just public-relations-speak for lazy "can't think of anything better-to offer" design. Diablo III's solo mode is arguably an afterthought to its more robust cooperative-play angle. Blizzard should have sold it as such. It's paying the price in low-starred Amazon reviews and savaged Metacritic user averages for not doing so.


text:
Jeff Buckley-Hallelujah.flv
Uploaded by Rock-90s
So there you have it -- covers by KD Lang, Rufus Wainwright (covering John Cale), and now Jeff Buckley. (Interesting that nobody seemed to favor the original Leonard Cohen version.)
Luke also pointed out to me an interesting exposition on the "Curious Cultural Journey of Leonard Cohen's Hallelujah." Well worth the read.
Also, this may be the oddest reworking of the song I have some across.

subset: commoncrawl


text:
Dickinson Weather
Western Edge Aviation, LLC. is a Fixed Base Operator (FBO) located in Dickinson North Dakota, We strive to offer fair fuel prices and first class service. Western Edge Aviation, LLC. is located at Theodore Roosevelt Regional Airport KDIK in Dickinson.
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Fax: 1-701-483-4219
Email: email@example.com


text:
Baumann leads super-combined; Ligety lurks in 6th
AP Sports Writer
SCHLADMING, Austria (AP) — Romed Baumann of Austria took the lead after the downhill leg of the super-combined at the skiing world championships Monday, and American rival Ted Ligety was the best positioned of the technical specialists in sixth.
Baumann, who has won two World Cup super-combined races, finished in 2 minutes, 1.38 seconds down the icy Planai course, which was harder than in Saturday's traditional downhill after two more days of temperatures far below freezing.
"I knew it was a giant run as soon as I crossed the finish line," said Baumann, who didn't qualify for Saturday's downhill squad. "I knew I can handle this course well, but you just can't tell what might have happened in the downhill race. … Now I must hope the slalom specialists make some mistakes tonight."
Two-time defending champion Aksel Lund Svindal, the Norwegian who won Saturday's downhill, was second, 0.14 behind. Christof Innerhofer of Italy, the defending silver medalist, was third, 0.38 back.
"It's the time difference that's important. It's a little too close with the slalom guys," Svindal said. "But it's not over until it's over."
The slalom leg was scheduled for Monday evening under the lights.
Ligety was 0.72 behind Baumann. Technical specialist Ivica Kostelic of Croatia was 10th, 1.37 behind, and Benjamin Raich of Austria was 12th, 1.52 behind.
Kostelic and Raich, both former overall champions, share the record of World Cup wins in super-combi with five each.
Alexis Pinturault of France, another pre-race favorite, was far back in 22nd, 3.35 behind.
Ligety won the combined in the old format with two slalom runs at the 2006 Turin Olympics, but he's never been on the podium in super-combined.
Ligety has improved in the speed disciplines lately, winning the super-G to open the championships. The downhill specialists struggled on the steep final pitch, but Ligety excelled, throwing his skis into each turn and leaning down and touching the snow with his hip and hands as if skiing GS.
"It's not a hill that is easy, but I charged the whole way and kept it clean," Ligety said. "I'm really happy to be only seven-tenths back."
Ligety would have liked a bigger lead on Kostelic and Raich, he said, "but I feel like I am in a place where I can easily take those downhill guys."
Swiss racer Sandro Viletta narrowly avoided disaster when a course worker skied onto the piste during his run. Viletta managed to ski around the worker, who looked oblivious to what was going on until Viletta passed him at full speed. Viletta smiled when he watched the video in the finish area.
Olympic champion Bode Miller is out for the season recovering from left knee surgery.


text:
Exclusive Deleted Scene From HBO's 'Girls'
Watch an exclusive 'deleted scene' from the hit HBO show Girls, starring Lena Dunham. Girls is available for purchase on DVD Dec. 11. Photo: HBO Home Entertainment.
This transcript has been automatically generated and may not be 100% accurate.
... I ... just ... it's an extremely attractive feature generation has two pictures of on the ... this one ... most expats ... are striving to become so they are ... instead of embracing will literally be good at ... I'm not that it does ... you'll want you to this ... day because you uncool seventy new jobs in a seesaw get a portrait with some sort of a chair ... Spotify or me


text:
Diablo Cody Expecting First Child
To quote her character Juno MacGuff, screenwriter Diablo Cody has "one doodle that can't be un-did" — the Oscar winner and her husband are expecting a baby.
Diablo – whose real name is Brook Busey – announced the baby news on Twitter on Tuesday.
"Thanks for the congrats on my fetus," the 31-year-old Tweeted. "No secrets here; just thought it would be fun to see how big I could get before someone noticed."
This marks the first child for Diablo and husband Jon Hunt.
Diablo's "United States of Tara" is currently airing its second season on Showtime and the screenwriter is also busy adapting the "Sweet Valley High" book series into a movie.
Related Content from AccessHollywood.com:
VIEW THE PHOTOS: Hollywood's Hottest Moms & Their Loveable Little Ones
VIEW THE PHOTOS: Top Ten Most Expensive Baby Photos
PLAY IT NOW: 2008 Academy Awards: Diablo Cody & Jason Bateman Talk 'Juno'
PLAY IT NOW: Jason Reitman & Diablo Cody Talk 'Juno'
MORE ACCESS ON THESE TOPICS: Pregnancies - Parenthood - Movies - TV


text:
Place a pot over medium heat and coat with the oil. Add the onion and garlic, stirring to soften for 5 minutes. Add the chipotle with adobo, raisins, and tomatoes, stirring to combine. Bring to a simmer and cook for 10 minutes.
Carefully pour the mixture into a blender. Add the peanut butter, broth, chilli powder, and cinnamon. Puree the mixture until smooth. Season with salt and pepper.
Return the mixture to the pot over medium heat. Cook for 15 minutes, stirring occasionally. Add the chocolate and stir until melted. Add the shredded chicken and heat through.
Transfer the mole to a serving dish and garnish with peanuts, sesame seeds, and orange zest. Serve with coriander, lime, avocado, and tortillas.


text:
Fri Nov 15, 2019 at 7:30 AM. The third Friday of every 1 month(s)
Cafe Diem
2005 South Ankeny Blvd.
Members of the Rotary Club of Ankeny are invited to meet informally the third Friday of each month at 7:30 at Café Diem. Rotary and no-Rotary topics will be discussed and it counts as a make up!!


text:
Roz Chast of the new yorker
Roz Chast of the new yorker
Posted On Fri, June 10, 2016 By Diane Pham In
Posted On Fri, June 10, 2016 By Diane Pham In
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- 17 spots to celebrate Lunar New Year 2020 in NYC
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Spencer West lost his legs to a genetic disorder when he was 5. Today, he made it to the top of Mount Kilimanjaro, having climbed 80 percent of the way on his hands. He also did it while raising $500,000 for charity.
From his blog:
The moment the summit was within sight… it was incredible. We looked around -- me, David and Alex -- and realized that, after seven grueling days of relentless climbing, after 20,000 feet of our blood, sweat and tears (and, let's face it, vomit) we had actually made it. We were at the top. The summit sign seemed almost like a mirage. Then it sunk in. We made it. To the top of the mountain. The mountain that I promised to the world I would climb. The bleeding fingers and blisters were all worth it. I looked at the guys, my two buddies who dreamed up this crazy plan with me, and realized we actually finished what we started.
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Blodgett Pool will host the ECAC meet this weekend (photo Kevin Burns).
CAMBRIDGE, Mass. -- Harvard's unbeaten men's and women's teams will host and compete in the ECAC Open Swimming and Diving Championships this weekend.
Athletes representing schools from across the Northeast and Mid-Atlantic will converge on Blodgett Pool for two sessions per day Friday, Saturday and Sunday. Preliminary races and finals begin at 10 a.m. and 6 p.m., respectively, Friday and Saturday. Sunday's trials start at 9 a.m. and will be followed by finals at 4 p.m.
The Teams
Athletes from 29 men's teams and 26 women's teams are scheduled to compete, including divers from 16 women's and 15 men's programs. Harvard, which begins its championship season after wrapping up Ivy League women's and men's dual titles, is one of nine schools slated to send both swimmers and divers from both its men's and women's programs.
Be There
Adult single-session and all-session tickets are available online and in person $10 per session. Student tickets are $5 per session, while youth enter for free.
Follow From Anywhere
Live results for the meet will be available here. Fans can follow on mobile devices with the free Meet Mobile app from Apple's App Store or Google Play.
Men's Meet History
The Crimson men's team has competed at the ECAC Championships six times, winning team titles in 2007 and 2008. Harvard earned back-to-back runner-up finishes in 2009 and 2010 and previously competed in 2005 (fifth place) and 2007 (ninth). Harvard's two second-place finishes came behind Navy, which captured its fourth straight ECAC team championship last season at its home pool in Annapolis, Md. Bucknell edged Army for second place.
Women's Meet History
Navy also won last season's ECAC women's championship, while Harvard and Marist tied for second. The Crimson won three events at the meet: Clare Foster in the 200-yard individual medley (2:06.27), Cassandra Corneau on the one-meter board (242.60) and Kristi Korsberg '12, Margaret Fish '12, Ellie Johnson and Alicia Lightbourne '12 in the 400 freestyle relay (3:29.68).


text:
A Tough Companion For all Seaons - 4 Way Protections*
*Dustproof:IP6XWaterproof:IPX8(up to 6.0m, within 120min.)Anti-shock:Method;MIL-STD-810F-516.5 Fuji's standard;1.5m.
28mm Wide Angle, 5x Optical Zoom & 10x Intelligent Digital Zoom.
The indomitable FinePix XP60 features an internal 5x optical FUJINON zoom lens(28mm - 140mm)**, which means that you can zoom right up to the action, even underwater. The technology continues to impress with the added application of Intelligent Digital Zoom. The FinePix XP60 combines its 5x optical zoom with Intelligent Digital Zoom which results in double the zoom range(10x) whilst offering optimum image processing to counteract the degradation that has traditionally occurred when digital zooms are used.
** 35mm format equivalent
High-Resolution, 16M CMOS Sensor and Optical Image Stabilization
16 million pixels CMOS sensor makes even dark scenes bright for high-quality images.
Optical (Sensor-Shift) image Stabilization
Optical image stabilization reduces the blur that tends to occur when the camera is zoomed in.
14 Scene SR AUTO
Scene Recogniton Auto ensures the optimum camera settings are always deployed for the best images of a given scene.
"Burst Mode Button" for Responsive, Hassle-Free Shooting - Capture the action quickly and surely with continuous shooting toggle button
Characterized by high-speed processing, the CMOS sensor empowers continuous shooting at up to 10 frames/sec. (max. 10 frames) or ultra-high-speed bursts at a maximum 60 frames/sec. (max. 70 frames***). A dedicated "Burst mode button" lets you instantly switch into continuous shooting mode, making it easy to capture exactly the moment or expression that you're shooting for.
Continuous shooting at up to 10 frames/sec. (max. 10 frames) at full resolution
Ultra-high-speed bursts at a maximum 60 frames/sec. (max. 70 frames***)
*** 16:9 S size only
Full HD Movie (1080i/60fps)
Thanks to the CMOS sensor, the FinePix XP60 can shoot 1920 x 1080-pixel full HD video, at a maximum rate of 240 frames/second. A dedicated movie recording button makes it easy to switch to movie recording mode with a single touch.
High Speed Movie
Sometimes things happen too fast for you to see them properly with your own eyes. The FinePix XP60 can freeze the action at up to an amazing 240fps! So you can see every single minute detail and watch things happening step by step in slow motion.
* High Speed Movie can be recorded at the following speeds and sizes: 240fps (320 x 120 pixels), 160fps (320 x 240 pixels), 80fps (VGA 640 x 480 pixels).
Scene Recognition
Scene recognition is available during movie recording.
Movie edit
The camera also incorporates a number of advanced movie-editing features, including "movie trimming" to cut un-wanted footage from movies, and "movie join" to join multiple separate clips into a single movie.
Noise cancellation
Noise cancellation eliminates the sounds made by the zoom lens during recording.
Bright and Clear LCD with an Anti-Reflective Coating
The bright, clear LCD monitor is treated with anti-reflective coating to ensure excellent visibility, even in bright sunlight. LCD monitor brightness is automatically adjusted in response to lighting conditions to maintain optimal visibility and prevent unnecessary battery drain.
Advanced Filter
A selection of seven special filters lets you create distinctive photo effects. Filter effects can be verified on the LCD monitor to ensure you get exactly the results you're shooting for.
Motion Panorama 360
Select "Motion Panorama 360" mode, press the shutter button and sweep the camera to pan the scene. The FinePix XP60 cleverly produces a stunning 360? panorama shot, effortlessly and automatically!
3D Shooting with "Individual Shutter 3D"
Two exposures of the same scene are saved in Multi-Picture Format (MPO) to create convincing images that appear to have been shot in real 3D. An overlapping guide on the LCD screen provides assistance for positioning the exposures, making it easy for anyone to create impressive 3D effects. And FUJIFILM's proprietary high-resolution 3D print system produces natural, beautiful 3D prints from images captured with the FinePix XP60.
Versatile Shooting Modes
In addition to a wide range of shooting modes, the FinePix XP60 offers a selection of versatile scene positions that ensure optimum results no matter what the scene.
Program AE
Pro Low-light
HDR (Dynamic Range)
Natural Light & with Flash
Natural Light
Night (Tripod)
Underwater (Macro)
Individual Shutter 3D
Tracking Auto Focus
Keeps fast moving subjects in the frame and in focus, even at 5x zoom extended. Great for capturing dynamic close-ups.
Pro Low-light Mode
Ideal for shooting non-moving subjects in low light, this mode automatically takes a series of four high-sensitivity & low-noise exposures and then combines them into an image with less noise than the single exposures.
Dynamic Range (HDR)
This mode uses Multi Frame technology to capture three consecutive photos shot at high speed-under-exposed, normal exposure, and over-exposed. The three images are then layered to an optimum balance of detail in shadow and highlights, eliminating "blackout" or "washout" and producing pleasing, natural gradations.
Natural Light and with Flash
Can't decide whether it's best to use flash? Choose this mode, press the shutter and automatically capture the same scene twice: once with high sensitivity and natural light, and the second time with Intelligent Flash. Later choose one or keep both!
Face Detection
Face Detection optimizes people pictures by identifying faces and adjusting focus and exposure to ensure bright, clear results.
Red-eye Removal in Detected Faces
Red-eye removal automatically detects and corrects flash reflection for a perfect end result.
Instantly Detect up to 6 Faces!
The Face Detection can simultaneously recognizes up to 6 faces in a photo. Share your group portraits using the zoom up function in playbacks, checking each detected face. Each priceless expression can be cropped and saved in clear high resolution results.
Face Detection Timer Function
The Face Detection Self-timer automatically sets off after the number and position of faces in a scene are detected, snapping the photo at the right moment, with the faces in focus and properly exposed.
Share your images with built in social networking
Don't wait until you get home to start choosing which pictures to upload to FACEBOOK. Start the process in camera by tagging the pictures you want to share. The next time you connect to your home computer your images will upload automatically. The same goes for movie clips too, which can also be uploaded to YouTube.
Easy Web Uploading to YouTube and FACEBOOK via MyFinePix Studio
It's as easy as one, two, three. Shoot pictures and tag them for upload to your FACEBOOK profile page or YouTube account.
When the FinePix XP60 is connected to a PC, the marked images are uploaded to the designated site, eliminating the need for time-consuming PC-based image processing or selection.
MyFinePix Studio Automatically Searches for New Images to Upload for You
MyFinePix Studio detects new images to upload. When finding new image to upload, the uploader starts automatically.
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text:
Igloos aren't a central feature of Switzerland's picturesquely traditional alpine culture. Scenic, snow-capped mountains, check. Sophisticated ski chalets, check. Meadows with dairy cattle, check. The famous cheeses and milk chocolate they produce, check and check.
But a mountain in central Switzerland also has the unique atmosphere of high-design 'igloos' as part of its winter experience.
Stockhorn mountain towers seven thousand feet high, with a restaurant near the peak reached by cablecar, hiking trails, and views of the surrounding Alps and lakes below. On the shores of one of the lakes, an 'igloo village' springs up, just for the winter months: December through March.
Three thousand working hours of muscle power, snow plowing, balloons and enthusiasm go into the ice hotel/ 'iglus' as they call them. Igloos are interconnected and themed, with elaborate, fantastical ice/snow carvings by international artists, and warmly rustic chic décor.
Up to 14 people can stay at the hotel – imagine booking the whole place for a group of friends or even a company retreat!
Nothing says 'team building' or 'family fun' like an igloo building workshop.
But there's also the family igloo and even the romantic igloo. Snuggling under the covers is bound to cement feelings of warmth.
Yes, that's a wedding proposal made out of ice. How romantic is that?
Cocktails at the bar, fondu dinners, mulled wine, mini film festivals, they'll all keep you warm indoors.
Outdoors, around Lake Hinterstocken, you can fill your days ice fishing, snow tubing, winter hiking and snowshoeing, playing hockey… or even relaxing and soaking up the winter sun in a lounge chair.
Stockhorn has half a dozen sister 'igloo-villages' throughout the country, so as long as the weather cooperates, you can add a night in an igloo to your winter trip to the Swiss Alps.
Start Your Trip!
Copyright BestTrip.TV/Influence Entertainment Group Inc or Rights Holder. All rights reserved. You are welcome to share this material from this page, but it may not be published, broadcast, rewritten or redistributed.


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text:
- What would Jesus say...........to Donald Trump?
- From the series: What would Jesus say....?
- Matthew 19:16-26
Matthew 19:16-26
16And, behold, one came and said unto him, Good Master, what good thing shall I do, that I may have eternal life? 17And he said unto him, Why callest thou me good? there is none good but one, that is, God: but if thou wilt enter into life, keep the commandments. 18He saith unto him, Which? Jesus said, Thou shalt do no murder, Thou shalt not commit adultery, Thou shalt not steal, Thou shalt not bear false witness, 19Honour thy father and thy mother: and, Thou shalt love thy neighbour as thyself. 20The young man saith unto him, All these things have I kept from my youth up: what lack I yet? 21Jesus said unto him, If thou wilt be perfect, go and sell that thou hast, and give to the poor, and thou shalt have treasure in heaven: and come and follow me. 22But when the young man heard that saying, he went away sorrowful: for he had great possessions. 23Then said Jesus unto his disciples, Verily I say unto you, That a rich man shall hardly enter into the kingdom of heaven. 24And again I say unto you, It is easier for a camel to go through the eye of a needle, than for a rich man to enter into the kingdom of God. 25When his disciples heard it, they were exceedingly amazed, saying, Who then can be saved? 26But Jesus beheld them, and said unto them, With men this is impossible; but with God all things are possible. (KJV)
|Same day:
|« Long live the King
|Rebel Nation
|What would Jesus say...........to people who commit crime? »


text:
Srixon AD333 Tour Golf Ballview other products
Do you want the feel and spin of a tour ball like the Srixon Z-Star but have a slower swing? This AD333 Tour model is designed for players like you.
Srixon claims that slower swingers playing tour balls can't compress them efficiently, so are sacrificing distance on full shots. But if they use a lower compression ball - like the AD333 Tour - they can get all the feel and control benefits, but with much better distance performance.
Key features and benefits:
- Lower compression EGG core aids high launch, low spin for longer distance
- Firm outer layer softens towards centre for long-term durability
- Urethane cover for soft feel and precise feedback
- Spin Skin coating grabs onto grooves to boost greenside spin
- Low-drag, aerodynamic Speed Dimple pattern helps enhance carry time
If you've always played premium ball for its feel but would like to see if you can unlock a little more distance, do come and speak to us about the different ball options available for you to try.


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Phew, at least Father's Day is the same in the U.S. and the U.K. You'd think that'd mean that I'd be organized enough to get cards/gifts in time for both my Dad and for Devin. But not so much. But hooray for my blog where, even better than a Hallmark card, I can express in my own way, just how special my father is to me.
My Dad is one-of-a-kind. Brought up during World War II, he's made of strong stuff, with a big heart and a firm grasp on the what really matters. My Dad's feet are always on the ground. His needs are few. He is generous to a fault. His principals are steadfast and admirable. His smile lights up a room. His dedication to my Mum and his family unwavering. I may be an adult, making my own way in the world, but my path, character, confidence and my success are 100% attributed to what my father has taught me. Several examples include:
- Picking yourself back up: After being laid off the first, or was it the second time, I was down and in a funk. One day Dad presented me with a twenty pound note, told me to go buy brushes and paints, and paint my bedroom. 24 hours later, I was like new. Focused, with a plan, a goal. 48 hours later, bedroom walls freshly painted, I felt accomplished, energized. Ready to go get the world again. Genius, Dad.
- Determination and taking risks: As a child, I never fully appreciated just how canny a businessman my father was. Only as a parent myself, can I appreciate the dedication and effort he put into his self-made enterprise, and his employees, every single day. I try to mirror this in my life and career, which has caused me to stay true to my career choice, despite some bumps along the way, and to even forge my career in new countries.
- Family first: My parent's marriage has always been a joy to watch. My Dad is what I call an old-fashioned husband, his love is enduring, he is a romantic at heart, I'm sure. My father's love for his family has extended and deepened as our family has expanded over the generations and there's room in his heart for us all. What's more, he's diligently researching our family past and even finding long-lost relatives.
- Don't forget the silly: From jumping out the dining room window shouting "bunny bunny bunny" and cavorting across the lawn, to April Fool's jokes and creating treasure hunts around our neighbourhood, Dad's silly-side is often surprising, always effervescent.
Happy Father's Day Dad. I love you!


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The EC's competition directorate is expected to open a formal investigation this month into relief from renewable-levy payments offered to Germany's industrial sector, which may in turn lead to a deeper examination of the German renewables support mechanism.
In a worst-case scenario, wind-farm owners could even be forced to pay back FIT payments they have already received.
The problem dates back to December 2011 when the energy consumers' federation, Bund der Energieverbraucher, informed the EC of what it considers illegal privileges for energy-intensive industries in the form of much-reduced renewable energy-levy payments, claiming that Germany had failed to declare these as a form of state aid.
Smear campaign
The EC began preliminary investigations in February 2012 and subsequently charged Germany's conservative/liberal coalition government with illegally inflating the renewables levy, with the aim of driving it into discredit and getting the support mechanism eliminated.
This allegation stemmed from the fact that, while relief on levy payments was initially offered only to energy-intensive industries competing with international rivals with lower energy costs, such as steel, aluminium, paper and cement companies, it has since been pushed out to include others such as lignite mining companies, airports, public-transport companies and regional water companies.
German legal firm Becker Buttner Held warned in December that a formal investigation could end up with these industry privileges having to be altered - or even result in firms being forced to pay their waived levy contributions. On top of this, wind-farm owners could also be punished.
"If the whole German support system were overturned, in a worst-case scenario renewable plant-operators would have to pay back all their support payments," Becker Buttner Held warned in a blog.
If the levy-relief arrangements are declared to be unauthorised state aid, there is no legal protection for past arrangements, threatening huge back-payments not only for those energy-intensive firms that benefitted from levy waivers, but also for companies that have received support under the levy.
This is because assessing whether an exemption from a levy constitutes state aid would need to be considered alongside the question as to whether the levy itself is a state aid, according to the European Renewable Energies Federation. Therefore the German feed-in tariff could come under attack as well.
Independent of its German investigation, the EC is also in the process of reviewing guidelines on state aid for environmental protection.
Eligibility rules
The German government's lowering of the "hurdles" for eligibility for reduced renewable levy rates came as a result of the Renewable Energy Act revision that took effect on 1 January 2012.
The revision lowered the rate of electricity consumption necessary for relief from 10GWh/year to just 1GWh/year. The relationship between electricity costs and gross output was also changed, revised down from 15% to 14% of the company's annual gross revenues.
A renewable energy monitoring report, Energy of the future, published by the German economy and environment ministries in December, describes the extent of the privileges.
In 2011, 603 companies with a total electricity consumption of 85TWh were largely exempted from the renewables levy. In 2012, the number of companies had risen to 734, but total electricity consumption stayed at 85TWh. For 2013, 2,057 companies applied to be largely exempted from the levy, for consumption totalling around 108TWh. Exempt industry consumers save an estimated €4.7 billion.
The potentially dire consequences of the EC's investigation have led chancellor Angela Merkel and federal environment minister Peter Altmaier to comment on a number of occasions in recent months that industry's privileges must be examined afresh. A special energy meeting of federal and state government experts to discuss the issue is due to take place on 21 March.


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Dancing in the Ruins - The new Big 12 rising out of the ruins of the old.
On the rise?
Former Kansas quarterback Dayne Crist 2013 NFL Draft stock is on the rise thanks to a strong showing in this past weekends' NFLPA Collegiate Bowl. (The Lawrence Journal-World)
Just give him the darn ball!
Oklahoma needs to give fullback Trey Millard more chances to carry the football in 2013. Because Jason Kersey said so. (The Oklahoman )
Baylor player profile of the day.
Jason Kirk profiles Baylor linebacker Eddie Lackey. (SB*Nation)
High Cotton.
California high school senior defensive back Kamari Cotton-Moya commits to Iowa State's 2013 recruiting class. (The Des Moines Register)
Oh Childs please!
Texas HS senior running back Rennie Childs commits to Oklahoma State's 2013 recruiting class. (The Oklahoman)
I go JUCO.
California JUCO offensive tackle Desmond Harrison commits to Texas 2013 recruiting class. (The Austin American-Statesman)
Blatant Homerism looks at Oklahoma recruiting.
West Virginia
The Smoking Musket looks at West Virginia recruiting.


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AMC is advertising the good news for "Mad Men" — the 1960s Madison Avenue drama will return for a fourth season.
The TV series debuted as a low-rated, critical darling but has seen its audience grow at the start of its third season.
The early renewal lets viewers know the retro saga will continue next year, AMC said Tuesday in announcing its decision.
"Mad Men," which last year drew fewer than 2 million viewers per episode, attracted an audience of 2.8 million for the Aug. 16 season premiere.
The series has registered an impact beyond its numbers. The reigning best-drama Emmy winner is up for the honor again at the Sept. 20 awards ceremony, and its period fashions have been cited as an influence by designers.
Related Content from AccessHollywood.com:
VIEW THE PHOTOS: Primetime Hunks
PLAY IT NOW: Dish Of Salt: January Jones Talks 'Mad Men' & Sharks (August 3, 2009)
PLAY IT NOW: Dish Of Salt: 'Mad Men' Season 3 Premiere
"Mad Men" Renewed for Fourth Season On AMC
Madison Avenue drama a sell with advertisers
AMC is advertising the good news for "Mad Men" — the 1960s Madison Avenue drama will return for a fourth season.


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Sao Paulo GRAND SLAM | 8 - 13 October 2013
São Paulo, Brazil, October 9, 2013 – While four of the five top-seeded women's teams won both of their pool play matches Wednesday, the big surprise was five lower-seeded teams all winning twice as well to lead or tie for the lead in their respective pools during Wednesday's start of the 32-team main draw at the $440,000 FIVB São Paulo Grand Slam double-gender tournament marking the FIVB Beach Volleyball World Tour's return to Brazil for the 27th consecutive year.
While the men's teams played one of three pool play matches on Wednesday, the lower-seeded women's double surprise winners were: Canada's 27th-seeded Jamie Lynn Broder/Kristina Valjas, Switzerland's 22nd-seeded Isabelle Forrer/Anouk Vergé-Dépré, USA's 15th-seeded Lauren Fendrick/Brittany Hochevar, Slovak Republic's 16th-seeded Dominika Nestarcova/Natalia Dubovcova and Czech Republic's 14th-seeded Marketa Slukova/Kristyna Kolocova.
With the third and final round of women's pool play Thursday, the women will play their final pool play match to determine the 24 teams in each gender who advance to Friday's start of single elimination. For the women on Wednesday, four of the five top-seeded teams all won their opening matches, four in two sets as the 2013 FIVB Beach Volleyball World Tour resumed in South America this week. Following the completion of Pool Play on Thursday, the single-elimination bracket for the final 24 teams in each gender begins on Friday morning.
Following Thursday's conclusion of pool play, Friday will see the round of 24, round of 16 and quarterfinal matches in each gender as the 2013 FIVB Beach Volleyball World Tour has resumed in South America after a six-week respite. With the event being held for the first time in São Paulo the purpose-built site is located on the expansive grounds of Parque Villa Lobos on the west side of the massive city.
The list of undefeated women's teams grew to 14 when the final whistle blew after the final matches of the day were played under the lights on two courts.
The top-seeded teams pacing the way with 2-0 are Brazil's top-seeded Taiana Lima/Talita Antunes, Brazil's second-seeded sisters Maria Clara Salgado/Carolina Salgado, Germany's fourth-seeded Katrin Holtwick/Ilka Semmler and Germany's fifth-seeded Laura Ludwig/Kira Walkenhorst.
Besides the five lower-seeded teams and the four top-five seeds, also undefeated were Brazil's seventh-seeded Agatha Bednarczuk/Maria Antonelli, Netherlands' eighth-seeded Madelein Meppelink/Sophie van Gestel, Spain's ninth-seeded Liliana Fernandez/Elsa Baquerizo, USA's 10th-seeded April Ross/Kerri Walsh Jennings, and 13th-seeded Marleen Van Iersel/Sanne Keizer.
Not necessarily a surprise, but winning both their matches to lead their pool is USA's new-team featuring the Olympic pair of Ross/Walsh Jennings who are playing in just their second FIVB World Tour Grand Slam event after Olympic careers with different teammates. Ross won the silver medal at the 2012 London Olympics with Jennifer Kessy while Walsh Jennings won the gold medal in the 2004 Athens Olympic Games, the 2008 Beijing Olympic Games and the 2012 London Olympic Games with former teammate Misty May-Treanor. Kessy has scaled back her schedule but is continuing to play some domestically while May-Treanor formally retired after winning her third Olympic Gold Medal with Walsh Jennings. Walsh Jennings is also returning after a six-month layoff while she gave birth to her third child.
Commented Walsh Jennings after her first match Wednesday, "I feel really great. It's been six months since I had my baby (third of three). I feel ready to be on the FIVB World Tour right now. I'm with April (Ross) full time and it just feels right. I do feel more motivated. I took a long time off and it makes me really hungry to play and get better. My whole situation is new now. I left my children at home with other family members, the game I'm playing is different, I have a different body, I have a different brain. We're learning a lot of things right now and that's really refreshing."
This year's FIVB World Tour Grand Slams use a pool format. São Paulo began with a one-day qualification tournament on Tuesday to determine the final eight spots in each gender's 32-team main draw tournaments followed by round-robin pool play where pools of four are playing three matches each with a single-elimination bracket for the final 24 teams (the top three from each pool) concluding semifinals and bronze medal matches on Saturday and the gold medal matches for both genders on Sunday. The gold medal teams in each gender in the FIVB São Paulo Grand Slam will each split $33,000, the silver $22,000, the bronze $16,500 and fourth place $12,900.
Brazil had one team in each gender advance from Tuesday's qualifiers and the home country has its full allotment of five teams in each gender in the São Paulo main draw. For the women, the qualification team that advanced was Elize Secomandi/Fernanda Alves. Overall, the Brazilian women's teams opened pool play with a combined 7-3 record.
Brazil's top-seeded Lima/Antunes won both of their matches in two sets, needing 32 minutes to defeat France's 32nd-seeded Laura Longuet/Melinda Adelin, 21-14, 21-12 and 36 minutes to overcome Australia's 17th-seeded Taliqua Clancy/Louise Bawden, 21-17, 21-16.
Antunes reflected on her team's season and this tournament, saying, "The first match is always the most expected one. We were anxious for playing at home. This time, the FIVB World Tour didn't start here, as it usually does. So we came home with good results, and that gives us a good feeling. It is in the first match that we start to trail our path to the final. We played well even we didn't know much about the other team in the first match. The second match was closer because the Australians are more experienced and we have seen each other play often on the world tour."
The FIVB São Paulo Grand Slam marks the 35th time that Brazil has hosted a men's and 30th time Brazil has hosted a women's FIVB international beach volleyball world tour event. Brazil has staged a FIVB Beach Volleyball World Tour event every year since the start of the international circuit for men in 1987 and women in 1992. It is also the 295th FIVB World Tour men's tournament and 257th women's tournament.
The 2013 FIVB Beach Volleyball World Tour is comprised of 10 Grand Slam events and the 2013 FIVB Beach Volleyball World Championships. Not part of the World Tour but counting towards FIVB points/earnings are five Open events (four double-gender tournaments and one women-only). The last of 10 FIVB World Tour Grand Slams will be the 2013 Grand Slam schedule will now end in China Oct. 22-27 at the double-gender $440,000 FIVB Xiamen Grand Slam.
13.10.2013 22:11:32
Salgado/Schmidt claim men's gold at FIVB São Paulo Grand Slam
São Paulo, Brazil, October 13, 2013 – It took three sets like it did earlier in the week in pool play, but once again Brazil's second-seeded Pedro Sal... More...
13.10.2013 22:03:09
USA's Ross/Walsh victorious in São Paulo
São Paulo, Brazil, October 13, 2013 – In another classic battle for the ages between veteran warriors, USA's 10th-seeded April Ross/Kerri Walsh Jennin... More...
13.10.2013 02:18:27
Germany, United States to meet for women's gold at FIVB São Paulo Grand Slam
São Paulo, Brazil, October 12, 2013 – Digging deep to each pull out come-from-behind three-set semifinal victories Saturday, Germany's fifth-seeded La... More...
13.10.2013 02:14:19
Brazil, United States to battle for men's gold at FIVB São Paulo Grand Slam
12.10.2013 03:14:04
Brazil, Latvia, Spain, USA in men's semis at FIVB São Paulo Grand Slam
12.10.2013 03:08:56
Brazil, Germany, Italy, USA in women's semis at FIVB São Paulo Grand Slam
11.10.2013 04:20:49
Men's field reduced to 24 at FIVB São Paulo Grand Slam
10.10.2013 23:25:36
Eight unbeaten women's teams head to single elims at FIVB São Paulo Grand Slam
10.10.2013 14:15:06
Brazil's Schmidt/Salgado hope for no. 1 world ranking at FIVB São Paulo Grand Slam
10.10.2013 13:06:55
Walsh Jennings playing with April Ross at FIVB São Paulo Grand Slam
10.10.2013 03:05:15
Men's Pool Play at FIVB São Paulo Grand Slam starts with four upsets
08.10.2013 21:41:47
Tuesday's qualifying sets main draw fields for FIVB São Paulo Grand Slam
07.10.2013 18:03:12
FIVB São Paulo Grand Slam information fact sheet
04.10.2013 09:49:04
FIVB World Tour resumes in Brazil for São Paulo Grand Slam
20.09.2013 18:37:37
Ross and Walsh start road to Rio in São Paulo
19.09.2013 15:31:20
Brazil lead the way at Sao Paolo Grand Slam
18.06.2013 14:28:04
2013 FIVB World Tour ends in Brazil at FIVB São Paulo Grand Slam


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Nowhere is evidence of the worldwide Flood more accessible than Colorado Springs' Garden of the Gods or nearby Glen Eyrie.
Dr. Tim LaHaye shares his perspective on the Bible teachings of the Creation and the Bible teachings of the end times.
Since 1995, Associates for Biblical Research has been digging a few miles north of Jerusalem at Khirbet el-Maqatir, the probable city of Ai.
Depicting the pre-Flood world at the Ark Encounter in northern Kentucky presents a challenge for designers.
CreationSundays.com was established in 2011 to encourage churches to speak out and affirm the authority of God's Word beginning in Genesis.
No results found in Impact.
This issue clears up ten common misconceptions about the Flood. Also discover the most profound evidence for creation on the planet.Browse Issue Subscribe
Answers in Genesis is an apologetics ministry, dedicated to helping Christians defend their faith and proclaim the gospel of Jesus Christ.


text:
By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to automatically produce your name and the current date. Be sure to verify your e-mail address in your preferences. Before attempting any major article rewrites please read the layout guide. If you have any questions, check out the policy and help pages (see here for editing help), add a question to the Community portal, view the forum or ask me on my talk page. Again, welcome!
—Cavalier One(Wizarding Wireless Network) 23:18, 5 April 2008 (UTC)
We usually go with User:Username/signature and link to that through the preferences section, or just edit the Nickname section. I don't know of any users here whose signature is formatted that way. Personally, I see no problem with it, but I would ask one of the bureaucrats, either John Reaves or DarkJedi613 to be on the safe side. - Cavalier One(Wizarding Wireless Network) 23:28, 5 April 2008 (UTC)
- Please keep all pages in your the User namespace, so "User:C Teng/whatever you want". Sorry if its inconvenient but it makes it easier for us to keep track of them. -- DarkJedi613 (Talk) 23:49, 5 April 2008 (UTC)
House Points Game, 2nd term
Hello! Just to let you know, we're starting a new round of the Harry Potter Wiki House Points Game on September 15th, and we need some new members! By helping to improve the Wiki, you can earn points toward winning the House Cup. Just add your name under your favorite House on this page to join. We hope to see you soon! - Nick O'Demus 10:00, 31 August 2009 (UTC)
RuneScape Wiki
Are you also on the RuneScape Wiki? I was just wondering, because there is a user called C Teng there too... I'm there too! :) - Frozen Jese 15:15, February 3, 2011 (UTC)


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I am not smart with words, but I work hard every day of my life.
When I come on boat I have only shirt and pants. The food is not kosher and I soon begin to starve. In middle of ocean, I trade pants for tin of herring. Is very cold without the pants. But I survive.
They send me to Brooklyn and I find job in pickle factory. Every day, I crawl through gears and pull out rats. Is not so easy. The rats have sharp teeth and do not like to be touched. But I work hard. When I start in 1908 they pay me eighty cents each day. By 1912 they are giving me ninety cents, plus bowl of potato soup.
I find beautiful girl named Sarah. Her left leg is lame since youth, but she has all her teeth. She is very clever and teaches me to spell words. I save up pennies all week long so on Sunday I can buy her treat, like seltzer or salt fish.
When we marry, and she is with child, we stay up late each night whispering. We make great plans. We will have son, and he will have son, and so on and so on and so on. And some day years from now, when we are dead and gone, our family name will stand for strength and honor. Someday our hopes and dreams will come to pass.
One day at work I fall into brine and they close the lid above me by mistake. Much time passes; it feels like long sleep. When the lid is finally opened, everybody is dressed strange, in colorful, shiny clothes. I do not recognize them. They tell me they are "conceptual artists" and are "reclaiming the abandoned pickle factory for a performance space." I realize something bad has happened in Brooklyn.
The science men come and explain. I have been preserved in brine a hundred years and have not aged one day. They describe to me the reason (how this chemical mixed with that chemical, and so on and so on) but I am not paying attention. All I can think of is my beautiful Sarah. Years have passed and she is surely gone.
Soon, though, I have another thought. When I freeze in brine, Sarah was with child. Maybe I still have family in Brooklyn? Maybe our dreams have come true?
The science man turns on computing box and types. I have one great-great-grandson still in Brooklyn, he says. By coincidence, he is twenty-seven years, just like me. His name is Simon Rich. I am so excited I can barely breathe. Maybe he is doctor, or even rabbi? I cannot wait to meet this man—to learn the ending of my family's story.
"How about Thai fusion?" Simon asks me, as we walk along the street where I once lived. "This place has these amazing gluten-free ginger thingies."
He gestures at crowded restaurant. It used to be metal factory.
"Are you a cilantro person?" he asks me.
"I do not know your words," I admit.
"Oh," he says. "Don't worry, there's a bagel place around the corner."
I sigh with relief and follow Simon into store. He orders two bagels with creamed cheese and hands me one. I cannot believe how large it is—like something to feed an entire Irish family. I take three bites and put the rest in coat, to save for supper. When I look up at Simon I see that he has somehow almost finished his whole bagel. He is eating so fast, I cannot understand it. It is like he is in race and must shove all the bread in his mouth or else he will die. Between bites he gulps from his drink, which is bottle of green sugar water the size of bucket.
"Gatorade?" he asks me.
I am too repulsed even to respond.
Eventually, he has eaten all the food and swallowed all his sugars. I wait for him to catch his breath, but then I can wait no longer.
"Please," I say. "I must know. What path have you chosen for your life?"
Simon smiles proudly at me.
"I'm a script doctor," he says.
I shake my head with astonishment.
"That is so wonderful," I say, my eyes filling up with tears. "I am so proud. I cannot believe my descendant is medical doctor."
Simon averts his eyes.
"It's actually just a screenwriting term," he says. " 'Script doctor' means I, like, punch up movie scripts."
I stare at him blankly.
" 'Punch up'?"
"You know, like, add gags."
"What sort of gags?"
He clears his throat.
"Let's see.… Well, the script I'm working on now is about a guy who switches bodies with his pet dog? So I'm adding all these puns, like 'I'm doggone mad!' and 'I've got a bone to pick with you!' You know, things like that."
A long time passes in silence.
"So you are not medical doctor."
"No," Simon admits. "I am not."
Simon says he is happy I was brined. He has always wondered what it would be like to "hang out" with his great-great-grandfather.
"We're going to have a blast," he says. "Brooklyn has gotten so awesome, it's crazy."
I ask him if he knows what became of my Sarah. He shakes his head. He has worked very hard to research our family, journeying all the way to place called Ancestry Dotcom. But all he could find about Sarah was the address she shared with me in Williamsburg: 283 Bedford.
"That's an American Apparel now," he says. "But don't worry. You can stay with me for as long as you want."
He leads me down Atlantic Avenue. We pass many strange peoples wearing tight pants and circus mustaches.
"So," I say, sadly. "If you are not real doctor, I assume you did not have real education."
"Oh, sure I did," he says. "I went to Harvard."
I am amazed.
"My God," I say. "Did they know that you were Jew?"
"It's pretty different now," he says.
"What did you study? Latin and Greek?"
"Nah, I was an English major."
I squint at him.
"I do not understand. You did not speak English before?"
"No, I spoke it."
"Then why did you study it? What was the purpose of that?"
Simon ignores me and gestures at large brown house.
"Here we are," he says, grinning. "Not bad, huh?"
I look up at building. It is enormous.
"Are you servant here?" I ask.
"No," he says, laughing. "I own the place!"
At this point I become suspicious.
"What other jobs do you have besides the dog gags?"
"None," he says. "I'm a full-time screenwriter."
Once again, I am confused. I have been with Simon all day. He clearly does not work "full time," not even close. I explain this fact to him.
"Let's just go inside," he says.
Simon and I look very much the same. We are both tall (five feet seven) and have handsome bump in nose. There are differences, though. For example, his hands are very soft, like woman's. Also, his arms are weak and small. They remind me of baby I saw once who had the infant paralysis.
When I first move in with Simon, I do not really understand what it means to be "script doctor." But as the days go by I learn about the job. The way it works is this: each day, for twenty minutes, he sits down and types up words. The rest he spends complaining.
"I'm so pissed off," he tells me one day. "They hired me to polish the new 'Spy Donkey' sequel. But just looking at it, it's going to need a page-one rewrite. It's, like, I didn't sign up for this. You know what I mean, Hersch?"
I do not know what he means. But it is clear he is upset, because he is drinking so much alcohols in the middle of the day.
"That sounds bad," I say, trying my best to be polite.
"It's real bad," he says. "There's no way I'm doing a whole fucking draft for them. It's, like, you gotta draw the line somewhere, you know?"
He refills his alcohol glass.
"You ever deal with this kind of bullshit at the pickle factory?"
I think about it.
"There was one time my friend got caught in the gears," I say. "And it ripped up his torso, through the chest. And there was blood coming out of his mouth and he was screaming. And I plead with them to stop the machine, because my friend is dying, but no one listens to me, and my friend keeps howling until he is dead. And for years I see his face inside my dreams, with the blood coming out of his eyes and his mouth, begging for me to please save him."
Simon says nothing for a while.
"Maybe I'll just do the draft," he mutters.
One night we have dinner with Claire, a goyish woman Simon mates with in defiance of our Lord.
"So," she asks me, "where are you from originally?"
"Slupsk," I tell her.
"It's near the Poland-Lithuania border," Simon explains, with big smile on his face. He is wrong, but I do not contradict him. He seems very proud of knowing this one fact about me.
"That's so cool you're from there," Claire says to me. "I've always wanted to visit Eastern Europe."
I fold my arms and squint at her.
"Why would you visit there?"
"I don't know," she says, shrugging. "I hear it's got a really cool art scene."
I lean in close to her.
"The only scene in Slupsk is people eating horse meat to live and killing each other for potatoes."
I point my finger at her face.
"You must never go to Slupsk," I warn her. "It is city of death."
"Oh," she says, softly. "O.K."
She stands up.
"I'm going to cut up the tofu."
"Thanks, honey," Simon says.
"You must never go to Slupsk!" I call out after her.
When girl is gone, I grip Simon's shoulder and stare him in the eyes.
"That girl is too thin," I say. "She has not long to live."
Simon chuckles.
"That's just how girls look these days," he says. "Look, I'll show you."
He opens thick, smelly book with shiny pages. It is magazine, he explains, called The Vogue.
"This model's famous," he says, pointing to mostly naked woman. "She's married to Orlando Bloom."
I squint at the picture. The girl is very pale, with vacant eyes.
"I have seen this disease in Slupsk," I tell him. "First, they cough the blood. Then they begin to shake. They ask for the water, but when you bring them some to drink it makes them vomit up the black. They die screaming, their eyes wide open, afraid."
Claire returns.
"Who wants tofu?" she asks.
"Please," I tell her. "Eat my portion."
One day, I wake up to the sound of yelling. It is Simon. He is kicking his foot against his desk, shouting profanities.
"Motherfucker!" he cries. "Fucking God-damned fuck!"
I jump up from couch and run down hall. It is clear Simon has experienced a tragedy—something monstrous, like the death of someone close. I get to his office and gently open door. Simon is sitting at his desk, shaking his head and muttering under his breath. His skin is pale and he is out of breath from screaming.
"Goddam Internet's down," he says. "Second time this morning."
"What is internets?" I ask.
"It's a thing on computers."
"What is computers?"
It takes him long time, but eventually Simon is able to explain. A computer is a magical box that provides endless pleasure for free. Simon is used to constant access to this box—a never-ending flow of pleasures. When the box stops working—or even just briefly slows down—he becomes so enraged that he curses our God, the one who gave us life and brought us forth from Egypt.
"It's Time Warner," he tells me. "They're the fucking worst."
He bangs his fist against his desk.
"How am I supposed to get work done without Internet?"
I glance at his computer machine. I am still learning about modern technologies. But I am pretty sure from looking at it that Simon has not been doing "work." There are three boxes open on screen. In first, there is sports scores. In second, there is pornographies. In third, there is Simon's own name, typed into thing called Google.
Simon notices me looking at his computer and quickly steps in front of it.
"I was taking a break," he says, his voice loud and defensive. "You must have taken breaks sometimes at the pickle factory."
"Is true," I say. "Whenever there was fire, we would get to leave factory until they finish clearing out the dead."
His phone begins to play loud song.
"I'm sorry," he says. "I gotta take this, it's my agent."
He picks up phone and paces around office, a pained look in his eyes.
"I already said no to that!" he says. "No—I don't want to punch up any more sequels. Because it's completely unfulfilling. It's someone else's characters, someone else's plot—I'm supposed to be working on my novel, for God's sake."
He pauses mid-stride.
"They're offering what? For just six weeks? Holy shit."
He continues to pace, but slower, and with a strange expression on his face. It reminds me of time I saw hurdy-gurdy man get hit by brick. He was very embarrassed, and also in pain (because the brick had been thrown into his genitals). But his desire for moneys was so great he continued to play his song, and try to dance his jig.
"You know what?" Simon says, in as cheerful a voice as he can make. "That's actually an excellent idea for a 'Zoo Crew' movie. I mean, they already had Captain Cow go to outer space in the fifth one. But he's never been to the moon."
His voice lowers.
"Do you think we can get them to go up even higher? No? O.K.—just checking."
He puts away phone and we make eye contact.
"What are you looking at?" he asks.
"I am just standing here," I say.
That night Simon's goy comes with giant bag of vegetables.
"I heard you're into pickling," she says. "So I went on Epicurious and planned a pickle-themed menu. We're having broiled trout with pickle butter—and a pickle-vinaigrette salad on the side."
In truth I despise eating pickles, because they remind me of the deaths of many friends. But I do not want to be rude.
"It is generous," I say.
"It's nothing," she says. "I want us to become better friends, you know?"
She takes out an onion and begins to chop it, very slowly, in an incorrect way. When Sarah chopped vegetable, she used big, heavy knife. She would hold one end down and then swiftly lower blade like it was lever. Claire chops onion using tiny, skinny knife, making one little cut at a time. We will not eat for many hours.
"I've been meaning to cook more," she says. "Simon likes to go out every night. Between you and me, I'm getting pretty sick of it."
She is barely halfway through the onion when the knife slips and slashes her finger.
"Fuck!" she screams. "Ow, fuck!"
She starts to cry as her blood seeps onto counter. Suddenly, I hear the sound of another woman shriek. I spin around and am surprised to see that it is Simon, standing there, with his hands over his eyes.
"Oh, my God!" he shouts. "Your fucking finger!"
"What do I do?" Claire cries. "What do I do, what do I do?"
"I don't fucking know!" Simon sobs. "Fuck fuck fuck!"
I sigh and grab girl's hand. She resists me, so I must shush her like a child.
"Is fine," I say. "Is baby cut."
I pour liquid soap over her finger and run faucet. She screams and I have to shush her again.
"Is fine," I say again. "I fix."
I grab a rag, rip off strip, dry her cut, tie the wound, and pull.
"There," I say. "Is better."
Claire slowly catches breath.
"Thanks, Herschel," she says.
Simon sighs loudly and steps out from the shadows. Somehow, at some point, he has poured himself giant glass of alcohols.
"Well!" he says. "Glad that's behind us. How about we grab some tapas?"
He is starting to put on coat, when Claire waves arms.
"We can't," she says. "I planned out a whole meal for Herschel."
Simon squints at her.
"But your finger's all fucked up."
"It's just a baby cut," she says, smiling wide at me. She has all her teeth, I notice, just like Sarah.
Even though Claire is bad at cooking, and believes in false God, and dresses like prostitute, with both ankles exposed, she is not so stupid a person. I know this because she is always reading books. I have read books before—a red one and also two blue ones—so I know a little bit about it. But Claire's books are much larger, with hard covers, and pages filled with numbers.
"She's getting a Ph.D. in sociology," Simon explains, when I ask him about it. "Over at Columbia."
"What does she read so much about?"
"Something with immigration reform, I think? To be honest, I kind of tune out when she starts blabbing about it. It's a pretty boring thing to study."
This comment is strange, I think, coming from man who studied English in college—a language he already spoke. But I say nothing.
One afternoon, I am mending shirt in living room, when Claire enters wearing pack on back.
"Mind if I study in here?" she asks.
"Is fine," I say.
It takes her long time to spread materials onto table. There is pencils, papers, books, ruler, electric number machine, erasing stick. The last thing she pulls out is the strangest: it is terrifying golem with wrinkled face and purple hair. She notices me staring and smiles.
"That's my lucky troll doll. I've studied with it since middle school."
I nod.
"Is it from witch?"
"I think it's from Kmart."
I pick up and examine, making sure not to look into its eyes.
"Simon's always making fun of it," Claire says.
"That is madness," I say. "He is asking for curse."
She laughs for some reason and opens up her book. Before she can start studying, though, Simon enters holding his computer.
"Read this," he commands, plopping it onto her lap. "Tell me if it's funny."
"I'm kind of swamped," she says. "Is it O.K. if I read it tomorrow?"
"Sure," Simon murmurs. "No problem."
He sighs heavily, like he is in pain, and reaches very slowly for his computer.
"O.K., O.K.," Claire says, after a few seconds of this. "I'll read it."
I watch as Simon begins to pace the room, his baby arms shaking at his sides. Every few steps he glances at Claire, to watch her face.
Eventually, she looks up from the screen.
"It's funny," she says.
Simon glares at her. "You didn't laugh."
Claire hesitates.
"Well… maybe it's not laugh-out-loud funny…"
Simon groans into his hands like a man who has lost his family. Claire hops out of chair and begins to stroke his back.
"Simon, it's great!" she says. "The part where the dog gets auto-tuned? That's going to kill."
Simon peeks out between his fingers.
"You don't think it's cheap?"
"No!" Claire says. "It's great! Really, really… great."
I notice that she is using the word "great" a lot. It reminds me of when my boss gave me tour of pickle factory. He kept using the word "safe." "These gears are very safe," he would say. Or, "That belt is perfectly safe." The more he said the word "safe," the more I started to think that things were maybe not so safe.
"It's great," Claire says again. "The studio's going to love it."
"Really?" Simon asks, his voice high-pitched like a girl's.
"Yes!" Claire says, smiling as wide as she can make her lips go.
Simon sighs with relief.
"O.K.," he says. "Great."
He grabs his computer, knocking down troll by mistake. When he is gone, I shoot Claire a look.
"He is asking for it," I whisper.
She laughs as I set her troll upright.
On Friday evening, I comb my hairs and knock on Simon's door. I am surprised to see that he is mostly naked.
"What are you doing?" I say. "It is almost sundown. We have still not said our Shabbos prayers of thanks."
Simon moans into his hands.
"Herschel, could you just do them without me? I'm in the middle of something."
"God commands us to rest on Shabbos."
"Herschel, I've gotta turn this in by 5 P.M. L.A. time."
"But it is Shabbos."
"Damn it, Herschel!" he says. "I know religion's a big part of your life, and I respect that or whatever, but it's not a part of mine. I don't even believe in God."
I am so shocked it is difficult to breathe. I did not say anything when I learned that he ate bacons, and did not own yarmulke, and spoke no Yiddish (except for several words that all mean "penis"). But to learn that he has lost faith in our God—despite all the blessings in his life—it is too much to bear. It is too much for me to understand.
"How do you get through your days?" I whisper. "How do you find meaning?"
He thinks for a while.
"Through my art," he says, finally. "That's how I find meaning. O.K.? Through works of art."
I squint at the script he is working on.
"What is 'Monkey President'?"
He averts his eyes.
"I don't want to talk about it."
I grab the script and throw it at his chest.
"No, I want you to!" I say. "I want you to tell me about this art you do that is so meaningful it would make you miss the Shabbos!"
He flips through his script and sighs.
"It's about a monkey who becomes President."
I squint at him with confusion.
"How would this happen?"
"He wins an election."
"So he is able to speak, this monkey?"
Simon throws up his hands in frustration.
"Do you really want to know? Or are you just trying to make me feel bad?"
"Yes," I say. "I want to know how this monkey becomes the President."
He sighs again.
"He wins a break-dancing competition on the Internet."
"That makes no sense."
"You think I don't fucking know that?" he shouts, throwing the script down on the floor. "I told them in six meetings that it didn't make any fucking sense, but they won't listen, Herschel! They want the monkey to break-dance in every scene. In the Oval Office, on Air Force One…"
His voice begins to break.
"The monkey's always break-dancing."
I put my arm around his shoulder.
"Maybe you should quit this horrible work?"
"Herschel, it's not that easy," he says. "They're paying me thousands of dollars. I can't turn down that kind of cash, especially when I'm trying to save up for a house."
I am confused.
"You already have house."
"I know," he says. "But a bigger, wider one just went up for sale down the block."
He points out the window. There are many brownstones everywhere, but I have no idea which one he means. They all look exactly the same.
The next day Claire runs into house, laughing and shouting.
"I'm finished!" she shouts.
"Finished with what?" Simon asks, his eyes still on his computer.
Claire sighs, crosses her arms, and marches upstairs.
"Her final exams," I whisper to Simon.
"Oh, right," he says. "Fuck."
He runs upstairs.
"Honey, I was just kidding! Congratulations! Let's celebrate!"
I hear some whispered arguing, followed by the sound of Simon pleading. Eventually, he persuades her to come back down the stairs. She has put on shiny shirt, I notice, and painted her eyelashes black.
"Better get dressed, Herschel," Simon says. "We're going to hit the town!"
"I am dressed already," I say. "My shirt is mended. I am ready to go."
Simon bites his lip.
"You know, Hersch, I was thinking, maybe you'd like to try another outfit for a change? I've got some old Ted Baker stuff I bet would fit you."
"I am not one who takes charity," I say. "My shirt is mended. Is fine."
"O.K.," he says, waving his hands in the air. "Just offering."
He heads for the door, and Claire and I follow. We are almost out of house, when Claire suddenly spins around.
"Oh, no," she says. "I forgot tomorrow's Sunday."
"So?" Simon says.
"The maid's coming."
Simon groans.
"Honey, the place looks fine."
Claire kicks off her shoes and runs downstairs.
"Just give me a second!"
"Fuck," Simon mutters, when she is out of earshot. "This is going to take forever."
I hear the sound of mopping in the kitchen.
"I do not understand," I whisper to Simon. "Why is Claire cleaning if you have hired maid?"
"Because she's nuts," he says. He opens wooden cabinet and pours out glass of alcohols.
I can hear more sounds from kitchen—the stacking of plates, the scraping of pots. Eventually, Claire comes upstairs, holding yellow sponge.
"You can save a little work for Hong," Simon tells her.
"Her name is Hahn," she says. "And I'm just doing the low surfaces, because of her back."
I am very confused about what is happening, but I say nothing. The mood is tense and I do not want to get involved with things. Simon checks his watch as Claire finishes sponging the tables. By the time she is done, he has drunk his entire glass.
"Ready now?" he asks.
Claire sponges wet spot where Simon has spilled some liquor.
"Ready," she mutters.
Simon pauses in front of automobile and stares at his reflection in the window. He is wearing purple scarf, even though the air is hot and there is sweat all over his face.
"Where are we going?" I ask him.
"Cabin," he says, running fingers through his hair. "It's the best bar on the Lower East Side."
"Can't we just go to Fontana, or something?" Claire asks. "There's going to be a huge line."
"Nobody goes to Fontana anymore," Simon says, wrapping the scarf tighter around his neck. "Cabin's way cooler."
"How cool is this cabin that you need scarf?" I ask.
Claire laughs for long time. I do not understand it.
"Come on," Simon says, grabbing Claire by the wrist.
I follow them down Avenue A. The Lower East Side, I notice, has not changed much in one hundred years. The women are still emaciated and dressed in rags; the men still wear beards and have sad eyes.
Eventually, after checking purple scarf in two more windows, Simon brings us to the bar that is called Cabin.
"There it is," he whispers, a look of reverence on his face.
I squint with confusion at the small establishment. It looks the same as all the others we have passed. The only difference is that there is red rope in front of it, guarded by scary Negro giant.
"Hey, man," Simon says to the giant. "Cool if the three of us go inside?"
"Sorry," the giant says. "Private party."
As soon as he says this, three tall men in shiny shirts appear. The giant steps aside, allowing them to enter. Simon curses under his breath.
"What is this place?" I ask Claire.
"Just some celebrity hangout," she says.
"What is celebrity?"
"It's, like, somebody people celebrate, because they're doing something special with their lives."
"Is Simon celebrity?"
She hesitates.
"Kind of? I mean… you know, in some circles… he's sort of well known."
I turn toward Simon. He is pleading with the giant, his hands clasped tight like a beggar's. He does not look to me like celebrity, but what do I know about it?
Claire starts to shiver and I soon become worried. As I mentioned before, she is very thin and extremely close to death. It is not good for her to stand outside in the cold, dressed in nothing but her prostitute clothes. Her arms are naked almost to the elbow. I start to wish that I had worn my wool so I could give it to her.
"Simon!" I shout. "You must give the woman your scarf!"
Simon turns his back to us, his eyes averted. It is obvious he is pretending not to hear me, so that he can continue to wear scarf.
"I do not understand," I say. "What is his thing with that scarf?"
Claire rolls her eyes.
"He got it in London," she says. "He's so obsessed with it he won't even trust me to hang it up for him. He says it's his 'trademark.' "
Simon trudges back to us, with big forced smile on face.
"Just give me a few more minutes," he says. "I'm making inroads."
He is adjusting his scarf yet again when his eyes suddenly widen.
"Hey, it's B.J.!"
He points at the bar's entrance with both hands. A handsome man is leaving bar to smoke with beautiful woman.
"Who?" I ask.
"B. J. Novak," Simon says. "He's an actor—we go way back."
He hustles down the alley and throws arms around this B.J.
"What's up, buddy?"
The actor smiles nervously. It is obvious that he does not know Simon and is afraid.
"Remember?" Simon says. "We met in L.A. last year. During the table read for 'Ice Chimps.' "
B.J.'s face turns red as the beautiful woman starts to laugh.
"You were in 'Ice Chimps'?" she asks, her little nose wrinkling with disgust.
"Just a cameo," B.J. says.
"He played Wayne Chimpsky!" Simon tells her. "He was hilarious."
B.J. forces a smile and pats Simon on the shoulder.
"So great running into you," he says. "I think we're going to head back inside."
"Sweet!" Simon says. "I'll come with."
The next thing I know, Simon is following them back into the bar, his arms around them like he is their friend.
"This guy with you?" the giant asks the B.J.
"I guess," the actor mutters.
Simon grins with pride as the guard steps out of his way. He is almost through the door when he remembers we are with him.
"Quick!" he whispers.
We scurry in beside him, like rats across a gangplank.
This is Part One of a four-part serialization. Read Parts Two, Three, and Four.


text:
Soft Machine Kendal Brewery Arts Centre 19 March 2016
When I was a teenager I would listen intently to "In Concert" on the radio. There are three broadcasts that I recall very strongly. The first was by Led Zeppelin, recorded at the Albert Hall; the second Fleetwood Mac; and the other was Soft Machine. It will have been 1970 or 1971. Of the three, the Soft Machine concert was, for me, the most memorable. I still remember the impact it had. The strange sounds coming out of my radio intrigued me; I immediately became a fan. The music was so different to that of other bands, and to anything else I was listening to at the time. If I remember correctly, the concert was introduced by John Peel, who championed Soft Machine at the time. Their "songs' sounded like long improvisations; however I now realise that was the nature of the band's music and the songs were probably more planned than I thought. I think they may have played "Moon in June", "Facelift" and a few other tracks from "Soft Machine 3".
I only got to see Soft Machine live twice. Both occasions were in the mid-70s; by which time Soft Machine had completed its transformation from psychedelia to jazz-rock. The first time I saw the band was at the Reading Festival, and the second at Newcastle Guildhall as part of the Newcastle Jazz Festival. Last night I took up on the chance of seeing Soft Machine again; when the latest line-up performed at Kendal Brewery Arts Centre.
The current line-up of Soft Machine was launched (initially as Soft Machine Legacy) in 2004. The line-up consisted of Elton Dean, Hugh Hopper, John Etheridge and John Marshall: four long-time members from different eras of the legendary group. In 2006 Elton Dean sadly passed away and his place on sax and flute was taken by Theo Travis, who has an association with Gong and David Gilmour and is a long time fan of Soft Machine's music. Hugh Hopper sadly passed away in 2008. His place was taken by veteran bass player Roy Babbington, who first joined the group in 1970. This reunited 3/5ths of the 1975-77 Soft Machine line-up. Since 2010 the band has recorded a new, and highly acclaimed album "Burden of Proof" and they continue to tour. "Burden of Proof" is (from the venue website): "a collection of songs that basically has something for everyone; challenging jazz-fusion, adventurous prog-rock, bits of chaotic free-jazz, atmospheric instrumental pop-jazz, and even a little hard rock. Extraordinary!"
I had an uneventful drive over to Kendal, and took my seat in the Malt Room of the Brewery Arts Centre. Last time I was here was to see Marianne Faithful; which was some years ago. It's a great venue and regularly features some classic acts. I have to admit that I wasn't exactly sure what to expect from Soft Machine; I guess I thought I might find the jazzy instrumental nature of the songs a little hard going. But I also knew that it was going to be worth the effort in order to reacquaint myself with the music of Soft Machine.
The band came onstage just before 8.30pm and launched straight into "The Steamer" from the 2006 Soft Machine Legacy album "Steam". The sound was clear, crisp. The music a mix of jazz and prog. Guitarist John Etheridge introduced the songs and seemed to be taking the lead. He explained how the last incarnation of Soft Machine had seen former members put old disputes behind them, and how time had allowed that to happen. He also explained that veteran Soft's drummer John Marshall was unwell, suffering from a bad back and unable to make this tour. The guy standing in did an excellent job.
The concert comprised two sets and drew from Soft Machine's extensive back catalogue, going back to 1970 and "3" for "Facelift" and to "4" for "Kings and Queens". The music was much more varied than I had imagined, and ranged from guitar-riff-driven hard rock, through jazz (with mucho sax) to atmospheric flute-led prog; the latter songs being my own favourites. The musicianship was excellent, and Etheridge joked and talked to the audience a lot more than I had anticipated. In fact, he explained that "back in the day" the members of Soft Machine would never speak to, or acknowledge, the audience. The evening passed quickly, and I realised that I had after all enjoyed it; actually a lot. It was very much a concert; rather than a rock gig; but hey that's just fine for me these days.
The concert finished shortly after 10.30pm; I was back home around 12.30am. I've spent this morning playing my vinyl copies of Soft Machine "3" and "4". Happy days.
Set 1: The Steamer; Hazard Profile; Chloe and the Pirates; Voyage beyond Seven; Song of Aeolus; Grape Hound
Set 2: Burden of Proof; Facelift / the Last Day; Kings and Queens; Relegation of Pluto / Transit
Encore: Gesolreut
Posts Tagged 'rock n roll'
20 Mar
Soft Machine Kendal Brewery Arts Centre 19 March 2016
Soft Machine Kendal Brewery Arts Centre 19 March 2016
12 Feb
They Might Be Giants Newcastle Riverside 28 Jan 2016
They Might Be Giants Newcastle Riverside 28 Jan 2016
The Ingenious Hidalgo Don Quixote of La Mancha (frequently shortened to Don Quixote), is a book written by Spanish author Cervantes in the seventeenth century, and often considered to be the first modern novel. The main character, Don Quixote, is an insane man who thinks that windmills are evil giants, often tilting his lance at them. At one point Don Quixote's trusted servant Sanch Panza asks the Don why he is preparing to attack several windmills with his lance. Don Quixote replies "Why, because they might be giants." This inspired the name of a 1971 film, They Might Be Giants, and then of the quirky new wave alternative pop/rock band who Laura and I recently saw.
Now They Might Be Giants are pretty difficult to categorise. Their songs are all very different; however they also all share a few common factors: they have great hooks, they are catchy pop tunes, and they are super FUN. A Riverside packed with hipsters in the know was treated to an evening full of their top ditties, causing mucho bopping, dancing and singingalonging. The biggest bop was, of course, reserved for the wondrous Birdhouse in Your Soul (to my shame the only song I really knew). Super crazy cool; man.
Setlist: Walk On Water; Can't Keep Johnny Down; They Might Be Giants; Music Jail; Why Does the Sun Shine?; Answer; The Statue Got Me High; Meet James Ensor; The Famous Polka; Doctor Worm; Alphabet of Nations; Rhythm Section Want Ad; Your Racist Friend; Bills, Bills, Bills (Destiny's Child's cover); Turn Around; I Was Dancing in the Lesbian Bar (Jonathan Richman cover); Cloisonné; Older; Let Me Tell You About My Operation; Birdhouse in Your Soul; Trouble Awful Devil Evil; Man, It's So Loud In Here; Fingertips; Memo to Human Resources; Don't Let's Start; Damn Good Times
Encores: Particle Man; Robot Parade (Adult Version); James K. Polk; Twisting; Istanbul (Not Constantinople)
19 Dec
Dave (and Ray) Davies Islington Assembly Hall London 18 Dec 2015
Dave Davies (and Ray!) Islington Assembly Hall London 18 Dec 2015
My early Christmas present to myself was to go and see Kinks guitar riff hero Dave Davies in London last night. And what a Christmas present it was. Dave Davies played a blinding set to his home crowd. Still recovering from flu, Dave bounded on stage, greeting us "Hello London! It's good to be back in town!" He ran through a set of Kinks classics, album tracks and solo songs. Dave's guitar was loud and fuzzy and his band's versions of Kinks hits "Dead End Street" and (my favourite) "See My Friends" were raw and heavy. Dave's own "Death of a Clown" started pretty ramshackle but finished as a great singalong. But the best was yet to come. Sometimes miracles do happen at Christmas.
For the last song, Dave introduced a "surprise for Christmas" and on walked brother Ray!!! The two brothers played "You Really Got Me" and the place went completely berserk. I was sitting upstairs and everyone leapt to their feet; singing, clapping, shouting and going generally nuts. The next few minutes became an unbelievable almost surreal dream. Ray and Dave shook hands as they left the stage. As I walked out of the venue onto the street everyone faces me were looking at each other; grinning, not quite believing what we had all just witnessed.
You can find a video here
This was the Davies brothers first time on stage together for 19 years, and it was an amazing event to witness; musically, historically and emotionally. Two brothers, in their home town, back together on stage where they belong, singing the song that started so much. It really doesn't get any better; I am going to be on a high for ages. Best Christmas present since I opened my Johnny Seven in 1966.
Setlist: Ripping Up; All Day and All of the Night; She's got everything; Creeping Jean; Tired of Waiting; See My Friends; In You I Believe; Strangers; Flowers in the Rain (Dave solo track, not the Move song); Young and Innocent Days; The Man He Weeps Tonight; Death of a Clown; Living on a Thin Line; Dead End Street; Where have all the Good Times Gone?; I'm Not Like Everybody Else; You Really Got Me (with Ray Davies)
18 Dec
Ronnie Spector Sage Gateshead 30 Nov 2015
Ronnie Spector The Sage Gateshead 30 Nov 2015
Now there are those that we call legends, and those who really are legends. Ronnie Spector is definitely in the latter category. The self-styled wild child of rock and roll, the rose of Spanish Harlem, one of "the" voices and faces of the '60s, is still going strong, voice and beehive intact.
I'd waited some years for this. I recall reading a review of one of Ronnie's comebacks in the '70s and vowing then to see her. I finally kept my promise to myself, event if it has taken me 40 or so years to do so. I had a ticket for a gig in Edinburgh a few years ago and it was sadly cancelled, so when this time round Ronnie came over for a full tour, calling at the Sage, I was determined to catch her while I can.
I went along wondering whether she would still be able to do it. I needn't have worried. I am delighted to report that Ronnie Spector can perform, sing and hold an audience in the palm of her hand for an entire evening.
The concert was a run through Ronnie's life. Between each song she sat down and told a little story, illustrated by some great images and videos shown on a big screen above the stage. The balance between stories and songs was just right, as was the way in which Ronnie told the stories. Sometimes these shows sound like name dropping. This one didn't; it worked really well. Her band consisted of three girls (who could be the young Ronettes) in red taffeta dresses, and a drum/ guitar/ bass/ organ/ sax combo. Perfect. She looked great, sporting the biggest hairdo you can imagine.
First up was the Ronettes classic "Baby I Love You". Ronnie explained how the young girls were just desperate to sing and dance, telling a story of how they lined up at the door of the Peppermint Lounge, were mistaken for the dancers, were invited in and then bravely took to the stage with no rehearsal. Of course, they knocked the crowd out and it everything started. Cue "Keep on Dancing" followed by "What'd I Say". Next Ronnie told us how she loved DooWop, which led into "I'm so Young" by early DooWop group the Students. We then moved to the UK and the Ronettes first tour of this country, on which they were supported by the Rolling Stones. "Time is on My Side" was sung in front of a picture of herself with Brian Jones and Keith Richards. Pure magic. The next couple of songs showcased great songwriters: "Is that what I get for Loving You?" by Goffin and King and "Paradise" by Harry Nilsson. Ronnie next celebrated another major milestone in the lady's career: a video of the Ronettes first US TV appearance on American bandstand followed by the song they sang on the show all those years ago: "Do I Love You", followed by "You Baby" and "Chapel of Love". For the next two songs Ronnie paid tribute to one great lady singer who was a friend; and another who was her sister and a great influence. For "Walking in the Rain", Ronnie talked about Dusty Springfield who she shared a dressing room with in the late '60s. And for "(the best part of) Breakin' Up" she told us about her sister Estelle who lived the Ronettes journey with her.
Ronnie explained how she left showbiz in the late '60s to return in the '70s. "I wish I never saw the sunshine" was followed by "You can't put your arms around a Memory" which was written for her by Johnny Thunders, andrecorded with Joey Ramone. "Back to Black" paid tribute to Amy Winehouse who was, undoubtedly, influenced by Ronnie.
Next was the song I had been waiting for all night. "Be My Baby" sounded just great; still powerful; not at all cheesy. For encores we got an early Christmas in the form of "Frosty the Snowman" and the Ronettes last single, the Beach Boys "I Can Hear Music".
A class act. It was great to witness a legend who for once truly lived up to expectations, and much more.
18 Dec
Maximo Park Newcastle City Hall 19 Nov 2015
Maximo Park Newcastle City Hall 19 Nov 2015
This concert was a big deal for Maximo Park. Their Facebook page proudly declared "everyone has played Newcastle City Hall: Bob Dylan, the Beatles; and now we are playing there". The concert had sold out quickly: a hometown show with the added attraction that the band were showcasing their excellent debut album "A Certain Trigger" in full was bound to be a big draw. Laura was really excited about going but sadly came down with flu on the night of the concert, so along I went to the City Hall on my own.
Maximo Park exploded onto the stage to a big loud and friendly roar from the home crowd. The set was one of two halves, opening with 11 tracks drawing from across their career, starting with "Girls who play guitar". This was followed by a performance of all 13 tracks from "A Certain Trigger". Ten years on the songs from the first album sound as fresh and modern as ever. The crowd loved it, and you could see how much the band enjoyed the night, and how keen they had been to grace the City Hall stage. A great performance from a local band who maintain a loyal and strong following.
Setlist: Girls Who Play Guitars; The National Health; A19; The Kids Are Sick Again; This Is What Becomes of the Broken Hearted; Hips and Lips; A Year of Doubt; Midnight on the Hill; Leave This Island; Our Velocity; Books from Boxes; [A Certain Trigger set:]; Signal and Sign; Apply Some Pressure; Graffiti; Postcard of a Painting; Going Missing; I Want You to Stay; Limassol; The Coast Is Always Changing; The Night I Lost My Head; Once, a Glimpse; Now I'm All Over the Shop; Acrobat; Kiss You Better
21 Nov
Brian Auger's Oblivion Express Gateshead Old Town Hall 6th November 2015
Brian Auger's Oblivion Express Gateshead Old Town Hall 6th November 2015
I've always wanted to see Brian Auger. I am a big fan of that classic '60s swirling Hammond organ sound and you don't get much better an exponent of that groove than Mr Auger. Brian Auger has played or toured with many of the greats of classic rock including Rod Stewart, Julie Driscoll; Jimi Hendrix, John McLaughlin, Led Zeppelin, and Eric Burdon. Those crazy stylish videos of the Brian Auger Trinity and Julie Driscoll playing "Wheels on Fire" will remain etched within my memory for ever. But today Brian Auger is once again fronting his jazz rock combo the Oblivion Express. Accompanying Brian in this incarnation of Oblivion Express are his son Karma Auger on drums, Mike Clairmont on bass and Alex Ligertwood on vocals, guitar and percussion. Alex Ligertwood hails from north of the border, and is best known as being the lead vocalist of Santana on several occasions during the period 1979 to 1994. He also performed with The Jeff Beck Group (1970) and was a member of Brian Auger's Oblivion Express in the early 1970s.
The concert took place in the beautiful and historic Gateshead Old Town Hall building. A respectable number of evening hipsters turned up on a cold Friday evening to groove away to the Oblivion Express' jazz rock fusion extravanganza. Auger's music is enjoying renewed interest and the audience reflected this, consisting of young and old; all keen to experience the sound of a band of excellent musicians. The material was unfamiliar to me, drawing from jazz greats including Jimmy Smith, Miles Davis abd Art Blakely, but nonetheless enjoyable. Auger's Hammond organ playing has lost none of its style and Alex Ligertwood's vocals were excellent. An enjoyable evening, spent experiencing some music which is a little different from the gigs I usually attend.


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The appointee will join an exciting programme of work funded by the UCL National Institute of Heath Research Biomedical Research Centre, through its High Impact Award scheme. The appointee will apply bioinformatic expertise to the late stage development of a new high density genotyping array designed to support drug target validation and related drug development issues; co-ordinate deployment of the array in a large consortium of highly-phenotyped cohort studies (the University College-London School of Hygiene-Edinburgh-Bristol consortium); undertake statistical analysis of the data; and play a leading role in writing manuscripts reporting findings arising from this work.
The post is based at UCL, but the work will involve collaboration with colleagues in Edinburgh, Bristol, the London School of Hygiene and Tropical Medicine, and the European Bioinformatics Institute at the Wellcome Trust Genome Campus in Hinxton, Cambridgeshire.
Key Requirements - The post would suit someone whose background is in genetic epidemiology, statistical genetics, or bioinformatics, particularly those whose expertise extends across two or more of these areas. We expect the appointee to have a PhD or equivalent degree. We are willing to consider applications from exceptional individuals who have only recently obtained their PhD degree, provided they can demonstrate the requisite skill. We place a strong emphasis on potential for independence and on supporting career development.
We particularly welcome female applicants and those from an ethnic minority, as they are under-represented within UCL at this level.
Closing Date - 12 Jan 2014