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How Stax Records Set an Example for America
Nelson "Little D" Ross talks soul and significance with music historian Robert Gordon
I've got soul, you've got soul
All the people in the world got soul
Soul is not something for just one race
It makes no difference what color your face
— Gene "Bowlegs" Miller, "Everybody Got Soul," 1969
Memphis' Stax Records in the 1960s and 1970s created some of the most funky, the most danceable and the most transcendent music of the 20th century. The list of hits and the roll call of artists who recorded at Stax rival the output of any musical entity in American history, including Berry Gordy's Motown dynasty. As the great Memphis soul artist Rufus Thomas put it, "Motown had the sweet. But Stax had the funk." North be sweet. South be funky.
Countless Stax hits became standards, not only within the soul music repertoire but also across the entire canon of American popular music.
At its heart, Stax's music was church-based. It was Southern through and through. That's what made it culturally distinctive. What made it socially significant, though, was its back story: the fact that both the music and the business of Stax were created by an integrated team in the late 1950s, working-class white and black people working together in quiet opposition to Jim Crow, right in the middle of the strictly segregated city of Memphis, the same city whose fathers chose to close public swimming pools rather than comply with the Civil Rights Act's directive to integrate them.
Writer and historian Robert Gordon, the author of "Respect Yourself: Stax Records and the Soul Explosion," was growing up in Memphis as Stax gained its first taste of national notoriety.
"I got interested in Stax because of the music — the way it made me move," he says. "When I realized, as a kid, it was from my hometown, it intrigued me more. Then when I was 15, I began to read more into the music. Like reading someone's palm, the songs told me about the culture all around me, the oppression, the freedom, the expression. I learned about myself as I Iearned the music."
Nelson Ross: Stax began in 1957, as you describe it, when Jim Stewart realized that across town, Sun Studios founder Sam Phillips had made a fortune selling Elvis Presley's recording contract to RCA.
Robert Gordon: And so it begins with Jim Stewart, a banker who was a white country fiddle player at night. He borrowed some money from his sister, Estelle Axton, and they bought some recording equipment and threw open the doors for people to come in and record. Jim Stewart didn't have to let black people in the door, but he did. And he didn't have to keep letting them in the door. And certainly society wasn't encouraging him to do that. And so I felt like I needed to remind the reader, as often as I could, that this world was changed by normal people, by everyday people, by the common man.
Ross: So Jim Stewart sets up a studio in a garage, raises some money to buy better equipment and moves the studio to 926 E. McLemore Ave., which is, I guess, where things really got started.
Gordon: Right.
Ross: Estelle Axton has the Satellite Record Shop in the front, which is a way to raise money for Stax, but it's also a way for her to keep in touch with the latest sounds. Meanwhile, in the back, you've got the recording studio. Talk about that, just about the atmosphere at the beginning when they were just getting going.
Gordon: Stax is just a reflection of Jim and Estelle. Jim is the type … he's quiet, serious, and he's working (at a bank) and has studio stuff at nights and on the weekend. He's got a day job and a family. Estelle is the face of the organization, and she hangs a speaker out in front of the record shop basically saying, "Come one, come all." So the kids in the neighborhood are flocking there because she had black music in her shop. William Bell was just a kid in the neighborhood when he got asked to sing backup on "Gee Whiz" (one of Stax's earliest hits, by Carla Thomas). And you know, word spread. If you hung out there, you might get discovered.
By 1965, Stax was doing well and had scored a few top 40 hits. Rufus Thomas' "Walking the Dog." William Bell's "You Don't Miss Your Water (Till Your Well Runs Dry)." Booker T. & the MGs' "Green Onions." The little Memphis label had grown strong enough to earn a deal with Atlantic Records to distribute its records.
In those early days, one of Stax's best friends was the African-American Memphis DJ Al Bell (née Alvertis Isbell). Bell spun records at WLOK and was a fixture in Estelle's Satellite Record Shop. Stewart had met Bell in 1959 when he was promoting the first single that Stax recorded for a black group, the Veltones. Late in 1963, Bell took a big-market job in Washington, but in 1965, Jim Stewart asked Bell to return to Memphis and join Stax as its promotion director.
Ross: Can you talk about a little bit about Al Bell, beginning with when Jim Stewart first brought him in?
Gordon: Well, when Jim has his (first African-American group) Veltones early on, he's got to go to the black radio stations to promote it. Al Bell was a black disc jockey, and he remembers meeting Jim there. Al makes a name for himself on WLOK and gets a job in an even bigger market in Washington. A couple or three years pass, and Stax is having hits. They are aware that their hits could be bigger if they had a promoter on staff, because they were relying on Atlantic but they realized that Atlantic promoted its own records first. Al is the one they think of, and they have to draw him back to town.
Ross: You write that Jim Stewart actually offered Al Bell equity in the company, a pretty bold act at the time.
Gordon: He was drawn by equity in the company and also by a return to his home and knowing that this was an enterprise he could help build.
Ross: I was particularly touched by the scene in your book of these two executives in Memphis in the 1960s, one black and one white, sharing an office.
Gordon: Yeah, Jim is on one side and Al is on the other, and they would share a desk. Not only were they going to share a desk, but they were going to share a telephone. But what doesn't happen is what Al feared — which would be that Jim would pick up the phone to make his call, pull his handkerchief out of his pocket and give the earpiece and the receiver a wipe-down to, you know, wipe off the black. And with that assurance and that sense of equality, Al Bell was off and running.
Every story that's ever been written about Stax correctly points out the enormous significance of the label's house band, Booker T. and the MG's — two young white country boys, guitarist Steve Cropper and bassist Donald "Duck" Dunn, and two young African-Americans, keyboardist Booker T. Jones and drummer Al Jackson. But the keen ears of the banker and founder Jim Stewart were another of Stax's secret weapons.
Ross: What was Jim Stewart's importance to the music itself?
Gordon: On the one hand, Jim was the luckiest guy in show biz. He created a studio, and it attracted great musicians. But also, Jim had the ear that determined when most of the records were finished. Duck Dunn thought the MG's were "playing our asses off," he told me, and he couldn't understand why Jim was looking so glum in the control room. But they'd keep playing until Jim was in there dancing, and sure enough, those are the takes that we all know today. So Jim set the standards and had the ears.
Ross: Horns were integral to the Stax sound. Stax music is just horn-driven, from the way they make the dance music more insistent to the way they sweeten the ballads.
Gordon: The horns are, on the one hand, replacing background vocalists. Stax didn't have ready access to a group of background singers, but they had horns. And the horns add so much energy. They're essential to the Stax power. Think about (Sam & Dave's) "Hold On, I'm A-Comin'" or "Soul Man" or (Otis Redding's) "I Can't Turn You Loose." Without horns, no way. The horns don't enter through our ears, they come in through our guts. They lift our bodies, they propel us to the dance floor. Gotta, gotta, gotta have the horns.
By 1965, Stax had developed what Gordon calls "a Midas touch." Almost everything the label released climbed the R&B charts, and many of its hits were crossing over to the pop charts. Atlantic Records, which was already distributing Stax's records nationwide, began to send its own artists to Memphis to record. From 1965 to 1968, Stax gave birth to a remarkable string of hits from Otis Redding, Sam & Dave, Eddie Floyd and many others. And during those years, the people of Stax were living in a world of their own making — one quite different from the world that existed outside their studio's doors.
Ross: There was this dichotomy going on. When they were in the Stax studio, it was an integrated environment, but then when they took the music on the road, they were back in the segregated reality of the time.
Gordon: It was a revolution, nothing short of a revolution. That's what makes this story so epic. They stuck to what they thought was right.
Ross: And they did have one place they could go for fun outside the studio, and that was the Lorraine Motel, which would soon become famous as the site of the Rev. Martin Luther King Jr.'s assassination.
Gordon: You know, Stax had no air conditioning, and so the guys would have to cool off. The MG's could make international hits together, but they couldn't go to a burger stand to be served together. But at the Lorraine they could. At the Lorraine, they could swim in the pool together unbothered. They could be served coffee and a sandwich at the coffee shop of the Lorraine. And the Lorraine was where Stax housed its visiting artists, such as Wilson Pickett. They had a good relationship with the owners of the motel.
Ross: But then, on April 4, 1968, Dr. King was killed there.
Gordon: Like Booker said, "It couldn't have happened any closer to us than to have happened at that motel."
Ross: Everything changed after that, right?
Gordon: Yes. Three events happened between late December of 1967 and April 1968 brought the company to a screeching halt. On Dec. 6, Otis Redding goes on a three-day weekend gig and his plane goes down. Not only do they lose Otis, but they also lose the Bar-Kays. The Bar-Kays are kind of the heart of his band, and they represent the next generation. They're kids from the neighborhood who had come into Stax and were adopted by the MG's. Then, a few weeks later, Atlantic is given an offer it can't refuse to sell itself to Warner Bros.
Ross: And you write in your book about how Jim Stewart, when Atlantic was bought, discovered that he had unintentionally signed away the rights to the master recordings of Stax's biggest hits when he'd signed his distribution deal with Atlantic.
Gordon: Yes. That's the second thing. For a company that had just lost its star, it just seems like unbearable news to learn. But it was there in black and white. Jim Stewart had signed away their catalogue. And then Martin Luther King gets assassinated at the Lorraine, which was their home away from home. So for all intents and purposes, the label is dead. The energy of the label is dead. Everyone here is crushed, but that's when Al Bell had new ideas.
Ross: Like what?
Gordon: Bell said, "Well, what do we have? We have a studio. We have artists. Let's create a new catalogue, let's find someone to finance us and let's rev the engine."
After the near death of his label, Jim Stewart retreated into a background role and left the management of Stax to Al Bell. Bell believed he could stage a comeback for Stax by transforming its sound from one based almost exclusively on Southern roots to something more universal. Bell brought in outside producers to help craft this transformation, but once again Stax found its secret weapon in another Memphis homeboy. His name was Isaac Hayes, who, as it turned out, was already tuned into psychedelic vibes that were rolling in from San Francisco. (Even though some of our younger readers might remember Isaac Hayes only as the voice of Chef on "South Park.") And Hayes was ready to give the love children a new version of soul music, something more overtly sexual than anything Stax had created in its early days.
Ross: Isaac Hayes was a big part of that second period, right?
Gordon: Al Bell had seen the power of Isaac in the studio as a producer and an arranger, so he says to Isaac, "You can do anything you want." And that's what Isaac wanted. He didn't want to record three-minute songs. He wanted to stretch out and do something different.
Ross: And that was the album "Hot Buttered Soul"?
Gordon: Yes. FM radio was opening up. People were getting into the late-night DJs who had the freedom to play an 18-minute song. All of a sudden Isaac Hayes catches this wind and soars to new heights.
Ross: That album had only four songs on it. One of them was an almost 19-minute cover of Jimmy Webb's "By the Time I Get to Phoenix," and Isaac himself was writing things with titles like "Hyperbolicsyllabicsesquedalymistic." And he became a symbol of black economic success.
Gordon: He was the modern image of the African-American male, bald, wearing these wild clothes and outfits, cutting these songs unlike anyone else.
Ultimately, the story of Stax Records is the story of the power of the individual to create social change. Jim Stewart, Estelle Axton and Al Bell created a positive, integrated working environment in an era where such arrangements were prevented by law. But even if that achievement is someday forgotten, the music will live on.
Ross: What are your favorite Stax songs?
Gordon: "Walking the Dog" always puts a smile of my face. All songs by Rufus Thomas put a smile on my face. Just thinking about Rufus makes me grin. I love the Staple Singers' song "When Will We Be Paid (for the Work We've Done)." It gets right to the core of 1968. They were moving from gospel to secular music but insisting on having meaning to their songs. It evokes the Memphis sanitation workers' strike and all that it accomplished, the struggle for equality and fairness. I love Otis' "I Can't Turn You Loose" because it's so funky, so powerful, so loose yet firmly directed. The MG's could play the phone book, and it would be poetic.
Ross: Why does this music matter so much to you?
Gordon: Music is the nectar of the gods. I love its invisibility, the way it travels on air, reaching everyone with ears. It's democratic. I liked it as a kid because, well, first, it was cool. But it was cool because it made you move. It changed the molecules in the room. All sound does. Look at music in films; the score changes everything. So I like music because it makes the world a better place, like flowers do. But then, the great discovery for me was that there was more: Music was cultural. Music leads to a culture, and if you begin to investigate that culture, there are stories, there are people. There's conflict and strife. Worlds exist inside a song, and I've been privileged to dig for those worlds, unpack them, dissect and understand them. A little like a scientist, but more like a preacher — sharing my excitement, sharing the feeling and the power.
Ross: And what was the power of Stax?
Gordon: Freedom of choice and the power of the individual. The greatest thing about Stax is that Jim and Estelle and Al were ordinary folks. They came from no great means. They had no more opportunity than anyone else. But they stood up for what they believed in, despite the fact that society thought that was a bad idea, that everyone around them thought they were wrong. Because of that, they brought much good into the world. They became epic heroes by ordinary events. And that's something we can all do, if we have the guts.


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Washington, DC
Claremont McKenna College Washington Semester Program (internship)
Academic Program
In addition to a full-time internship, students, pursue independent research and enroll in two government courses. Students receive a total of four Scripps credits. On-site orientation and educational fieldtrips included.
- Reviewed by: Professor Roberto Pedace
- Fields of study: American politics, international politics, legal studies with internships in various fields in government, non-profit organizations or media organizations
- Eligibility: 9.0 cumulative GPA; 3-5 courses in major; Introduction to American Politics course
- Size of the student body: Students are primarily from Claremont McKenna College, with others from the rest of the Claremont Colleges
- Number of program participants: 15-18
Living Arrangements
Students live in locally rented apartments shared with other CMC program participants and prepare their own meals.
Term Dates
- Fall: Late August to late December
- Spring: Mid-January to mid-May
- Advising Tips: This program requires a faculty reference. Faculty referees may use the CMC online faculty reference request system. Students should know that the internship is full-time, with a minimum of 40 hours per week. This often means that interns are given projects with a higher level of responsibility than may be possible in a part-time internship placement. The remaining classes are offered in the evenings and there may be occasional weekend obligations. Participants have several required meetings in the semester prior to studying in Washington to prepare for the internship application process.
- Budget Planning: Washington D.C. has a high cost of living so students should plan their budget carefully, particularly for local transportation costs to get to their internship placement.
|Previous: Washington, DC
|Next: Atlanta, Georgia

subset: commoncrawl


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text: By attending the classes and following the exercises the children learn about the routines followed of how to 'chill out' for their own wellbeing. They learn skills that will carry them through life's ups and downs. Learning to relax is a skill that needs to be learned, takes time and most importantly is an ongoing practise that is an essential part of our wellbeing.


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O'Donnell hits the national stage
Delaware GOP Senate candidate and tea party sensation Christine O'Donnell torched "ruling-class elites" and their "anti-Americanism," in her debut on the national stage Friday, encouraging the room of conservatives to lead a constitutional comeback in this year's midterm election.
O'Donnell's 17-minute speech before the Family Research Council's Value Voters Summit made no direct mention of her primary upset of nine-term Rep. Mike Castle Tuesday; it instead focused on the enthusiasm that's reinvigorated the conservative movement in the two years since President Obama took office.
Story Continued Below
"The conservative movement was told to curl up in a fetal position and just stay there for the next eight years, thank you very much. Well, how things have changed," O'Donnell said, to cheers.
O'Donnell, who defeated Castle by a 6-point margin despite sustained attacks on her misstatements and financial troubles – past and present — repeatedly chided "the ruling class" and championed "a rowdy revolution of reason."
"The small elite don't get us. They call us wacky. They call us wingnuts. We call us, 'We the people,'" she said to sustained applause. "We're loud, we're rowdy, we're passionate. … It isn't tame, but boy, it sure is good."
She also addressed the personal scrutiny and criticisms she has endured since her candidacy vaulted into the national spotlight just weeks ago, when she appeared to be gaining momentum against Castle in her third shot at a Senate seat.
"Will they attack us? Yes. Will they smear our backgrounds and distort our records? Undoubtedly. Will they lie about us, harass our families, namecall to try to intimidate us? They will. There's nothing safe about it. But is it worth it?" she said.
"Well, let me ask you. Is freedom worth it?" she asked, as the crowd chanted "Yes." "Is America worth it?"
She used her middle-class upbringing in New Jersey to briefly explain one of the most perplexing charges that has dogged her campaign — why it took her more than 15 years to earn her college degree from Fairleigh Dickinson University.
"I never had the high-paying job or the company car. It took me over a decade to pay off my student loans. I never had to worry about where to dock my yacht to reduce my taxes," she said, jabbing at Sen. John Kerry for dodging a six-figure yacht tax in his home state. '"And I'll bet most of you didn't, either."
O'Donnell argued that while Beltway elites are attempting to marginalize their movement, it's conservatives who represent the core of mainstream America.


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Went to Mobile Camp Boston 3, now part of Mobile Mondays. This was the first mobile event I attended. I love the location, MIT Tang Center, easy parking, 1/2 away from Starbucks. Was it useful? Not too bad. Found out there is life beyond the iPhone/iPad. (Not a lot, but a little bit..). The camp was short and the content was light. A lot of company selling services. Lawyers, even some VC's. The big surprises are (1) Verizon was here, as a sponsor as well as presenter, and (2) City of Boston was there, talking a little about the success of Citizen Connect and the proposed Innovation District of Boston. Given the history of Boston and land development, I have to be very skeptical about the innovation district. But that's another blog post. Main take aways?
- Location based social media is important (got me started playing with gowalla)
- Android development is easier technically, but
- AppStore is by far the easiest for deployment overall, when considering all the Apple testing and payment processing
- Verizon is waking up
- VCs are interested in this space (duh)
- while not sexy, Palm or Blackberry apps may make you more money
- don't forget "feature phones" can have some sort of "application experience" as well.
Oh, and I got to play with an iPad, very impressive, confirmed everything I thought about it. Now I only wish I bought one.


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Administrative Burdens
Lost Productivity
Labor Replacement Cost


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A workshop for teachers who want to create thoughtful + intelligent class using the power of rhythm + music.
Whether or not we're aware of it, sound is having an impact on us in our daily lives. As teachers, we have an opportunity to create a space that consciously uses sound, voice, music, silence and thoughtful instruction—giving rest to the usual noise of life.
Music and sound combined with yoga is simply a pathway that can be used as a powerful, motivating, and enriching tool in class. Equally important is the skill of teaching in silence. If we remain attached to either, we may lose the gift that each holds.
In this workshop we will explore:
- how music is a universal language that inspires connection
- how to sequence a class, combined with a well ordered music
playlist, to create a journey
- your theme, your style of teaching, and what mental and energetic
state you want to inspire
- how to work with live musicians in a balanced and insightful
- how music and sound can help focus the mind into the present
moment, reduce stress/anxiety, uplift/soften mood, and steady the
flow of breath
- how music can have a positive or an agitating impact depending on
whether or not your playlist yolks with your voice and sequence
- how the vibrational 'sound' of both music and silence can work
beautifully together, making you a more versatile teacher and an
empathic guide in any setting
- the power of using rhythm, melody and harmony as a metronomic
tool for your voice and the pace of your sequence to offer your
students a powerful shift and a sense of freedom in their practice


text: While the idea of consuming testicles of any kind is sufficiently gag-worthy in and of itself, Fear Factor once again outdid itself by ensuring that the testicles served up to its poor, poor contestants are that of a buffalo. (Who knew those guys were packing so much heat?) Furthermore, the process of eating these bad boys is quite involved, requiring that contestants peel them before consuming them. It makes the whole thing a real dining experience, you know?


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Best Made Videos® WeddingWire Rated™ Black Badge
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Throwback Thursday - The Weirdest Accessories Volume 1
Companies love to make video game accessories to cash in on a system's popularity at a particular given time. Today we take a look at a few of these such anomalies in volume 1 of our "Weirdest Accessories" series.
1. The Aura Interactor
Essentially a vest with speakers, this product launched in the early 1990s at the height of the 16-bit era. Marketed directly to Super Nintendo and Sega Genesis users, players could "feel the action" while wearing this. I picked one of these up at a garage sale a few years ago, it is beyond bizarre. Works best with Mortal Kombat. The speaker essentially amplifies parts of the sound effects channel from the game system and the vibrations rock your body throughout. Really it feels like you were standing too close to a speaker at that one concert you went to in college.
2. Blob Light for Game Boy Color
The Game Boy color system brought Nintendo portable gaming out of the monochrome world but for got to include the one thing that the Sega Game Gear did right, a back light. A cost cutting and battery saving measure for sure, this still required gamers to play in adequate lighting. Many different accesories solved this problem with magnifiers, or "Worm Lights" which resembled book lights for reading. Another approach was to target the 6-12 male demographic with the gross looking Blob light. Nothing screams cooler than a slime monster growing on your Game Boy Color.
3. Lara Croft Memory Card for PlayStation
Sony and Nintendo were all about the memory card add on for their systems in the late 90's. Everyone had to have a memory card to save your season in Madden or mark your place in Resident Evil 2. Tomb Raider had three successful games on the system when this oddity was released, the official Lara Croft memory card. Someone thought that Lara was so popular that they should recreate her from the waist up in memory card form. It's also a "Collector's Edition" and only 200,000 were made. Fun Fact, this should still work in your PlayStation 3 today with your PS1 Classic games.


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A brush with fame - Nicholas Sparks/
This past Sunday I went to Barnes & Nobles to hear Nicholas Sparks speak. (He's the author of numerous best sellers including "The Notebook," "Message in a Bottle," and "A Walk to Remember.") I had to park about a 1/4 mile away from the store and it was standing room only. Wall to wall people which, not surprising, were 95% women.
He'd been there signing autographs since 10 and his talk was at 2 and he continued signing after that so I can only imagine the wrist pain he must experience daily from a tour like this.
In order to be seen, he had to stand on a table in the already raised cafe seating area. To be heard, he was miked. (Compare this to a "normal" author signing where it's considered a stellar day if you sell 10 copies).
He gave us what I'm sure is a standard schpeal, but he was engaging and funny (and just as cute as his author photo) so no complaints. He talked for about 10 minutes and then took questions from the audience. I especially liked his answer to two of them:
One woman said she was a writer and how did she get an agent? For you non-writers reading this, this is like going to a paint store and saying, "I'm thinking of painting my bedroom. Where could I find some paint?" Any novice author worth his/her salt has done enough research to know the answer to this question. And I liked that Sparks handled the question by being polite, but blunt. "When I wanted an agent, I went to Barnes & Nobles and found a book called 'How to Find a Literary Agent' and I followed the instructions, " he said. "You write a letter and send it out. No magic. " Then he asked for the next question.
Someone asked him when the next movie made from his book was coming out and he said not for awhile, because New Line Cinema was trying to low-ball him. The audience laughed, and he did too, but then he said, "I'm not holding out because of the money. I don't need more money. I'm holding out because if I don't make them value the picture upfront by what they're investing in it, they won't give it the attention they deserve. If I sell cheap, someone may just say, 'Ah, let's just make a TV movie out of it.'" Sparks shook his head. "No. No. If you're going to do it, do it right. And that's why I'm holding out."
I took a few pictures but they didn't turn out, although if I had bothered to get the gentleman's name standing in front of me, I could send him a lovely close-up of the back of his head.
All in all, it was eye-opening to see how a big-name author handled his fans. And a glimpse into the "famous life" so many of us authors crave is not all roses. I thought his day sounded exhausting and not especially fun. Plus, there were 300 fans all trying to get his attention and talk to him and have a "moment" while he signed their book. I think that would just be completely draining.


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The highly anticipated return of Canadian folk artist Feist has arrived, as has her first music video in years. Dropping the track "Pleasure," which doubles as the name of the solo artist's upcoming fifth studio album, Feist made her official return to the charts on March 17 and not a moment too soon.
Directed by photographer Mary Rozzi, "Pleasure" keeps the focus on Feist, who performs to the camera and a mirror in a small studio space.
Starting off the video wearing a bright coloured brocade jacket, Feist takes advantage of the dizzying filtered effect to give viewers the illusion of being in a fun house. The video morphs and moves along with her, who at times looks like she's performing under water, continually engaging the camera with her organic movements and commanding performance.
In addition to lead single "Pleasure," Feist recently released the more radio-friendly "Century," a high-energy rock-fusion track that builds throughout, offering listeners a vehicle to release feelings vicariously.
The new single, released on April 6, features vocals from Pulp frontman Jarvis Cocker, who gives a spoken-word performance breaking down the length of a century following a drop in music at the song's halfway point. Following Jarvis' delivery, Feist re-enters the track as the music begins picking up again before abruptly ending mid-note, a move that will surely have many listeners double checking whether the song is buffering.
Feist will kick off her upcoming tour in Toronto on April 27, one day before her album drops. In addition to her tour, Feist will also headline Field Trip in Toronto, where she'll play alongside A Tribe Called Red and Phoenix, as well as Canadian indie super-group Broken Social Scene, which boasts Feist as a member.
Broken Social Scene also recently debuted "Halfway Home," their first single in seven years. The new song, which features Feist, acts as the lead single to the band's upcoming fifth album, their first since 2010's Forgiveness Rock Record.


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Federal and state regulations regarding Health Information Exchanges (HIEs) and Health Information Technology (HIT) are still being defined. This uncertainty presents new opportunities in health care, as well as a variety of legal issues that crop up when patient information is managed or exchanged digitally. We have the hands-on experience and deep regulatory knowledge necessary to help our clients address those concerns, protect their assets and maintain high standards of quality, safety and efficiency. And our deep bench of legal counsel means we can offer a full spectrum of services in this sector, including regulatory advice and intellectual property and nonprofit organization counsel.
We work with Regional Health Information Organizations (RHIOs) and statewide Health Information Exchanges (HIEs) on corporate formation and governance, privacy and security compliance and implementing gateways for electronic prescribing and interoperable electronic health records. IT developers and end users face other unique issues and we counsel them in network security, privacy and identify theft concerns, regulatory compliance, and insurance issues and help them build thorough business associate agreements and vendor contracts.
Buffalo Law Journal | July 09, 2018
Albany Health Care partner Laurie Cohen is quoted in this article discussing how state and federal guidance are encouraging patients to be more engaged with their health records, and outlining instances in which minors can withhold health information from their parents.
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Rochester Corporate group associate Jenny Holmes contributed this article to the quarterly magazine for Westminster Consulting, discussing why benefit plans are inviting targets for would-be data thieves, and what plan administrators need to do to protect personal data.
Modern Healthcare | April 02, 2018
Providence health care partner Chris Browning is quoted in this article on the advantages for hospitals that move to a single shared electronic health records platform.
CNBC | November 16, 2017
Los Angeles health care partner Jill Gordon, who this article identifies as a "top lawyer" in the digital health space, provides in-depth commentary regarding the three common practices she's seen among health technology startups that may violate medical regulations and what companies should be aware of to avoid costly penalties.
Family Practice News | July 16, 2017
Chicago health care associate April Schweitzer is quoted in this article about the challenges for establishing clinically integrated networks and how hospitals and physicians can overcome them.
Health Care Alert | 08.21.19
NP Privacy Partner | 08.16.19
NP Privacy Partner | 07.19.19
NP Privacy Partner | 06.13.19
HIPAA Law Alert | 12.13.18
NP Privacy Partner | 06.07.18
Health Care Alert | 05.21.18
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Originally recorded November 7, 2017 | 11.14.17
06.11.19 | Manchester, NH
10.11.17 | Webinar


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Not many debuts get a starred review from Kirkus, but NO CASTLES HERE (USA, UK, Canada) by A.C.E. Bauer is one of them.
AUGIE BORETSKI KNOWS how to get by. If you're a skinny white kid in the destitute city of Camden, New Jersey, you keep your head down, avoid the drug dealers and thugs, and try your best to be invisible. Augie used to be good at that, but suddenly his life is changing. . . . First, Augie accidentally steals a strange book of fairy tales. Then his mom makes him join the Big Brothers program and the chorus. And two bullies try to beat him up every day because of it. Just when it seems like things can't get any worse, an ice storm wrecks Augie's school. The city plans to close the school, abandoning one more building to the drug addicts. But Augie has a plan. For the first time in his life, Augie Boretski is not going down without a fight.
A.C.E Bauer is part of the Class of 2K7 website, a unique site devoted to children's authors who debuted in 2007. I've been frightfully neglectful of this site, but no more; the debuts for the rest of the year are on my calendar. I am eagerly awaiting the 2K8 site, which I know is in the planning stages from my correspondence with another author. Anyway, A.C.E's 2K7 profile page is here. She also has a blog, which she calls an unblog.
Random House has an online excerpt. I found a short review at Books4Ever, and an article at WTNH. Plus, the author has an interview (with each question in separate posts) at 2K7.
Monday, October 29, 2007
NO CASTLES HERE by A.C.E. Bauer
Not many debuts get a starred review from Kirkus, but NO CASTLES HERE (USA, UK, Canada) by A.C.E. Bauer is one of them.
Posted by Tia Nevitt at 8:52 PM
17 comments:
- Scifiwritir said...
The book sounds good but I'm wondering about a blurb like "Skinny white kids keep their heads down." I wish they'd change the blurb because black folks in the hood are surely gonna wonder about the implicit stereotyping going on here. It's somewhat offensive. Honestly, skinny white kids in the hood generally DON'T keep their heads down. By kindergarten every kid --white or black-- is part of the neighborhood and they all get along. I live in the hood and white kids and black kids in the hood --places like Camden, for instance-- and I know that. Generally they all get along quite well and white kids don't walk around in fear. They are usually always included as part of the neighborhood. It makes me wonder if the author knows about living in black neighborhoods. And actually, it's generally the black kid in a white neighborhood who walks around holding his head down. Not the other way around. Black folks tend to be pretty inclusive when it comes to neighborhood kids. -C
- October 30, 2007 at 10:17 AM
- Tia said...
Good points! Now that you bring it up, I'm a bit surprised that they wrote the blurb that way.
Your post reminded me of a friend of mine who grew up in Boston. He was bussed to Lexington during the 70s. The experience was generally positive for him, but he did get accused of a crime once, because he was the only black kid around.
- October 30, 2007 at 10:42 AM
- Moondancer said...
I have to be honest here, I'm torn. I do think the blurb could have been worded better, but I also see some connection to what she seems to be expressing from our experiences in Milwaukee.
I'm raising a skinny boy (don't know where he got the skinny genetics from), who even though he is part Indian, with his blond hair and blue eyes is considered white by most people he deals with. Image and the visual is everything around here. Yeah, he loves everyone. it's just his nature. He wants to be friends to anybody, no matter the color of his or their skin. Does he get victimised for it? You bet.
Part of it is he's just different from most of the other kids. As the only non black kid in our neighborhood, that's only a minor difference most times. He isn't as aggressive as most of the other boys.
Maybe that's why he hangs with girls more. He's very gentle natured, even though he tries so hard to fit in with the boys, often he doesn't. As the only non black kid on the bus, he has been a target for years. Is that the reason they pick on him, maybe. They do not allow parents to ride the bus here, so I can't know for certain.
It was never like this when he was younger. When he was 4,5,6, the kids didn't care. he always had someone to play with. At school the kids seem to segregate themselves and often he's frustrated as he became more excluded as he grew older. My son is an amazing kid, he kept trying, and little by little seemed to break some of the race barriers the older kids put up. But not all kids are that stubborn/persistent.
I hope my son and daughter will never walk with their heads down. That shows a lack of self pride as well as targets you as a victim to predators that do exist (no mater their color). Bullies are real. Being small and skinny does often mean you have two choices. You lean to fight, or to hide. I was small, and I chose to fight. My son will not defend himself, however he will defend his friends. Again, my son is spacial, he has the support of his family and a four year old sister who has been known to go feral on some bully to defend him (shakes head). Not all kids are that lucky.
Moon (JMI, though perhaps a wee but wordy, I am on a writing binge today...two more days!!!!!!)
- October 30, 2007 at 12:15 PM
- CaroleMcDonnell said...
Moon, I love you but you are a noble soul and like many minority writers you bend over backwards to give some folks the benefit of the doubt. Maybe I'm a triffle too paranoid but questions i'd ask the author:
Has she ever been to Camden? By the way she obsessively names the city streets I can only guess that she's never been there at all but did a lot of so-called "research" and added it to horrible gang stories she found in the media.
Where the heck did she get the idea she has of Camden? Who says it's destitute? Compared to where?
Many cities, destitute or not, have plexiglass bullet-proof cages. Many cities, destitute or not, don't have them.
Has she ever met any skinny white kid from an inner city?
Are there white folks in these Camden gangs she's created?
If the oppression of the white race and white flight is not the subtext of the book, why didn't she just make Augie a black character?
Why does she have Augie kid "accidentally steal" a book? Can't the kid return it? Or do only white kids accidentally steal?
A blurb is an advertisement. And blurbs advertise to a certain kind of person. And it uses certain sound bytes to attract the attention of certain readers.
Here, the implicit assumption going on --one which the author, the publisher, and Kirkus seem to believe-- is that only white skinny kids actually would read this book because only white kids read.
The book doesn't seem to want to attract skinny black or non-white kids. There's a subtext of white flight going on here.
The blurb doesn't read: "Augie THINKS that because he's a white skinny kid yadda yadda." The blurb is in a kind of omniscient POV that assumes the reader of the blurb and the writer of the blurb (and the author) all share the same TRUE viewpoint.
This Augie character, simply BECAUSE of his fear of black kids is kinda perpetuating the alienation himself. And let's be totally honest here. This is Camden, NJ. How is he the only white kid in Camden NJ? The blurb exaggerates white fear in that Augie seemingly has noooo other white kid or companion to deal with.
I'd read the book to see if Augie has a foil, some other skinny white kid who has no problem connecting to everyone else in the story.
But the book doesn't seem to be inviting black folks to read it.
- October 30, 2007 at 2:21 PM
- Moondancer said...
Those are all fair questions. I myself would be interested in seeing what A.C.E. has to say about them. I know what a research junkie I am. I think its sooo important. I can't tell ya'll how many badly researched novels I have read with sterotyped Indians in them, even nowadays. I can completely understand the concern.
- October 30, 2007 at 2:26 PM
- CaroleMcDonnell said...
Totally comprehend. I freak out when folks get stuff wrong. You ought to see the way I gag when some movie person decides to make autism a kind of mystical illness.
And as for the hood, I think life in the hood is wonderful...very homey. All groups getting along. Arabs, blacks, hispanics, whites...everyone getting along. All the hispanic guys calling all the older women mami. All the black guys calling all the women Sister or Moms. All the Arab, Chinese, Hispanic, and black shopkeepers calling everyone Mom, Dear, Sweetie. Kids of all colors riding down the street on their bikes together. I don't live in Camden but if it's a hood, it's probably a lot like my town.
- October 30, 2007 at 2:41 PM
- Tia said...
In the author's interview, she answers a question on setting:
Here it is.
Keep in mind that the author probably did not write the cover blurb.
- October 30, 2007 at 3:51 PM
- Moondancer said...
Thanks Tia for the link.
As far as the blurb, I know a lot of authors, some with small presses and some in the larger NY houses, and all of them write thier blurbs, and then the blurbs are approved by the publisher and PR dept. Just my expeience.
- October 30, 2007 at 3:58 PM
- Moondancer said...
Carol I so want to live in your neighborhood. We are a very industrial area, and people are just not as friendly as they were when I was growing up, I miss that.
- October 30, 2007 at 3:59 PM
- CaroleMcDonnell said...
Yep, Tia. Authors often do write their own blurb generally. And then the marketing person tweaks it and/or approves it. And then back to the blurb writer again...until all is approved.
- October 30, 2007 at 7:26 PM
- CaroleMcDonnell said...
20 years ago? A long time ago to be judging a city as dangerous and evil.
20 years ago? As a law student. A former law students from a middle class family is remembering her four months 20 years ago when she worked with innercity folks. Is she kidding? I suspect if I came from a world which could afford to send me to law school and entered even the most normal city and ONLY worked with the seedy side of the population I'd have weird ideas about a town too. Camden is one large town. And she met all the baddies for four months. Twenty years ago. Nah, it doesn't work for me.
- October 30, 2007 at 7:30 PM
- CaroleMcDonnell said...
You'd like my town, i think. We have issues, mind you. It's been interesting since the influx of hispanics but everyone's learning to get along.
That's another thing I wonder about when the author writes about Camden. Does she have a world with Hispanic people? Many formerly African-American cities and working class towns now have a large Hispanic population. Some towns are even more hispanic than african-american. Twenty years ago our town was 60% black. Now we're about 30% black and 30% Hispanic and 40% white. Honestly, I don't trust anyone writing about a town they haven't seen in 20 years...and one they saw only for 4 months in a limited capacity.
- October 30, 2007 at 7:34 PM
- CaroleMcDonnell said...
It's funny...many people live in these mythic past...and don't realize that the hispanic influx has changed the make-up of many formerly primarily African-American cities. Actually some folks still live in the mythic future. They write about future cities as if only blacks and whites will exist in them. Okay, they might have the odd Chinese person or the odd Native American but they don't seriously think about how the multicultural changes will affect cities. I suddenly realized I had to really changed a lot of the ethnicities of the folks in Daughters of Men because I was in some stupid old-fashioned mindset that didn't acknowledge cultural changes happening in urban areas.
Frankly i don't like the subtext of urban warfare in the blurb. White flight. Etc. And again, the blurb seems to say that she herself sees the world that way...not the main character. Perhsps the blurb is just badly written but one would think they would care about such things.
- October 30, 2007 at 7:55 PM
- Moondancer said...
I admit that 20 years is a bit much. I can only hope she did some current research before withing such a deep setting in a real place. I'll say I have set storys in places I have never been, but I did visual research (pics, maps), talked to people who lived there, and one thing I did everytime was get a current census (or one for the year the story is set it). The cultural makeup of a town is a HUGE factor in how the town runs day to day.
- October 30, 2007 at 8:02 PM
- Tia said...
Wow. Maybe I ought to try to get a review copy. Or at least try to find someone to do a guest review. We'll never really know unless we read it, after all!
- October 30, 2007 at 8:21 PM
- Ruth McNally Barshaw said...
Chiming in as a friend of the author: Reading it is a good idea -- I suspect the book is a bit different than you think.
I agree that the implicit stereotyping of the original blurb is offensive, and am glad to see the author didn't write that, and in fact lobbied to have it changed.
I didn't write the blurb on my book; my editor did. I had a chance to put in my opinion, but every publisher does things differently.
I sympathize with the author. I hate being misunderstood; I can imagine this is a bit unsettling to her.
But even though this post raises a controversial issue, I'm so glad to see Bauer's book mentioned and discussed. It's hard to earn a star rating by Kirkus. That's an impressive debut. :)
- November 1, 2007 at 12:52 AM
- Tia said...
Thanks for stopping by, Ruth! I hope you saw the followup post here. And I'm glad to hear about another author's point of view on blurbs.
I looked at your website . . . a writer and illustrator? Very impressive! I have a daughter that is getting very close to the right age! :)
- November 1, 2007 at 6:13 AM


text:
While the Pikmin are plain adorable, it isn't all fun and games, bad things will happen.
- Ever heard the song Ai no Uta? The one that sounds "cute" and "calming"? Yeah...that's only if you don't know what the words actually mean. You can hear a fairly literal English cover here. The lyrics are a complete Player Punch to the gut, especially the last line, "...but we won't ask you to love us."
- The song is just more heartbreaking/heartwarming as you analyze it. The Pikmin are doing this all because they care so much about Olimar and want to help him. So badly that they'll put themselves into danger, fully knowing that some of them will die, just to help Olimar. And they want nothing in return, not even Olimar's love. And they even strive to try harder. The Pikmin are the most selfless creatures ever, and they don't even ask for recognition.
- The counterpart to the above song, Namida Ga Afureta, is just as heartbreaking. Translated to 'Tears Overflowing', the song is in Olimar's point of view, who regretted that he could never truly express his gratitude and love to the Pikmin he owed his rescue to at the end of the first game.
- Of course, given that in the sequel he really had all the time in the world, this leads to Fridge Heartwarming for Pikmin 2.
- The opening of Pikmin 2 is just rather tragic for poor, poor Olimar. He just barely managed to escape from being stranded on a Death World with a poisonous atmosphere and hungry predators, and as soon as he gets home what is the first thing that happens to him? He almost loses his job, his company is bankrupt, his ship (the same one he worked so hard to rebuild) is taken away from him, and he is forced to return to the dangerous planet that he almost died on! It's much worse when you remember that in the first game Olimar was mourning that he might never get to see his children again, and in the sequel he never has the chance to reunite with them before being sent away once more.
- If you let yourself get attached to them, a single Pikmin death can be this.
- When a Pikmin dies its soul floats away with a depressing half moan half wail.
- The White Pikmin are just plain adorable and are happily skipping in the Pikmin selection screen, which is upsetting when you remember that one of their secondary uses is to be sacrificed to poison an enemy. The happy-go-lucky little fellows might as well about to be tossed to the hungry monsters as live bait and yet they're just so tragically, innocently cheerful.
- In Pikmin 2, when Louie is lost on the planet after being left behind, his dad keeps on sending mail to him, worrying about him and asking why he hasn't been replying to his messages.
- The Mamuta in a way. They're actually described as peaceful, flower-loving creatures that actually help your Pikmin gain flowers, so killing them seems a little bit cruel.
- Did you forget any Pikmin out in the field at the end of the day? If so, you're treated to cutscene of the left behind Pikmin being chased and eaten by the area's predators. Or even more heartbreaking, the remaining Pikmin desperately trying to make it back to the ship as it takes off without them... and it becomes worse in the third game, where they are given unique cries in panic when this happens.
- Bulbmin. Sure, they're part nightmare fuel, but think about it. You kill their leader and then they turn to you. You use them along with your trusted allies, and they get you out of tight spots...then, you abandon them when you leave, and they just look up at you and frantically swarm the geyser... what happens to them?
- Given that Louie has a bulbmin recipe in his notes, it's implied he cooked and ate their mother after killing her!
- That is, unless you throw them into a Candypop Bud and change them into a Pikmin you can bring above ground.
- Pikmin Extinction. This occurs when you lose every single Pikmin you have and having none left in the Onion. Hundreds of little plant creatures... and you're responsible for them all dying. Feel bad yet? Olimar certainly does:"The Pikmin have all perished because of my own carelessness. I am an utter disgrace as a leader... How can I continue to collect parts without them? Still the Onions join me in low orbit, as if this Pikmin extinction had never happened. I shan't sleep tonight..."
- The credits to the first Pikmin, arguably.
- The third game's credits could also qualify, especially for one who grew up with the first two Pikmin games.
- Some of Olimar's Voyage Logs."I wonder if I shall ever be able to escape from this world. How much suffering must I endure before I can finally see my family back home again? Still... When my heart grows too heavy, I take comfort in my efforts. I will get home... or I will expire trying."
"I have been stranded on this planet for some time, and I have grown used to my life here. At times, I even find it quite bearable. I know that as soon as I return, I'll once again be subjected to daily ridicule by my despicable boss... If only I could be a Pikmin... NO!!! I must not think such thoughts! I have a family! I will not give up! Ever!"
- Day 24:
"At this point, I no longer care what happens. Surely, not even a last-minute push can guarantee my success. Now that I think about it, my wife always said that I gave up too easily... what does she know, anyway?! When did she become a licensed psychiatrist? ...now I am upset. I guess I will just go to sleep early tonight."
- Day 25:
"I suppose I have done well to get by without much motivation. I have made it this far without any hope."
- Day 28:
"I am so very tired."
- If you have less than 25 parts by day 30, Olimar manages one sentence:
- If you lose a large amount of Pikmin in 3, Captain Charlie may make a diary where he holds a moment of silence, then says that watching a soldier perish is something that you'll never get used to, but you have to carry on anyway.
- The Golden Ending of the first Pikmin can be pretty emotional, watching Olimar bid the Pikmin farewell as they look on sadly.
- Think Olimar gaining control of the Pikmin ruined their lives? This fan video might make you think again. It begins with a large crowd of Pikmin together simply relaxing, messing around, or even falling in love. Then a mass of Bulborbs attacks and drives them away. It only goes downhill from there. Sheargrubs eat some, a group of four is cut in half when a Snitchbug carries two away, and it's cut down to only a pair of Pikmin. Music begins playing as they finally find nectar, implying that things might start going another direction... before a Burrowing Snagret eats one of them. The last Pikmin runs in panic, finally resting to look up at the night sky all alone and think back about all of the previous tragedies. Wait, night? When the creatures get more active? It finds itself surrounded by a number of predators, before the camera zooms out to reveal a certain crashed ship. It's very slightly implied that the race somehow survived to make the Onions Olimar would later find and use to help rebuild them, but still, damn.
- After spending the whole second game with the Jerk with a Heart of Gold Hocotate ship, it was pretty jarring to see it broken and silent in the ground in Pikmin 3. One can only hope they eventually dug it out and repaired it.
- Brittany's notes on the Tremendous Sniffer (a pear). She at first compares the texture to her Aunt Bea, and likens the fruit's shape to that of her aunt's nose. After a brief tangent about her aunt's nose...Brittany: I miss my aunt. I want to go home.
- Let's talk about Emperor Bulblax for a bit. He's the final boss of the first Pikmin game, and any attempts to throw troops at him result in them harmlessly bouncing off. So how do you kill him? Well, there are a bunch of bomb rocks, and a yellow flower nearby... If you hadn't guessed yet, the way to beat him is giving your yellow Pikmin bomb rocks, and then throwing them at the Bulblax to eat. It's not a very sad moment if you don't care about your Pikmin, but if you do, it's unbearable. It is possible for the Yellow Pikmin to throw the bomb rock before the Bulblax can eat them, but it requires very good timing.
- The Dolphin. Olimar prizes her dearly and helped design her. During a delivery the Dolphin is cast into the atmosphere of PNF-404, breaking apart and plummeting to the surface. Olimar and the Pikmin spend weeks frantically searching for the Dolphin's scattered parts, toiling to tear down walls, build bridges, battle enormous beasts, recover the parts, and carry them back to the stricken ship. In the process dozens or even hundreds of Pikmin are eaten, crushed, buried, drowned, and burned alive as they dutifully soldier on without protest. A month later the Dolphin is finally reassembled and repaired, returning Olimar home safely... Only for the ship to be unceremoniously repossessed by loan sharks due to financial incompetence and a co-worker who can't stop devouring everything in sight. Even worse is that these blunders force Olimar to return to the Death World he spent the last 30 days on.
- We can take comfort that Olimar doesn't seem too shaken up over it, seeing it as an opportunity to study PNF-404 while making enough bank to buy the Dolphin back.
- Pikmin 3 sees Olimar returning to PNF-404 yet again... this time working to salvage enough treasure to be able to buy back his beloved Dolphin.
- We can take comfort that Olimar doesn't seem too shaken up over it, seeing it as an opportunity to study PNF-404 while making enough bank to buy the Dolphin back.


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Organic India's TulsiOriginal Tea is an effective mood enhancer, which will make you feel calm and refreshed. This tea contains 3 varieties of holy basil making it an abundant source of antioxidants which helps treat various disorders and ailments.
Detailed Description
Tulsi tea from Organic India is a fragrant, caffeine free and delicious health drink containing 100% organic ingredients. The perfect blend of tulsi will refresh, calm and energize you. In addition, it enhances your immunity and helps in preventing various health problems.
Why caffeine free?
Caffeine is known to have various adverse effects on the body. It affects the normal functioning of the body, causes insomnia, nervous and stomach problems, increases heart rate, etc. Caffeine free drinks not only relax you but also energize your mood and body, making you feel refreshing.
Why 100% Organic?
Organic ingredients contain zero pesticides. Hence,this tea enhances your health state without any chemical build up in your body.
- Rama Tulsi: It is the common green coloured tulsi that relieves stress effectively and helps manage common respiratory problems like cold etc.
- Krishna Tulsi: purple coloured tulsi leaves that helps to treat various respiratory ailments and is used to strengthen the body.
- Vana Tulsi: the bitter tasting wild tusli is an effective adaptogen and relieves mental stress effectively.
This Original tulsi tea of Organic India has an array of health benefits:
- Relieves stress
- Improves mood and clarity
- Boosts immunity and improves stamina
- Relieves cold and flu like symptoms
- Stabilizes metabolism
Add boiling water over the 1&2 tea bags in a cup and infuse it at least for 3 minutes. Prepare ice tea by infusing 2&4 tea bags in a cup of boiling water, chill it and serve with ice. For maximum benefits, drink this herbal tea 3 &4 times a day.
Approximate Composition
- Tulsi (Holy Basil)
- Vana Tulsi
Helps In
- Weak Immunity
- Stress
- Indigestion
- Improper Metabolism
- Cough
- Common Cold
Recommended For
- Traveller
- Sedentary
- Junk Foodie
- Workaholic
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On A Rail[edit]
Now, this achievement is easier to get than it seems. Your best bet is playing the game on 'peaceful' difficulty. That way, you can work through the night if need be.
The first thing you'll want to do is explore. Sounds simple, but ideally you want the whole map uncovered. If you don't want to discover everything on your map, then this achievement will settle for 1 side of the map - top to bottom. now go and find a nice big mine with lots and lots of Iron Ore to mine. It will take 198 Iron Ingots to create a 500m track, but its best to have more, just in case. You will also need 5 Iron Ingots to build a Minecart.
When you have enough Iron, build your Rails and head to the side of the map you uncovered. It is best if your map is icy because, while you can't place rails on Ice, you can place Dirt or other Blocks on it. So what you want to do is make a line of Dirt, no corners or bends, along the edge of the map. this will ensure that it is 500m in a strait line.
Now you have two options, either use a Coal powered Furnace Cart to push you along, or you can create some Powered Rails using Gold and power them with Redstone Torchs to propel yourself along. The achievement should pop.
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After about three months of closure, coal extraction work has been resumed in Barapukria coal mine of Parbatipur in Dinajpur.
The coal extraction on experimental basis is stared from the 1314 no phase of the coal mine on Friday night, informed an official with the Barapukria Coal Mining Company Limited.
He said, at present it will be possible to extract 1000-1500 tonnes of coal on a daily basis. But it will increase gradually. The official said within the next 10 days, the commercial extraction work will start.
The extraction work of the mine had stopped after the coal at 1210 no phase ran out in June 16. As the coal ran out, the electricity production at 525 MW coal power plant in Barapukria went out of production from July 22.
The official informed that authorities concerned have been doing everything to resume operation in the three units of coal powered plant which went out of operation because of coal shortage.
Complaints of surreptitiously selling coal was raised even though the coal reserve was on the wane. Later Anti Corruption Commission investigated the matter.
Editor & Publisher: Aminur Rahman.


text: It was Labor Day Weekend 2014 when 24-year-old Desmond Moore left home to meet some friends at a local Pizza Hut in Gautier, Mississippi. Desmond never made it to the Pizza Hut and was never seen again. Ever since Desmond went missing, his mom, Delaina Moore, has been searching for her son and also fighting to get the police to take an interest in his case.


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GENRE: Pop Rock
AUDIENCE: Ages 16-25
PLAYED TO: 50,000+ in 2017
SYNC: NASCAR Heat 2 video game
Written In Kings strive to bring the party!
Written In Kings are a Welsh rock band that have a hunger and passion to reach people globally with a story that has grown throughout their journey. Their music exudes passion as they derive inspiration from the greatest British rock history from The Rolling Stones through to Royal Blood, The 1975 and Bring Me The Horizon.
Everything WIK strives for is excellence, whether it is in live performance or recorded music, the hope is that it will change your world, even if just for a moment. Influences for the band's culture and music are Switchfoot and Needtobreathe, however, they seek to stretch this revolution even further as their rebellion continues to tear down boundaries.
Written In Kings have been BBC Radio Wales' artist of the week and are featured on UCB, Premier Radio, Relevant Magazine and TBN TV, to name a few, as well as playing at the UKs leading Christian Festivals. The band have an intense work ethic and are continuously seeking the next adventure; both in music, business and community.
For bookings or enquiries contact email@example.com


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Print Description
The urban plan for Washington, D.C. - the L'Enfant Plan - was developed in 1791 by Major Pierre Charles L'Enfant for George Washington, the first President of the United States. L'Enfant designed a compass-aligned grid for the city's streets, with intersecting diagonal avenues that were later named after the states of the union. The diagonal avenues also intersect with the north-south and east-west streets at circles and rectangular plazas in order to create more open, green spaces. Lastly, L'Enfant laid out a 400 foot-wide (122 meter) garden-lined "grand avenue" - what is now know as the National Mall – that connects the US Capitol Building, the Washington Monument, and the Lincoln Memorial (the latter two are visible at right in this Overview).
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- Please note that prints are not framed and the coloration may vary slightly from what appears on your screen.
- Created in partnership with DigitalGlobe [Image © 2017 DigitalGlobe, Inc.]


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March 14, 7:00pm
Special Needs Ministry Presents
Music Within
Join us Friday, March 14 at 7:00pm for a special viewing of Music Within. This 2007 film tells the true story of Richard Pimentel who returns from Vietnam severely hearing-impaired and finds a new purpose in his landmark efforts on the behalf of Americans with disabilities.
Childcare is provided – please contact North Church to RSVP.


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The organization Festival d'Ile de France has been giving a spectacular series of concerts since September 5. I had the opportunity to hear Baaba Maal on September 11 (see my blog of September 12). Last Friday night, I heard Khaled and his friends at the Cirque d'Hiver. This concert was devoted to raï, a musical form that developed during the 1930s in the coffee houses and cabarets of Oran, in Algeria.
I was not sure whether I would even like this type of music, but, because the event promised a great line-up of raï stars, I figured that I had better get there to see for myself what it was all about.
The Cirque d'Hiver is a circus venue, built in Paris in 1852 and inaugurated by Prince Louis-Napolean . Today, it is still used for circus performances, as well as concerts. I imagine that France must have been a nation of small people at the time that the performance hall was built, because the seats are quite narrow and restrictive. My knees pushed against the back of the seat in front of me, and I had trouble placing my feet flat on the floor. During the show, however, I became so absorbed by the music that I largely forgot my discomfort.
As soon as Maurice El Medioni, the first performer to appear on stage, played his opening notes, a great roar arose from the audience, followed by shrill ululating. That high-pitched, trilling sound was an unmistakable signal that most of the spectators were Algerians or people of Algerian descent. It was also an indication that they knew that some wonderful music was about to be played!
Maurice El Medioni, a pianist born in Oran, is a specialist in Judeo-Arabian music. After he played the first number, he announced that it was a pure Andalusian melody. I found the music enthralling, even dreamy.
Then, just as El Medioni began another tune, the star of the show, Khaled, appeared at the top of a grand stairway to the wild acclamation of the audience. For the rest of the show, he would dominate the stage, singing with three other stars as they appeared in sequence. If Khaled is known to Americans, it would be for his popular song Aïcha, which came out in 1996. He sang this number, but for the most part his songs were in the rolling, rhythmic style of raï that sounds, to my ears, like wailing. This wailing sound is the reason why I thought that I might not enjoy the concert, but here, with it being performed live, I listened with fascination.
The three other performers were Cheb Sahraoui, also born in Oran, who was the first raï artist to tour North America; Boutaïba Sghir, who sings popular styles of raï; and Cheba Zahouania, one of the great female voices of this musical genre.
Toward the end of the show, the orchestra—consisting of musicians playing drums, bass, keyboard, accordion, guitar, derbouka (a percussion instrument), and oud (lute)—performed a number of melodies. One of the tunes sounded just like Latin jazz—all that was lacking was the brass!
By the end of the show, spectators were swaying in their seats, waving their arms, and dancing in the aisles. It was a great musical performance!
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Happy Holidays.
Remember back in the 80s when people wore ugly Christmas sweaters? And I don't mean ironically. It was a real thing in the 80s. They didn't even call them ugly back then. They were just holiday sweaters. Some people I know (I won't mention any names, Mom) wore a Christmas sweater every single day of December. Every. Single. Day.
As an ode to the 80s, I was thinking about posting a Christmas photo every single day of December. But then I thought the goal was to KEEP readers, and maybe posting kitschy Christmas photos wouldn't be such a fabulous idea. I thought maybe I could get away with it once. Just once.
Wishing you all the very best of holidays and a happy new year.
Lara Joy Travels will be on hiatus till January 5th.


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New Garbage Disposer!
A while back, I may have mentioned that my garbage disposal had kicked the bucket. With work resuming in two days, I finally figured that I had better get kickin' on some of those around-the-house jobs I've been meaning to work on.
I was initially worried that I would not be able to install it myself, but finally just went to the store to ask about how hard it really is. Turns out, it's not that difficult at all! It would have been easier if I had been able to find a unit that was compatible to my old one, but that was just not meant to be. However, the whole process, including rewiring and everything, took less than 1/2 hour. That's less time than it takes to put together an Ikea bookcase!
I have run the garbage disposer successfully already - no leakage, no problemo. I am tickled pink!
Saturday, August 22, 2009
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Author:Henri de Valois
Jump to navigation Jump to search
|←Author Index: Va
|Henri de Valois
|Adrien de Valois
- Polybii, Diodori Siculi, Nicolai Damasceni, Dionysii Halicarnassii, Appiani, Alexandri, Dionis et Ioannis antiocheni excerpta, 1634
- Socratis, Sozomeni, Theodoreti et Evagrii Historia ecclesiastica, 1973
As editor[edit]
As translator[edit]
- (To French) Ecclesiastical History by Eusebius, 1659
Works about de Valois[edit]
- "Valois, Henri de," in Encyclopædia Britannica (11th ed., 1911)
- "Henri Valois," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
- "Eusebius Werke", in Die Kirchengesch, by Eduard Schwartz (Leipzig, 1909).
- "De vita Henrici Valesii" in the second edition of Eusebius (Paris, 1677 and Cambridge, 1720), by Adrien de Valois
Works by this author published before January 1, 1924 are in the public domain worldwide because the author died at least 100 years ago. Translations or editions published later may be copyrighted. Posthumous works may be copyrighted based on how long they have been published in certain countries and areas.


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Genres: Filmi, Pop
Occupation: Singer
Instruments: Vocal
Years Active: 2015 to till date
Introduction: She is a multitalented girl and having a god gifted voice. She won the Season 2 of Indian Idol Junior, in 2015 after a tight competition with her contemporary contenders Nahid Afrin and Nithyashree Venkataramanan. Ananya's become the Indian Idol junior for the show in the second season. But she also had tried in the season one but, eliminated in the first round. And she got success in the second attempt. In the show Ananya was legendary called as "Sona ki Rockstar Kanya". Her journey started and grows tremendously. Through this reality show she came to others notice and accepted both by the viewers & judges.
Family: Ananya Sritam Nanda is a proud daughter of her parents. Her father is a director in a government industrial department and mother is a housewife. She is a trained singer who has been training for singing under Hindustani advocates Guru Nilamani Ojha and Chittaranjan Pani.
Education: Ananya is not only excellent in singing but also a bright student who studying in 10th standard at DAV school, pokhariput, Odisha. She is only 14 years old.
Hobbies: Rather than singing Anaya loves to do dance, performing and also very much like to play the harmonium in time her song practice.
Singing Career: Ananya had already sung three songs for the super hit 2016 Odia movie "Agastya". The songs are "Dhire Dhire Bhala Paigali", "Haye Re Haye Re", and "Dhire Dhire Bhala Paigali (Sad Version)". The famous music director is Prem Anand and Ollywood superstar Anubhav in the opposite of Jhillik leading in this film. She has also started her career in Bollywood by lending her voice for the song "Padhoge Likhoge" of the most awaited movie of the year "M.S. Dhoni – The Untold Story".


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Dirty Fences
Watch and listen:
Just listen:
Jack Daves - vocals/guitar
Max Roseglass - guitar
Max Comaskey - bass
Max Hiersteiner - drums
Dirty Fences from New York City sling '70s street-level punk rock & roll. Tommy Ramone beat. Harmonies. Tons of vocals. From fast slasher power pop tunes to country ballads to Eddie Cochran style parentsjustdontunderstand sex rock and roll, they know their stuff and have a lot of fun with it.


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About Us
Argyll Technologies Group ®
Argyll Technologies Group Holdings is a group of companies specializing in the niche field of advanced sporting data analytics. The group is made up of expertise from different disciplines such as sports arbitrage professionals, data scientists, and technologist.
With enormous experience and a track detail, the group is made up of expertise from different disciplines such as sports arbitrage professionals, data scientists, and technologist with a strong financial background in the sport science community. If young technologists and scientists in the technology industry can have the transformative effect that some have imagined, then this could determine the future capital of the Group as a whole.
The group's technological arm, Argyll Technologies Limited was setup in 2013 at the British Virgin Island, with a focus on software and systems development. Argyll Technologies Group is made up of technological veterans with years of working experience. They found their talent and differences which make them develop a system call ADASA, which is a Super computer that can find all discrepancies in betting odds across online bookmakers
The spirit of a clear winning has been apparent to the executives which makes them offer processed services. With the increased demand for analytics in the sporting industry as well as the commissioning of the hugely successful ADASA SYSTEM, Argyll Group Holdings has been able to help you chose and select a durable feature for partners and customers.
Mr Harris and his team articulated a fulfilling dealer plan for everyone who gets into the industry. The Group believed in investing in people in such way that it will increase the growth of the company. He believes that the best way to grow a company is to have set of dedicated and devoted brokers in the company. With the positive records and result, the Group decided that it is time to bring work to a greater height.
The company started with a fund of about $4.6 million. The company was administrated by the authority of the British Virgin Island Financial Service Commission. The British Virgin Island provides a benign tax port of call for the business. The CEO and COO wanted to make with vast abilities. Apart from been a sports arbitrage company, they also want to focus on data mining, data consolidation and also become a complex orchestrator group.
"Sports Industry to reach US$ 73.5 Billion by 2019"
Darren Heltner
Forbes SportsMoney
Link to Original Source


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On December 1st, 2012, Devendra Lal, a pivotal geoscientist of the 20th century, passed away after eighty-three long journeys around the sun. Born in Varanasi in 1929, Lal obtained his BSc (1947) and MSc (1949) at Banaras Hindu University. In late 1949 (bear in mind, two years after India gained independence), he joined the cosmic ray research group at Tata Institute of Fundamental Research (TIFR), a part of Bombay University to pursue his doctoral studies.
Initially, the cosmic radiation research group was headed by H. J. Taylor, a physicist at Wilson College whose primary research area was in the detection of cosmic rays. In 1949, as it happened, Bernard Peters, an eminent physicist, was visiting TIFR on invitation from Homi Bhabha (another eminent physicist in his own right). Peters, a professor at the University of Rochester had met Bhabha in New York. They were both interested in understanding the particles that make-up incoming cosmic radiation. Peters knew of the hypothesis that low-latitude equatorial locations had a potential bias in the incoming cosmic particle composition and readily took up Bhabha's invitation to TIFR, where they were conducting detection experiments.
Curiously enough, Peters, who was born as Bernhard Pietrkowski of Jewish heritage, was held at a concentration camp shortly after he joined the Technical University in Munich as a student. After three months in the camp at Dachau, somehow, he escaped by bicycling through the Alps! Ultimately, he made his way to the US and worked odd jobs (including a stint at an import firm in New York and as a stevedore in San Francisco) until he met Robert Oppenheimer. Oppenheimer convinced Peters to do his doctoral studies with him on theoretical physics (in a bizarre twist, in his later years, Oppenheimer would testify that Peters was a member of the Communist Party in Cold War America). After completing his Ph.D., Peters switched to a more experimental outlook and landed a faculty job at the University of Rochester, where he would run into Bhabha. Peters was enthralled enough by Bombay and TIFR and chose to stay there from 1951-1958. Thus, Peters became Lal's supervisors and the father of the atomic bomb became Lal's 'academic grandfather'.
Primarily, Lal and Peters were interested in the terrestrial record of cosmic rays or the chemical trail that these rays coming into Earth from outer space would leave as they interacted with rocks and other earthly material (such as marine sediments) - particularly Lal chose to work on looking for the third long-lived terrestrial cosmonucleus (after 14C and 3H) - 10Be (or Beryllium-10). Many scientists were skeptical of their pursuit to find 10Be in the terrestrial record because of its low production rate. However, Peters and his group were determined to set the scientific record straight. In late May 1955, a week after Lal got married, Peters, his students P. S. Goel, B. S. Amin and Lal (with his new bride Aruna) collected snow for cosmic ray detection while camping in Gulmarg, Kashmir! Peters left early so as to get back to Bombay and collect rainfall at the onset of the monsoon while the others continued the experiment at Khilanmarg. The group had also obtained Eastern Pacific sediments from the Swedish Oceanographic Institute at Goteborg and performed 10Be detection experiments on these samples as well. Ultimately, Peters and his group published their discoveries of 10Be (and 7Be) in the terrestrial record (see [1] and [2]), and Lal went on to complete his thesis: Investigations of nuclear interactions produced by cosmic rays. Lal cherished his early collaboration with Peters and would call him 'teacher supreme'. He also spoke highly of Taylor ('worked hard and inspired us').
The nature of science is such that from time to time, separate groups arrive at the same result or discovery despite being geographically isolated. This was to be the case for the discovery of 10Be in marine sediments. In 1956, another group at Princeton headed by James R. Arnold (another crucial Manhattan Project scientist) published their results in Science [3] on 10Be from a core (coincidentally enough) from the Eastern Pacific! While visiting the Scripps Institute of Oceanography in '57, Roger Revelle, offered Arnold a faculty position in chemistry to help build the department (which he took because Harold Urey was moving there too!) Meanwhile, Lal had just finished his PhD while Peters' group was exchanging mails with Arnold's group and was offered a chance to work at Scripps (which he accepted because of Arnold). This was Lal's first time at Scripps and he would collaborate with Arnold well into the future to produce many seminal papers on meteorites and planetary chemistry (see [4], [5] and [6]). Arnold made six more journeys around the sun than Lal before passing away earlier this year.
Lal came back to India in 1959 and accepted a professor position at TIFR. In 1968 he became a permanent visiting scientist at Scripps, shuttling from Bombay to La Jolla. Lal remained at TIFR until 1971 where he set up radiocarbon and tritium laboratories. In 1972, Lal became the director at Physical Research Laboratory (PRL) in Ahmedabad. He held this position (while still visiting at Scripps) for twelve years. Under Lal, physics (and especially geophysics) flourished. I first heard of Lal at PRL while I was still a fledgling geoscience research assistant at PRL (now I am a fledgling geoscience grad. student). Intrigued by the history of geoscience in India, I would often ask senior scientists about how they got into the field. Most of them (including my advisor R. Ramesh who worked closely with Lal) spoke very fondly of Lal's time as the director and how he was an encouraging influence. Lal oversaw several PhD students at TIFR and PRL (and later, at Scripps) who went on to become successful practitioners of various branches of geophysics/geochemistry. To name a few: Jitendra N. Goswami, current director of PRL and chief scientist of India's moon mission; B. L. K. Somayajulu, a chemical oceanographer who has worked extensively with sediments from the Indian ocean, Narendra Bhandari, another key player in the Chandrayan mission and S. Krishnaswamy, a well-known Indian geochemist - not to mention that all of these scientists (including R. Ramesh) were recipients of India's highest scientific honor, the S. S. Bhatnagar Award (which Lal himself received in 1967). Lal and his wife Aruna, were both very interested and engaged in science outreach and set up several fellowships and scholarships for students/young scientists at PRL.
In 1989, Lal permanently moved to Scripps as full-time faculty and this is where he would stay until he passed. Lal won numerous awards and accolades throughout his career - too many for me to detail. His ideas were far-reaching and he had many collaborators. Gerry Wasserburg, in his memoirs entitled Isotopic Adventures [7], wrote:
Chasing some particular idea and some observations of nature make up the real present and govern my immediate future. In the chase, I met Devendra and Aruna Lal. He was fascinated with Indian puzzles and natural puzzles, particularly those cosmic-ray induced. Our mutual interest in natural puzzles has been a continuous source of entertainment and mutual support.
Web of Science pegs Devendra Lal's h-index at 41 (i.e. he has written at least 41 articles that have been cited 41 times). His first peer-reviewed article On the production of radioisotopes in the atmosphere by cosmic radiation and their application to meteorology [8] was published in July 1958 in the Journal of Atmospheric and Terrestrial Physics and has been cited 101 times. His last article was in Earth and Planetary Science Letters (EPSL) published in August 2010, Nuclear, chemical and biological characterization of formation histories of ironstones from several sites in Southern California: Dominant role of bacterial activity [9] indicating the diverse nature of problems that Lal sought to tackle. His most cited article (over 1000 citations) was also published in EPSL - Cosmic ray labeling of erosion surfaces: in situ nuclide production rates and erosion models [10] in 1991. All in all, Devendra Lal's academic legacy will live far into the future. He was a tremendously gifted geophysicist and contributed greatly to the breadth of Indian science. It was unfortunate that I never had the opportunity to meet the man but I have certainly met him vicariously through the scientists and friends that I have collaborated/worked with. He will be deeply missed by the Indian scientific community (and otherwise). On that note, here is what my friend, Arvind Singh had to say:
I don't know how to describe him. He was such a diverse personality. He would come to PRL and talk to almost everyone, not only students but everyone who worked in the canteen as well! I have not found a single person in PRL who does not respect him. When I travel abroad, people ask me, "Where did you work in India?" I would say PRL, Ahmedabad, which they would not know. But when I told them our lab was established by Prof. Devendra Lal, they immediately knew. So, in a way he was bigger than the institute.
Physical Research Laboratory's Obituary Notice
Scripps Institute of Oceanography's Obituary Notice


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Visit K. LAZ WINE COLLECTION to taste the debut release of 2014 LAZ Cabernet Sauvignon alongside the newly released 2015 LAZ Cabernet Sauvignon. The tasting room is open daily, with reservations made in advance.
LAZ Wine
6484 Washington Street, Suite C
Yountville, CA 94599
(t) 707.415.5040
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