text:
Review: Madeleine Peyroux, Bare Bones
Never has there been a more blatant case of false advertising than the title of Madeleine Peyroux's fifth album, Bare Bones.4.0
Never has there been a more blatant case of false advertising than the title of Madeleine Peyroux's fifth album, Bare Bones. While it's true that the enigmatic jazz songstress has always harbored a penchant for soft minimalism, it's also undeniable that there's a rich, something-out-of-nothing quality about her inconspicuous carriage, and never does that ring truer than in the plush footsteps of Bones. Even with the most threadbare of arrangements, the Georgia-born, New York-bred Peyroux is able to make gravy from water, finding the perfect match for her self-deprecating narratives in warm café atmospherics. Bones is no different, and while it offers little in the way of variation, there is little need for it in the first place, as Peyroux and company execute a level of pop-minded discipline unprecedented on a modern jazz record.
As always, the overwhelming attraction here is Peyroux's vocal retrograde, whose effortless indulgence of simple pleasures provides much of Bones's appeal. Though her voice has drawn a countless number of eloquent comparisons and metaphors, Peyroux's comfortable husk is more akin to that of Nat King Cole, he himself a master of unforced talent. In what proves to be the album's wisest tactic, Peyroux is allowed room to breathe, capturing her every articulation, lisp, and other mouth-related minutiae. The surgical precision at the microphone extends Bones's vibrancy, eschewing grand drama for understatement and intimacy.
The latter allow for offerings like "Damn the Circumstances," an understated piece guided by Peyroux's sandy musings. Drenched in the kind of roomy ambiance that would tolerate the most feral of improvisations, the song never wanders, subtly twisting from refrain to refrain in measured beauty. Such efficient tiptoeing ensures that tracks like "River of Tears" will echo on long after their velvety shimmy takes a bow.
Having demonstrated an almost inhuman ability for musical patience, Peyroux consents to a brief spate of mischief on "You Can't Do Me" before turning back to the usual haunts—albeit with some caveats. On its face, a piece like "Our Lady of Pigalle" is trademark Peyroux, reveling in a rural hush befitting some past century. Yet there is an irrefutable baroque quality that whispers exotically beneath its surface, secretly confirming that Peyroux aims to evolve in paces rather than leaps.
In the end, Bones gains footing in the journey rather than the destination. The album worships anticipation over outcome, its capacity found not so much on one particular track but in its overall stride. It is, in other words, a rejection of progression and passage for mood and form. Peyroux mastered such silken aura long ago, and while that may make the album somewhat of a retread, it's a playful one nonetheless.
Label: Rounder Release Date: March 13, 2009 Buy: Amazon
The 20 Best Rihanna Singles
We took a look back through the singer's catalogue of hits and picked her 20 best singles to date.
Like Madonna before her, Rihanna possesses a shrewd ability to sniff out percolating trends and a willingness to zig when she's expected to zag. "Russian Roulette," "Diamonds," and "Four Five Seconds" were all surprising moves for an artist who could have safely preserved the status quo. The Barbadian singer's wild success, which includes 11 solo #1 hits in the U.S., can also be attributed to her seemingly steadfast work ethic, yielding seven albums in just the first eight years of her career. That streak ended with 2012's Unapologetic, and she's only dropped one album since then, 2016's ANTI. While we wait out another dry spell in one of contemporary pop's most unexpectedly enduring careers, we took a look back through Rihanna's catalogue of hits and picked her 20 best singles to date.
Editor's Note: Listen to our Rihanna playlist on Spotify.
20. "Four Five Seconds"
The reverberations of a "ella-ella" or "na-na" now feel something like a big bang: There would be no "We Can't Stop," no "Come & Get It," without the syllabic tongue games Rihanna used to galvanize pop in the latter half of the aughts. Of course, hashtagging your way through vocals only gets a career so far, and if "Stay" saw RiRi try to demonstrate greater range through familiar forms, "Four Five Seconds" does so the way she knows best: by inventing her own. Paired with Kanye West in his rough crooner mode, the two bleat bluesy woes over Paul McCartney's best Lindsey Buckingham impression. It's an oddly affecting formula that's unlikely to prove quite so imitable—though Miley and Selena are welcome to try. Sam C. Mac
To say the world wasn't exactly thrilled to hear Rihanna, after just having bared her soul in Rated R about (among other things) "that incident," singing about how much chains and whips excite her would be a gross understatement. Career momentum, and a little assist from Britney Spears on the remix, thrust "S&M" to the top of the charts anyway, but you'd be hard-pressed to find many admitting that they, too, like the smell of sex in the air. But screw it, we'll say it. "S&M" might be the boldest of all Rihanna house jams, the moment when she truly found her Janet Jackson-circa-"Throb" stride. Eric Henderson
18. "Love on the Brain"
No one would ever confuse Rihanna with Amy Winehouse, but the doo-wop-inspired fourth single from 2016's ANTI channels the late singer's brand of throwback pop with its juxtaposition of retro instrumentation and, one might say, retrograde lyrics: "It beats me black and blue, but it fucks me so good that I can't get enough." Rihanna shows off her vocal versatility throughout the track, at turns cooing in falsetto and dropping to a growl, as she unabashedly puts her heart—and her brain—on her sleeve. Sal Cinquemani
17. "Man Down"
Rihanna's follow-up to ANTI will reportedly be more reggae-influenced than any of her previous efforts. Of course, the singer has already paid homage to her roots countless times over the course of her career. One highlight is "Man Down," about a woman who shoots a man in the public square, putting a feminine twist on Bob Marley's "I Shot the Sheriff." Rihanna's vocals are surprisingly agile, and "Man Down" is one of her most confident performances to date. Alexa Camp
16. "Rehab"
If "Umbrella" was a good girl's gesture of generosity, "Rehab" is her reeling from the abuse of a bad man who squandered it. "I'll never give myself to another the way I gave it to you" is one of the saddest Rihanna lyrics, but a blow blunted by the singer's signature resigned delivery, deployed here as a coping mechanism. What might be a typical lovelorn ballad becomes tough and resilient, a tone well complemented by Timbaland snapping percussion and dramatic strings, and the anonymity Rihanna had been criticized for suddenly matures into a mode of vocalizing repressed emotion that she'd never before explored. It only took a crummy metaphor to get her there. Mac
Through the Years: Madonna's Iconic "Like a Virgin" at 35
We're taking a look back at the song the Queen of Pop has perpetually made shiny and new.
Confession: I've never cared much for "Like a Virgin." Madonna's 1984 single may be the first, if not the, signature song of her career, but it's a trifle—a novelty, really—with its plucky, noncommittal guitar licks, sub-"Billie Jean" bassline, and the singer's helium squeak of a voice. That last, integral element in particular has always irked me, as, from "Express Yourself" to "Don't Tell Me," Madonna has proven she's capable of some deep, soulful performances. Of course, the vocals on "Like a Virgin" were allegedly employed by design, sped up to render Madonna's voice more childlike and "virginal." (It's a trick she's lamentably reprised on some of her more recent recordings.)
I'm in fairly good company, however, since both producer Nile Rodgers and Madonna herself aren't particularly fond of "Like a Virgin" either, and she's chosen to completely reinvent the song in masterful ways nearly every time she's performed it. The single was released on Halloween in 1984, and this week also marks the 35th anniversary of the album of the same name. To commemorate this milestone, we're taking a look back at three and a half decades of a song Madonna has mercifully, perpetually made shiny and new by sheer force of will and ingenuity.
MTV Video Music Awards (1984)
Feminists angered by Madonna's choice of a belt buckle during her performance at the MTV VMAs in 1984 seemed to miss the fact that her groom was a mannequin and that she chose instead to consummate her vows with her wedding veil. By the time she'd descended her giant wedding cake, hit the floor, and rolled around on the stage, showing her knickers to the world, there was no confusion about what the M stood for in the giant MTV logo towering above her.
Music Video (1984)
Shot largely in St. Marks's Square in Venice, Italy, the music video for "Like a Virgin" found Madonna playing Beauty to a man dressed as a Beast, specifically a lion (which not coincidentally happens to be the symbol of Mark the Evangelist). The singer is depicted as both virginal bride—sauntering impatiently through the basilica, undressing the furniture—and street harlot, hungrily prowling the bridges and canals of the Floating City.
Blond Ambition Tour (1990)
Ostensibly growing weary of her biggest hit, Madonna reinterpreted "Like a Virgin" with a Middle Eastern-inspired arrangement for her Blond Ambition Tour, casting herself as harem girl (the other "girls" being male dancers, natch, dressed in conical bras designed by Jean Paul Gautier). Having long shed her "Boy Toy" image for a more empowering, self-reliant brand of post-feminism, the Queen of Pop once again made it clear that "Like a Virgin" is first and foremost a paean to self-love.
The Girlie Show (1993)
The story goes that Madonna looked up Gene Kelly in 1993 to ask him to give her notes on her Girlie Show Tour, the sets and choreography of which were inspired by Hollywood musicals from the 1950s like Kelly's Singin' in the Rain. "Like a Virgin" was originally intended to be sung by a man, and Madge had been toying with the idea of paying homage to Marlene Dietrich and French cabaret singer Maurice Chevalier by dressing in drag for a slapstick-and-vaudeville version of "Like a Wirgin." Kelly, then in his 80s, gave his stamp of approval, and the rest is, as they say, history.
MTV Video Music Awards (2003)
After putting the song into retirement for a decade, Madonna dusted "Like a Virgin" off for the 20th annual VMAs, this time playing the groom to Britney Spears and Christina Aguilera's not-so-blushing brides in yet another gender-bending performance of her iconic hit.
Confessions Tour (2006)
In 2005, Madonna was thrown from her horse while riding at her country estate outside London, breaking her hand, three ribs, and her collarbone. The accident served as inspiration for her Confessions Tour the following year, which opened with an equestrian-themed segment. A knowing wink to the suggestion that there was nothing left of the pop star to reveal of herself, x-rays of her cracked bones were projected onto giant screens as she mounted a carousel horse, stroking the giant pole, and performing near-acrobatic moves to the beat of a discofied revamp of "Like a Virgin." Back in the saddle, indeed.
MDNA Tour (2012)
Madonna ended up back on the floor for this striking, unexpectedly poignant rendition of "Like a Virgin" for 2012's MDNA Tour. The delicate piano waltz was juxtaposed with the singer flashing her lady parts, defying those who'd for years squawked that the fiftysomething performer should put on her clothes and take a bow. Asking fans who likely paid a pretty penny for their front-row seats to throw money at her like a stripper might seem crass, but then this tour-de-force segues into MDNA's "Love Spent," a song about the dissolution of the so-called Material Girl's marriage to Guy Ritchie, who reportedly got millions in a divorce settlement.
Rebel Heart Tour (2015)
After more than three decades performing the hit that made her a household name, Madonna took things back to basics for her Rebel Heart Tour, delivering a somewhat faithful rendition of "Like a Virgin" for fans around the globe. She didn't roll on the floor and show the world her underwear, but she did hump the stage in homage to her infamous VMA performance and at one point stripped off her shirt.
See where "Like a Virgin" landed on our list of Every Madonna Single Ranked.
Review: Celine Dion's Courage Digs Deep But Largely Comes Up Empty
In terms of both length and theme, the singer's 12th English-language album can feel exhausting.2.5
In recent years, Celine Dion has been less likely to generate headlines for her music than for her eccentric fashion choices and personal developments (her husband of over two decades, René Angélil, died in 2016). And the French-Canadian singer's first English-language effort in six years, Courage, is unlikely to change that. The album opens with the club hit "Flying on My Own," a rousing house anthem that's a bit of a red herring. With the exception of "Lovers Never Die" and "Nobody's Watching"—which deliver just enough peripheral urban-leaning pop and funk, respectively, to not offend Dion's core audience—the rest of the album's 70-minute runtime is filled with boilerplate balladry.
Though Dion doesn't write her own material, much of Courage features lyrical references to loss and mourning. "I would be lying if I said I'm fine/I think of you at least a hundred times," she sings on the title track, a heart-wrenching piano ballad whose lovely verses—"I talk to you like I did then/In conversations that will never end"—are put into stark relief by its schmaltzy hook. Co-penned by Sam Smith, "For the Lover That I Lost" is expectedly mopey, though it's less so in Dion's hands, her vocals erring on the side of understatement. She's in fine voice throughout the album, though signs of wear are obvious (and welcome) in her scratchy belt on "Change My Mind" and the husky lower register she employs on "Look at Us Now."
Co-written by Sia and David Guetta, the string-laden "Lying Down" feels both modern and classic, while "Best of All" comes closest to recapturing the timeless quality of Dion's peak output. Perhaps intentionally, it's not until the album's last third that true joy breaks through, on the soulful, doo-wop-inspired "How Did You Get Here" and the gospel-infused closing track, "The Hard Way." In terms of both its length and themes, the 20-track Courage can feel exhausting, alternating between platitudes about grief and self-empowerment that, with only a few exceptions, make what should feel cathartic sound empty and even anonymous.
Label: Columbia Release Date: November 15, 2019 Buy: Amazon
Review: DJ Shadow's Our Pathetic Age Paints a Grim Picture of Modern Life
The double album speaks to the hyper-distracted way we live today.3.5
Imagine a magician. He walks on stage and wordlessly holds up a canister of gasoline, which he then drinks from. He then places a stick of dynamite in his mouth and lights it like a cigar. The fuse burns down and the magician explodes, blowing a huge hole in the stage and soaking the audience with blood and viscera. As everyone is shocked and terrified, their ears ringing, the magician appears on a nearby balcony. Ta-da! You might ask how he did it. But a better question is: What does he do to equal if not to top himself?
Such is the problem that's faced DJ Shadow since 1996's Endtroducing…, which was genre- and era-defining in a way that few other electronic albums have ever been. His later output simply hasn't been as innovative or exciting, destined to be read in the context of that triumphant debut. Perhaps that's why Shadow's sixth album, Our Pathetic Age, announces in its very title that his concerns are immediate. The cover, rendered in Pop Art style, shows a woman in semi-profile gasping as she looks at a smartphone. The cover art and title, taken in tandem, suggests that this double album is a stinging critique of our age of technological proliferation. Despite this, Shadow has said that he doesn't intend his latest to be an indictment of modern life as much as a comment on it, one that speaks to the hyper-distracted way we live today.
Our Pathetic Age's first half showcases Shadow's renowned ability to build songs entirely out of samples. The best of these evoke clear referents through their soundscapes: "Intersectionality" layers synths on top of an icy, spare beat until it builds to a neon-lit climax that might make you wish you were riding in a spinner from Blade Runner, while "Slingblade" matches glitch-poppy drum programming to a fluttery, Koji Kondo-esque synth melody.
More compact than its sprawling title suggests, "Beauty Power Motion Life Work Chaos Law" shows Shadow's continued ability to wring humor out of his work. The track starts with a funky synth figure that morphs into something more jazz-inspired, with jittery piano on top of splash-heavy drumming. Everything except for the drums drops out as the song comes to its conclusion, and Shadow delivers the punchline with a voice telling the drummer to "shut the fuck up" against a polite smattering of applause.
On the album's second half, Shadow takes a back seat and welcomes an all-star cast of guests to bring their own identity to bear on the songs. De La Soul infuses the catchy, high-energy party anthem "Rocket Fuel" with their trademark infectiousness, while Nas and Pharaohe Monch trade furious verses on "Drone Warfare," the most explicitly political track on Our Pathetic Age. The rappers address mass surveillance, economic inequality, corporate malfeasance, and racial injustice over an explosive, take-no-prisoners beat.
Ghostface Killah, Inspektah Deck, and Raekwon contribute verses to "Rain on Snow," which starts with a tired Game of Thrones reference but recovers by showcasing the trio's dexterous lyricism. Shadow lays their vocals over a ghostly hook ("Rain on snow makes it melt away") and the juxtaposition makes their lines pop even more. "Kings and Queens" gives Run the Jewels another chance to make the case that they're one of the best rap duos in history, and the gospel choir chorus tethers the song to the group's Dirty South roots.
The title track and closer is a four-on-the-floor disco jam that makes excellent use of Future Islands's Samuel T. Herring, whose delivery splits the difference between Tom Waits and Bill Withers and settles perfectly into the groove. His lyrics paint a picture of a relationship recalled through the haze of time, his memories framed by years of emotional decay. Balanced against the propulsive music, the song is as effecting as anything Shadow has ever done.
Less successful is "C.O.N.F.O.R.M.," which is peppered with boilerplate carping about Twitter and social media from Gift of Gab, Infamous Taz, and Lateef the Truth Speaker, while "Small Colleges (Stay with Me)," featuring Wiki and Paul Banks, feels like something you'd hear in a grocery store. As is frequently the case with double albums padded with filler, Out Pathetic Age's biggest problem is that too much of it feels disposable, anodyne, or tossed off. But Shadow still manages to get some strong work out of both himself and his guests, and he deserves credit for not trying to merely recreate the same trick over and over.
Label: Mass Appeal Release Date: November 15, 2019 Buy: Amazon
Review: I Made a Place Finds Bonnie "Prince" Billy at His Most Existential
The album is autumnal in its resignation to death as a necessary part of life.4.5
"You need to knock this one out of the park," Will Oldham sings on "New Memory Box," the rollicking opening track of I Made a Place, his first album of original material in six years. If it sounds like he's suffering from diminished confidence, don't be fooled: Oldham's albums as Bonnie "Prince" Billy always achieve a cohesiveness that makes the whole greater than the sum of its parts, and I Made a Place is no exception.
The 13 songs here feature straightforward folk arrangements of guitar, drum, bass, fiddle, strings, horns, and the odd synth part. This is a song cycle with cosmic concerns in mind, and the simplicity of the music renders Oldham's voice (and lyrics) that much clearer. "Look Backward on Your Future, Look Forward to Your Past" is made up of a gently strummed acoustic guitar and the singer's indelible yowl. The lyrics tell a story about a man named Richard who undergoes a transfiguration as his materialistic worldview is reshaped both by quantum physics and spiritual renewal. It's weighty stuff, but Oldham sings the song with the playful shimmy of a George Jones tune. His ability to be profound and uproarious at the same time is on full display: "Get your sense of self from a hydrogen blast."
The word "apocalyptic" is frequently applied to Oldham's work, and with good reason: His worldview has been haunted by some unnameable or just unnamed cataclysm, from the recent past or lurking over the horizon. I Made a Place finds his fascination with catastrophe and collapse alive and well, though the subject is addressed more elliptically than on past albums. Instead of a dystopian depiction of civilization's collapse, though, the album is autumnal in its resignation to death as a necessary part of life. Oldham is, for all his oddity, a deeply human songwriter, and throughout I Made a Place his tone is alternately celebratory and comforting.
Images of darkness, shadow, and fire pervade—though it's unclear whether that fire is a conflagration or merely the world's sole remaining light source. Yet the tone is rather ruminative. "This Is Far from Over" finds Oldham contemplating "shorelines gone and maps destroyed, livelihoods dissolved and void," but he reassures us that "new wild creatures will be born" because "the whole world's far from over." Oldham's gentle warble is set to a softly plucked acoustic guitar, and a flute solo closes things on a hopeful note.
Throughout, Oldham serves as our Virgil, shepherding us through the shadowy worlds he builds. Sometimes he's funny and sometimes he's sad, but he's always there to keep the listener safe. "Squid Eye" delights in some Seussian wordplay and features the album's funniest lyrics—"I'll drive right in as if I were Aquaman's kid"—set to a Bob Wills-esque swinging bluegrass song, while "The Glow Pt. 3," the title of which nods to Phil Elverum, wrestles with love, impermanence, and dread from the vantage of the bottom of a bottle.
Some artists seem to have an uncanny ability to gesture to the infinite, to wring out from their chosen medium a staggering amount of profundity. Oldham is one such artist, having created an archive of songs that conjure the entire spectrum of human experience: hilarity and terror, joy and desolation, birth and death, and everything in between. I Made a Place is an apt title, as Oldham has carved out a niche for himself that's not quite like any of his contemporaries. He unpacks the darkest and brightest parts of life with an unblinking candor. On the title track, the singer speaks about creating a home in a world you didn't ask for. His thesis is simple: "I don't know why I was born, but I have made a place." In that one, softly delivered lyric, Oldham resolves a philosophy seminar's worth of existential crisis.
Label: Drag City Release Date: November 15, 2019 Buy: Amazon
Review: Nirvana's MTV Unplugged in New York Remains a Timeless Musical Document
Much of the power of this set is in the band's intuitive ability to imbue their songs with new dimensions of subtlety.4.5
Upon its television debut in December of 1993, Nirvana's MTV Unplugged in New York session was already monumental—intensely intimate and unique among prior episodes of Unplugged, which usually operated as greatest-hits showcases. In the wake of Kurt Cobain's suicide in 1994, however, the band's performance assumed near-mythical status, airing around the clock in the weeks following the singer's death and serving several roles for a shocked, grieving fanbase: a portent, memento, and elegy all at once.
Had they never appeared on Unplugged, it's likely that Nirvana might be perceived in a significantly different light today. They were a ferocious and often unpredictable live act, capable of wreaking mayhem on their instruments and each other while delivering their searing yet melodic brand of punk. The release of MTV Unplugged in New York in November of 1994 provided a full window onto the kinder, gentler Nirvana only hinted at on the band's three studio albums, and served as the high-water mark for '90s alternative music's ascendance to Important Art just before its descent into self-parodic commerce.
Of course, commerce is alive and well in the 25th anniversary edition of MTV Unplugged in New York, which may be viewed with understandable suspicion by fans long inundated with special editions and live-show unearthings that have effectively wrung Nirvana's catalog dry. (This year alone has already seen the release of Live at the Paramount and Live and Loud.) But considering MTV Unplugged in New York's titanic place in rock history, this edition is revelatory for a simple reason: the inclusion of five songs from the rehearsal for the band's performance that were previously only available on the show's DVD release.
Over the years myths have grown around MTV Unplugged in New York, a major one claiming that the band was in shambles leading up to the taping of their performance at Sony Music Studios. While the new tracks don't rewrite what we once knew about the performance, it nevertheless helps reinforce the skin-of-their-teeth story that's largely been known only in anecdotal form. During the rehearsals, Dave Grohl's heavy drumming undermined the acoustic sound, especially on rockers like "Come As You Are" and a cover of David Bowie's "The Man Who Sold the World," where his trashing instincts almost overwhelm the rest of the band. Thankfully, Grohl reined in his thundering style after he was offered quieter brush and Hot Rod sticks by Unplugged producer Alex Coletti just before the official performance.
While none of the five new tracks on this reissue are unlistenable, they're expectedly unpolished and, as evidenced by occasional in-song directives and banter, unfocused and tense. Cobain's vocals sound strained on "Come As You Are," while on a cover of the Meat Puppets's "Plateau," several guitar licks and back-up vocals from Cris Kirkwood—who, along with brother and Meat Puppets co-member Curt Kirkwood, accompanied Nirvana on three of their own songs—are off-time and over-emphasized. In a sudden burst of inspiration during the televised performance of "Pennyroyal Tea," Cobain performed the song on his own, and the result was more personal and harrowing than the electric version on 1993's In Utero. In rehearsal, "Pennyroyal Tea" is undone by Pat Smear's distracting backup vocals and a guitar played a turgid step lower than the one on the studio recording.
Beyond the fly-on-the-wall rehearsal tracks, the rest of MTV Unplugged in New York remains as it's always been. The album hasn't been remastered for this reissue, which is a bit of a shame, but perhaps augmentation works against its raison d'être. Much of the power of this set is in the rawness of Nirvana's delivery, but especially Cobain's. It's also in the mesmerizing spell of the group's intuitive ability to imbue their songs with new dimensions of subtlety and cast light on their own artistic worldview with several unusual yet impassioned covers, including their towering, chilling take on Leadbelly's "Where Did You Sleep Last Night." MTV Unplugged in New York is simply a timeless performance, one all the more impressive for having come together through reserves of musical acumen and sheer guts.
Label: Geffen Release Date: November 1, 2019 Buy: Amazon
Review: FKA twigs's Magdalene Is a Knotty Meditation on Self-Possession
A distinct feminine energy pulses through the singer-songwriter's shimmering sophomore effort.4.5
A distinct feminine energy pulses through FKA twigs's shimmering sophomore effort, Magdalene. Coming off the back of a major public breakup with actor Robert Pattinson and a period of ill-health which left her creatively and physically depleted, twigs made it her mission—both in the writing of this follow-up to 2014's LP1 and in the extraordinary wushu and pole training she undertook for her Magdalene tour—to embrace her pain.
Despite twigs's vocal precision, there's always been an element of unpredictability to her music, as the production on her albums is prone to spareness one moment and cacophony the next. And on Magdalene, she leans even further into that volatility, her crystalline, Kate Bush-esque falsetto shape-shifting into something richer and thicker on "Holy Terrain," angrier and rueful on "Fallen Alien," and sweeping on the transcendent "Sad Day."
At times, twigs seems caught between personas. On "Home with You," her raspy delivery of "The more you have the more that people want from you" gives way to a soaring melody in the chorus, in which she counters, "I didn't know that you were lonely/If you'd have just told me I'd be home with you." Anger and acceptance coexist here, one growing out of the other.
twigs has a knack for spinning mystical imagery out of everyday experience, and on the album she explores the shifting power dynamics at play in her life. The prying, judgmental gaze of the paparazzi can be easily imagined as a many-eyed monster in "Thousand Eyes." Elsewhere, she calls upon religious references to subvert ideas of her own power. A lyric like "I lie naked and pure with intentions to cleanse you and take you" on "Sad Day" suggests both submission and dominance; the act of cleansing recalls Mary Magdalene washing Jesus's feet, yet the phrase "take you" suggests that the object of her affections has no choice but to submit to her. Another often misrepresented biblical figure, Eve, comes to mind when twigs invites her lover to "taste the fruit of me" on the same song, but it's not an act of temptation, it's a plea.
For all the strength and self-possession twigs demands from herself and her lovers, she also provides space for the necessary grief that comes with saying goodbye to someone who wasn't able to meet her there. And for all the spiritual power she's filled with to "cleanse" and "heal" on "Sad Day," she also acknowledges the periods when she can barely move on the cyclical "Daybed." There's little sense on Magdalene that twigs believes there's an ideal way to be; all she can do is learn how to accept her own contradictions as a necessary part of growth. The album is a knotty meditation on the process of separating self-perception from public perception, and of twigs's reclamation of her body and work as hers and hers alone.
Label: Young Turks Release Date: November 8, 2019 Buy: Amazon
Review: Miranda Lambert's Wildcard Lowers the Stakes to Diminishing Returns
The album lowers the emotional stakes but still manages to dole out plenty of country-rock bombast.3
In a recent New York Times profile, Miranda Lambert called her seventh album, Wildcard, "straight down the middle Miranda Lambert." Indeed, the album is a decided shift away from the somber reflection of 2016's 24-track The Weight of These Wings, which was largely informed by the singer's split from fellow country superstar Blake Shelton.
In many ways, Wildcard follows in the musical footsteps of last year's Interstate Gospel, the third effort from the Pistol Annies, Lambert's supergroup with Ashley Monroe and Angaleena Presley. The first half of Wildcard tips its 10-gallon hat toward that group's style, which is typified by its brazen humor. Opening track "White Trash" is a country-rock earworm that sets the album's tone with a fuzzed-out beat and rollicking banjo riff as Lambert proudly declares that—despite her 401k, treasures in her closet, and fancy house—she just can't keep her "white trash off the lawn." It's not a confession so much as a flag-waving anthem.
It's this type of outlaw energy that catapulted Lambert to stardom on 2007's Crazy Ex-Girlfriend, and it's still present in fits and starts on tracks like "Way Too Pretty for Prison" and "Locomotive." The album's lead single, "It All Comes Out in the Wash," finds her rattling off an embarrassing laundry list of character flaws with a knowing wink. The song's vignettes range from getting "frisky with your boss at the coffee machine" and "knocked up in a truck at the 7-Eleven" to pouring "a merlot to go," all delivered with nonchalant coolness.
The album's second half loses a bit of its impact when the tempo downshifts. Songs like "Bluebird" and "How Dare You Love" harken back to some of the shimmery pop of 2009's Revolution, and Lambert lets the gloom in on the drinking ballads "Dark Bars" and "Tequila Does." On the midtempo "Pretty Bitchin'," she rotely employs various uses of the word "pretty" with diminishing returns, describing the pretty things she owns, how pretty she looks from the front and back, and a general feeling of her life being "pretty bitchin'," all things considered.
And while the latter half of Wildcard constitutes a bit of a shuffled deck of genres, there's enough of a kick to the album as a whole to warrant its title, and Lambert certainly has the chops to sell it. Though she lowers the emotional stakes (and tracklist count) here, she still manages to deal out plenty of country-rock bombast, even if she's traversed these genre paths before. At the very least, it's nice to see Lambert kicking up her heels and having fun again.
Label: RCA Nashville Release Date: November 1, 2019 Buy: Amazon
Review: Kanye West's Jesus Is King Is a Compelling But Veiled Act of Self-Worship
The album is impeccably produced but finds Kanye barely shifting his musical approach.3
Kanye West has all but solidified his position as popular music's most innovative high-profile producer, with every shift in his aesthetic focus over the last 10-plus years serving to found a whole new subgenre or micro-culture within hip-hop. That is, when those shifts aren't merely bringing already extant ones a greater level of attention. Kanye has also consistently come up with compelling ways of giving voice to the various narratives that he's built his music around. That latter point is likely to be a bit more controversial than the first, but consider this: Even when listeners balked early on at the size of the ego on a Chi-town upstart who thought he could spit as well as he could produce beats for Jay-Z, or later when they took umbrage with the Kanye who spun unapologetic tales of dark, twisted celebrity demigods, or when they rebuked him only after his decadence started to fuel more explicitly autobiographical material, all of the resulting albums have been met with intense amounts of interest from both pro- and anti-Kanye camps alike.
With Jesus Is King, that reliable metric for gaging the success of a Kanye album suggests a less positive result. The music here is as impeccably produced as that of just about any Kanye release to date, but the shift toward gospel, while occasionally captivating and even convincing, more often proves that it's more difficult for Kanye to apply his particular narrativizing gifts to faith than it is to the exploits of outsized celebrity caricatures, or the episodes of his own tabloid-baiting life. The big problem is how Kanye addresses the shift itself—in that Jesus Is King finds him barely shifting his musical approach.
The album's prevailing mood is braggadocio, ever Ye's true north, and the greatest basis for his boastfulness is, familiarly, the resilience with which he's carried himself on the path to commercial and personal success: his defiance in the face of a press he sees as persecuting him, his resistance to the temptations of social media, his income figures overcoming his debt. The particulars of this message run counter to the ostensible thesis of Jesus Is King, the line—taken from this album's "Closed on Sunday"—that resonates most with the message that a "born again" Kanye has stressed for most of this year: "My life is His, I'm no longer my own."
Kanye's own take on Kanye is still very much the focus here—and that becomes immensely frustrating when you consider "God Is," the counter-example that the album provides. The track is Jesus Is King's undeniable highlight, a fleeting glimpse of what a Kanye gospel album could sound like. His voice more cracked and vulnerable than he's ever committed to record (no AutoTune, imperfections left undoctored), and over a looped sample of gospel godhead James Cleveland's song of the same name, Kanye sings, or rather tunefully sermonizes, about his absolute dedication to his faith, and to this chapter of transformation in his life.
"God Is" is impactful, but more importantly, it shows the grace with which Kanye can deliver the sentiments of religious thought ("All the things He has in store/From the rich to the poor/All are welcomed through the door") and the power of plainspoken prayer ("I know God is the force who lifted me up/I know Christ is the fountain that filled my cup"). The song, almost disarmingly, contains only one genuine brag—"Sunday service on a roll!"— and otherwise gives itself over entirely to "a mission, not a show." Agnostics and believers alike may be moved by Kanye's words, or, more specifically, by how he emotes through them: "God Is" comes up against the physical limits of Kanye's voice at the same time that the artist arrives at an open-hearted acceptance of things beyond his control.
Contrast those sentiments with "Closed on Sunday," which references Chick-fil-A in its chorus. There's a schism that threatens the foundation of Jesus Is King, and it's not one that should prevent Kanye from being both reverent and funny; it's that his willingness toward blasphemy is so tempered to the point that it comes off as innocuous. "When I thought the book of Job was a job/The devil had my soul, I can't lie," Kanye raps leadenly on "On God," a track that goes on to credit the Almighty with the production of the Yeezy Boost 350 sneakers but nebulously unloads blame elsewhere for the cut that the I.R.S. takes of their sales. Worse are the lyrics of "Hands On," in particular the dopey outro, thanklessly sung by gospel lifer (and frequent Ye collaborator) Fred Hammond: "To praise His name, you ask what I'm smoking."
Jesus Is King's saving grace, then, is its predictably sharp production: from the Yeezy-less salvo of "Every Hour," which features wall-of-sound vocals from the Sunday Service choir—who rip through an impassioned song that already sounds like a canonized gospel standard—to the triumphant, brassy fanfare of the much-too-short closer "Jesus Is Lord," maybe Ye's most baroque production since all of My Beautiful Dark Twisted Fantasy. The in-the-pocket production of songs like "Follow God" and "God Is" find him returning to one of his favorite formulas: A vintage soul sample first plays out relatively unabated, then is chopped and looped until it's put in lockstep with a hard, galvanizing beat. "Follow God" takes as its foundation the Whole Truth's "Can You Lose by Following God" and grinds a choice selection of bleating church organ and wailing vocal ad-libs against a pummeling bassline, providing the rhythmic bounce for Kanye's elastic flow. The Sunday Service choir is again on hand to elevate "Selah," essentially a rousing chant of "hallelujah" that's augmented by dynamic leaps in octave and by Ye's colossal bursts of percussive, scraping-metal sound effects.
There's an issue here too, though, and it's that some of the music on Jesus Is King may sound awfully familiar to Kanye devotees in the wake of what now probably amounts to the most significant leak of his career. Back in April, tracks from Yandhi, the album that Kanye was promoting until he indefinitely delayed it, made their way online, and included several songs that have been reshaped for Jesus Is King. Leaks can provide all sorts of complications when it comes to the experience of an artist's finished product, even under normal circumstances, but it's vexing that many of the Yandhi tracks have been carried over appear to have been tweaked specifically for the purpose of better aligning with Kanye's embrace of his Christian faith. And the process of that revision has left many casualties, including the ingratiating "New Body" (and its snarling Nicki Minaj feature), which didn't fit the God-fearing theme here but which also hasn't been replaced by anything that's nearly as tuneful or exciting.
The absence of quite a bit of material that would have otherwise been fit for release is especially glaring in light of Jesus Is King's skimpy, 27-minute runtime. It also points to another problem, which is that Kanye doesn't seem to have quite figured out how to translate his spiritual awakening to his music as confidently as he has nearly every other experience in his life on previous albums. All this amounts to Kanye's least substantial album to date, which is certainly a blow to the faithful, who continue to walk the finest of lines, putting up with Kanye's erratic career moves as a cost, with the reward being the reward of the music itself.
But Jesus Is King isn't the work of a has-been either; there are flashes of genius throughout, moments that insinuate where Kanye could go next with his music. In a sense, the album's modest pleasures play to its (intended) message, which is supposed to be one of human fallibility and the prospect of improving oneself. But Kanye is eventually going to have to confront the serious limitations that his faith is putting on the range of his art's expression.
Label: Def Jam Release Date: October 25, 2019 Buy: Amazon
Review: Brooke Candy's Sexorcism Is Torpedoed by Humorless Innuendo
The rapper-singer's long-awaited debut album proves to be disappointingly one-note.2.5
Following the visually arresting video for Brooke Candy's 2014 single "Opulence," RCA Records reportedly pushed the L.A. rapper-singer in a more mainstream direction, resulting in a series of watered-down pop songs that clashed wildly with her eccentric personality. With the possible exception of 2016's "Happy Days," Candy seemingly struggled to reconcile her avant-garde instincts with her desire to deliver a message—in this case about mental health and substance abuse—to a wider audience.
Since parting ways with RCA in 2017, Candy has been free to let her freak flag fly, but her long-awaited debut studio album, Sexorcism, is disappointingly one-note. The daughter of a former executive at Hustler magazine, Candy has always been outspoken about her sexuality, and she expounds on the power of "pussy" on nearly every song here. "When I ride the D, I make it wet…Cum so hard, I wet the bed," she raps over a spare trap beat on "XXXTC," which all but wastes a feature from pop doyenne Charli XCX.
Candy has cited Madonna's Erotica as an influence on tracks like "Rim," a campy, formless tribute to analingus featuring RuPaul's Drag Race alumni Aquaria and Violet Chachki. But Candy seems to have a fundamental misunderstanding of the enduring power behind the queen of pop's 1992 opus. Unlike Sexorcism, the majority of Erotica isn't about the physical act of sex, and even at its most explicit, both the pop craft and lyrical content of Madonna's album are smartly layered. Candy's lyrics, on the other hand, boast a simplistic notion of BDSM: "Tell me where it hurts and I'll make it hurt better," she proclaims on "FMU."
When the album does stray from the topic of sex, as it does on "Freak Like Me," Candy peddles boilerplate declarations of nonconformity—"I'm not America's sweetheart, I'm more like Jeffrey Dahm[er]/Rather be hated for what I am than what I'm not"—in a polished pop package that likely would have pleased RCA. Only rarely does Sexorcism strike a balance between Candy's rival inclinations: With its talk-box hook, opening track "Nymph" is both weird and catchy, while "FMU" is propelled by an infectious sample from Lords of Acid's "I Sit on Acid."
Another '90s throwback, "Cum," finds guest Iggy Azalea spitting deliciously stupid couplets like "Murder the pussy, then plead your case/Fuck me good, then feed me grapes." Unfortunately, the rest of the album is bogged down by humorless assertions of sexual prowess set to repetitive, narcotic beats (the inclusion of last year's "Oomph" would have provided a welcome change of pace). After nearly half a decade in record label purgatory, surely Candy has something more to say than "eat my ass."
Label: NUXXE Release Date: October 25, 2019 Buy: Amazon


text:
Mummy Cave Ruins 2 Art Print
Mummy Cave Ruins 2 by Jerry McElroy - 6.250" x 8.000"
Archival Matte Paper
Rolled in a Tube
Assembly Charge
Mummy Cave Ruins 2 art print by Jerry McElroy. Our prints are produced on acid-free papers using archival inks to guarantee that they last a lifetime without fading or loss of color. All art prints include a 1" white border around the image to allow for future framing and matting, if desired.
Ships Within
2 - 3 business days
Similar Designs
Additional Products
View All & Comment
Canvas Print
Framed Print
Metal Print
Acrylic Print
Wood Print
Greeting Card
Phone Case
Throw Pillow
Duvet Cover
Shower Curtain
Tote Bag
Round Beach Towel
Carry-All Pouch
Beach Towel
Weekender Tote Bag
Portable Battery Charger
Bath Towel
Yoga Mats
Spiral Notebooks
Fleece Blankets
Art Print Tags
Painting Tags
Comments (0)
There are no comments for Mummy Cave Ruins 2. Click here to post the first comment.
About Prints
All prints ship in durable cardboard tubes.
Pixels is one of the largest, most-respected giclee printing companies in the world with over 40 years of experience producing museum-quality prints. All of our prints are produced on state-of-the-art, professional-grade Epson printers.
We use acid-free papers and canvases with archival inks to guarantee that your prints last a lifetime without fading or loss of color. Paper prints include a 1" white border around the image to allow for future framing and matting. Canvas prints include a 2.5" white border to allow for future stretching on stretcher bars.
Prints ship within 3 - 4 business days in durable cardboard tubes.
Art Print Reviews (8038)
Average Rating (4.90 Stars):
Lynda Chapleau
November 21st, 2019
Terry Bates
November 21st, 2019
Carol Siegel
November 21st, 2019
Artist's Description
Mummy Cave Ruins in Canyon de Chelley National Park in Arizona. If you are interested in buying the original painting, go to my website at jerrymcelroy.com. Thank you!
About Jerry McElroy
Hello! I have been a photographer all of my adult life after graduating from Brooks Institute of Photography in Santa Barbara, CA. I have been painting for the last 18 years. I am mostly a self taught painter but have attended several workshops over the years. Most of my paintings center around the subject matter of the desert southwest, although lately have been exploring seascapes. My fine art photography has been published and collected by numerous corporations and private collectors for more than 25 years. My images have been used to illustrate many book covers, annual reports, magazines, and advertisements. My art has been accepted, and won awards in major art shows and includes a 'Best of Show' in the Cheyenne County Annual Spring...
Shop with Confidence
Our return policy is very simple:
If you're not happy with a purchase that you made on Pixels.com, for any reason, you can return it to us within 30 days of the order date. As soon as it arrives, we'll issue a full refund for the entire purchase price. Please note - Pixels does not reimburse the outgoing or return shipping charges unless the return is due to a defect in quality.
Pixels sells thousands of pieces of artwork each month - all with a 100% money-back guarantee. We take great pride in the fact that hundreds of thousands of artists have chosen Pixels to fulfill their orders, and we look forward to helping you select your next piece!
All art prints ship from our production facility within 2 - 3 business days of your order.

subset: commoncrawl


text:
Guilty plea in molestation of 9-year-old
A Hardin County man is behind bars after sexually molesting a young girl.
Kyle Wayne Burris was indicted by a grand jury Jan. 31, 2013, and pleaded guilty Monday, June 24, to aggravated sexual assault of a child. He was sentenced to six months in jail, given 10 years probation and fined $1,000,
Apparently, Burris thought his plea deal would keep him out of prison, as he made an outburst in court after he was ordered handcuffed by Judge Layne Walker's bailiff.
"That wasn't the deal here!" Burris pleaded.
Bailiffs surrounded Burris and quickly secured him face down on Walker's court podium.
"You molest a fourth grader, you're going to do some jail time," Judge Walker said in Monday's court.
Prosecutor Perry Thomas said that the sexual assault occurred almost 10 years ago in 2004. According to an investigative summary obtained by The Examiner, the now 17-year-old victim said Burris molested her from the time she was 9 until she was 15 years old.
"It is unusual," Thomas said addressing the length of time it took for the victim to come forward. Nonetheless, Thomas said Burris' guilty plea is proof justice has been served.
Burris must also register as a sex offender and wear a GPS tracking device upon his release.


text:
A man was arrested after he was seen walking around an Exton, Pa., Walmart wearing nothing but socks. It was later discovered that the only apparel the man had on was stolen from the store, police say.
Employees at Walmart called police at about 5:30 p.m. Wednesday, saying that there was a naked man walking around the store, authorities say.
When police arrived they found 32-year-old Verdon Lamont Taylor in the store wearing only socks, police say. When Taylor would not comply with officers, the 6-feet, 4-inch tall, 300-pound man was tasered and taken into custody. Taylor proceeded to spit in an officer's face, police say.
Upon viewing surveillance video, police learned that Taylor walked into the store completely naked and walked straight to the customer service counter, stole a pair of socks there and put them on his feet.
The video also shows shoppers avoiding Taylor as he proceeded to walk through the store.
Taylor, who lives on the 100 block of East Church Street in Downingtown, Pa., was arraigned on charges of indecent exposure, aggravated assault, simple assault, retail theft, receiving stolen property and disorderly conduct.
He is being held at Chester County Prison on $50,000 cash bail.


text:
It could end up being our late colleague Jim Huber's most lasting legacy.
While introducing Tom Watson, the surprise pick to captain the 2014 U.S. Ryder Cup team, PGA of America President Ted Bishop told the story of how Watson, who at age 63 is the oldest Ryder Cup captain and the first repeat captain since Jack Nicklaus in 1987, first came onto the radar.
"My whole thought process was triggered as I was flying back from Bermuda to Indianapolis after the 2011 Grand Slam, and it was Jim Huber's last Grand Slam," Bishop said. "Jim had presented everybody with a copy of his book, Four Days in July, which commemorated Tom's time at Turnberry, but it was also a great portrayal of Tom as a man."
In public and private, Jim couldn't speak highly enough of Watson, taking every opportunity to praise his humility and character.
"I think it's no accident that Tom and Byron Nelson were close," Jim told me during a round of golf at Atlanta Athletic Club when he was putting the finishing touches on his book. "They both value being gentlemen more than champions."
Bishop called Jim with what he called an "off-the-wall" idea of having Watson back at the helm in 2014. Jim, Bishop said, told him he thought the idea was "absolutely brilliant." He gave Bishop Watson's cell phone number and the process was off and running.
"When he called me to start the process, and he called me over a year ago to start the process of thinking about being the captain, I said, 'Boy, I've been waiting for this call for a long time,'" Watson said. "I really wanted the challenge to do it again."
From there Bishop began an all-out lobbying effort on Watson's behalf.
"I kind of wore my fellow PGA officers out, (because) I took the liberty to put together an 85-page document on all of the reasons I felt like Tom Watson should be our next Ryder Cup Captain," he said. "I spent a lot of time talking to former Ryder Cup Captains. I spent time talking to players who had played for Tom in 1993. I talked to some people that I know that play on current Ryder Cup teams and the feedback was overwhelmingly favorable for making that move. So, you know, I had great support from my fellow PGA officers, and at the time."
It was one of the best-kept secrets in sports, a 13-month out-of-the-box odyssey that culminated in Watson's appearance at the Empire State Building on Thursday morning.
"This responsibility is a challenge, but I've been there before and I welcome it," said Watson, who has never tasted defeat in golf's grandest event either as a player (3-0-1) or as captain (1-0). "The idea of being captain for a team of youngsters will be questioned: Why is Watson, being the old guy, the captain? I deflect that very simply by saying: We play the same game. I play against these kids at the Masters. I play against them at the Open Championship, (and) the Greenbrier Classic. We play the same game. They understand that. I understand that."
The definition of insanity is doing the same thing over and over again and expecting a different result. For decades, the criteria for selecting an American Ryder Cup captain has been the same -- player in his late 40s who still connects with the youngsters of the game; at least one major and enough Ryder Cup experience to be credible in the team room; and enough time, political savvy, and energy to promote the event for two years. But the results have been the same as well. Team USA has lost 10 of the last 14 Ryder Cups, five of the last six, and seven of the last nine.
They lost in 2004 and 2006 by record margins, and lost in 2012 in Chicago by the greatest final-day comeback in Ryder Cup history on foreign soil. They lost with hard-nosed captains, and player-friendly captains, soft-spoken and gregarious captains. But they lost.
In fact, the only time Team USA won this century is when Captain Paul Azinger completely changed the qualifying and selection process, weighing the points to reward players who were hot during Ryder Cup years and giving the captain a chance to choose even hotter players in the weeks immediately leading up to the event.
So maybe another shakeup in the system was in order. Bishop saw it. Jim Huber believed in it before he passed. And others who have come across Watson during the course of his career believe in it as well.
Jeff Paton, PGA professional and general manager at the Golf Club of Georgia, recalled a story from the Champions Tour event his club hosted.
"I was sitting in my office early in the week and there was a knock on my door," Paton said. "I looked up and it was Tom Watson. Before I could stand up and say anything, he was extending his hand and saying, 'Hi, I'm Tom Watson, I want to thank you for hosting us this week.' Then he sat down and asked me about my job and my family; we talked about the golf course and what the week would be like. He was one of the biggest legends in the game, the biggest draw in our field, for sure, and the only person who sought me out to thank me. That's why Tom Watson is a legend, and that's why this is a great pick."
It was a bold pick, one nobody saw coming. But it is being universally hailed as a great pick, one that could change the way Ryder Cup captains are thought about and selected for years to come.
Somewhere, Jim Huber is smiling.


text:
Posts Taggedmacworld
Macworld has always been a great place to network with your favorite app developers. There were even times when apple attended the conference and announced its own products. Now that those days have come and gone, it's important to focus on the smaller companies, like Smile Software.
While at Macworld 2013, I spoke with Greg Scown and Jean MacDonald about the company's history and latest developments. It's the perfect follow-up to our previous interview with the company.
Over the past week, the AppStorm team has been hanging out in San Francisco at Macworld 2011. Despite scaling back a little this year (and changing the venue to Moscone West), Macworld is still faring well without Apple.
As also seemed to be the case at WWDC in recent years, a big emphasis was placed on iOS – and the associated apps and accessories. Thankfully, after wading through a sea of iPhone cases and stands (which I'm sure will be adequately covered on iPhone.AppStorm!), there was still plenty to see for those primarily interested in the Mac platform.
In today's post I'll be looking at a handful of my favourite apps, hardware, and announcements over the course week, along with sharing a few thoughts on our general experience at Macworld.
With Macworld 2011 slowly approaching, I thought it would be interesting to ask whether any of our readers have attended this conference previously (or are planning on going next year).
If you're unaware of what Macworld is, essentially it's a four day event that covers everything to do with the Mac. It includes user sessions focusing on teaching, an Expo floor for software exhibitors, various conference programmes, and generally lots of Mac-geekery! It's based in San Francisco, running from the 26th-29th January.
Although Apple used to attend this event, the company pulled out prior to last year's event. It seems that the 2010 conference was still a major success, despite their absence, and Macworld will be running once again next month.
The AppStorm team is going to be in attendance in January (a first for all of us!), and we're really looking forward to meeting a few of you there. Let us know if you'll be going in the comments!
Embedding this MacTastik strip elsewhere? Please provide a link back to this post and to NCWinters.com


text:
Boomers deny tanking after loss to Angola at world championships
LONDON: The Boomers have rejected suggestions their shock loss to Angola at the basketball World Cup was a tank job to avoid a quarter-final showdown with Team USA.
Australia, chasing a fourth straight victory for the first time in their World Cup history, were downed 91-83 by Africa's No.1-ranked team on Thursday after fielding a second-string team and letting a 15-point lead midway through the third quarter slip.
With a trip to the round-of-16 game already secured, coach Andrej Lemanis made a pre-match decision to rest his two best performing players of the tournament, star centre Aron Baynes and the sharp-shooting Joe Ingles, while giving fellow starters Matthew Dellavedova and David Andersen less than four minutes each.
The loss conveniently puts Australia in a stronger position to challenge for a maiden medal at the tournament, by increasing the likelihood of them avoiding Team USA until the semi-finals.
Lithuania's narrow 67-64 win over Slovenia in the final Group D match dropped Australia to third in the group, putting them on the opposite side of the draw to the basketball powerhouse Americans. Australia will play Turkey in the round of 16 on Sunday with the winner to meet Lithuania or New Zealand in the quarter-finals. Slovenia are on course to clash with Team USA in the quarter-finals.
Slovenia star Goran Dragic, who plays for the Phoenix Suns in the NBA, took to Twitter on Thursday to accuse the Australians of fixing.
But when challenged by reporters on whether his side had contested the match in the spirit of the game, Lemanis was defiant, arguing the heavy tournament schedule demanded he rest his players before the next stage of competition.
"We always, as Australians, compete the right way," he said.
When it was pointed out that some would view the loss, and Australia's role in it, with a modicum of doubt, Lemanis was nonplussed.
"People will make up their own minds," he said.
"There's always going to be speculators. I can't control what people think."
But when pressed on whether Australia had entered the game with a mindset that losing was acceptable, Lemanis responded: "Nobody likes losing. (The loss) doesn't guarantee us third spot.
"There's still games to be played that will determine the outcome of the pool.
"We have no control over that game. That was always the case coming in."
For much of the match it appeared Australia would cruise to a history-making fourth straight win, with little-used guard Chris Goulding shooting a team-high 22 points as the Boomers opened up a 15-point buffer.
It was also an opportunity to see highly-rated No.5 NBA draft pick Dante Exum in action, and the 19-year-old didn't disappoint - scoring 12 points and handing out six assists in his 31 minutes on court.
But an Angolan charge, led by dynamic young star Yanick Moreira's outstanding 38-point display, started midway through the third quarter and they cut the lead to just two at the final break.
The onslaught continued thereafter as Australia carelessly gave up the ball, committing 18 turnovers, and played lacklustre defence as the clock wound down in the eight-point loss - prompting the tanking calls.
But if tanking was on the agenda, it was something that was supported by Boomers legend Shane Heal, in Spain in a commentary role.
"[It is] un Australian not to give yourself the best chance to medal," he wrote on Twitter.
"No medals given on pool placings. Pathway to final 4 is the key."


text:
Strategic search partner with excellent results. Recruiting for all levels staff and a superb track record for results.
I have experience and ability for being able to find the best in Finance, Accounting, Technology, and Sales at levels for clients.
** 9 Successful years within Staffing Talent Acquisition ** Successfully led a National and Global Recruitment Team
Accomplished and results-oriented professional with nearly two decades recruiting professionals throughout the US and the Middle East.
15+ years of experience in IT Recruitment/Staffing worked with Fortune 500 clients in Recruiting & Sales high demand and niche IT candidates
More than 15 years of experience in Talent Acquisition. Focused on web and software devs. I used to be a coder myself!
M.S. in IT and Microsoft Certified Professional with 12+ yrs of Tech Recruiting experience. Featured in Top Recruiter and Art of Recruiting
My mission in recruitment is to deliver a high level of excellence in the quality of recruitment/selection services I provide for my clients
An experienced, committed, client-driven recruiter and search firm owner with a top team. Call me at 732-671-0589. www.e-BusinessSytem.com.
I am a motivated, hardworking, driven individual who loves to work and keep busy.
Recruiting virtuoso with over six years' experience in full life cycle recruiting in the marketing, design, programmatic,and digital fields.
Good Talent is hard to find! I have heard that for the last 15 years... I believe you can find what you want if you have the right hunter!
Seasoned Executive Recruiter/Researcher adept at finding elusive passive talent across a range of verticals in the US, Europe and beyond.
Alysia Bragg: Virtual Recruiting Specialist/Recruitment Consultant. A 25 yr Customer Service veteran putting my skills toward Recruiting.
Specializing in Blue Collar, Skilled Trades.
Strategic 20+ year corporate and agency talent strategist with Big 5/Fortune 500 background focused on technology sales and delivery roles.
I am a recruiter who couples a down to earth style with strong business acumen to build dynamic teams for start-ups and small companies.
8+ years of experience in full-cycle recruiting with a background in technical recruiting, marketing, e-commerce, sales, and operations.
20+ years of Full Life Cycle Recruiting across all geographies, disciplines and industries. Work as an integrated part of client companies.
Technical, Legal and Financial Talent Acquisition Professional. Utilizing the latest sourcing tools & recruiting techniques for your needs.
Post a Role and receive proposals from Verified Recruiters within hours.Post a Role Now!
Engage an expert Talent Professional for as much or little as you like - from sourcing candidates, screening CVs, to full-cycle hiring support.Read more


text:
Click on the Get Pricing button to receive your Lion Country Kia Pricing!
1334 Dreibelbis St
Directions State College, PA 16801
Click on the Get Pricing button to receive your Lion Country Kia Pricing!
We know that finding your ideal car is an adventure. There are a plethora of options that are available to State College PA, Bellefonte PA, Phillipsburg PA or Altoona PA drivers, and finding the one that best matches your style and needs is an exciting mission. At Lion Country Kia we're equipped with a wealth of knowledge pertaining to the new 2019-2020 Kia Stinger, Sorento, Optima, Forte, Soul and Sportage models available, so that we can help you find a vehicle that embodies exactly what you're looking for, easily.
In fact, during your visit to Lion Country Kia serving Bellefonte PA, Phillipsburg PA and Altoona PA drivers, our team is available to arrange more than a thrilling test drive. At your leisure, we're happy to discuss feasible Kia financing opportunities, to help you get started down the path to ownership, today.


text:
UX Design
Wireframes, storyboards and user flow diagrams are the tools of the trade for a UX designer because they're an integral part of mapping out the user experience.
UI Design
I design clean and modern user interfaces for interactive mediums, resulting in end-user experiences that are beautiful and intuitive.
Web Design
Not just websites, but web apps and comprehensive web-based products, bringing a smooth, consistent experience on any device.
What's better than a beautifully-designed concept? One that you can actually touch, click through, and test before development starts.
Recent work / View all
I don't just make pretty pictures...
I create beautiful, usable, and engaging interactive user experiences for digital products.
While I love all forms of UX design...
I have a particular passion for enterprise level digital products
My Process
We talk a lot and I gather requirements to understand the project and most of all, the needs of the audience.
I'll start to produce something tangible, in the form of application flows and low-fidelity wireframes that will consequently begin to represent the user experience.
The visual design process is where things come to life, with high-fidelity designs for you to review, and interactive prototypes.
Nothing is set in stone, and we can change things until everyone is happy and the project is ready to be finalized for development.


text:
!! History Commons Alert, Exciting News
This is a scalable context timeline. It contains events related to the event September 25, 1984: Standby Legislation Would Suspend Constitution, Allow FEMA Takeover. You can narrow or broaden the context of this timeline by adjusting the zoom level. The lower the scale, the more relevant the items on average will be, while the higher the scale, the less relevant the items, on average, will be.
President Nixon signs Executive Order 11490, updating the nation's secretive Continuity of Government (COG) plans. Under the vague title, "Assigning Emergency Preparedness Functions to Federal Departments and Agencies," the order directs government leaders to ensure the continuation of "essential functions" in the event of a crisis. The order grants a wide range of emergency powers to the executive branch. It directs department heads to have emergency plans for succession of office, predelegation of authority, safekeeping of records, alternative command facilities, and other "emergency action steps." The plans are to be overseen by the Office of Emergency Preparedness (OEP). Conservative writer Howard J. Ruff will express concern over the scope of the order. "The only thing standing between us and a dictatorship," Ruff writes, "is the good character of the president and the lack of a crisis severe enough that the public would stand still for it." In 1984, Attorney General William Smith will object to attempts by the Reagan administration to expand the powers granted in the order (see August 2, 1984). President Reagan will officially update the plans in 1988, replacing and expanding Executive Order 11490 with Executive Order 12656 (see November 18, 1988). [Executive Order 11490, 10/28/1969; Reynolds, 1990]
Entity Tags: Richard M. Nixon, Office of Emergency Preparedness (1968-1973)
Timeline Tags: Civil Liberties
Louis O. Giuffrida, a colonel in the US Army who will later head the Federal Emergency Management Agency (FEMA) under President Reagan (see May 18, 1981), writes a paper while at the US Army War College advocating martial law in the event of a militant uprising by African Americans. The Miami Herald will later report that Giuffrida's paper calls for the roundup and transfer of at least 21 million "American Negroes" to "assembly centers or relocation camps" in the event of an emergency or uprising by black citizens. The paper will resemble martial law plans later drafted by FEMA while Giuffrida is the agency's director (see June 30, 1982). [Miami Herald, 7/5/1987]
Entity Tags: US Army War College, Louis Giuffrida
John Brinkeroff, deputy for national preparedness programs at the Federal Emergency Management Agency (FEMA), outlines plans for implementing martial law in the event of a national emergency. In a memorandum later obtained by the Miami Herald, Brinkeroff describes how FEMA and the military would take over the country in the event of a crisis. According to the Herald, the plans include "suspension of the Constitution, turning control of the United States over to FEMA, appointment of military commanders to run state and local governments, and declaration of martial law during a national crisis." Although the term "national crisis" is not defined, the Herald will later report that it is understood to mean anything from nuclear war to "violent and widespread internal dissent or national opposition against a military invasion abroad." A source will tell the Herald the contingency plan is authorized by an "executive order or legislative package that [President] Reagan would sign and hold within the NSC [National Security Council] until a severe crisis arose." This may refer to emergency legislation drafted by the Reagan administration to amend the 1950 Defense Resources Act (see September 25, 1984) and proposed updates to Executive Order 11490 (see August 2, 1984). The Brinkeroff memo resembles a paper written in 1970 by the current head of FEMA, Louis O. Giuffrida, in which he advocated the roundup and transfer of at least 21 million "American Negroes" to "assembly centers or relocation camps" in the event of an emergency (see 1970). [Miami Herald, 7/5/1987]
Entity Tags: Louis Giuffrida, Federal Emergency Management Agency, John Brinkeroff, National Security Council, Reagan administration
In a letter to National Security Adviser Robert McFarlane, Attorney General William French Smith strongly objects to martial law plans developed by the National Security Council and the Federal Emergency Management Agency (FEMA). Smith learns the full extent of the plans upon reviewing a proposal by the Reagan administration to change Executive Order 11490 (see October 28, 1969). The Reagan administration is holding the drafted changes, along with standby legislation to amend the 1950 Defense Resources Act (see September 25, 1984), in preparation for any emergency that may require a military-style takeover of the nation's resources and population. The plans cover a range of crisis situations, including a nuclear attack, natural disasters, and civil unrest. Smith writes: "I believe that the draft executive order raises serious substantive and public policy issues that should be further addressed before this proposal is submitted to the president. In short I believe that the role assigned to the Federal Emergency Management Agency (FEMA) on the revised executive order exceeds its proper function as a coordinating agency for emergency preparedness." Smith continues: "This department and others have repeatedly raised serious policy and legal objections to the creation of an 'emergency czar' role for FEMA. Specific policy concerns regarding recent FEMA initiatives include the abandonment of the principle of 'several' agency responsibility and the expansion of the definition of severe emergencies to encompass 'routine' domestic law enforcement emergencies. Legal objections relate to the absence of presidential or Congressional authorization for unilateral FEMA directives which seek to establish new federal government management structures or otherwise task cabinet departments and other federal agencies." Despite the objections of the Justice Department, FEMA and the Reagan administration will not abandon the emergency doctrine. Before leaving office, Reagan will dramatically expand the government's emergency powers and officially override Executive Order 11490 with Executive Order 12656 (see November 18, 1988). [Miami Herald, 7/5/1987; Reynolds, 1990]
Entity Tags: National Security Council, Federal Emergency Management Agency, Reagan administration, Robert C. McFarlane, William French Smith
The Reagan administration prepares a reserve emergency bill to amend the 1950 Defense Resources Act. The legislation, which would be presented to Congress in the event of a crisis, would suspend the Constitution and give the president and the Federal Emergency Management Agency (FEMA) unprecedented powers to combat a disaster. Nationally syndicated columnist Jack Anderson comments, "Since FEMA's draft legislation is a standby proposal, it will not be offered to Congress ahead of time—when it could be thoroughly debated—but only in the event of a national emergency, when Congress would supposedly be panicked into voting for a dictatorship." The bill covers a range of emergencies, including nuclear war, natural disasters, financial crises, and civil disturbances. It would grant the government the authority to ration goods and resources, take control of the nation's manufacturing base, and require all citizens to work in "activities essential to the national health, safety, or interest." The bill would outlaw striking by workers, and those refusing to work or caught lying about the availability of manpower would be heavily fined or thrown in jail. It would grant the government the authority to seize real estate and personal property considered "necessary for the national defense purpose." Datamation magazine says the plans would lead to a military takeover of the computer industry. The bill would give the government "unlimited powers to seize computers and plants of high-technology industries and would establish an Office of Censorship to control telecommunications leaving the United States, making it a crime for companies to use secret codes." [Ledger (Lakeland FL), 9/25/1984; Evening Independent, 10/17/1984]
Entity Tags: Federal Emergency Management Agency, Reagan administration, Office of Censorship
President Ronald Reagan signs Executive Order 12656, assigning a wide range of emergency responsibilities to a number of executive departments. The order calls for establishing emergency procedures that go far beyond the nation's standard disaster relief plans. It offers a rare glimpse of the government's plans for maintaining "continuity of government" in times of extreme national emergency. The order declares the national security of the country to be "dependent upon our ability to assure continuity of government, at every level, in any national security emergency situation," which is defined as "any occurrence, including natural disaster, military attack, technological emergency, or other emergency, that seriously degrades or seriously threatens the national security of the United States." The order instructs department leaders to establish various protocols for crisis situations, including rules for delegating authorities to emergency officials, establishing emergency operating facilities, protecting and allocating the nation's essential resources, and managing terrorist attacks and civil disturbances. The plans are to be coordinated and managed by the National Security Council and the Federal Emergency Management Agency (FEMA). The presidential order suggests certain laws may have to be altered or expanded to carry out the plans. Although it encourages federal agencies to base the emergency protocols on "existing authorities, organizations, resources, and systems," it also calls on government leaders to identify "areas where additional legal authorities may be needed to assist management and, consistent with applicable executive orders, take appropriate measures toward acquiring those authorities." According to the executive order, the plans "will be designed and developed to provide maximum flexibility to the president." Executive Order 12656 gives specific instructions to numerous federal departments: The Department of Justice is ordered to coordinate emergency "domestic law enforcement activities" and plan for situations "beyond the capabilities of state and local agencies." The Justice Department is to establish plans for responding to "civil disturbances" and "terrorism incidents" within the US that "may result in a national security emergency or that occur during such an emergency." The attorney general is to establish emergency "plans and procedures for the custody and protection of prisoners and the use of Federal penal and correctional institutions and resources." The Department of Justice is also instructed to develop "national security emergency plans for regulation of immigration, regulation of nationals of enemy countries, and plans to implement laws for the control of persons entering or leaving the United States." The attorney general is additionally instructed to assist the "heads of federal departments and agencies, state and local governments, and the private sector in the development of plans to physically protect essential resources and facilities." The Department of Defense, acting through the Army, is to develop "overall plans for the management, control, and allocation of all usable waters from all sources within the jurisdiction of the United States." The secretary of defense is to arrange, "through agreements with the heads of other federal departments and agencies, for the transfer of certain federal resources to the jurisdiction and/or operational control of the Department of Defense in national security emergencies." The secretary of defense is also instructed to work with industry, government, and the private sector, to ensure "reliable capabilities for the rapid increase of defense production." The Department of Commerce is ordered to develop "control systems for priorities, allocation, production, and distribution of materials and other resources that will be available to support both national defense and essential civilian programs." The secretary of commerce is instructed to cooperate with the secretary of defense to "perform industry analyses to assess capabilities of the commercial industrial base to support the national defense, and develop policy alternatives to improve the international competitiveness of specific domestic industries and their abilities to meet defense program needs." The Commerce Department is also instructed to develop plans to "regulate and control exports and imports in national security emergencies." The Department of Agriculture is ordered to create plans to "provide for the continuation of agricultural production, food processing, storage, and distribution through the wholesale level in national security emergencies, and to provide for the domestic distribution of seed, feed, fertilizer, and farm equipment to agricultural producers." The secretary of agriculture is also instructed to "assist the secretary of defense in formulating and carrying out plans for stockpiling strategic and critical agricultural materials." The Department of Labor is ordered to develop plans to "ensure effective use of civilian workforce resources during national security emergencies." The Labor Department is to support "planning by the secretary of defense and the private sector for the provision of human resources to critical defense industries." The Selective Service System is ordered to develop plans to "provide by induction, as authorized by law, personnel that would be required by the armed forces during national security emergencies." The agency is also vaguely instructed to establish plans for "implementing an alternative service program." The Transportation Department is to create emergency plans to manage and control "civil transportation resources and systems, including privately owned automobiles, urban mass transit, intermodal transportation systems, the National Railroad Passenger Corporation, and the St. Lawrence Seaway Development Corporation." The Transportation Department is also to establish plans for a "smooth transition" of the Coast Guard to the Navy during a national security emergency. The Transportation Department is additionally instructed to establish plans for "emergency management and control of the National Airspace System, including provision of war risk insurance and for transfer of the Federal Aviation Administration, in the event of war, to the Department of Defense." The Department of the Treasury is ordered to develop plans to "maintain stable economic conditions and a market economy during national security emergencies." The Treasury Department is to provide for the "preservation of, and facilitate emergency operations of, public and private financial institution systems, and provide for their restoration during or after national security emergencies." The Department of Energy is to identify "energy facilities essential to the mobilization, deployment, and sustainment of resources to support the national security and national welfare, and develop energy supply and demand strategies to ensure continued provision of minimum essential services in national security emergencies." The Department of Health and Human Services is instructed to develop programs to "reduce or eliminate adverse health and mental health effects produced by hazardous agents (biological, chemical, or radiological), and, in coordination with appropriate federal agencies, develop programs to minimize property and environmental damage associated with national security emergencies." The health secretary is also to assist state and local governments in the "provision of emergency human services, including lodging, feeding, clothing, registration and inquiry, social services, family reunification, and mortuary services and interment." [US President, 11/18/1988]
Entity Tags: US Department of Agriculture, Selective Service System, US Department of Labor, US Department of Defense, US Department of Commerce, Ronald Reagan, National Security Council, US Department of Health and Human Services, US Department of Transportation, US Department of the Treasury, Federal Emergency Management Agency, US Department of Justice, US Department of Energy
Receive weekly email updates summarizing what contributors have added to the History Commons database
Developing and maintaining this site is very labor intensive. If you find it useful, please give us a hand and donate what you can.Donate Now
If you would like to help us with this effort, please contact us. We need help with programming (Java, JDO, mysql, and xml), design, networking, and publicity. If you want to contribute information to this site, click the register link at the top of the page, and start contributing.Contact Us
Except where otherwise noted,
the textual content of each timeline is licensed under a
Creative Commons Attribution-NonCommercial-ShareAlike


text:
Molars are the back three teeth on each side of each jaw. These are
the main teeth that grind food.
The first permanent molars, called "6-year molars," come in between
the ages of 5 and 7. The second permanent molars, "12-year molars," come in
when a child is between 11 and 14 years old. Normally, an adult has 12
Last Revised:
January 7, 2013
Healthwise Staff
Medical Review:
E. Gregory Thompson, MD - Internal Medicine & Arden Christen, DDS, MSD, MA, FACD - Dentistry
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use. How this information was developed to help you make better health decisions.
To learn more visit Healthwise.org
© 1995-2012 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


text:
At Computex in Taipei today, chipmaker AMD took the wraps off of its newest mobile chipset, code named "Puma." The launch is much-anticipated, as AMD has fallen behind rival Intel in the last 18 months, and has experienced delays and financial losses as a result.
The Puma platform is centered around of a new version of the Turion processor, called the Turion X2 Ultra, which features dual-core performance, but with new power-saving abilities to turn off the second core when not in use. The new processor is paired with both integrated and discrete ATI Radeon Mobility 3000-series GPUs, including the top-end Radeon Mobility 3800, a new GPU that AMD also unveiled today.
AMD is betting heavily on 3D graphics and HD-resolution video processing as key drivers of consumer demand in the laptop market, and three new technologies in the Puma platform address this. A dynamic GPU-switching system that AMD calls "PowerXPress" allows for systems equipped with both discrete and integrated GPUs to automatically switch to the lower-power integrated GPU when the unit is unplugged, thereby saving battery life. AMD claims that this feature can enable an extra 90 minutes of battery life.
The converse of this is what AMD calls "Hybrid CrossFireX," a technology that allows both the integrated and discrete GPUs to work in tandem when power consumption is less of an issue, and to provide increased graphics performance.
AMD also announced an external PCIe 2.0 breakout box that could be connected to Puma systems to make use of full desktop-level graphic card performance.


text:
newyorklife needed a new logo design and created a contest on 99designs.
A winner was selected from 93 designs submitted by 57 freelance designers.
Looking for a corporate type logo that conveys proffessionalism and trustworthiness.
StarPoint Brokerage
Desired Style:
Corporate / proffessional
Accepted File Formats:
Standard Web Formats (.jpg, .gif or .png); Vector Formats (.eps, .pdf or .ai)
We are a life insurance general agency specializing in arranging and brokering deals for valuable, high-cost policies. The logo should convey trustworthiness, proffessionalism and have a very corporate, sharp look. A logo incorporating the name StarPoint will also add to and enhance the overall look.
Find out how a design contest works or learn more about our logo design services.


text:
Freelancing is a great way to become self-employed in a short amount of time and very easily. A web developer will find this method to be their best bet to branch out on their own.
The income from freelancing can often be greater than working for someone else. There are some points to keep in mind though before you explore this option.
The income you receive from freelancing is far from being a regular income, it is very unsteady and many times you will find that you get checks sent to you at all times throughout the month. Sometimes you do not receive an income from certain clients for whom you have performed services or payment is late in arriving to you.
It is always a good idea to have a back up plan so that you do have some income to fall back on from savings or from other sources that provide multiple streams of income.
Difficult clients can make for a frustrating day. Often you may run across this in your line of work, and on some occasions you may get a very good client who is easy going and doesn't complain. Dealing with difficult clients can be a source of frustration and stress especially if they want constant revisions or expect the product in an unreasonable time frame.
Keeping clients happy is part of the process of doing business and if you have experience in this area from previous working relationships you can use it to your advantage.
Some of the benefits of being a self-employed web developer are the fact that you can charge your won prices, you can select the clientele to work with, and you can schedule your own work times. However, you must still consider the points above.
Besides freelancing, network marketing is a great source for multiple streams of income. You are already experienced in business and marketing techniques so this income source would fit right into what you are doing as a freelance web developer. Consider this option as well.


text:
|Bowie, Md.
|High School:
|Archbishop Spalding
2014 Outdoor: Competed in the sprint events for the Retrievers… Posted a top 100m dash time of 11.36 at the Mason Spring Invitational… Recorded his top 200m dash time of 23.17 at George Mason as well… Named to the America East Honor Roll.
2013-14 Indoor: Primarily competed in the 60m and 200m events, but also ran the 400m event at the Patriot Games at George Mason… Recorded his best 60m dash time of the season at the Rider/Lafayette Winter Games in New York, clocking in at 7.33… Also registered his top 200m time at the New York-based meet, finishing 25th with a time of 23.20.
2013 Outdoor: Competed in the 100m and 200m dash events at the Big Dawg Invitational held at UMBC Stadium on Mar. 30… Also ran the 100m sprint at the Mason Invitational... Named to the America East Honor Roll.
2012-13 Indoor: Placed tied for 14th in the 60m dash and 15th in the 200m dash at the 2013 America East Indoor Championships… Recorded his top season time (7.23) in the 60m event at the conference meet… Ran his best 200m time (23.31) during a 20th-place finish at the Penn State Relays.
2011-12 Indoor: Ran the second-fastest 60m dash on the team and tenth-fastest in the conference for the season, 7.01, at the America East Indoor Championships in Boston... Also recorded the second fastest 200m time, 22.27, for UMBC.
2011 Outdoor: Recorded a top team performance, 10.95, while finishing ninth in the 100m dash at the America East Championships… A part of the 1,600m Sprint Medley team that finished third overall at the 2011 Colonial Relays... Named to the America East Honor Roll.
2010-11 Indoor: Finished fifth overall in the 60m dash (7.16) at the Patriot Games... Also finished sixth overall in the 200m dash (23.11) at the Patriot Games.
Background: Named to the All-Metro Second Team by the Baltimore Sun... Named to the All-Anne Arundel County Team by the Capital-Gazette... Earned gold in the 100- and silver in the 200-meter dashes at the 2010 Maryland Insterscholastic Athletic Association (MIAA) Championships... Earned two more gold medals as well, as a part of the first-place 4x200 and 4x400 relay teams at the 2010 Patriot Games... Captain of Archbishop Spalding's track team his junior and senior year… Leader of the Fellowship of Christian Athletes… Was the secretary for the National Art Honor Society.
Personal: Son of Alex and Valeria Baker… Has a younger sister, Kendall… Majoring in visual arts… Born May 9, 1992.


text:
Self adhesive numbers, 0-9 - 5 per card (130mm H x 45mm W)
This is the self adhesive numbers from 0-9. 5 number per card, each number is 130mm high by 45mm wide. 10 cards per pack. Suitable for numerous applications in the office, factory or warehouse.
- Tough self adhesive vinyl – easy to apply
- Removes cleanly- Leaves no residue
- Standard Colour: High Visibility Yellow - white also available, please contact us for details
- Height: 5.5inches
- Width (left-right): 2inches
- Type: Self Adhesive Labels
Dimensions below are to the nearest half inch, metric units are exact
Product information
Our industries adhesive labels are widely used in warehouse, factories, office environments or schools to identify lockers, doors, books or even personal items. Adhesive labels are easy to use, reliable and available in various sizes for clear visibility at a distance.
We supply adhesive labels in tough vinyl, which applies to surfaces easily and removes cleanly to avoid leaving unsightly marks. Industrial labels are ideal when looking for a quick and simple way to maintain order in your warehouse or factory.
Related products & accessories
Be the first person to review this item.
You must be logged in to leave a review