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G3 Global Services provides travel document services to mission support organizations and ensures all team members have the correct visas for your program. We understand the sensitivity and urgency, and partner with the team to develop a customized solution to optimize visa and passport processing while individuals are on rotation home. You can count on G3 for the most up to date visa requirements, options, tracking, and superior service.
Interested in how G3 can streamline the visa and passport process for your missions and mission support? Need a higher-touch, managed service solution? Please reach out to our team:


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Do you use an old thermometer to measure temperature? FeverMates has designed and created two ingenious medical products which help to make managing and looking after a fever easier. We look at these 2 products below and why they should be part of any home, medicine cupboard, purse, bag and first aid-kit, and even whilst travelling.
1. FeverMates Monitoring Stickers
Fevermates Stick-On Patches are the convenient, easy-to-read, fuss free stick-on fever & temperature indicators that allow you to continuously monitor your children's fever or temperature for up to 48 hours at a glance. Each packet of FeverMates holds 8 temperature indicator stickers, so you'll always have a supply ready for when you need them.
Great for Travelling
FeverMates are also great for travelling, and easily fit into a purse, bag or wallet - ready for your next boat, plane or car trip away!
No batteries required!
FeverMates don't need any batteries so they are ready for when your child has a temperature and you need to monitor it! Plus they can be worn in the bath or shower.
FeverMates monitors Fever continuously, ANYTIME and ANYWHERE.
FeverMates Fever Indicators are available in two purchase size configurations. A Single Pack containing 8 stickers and a Retail Display Unit Pack which holds 12 Single Packs, holding a total of 96 stickers.
2. FeverMates Cooling Patches
When your little one has a fever, you want to do everything you can to help them feel better. The intense heat of a fever can leave them feeling overheated and sweaty. Soothing, cooling patches can make a big difference. FeverMates cooling patches are specifically designed for little heads, providing cooling relief when your child needs it most.
Convenient and Easy to Use
When you are worried about your sick child, you don't want any additional stress. Fortunately, FeverMates cooling patches are remarkably easy to use. First, clean and dry your little one's forehead. Then, simply peel off the protective backing to reveal the sticky surface so that you can apply it. Starting from one side and sliding your fingers across, gently press the patch onto your child's skin. That really is all there is to it!
Instant Cool Soothing Relief
FeverMates Cooling Patches provides instant soothing relief from the discomfort associated with fevers. It is important to note that it does not contain any medicine. This means it will not cure or heal your child's ailment. Still, the relief from the heat can be a welcome relief. This can help your child get through the fever as quickly and easily as possible.
FeverMates Cooling Patches are available as a Single Pack containing 6 patches.

subset: commoncrawl


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Stewardship Spirituality
First of all today, I want to thank the (as of today) 112 families that have displayed their commitment to a continuing
Stewardship Spirituality, and have made their Stewardship of Treasure Renewal commitment for the 2019
calendar year offertory. While pledges are still trickling in, we do hope to surpass the 118 families that committed a
year ago. As I've mentioned so often, the success of our efforts hinge primarily on the percent of families participating
in the support of our parish. Our appeal this year was sent to 607 families so our percent of families participating, so far,
is 18%. Last year that percentage was 21%. If you have been away, or for some reason have not received the Renewal
Materials, please stop by or call the office.
One further mention of our Stewardship endeavors, is our quest for more parishioner participation and involvement
in our many ministries. There are so many side-benefits that accrue from joining with your fellow parishioners in
some ministry to which you feel attracted. We are indeed a genuine family. If you have yet to consider the possibility of
giving some of your time and talent to a parish ministry, I would urge you to give it some prayerful thought. And do so,
more with the thought of how it will benefit you the giver, more than the obvious benefit our parish community will
receive. Please check with our welcoming table after each Mass on the weekends…or call and/or stop by the parish office
to pick up our booklet with descriptions of all the Ministries.
Excellent parishioner commitment of time, talent and treasure, from the very beginning of the parish, has been
the trademark of the close-knit family-like aura of this parish community. Yes, we are growing rapidly, but there is no
reason why we can't preserve the caring, familial involvement by the majority of members. My own prayerful quest is
for more parishioner involvement in all of our many ministries, for so many of them are barely getting by, with a
"skeleton crew" of one or two members. The range of needs and opportunities is so broad, I sincerely and prayerfully
plead with every parishioner, to assess the opportunities that are here, and then commit a small amount of your precious
-to-us, time and talent. Wouldn't it be fantastic if the percent of participation in our Ministries was closer to 100% than
the current 10 to 12%…(with almost everyone doing something for Our Lord).
The "Eve of all Hollows" (Halloween) is upon us this Wednesday, which also means that November 6th (Our
Midterm Election Day) is nigh upon us. Hopefully, we are all aware that there is a yet another expectation for us all. As
we strive to comply with Our Lord's universal call to be 'Good Stewards', we all do have an obligation to stay active,
and as involved as possible, in the election of the governing bodies of ours Cities, States and Nation. With all the evil
that is transpiring in our City, in our Country, in the World, and, yes, even in our Catholic Church as well, we should all
be acutely aware of how critically important every election is. Today we see evil and malice manifesting themselves in
so many officeholders… secular and religious. We might well ponder, "How on earth did they get there? How did they
rise to their powerful positions?" Obviously, we cannot vote for Church leaders, but we can and should voice our concern
and demand reparation in the civil sphere. In the civil sphere, we have a voice, a "voting voice". Unfortunately it's
a voice that, far too often, goes unused and remains silent. And that is when the evil ones get elected (although they represent
a minority activist group) with a high percentage of their activist group showing up and making their votes count.
Every non-voting Christian, is actually providing a vote for the evil entity that they actually oppose. The debilitating
effects of Florida legalizing Marijuana was accomplished because of the poor showing of the majority who opposed it.
So, please, please… Make Your Vote on November 6th be a well-planned, well-thought out, priority for that day.
Our right to vote is a precious liberty in our Constitution, and we as Catholics have a moral responsibility to
exercise that right. The U.S.C.C.B. reminds us that we are members of the Catholic Faith Community, which provides
us with profound Gospel-based teachings and guidelines. The Church's moral social teachings are to guide us (and help
us form our consciences) in our diligent assessment of Party Platforms and Policy Positions, as well as the Candidate's
own actions, promises and penchant for telling the truth. Some weeks back, we distributed a document from "Priest's
for Life" that provided a clear comparison of the two Major Party Platforms, citing their positions on all the moral issues
of the day. No matter how socially popular or charismatic a candidate is, if he or she professes, or supports, an immoral
position, in conscience you cannot vote for that person. Doing so makes you complicit in the sinful actions and
the evil that they profess, support, and/or carry out. The moral requirement, for all of us, is to form our consciences in
accord with Catholic teachings. We have handed out a booklet providing guidance in that regard for the past several
elections. If you would like a copy, please contact the office.
A preeminent issue in this election is the candidate's stance on the immorality of abortion. Please do not be
guilty of adding any more evil-minded supporters of this abomination to the political landscape. The time is right for
the Supreme Court to overturn the evil Roe v Wade decision. However, it will be the local, the state, politicians that
dictate the legality of abortion state-by-state. Please, please, do not add to the "pro-death" political roster by voting for a
candidate whose political party affiliate has arrogantly raised Legalized Abortion to be a major plank in
their official Party Platform.
Yours in humble accord with Jesus' love for the little children,


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Sub-Total: £0
Discounts: £0
Carriage Total: £0
Grand Total: £0
Two-piece slimline plastic 35mm slide mounts with a metal edge mask for storage and projection of photo transparencies. The metal edge gives a sharper and neater finish to the projected slide. For 24x36mm format slides , overall size 50x50x2mm. Quantity 100.
Fix-points allow for easy insertion and positioning of slide.
Slide is held in place by metal mask, which reduces curving during projection


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LocationBakersfield, CA
19637 Industry Parkway Drive
Bakersfield, CA 93308
New 2020 Forest River RV Stealth SA2816G
Forest River Stealth fifth wheel SA2816G highlights:
- 16' 4" Cargo Area
- Master Suite
- Single Slide Out
- Sleeps Six
- Electric Bed
Taking this Stealth fifth wheel with you on your next big adventure will be the best decision you could make. From its electric bed with a flip sofa underneath to its king bed in the private master suite, you will be able to invite everyone to join you on your various expeditions because this unit can sleep six people comfortably. The full kitchen provides all of the tools you need to create all of your favorite home-cooked meals, like the three burner range top and the 8 cubic foot double-door refrigerator.
Forest River has constructed the Stealth to be a unit that is ready for anything. With its "off-road approved" chassis and conveniently-added fuel station, the Stealth will ensure that every weekend getaway will be a memorable one. Each evening as you're camping out by the fire, you will appreciate the electric awning with LED lights for its ability to provide the perfect atmosphere as you visit together outside, and when the cool evening air becomes too much for you to handle, you can confidently head indoors to find warmth coming from the 30,000 BTU furnace.
Like most: Dear Barry... Just wanted to take the time to thank you so much for the smooth trade of our Big Sky Montana 5th Wheel over to a Evolution Pull Trailer. The trade was seamless and you made a difficult situation of letting go become much easier with your words of wisdom when you spoke of all the memories "we had to share from the 5th wheel"...now we have new memories that we are making in ... More » - Jim from Bakersfield, CA
You Save: $17,916
Internet Special: $56,629
Stock# 5303
|32 ft 6 in
|Ext Width
|8 ft 6 in
|Ext Height
|13 ft 4 in
|Hitch Weight
|2210 lbs
|Gross Weight
|14210 lbs
|Dry Weight
|9640 lbs
|Cargo Weight
|4570 lbs
|Fresh Water Capacity
|150 gals
|Grey Water Capacity
|65 gals
|Black Water Capacity
|40 gals
|Tire Size
|Furnace BTU
|30000 btu
|Fuel Capacity
|35 gals
|Number Of Bunks
|Available Beds
|Refrigerator Type
|Double Door
|Refrigerator Size
|8 cu ft
|Cooktop Burners
|Number of Awnings
|Garage Size
|16 ft 4 in
|Water Heater Capacity
|10 gal
|15000 btu
|Awning Info
|Electric w/Adjustable Legs and LED Lights
|Axle Count
|Shower Type
In 1996, Forest River founder Peter Liegl had a vision. He foresaw an RV company dedicated to helping people experience the joy of the outdoors by building better recreational vehicles. Today, we have grown to become one of the largest RV manufacturers in North America, producing class A and C motorhomes, travel trailers, fifth wheels, toy haulers, camping trailers and destination trailers. From the new family just starting out in the world of RVing to the experienced full-timer, we offer something for everyone.
Forest River RV is a division of Forest River, Inc., a Berkshire Hathaway company, which produces recreational vehicles, pontoons, park models, buses, cargo trailers and commercial trucks. The diversity of Forest River, Inc., enables us to approach the RV industry with a unique perspective, incorporating lessons learned at each one of our divisions. Operating with openness across a wide range of products is what makes us stand apart from the competition. At Forest River, Inc., quality and dependability are a necessity in everything we make.


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1-10 results from 1000 for query «korea»
September 2, 2018 10:02 AM Asian Games medals a morale booster: Nicol
SEPANG: The gold and bronze medals won at her last appearance in the Asian Games will be Datuk Nicol Ann David's morale booster to pursue success in the new season of the PSA Tour championships. "It always gives nice vibes to win after sometime ... it is also good to win a gold medal in the Asian Games. "Feeling fresh after the Asian Games, I think I will start 120
August 31, 2018 8:43 AM S. Korea's Moon to send special envoy to N. Korea next week: Yonhap
SEOUL: South Korean President Moon Jae-in will send a special envoy to Pyongyang next Wednesday to discuss plans to hold a summit with the North's Kim Jong Un and nuclear disarmament, local media said Friday. The unnamed envoy will visit the North's capital city on Sept 5, Yonhap news agency said, citing a presidential spokesman. Seoul proposed the envoy's 145
August 31, 2018 6:56 AM Hong Kong's Sarah Lee eases into sprint final
JAKARTA: Hong Kong's Sarah Lee Wai-sze eased into women's sprint final as she went in search of her second track cycling gold at the Asian Games on Friday. The defending champion, who set a tournament-record 10.583 seconds in Thursday's qualifying round, beat South Korea's Cho Sun-young in two straight races. The 31-year-old former Olympic keirin bronze 124
August 29, 2018 10:18 AM Korean archer refuses to celebrate Asian Games gold
JAKARTA, Aug 29, 2018 (AFP) - A South Korean archer refused to celebrate bagging a gold medal at the Asian Games after his second-placed compatriot missed a final chance to win an exemption for military service. Kim Woo-jin, 26, brushed off a strong challenge from Lee Woo-seok in the men's individual recurve on Tuesday, where top spot would have exempted 130
August 27, 2018 2:35 PM Asiad: Rafiq claims historic bowling masters gold
PALEMBANG: National men's bowler, Rafiq Ismail has become the first Malaysian to clinch the men's bowling masters gold medal in the Asian Games when he was victorious in the masters stepladder final at Jakabaring Bowling Centre, here today. The 21-year-old kegler was patient and calm in the tense final to defeat defending champion Park Jong-woo of South 95
August 20, 2018 2:20 PM India suffer first kabaddi defeat
JAKARTA: India's men suffered their first ever kabaddi defeat at the Asian Games when they slumped 24-23 to South Korea in a group match on Monday. The seven-time champions beat both Bangladesh and Sri Lanka on Sunday to stamp their authority but they met their match in South Korea, ending a run of 32 straight wins. India have only lost once before in the home-grown 112
August 20, 2018 11:03 AM Supplementary budget not needed as fiscal deficit under control: Amiruddin
PUTRAJAYA: The government does not need a supplementary budget for now as the country's fiscal deficit is under control, according to Deputy Finance Minister Datuk Ir Amiruddin Hamzah. He said a well managed and sustainable fiscal deficit would strengthen Malaysia's economy and the country will not need to borrow again. "We would not need a supplementary 93
August 19, 2018 11:01 AM Asian Games: Khim Wen lands Malaysia's first medal
JAKARTA: National taekwondo athlete, Yap Khim Wen, has become the first Malaysian to deliver a medal at the 2018 Jakarta-Palembang Asian Games for the country, after bagging a bronze medal in the women's individual poomsae event today. The success also ended a 16-year wait for the national taekwondo camp in the Asian Games after Lee Pei Fen/Lee Wan Yuen won a bronze 83
August 19, 2018 9:45 AM China's Sun wins first gold medal of Asian Games
JAKARTA: Chinese wushu athlete Sun Peiyuan won the first gold medal of the Asian Games as the Olympic heavyweights made a fast start in their quest to top the medals table on Sunday. Sun, 28, scored 9.75 to win the men's changquan category of the Chinese martial art, denying hosts Indonesia the Games' opening title as he edged Edgar Xavier Marvelo into second 68
August 18, 2018 3:53 AM Asian Games: PM Mahathir congratulates national Under-23 football team
KUALA LUMPUR: The sensational win of the national Under-23 squad against South Korea in the Jakarta-Palembang Asian Games 2018 Friday caught the attention of Prime Minister Tun Dr Mahathir Mohamad. Through his Twitter today, the prime minister congratulated the team, coached by Datuk Ong Kim Swee, for defeating South Korea 2-1. "Congratulations to the national 80


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"A sense of concern for others gives our lives meaning; it is the root of all human happiness. "
At APS Bhuj it has been our constant endeavor to achieve the basic aim of AWES i.e "Quality Education at Affordable Cost."
Apart from empowering the students with knowledge and developing consciousness we are committed to sensitize them with the concerns of the society and equip them with the values to deal with those concerns.
It is our firm belief that a sensitive youth of today will definitely turn into responsible citizens and contribute towards nation building.


text: Bill Maher speaking about the concert to benefit the victims of Hurricane Sandy "And they also, on Fox News, questioned the timing of the benefit. They said, what's the rush? I know, when will liberals get it? Storm victims do not want food and blankets, they want answers about Benghazi."


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Ten photographs taken for the V&A Annual Report 2012/13
- Object:
- Place of origin:
Victoria and Albert Museum (photographed)
London (photographed)
- Date:
2013 (photographed)
2014 (printed)
- Artist/Maker:
Shafran, Nigel, born 1964
- Materials and Techniques:
Digital inkjet print
- Credit Line:
Given by Nigel Shafran
- Museum number:
- Gallery location:
Prints & Drawings Study Room, level H, case DELTA, shelf 1
Nigel Shafran is a self-taught photographer. He started his career as a fashion photographer in New York in the 1980s and has since turned to fine art photography. Shafran's work has been exhibited worldwide and is held in a number of art collections including Nottingham Castle Art Gallery and Museum and the Arts Council Collection. Shafran's work captures the intimacy and mundanity of everyday subjects by developing a narrative through the careful sequencing of images. His photographs are quietly attentive, seeking out the evocative spaces between the obvious and the conventionally illustrative.
Shafran has a close relationship with the V&A and used the Museum as the subject for a series of photographs taken in 1999. This new body of work, taken fifteen years later, complements the existing images and visually charts the development of the museum over this period. Moreover, the series has historical significance as it provides an interesting contrast to earlier 19th century representations of the South Kensington Museum that are held in the collection.
Shafran was commissioned by the museum to take a series of photographs for the V&A's Annual Report 2013/14. The photographs offer an alternative view of the museum building, its staff and visitors. The photographs are a combination of the familiar and the unfamiliar. The photographs record everyday scenes that offer an honest and recognisable narrative; from a tray of used crockery on an empty table in the museum café to a group of schoolchildren on an educational visit. Shafran's photographs offer a glimpse into the many roles adopted by the museum and provide a candid representation of museum life, one that provides an interesting contrast to earlier representations carried out by museum photographers including Charles Thurston Thompson and Isabel Cowper.
Physical description
Photograph from the series 'Ten photographs taken for the V&A Annual Report 2012/13'. Shafran photographed areas of the Museum that are not usually focused on.
Place of Origin
Victoria and Albert Museum (photographed)
London (photographed)
2013 (photographed)
2014 (printed)
Shafran, Nigel, born 1964
Materials and Techniques
Digital inkjet print
Height: 508 mm image, Width: 677 mm image
Object history note
The photographs were purchased directly from the artist
Descriptive line
Photograph by Nigel Shafran from the series 'Ten photographs taken for the V&A Annual Report 2012/13'
Bibliographic References (Citation, Note/Abstract, NAL no)
V&A Annual Report 2012/13
Labels and date
Photo London: Beneath the Surface
Somerset House, May 20 - August 24, 2015
Nigel Shafran (born 1964)
From the series 'Ten Photographs taken for the V&A Annual Report 2012/13', printed 2014
The V&A commissioned Shafran to take a series of photographs for its Annual Report. Navigating between the galleries, study rooms, service areas, offices and stores of the Museum he developed an archaeology of the building showing the traces of its use. Whether made in public spaces or behind the scenes, his quietly attentive photographs unveil the sculptural qualities of the everyday, and offer a candid representation of the Museum's working life.
Digital inkjet prints
Purchased through the Cecil Beaton Royalties Fund
V&A Museum nos. E.7 to 10-2015; E.12 to 14-2015
Photographic paper
Inkjet print; Photography
Photographs; Interiors
Prints, Drawings & Paintings Collection


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Sunday, March 25, 2012
The Jackson Pollens...yes, Pollens
And, it's not just because there's nothing else to do...that's beside the point anyway.
The Guilford Fund For Education sponsors the event. You would be surprised at the interesting teams that compete. One year a physician's team, Bowels & Consonants, won for Best Costume...yep..costumes! That was the year that my husband's team from Guilford Art Center, The Not So Artsy Fartsies, did not win (don't ask).
This year The Art Center's team is going as "The Jackson Pollens". The theory on this one is that "no one does pollen". hmmmm.
My buddy Yvette, one of the other team members, was asked by The Art Center to create the T shirts. I told her I would help. After all, it's the least I can do. I don't spell well.
I cut a freezer paper stencil and ironed it onto the three shirts. After the lettering had dried, I enlisted my resident artistes to spatter the pollen. They had a hard time believing that it was A-R-T...told them we'd acquaint them with the Real Jackson's work.
Tomorrow we will spatter the back before returning all to Yvette, who has made iron-on logos for the back. Add black berets, and, viola!(and, yes, I DO know the French is voila...but I never actually say voila..I always say viola..because I don't speak French...besides not spelling) a team is created. Fingers crossed that they win their "hive" again this year. Too bad I will be in Philly at the SAQA/SDA conference and will miss the whole "buzz".
Posted by Diane Wright at 11:01 AM
2 comments:
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Month: June 2013
Misty cloud forest not to be missed!
Entering the Cloud Forest, Gardens by the Bay, a world highest 35-meter tall indoor waterfall welcomes its guests with mist and lush vegetation. These greens are of that from the highlands of up to 2 thousands meter above sea level.
The 42-meter "cloud mountain" can be ascended comfortably with elevator, and descended by a circular path surrounded with vertical greens and cool fresh air.
The "cloud mountain" is completely clad with epiphytes such as orchids, ferns, peacock ferns, spike, clubmosses, bromeliads and anthuriums.
At certain point, you may be so clouded with mist and wouldn't see the person next to you.
Or what kinds of trees are fronting your eyes!
It's a trail so wonderful and unforgettable and a trail that makes you forget about getting all drench while enjoying the walk in the mist!
For you, for sparrow, for me!
Spotted a Pacific Sparrow at MacRitchie Reservoir. It stood on the lamppost tip without assuming my presence.
Pacific Sparrow is one of the commonly seen feathered friends in Singapore. It has orange neck with short scissors tail. Vigilant and does not station at a place for long.
This feathered being seems to love photography. So much so that it allows me to snap a few shots of him in a row.
After a well-deserved break, it took off for its air show again.
When he's done with his show, he returned for this silly photographer, asking "are you putting me up in Youtube?"
What are your 60s products?
These are the electrical products commonly used in the 60s of my country.
They are all PHILIPS's products. I personally used transistor radios, tape recorders and record players before.
For PHILISHAVE, I was not qualified at that time…
Now, I am qualified but then they are no longer qualified in this Era.
If you have it one or more of those, keep the physical body, share the memories with the next generation.
What are the things on and above the grass field?
When space allowed, the open space grass field next to the Mass Rapid Transport (MRT) station is always able to accommodate many kinds of activity.
Pasah Malam (night market), mobile circle, exhibitions and religion ceremonies are some of those frequent activities I could remember.
This in fact is a good and smart idea for space optimization. The day in day out route draws great attention for community bond, at the same time linked up social awareness as well.
The ceremony here is held outside Eunos MRT station where a Taoism religious celebration took place. The on going Teo Chew Chinese opera performance is a form of showing gratitude to gods while audience enjoy in appreciation.
The wooden throne seats catered for heavenly gods are cart by disciples while it swings in trance. Simple decorations those days were replaced by modern days decorative technology and creativities. Seats are litten up with colors of neon and eyes-catching blinkers.
When the field is empty after the day of activities, what is the something that will draw your attention from above?
Friend 30 – Raindrops, 雨点
I'm so glad to see rainfall after 10 days of smoggy experience. The rain touches the ground, the colorless water colored the pale and grayish land where we lived.
We smell the nature gratefully. We saw the smiley plants and flowers, and the relief of the concrete floor dancing with smoke.
We saw peoples happily hiding under the roof. We heard thunder visiting by the window side, witnessed the birth of rain from the sky.
I felt something moving in my heart. Shouldn't we realize, shouldn't we cherish the piece of land we are living?
The unbearable lightness of Tree
Balsa tree is the most lightweight wood in the world. It grows in the tropical forest of America; the weight is one-tenth over the same volume of others. It was therefore also given the name 'Light wood'.
Balsa is one of the fastest growing trees in the world. The tree trunk is huge and tall, leaf like Phoenix tree, and it's green all year round.
It has a wide range of application. Just to name a few, it can be produced into bottle's cock; life saving items; electricity insulation and soundproof acoustics.
The balsa wood is also an ideal material for construction of aerospace and marine engineering.
This light tree is just right to reflect the unbearable lightness of being 'The Tree'.
The Armoured troopers
This giant Weta can only be found in limited area of New Zealand. It can grow up to 10 cm in length, 5 years in lifespan. Giant Wetas can weight more than 60g, which makes them one of the heaviest of all insects.
The name 'Weta' was derived from New Zealand Maori words, meaning 'spirit of ugly things'. The physical appearance of this insect may looks like katydid, grasshopper or cricket but the hind legs are enlarged and spiny. Many of them are wingless and predators.
Wetas are not great leapers like their cousins – katydid, grasshopper and cricket. But with the surprisingly speed and the power of the rear leg, and tough skin he always put on, this solider is like an army trooper with fully armoured protector in the battlefield.


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CHEYENNE, Wyo. (AP) — A Wyoming man charged with sexual assault of a 7-year-old girl has pleaded not guilty.
Cody Brown, 23, entered his plea on Thursday in Laramie County District Court.
A judge also lowered the amount of Brown's bond to $500 at the request of his attorney. A trial date has been set for April 15.
Police say a woman reported that Brown was seen getting into bed with her 7-year-old daughter. Police said the girl told investigators that Brown had sexually abused her multiple times.
Brown denied wrongdoing to the officers investigating the report in October.


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An Introduction Of Hotmail Email And Some Of Its Functions 01月31日
When Hotmail email was launched in 1996, Hotmail e-mail stunned every person with it's zero cost online email company, the 1st towards actually grace the world-wide-web community. Typically the web mail email product prior to that was a inconvenience to help carry out, in addition to the idea that very low price draw installed on it again. In that position, that it was possibly not presumed workable that irrespective of just where you're, that will individual can potentially contact basically anyone and assured make fish an individual's information is intending to come to be supplied on a number of a few seconds.
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Almost like these social support systems, you will need to login to your account then you could undoubtedly start looking for other members and enjoy their single members.
The Hotmail Email Locater application in addition utilizes some specialized functionality referred towards as the actual Contact Credit card. Due in order to these types of Communicate with Business, the particular way regarding seeking for a good email membership has ended up revolutionized. Only just like the way email is the classic deliver of the actual online digital community, the Speak to Playing card is usually a internet business master card. The particular great element about it will be that the item will do both the main regular as well as the slow email queries.
For much more info examine here freshideaweb.com


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Q: What's an ETF?
A: It's a type of diversified investment fund.
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I consider the 12" 33rpm LP to be a distinct art form. Like a sonnet, a novel or an opera, the 12" LP has a highly specific formula that gives the work its basic structure: two sides of music about fifteen minutes in length, a 12" x 12" package with various surfaces for artwork and text, and a succinct title. It's a simple, elegant formula. Created in the late 1940s as a continuously playing single disc replacement for an "album" of multiple 78rpm discs, the LP has since transcended its physical form to become an abstract art form revered by artists, fans and critics alike. By way of CDs and now digital playlists, LPs continue to present roughly the same amount of music as a 12" vinyl disc, with individual pieces in a specific order, a title and square artwork — all conventions concretized as the LP more than half a century ago. Not everyone still works with two sides in mind, but even that convention is seeing a revival among younger recordmakers as vinyl 12" records make an unprecedented comeback. Decade after decade, the LP's basic formula remains intact.
Outliving its original physical form tells us that the LP has evolved into an abstract thing, an art form, a tradition, a formula for how to go about making something handed down through cultural transmission. No one needs to make an LP, and yet most recordmakers have inherited this traditional form and chose to work within it. While some have declared the death of the album (the phrase "death of the album" even has its own Wikipedia page, and many articles have been written on the topic), the abstraction of that form has hardly wavered from its salient position as a cultural expression.
And while many would argue that popular interest in the LP is fading as new generations emerge around new (and always shorter) formats (the EP, the single, the game soundtrack, the playlist, etc…), I, and many others, champion the LP as an art form worth practicing and preserving, and I suspect that this art form will continue to endure (as it already has) regardless of the comings and goings of new delivery formats. Sales may be dropping and interest may be waning, yet none of that market activity changes the fact that the LP structures, focuses and thematicizes recordings into some of the most beautiful and powerful works of art we humans have brought into being. In spite of the various forces seeming to tear it apart, it is time to recognize the LP as our field's most intoxicating form and to uphold it for its own inherent value.
Perhaps it is time to begin to think about the LP (and the career field around it) as having matured to the point where it needs to be understood, studied and taught more formally. Universities are installing music production departments, offering actual undergraduate degrees in this field for the first time (no graduate programs exist yet), but recordmaking is still a young art (around one-hundred years, the LP only around fifty) and the formalization of training in it very young. Yet the field of recordmaking has given birth to an abstracted art form that we can point to, study, describe and choose to practice. Can we imagine courses training young people how to go beyond just recording and producing music and to conceptualize, compose and assemble coherent and powerful LPs?
The notion of teaching the LP may seem antithetical to those of us who cling to the notion that great artists will emerge organically from within scenes to eventually create these wonderful works of art for us, but I would suggest that— given all the changes to the commercial support networks that made LPs possible (labels, studios, scenes, etc…) — that perhaps this art form is worth upholding through a more formalized (perhaps academic) approach. If nothing else, more formally teaching the art of the LP in no way hinders or conflicts with the "more organic" rise of an artist through commercial channels, such as they are, and might even promote greater awareness of the art form within those channels.
Concern over teaching the art of the LP raises larger questions about the value of formal art training in general. If we can't or shouldn't teach the LP, can or should we teach any art form? The value of art education is a too vast and complicated a topic for this essay, however, I would point to the fact that some of history's standout, celebrated masterpiece LPs have been wrought by people who had formal fine arts training: Brian Eno, Roger Waters, Thom Yorke, Pete Townsend, Kim Gordon, David Byrne, Ray Davies, John Lennon, Chuck D., Kanye West and Keith Richards to name a few. Surely there is no coincidence that these masters of the LP art form all share a fine arts training where they learned how to formally critique work in progress, to master and extend the possibilities of tools, to study, work within, and finally break out of specific forms. They also learned how to apply philosophies from various schools of thought to an art practice, which has led to some of the most significant innovations in recordmaking. If we are going to teach recordmaking in universities, perhaps it would be wise to house these programs (or portions of them) in fine arts departments rather than relegating them to technical training programs or music performance departments. A faculty able to deliver a meaningful aesthetic education can help to bringing the LP into its maturity as an art form and the field of recordmaking in general up among its true cousins like photography, architecture, dance, theater, filmmaking and design — all of which have created many excellent schools from which graduates go on to innovate beautiful work in their fields. Why should recordmaking be any different?
Even in the absence of university-level fine arts formal training, it's worth advancing our field in this direction nonetheless. Bringing a more intelligent and nuanced approach to recordmaking can only help our field become a more capable one that holds greater value artistically, culturally and, therefore (and in that order), commercially. The LP still stands as our most serious and important form; letting it dissolve because delivery formats have changed is to value the format factor over the art form, clearly a potentially devastating mistake for any artistic community.
As a way forward, I want to dig into the LP more deeply, look at its antecedents, its history, and tease out the art form from the format in order to begin a more concerted dialogue about it.
Trying to understand why the LP became such an enduring and appealing art form veers into philosophical, cultural and even bio-environmental-evolutionary theories of aesthetics — a full discussion of which is beyond the scope of this essay. However, we can look at the structure of the LP and make some cursory speculations that might help us understand the attraction of the form and why it endures.
With the 12" LP at 33rpm we arrived at a format that was able to reproduce continuous play of roughly a single movement in a symphony on each side — a stated goal of those who devised the LP. This breaking point of between ten and fifteen minutes within a larger musical work had been established hundreds of years before as symphonic movements. Why was this break point around this length, and why was the overall form also hovering around the forty minute mark? Answering these questions can help us understand the roots of the LP's formal structure.
In the 1700s the symphonic form was taking shape as an extended version of an opera's overture (roughly eight to ten minutes long). By the 1800s a standard symphony length was emerging at around 30 to 50 minutes with a few longer works (such as Beethoven's 9th at around 70 minutes), and by the 20th century symphonies were headed back to around the 25 to 40 minutes range. Exceptions always exist, of course, but these rounded numbers show us the general length of the form as well as its breaking points into movements of around eight to fifteen minutes on average.
For an art form to endure for centuries implies that there is something inherently satisfying about it. How else could it sustain our interest? Like the rectangular canvas that fits and satisfies the dimensions of our field of vision, or the frequency spectrum that fits our hearing range, is the duration of the symphony and its division into movements similarly meeting the dimensions of human listening abilities and attention spans? We do know that human attention spans can hang on to a single topic or narrative for about three hours before our attention breaks down, and if we look at the operas from which the symphony sprung, they were often topping out at around three hours. College seminars, business meetings, movies, plays, concerts, and sporting events — any immersive experience that requires our attention for a stretch of time — all hover in the one-and-a-half to two hour range, with the three hour mark typically being considered quite long.
We can speculate as to why we seem to need to chunk our attention expenditures in this way, and an evolutionary perspective on this is rather interesting. If one considers that our species evolved with about three hours of (relatively) free time to kill from nightfall to sleep time, we can theorize that our long-term attention spans for cultural activity developed around this schedule. Darkness presented a time for people to come together and participate in their cultural forms like stories, music, games, etc… Many have speculated that the earliest formalized theater experiences were just larger-scale versions of small-scale oral traditions organized to accommodate the growing populations after the rise of cultivated agriculture, and those formal dramatic traditions gave rise to opera, which gave rise to the symphony, which gave rise to the LP. Making this leap from our species' evolutionarily-determined, multi-millennia-old attention spans for cultural immersion to the post-WWII 12" vinyl LP as part of an evening's entertainment is just a theory, and one into which we may not want to put too much stock without more investigation. However, it is interesting to consider that perhaps the LP form is a reflection of our rotating planet's daily schedule expressing itself through our highly evolved DNA. The LP may be our long history of entertainment pressed into a disc of vinyl. If we buy this notion, even on its surface, we are flirting with the notion that there is something inherently "right" about the LP for humans. One of the central criteria by which people judge LPs is how well they hold our attention, whether they are (or seem) too short or too long or just right. A good LP fits us just so.
As for the division of the whole piece into musical chunks of eight to fifteen minutes (movements, LP sides, etc), it gets a little trickier to come up with a clear evolutionary explanation. However, almost all longer-form human art is divided into smaller chunks. Novels divide into chapters, then paragraphs, then sentences, then words, then individual syllables delivered at a certain rate. Plays divide into acts, then scenes, then lines of dialogue, then words, then syllables. Symphonies divide into movements, then sections, then musical phrases, then notes delivered at discernible tempos. LPs divide into sides, then songs/tracks, then song sections, then musical phrases, then notes delivered at a recognizable tempo. What we're talking about in all of these art forms is how information is chunked and organized to be optimal for human consumption according to our evolved perceptual mechanisms. One way to formally describe and judge an art form is in terms of how it chunks information, and one way to describe and judge an artist is as a chunker and organizer of information (visual, sonic or otherwise). One way to understand the LP is as an organized stream of sonic information, the recordmaker as the one who organizes that information.
The point of all this is to suggest that: (a) the LP presents us with an analogous art form to the symphony and its antecedents and (b) that these forms are inherently rooted in our evolutionarily determined bio-aesthetics. This is just another way of saying that the LP is a a very human art form. This humanness goes a long way toward explaining why a beautifully rendered LP can suspend us in its spell and touch us so deeply, as well as why the form can sit so comfortably among other well established art forms that also fit humans well.
When we consider that the LP is often treated — even offhandedly discarded — as just commercial delivery format, or snappishly declared to be on its death bed, I think it's important to start awakening those who think in terms of marketplace-profitability and up-to-the-minute-trends to the LP's deeper historical antecedents (e.g., symphony) and modern equivalents (e.g., films) in hope that something other than concerns over marketability might sit at the forefront of decision making around the fate of this art form. To those who feel marketplaces should and will be the determining forces in shaping what we recordmakers choose to make, I have a simple answer: intentional artists.
The LP is a limited form, but it is not a limiting one; there are infinite ways to use the formula. Compare, say, the LPs Merry Christmas by Bing Crosby to Locust Abortion Technician by The Buttonhole Surfers and you get a sense of the rigidity of the LP art form: they're both roughly the same length, broken into two sides that are then broken into individual musical pieces, both LPs were issued on 12" black vinyl, and both have robust artwork on two sides. But we also see the obvious potential for extreme variation; Merry Christmas banally celebrates a secular Christmas via predictably performed pop forms of its era while Locust Abortion Technician violently explores divorce, rape and necrophilia via deconstructed post-rock, found-art-pastiche and unbridled, genreless electronic manipulation of sound. By working within the basic limitations of the LP, both Bing Crosby and The Buttonhole Surfers were able to create timeless pieces of art that accomplish incredibly different agendas (artistic and otherwise) but which stand side-by-side as prime examples of the art form's greatest expressions. They are both meticulously crafted, coherent and immersive LPs built around a theme.
Because these two LPs (or any two LPs) share their core structure, we can judge them along the same lines of aesthetic concern: consistency, wholeness, breadth, focus, thematics, originality, craft and so on. These aesthetic concerns go beyond specific genre considerations, beyond the musical content itself, to scrutinize how well the artist worked into and exploited the LP form itself. This is why we don't have to personally like or even approve of an LP in order to evaluate it as a successful one (or dislike or disapprove of one in order to consider it a failure).
As we've seen, an LP is far more than just a collection of individual musical pieces gathered onto sides with artwork and a title attached, and LPs tend to suffer when treated as such. Making an LP requires the ability to conceptualize, envision and execute the art form itself. To do this, an artist thinks and creates on a meta-level and carries out overarching goals for the whole LP. When recordmakers are good at this meta-level work, they tend to make powerful, coherent and timeless LPs. They're in command of their chosen art form.
When discussing the LP as an art form, people sometimes wonder if I am talking about so-called "concept albums," those LPs that follow a specific narrative. I think this question grows out of the fact that we can find strong themes on coherent LPs, but that doesn't mean the LP employs a narrative. Radiohead's OK Computer centers around themes of modern-techno-alienation and Public Enemy's Fear of a Black Planet centers around themes of black-white racial power struggles, but these aren't narrative concept albums like Pink Floyd's Dark Side of the Moon, The Who's Tommy or The Fugees' The Score. Thematic work can be highly consistent and pull all the material on an LP together into a very tight work, but that doesn't make the LP a narrative one. A theme is an idea that recurs in or pervades a work of art.
I often hear concerns about the limitations of thematic recordmaking. When this happens, I find myself reminding artists that focusing ones work almost always makes it stronger, that working around a narrow set of concerns, ideas, methods, sounds, constructions and/or emotions — that is, working thematically — will usually bring more internal consistency and integrity to an LP.
By working thematically one creates more than just a collection of musical pieces with artwork and title; one also creates the inner schema (the system, the inner logic, the framework) that holds those components together. And once one has established the basic inner schema of the LP — no matter how obscure or abstract it may be — there emerges a freedom to explore seemingly infinite creative possibilities within that schema. Over and over I have heard artists have their aha-moment in which they say, "Oooooh, now I know what the hell I'm doing on this record. Ok, let's get to work." This is the moment when clarity about the whole arrives. Once that point is crossed, the art making shifts from figuring-it-out to filling-it-in, and there are infinite ways to fill it in. I call this "the freedom of focus." Without thinking on the meta-level about the whole LP to some degree, the freedom of focus almost never emerges and, in my experience, artists tend to struggle to find clear intentions and create a favorable work situation.
Thematic work on an LP can reach into many aspects of the work: sonics, musical themes, instrumentation, lyrical topics or images, settings, musical motifs, and so on. Too often people assume that themes must be found in the lyrics, but we only need to look at great instrumental LPs to see that consistency and wholeness can be achieved across an album even in the absence of lyrics. Thematic work is about pulling the content of the LP together, intentionally following a limited set of interests, ideas, sounds and motifs, and working toward a coherent outcome.
Thematic work can not only reach into any aspect of the LP, but one can also vary degree of how thematic one wants any aspect to be. Will the music carry strong thematic motifs? Will the instrumentation, or the role instruments play remain consistent or vary greatly? Sonics? Lyrical images? Lyrical topics? Musical structures? Dynamics? As a recordmaker, one has total control over both what is treated thematically and how thematically to treat any of those aspects. Being clear and intentional about which aspects are thematic and about how thematic those aspects will be is to have command of the art form itself. We can think of this intentionality as moving from making a record to orchestrating an LP.
The word 'orchestrate' means "to arrange or direct the elements of (a situation) to produce a desired effect, especially surreptitiously" (New Oxford Dictionary). To be surreptitious is to be secretive because one's behavior would not be approved of. This secretiveness within orchestration fascinates me.
Over and over I overtly orchestrate records with collaborators (plotting them out, literally, like a map) and then we hide that orchestration as deeply as we can. Recordmakers (and all kinds of artists) seem to want to burry their intentions deep into the artwork, hide them like treasures that the listener has to search for without a map. In this way the intentions of any artwork become like DNA, an invisible force that determines the very shape of all outward expressions. Striking the right balance of thematics among the various aspects of an LP can create a whole work in in which intentions remain mysterious, a work that asks questions more than it answers them, that invites the listener into an aesthetic immersion in which their own discoveries are possible (which gives them good reason to return to the work over and over). The invisibility of intentions is not the same as the absence of intentions, and many highly intentional LPs have an inner integrity that can be sensed and felt more than it can be seen, heard or overtly understood — try as we may.
I produced the instrumental album Lulls by the artist Blurry, a sonically and musically consistent album with strong themes buried in it. This project began with a title, Lulls, and an idea for what the music was to do: (1) musically represent a sequence of "lull states" and (2) offer up a musical experience that might produce a "lull state" in the listener. Compositions didn't even exist prior to the concept for the album. Lulls was a fascinating title and theme that really interested me, and I knew we needed to make a very coherent LP with a consistent sonic world if we were to sustain the "lull state." To create that coherence we limited the sonic pallet to four basic sounds (exactly the same drums, bass, guitar, and keyboards recorded exactly the same way throughout the album) and we mixed all tracks with just one delay and one reverb through the same console with nearly identical eq and compression settings. Musical structures on Lulls are very consistent as well: slow moving dynamic changes, similar arrangements of song sections on each track, a narrow (and slow) tempo range. We intentionally controlled and limited these aspects of the music within very narrow margins, and those qualities are all overtly on display in the music.
What isn't overt is that every piece on this album explores a specific remembered moment and that each piece was structured and arranged according to an actual hand-drawn map of that memory. We chose not to reveal these memories in any way on the LP, even though we were highly aware of minute details of those specific memories while writing, arranging, performing, recording and mixing. In effect, we let the strong thematics in almost all aspects of the music tie the LP together while burying the topical theme so deeply that they can only be felt, sensed, but never understood or known. To help bury the topical thematics we discarded lyrics all together and we named each of the eight pieces "Lull 1, Lull 2, Lull 3…" and so on (they had previously been named after the place where the memory had occurred). The case of Lulls is interesting here because it was so carefully orchestrated, yet in its final form it is almost anti-narrative, highly expressionistic and wide open to the listeners interpretation. We orchestrated very heavily and very surreptitiously.
Working with highly organized, overt intentions and then burying them deep in the artwork is a strategy I see over and over again across mediums. An architect knows the goals of the building's aesthetics, but those are made subtle and covert through design and use of materials. An abstract painter is exploring a certain moment or emotion, but only reveals hints of that through an obscure title. A theater maker structures a production according to a mission statement, but never makes that known to the audience. A choreographer sets out to explore a specific theme, but leaves holes in the work through highly orchestrated movement. Outside of recordmaking, this kind of surreptitious intentionality is common practice and one can enter easy dialogue about it, yet in recordmaking many bristle at the notion of talking about such things, struggle against it, even take offense at it. Our field simply hasn't developed forums within which this kind of dialogue might emerge and evolve. (Why we haven't is a wholly different topic worth investigation).
On the surface, beginning an LP with clear intentions seems like an obvious strategy, yet more often than not artists create a group of musical pieces, record them around the same time and afterwards decide on a name and artwork that will pull the components together. I've even thought of this ex post facto thematicizing as a kind of art criticism that one practices on their own work, an interpretation of the LP offered up after it's done. This order of events — make it and then look for what ties it together — is a valid way to make an LP, and there is no question that many artist will discover very real threads and themes that are the product of their having worked consistently over a period of time during which their preoccupations (conscious, subconscious or both) emerged across a set of musical pieces. However, I find that people who carry forethought and intention into their work have the upper hand in creating coherent LPs that maximize the potential of the art form as a whole.
Describing an album before making it is a great reversal of many artists' creative process, and making this reversal can be quite difficult, scary, and even painful. Taking a different approach to art making is not only creatively challenging, but also can be personally challenging because it requires breaking a set of habits. Because intentionality can be so challenging, many resist it.
One of the common resistances I come across is fear of working too consciously on an LP. For most artists, and especially musicians, delving into the subconscious and working intuitively is the very central activity of making artwork. Approaching that work with conscious intentions and stated themes can appear to run against the aim of intuitively accessing the the creative wellsprings of the subconscious. Yet the best artists know that their work involves delving deep and far into the wilds of their subconscious while holding an artistic intention in mind. Intentional artistic work goes beyond giving shape to subconscious discoveries after they're made; it means giving intentional direction to the discovery itself. By having some overarching schema in mind for the work at hand, the most skilled artists delve into their subconscious with a clear mission, almost as if they have a destination plugged into a psychological-GPS device that can guide them to what they need the most in order to carry out their intentions. Working with intentions doesn't mean there wont be surprises (there always are); it means staying focused so one can discern and make use of the right surprises.
Most artists are born naturals at delving into the subconscious (it's often why they became artists in the first place) but must be taught, or somehow learn, how to become intentional in their subconscious explorations and how to give shape to them. Practicing a formal art form such as the LP can be one of the best ways to learn how to do this. Just knowing that strong, coherent LPs carry themes that were disciplined by highly skilled artists transforms recordmaking from an intuitive and subconscious outpouring to disciplined honing of artistic exploration and expression within an artistic tradition.
The most effective artists across mediums seem to viciously discipline their expression down to nearly singular expressions at any given time. This discipline consists of highly intentional meta-work that makes their creative discoveries ring more true, more clearly, more powerfully. They aren't betraying their expressivity by working intentionally; they're focusing it like a laser. Examples: The best painters are almost exclusively focused on, even obsessed with, one style or idea for years at a time (see Still, Rothko, Monet, Kahlo). A poet may explore many forms and themes over the years, but in any concerted collection of poetry tends to work around a unifying theme in a very narrow style (see Yates, Dickinson, Elliot). A photographer tends to be caught up in a specific type of image making at any given time, collecting those very similar images into a hung show or published book (see Mappelthorp, Adams, Arbus). The best recordmakers are quite similar (many examples exist across genres), and the LP is an ideal format for gathering up and presenting work made at a given time as a coherent whole. The more surgically focused the laser, the more clear and coherent the artwork tends to be. Intentionality is focusing that laser.
Sometimes the resistance to working too intentionally and too consciously toward a larger whole seems to come from disagreement around the core purpose of artistic expression. Since the emergence of the singer-songwriter tradition of the 60s, the notion that making an album is meant to be an expression of the artist's very personal experiences and feelings has found strong currency with in the art form; we can call this self-expression. If the album is meant to be an expression of self, then we can see how editing out content for the benefit of the listener can seem to be at odds with self-expression; one is literally silencing self-discoveries for the sake of others. By bringing conscious intention to the goals of the art making, one is confronted with this inevitable, timeless question: Is the artist serving their own need to express themself, or is that expression also meant to reach across and mean something to or for someone else?
Marking art is one thing; making it public is another. Self-expressive art made public is always imbued with possible conflict between the internal experience of the artist and the experience of the audience. When art seems to serve the needs of the artist more than the audience, we often hear it described as self-indulgent. While calling any art self-indulgent is almost always a negative criticism, perhaps it's helpful to think of it as merely descriptive, as some artists are quite consciously indulging their own experiences when they make art — that's their intention.
On the other end of the spectrum we hear artists who make work only for the sake of their audiences as being too commercial or as having sold out. What's being sold out is typically the "self" or something that's not "for the audience alone." Calling an artist a sell out is always a negative criticism, but we can understand the criticism more structurally to mean that the artist is compromising something (self-expression? genuineness?) to satisfy an audience — that's their intention. For the sake of clarity, let's call this audience-indulgence.
Between full-on self-indulgence and full-on audience-indulgence is a continuum across which these two impulses work together in some ratio. It's an interesting exercise to consider the ratio between self- and audience-indulgence of any artwork, and then to consider how we think that art has achieved that ratio. And recordmakers can set intentions for how they'd like to strike that ratio in their own work. How much is the work intended to indulge the artist's internal experience vs. the audiences, and to what extent can those two things be brought into alignment? (Some of the strongest artwork seems to satisfy both impulses simultaneously, bridging both and expressing something more universally satisfying.) Working intentionally and consciously with self-indulgence and audience-indulgence in mind is to step up onto a higher perch and become more objective about one's work. When making an LP, this kind of objectivity can go a long way toward honing the final work into a successful one. Such objectivity should not be at odds with the creative process, but an integral part of it.
The most dangerous resistance to working intentionally comes when an artist makes the critical error of believing that because they are having a meaningful or satisfying experience of their art that the art itself is inherently meaningful or satisfying and, therefore, will be satisfying to others. This is a gross over-valuing of the artist's subjective experience that validates the idea that an artist should work as unintentionally as possible and merely indulge internal experiences with no intentional honing of that exploration into an intentional self-expression. Artists who are this caught up in their own experiences almost always put up an impenetrable fortress around these experiences and see the notion of working more intentionally, consciously and objectively as an affront to their own experiences. Artists who believe that their self-expression will mean something to others are already flirting with full-on self-indulgence, but those artists who only use their own subjective experience as the litmus test of their art are almost always gazing straight into their own bellybuttons and incapable of intentionally shaping their work. Collaborating with belly-gazers is difficult enough, but trying to make a coherent and intentional LP with them is nearly impossible.
This doesn't mean that I reject the possibility that self-expression can be rendered in nuanced and empathetic ways, and I believe that personal expressions can, when artfully rendered, surgically focused and thoughtfully thematic can become powerfully allegorical. Asking an artist to consider casting their self-expression within the general principles of a formalized art form like the LP can go a long way toward pulling their heads back up for a breath of communal air that can revitalize and give breadth and focus to the overarching goals of their desire to share their personal expressions. Knowing why you're expressing yourself is a powerful place from which to create something that can reach across to others, essentially transforming personal experience/narrative/expression into allegory that resonates with compassion and empathy.
What's fascinating about these conversations about the overarching goals of the LP is that they draw into question whether an unedited, subjective self-expression can succeed as an external expression or whether, as I tend to believe, the disciplined, edited, goal-oriented work might actually better succeed in getting those subjective expressions of self across to the audience. Honing one's expression is the smoke-n-mirrors involved in communication in general, and in art specifically. One of the markers of the mature and disciplined artist is not just their willingness to discipline their work, but their ability to do so. That's the kind of mastery that can elevate a work toward allegory.
LPs are so vastly variable that it's exciting and intimidating to consider all the possibilities in front of an artist as they set out to make an LP. Across genres, and outside genre, the LP remains as open as a blank canvas. Selfless expression, as directly opposed to self-expression, is fascinating to consider as one looks at the intentions behind any art work.
When someone is making a work of art that is not meant to express the self, but to accomplish another goal all together we veer into a vast array a undetermined possibilities. There's direct narrative, abstraction, documentary, overt political work, exploratory vignettes, lyrical nonsense, instrumental anarchy and highly structured composition, impressionistic soundscapes and ambient dreamscapes, pulsing dance records and gentle lullabies, soundtracks and scores and explorations of all kinds available to the recordmaker (these can and will be, of course, self-expressive, if not self-expressions).
Intentionality and thematics toward a whole LP in these so-called selfless expressions gives shape and focus to the work, whether it's an arhythmic exploration of deconstructed noise or a highly-structured narrative song cycle. Working on the meta-level toward a whole work rather than an assembly of small pieces lifts any LP up into the realm of artistic coherence and integrity too often unachieved in recordmaking.
One of the greatest problems with making LPs is that they so often involve multiple collaborators. A novel, a painting, a photograph, even an architectural drawing can issue forth from one person working more or less without a need to articulate their intentions, their vision, their thematic concerns or lack thereof. But in making LPs we tend to work in groups of varying sizes, with multiple people playing different (though usually fluid) roles. In this way, making an LP more closely resembles making a film. Perhaps one person writes it, but the team of people that are going to be involved in rendering the work are all going to give direct shape to it — from the musicians to the engineers to the mixer to the producer, all will have a hand in shaping that work. There are no "non-creative" roles in the studio; everyone is contributing to the end product. And yet, so often, people struggle to articulate what it is they're trying to achieve. We grope toward a shared vocabulary, a language, some way to express what we're trying to accomplish. We play reference LPs for each other, we describe sounds in terms of colors, we talk about what something is meant to mean, and then we say "You know what I mean?" because obviously we haven't articulated what we mean.
I often find teams of excellent recordmakers can appear like total amateurs without a clue as to what they're doing. There's getting lost along the way, and then there's just being lost the whole way, which, sadly, is not uncommon. The problem as I see it is that we don't have a tradition of making our LP's mission overt, and so more effort is spent groping toward an unstated, or even unknown, something rather than people coming together around a clearly stated set of goals.
I started to grow frustrated with this state of affairs over a decade ago, and found myself blurting out to a collaborator, "How the hell do I know which way to turn the knob if I don't understand what you're trying to say." It was a funny moment, thankfully, but a poignant one in which our collaboration came to a head and the artist kind of relaxed and realized that it might be good to articulate the goals (and admitted that they weren't even fully formulated, let alone articulated).
On another project with The Cinematic Orchestra, I'll never forget a great moment when the band and I were toiling away at work in the studio and we turned to their manager and A&R rep (a wonderfully smart, caring man who defies every stereotype for that role) to ask his opinion about what we'd just recorded and he said, "Well, it depends on the mission, doesn't it?" He volleyed that one straight back to the baseline where we all kind of, again, relaxed and realized that we needed to center in on the intentions for the project if we were to know what to do.
I could tell you more stories, gathered up over the years of watching people making records, but the individual tales have merged into a trend I started to see in which people would grow frustratedly lost in the studio and then realize they, quite simply, just didn't really know what they were trying to do. And the only thing that was going to sort that out was a clear articulation of what that was.
This is why I sometimes say: Start with the press release and work backwards from there. On the surface this seems crass, and while I sincerely question the power of the press release even as a promotional tool at this point, I do find that the press release is one of the very few statements or descriptions of and LP. We used to have liner notes and, rarely, producer's notes, or sometimes an artist's note in which the LP was explored a bit on paper. Today we have press releases. Starting with a press release (obviously a fictional one) forces one to state their intentions, and sometimes it forces one to discover that they may not, in fact, have any clear intentions. This doesn't mean that someone can't work without clear intentions, but even working without intentions can be an intentional creative decision (one that many artists make, especially at the outset of making work). Writing that press release before you begin is, if nothing else, a wonderfully revealing exercise similar to writing a mission statement. "The new LP ___title___ by ___artist___ is _____???______."
When making an LP, to what extent is one intending to make a collection of relatively un-related musical pieces versus a highly unified work? If there is a continuum between these extremes, then it can be useful to consider where on that continuum one is aiming to land. Considering this will naturally lead to intentionally choosing how to manipulate the how thematic the various components of the LP will be. How important is it to your artistic intentions that the record holds together thematically? How important is the overarching LP-ness of the work? Even if one is abandoning the notion of making a coherent LP, it's good to know that that's the goal, as one can likely abandon it even more recklessly. If you're going to say "quash the LP" then shout "Quash The LP!" and tear it to pieces. It'll make for a better (non)LP. Not having a theme can become the theme. The point is to work intentionally. By considering where one stands vis-a-vis the larger art form at hand one naturally becomes more intentional, even when choosing to intentionally abandon that form.
The LP remains in our consciousness as a-thing-to-be-measured-and-critiqued, and as such it's fair to say that when we make an LP we are engaging in a grand competition. This competition can be a healthy one. We must measure ourselves up against what we consider to be the greats, strive to meet and outdo them, but we must not let that greatness squash our spirits, define our work or cause us to imitate too closely. We need to let the competition spur us on to do better work, to motivate us to respect the art form we're practicing, the tradition we're working in
I was in Iceland a couple of years ago on an artist retreat of sorts and listened to a whole LP all the way through each day while blindfolded (I highly recommend doing this). After many days of these deep listening experiences I put on Beck's Sea Change and took it in. I knew that record so well, but I can't say I ever really listened to the whole thing straight though, and certainly not while blindfolded. This record is a benchmark on many fronts, and the sounds (largely by Nigel Goodrich) are stunning. Later that evening I went to dinner at friend and producer/engineer Valgeir Sigurðsson's house and I mentioned my listening to Sea Change. Not missing a beat, Valgeir said, "Oh that record just makes you want to quit." We laughed, but then kind of nodded how true it was. This humbling aspect of the silent, internal competition we are in when we make records is a powerful motivator.
No one writes a sonnet without knowing their work now sits up against Shakespeare. No one paints an abstract expressionist piece without knowing that their work will be compared to the great abstract expressionists. No one writes an opera without knowing their work will be help up in some way against Wagner, Verdi or Mozart as well as contemporary greats. No one writes a novel without knowing they're up against their peers as well as those who established the art form. When we make an LP we are entering into this inevitable competition, and we can embrace it as part of practicing an autonomous, not-old-yet-but-enduring-nonetheless art form.
How to close off this discussion has eluded me, and I've realized that's because I feel and hope that this essay is really just the beginning of a much larger, and I would say endless, discussion among recordmakers about the LP. The ideas above are really just an assertion of something I think we already know, an attempt to place a few small stones in the foundation beneath a new framework within which we can explore, discuss and develop our art form. It's my sincere hope that we can begin to formalize the LP more fully as a respected and revered art form and never make the mistake of letting this wonderfully powerful formula for how to make recordings fall prey to formats of convenience.
Long Live The LP
Author: Allen Farmelo
Original Publication: Pink Noise
Publication Date: November 14, 2014


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Greetings, welcome to my biography: the part of my portfolio explicitly devoted to my life (even if the rest of it implicitly is as well). Born and raised in Suamico, Wisonsin, I have lived in the suburbs my entire life. Until last year I had not been outside of the United States and it truly opened up my perspectives. That may be cliche to say, but over the past year I have been trying to experience as many new things as possible. I think that can be directly seen in my change in voice over the past year in my writing.
As I stated in my welcome page, English has always been my favorite subject despite the fact that it is only my minor now. I attribute my interest in English to my wonderful teachers of my past. I personally thank: Ms. Bailey, Mrs. Spielbauer, Mr. Maki and Mrs. Sturdivant. These teachers helped make me the writer I am today and showed me how I could harness my passions into literature.
After high school I knew I wanted to do something with English, but did not see it as my primary career path. I settled on having an English Minor with a double major in Economics and Marketing. I hoped this balance would set me apart from others in the business world and English gave me an oasis in the middle of the monotony coming from business classes. Moving forward I hope to work for either a non-profit, a benefit corporation or a small music company. English has made me a better writer and there is potential for me to even integrate journalism if I end up working in the music industry.
Literature is important to enriching perspectives and integrating one's past experiences. Every time you write or read any piece of literature, it is directly influenced by all aspects of your life. This portfolio works to illustrate these topics solely through my perspective. As I talked about in my introduction, the six separate topics that the portfolio entails are guided by my own thoughts and unique perspectives.
For all my flaws as a growing writer, I am proud of the portfolio I have put together. While I did not work to improve for anyone except myself, I credit all of the English teachers and professors for being patient and providing me with quality criticism. I am comfortable where my writing skills are now, but I will always continue to improve and work to be the best writer I can.


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The Columbia Encyclopedia is a one-volume encyclopedia[2] produced by Columbia University Press and in the last edition, sold by the Gale Group.[1] First published in 1935,[3] and continuing its relationship with Columbia University, the encyclopedia underwent major revisions in 1950 and 1963;[2] the current edition is the sixth, printed in 2000. It contains over 51,000 articles totaling some 6.5 million words and has also been published in two volumes.
An electronic version of the encyclopedia is available, and the Columbia Encyclopedia is licensed by several different companies for use over the Internet.[4][5] This encyclopedia's electronic edition, which is marked up in SGML, is updated on a quarterly basis and contains over 84,000 hyperlinked cross-references. Unlike many other major English-language encyclopedias, the complete content of the Columbia encyclopedia is available online to individual users without payment.
Information, Linguistics, Encyclopædia Britannica, Statistics, Medicine
New York City, Columbia University, History, Religion, Sociology
Brown University, New York City, Ivy League, Cornell University, Princeton University
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Airman Leadership School CDCQuestions and answers taken from ALS CDC books.
After they hatch.
When the doctor clears them.
Values are formed whenever we accept an idea, perceive a relationsihp, or take a principle for granted.
Before expiration date.
Believing in the shwartz.
Advanced Planning.
Having good luck.
Winning a coin flip.
Sticks of butter are overrated.
Only pigs eat bacon.
Liver doesn't taste good with onions.
Your body naturally produces all it needs.
They were confined to a luxurious resort.
There was evidence of captors trying to indoctrinate prisoners into the enemys way of thinking and believing.
5-course meals were provided for breakfast/lunch/dinner.
They were provided means of communication.
Infinite amounts of Monopoly money aren't included.
Bill Gates is not responsible for overdraft protection.
Warren Buffet isn't the bank's personal finance consultant.
If not properly maintained and checks are written on insufficient funds, checks can bounce resulting in overdraft charges.
Beliefs about what does or does not constitute a worthwhile goal.
$50 for an acre of oceanfront property in Colorado.
Investing with Bernie Madoff.
South Carolina Governor's view on faithfullness.
Air Force Reserve Command
Air Force Reserve Company
Air Force Reserve Corporation
Air Force Reserve Commonwealth
Eat And Feed is to win as many pie-eating contests as possible.
Earn And Finance is to mass more wealth then anyone in the world.
Elite Antelope Fighters is to defend all Antelopes from Cheetahs.
Expeditionary Aerospace Force is to organize, train, equip, deploy and sustain itself in the dynamic 21st century global security environment.
Your long lost cousin Billy-Bob will claim everything you owned.
Your estate will go into probate and will take a long time to resolve.
Your pet rock will feel abandoned and leave for the gravel pit.
Your "ex" you "married" in Las Vegas will magically reappear.
During the pursuit of Pancho Villa in Mexico in 1916, WWI, WWII, during the 50's, 60's against communist forces in North Vietnam.
During the pursuit of Napoleon Bonaparte through the Amazon rainforest and against communist forces in England.
During the pursuit of Osama bin Laden through the Sahara desert and against communist forces in South Africa.
During the pursuit of Adolf Hitler through the Himalayan mountains and against communist forces in Mexico.
One who is not only experienced and proficient in the AF specialty but knows, understands and adheres to the traditions of the profession of arms.
One who comes to work an hour late.
One who takes a smoke break once an hour.
One who always has to be reminded about routine duties.
The AFI stating that it's ok to have dependents fend for themselves.
The AFI stating that dependents might as well be your luggage.
The AFI stating that it is illegal to have dependents.
The AFI stating that all AF members must make and maintain dependent care arrangements, allowing them to be globally available at all times.
No more than 3 rings, a watch, and a conservative bracelet. Necklaces may be worn, but may not be exposed at the neckline.
Distinct 24" gold and platinum chains.
2 watches--one for the local time zone and one for zulu time zone.
Your 6 NBA championship rings from when you were the Bulls waterboy/girl.
It keeps everyone from forgetting their ABC's.
It keeps everyone's morale high by singing "99 bottles of beer".
It allows for vital information to be passed among POWs and facilitates the accountability process. Communication enables the do's and dont's of prisoner life to be passed to the new prisoners.
It keeps everyone on the guard's good side to get their goolash hot.
It has nothing at all to do with each other.
His/her willingness to show the dependent the rest of the world.
Reputation with dependents goes a long way with your new unit.
A member's responsibility to care for dependents does not relieve him or her from the responsibility to be available for worldwide deployment.
Greater responsibility and authority to carry out that responsibility. Privileges are often a form of partial compensation for the additional responsibility of rank.
It's your responsibility to show off RHIP as much as possible.
It is irresponsible to display any form of RHIP.
RHIP and responsibility are equal to each other.
Position an airman at stand-by with each and every aircraft on base.
Keep at least 2-3 aircraft circling 24/7 in case of emergency.
Rotate airmen between bases at least every 6 months.
Personnel readiness helps the military member ensure they're able to be in the right place, at the right time and ready to perform their jobs.
Similar religious beliefs as the enemy.
Strong religious beliefs, American values, faith in country and the American people, a sound body, good communication among POW's within camps, and open and honest sharing of feelings, fears, and dreams among the captives.
Independent and selfish attitude among POW's.
All hope in America shown lost.
The similar behavior shown among individuals in a group.
The backing of one member of a group over others.
The difference one person's behavior can have on other individuals within the group.
Agreement on differences based on "pick-a-number" mentality.
Political skills.
Athletic skills.
Artistic skills.
Ale-drinking skills.
Winning Tour de France then curing cancer just before podium.
Attaining a degree, a promotion leading to more responsibility, or winning an award for airman or NCO of the quarter.
Pitching perfect game then receiving Nobel Peace Prize for dry humor.
Scoring winning TD then stumbling upon cure for AIDS in end zone.
Spider-man prior to radioactive spider bite.
Hulk prior to stubbing toe and getting angry.
Wolverine prior to shooting steak knives out knuckles.
1st Black Fighter Pilot.
To harass or persecute with meaningless, difficult, or demeaning tasks; an anauthorized assumption of authority over another resulting in cruelty or humiliation.
To set a layer pollution over a city.
To partially remove a memory that was once easily remembered.
German word describing the sound of a car on the autobahn.
Anxious -- person works to keep self occupied.
Lazy -- person avoids work, repeatedly needs to be instructed.
Security -- person volunteers all the time because of wanting to get ahead. Social -- person plays sports for the company of others. Recognition -- person who does special task only when there is something in it for them.
Sloppy -- person works at fast pace, finished product is afterthought.
The public will still base view off of military tv shows/movies.
The public will assess our competence based on our appearance.
The public will take same position as tv news pundits.
The public will turn against military idea and wish U.S. was pacifist.
The core competencies are Air and Space attack.
The core competencies are rapid global engagement.
The core competencies are Air and Space superiority, precision engagement, information superiority, global attack, rapid global mobility, agile combat support.
The core competencies are information engagement.
The longer hours and more responsibility.
The number of personnel put under you and their personalities.
The higher expectations expected of you and your expected effort.
The mission and the people.
It is easier for the leader to train subordinates on both the standards of dress and appearance and the importance of maintaining those standards.
The followers would do whatever asked in awe of his/her stripes.
The followers would ignore leader and do what they wanted.
The followers would get the wrong idea, act on their interpretation.
It applies to all AF dependents.
It only applies to AF spouses.
It applies to all active duty ANG, AFR, and civilian AF personnel.
It applies only to retirees.
Sing and dance to the music.
Face the flag or music. Go to attention. Do not salute unless under arms. When in civilian clothes, place hand over heart.
Ignore the music and keep doing what you were doing.
Go to attention, salute, and sing.
Have one-on-one talks with all airmen.
Ensure the AF has the fastest most accurate jet in the world.
Go to as many sporting events as possible.
He is a representative of the airman force, and will serve as a sounding board for ideas and proposals affecting airmen matters.s
If done right it looks cool which would encourage others.
Everyone must work together to accomplish the mission. Participating as a member of a efficiently organized and operationg group stimulates esprit de corps, high morale and enthusiastic teamwork.
If one person of the team is missing it could cause injury.
More then one person always helps with weapon drills.
Specified size and quality standards. Ribbons do not have a visible, protective coating applied.
Crooked mounting devices are fine, just make sure correct ribbons.
Incorrect ribbons are good, they could help at boards.
If it seems too expensive, just buy cheaper instead.
Dedicated at work but frequently forgetful.
Careless work ethic with no worries about finished product.
Quick to decide without looking at all options.
They would display characteristics of being slow and meticulous in decision making to be sure they have all the facts and have analyzed all the possibilities, as well as being a person who uses checklists to ensure they have not forgotten anything.
Raises morale by making uniform more comfortable then before.
Less stressful from having to pick clothes to wear for the day.
Relaxation of the enforcement of standards makes it difficult to take pride in the unit. Diminished pride and esprit de corps lead to lower morale and eventually unit effectiveness.
Uncontrolled beards are the next big thing.


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The Purpose of My Vision
On a sunny and warm Sunday on August 19, 2007 I was kneeling and praying in St. Raymond of Penafort church which lies in the country on a rolling hill in Fall Creek, Wisconsin. The altar in this beautiful church has large windows which overlook a rock formation and a waterfall. Inside the church there is a large stone wall on each side of the altar. While I was praying and looking at the beautiful view the most astounding event of my life occured. Jesus appeared to me! He was behind the altar on the left side. I was viewing his right side profile. He moved slowly to the right behind the altar and across the opening between the altar and the stone wall. He was dressed in a white gown and his hands were in a praying position. There was an aura all around his profile. Why did this miraculous vision appear to me?


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