text:
During the Pleistocene epoch, the higher parts of the San Joaquin Basin, like those of the other basins on the west slope of the Sierra Nevada, were mantled repeatedly with glaciers.12 Practically all of the glacial sculpturing that gives the High Sierra its distinctive scenic aspect, has been superimposed on a landscape inherited from Miocene and Pliocene times (Matthes, 1933a, p. 37). While the San Joaquin River was cutting its sharply V-shaped gorge in the lower slope of the Sierra, the untrenched Pliocene valleys of the upper slope were being vigorously glaciated and transformed into broadly U-shaped troughs. The little side valleys on the Miocene uplands, which already were hanging above the Pliocene main valleys, were occupied by tributary glaciers and as the side valleys underwent less excavation than the main valleys, the discordance between the two was generally increased. The heads of the little Miocene valleys carved in the flanks of the High Sierra crests were resculptured into amphitheaterlike cirques. The latter were cut deeply into the tabular remnants of the Eocene surface that persisted on the higher peaks, but on Mount Darwin and Mount Wallace, the remnants were not wholly consumed. These summits escaped glaciation and were subject only to nivation.
Distribution of the late Pleistocene (Wisconsin) glaciers for the entire Sierra Nevada is shown on an inset map printed on Sheet No. V of the Geologic Map of California (scale 1:500,000), published by the Division of Mines, California Department of Natural Resources, San Francisco, 1938. The north half of this glacial map is by Eliot Blackwelder 1932), the south half by F. E. Matthes (1937).
In the San Joaquin Basin the same method was employed for tracing and mapping the courses of the ancient glaciers and for determining the farthest limits which they had reached that had proved effective, previously, in the Merced and Tuolumne basins. That method relies on the testimony of glacial deposits rather than on that of sculptured features, and consists primarily of a systematic survey of the moraines which were built by the individual glaciers.
In open country, such a survey can be executed readily with sufficient accuracy for a reconnaissance map on the scale of 1:125,000 by locating the moraines by eye with respect to identifiable landmarks; but in the forested tracts, the more important moraines must be actually followed out, and, in some places, even located by traversea laborious and time-consuming process. Fortunately, the forested areas in the San Joaquin Basin, though of considerable extent, are so amply diversified by topographic drainage features, as well as by occasional meadows, that no traversing was needed, and a large share of the work could be done by following the moraines, or the swales between moraines, on horseback. In the rougher areas, of course, the mapping had to be done on foot.
In spite of the rapidity with which the survey was carried out in a rugged mountain region largely devoid of roads, and only scantily traversed by trails, the resulting map (pl. 1) is probably of more than reconnaissance accuracy, for it shows not merely the areas that were formerly ice covered but also, by rows of dots, the crestlines of the individual moraines of the later glaciation. These crestlines, it is evident, tell the story of the glacial invasions, and the minor fluctuations of the glaciers, more precisely and more graphically than can mere words.
In the central part of the basin, which contains the outer fringes of the glaciated territory, special pains were taken in the mapping of the glacial deposits, as a definite knowledge of the extreme limits of glaciation is of paramount importance in the correct analysis of the landscape. It was necessary to do this work with more care as the outermost glacial deposits in most places are older than the Wisconsin and generally consist of small, obscure patches no longer identifiable by their topographic forms. It is due largely to that circumstance that the true extent of the former glacial mantle of the Sierra Nevada long remained in doubt and a subject of misconceptions.
Reliance was not placed on topographic forms as possible indicators of changes wrought by glacial erosion because, as had been learned in the Yosemite region and in the Tuolumne Basin (Matthes, 1930a, p. 89-91), the extraordinarily varied joint systems in the granitic rocks of the Sierra Nevada in large measure controlled the eroding action of the ice. The joints more than any other factor determined whether a V-shaped river canyon would or would not be transformed into a typical U-shaped trough. Where the granite is thoroughly divided by joints (figs. 28, 29), glacial plucking, or quarrying, was particularly effective and typical glacial forms were actually produced; but where the joint features are spaced far apart, or are wholly absent over distances of hundreds and even thousands of feet, glacial action was reduced largely to abrasion, and only minor changes were effected in the valley form. Even the Tuolumne Glacier, which attained a length of 60 miles and a depth of 4,000 feet, failed to give its canyon a typical U-shaped form throughout, because the walls, for mile after mile, are composed of prevailingly massive granite.
It was discovered also, in the Yosemite region, that hanging valleys, on the western slope of the Sierra Nevada, are not necessarily indicative of profound glacial erosion, many of them having gained their hanging aspect long before the glaciers appeared upon the scene, simply as a result of rejuvenation of the master stream induced by the tilting of the Sierra block. Many hanging side valleys occur in the lower, unglaciated courses of the main canyons as well as in the intensely glaciated upper courses.
In the San Joaquin Basin, therefore, it likewise was deemed best to regard the varying forms of the canyons and, indeed, of all the features of the glaciated landscape, as things to be explained rather than as features diagnostic of past events.
In the morainal deposits of the San Joaquin Basin, as in the Yosemite region, abundant and unmistakable evidence was found of two distinct stages of glaciation separated by a lengthy time interval; also meager indications of a third, very early stage (Matthes, 1929). Many examinations of the morainal deposits of the two easily recognizable glacial stages in this basin confirm the interpretations of the moraine systems of the Yosemite and Tuolumne regions and help establish the succession of events making up the glacial history of the west slope of the Sierra.
It should be added that in later years much corroborative evidence has been found in the Kings River, Kaweah, and Kern Basins. Throughout, the south-central Sierra Nevada, therefore, the morainic systems of the great trunk glaciers and their numerous branches spell out the same story of three distinct, stages of extensive and long-continued glaciation during the Pleistocene epoch.
For discriminating between moraines belonging to the different stages of glaciation it was found best, in the San Joaquin Basin, to apply the criteria which the writer had developed in the course of his detailed studies of the Yosemite region, because the general nature of the country in the two areas, the character of their rocks, the climatic conditions, the vegetal cover, and the soils are closely similar.
On the glacial map (pl. 1) distinction is made only between the Wisconsin and pre-Wisconsin stages. Although at some localities (see pages 56, 57-58) the field data appear to warrant subdivision of the Wisconsin moraines into those of early Wisconsin time and those of late Wisconsin time, corresponding to the Tahoe and Tioga stages of Blackwelder (1932), such division could not, in the time available for the reconnaissance surveys, be carried consistently over the entire area. In many places the moraines of early and late Wisconsin time are so closely alike that their separate mapping would have required detailed and prolonged study. All the moraines of the Wisconsin stage are therefore shown on the map provisionally as a single unit. The data, nevertheless, are sufficiently detailed to permit individual moraine crests to be indicated by rows of dots.13
The moraines of the Wisconsin stage as a rule are well preserved, sharp-crested, and studded with fresh looking unweathered boulders. A few weathered and even thoroughly decomposed boulders occur, but it is evident from their sparse occurrence in deposits composed almost wholly of fresh, unweathered rocks that ring under the hammer, that the weathered boulders represent an admixture of material that already was considerably weathered when the glacier picked it up, perhaps from moraines of earlier glacial stages. It is significant, moreoever, that in these younger moraines not only the boulders of siliceous granite but even those of much weaker diorite and gabbro are essentially unweathered and unstained.
The pre-Wisconsin moraines in the San Joaquin Basin are in all respects closely similar to those in the Yosemite region, and are therefore referred to the El Portal stage. Compared to the moraines of the later stage, they are poorly preserved, and generally are cloaked with granite sand derived from their own disintegrating boulders. In places, the bouldery character of the ancient moraines is shown mainly in exposures made by uprooted trees. The boulders in the interior of the moraines are, as a rule, encased in ferruginous rinds; many are entirely decomposed, so that they may be cut with a shovel. Although originally of much greater bulk than the moraines of the Wisconsin stage, the older moraines have long since lost their crests, and their form has become subdued and flattened. Over considerable distances they have not only lost their ridgelike aspect but have become inconspicuous in the landscape. The accumulation of sand on the upslope sides of morainal ridges in some places has largely concealed them.
Terminal moraines of the El Portal stage appear to be generally absent in the main canyons on the west slope of the Sierra Nevada. At least, methodical search has failed to reveal any remnants of such moraines in the principal canyons of the Stanislaus, Tuolumne, Merced, San Joaquin, Kings, Kaweah, and Kern basins. Their total absence can hardly be explained as the result of post-El Portal stream erosion and collateral slope-wash, slumping, and other degrading processes; for in some of the canyons, notably in the San Joaquin Canyon, the local conditions are distinctly favorable for the preservation of at least the wings of terminal moraines and recessional moraines, but no vestiges of such remain. It seems probable, therefore, that the glaciers of the El Portal stage did not maintain their maximum extension long enough to build bulky terminal moraines.
The El Portal stage is believed to correspond to Blackwelders Sherwin stage at the east base of the range (Blackwelder, 1932), and is thought to be not younger than the Illinoian stage of the continental glaciation (Matthes, 1933b, p. 72, 76; 1935). In the San Joaquin Basin as in the Yosemite region, however, these older moraines differ considerably among themselves in degree of preservation and in the decomposition of their granitic boulders, and it therefore seems entirely possible that they include remnants of two or more as yet unseparated stages that differ considerably in age, including perhaps both the Kansan and the Illinoian (Matthes, 1933a, p. 33). Only intensive studies in selected areas are likely to settle that question. The correlation of the older glacial deposits of the Sierra Nevada must necessarily remain tentative until the glacial field of the Pacific ranges has been more closely connected with the glacial fields of the Rocky Mountains and the Great Plains.
No morainal deposits belonging to the Glacier Point stage, the earliest stage of glaciation that was recognized in the Yosemite region, are shown on the map; but it is not to be inferred from this that no deposits whatever of that early glaciation remain preserved in the San Joaquin Basin. A few small, isolated patches of an ancient moraine were discovered in the central portion of the basin, on a mountain summit at a high level above the surrounding canyons, and these may well be representative of the Glacier Point stage, in view of their elevated positions.14 The deposits of the Glacier Point stage thus far discovered, notably those in the type locality in the Yosemite region, on the divide to the east of Mount Starr King (Matthes, 1930a, p. 73-74), are situated at a great height above the neighboring canyons, which would seem to imply either that the Sierra Nevada at one time was fairly overwhelmed with ice, or that a great deal of canyon cutting has taken place since these ancient moraines were laid down. As the latter hypothesis seems the more probable of the two and finds support in a variety of circumstantial evidence, there is good reason for assigning the Glacier Point stage, together with Blackwelder's McGee stage, to the early Pleistocenepresumably corresponding to the Nebraskan stage (Matthes, 1933a, P. 33). In the San Joaquin Basin, meanwhile, until more conclusive proof is forthcoming that the isolated patches of morainal material mentioned are of decidedly greater antiquity than the deposits of El Portal age, it seems best not to differentiate them from the latter on the map.
The San Joaquin glacier system of the pre-Wisconsin stages was by far the largest system of confluent glaciers in the Sierra Nevada, measuring more than 50 miles in length along the crest of the range and 30 to 35 miles wide. Of the 1,760 square miles comprised in the San Joaquin Basin, almost 1,100 square miles were covered by glaciers. This ice mass, together with the ice masses in the basins of Dinkey Creek and the North Fork of the Kings River, formed a mer de glace 1,500 square miles in extent. Yet it was not an icecap, strictly speaking, for its surface was broadly concave rather than dome shaped. It consisted of a large number of confluent glaciers that had descended from the surrounding peaks and crests, filled the canyons, and overflowed onto the intermediate uplands (Matthes, 1947, p. 208; 1950b, p. 62).
The San Joaquin glacier system was essentially bilobate, in that it comprised two great primary branches that descended Middle Fork and South Fork canyons. The branches united below the junction of the two forks, to form a very broad trunk glacier that overflowed the main San Joaquin Canyon and spread widely over the central part of the basin northeast of Chiquito and Kaiser Ridges. The glacier ended in a rather blunt tongue, only a few miles long, which lay in that part of the main canyon which separates Chiquito and Kaiser Ridges. The length of the San Joaquin glacier system, measured from Muir Pass at the head of the South Fork branch to the terminus of the trunk glacier, 1-1/4 miles below the mouth of Rock Creek, was nearly 60 miles. The length measured along the Middle Fork branch was almost 45 miles. The shortness of the trunk glacier, which descended to a point about 14 miles below the junction of the Middle and South Forks, is explained by the fact that the ice which spread over the vast expanse of rolling uplands bordering the canyon was dissipated by ablation much more rapidly than it would have been if it had been concentrated in a deep cliff-shaded trench.
Ice was contributed not only from areas along the crest of the range but also from all sides of the various ridges on the west slope, except in the case of Chiquito Ridge, which, because of its low altitude (maximum 8,358 feet), developed glaciers only on its north side. The glaciers of the south side of Kaiser Ridge were tributary not to the main San Joaquin glacier system but to a separate and much smaller system in the basin of Big Creek.
Middle Fork glacier, in conforming to the course of the canyon which it occupied, flowed successively northeast, southeast, south, and finally southwest, to its junction with the South Fork glacier. Its length, from its source on Mount Davis to its junction with the South Fork glacier, 1 mile southwest of Ballon Dome, which was overridden by the ice, was 31 miles.
In its upper course, the sources of this glacier lay at altitudes of 10,000 to over 13,000 feet on the north east slope of the Ritter Range, mainly in the basins of Thousand Island Lake, Garnet Lake, Shadow Creek, Minaret Creek, and King Creek. As these sources were situated to the west, of the main trunk, the upper part of Middle Fork glacier was highly assymetrical.
Farther downstream, Middle Fork glacier was augmented by large tributary glaciers, notably those in the valleys of Fish Creek, North Fork, and Granite Creek. These glaciers flied their valleys and, over-flowing the intervening divides, became confluent in most places.
Fish Creek glacier, which was 17-1/2 miles long, measured from Red and White Mountain to its junction with the Middle Fork glacier, originated, for the most part, in cirques ant altitudes of 10,000 to 12,000 feet on the main crest of the Sierra and on the north side of the Silver Divide. North Fork glacier, which was 16-1/2 miles long, measured from Rodgers Peak to its junction with the Middle Fork glacier was fed principally from areas on the southwest and south sides of the Ritter Range, and from basins at altitudes of 10,000 to 12,000 feet, on the southeast side of the nameless crest trending southwest from Mount Lyell. Granite Creek glacier, which as 14 miles long, measured along its west branch, had its main sources at altitudes of 9,500 to 11,000 feet on the crests which bear Black, Sing, Gale, and Triple Divide Peaks.
South Fork glacier, measured from the head of Evolution Creek at Muir Pass to its junction with Middle Fork glacier 1 mile southwest of Balloon Dome, was 16 miles long. Throughout most of its course it flowed northwestward, its consistent trend being in marked contrast to the course of the Middle Fork glacier. South Fork glacier received much of its ice from cirques on adjacent mountains and from its many tributary glaciers, most of which joined it from the east and northeast. The most important tributaries were Goddard Canyon glacier, Piute Creek glacier, Bear Creek glacier, and Mono Creek glacier.
The upper part of the South Fork glacier, which occupied Evolution Valley and Evolution Basin and therefore may be called the Evolution glacier, was 11 miles long, measured from Muir Pass to its junction with Goddard Canyon glacier. It was fed from cirques at altitudes of 11,500 to over 13,500 feet, located at its head along the main crest of the range, and from others on the high confining ridges, such as Glacier Divide and the nameless ridge which bears Mount McGee.
Goddard Canyon glacier was 8-1/2 miles long, measured from the divide south of Martha Lake to its junction with the Evolution glacier. Its sources lay in cirques at altitudes of 11,500 to 12,500 feet on the bordering ridges, especially on the LeConte Divide; but much ice was also contributed from the cirques at its head whose walls rose to the lofty summits of Mount Goddard and Mount Reinstein.
Piute Creek glacier, a branching ice body 11 miles long measured to its head on Mount Emerson, was fed mainly from several enormous compound cirques that ranged along the crest of the range at altitudes of 11,000 to over 13,000 feet, the largest of these, Humphrey's Basin, being more than 3 miles across. However, throughout the course of this glacier the lateral cirques along both sides contributed notably to its volumefor example those at 11,500 to 13,000 feet on the north slopes of Glacier Divide.
Bear Creek glacier and Mono Creek glacier were tributaries of even greater length and complexity. Bear Creek glacier was 15 miles long, measured up Hilgard Branch, and headed at altitudes of 10,000 to over 13,500 feet mainly in cirques on the south side of Mono Divide, and on the northwest side of a long curving nameless crest which bears Mount Senger and Mount Hooper. Mono Creek glacier was 20 miles long, measured to Mount Mills, and accordingly was the longest tributary of the South Fork glacier, and longer than any tributary of the Middle Fork glacier. Its most important sources lay on the main crest of the range, between Mount Abbott and Red and White Mountain, at altitudes of 10,000 to over 13,500 feet; others were located to the north on the Silver Divide, and to the south on the Mono Divide.
The union of the Middle Fork and South Fork glaciers produced an enormous volume of ice which overflowed the canyons and spread broadly across the plateaulike uplands, forming a practically continuous icefield.
At the northwest this icefield was augmented by several confluent glaciers which descended the valleys of Jackass Creek, Chiquito Creek, and other smaller southeastward flowing streams. The sources of these glaciers lay at altitudes of 8,000 to 10,000 feet on the northeast slope of Chiquito Ridge and on the southeast slope of the crest just north of Beasore and Mugler Meadows. The Chiquito Creek glacier, the largest of the group, was about 16 miles long, measured from Redtop Mountain to the San Joaquin Canyon at San Joaquin Bridge.
West of the junction of the Middle and South Fork glaciers, the ice was sufficiently deep to overtop the knobs and hills which rise 200 to over 800 feet above the uplandsJackass Butte, Jackass Rock, Squaw Dome, Cattle Mountain, and othersas shown by the scattering of erratics all the way to the summits of these eminences.
On the rolling country south of Jackass Meadows, erratics are in evidence almost everywhere, but there are no heavy concentrations of drift. Between the Placer Ranger Station and the San Joaquin Bridge, the gentle, smoothly rounded slopes of the lower Chiquito Creek basin are not visibly affected by the presence or absence of the drift (figs. 34, 35). Most of the interfluves are deeply cloaked with loose sand derived from disintegrating rockmuch of it, apparently from boulders in the older drift. Only here and there are patches of the drift exposed. Most of it consists of rounded, evidently water-worn pebbles and small cobbles, which are mixed with more irregularly shaped and typically glacial cobbles and boulders. Quartzite, schist, dark-colored porphyry, and lava are common, and in places are more abundant than granitic rocks.
Northeast of Mugler Meadow, where a wagon road crosses Chiquito Creek, glacially striated cobbles are present in profusion. There is, northeast of the crossing, what appears to be a terracelike deposit of gravel and boulders. In this area the schists are particularly well striated, but the granite cobbles are either unstriated or so slightly striated as not to serve as diagnostic glacial material. Quartzite and schist are plentiful, and are probably derived from the south slope of Black Peak, but no trace was found of lava such as occurs in the Jackass country, a few miles to the east. This drift may be younger than that of the earlier glaciation in the Jackass regionperhaps intermediate in age between that drift and the Wisconsin drift to the north. In any event it is not Wisconsin, since in most places it underlies smooth slopes covered with granite sand.
Important contributions to the central icefield were also made by glaciers that originated at altitudes of 9,000 to 10,500 feet on the north slope of Kaiser Ridge, and that filled the valleys of Kaiser Creek and neighboring streams on the upland. Older drift forms a more or less continuous veneer covering the slopes on both sides of Kaiser Creek, and it is present in large quantities in the neighborhood of Kaiser Creek Diggings, where it forms terraces or terracelike benches with very steep slopes facing the creek bed. Farther north, in the vicinity of Cow Meadow, the scattered erratics which are evidence of the earlier ice, are very sparse. Mount Tom was a nunatak, its summit rising 1,000 feet above the level of the surrounding ice.
Although the central icefield was restrained on the southwest and south by Chiquito Ridge and Kaiser Ridge, nevertheless it was not wholly confined by these barriers, but discharged southward through the gap between the two ridges, by way of the lower San Joaquin Canyon. The extent of this lobe must be inferred from remnants of its lateral moraines, since here, as in the other principal canyons of the west slope of the Sierra Nevada, there are no traces of El Portal terminal or recessional moraines. It appears that a blunt lobe about 2 miles wide pushed a little more than 3 miles, down the canyon to an altitude of about 2,600 feet, the lowest point reached by the ice in the San Joaquin Basin. Measured from the junction of the Middle and South Fork glaciers to its terminus, the San Joaquin trunk glacier was about 14 miles long.
The Big Creek glacier system was distinct from the great San Joaquin glacier system. It attained a length of about 20 miles and an areal extent of about 105 square miles. The ice was derived in part from cirques at 9,000 to 10,500 feet on the south side of Kaiser Ridge, but principally from the broad shallow cirques situated at about the same altitudes on the uplands at the head of Big Creek basin. The ice streams converging from these sources coalesced into a small trunk glacier which pushed several miles down Big Creek Canyon, to an altitude of 3,100 feeta point almost as low as that reached by the neighboring San Joaquin trunk glacier. Thus the terminals of the two glacier systems approached each other but never united.
North and south of Huntington Lake, older drift is plastered against the slopes to heights of several hundred feet, except on those steeper places from which it has been removed. On the ridge northwest and north of Boneyard Meadow, older drift is present to within a few feet of the summit, that is, to altitudes over 7,700 feet. Crags on the summit (like those shown in figures 36 and 37) clearly show that in places rock has been stripped to a depth of 10 feet since the passage of the earlier ice; hence the absence of drift on some intermediate summits does not necessarily indicate that the ice did not overtop them.
On the trail to Potter Pass, older drift extends up to 7,500 feet, and at this altitude the trail crosses a distinct morainal ridge which is probably the crest of the highest lateral moraine on the north side of the lake. Northwest of Huntington Lake, on the small volcano called Black Point, granite boulders are within about 400 feet of the top, an altitude probably corresponding to the upper limit of the ice. The earlier glaciers did not overtop the ridge connecting Black Point and Kaiser Ridge. Farther east, the lower course of Bear Creek is entrenched in massive terraces of the older drift. Still farther east, in the lower valley of the North Fork of Big Creek, a large volume of morainal material forms broad terraces on both sides of the Creek. These terraces slope westward toward Huntington Lake, and diminish in height from nearly 100 feet to about 50 feet.
Near the mouth of the North Fork, the tunnel of the Southern California Edison Company enters the mountain at a slight angle to the valley side, and for 900 feet traverses older moraine, being heavily timbered in this treacherous material. The thickness of the moraine against the valley side is estimated at close to 100 feet.
Southwest of Huntington Lake, older drift is scattered over the narrow, nearly level spur on which the town of Big Creek (altitude 4,500 to 5,000 feet) is built. Boulders and cobbles derived from it are used extensively to line garden walks. The moraine can be traced from Shaver Crossing down the road to Power House No. 2.
In a few places, there is evidence that throws light on the question of how much canyon cutting has occurred since the earlier glaciers withdrew. One of these places is in the basin of Kaiser Creek, north of Kaiser Ridge, where older drift forms a discontinuous veneer over the undulating slopes on both sides of the creek. In this region the stream lies in a small rock gorge apparently cut since the earlier glaciation. The gorge ranges in depth from about 20 feet, south of Mount Tom, to over 50 feet at the place where the trail from Potter Pass to Daulton Ranger Station crosses the creek.
In the lower part of Chiquito Creek basin, the older drift mantles smoothly rounded, gentle slopes and flat benches on either side of the stream (page 48). Chiquito Creek itself flows through a gorge cut in this mature topography. The gorge is about 10 feet deep, just above Placer Ranger Station, and over 100 feet deep near the mouth of the creek. The gorge is interrupted at Logan Meadow, where, for a section, the creek has been prevented from deepening its channel due to the massiveness of the granite. Relationships typical of those found along the Chiquito Creek gorge are shown in figure 35.
With reference to the San Joaquin River, similar evidence was found in the vicinity of the mouth of Chiquito Creek. The lowest occurrence of older drift, in place, was found on the north side of the San Joaquin channel, at an altitude of 3,250 feet, that is, 300 feet above the river level. It would appear that at this point the maximum depth by which the river could have deepened its channel since the earlier ice withdrew is 300 feet.
In the San Joaquin Basin, as elsewhere in the Sierra Nevada during the Wisconsin stage of glaciation, the volume of ice was considerably smaller than in the earlier stage, and the ice-covered area was, therefore, much less extensive. The San Joaquin glacier system had, of course, the same general pattern as in the earlier stage, for it reoccupied most of the cirques and followed the same valleys and canyons, but it took the form of numerous discrete glaciers which became confluent only in part. Accordingly, large upland areas which were ice covered in the earlier glaciation remained bare throughout the Wisconsin stage (figs. 36, 37).
By far the greater part of the ice which formed in the San Joaquin Basin was again part of a bilobate system, and this character was the more pronounced because the ice was largely confined within the canyons or broad valleys. The trunk glacier in the main canyon, formed through union of the Middle Fork and South Fork glaciers, was only a feeble tongue reaching but 2 miles below the junction. The altitude at the terminus, the lowest point reached by the Wisconsin ice in this basin, was 3,400 feet. The maximum length of the San Joaquin glacier system, measured from Muir Pass at the head of the South Fork, was 47 miles: the length, measured along the Middle Fork, was 32 miles.
Some glaciers, which in the pre-Wisconsin stages were tributary to the San Joaquin glacier system, in the Wisconsin stage fell short of joining that system, and throughout their existence remained separate ice bodies or becanne confluent only with adjacent glaciers. This was the situation with the Granite Creek glacier, the Big Creek glacier system, and many smaller glaciers on Chiquito Ridge, Kaiser Ridge, and other ridges.
Middle Fork glacier was a complexly branching body. The main ice stream, in Middle Fork Canyon, received tributaries from all of the important branch valleys occupied in the earlier glaciation, excepting Granite Creek. In their upper reaches (fig. 38), the branch glaciers were larrgely separated by long ridges of the cleaver type, many of them nunataks. Conspicuous among these ridges was the narrow crest of the Ritter Range, between the upper North Fork and the Middle Fork glaciers. At the south, the rather similar Silver Divide parted the sources of Fish Creek glacier from glaciers of the South Fork system. Downstream, the branch glaciers were channelized within the gorges into relatively narrow but deep ice streams. The lower courses of the North Fork, South Fork, and Fish Creek glaciers swept around and isolated several broad upland tracts which the earlier ice had overridden, for example that platform extending from the Granite Stairway to Lions Point. The ice reached a depth of more than 2,500 feet at the junction of the North and Middle Forks. Balloon Dome was a nunatak, the ice of this stage rising to a level of 1,500 feet above its base but never overwhelming the summit.
The North Fork glacier received a large branch from the valley of what is now the East Fork of Granite Creek. The East Fork glacier bifurcated, one very small lobe extending southward across a low divide into the Granite Creek basin, where, at Soldier Meadow, it just reached but failed to join the glacier of that basin. During deglaciation, the disappearance of this small lobe permitted the rearrangement of drainage whereby a stream previously tributary to the North Fork of the San Joaquin River was diverted across the low divide and became the present East Fork of Granite Creek.
The glacier system in the basin of South Fork was larger and more complex than that in the basin of Middle Fork. Its maze of ramifying sources was incompletely defined by the winding, branching crests of Mono Divide, Glacier Divide, Goddard Divide, LeConte Divide, the Silver Divide, and other ridges (fig. 39). Some of the small glaciers on the south side of the Silver Divide and on the north side of the Kaiser Ridge joined the South Fork system.
The trunk glacier, although the product of many large, convergent ice streams, was relatively unimpressive. For a number of miles it did occupy the full width of the broad upper valley of the South Fork (fig. 40), and below the junction of the Mono Creek branch the ice was more than 5 miles wide and 1,500 to 2,000 feet deep; but farther downstream it dwindled to a narrow ice tongue which, northeast of Hoffman Meadow, was entirely confined within the inner gorge, here only 1/2 to 1 mile wide and about 1,500 feet deep. At its junction with the Middle Fork glacier, the South Fork glacier had much the lesser volume of the two branches.
At Selden Pass, striae and chatter marks on the bedrock show that ice from the head of Bear Creek basin moved southward into the South Fork system. Evidently the ice in Bear Creek basin was much higher than that in the South Fork.
During deglaciation, the Mono Creek glacier, following its separation from the main trunk glacier in the valley of the South Fork, left a remarkable series of seven crescentic frontal moraines at the lower end of Vermilion Valley (fig. 41). These ridges enclose a 3-mile long meadow, and the swales between them also are occupied by narrow strips of meadowland. Traced up the south side of Vermilion Valley they unite into several straight lateral moraines extending for about 2 miles.
In investigating potential dam sites, the Southern California Edison Company in 1924 drilled a series of eight test holes in this area of frontal moraines. The line of holes apparently began near the axis of the valley and extended east-northeast in a nearly straight line across the remainder of the valley. The eight holes penetrated, respectively, 180, 116, 77, 74, 62, 25, 5, and 2 feet of unconsolidated material, including boulders, gravel, and sand, probably both glacial and glaciofluviatile material older than the Wisconsin as well as of Wisconsin age. The hole nearest the axis of the valley was still in unconsolidated material at the 180-foot depth (written communication, D. H. Redinger September 15, 1924).
Immediately east of Vermilion Valley, and at levels 1,500 feet or more above its floor, is another series of moraines, disposed in a fan shape. They converge eastward, and across the divide between Mono Creek and Bear Creek they unite to form lateral moraines on the north side of Bear Creek valley. These moraines graphically record the fact that the Bear Creek glacier, on rounding the great right-angled bend in its valley, at higher stages overrode the crest of Bear Ridge to the north and contributed ice to the Mono Creek glacier.
West of Vermilion Valley is a third cluster of moraines (fig. 42): a concentric system of large, curving ridges, the convex sides of which are directed northeastwardup the valley of Mono Creek rather than down it, as in the case of the much smaller Vermilion Valley moraines. These moraines are now deeply notched by Mono Creek (fig. 43). They are the right lateral moraines of the South Fork glacier, and mark the successive borders of the ice which, following the separation of the trunk glacier and the Mono Creek branch, for a time bulged a short distance into the newly evacuated lower Mono Creek valley (fig. 44).
Prominent and almost continuous lateral moraines define the upper levels of the South Fork trunk glacier. East of Hoffman Meadow are several parallel moraines with definite crests. The highest moraines, traced north-northwestward, end on a spur at the edge of the San Joaquin Canyon, at an altitude of 6,600 feet, east of the mouth of a hanging valley. These moraines in places follow ridges of granite, but on the whole they are laid irregularly cutting across the drainage lines and ridges at an angle. In several places an indistinct moraine was found just outside the main Wisconsin moraine, and in general parallel to it, suggesting the record of an early maximum of Wisconsin glaciation, similar to the record on both sides of the Little Yosemite Valley (Matthes, 1930a, p. 58-61).
At the junction of the Middle and South Forks, the uppermost lateral moraine on the north side of the South Fork is unmistakable although it is not strong. It meets the multiple lateral moraine of the Middle Fork at an altitude of 6,000 feet above Rattlesnake Lake.
Eastward-trending Kaiser Ridge presents an interesting contrast in that it has been severely glaciated on the north side and only mildly on the south side.
Glaciers of the south side were relatively small, separate ice bodies. One of the larger ones headed on Kaiser Peak, altitude 10,300 feet, and occupied the valley between Bear and Line Creeks. This glacier was 2-1/2 miles long and descended to 7,400 feet. Its lower positions are indicated by conspicuous loops of moraine, and similar loops define the limits of the smaller Deer Creek, Line Creek, and Home Camp Creek glaciers. Nellie Lake, which lies in a cirque without headwall, although surrounded by mountains of moderate declivity, is impounded by a strong moraine dam, outside of which, on somewhat lower ground, is another much larger and higher morainal embankment.
About 2 miles east of Kaiser Pass, a narrow ice tongue originating at about 10,000 feet descended low enough to coalesce, in part, with the Big Creek glacier. Its terminal portion pushed westward across a divide into the valley of the North Fork of Big Creek, which was ice free. This glacier reached a length of 3-1/2 miles and a lower limit of 7,700 feet. It left a complex of moraines, some of which border Badger Flats. Other moraines, including the right laterals of the Big Creek glacier, have effected the diversion of a stream in the upper valley of Big Creek to the drainage of the North Fork. The trail, which goes south from Badger Flats, passes through the part of the lower valley left streamless by this diversion.
Still farther east on Kaiser Ridge, broad shallow cirques at 10,000 to 10,500 feet contributed ice to the Big Creek glacier, by way of the valley of the East Fork.
On the north side of Kaiser Ridge lay a rank of glaciers that coalesced, along the crestal part of the range, into an almost continuous mantle of ice. At lower altitudes these glaciers, 2 to 4 miles in length, separated into individual lobes, which terminated in valleys on the upland, at altitudes of 7,400 to 4,100 feet. In the eastern part of the range, the glaciers joined the South Fork trunk glacier, at altitudes of 7,500 to 8,500 feet. The lateral moraines of the trunk glacier cut straight across the lower valleys of Kaiser Ridge, marking the well-defined level at which the lateral moraines of the tributary glaciers on Kaiser Ridge abruptly terminate.
The largest glacier on the north side of Kaiser Ridge occupied Kaiser Creek valley. It headed in a series of cirques stretching for 5 miles along the crest of Kaiser Ridge, south of Kaiser Peak Meadows. The ice descended to an altitude of 7,100 feet, about 3/4 mile below Sample Meadow. This glacier left an exceptionally fine morainic record, its recessional moraines marking stages not only in the shrinkage of the confluent ice body but also in the final dwindling of the little individual glaciers into which it eventually separated. That the Kaiser Creek glacier at one time was voluminous enough to spill over the saddle east of Sample Meadow, and thus joined the San Joaquin trunk glacier, is attested by the prominent ridges of moraine that descend from the hill to the southeast of the saddle.
Outside the prominent outer morainic loop of the Kaiser Creek glacier is another loop consisting of isolated boulders 50 to 100 feet apart. This loop appears to be an older moraine from which the finer material has been washed away. Yet this moraine is not comparable in age to the moraines of the earlier glacial stage, for its boulders rest on ground resembling that occupied by the younger moraine, that is, ground which has not disintegrated deeply enough to produce pinnacles and crags, but which still shows the smoothing effects of ice. This moraine therefore properly may be regarded as representing early Wisconsin time. It is analagous to similar moraines noted in various places in the Yosemite region.
At Twin Lakes, east of Kaiser Peak, some of the granite erratics of the Wisconsin stage that rest on limestone bedrock have become perched on pedestals, due to relatively rapid reduction of the surface of the limestone by solution and frost action (fig. 45). One boulder 5 feet high and 7 feet long stands on an 8-foot pedestal.
The glacier which occupied the Granite Creek basin during the Wisconsin stage, and which throughout its existence remained separate from the Middle Fork glacier, was fed from sources mostly situated along the east side of the crest extending southward from Triple Divide Peak, at altitudes of 9,000 to 11,000 feet. These sources formed a continuous gathering field which from north to south was almost 8 miles across. The lower part of the glacier was a blunt lobe which lay about a mile southeast of the Clover Meadow Ranger Station, at an altitude of 6,900 feet. From its source on Triple Divide Peak to this terminus the glacier was 9 miles long. Multiple-crested moraines of this glacier are prominent south of Clover Meadow and in the vicinity of Soldier Meadow.
As in the earlier glaciation, Chiquito Ridge developed glaciers only on its northeast side, where they were small, separate ice bodies. Several of these, all cirque glaciers, were clustered on the east and northeast sides of Shuteye Peak, altitude 8,358 feet; three additional slightly larger glaciers, each about 2 miles long, formed farther to the northwest at altitudes of about 8,000 feet, between Little Shuteye Peak and Texas Flat. The lower ends of these glaciers lay at altitudes of 6,850 to 5,700 feet.
Small glaciers also formed in the extreme head of the basin, on Redtop Mountain and Sing Peak, at altitudes of about 10,000 feet; and ice confluent with the Merced glacier flowed 1 or 2 miles into Chiquito Creek basin, where it left beautiful loops of moraine just south of Chiquito Pass. These moraines are crossed by the trail through the pass.
In the Wisconsin stage, glaciers again descended the tributary valleys of Big Creek, but the trunk glacier they produced was small and remained separate from the little glaciers on the central and western parts of Kaiser Ridge. In fact, the glacier in the branch valley of Tamarack Creek failed to unite with its neighbor in the East and South Fork branches of Big Creek valley, though at their sources the ice bodies in places were confluent. The Tamarack Creek glacier was 5 miles long and descended to an altitude of 7,400 feet. The Big Creek glacier was over 10 miles long, following the East Fork, and descended to 6,900 feet. Its terminus was approximately in the middle of Huntington Lake.
In the headwater region of these glaciers, a number of hills and ridges over 9,500 feet high, including Black Peak (fig. 47), were nunataks. Here the upland topography has been only slightly modified by glaciation, but it is littered with drift. Long Meadow is truly a "moraine meadow" and with its many scattered granite blocks it presents a peculiar aspect (figs. 47, 48). Moraine ridges, 10 to 20 feet high, are locally conspicuous.
The lower limits of the Big Creek and Tamarack Creek glaciers are marked by conspicuous moraines. The right lateral moraines of the Big Creek Glacier extend westward from the base of Bear Butte. Near Huntington Lake they deploy northward to the mouth of the North Fork of Big Creek, then again run westward as low, rock-crowned embankments along the north shore of the lake. They decline in height very gradually to a point just west of Bear Creek, where they disappear beneath the lake. The left lateral moraines are massive embankments which flank the north base of Chinese Peak. They continue northwestward to the south shore of the lake, obstructing southward drainage and giving rise to a large wet meadow. Finally they dip into the lake at the end of a rocky promontory about 1 mile west of the mouth of Big Creek. Small rocky islands near the lake shore carry glacial boulders, and a long line of boulders protruding from the lake near its end, marks the crest of a drowned moraine.
Last Updated: 27-Jul-2009


text:
|Stock Photo ID: 43273810
|Copyright: Im Perfect Lazybones
Editorial use only Available for extended license use
Download any size at one price
|5 images per day
|$0.53 / image
|10 images per day
|$0.33 / image
|20 images per day
|$0.28 / image
Credits are good for up to one year
|10 credits
|25 credits
|save 44%
|100 credits
|save 52%
|500 credits
|save 72%
adult, aged, agricultural, agriculture, allepey, asia, asian, autumn, background, backwaters, bai, banana, barley, boy, branch, buffalo, bundle, burma, burmese, business, carry, cereal, china, chinese, climate, color, colorful, concept, country, countryside, countrywoman, cow, crop, cultivate, cultivated, cultivation, culture, development, east, employment, ethnicity, falls, family, farm, farmer, farming, farmland, female, field, five, foods, foreground, gardening, girl, golden, grain, grass, green, group, grow, growth, hand, hard, hardship, harvest, harvesting, hat, hdr, hook, human, idea, india, indigenous, issues, job, kid, labor, land, landscape, life, lombok, mae, malaysia, man, manual, meal, mud, myanmar, nadu, natural, nature, non-urban, occupation, one, organic, outdoor, paddy, paddy-field, peasant, people, person, picking, plant, plantation, pool, poor, poverty, produce, reap, rice, rice-field, rural, rustic, scene, season, seed, senior, seven, sickle, sieve, sot, sow, stems, straw, sunlight, tamil, team, terraced, thai, thailand, together, tool, tradition, traditional, travel, tree, tropical, umbrella, unrecognizable, vegetation, vietnam, view, water, wheat, woman, women, work, worker, working, yellow, young, yunnan
Made with love in NYC.
Bigstock and Big Stock Photo are registered trademarks of Shutterstock. Bigstockphoto is a trademark of Shutterstock.
© 2004-2014 All rights reserved - Bigstock®

subset: commoncrawl


text:
Pressure on Hogan Lovells to inform Met of fraud
Readers' comments (27)
I can't understand this. Normally criminal proceedings are dealt with first, and then any disciplinary proceedings follow later. This is why some of the SDT strikings off refer to XXXX "of HM Prison." It's hardly going to do the reputation of the profession any good, if errant bookeepers are relentlessly prosecuted, but the misdeeds of solicitors are not even reported to the police.
Getting the police involved really would be to blow this little incident out of all proportion.
So a CC accountant gets jailed for £30k, MPs jailed for 50k expense frauds, but a partner stealing £1m is a "little incident". Hardly fair is it?
The real reason may well be because some of these claims were charged to clients and that would present HL with a little local difficulty in explaining, auditing, refunding etc.
@ City Gent - £1 million is a 'little incident'? Are you a lawyer or perhaps a MP..?
City Gent, are you taking the mick? He defrauded the Partnership of £1M. If the Police did nothing and I was a Partner, I would be launching a private prosecution.
Going to the Police should be the second course of action, the SRA being the first.
I do hope you're trying to be ironic
How ironic that he practices in litigation, insolvency and fraud. Would he represent himself if he was taken to court?
In what way would reporting the matter to COLP have preented disclosure of the resignation / dismissal?
A very poor excuse to use for non reporting.
What is a concern is that the SRA haven't reported this, or if they have that this hasn't been disclosed and that the disciplinary investigation is on hold while the police investigate.
The man is despicable and should be in prison. Frankly if Hogan Lovells don't want to contact the police then they should be prosecuted too.
This isn't going to go away, too many are simply too disgusted by this and the sheer moral hypocrisy.
It's normally about this point that the man himself pops up on these comment boards to say "I worked with Chris and he's a good egg, and I think it is a great shame that people are being beastly about him"
Hmmmmmm.................how would this look in the Daily Mail?
I think that the bloke has probably had enough so its best that people leave him alone. Its an internal matter for HL and they should be able to deal with it as they want. He probably had no intention to permanently deprive ... etc.
"He probably had no intention to permanently deprive ... etc."
Exactly. Its not like he's some robber running off with a bag of swag. He's a gentleman and has generously decided to return the money in full.
Frankly it would be a waste of police time to involve them at stage this when the matter has been settled to the satisfaction of all concerned and the politics of envy types on here ought to pipe down.
I read lots of comments previously, that the man in question was very nice to work with and that this behaviour is entirely out of character. Being dismissed and publicly humiliated in this way is probably punishment enough for this man, who may well be suffering enough from whatever caused him to act this way in the first place.
It's very easy to stand there on your moral high horse, not knowing what this man was going through at the time, and more to the point, what he is going through now.
I do hope that none of you are ever in his shoes, feeling as low as he probably does and for people to show you as little sympathy as you are showing him.
He is only human for God's sake.
The codswallop continues. Would Anon @ 4:38 being saying the same thing about a secretary who stole from the firm (cf what happened to the Goldman Sachs seccy a few years ago)? Would (s)he be worrying about how low someone is feeling who nicked some food because their monthly benefit had run out? Fat chance.
It embarrasses me to read some of the morally and intellectually bereft drivel on this page. It would be bad enough coming from a thieving clutch of bankers. From lawyers, it beggars belief.
Someone who steals a million pounds is a thief, pure and simple. It's a while since I last prosecuted, but I recall that factors such as being highly educated, stealing from your friends etc. make the matter worse, not better.
And please don't denounce me as some jealous leftie. I vote Tory and that's one of the reasons why I hate dishonesty.
These comments are hilarious:
@ City Gent | 23-May-2011 11:44 am: "Getting the police involved really would be to blow this little incident out of all proportion". Yeah, stealing 1 million is not really a big deal is it - let the police just focus on some 16 year old stealing a bra from Top Shop or a pack of crisps from WH Smith. This is actually one of the largest thefts of the year and the police should look at it. More so that he was in a position of trust. So what if he paid it back - that makes it alright then does it - would he have given it back if he didn't get caught?
@Anonymous | 23-May-2011 4:38 pm: "Being dismissed and publicly humiliated in this way is probably punishment enough for this man, who may well be suffering enough from whatever caused him to act this way in the first place". What caused him to act in this way is that he is a thief. So if Hitler was "publicly humiliated" and had some life issues to deal with, that would be enough punishment too then? Also: "It's very easy to stand there on your moral high horse, not knowing what this man was going through at the time, and more to the point, what he is going through now". Err "moral high horse" - you mean having a distaste for thieves - whether you wear a suite or a balaclava, if you steal 1 million you should be incarcerated for at least a decade. So if he was having a hard time that's ok then is it - let him off? So you would let all the burglars and muggers off too would you because they could argue they were going through a hard time no doubt! And "what he is going through now" - If he is upset then good - that is part of the justice system - you get caught - you suffer the consequences.
The police will do nothing and neither will the SRA though - City lawyers have still not been investigated and struck off for advising on financial products that contributed the financial crisis yet (and then being allowed to advise on the restructuring and insolvency too). This guy will probably land a job in the FSA next week as a special advisor on financial crime.
Why not the police? Easy - HL doesn't want the police mucking about in the books and records.
I call 'Godwin' on this thread.
He should have got a 'super'-injunction to prevent this all coming out....
The Police or the SRA may do nothing, but he should be also referred to Companies House for an investigation as to whether he is fit to hold Corporate Office again.
To the person who posted a comment to the effect that "he's only human", what are you on? I'm also "only human" and would never blag a million from my mates ... or anyone for that matter. If he was such a nice bloke / chap / egg ... he wouldn't have STOLEN from them. SIMPLES.
View results 10 per page | 20 per page | 50 per page


text:
Snakeskin Agate
This page is currently not sponsored. Click here to sponsor this page.
Rome, Malheur Co., Oregon, USA
© Dana Slaughter
A variety of Agate
Agate with snakeskin-like surface pattern.
Agate with snakeskin-like surface pattern.
(TL) indicates type locality. ? indicates mineral may be doubtful at this locality. All other localities listed without reference should be considered as uncertain and unproven until references can be found.
Mindat Lightbox
|Fade toolbar when not in focus
|Fix toolbar to bottom of page
|Hide Social Media Links
|Slideshow frame delay


text:
Here's one of the best things we've heard on the scanner in recent weeks:
5/2/2013 @ 5:51 p.m. - "Not sure if clowns are involved, but all the subjects are leaving in a vehicle."
Unfortunately, we lack further information to provide context to the quote.
Please keep it civil. Don't post comments that are obscene, defamatory, threatening, off-topic, an infringement of copyright or an invasion of privacy. Read our forum standards and community guidelines.
You must be logged in to post comments. Please log in here or click the comment box below for options.comments powered by Disqus


text:
The fountain of youth? Perhaps the eternal search ends at the jugular of beautiful young women. Countess Dracula finds it to be quite a tasty rejuvenation solution. Milk baths are excellent for the skin. But blood baths? Sensational! Unfortunately, the ancient anti-aging formula works only briefly. Afterwards, the user winds up looking like an even older, uglier crone. Fortunately for gothic horror fans, the Countess is responsible for buckets of blood and ample, bouncing bare breasts along the way. Shockingly, the story is based on a real-life Medieval villainess, Hungarian Countess Elizabeth Bathory. The sensuously sordid proceedings benefit from sumptuous and stately sets and costumes). The 1971 Hammer picture looks great in its new Blu Ray release from Synapse Films. The luscious Ingrid Pitt (The Wicker Man, Where Eagles Dare, Vampire Lovers) stars at the lustful, evil Countess. Its a tour-de-force performance (though her dialogue was unnecessarily dubbed to eliminate her accent). The exquisite Lesley Anne-Down, in one of her earliest screen appearances, plays the Countess ingenuous daughter. Director Peter Sasdy draws uniformly capable performances from his cast, which includes the notable Nigel Green. Pitt figures prominently in the interesting extras, including a fascinating featurette on her life and career, an audio interview and commentary track (with Sasdy and the screenwriter also participating). The set comes with a DVD disc of the film, as well.
The long-lost 1983 futuristic fantasy adventure movie launched director Jim Wynorskis prolific B-movie (to be generous) career. His directorial debut came after a mentorship from King of the Bs, Roger Corman. Lost Empire is cheesy fun, as Wynorskis imaginative filmmaking compensates for the meager budget. Dr. Sin Do (Angus Scrimm, of Phantasm infamy) has made a deal with the devil and now just needs to hunt down ancient magical jewels, the Eyes of Avatar, and he will hold supremely destructive power. Battling the demonic doctor are such beauteous babes as Melanie Vincz and Raven de la Croix. Such attractions as catfights, ninjas, robot spiders and plenty of skin will distract viewers from the increasingly ridiculous plot and cornball dialogue. Its colossally camp. Dont miss Wynorskis entertaining commentary track. MVD Entertainment has also just released another of Jim Wynorskis cult classics, Gila! Its a take-off on the 1959 Giant Gila Monster.
Aired as a Smithsonian Channel miniseries, Civil War 360 offers fresh, personal perspectives on the conflict. The first episode in the newly released DVD package focuses on the Union side. Its hosted by Ashley Judd, whose Kentucky ancestors donned blue uniforms. Episode two moves to the Confederacy and country star Trace Adkins recounts what his people might have been feeling as they marched into battle for the South. In the third episode, Dennis Haysbert explores those who were enslaved in the deep South during those horrendous times. Throughout, viewers have an opportunity to examine a remarkable array of artifacts from the era, housed at the Smithsonian Institute. The DVD also includes a bonus episode, Lincolns Washington at War.
TRIALS OF KATE McCALL
Kate Beckinsale turns in a magnificent, multifaceted performance as a once elite attorney, now a recovering alcoholic, who, to be able to reestablish her practice, agrees to handle, pro bono, the appeal of a desperate mother wrongfully convicted of murder. The hardened lawyer, whos trying to reconnect with her own estranged husband and daughter, finds herself becoming increasingly emotionally involved in the originally botched case. And the facts turn out to be far more complex and disturbing than Beckinsale had expected. The plot takes dark twists and turns. Nick Nolte contributes a fine portrayal of her ponytailed, blustery, but good-hearted associate. Excellent support also comes from James Cromwell as the judge, Kathy Baker as a therapist, Deborah Van Valkenburgh as a Justice, Jay Thomas as an amoral law firm bigwig and Taye Diggs as an angry piece of Beckinsales past. Anna Anissimova gives a heart-rending portrait of the imprisoned victim. This is a well-written, engrossing drama that deserves to be discovered, now that its available on DVD.
Vertical Entertainment has just released this enthralling animated feature from Denmark (in English). Directed and co-written by Esben Toft Jacobsen, its an adventure story inspired by a Scandinavian myth. Jonathan and his little sister Sophie trek into a forbidden forest, by their grandfathers house. They run into a fearsome, gigantic, ancient bear. But Sophie is able to make friends with the creature. A vengeance-seeking hunter is on the bears trail and hes the real source of danger. Cute birdies provide comic relief. The movies visuals are striking. The proceedings are too intense and violent for children under five. But otherwise, this is a film that can spark a valuable family discussion about nature.
Grammy-winner Eric Johnson is one of the finest guitarists of his generation, able to seamlessly draw from numerous genres. He can really make the electric guitar sing. He knows when to project power, when to rely on subtlety and nuance. This new release was recorded across Europe (primarily in Amsterdam). The performances are dazzling. His playing is incredibly fluid. Johnson gives his most familiar tunes, such as Zap and Cliffs of Dover, a freshness and vigor. More recent tunes, such as Fatdaddy and Evinrude Fever, are equally impressive. A lengthy excursion into John Coltranes Mr. P.C. displays Johnsons musical inventiveness. On numbers such as Forty Mile Town and Austin, he serves up winning vocals, as well. This is an outstanding live album by an artist at the top of his game.
We were shamefully late in catching up with this album, released in 2013, but it has quickly become one of our favorites. Firekeeper, the San Francisco electro-folk duo, comprised of Becky White (producer/vocalist/guitarist) and Nathan Pundt (drummer/designer), take a spare, earnest, experimental approach to Americana music. From the instantly engaging opener, Great Unknown, to the lovely Waiting For The Queen to the yearning Farthest Shore to the quietly, hauntingly epic title track that closes the album, youll be under the duos spell. With literate lyrics and compelling vocals, Firekeeper keeps the alt-folk flame burning bright.
Particularly in the U.S., these Warner Bros years produced some of the least known Bee Gees music. But the three albums they released are filled with musical gems, brimming heavenly harmonies and delectable dance beats, well worth rediscovering. Thanks to the new Rhino five-CD box set, we can revel in these sumptuous sounds. All three siblings get a chance to shine on lead vocals, though Barry earns the majority. The first WB LP, 1987s E.S.P., came after a long gap, following the commercially unsuccessful record Living Eyes. E.S.P. reunited the group with legendary R&B producer Arif Mardin. They meticulously crafted a more modern, synth-pop sound. The single, You Win Again, proved to be a global hit, though it went relatively unnoticed in America. 1989s One was dedicated to the trios younger brother, Andy, who had tragically passed away during production. Among the highlights on this album are Ordinary Lives, Wish You Were Here and the title track, One, which is included in remix, club and dance versions, as well as the original mix. The next LP, High Civilization went deeper into the electronic direction. The lead single, Secret Love, hit big in Britain and Germany. In addition to the box sets addition of demos, singles edits and remixes, it presents, for the first time in its entirety, the Bee Gees One For All concert. The live set spans the groups full career, featuring such classics as To Love Somebody, Words, Massachusetts, How Deep Is Your Love, How Can You Mend A Broken Heart, I Started A Joke, Nights On Broadway, Jive Talkin, Stayin Alive and You Should Be Dancing. With Barry Gibbs Mythology Tour garnering raves, its a perfect time to remember the magic he created, blending with brothers Maurice and Robin. This box set provides that opportunity.
This soundtrack album gives you the best of all three worlds - Clint Eastwoods Jersey Boys motion picture, the smash Broadway musical, plus original Frankie Valli & The Four Seasons tracks. The films stars emulate Frankie and crew to great effect on Cry For Me and Sherry/December 1963 (Oh What A Night). Its uncanny the way John Lloyd Young channels Frankies famed falsetto, both on stage and on screen. But its also great to hear the venerable Valli boy himself on numbers like the sentimental My Mothers Eyes. Other classics include Dawn (Go Away), Sherry, Cant Take My Eyes Off You, Who Loves You, Cmon Marianne, My Eyes Adored You, Rag Doll, Walk Like A Man, Big Girls Dont Cry and Working My Way Back To You. In all, 25 timeless tracks are presented here. Its a beautiful blast from the past... and present.
The U.K vocalist (formerly singer with Ace, as well as Mike and The Mechanics) knows how to drench a song in honeyed soul. And his phrasing is inspired. His latest solo album is a winner, featuring top-notch Carrack originals, as well as covers of such classics as You Dont Know Me, (If Loving You Is Wrong) I Dont Want To Be Right and Come Rain or Shine. The production is excellent, blending in just the right amount of strings and horns, while allowing Carracks powerful voice to hold the spotlight.
Hannah Aldridge (whose father Walt is a veteran country songwriter) delivers her own deliciously distinctive brand of edgy Americana. The Muscle Shoals native displays a great gift for penning memorable songs. Lyrically and melodically, theyre exceptional. And her voice cuts right to the heart. Shes equally electrifying on the vulnerable Black and White, Strand of Pearls and Lie Like You Love Me, the searingly bluesy Howlin Bones, the emotional power ballad Save Yourself and the feisty rocker You Aint Worth The Fight. This is an artist ready for greatness.
Magness ranks among our finest blues-rock artists and this new album proves it beyond a shadow of a doubt. Her voice is consistently moving, passionate and utterly convincing She had a hand in writing most of these potent original tunes. There are plenty of instant classics among them. And vocally, shes a revelation. Whether the number leans towards soul, R&B, roots rock, gospel or traditional blues, Magness delivers every ounce of emotion. Among the high points are a searingly urgent I Need A Man, the gutsy Badass the spirited Who Am I and the poignant Standing and When You Were My King. Producer Dave Darling helps Magness soar to amazing heights.
Musical ability sometimes ages like fine wine, as a performer can draw on a wealth of life experience to convey the full gamut of honest emotions. Such is the case with the Bay Areas Margie Baker. After a 50-year teaching career, in her seventies, the vibrant vocalist and great-grandmother decided to devote herself to performing. Her latest album displays her warm, natural, knowing voice and a gift for phrasing that maximizes the impact of every lyric. Baker puts her imprint on 20 classic tunes. Among the highlights are a swinging Deed I Do, a soulful Round Midnight, the swaying Latin feel of Senor Blues, a resplendent Nightingale and the lush Come Sunday. Backed by wonderful musicians, Baker moves listeners with each and every performance.
Though its not as well known, the body of work Cash created between his 50s raw, Sun roots and his 90s dark and haunting comeback albums produced by Rick Rubin, is well worth experiencing. Cash recorded the Out Among The Stars album in the early 80s. Long lost, the record has just been released by Columbia Legacy. Producer Billy Sherill, Nashvilles hottest at the time, helped the country legend assemble a strong mix of material. The title track suits Cashs rugged desperado mold. Fellow outlaw Waylon Jennings joins Cash for a lively rendition of Hank Williams Im Movin On. Wife June Carter Cash duets with Johnny on the good-natured Baby Ride Easy and Dont You Think Its Come Our Time. Tennessee is traditional-sounding and homey. The rough-hewn Cash grows tender and loving on After All. Rock and Roll Shoes could easily stand alongside his early rockabilly classics. Cash himself penned two of the tunes - Call Your Mother and the touching I Came To Believe. The superb backing musicians include a young Marty Stuart. Even when the charts ignored him, Cash was still making great music.
Gillespies new record is an enchanting excursion into folktronica. The imaginative songwriter sings with an ethereal beauty. Part of the inspiration for the Chamma album came from experimentation with found sounds and field recordings on her iPhone. The title tune, a mesmerizing gem, has an otherworldy magic to it. Other extraordinary tracks include Dirty Gold Parasol, Epiphanee, Evil Eye and Child of the Universe. Instrumentation is interesting throughout. Gillespie is joined by percussionist Joseph Adamik (Iron and Wine) and guitarist Emmett Kelly (The Cairo Gang). Cello, viola, harp and trumpet are also woven into the subtly textured arrangements. Close your eyes and let Jenny Gillespie take you on an astonishing musical journey.
Sophie Huber has directed an acclaimed new documentary on veteran character actor Harry Dean Stanton (Cool Hand Luke, Pat Garrett and Billy The Kid, Pretty In Pink, Escape From New York, Alien). The soundtrack to the film has been released and its a treasure. Disarming and intimate, it was recorded in Stantons living room and consists mostly of him simply singing, conveying the rich emotions of some of his favorite songs. Guitarist Jamie James (The Kingbees, DQ and the Sharks, and Steppenwolf) accompanies him. Don Was sits in for a couple of tunes. Harry Dean blows a mournful harp on Blue Eyes Crying In The Rain. Other charming tracks here include Blue Bayou, Everybodys Talkin, She Thinks I Still Care, Hell Have To Go, Tennessee Whiskey, a rollicking Promised Land and his buddy Kris Kristoffersons Help Me Make It Through The Night. The gentleness and authenticity of Stantons unadorned vocals make this Americana record something special. Hes been playing forever, strumming, singing and wailing on harmonica. He just hadnt paused to allow it to be recorded before. About to celebrate his 88th birthday, with this winsome debut album, he might just have a whole new career.
The Japanese pianist/composer, who was mentored by Ahmad Jamal and inspired by Frank Zappa, has created an exhilarating new album, Alive. This adventurous new work boldly spans a wide range of styles and moods. Her partners in this inventive trip are contrabass guitarist Anthony Jackson (Steely Dan, The OJays, Chick Corea) and drummer Simon Phillips (Toto, The Who, David Gilmour, Jack Bruce). Cool tracks include the jaunty Wanderer, the more pensive Dreamer, the wistful Firefly and a surprise-filled Warrior. Hiromi is not bound by traditions. Her music is informed by funk, prog rock and classical. But she fashions sounds that are completely original.
Brothers Alan and Chad Edwards decided to name their band The Loudermilks, as a tribute to the original last name of The Louvin Brothers. Buoyed by the tight-knit sibling harmonies, Loudermilks deliver an engaging set of Flying Burrito Brothers-like country-rock. Among the most appealing tunes are The Plan, Everybody Knows You and Georgia Pines. The group, which hails from Charlotte, North Carolina, is the real deal.
The actress (Blame It On Rio, Death Becomes Her, Far and Away, Dallas: War of the Ewings) demonstrates her talents as singer and songwriter on her debut album, Popular. It reverberates with infectious pop/hip-hop/dance sounds. Such tracks as the explosive Party In The Ashes, the clever, hard-hitting Locked and Loaded, the saucy Soho Busy and the lustful I Like em (B.D.C.) will be instantly ingrained in your brain. Giddy Up Girl uses a mid-tempo approach with a funk feel to get feet moving. Johnson really knows how to ride a groove. Her voice shines on the pretty ballad Promises of Love and the beautifully crafted, less adorned Its Not You.
The Munich-based synth-pop band, with clever beats enhanced by Josie-Claire Buerkles breathy vocals, can quickly fill a dance floor. Its difficult to resist such tracks as the pulsating Pioneers Overdrive, and the title track, as well as the atmospheric Hallowed Ground and Neon Love.
The Gallagher brothers, masters of post -Beatle Britpop bravado, stormed to stardom with their debut, Definitely Maybe. Filled with razor-sharp guitar riffs, snarled vocals and often contemptuous attitude, the album relied on guts and hooks, not gimmickry, to conquer the charts. Oasis could charm with an acoustic ballad, as well as blast you against the wall with a penetrating rocker. Big Brother Recordings has made the newly remastered album available as a standard CD, 3-disc deluxe CD, vinyl LP (with digital download bundle containing the bonus material) and a deluxe box set. The discs of demos and live tracks provides further evidence of the bands natural power. The three-disc collection proves that 20 years later, the music definitely stands the test of time. No maybe about it. Oasis may have imploded due to ego and excess, but they made some amazing music before the crash.
Morgan Kibby, vocalist/keyboardist of M83 (the French band), delivers a lushly produced solo album of electro-pop. Harkening back to the sounds of the 70s and 80s, In Cold Blood manages to add a contemporary edge. Kibby lets her penetratingly beautiful vocal carry the day in the quieter moment, Small December. Theres a dream-like quality to Flash. Other top tracks include It Will End In Disaster, Prague, and the soaring They Dont Know.
The name Mark Sebastian might not immediately ring a bell. But Pop Culture Classics readers will certainly know a song he co-wrote in the 60s, while still in his teens - Summer in The City. Yes, Mark is the younger sibling of the Lovin Spoonfuls John Sebastian. Marks new album is an exceptionally pleasing experience, from the 40s film noir movie poster style cover to the disarming performances of some marvelous songs. The title track makes an eloquent opener. Wild About My Lovin gets an irresistibly fun folk feel (with brother John on harmonica). Mark Sebastian goes breezy and jazzy on A Time For Lovers And Invincible. Theres a soulful R&B flavor to A Fork In The Road. Howlin is a finger-popper. Sebastian adds grit to the earthy blues of Indigent Woman. His warm, soothing, expressive voice brings charm to pretty tunes like Carol Ann and All of Her. A gifted singer and songwriter, Mark Sebastian has created an album to be treasured.
Can 13th century French polyphony move listeners today? Absolutely! With only their four breathtaking voices, Anonymous 4 stirs the human spirit as few musical experiences can. Whether singing in unison or harmony, the quartet summons an amazingly richly textured sound. After 28 years of making musical magic, The fab 4 has announced that 2015-2016 will be their farewell season. But recordings like Marie et Marion will ring in our memories forever.
After more than 40 years of headbanging, Nazareth can still deliver the goods. The stalwart Scotsmen get hot and heavy on numbers like Boom Bang Bang, One Set of Bones, Punch A Hole In The Sky, and Not Today. But theyre also effective on softer, more melodic tunes like Winter Sunlight. Gravel-voiced Dan McCafferty has announced that hell be leaving the band, for health reasons. So theres a bittersweet note to this albums release. But its a fitting farewell.
Like his father, Ziggy Marley offers music brimming with optimism and enlightenment, even in the face of an ever more foreboding world. The upbeat tunes on Ziggys latest album include Moving Forward, Sunshine and the resilient reggae anthem I Get Up. He goes futuristic with the funk-rock of I Dont Wanna Live On Mars. Powerful emotions fuel You. Theres a softer, folk-pop feel to the lovely Lighthouse. Youre My Yoko is an amusing, sweet, quirky ditty. Expanding the boundaries of reggae, Marley serves up a celebratory album thats truly uplifting.
A new album from the Godfather of British Blues is an offer we cant refuse. In the 60s, his Bluesbreakers launched the careers of such greats as Eric Clapton, Jack Bruce, Peter Green, Mick Taylor and Aynsley Dunbar. On the latest record, backed by his current, sizzling four-piece band and guest accordionist C.J. Chenier, Mayall brings us a very special set of blues rock on A Special Life. The excitement starts with the opener, Why Did You Go Last Night, which was written by C.J.s father, Zydeco legend Clifton Chenier. Next comes the red-hot Speak of the Devil, which was penned by Mayalls former bandmate Sonny Landreth. Mayall delivers some timely socio-political messages on his own World Gone Crazy. Among the other high points are I Just Got To Know, Albert Kings Floodin In California, and the tender Heartache. When you listen to Mayall, you hear a full lifetime of the blues.
The South African superstar is electrifying in an unplugged concert. The vivacious vocalist plays guitar, melodica and concertina on the album. A top-notch band supports him. Clegg mixes pop, folk and rock sensibilities with world music flavors, particularly African. The results are remarkably engaging. Such popular Clegg tunes as Cruel Crazy Beautiful World, Impi, African Sky Blue and The Crossing are included here. The sublime closing number, Asimbonanga, is Cleggs moving tribute to Nelson Mandela. This album is sure to make your spirits rise.
Vancouver native Colleen Rennison is an impressive blues-rock-country-folk singer in the Joss Stone/Bonnie Raitt vein. She has put together a very cool mix of songs here, drawing from such classic songwriters as Booker T., Neil Young, Robbie Robertson, Townes Van Zandt, Joni Mitchell, Bobbie Gentry, Billy Cowsill and Leonard Cohen. Knowing when to belt and when to opt for subtler expressions, Rennison puts her own indelible stamp on such numbers as Coyote, All La Gory, Why Dont You Try and Sarah Harmers Oleander, where shes backed by the beautiful harmonies of the McCrary Sisters. Bluegrass icon Tim OBrien joins her on White Freightliner. Though shes only 25, Rennison displays a deep understanding of the timeless material.
The Australian singer-songwriter-multi-instrumentalist, known for his work as a founding member of The Birthday Party and Nick Cave & The Bad Seeds, released Intoxicated Man and Pink Elephants in the mid-90s. These reissues give us an opportunity to rediscover Harveys sensational reinterpretations of the works of Serge Gainsbourg. The French singer-songwriter had recently passed when Harvey became enthralled with his compositions. Creating English language versions became a compulsion for Harvey. The translations manage to fully convey the wit, pain, poetry and personality of Gainsbourg. With his own perfectly gruff vocals, Harvey adds his own colorful textures, while retaining Gainsbourgs essence. Anita Lane occasionally steps in to add a female voice, in place of Gainsbourgs muses, Jane Birkin and Brigitte Bardot. Harvey finds just the right touch for every evocative song. Sometimes that means a searing guitar line. In other passages, its a sensuous string section. Included are many of Gainsbourgs best known songs, such as Bonnie and Clyde, The Ballad of Melody Nelson, Comic Strip, Harley Davidson, as well as more obscure numbers. One of the perviously unreleased tracks, Dr. Jeckyll, is delectably unnerving. The albums atmosphere seems to be steeped in the booze, cigarette smoke and sex of the wee hours. These tributes are a credit to both Harvey and the man he honors, Gainsbourg.
These two jazz greats have been collaborating for decades. The new album, Last Dance, like the previous Jasmine, was recorded at Jarretts home studio, over four days, in 2007. Hadens peerlessly elegant bass lines provide a foundation for Jarrett to build inspired piano improvisations. The two musicians are both thoughtful and intuitive in their approach. The pair finds fresh musical ideas in such standards as It Might As Well Be Spring, Round Midnight and Where Can I Go Without You.
Sixties psychedelic rock sounds are brought rocketing into the 21st century, courtesy of The GOASTT band and its front-people, Sean Lennon and Charlotte Kemp Muhl. And yes, the ghost of John Lennon seems to be dancing transcendently over this project. But what GOASTT comes up with is all their own, wonderfully weird, exotically hypnotic, totally immersive. The lyrics tend towards trippiness. For all of the strangeness, there are ample melodic and and instrumental hooks. Theres a dream-pop element, as well. Their lyrics are intelligent, provocative, sometimes topical and occasionally humorous. The most memorable tracks include Dont Look Back Orpheus, Too Deep, Animals and an astonishing transformation of Peggy Lees Golden Earring. The beginning of the ethereal Moth To A Flame, recalls The Beatles Because, from the Abbey Road LP. Throughout, Sean Lennons keen vocals balance nicely with Muhls gentler, sweeter voice. The GOASTT has created a wondrously venturesome listening experience.
Its feel-good music of the highest order. Prima Jr. takes the robust, swinging jump-blues style of his father, legendary Louis Prima, and drives it up a notch with a contemporary energy of his own. In addition to Prima Jr.s vigorous vocals, singer Leslie Spencer adds spice to some of the tracks. She torches it up on Someday. Theres a genuine joy to the performances on such tracks as Blow, Go, Lets Go and Fame and Glory. The whole album is a real romp. Snappy drums and power-paced horn section juice up the sound. On Thats My Home, Jr. is able to duet with his Dad, thanks to Sr.s 1959 vocal and trumpet tracks. Jr. brings this party to a close with the gentler swinging Those Million Things. Spin this disc and have a blast!
The Pacific Northwests outstanding blues-rock singer/bassist/songwriter has found a powerhouse direction with Compass, her third studio album. Her vocals burn with emotion. OKeary expresses torment on Ive Got None and the anguish of Losing You Again. Theres a funk fire to You Get Me High. OKeary simmers on the slow blues of Let Me Be Kind. Seattle Slims guitar work is terrific throughout. Wah-wah pedal puts some extra punch in the opener, Fools Gold. Nothing Left To Say is an instant classic, enhanced by reverb-drenched guitar licks. OKeary and company have delivered a really rousing set here.
Recorded in Jack Whites 1947 Voice-o-Graph vinyl recording booth in Nashville, Youngs new album sounds like a recently uncovered treasure from the past. On this simple, spare and honest record, backed just by his acoustic guitar and an occasional piano, Young offers renditions of some of the songs, penned by others, that have meant the most to him. The memorable Young performances include Phil Ochs Changes, Tim Hardins Reason To Believe, Dylans Girl of the North Country, Ivory Joe Hunters Since I Met You Baby, Willie Nelsons Crazy, the Everly Brothers classic I Wonder If I Care As Much (with White on harmony vocal) and Bert Janschs despairing Needle of Death. Young sweetly renders fellow Canadian Gordon Lightfoots Early Morning Rain and If You Could Read My Mind. Youngs spoken messages to his mom add to the tenderness and sentimentality of the record. Sometimes a great deal can be learned about a songwriter by the tunes he chooses to cover.
The British cabaret artist is known for her extraordinary interpretations of Bob Dylans oeuvre. On her latest album, in addition to six Dylan numbers, she performs five written by Leonard Cohen. Her ravishing voice is incredibly expressive. Jungr finds previously undiscovered depth in Dylans Its Alright Ma. She also adds rich new colors to Chimes of Freedom, Masters of War, Blowin In The Wind, Gotta Serve Somebody and Hard Rain. But her performances of Cohens songs ascend to even loftier heights. She finds all the drama and intensity of Everybody Knows, Who By Fire, First We Take Manhattan 1000 Kisses Deep and Land of Plenty. We get an entirely new perspective on the emotions, politics and philosophies of these two iconic songwriters through Jungrs stunning musical insights.
The satiny-voiced Italian singer recalls the smooth crooners of the 50s, 60s and 70s. He should appeal to fans of such artists as Jamie Cullum and Michael Buble. He takes a polished, Sinatra-like, swingin approach to such unexpected choices as The Box Tops The Letter and the First Editions I Just Dropped In. It all works surprisingly well. His rhythmic phrasing is spot-on for Spooky. Balducci offers a marvelously mellow version of Hurt So Bad, then includes a swing version. A sweet The Meaning of Love is another highlight, as is a sophisticated Big City.
Despite a jazz background, Grace takes a folk-country-rock path on this record. And the results are impressive. The sensitive production by Grammy winner Sheldon Gomberg permits her dulcet voice to sparkle. The diverse material blends beautifully through Graces thoughtful interpretations. A lovely, lilting rendition of Duke Ellingtons Mood Indigo shimmers. An exquisite offering of Tom Waits The Briar and the Rose is especially memorable. Her version of the Meat Puppets Plateau will send chills up your spine. And she delicately explores the sad, weary beauty of Townes Van Zandts No Place To Fall. There is, indeed, an amazing grace, to this singers performances.
There have been many great male-female duos in traditional country music over the years. Bruce Robison and Kelly Willis have definitely joined those ranks. Their voices entwine in perfect harmony. Swathed in languid pedal steel, Carousel ( a lovely Robison tune) and T Bone Burnetts Shake Yourself Loose become memorable, pretty ballads. Lonely For You (written by WIllis with Paul Kennerley) recalls rockabilly charms of Buddy Holly and the Crickets. Robison and WIllis ably cover The Statler Brothers Ill Go To My Grave Loving You and the Tom T. Hall tune, made famous by Jeannie C. Riley, Harper Valley PTA. With the banjo-plucking prominent, youll be surprised to realize that This Will Be Our Year originated as a rock number cut by The Zombies. Other great numbers include Motor City Man and Departing Louisiana, which was written by Robisons youngest sister, Robyn Ludwick. Robison and Willis - a musical marriage made in country heaven.
Omnivore Records has released a rare treat for fans of genuine country classics. These are radio show performances by Williams that havent been heard for 64 years. The music has been restored and mastered, from original transcription discs, by Grammy-winning engineer Michael Graves. And these tracks sound fantastic! Among the must-hear performances are Mind Your Own Business, Farther Along, Wedding Bells, I Dont Care (If Tomorrow Never Comes) and Lovesick Blues. Between songs, Williams reveals a homespun charm and humor. Still three years away from his tragic death at age 29, Williams is in top vocal form. There are 24 tracks, including radio jingles. The discovery of these vintage shows is a true treasure trove.
This release gives the listener all the thrills of a live Sonny Rollins performance. With Rollins, the tenor sax legend, every song is a journey. Every melodic root can blossom into a mind-blowing improvisation. The spontaneity adds to the excitement. But he makes every note count. A track simply titled Solo Sonny contains bits and pieces of many familiar tunes, creating a mystical musical mosaic. Rollins is backed by superb musicians and the interplay is remarkable, especially on the 23-minute Why Was I Born. The six tracks run 72 minutes. And every second of Rollins explorations are spellbinding.
In celebration of their 40th anniversary, Blondie came up a very cool concept. Theyve rerecorded their greatest hits and packaged that with a studio album of new material. The hits still have all their glittering, pulsating irresistibility. Debbie Harrys voice may have changed a bit over the years, but in some ways, is better - more expressive- than ever. You have to be confident in your new stuff to put it side by side with such classics as Heart of Glass, The Tide Is High, Dreaming and Call Me. But much of the new CD holds its own beside the late 70s hits. Among the best cuts on the new CD are the rhythmic, catchy Sugar On The Side, Rave, Winter, Take Me In The Night, Take It Back and the change-of-pace Relax. The wave may no longer be new... but Blondie keeps it cresting.
Mindi likes it rough! The sizzling saxophonist may often be categorized as a smooth jazz artist. But her new album is a walk on the wild side. Abair knows how to rock. Trombone Shorty joins Abair for the exuberant Amazing Game. Kick Ass, with guest Joe Perry, lives up to its title. The boisterous The Shakedown, with Max Weinberg and Waddy Wachtel, is another scorcher, as is the unstoppable Train. Addicted To You is an undulating, soulful brew featuring Booker T. Jones, wailing on Hammond B3. Keb Mo guests on Ill Be Your Home. The blues ballad Just Say When, featuring Gregg Allman, closes this momentous album. Through the album, Abair shows that her sweet/sultry vocals can be almost as impressive as her torrid sax work.
Though he hails from New England, Dave Keller sounds like he just emerged from 60s Memphis. With his soulful vocals, piping hot horns and blistering guitar licks, Keller makes his songs memorable. 17 Years, an impassioned number about the disintegration of his marriage, displays his ample songwriting ability. His renditions of The OJays Its Too Strong and The Temptations Dont Look Back are worthy, respectful covers. Part of the album was recorded in Memphis, the rest in Brooklyn. All of it rings true.
The Slambovian Circus of Dreams (previously known as Gandalf Murphy & The Slambovian Circus of Dreams, as well as The Grand Slambovians) makes music that may seem reminiscent of Dylan, Donovan, Cat Stevens and Eric Andersen, with a pinch of the mind-altering eccentricities of Dream Theater, Jethro Tull and Pink Floyd. The band is fronted by singer/songwriter/guitarist/harmonica player Joziah Longo. Hes added and abetted by his classically trained wife, Tink Lloyd, who has been known to play everything from keyboards, accordion, melodica, ukulele and theremin to the flute. Their twin sons are among the other musicians contributing to the uniquely captivating sound. A Box of Everything presents highlights from the groups four studio albums, 1998-201. Among the alt-folk-rock gems are Rocket, The Trans-Slambovian Bipolar Express, Lost Highway, Good Thief, Light A Way, Talkin To The Buddha and the jauntily odd A Very Unusual Head.


text:
10/24/2014: 10 Leader Guides are undone, but the rest of the guide is 95%+ complete. I will work on this eventually but have my hands full playing Civilization: Beyond Earth and writing for The Sims 4. There is a possibiliy I will try to cover at least some of the gameplay elements from Beyond Earth, but can't make any promises. If you'd like to say thanks, you can use the donate button or use EA Origin, Gamestop, or Walmart to make a game purchase.
Civ 5 Arabian Civilization
Civ Bonuses, AI Info, Strategies, Unique Units and Buildings
Updated for Gods and Kings and Brave New World DLCs
Civilization's Leader: Harun al-Rashid
Civ Bonus: Ships of the Desert
Caravans have +50% extended range and all land/sea trade routes spread the home city's religion at double the usual Religious Pressure. In the mid-game, they will get double quantity for any Oil resources they control.
Unique Unit: Camel Archer
Requires Chivalry
This is a powerful ranged unit that replaces the Knight. They have 17 defensive strength, 3 less than the Knight, but Camel Archers have a ranged combat strength of 21. They do not have the -33% penalty for attacking Cities like typical mounted units and are almost overpowered against the AI for retaining their ability to move after attacking.
Unique Building: Bazaar
Requires Currency
The Bazaar replaces the Market and give 1 more Gold per turn. Oil and Oasis tiles will also give +2 Gold. What is really great about the Bazaar over the Market is that it will give double of any Luxury resources within 3 tiles of the City.
to Civs
|War w/Civs
|CS War
|Other Info
|This Civ will typically go for generating heaps of Gold and tends to seek a Scientific Victory if it's available. They are also likely to want to Found a Religion and try to spread it.
Strategies/Ideas for playing :
It is not unwise to play Arabia Wide to take advantage of the Bazaar. That means I recommend a Liberty start with them, meaning you build a Shrine then Monument after your first Scout(s). You will be able to control more Luxuries that way, and with a Bazaar built, having a single tile with a Luxury means you will have a spare that you are free to trade. Arabia would do best on large maps with many Civs, and particularly Pangaea. This will let them take advantage of those luxuries by trading with other Civs and the huge trade route range will let them reach very far. The Shrine comes into play, because you don't want to miss out on Religion with Arabia and playing wide gives you more time to build the Capital in the first few dozen turns without worrying about workers and settlers.
Read up on Religion to understand how Trade Routes can be used to spread your Religion to distant lands. With a Grand Temple, your Holy City will be putting out quadruple pressure even without Religious Texts to help boost it (which does so even better). You absolutely want Religious Texts for your enhancer because of this bonus. A few of your Cities sending a few trade routes from different origin Cities to an opposing Civ's Holy City can even overwhelm it once you've got this Enhancement. Religion isn't vital to Arabia, but it can certainly help them get more income or culture, while their Medieval-era ass kicking can eliminate competing religions through war. If you are playing wide as I advise, Goddess of Love is not a bad choice to help offset Unhappiness from number of Cities, while Desert Folklore is certainly another to look at if you have plenty of Desert tiles - while Petra does not affect Flood Plains, Desert Folklore does.
I recommend you go after the Petra Wonder (requires Currency) if you started on/beside Desert - you have a good chance at building this Wonder because you have incentive to rush to Markets to unlock the Bazaar for your Cities. Alhambra is also good, but is very popular with the AI. Keep those positions in mind when founding cities, along with the bonus gold the Bazaar will give you for Oasis and Oil resource tiles.
Get Horsemen in your early Army to help deter War, protect your Cities, and do City-State Quests. Horsemen upgrade to Camel Archers with Chivalry, and you should have plenty of Gold with Arabia to let you upgrade them and benefit from units that have already attained some combat experience. As you climb the technology tree, grab easily reachable techs that will give you additional trade routes to exploit. Try to have at least one coastal City to help you spread Religion to those on other Continents (or halfway around your land mass). These also give more Gold per turn than land trade routes, and you'll still be exerting double pressure.
The Camel Archer is Arabia's greatest asset during the time it's available, and it will probably be used a little longer than other units of its type because of how cheesy it can be. You can set up several Camel Archers 3 hexes from a City you want to take, step in 1 hex, fire, and step back out of range so the City cannot retaliate. You can see an example of this strategy in play in the screenshot above. This is super effective, so you can safely rush the Chivalry Tech when it's within reach to ensure they are available to you at the right moment.
Pick your targets wisely and know who you will be conquering -- probably your neighbor, whilst building good relationships with distant Civs to keep them from attacking you later in the game. You don't have to take all their Cities - in fact, there will be bigger diplomatic penalties for that. Taking their Capital and suing for peace to get another free City should be plenty to get you more luxuries to trade, even trading with the Civ you just dominated.
When trading, go for Luxury to Luxury trades first, then go for lump sums of gold second (requires Declaration of Friendship) and finally gold per turn. The 180 gold you'll get from +6/turn isn't great, but it definitely helps you support your military and upgrade horsemen to Camel Archers.
Winning an Emperor game with Arabia taught me just how important it is to keep your Trade Routes constantly full to get the most out of their bonus. I made my Religion the World Religion, took half a Pangaea and ended up winning a Space Victory. I didn't want to be a total Warmonger, but certainly could have. Ultimately, the income and religion I had were enough to help me boom after I captured the cities I desired and pass all other Civs in technology, making the Scientific Victory an easy win.
A Diplomatic Win would have been just as easy for me, for Arabia has such huge gold-generating capabilities that it can pay off most City-States and have many Alliances. The early-mid game power of the Camel Archer makes them one of my favorite Civilizations to play along with their ability to make huge sums of cash.
|Sid Meier's Civ 5 is a deep strategy game. I created these individual Civilization Guides to highlight the strengths of their specials and unique units. If you have an opener or tip for playing this Civ that you would like to share with other readers, please use the comments form below. Some Guides are in need of update and will be improved to a new standard of quality or altered to reflect gameplay changes in G&K and Brave New World.
|The Huns


text:
Muslim organization offers meals and robes to Buddhist monks
Earlier this month, the Muslim Social Welfare Group of Mandalay made a powerful gesture of peace by offering robes and meals to about fifty monks at Ma Soe Yein Monastery.
The offerings mark the celebration of Eid, an Islamic festival that follows Ramadan. It coincides with Wa Dwin, the rainy season retreat, during which it is customary to present gifts to monks in training. For more about this story, click here.
Burma has been rocked in recent months by tension and violence between the Muslim and Buddhist communities. Visit Buddhadharma for Alan Senauke's perspective on the ongoing conflict; Jack Kornfield's analysis appears in the latest issue of Shambhala Sun. Read More