View allAll Photos Tagged Pulsating
[EN] Juan-les-Pins, French Riviera (Cote d'Azur). Juan-les-Pins can be called the entertainment area of Antibes and in fact it is one of the cities of Cote d'Azur most pulsating with life. Well known of nice beaches, many clubs and jazz festival.
*** more info: www.youtube.com/redirect?v=og114J-qsbg&event=video_de...
[FR] Juan-les-Pins, Côte d'Azur. Juan-les-Pins peut être appelé la zone de divertissement d'Antibes et en fait, il est l'une des villes de la Côte d'Azur plus animées avec la vie. Bien connu de belles plages, de nombreux clubs et festival de jazz.
*** plus d'informations: www.youtube.com/redirect?v=og114J-qsbg&event=video_de...
[PL] Juan-les-Pins, Lazurowe Wybrzeże, Francja. Juan-les-Pins można nazwać rozrywkową częścią Antibes i faktycznie jest jedną z najbardziej tętniących życiem miejscowości Cote d'Azur. Znana z pięknych, piaszczystych plaż, wielu klubów i kawiarni, a także festiwalu jazzowego.
*** więcej informacji: www.youtube.com/redirect?v=og114J-qsbg&event=video_de...
#juanlespins #antibes #frenchriviera #paca #provencealpescôtedazur #provencetourisme #france #mediterranean #europe #video #travel
Sax Rohmer - The Drums of Fu Manchu
Pyramid Books F-804, 1962
Cover Artist: Herb Tauss
"The sound of drums... a steady, pulsating rhythm—a warning of death to the heads of fourteen Western nations who stand if the way of Fu Manchu's plan for world supremacy—world rulers marked... for murder!"
Juan-les-Pins, French Riviera, France [HD] (videoturysta)
[EN] Juan-les-Pins, French Riviera (Cote d'Azur). Juan-les-Pins can be called the entertainment area of Antibes and in fact it is one of the cities of Cote d'Azur most pulsating with life. Well known of nice beaches, many clubs and jazz festival.
*** more info: www.youtube.com/redirect?v=og114J-qsbg&event=video_de...
[FR] Juan-les-Pins, Côte d'Azur. Juan-les-Pins peut être appelé la zone de divertissement d'Antibes et en fait, il est l'une des villes de la Côte d'Azur plus animées avec la vie. Bien connu de belles plages, de nombreux clubs et festival de jazz.
*** plus d'informations: www.youtube.com/redirect?v=og114J-qsbg&event=video_de...
[PL] Juan-les-Pins, Lazurowe Wybrzeże, Francja. Juan-les-Pins można nazwać rozrywkową częścią Antibes i faktycznie jest jedną z najbardziej tętniących życiem miejscowości Cote d'Azur. Znana z pięknych, piaszczystych plaż, wielu klubów i kawiarni, a także festiwalu jazzowego.
*** więcej informacji: www.youtube.com/redirect?v=og114J-qsbg&event=video_de...
#juanlespins #antibes #frenchriviera #paca #provencealpescôtedazur #provencetourisme #france #mediterranean #europe #video #travel
The second active spell from Saturdays aurora display, with pulsating rayed bands, more typical of the later stages.
With an estimated 19 percent of the world’s energy resources going to heating, ventilating and cooling buildings, integrating solar chimneys into new builds and retrofitting to existing structures offers great potential for reducing this massive environmental cost.
The ventilation system of a regular earthship.
Dogtrot houses are designed to maximise natural ventilation.
Passive ventilation is the process of supplying air to and removing air from an indoor space without using mechanical systems. It refers to the flow of external air to an indoor space as a result of pressure differences arising from natural forces. There are two types of natural ventilation occurring in buildings: wind driven ventilation and buoyancy-driven ventilation. Wind driven ventilation arises from the different pressures created by wind around a building or structure, and openings being formed on the perimeter which then permit flow through the building. Buoyancy-driven ventilation occurs as a result of the directional buoyancy force that results from temperature differences between the interior and exterior.[1] Since the internal heat gains which create temperature differences between the interior and exterior are created by natural processes, including the heat from people, and wind effects are variable, naturally ventilated buildings are sometimes called "breathing buildings".
The static pressure of air is the pressure in a free-flowing air stream and is depicted by isobars in weather maps. Differences in static pressure arise from global and microclimate thermal phenomena and create the air flow we call wind.
The impact of wind on a building affects the ventilation and infiltration rates through it and the associated heat losses or heat gains. Wind speed increases with height and is lower towards the ground due to frictional drag.
The impact of wind on the building form creates areas of positive pressure on the windward side of a building and negative pressure on the leeward and sides of the building. Thus, the building shape and local wind patterns are crucial in creating the wind pressures that will drive air flow through its apertures. In practical terms wind pressure will vary considerably creating complex air flows and turbulence by its interaction with elements of the natural environment (trees, hills) and urban context (buildings, structures). Vernacular and traditional buildings in different climatic regions rely heavily upon natural ventilation for maintaining thermal comfort conditions in the enclosed spaces.[citation needed]
Design[edit]
Design guidelines are offered in building regulations and other related literature and include a variety of recommendations on many specific areas such as:
Building location and orientation
Building form and dimensions
Indoor partitions and layout
Window typologies, operation, location, and shapes
Other aperture types (doors, chimneys)
Construction methods and detailing (infiltration)
External elements (walls, screens)
Urban planning conditions
The following design guidelines are selected from the Whole Building Design Guide, a program of the National Institute of Building Sciences:[3]
Maximize wind-induced ventilation by siting the ridge of a building perpendicular to the summer winds
Widths of naturally ventilated zone should be narrow (max 13.7 m [45 feet])
Each room should have two separate supply and exhaust openings. Locate exhaust high above inlet to maximize stack effect. Orient windows across the room and offset from each other to maximize mixing within the room while minimizing the obstructions to airflow within the room.
Window openings should be operable by the occupants
Consider the use of clerestories or vented skylights.
Wind driven ventilation[edit]
Wind driven ventilation can be classified as cross ventilation and single-sided ventilation. Wind driven ventilation depends on wind behavior, on the interactions with the building envelope and on openings or other air exchange devices such as inlets or windcatchers.
For rooms with single opening, the calculation of ventilation rate is more complicated than cross-ventilation due to the bi-directional flow and strong turbulent effect. The ventilation rate for single-sided ventilation can be accurately predicted by combining different models for mean flow, pulsating flow and eddy penetration.[5]
The mean flow rate for single-sided ventilation is determined by
Q
¯
=
C
d
l
C
p
∫
z
0
h
−
2
Δ
P
(
z
)
ρ
d
z
z
r
e
f
1
/
7
U
¯
{\bar {Q}}={\frac {C_{{d}}\;l\;{\sqrt {Cp}}\;\int \limits _{{z_{{0}}}}^{h}{\sqrt {-{\frac {2\;\Delta \;P(z)}{\rho }}}}\,{\mathrm {d}}z}{z_{{ref}}^{{1/7}}}}\;{\bar {U}}
where
l = width of the window;
h = elevation of the top edge of the window;
z0 = elevation of neural level (where inside and outside pressure balance);
zref = reference elevation where the wind velocity is measured (at 10 m) and
U
¯
{\bar {U}} = mean wind velocity at the reference elevation.
The knowledge of the urban climatology i.e. the wind around the buildings is crucial when evaluating the air quality and thermal comfort inside buildings as air and heat exchange depends on the wind pressure on facades. As we can see in the equation (1), the air exchange depends linearly on the wind speed in the urban place where the architectural project will be built. CFD (Computational Fluid Dynamics) tools and zonal modelings are usually used to design naturally ventilated buildings. Windcatchers are able to aid wind driven ventilation by directing air in and out of buildings.
Some of the important limitations of wind driven ventilation:
Unpredictability and difficulties in harnessing due to speed and direction variations
The quality of air it introduces in buildings may be polluted for example due to proximity to an urban or industrial area
May create a strong draught, discomfort.
Buoyancy-driven ventilation[edit]
(For more details on displacement buoyancy-driven ventilation (rather than mixing type buoyancy-driven ventilation), see Stack effect)
Buoyancy driven ventilation arise due to differences in density of interior and exterior air, which in large part arises from differences in temperature. When there is a temperature difference between two adjoining volumes of air the warmer air will have lower density and be more buoyant thus will rise above the cold air creating an upward air stream. Forced upflow buoyancy driven ventilation in a building takes place in a traditional fireplace. Passive stack ventilators are common in most bathrooms and other type of spaces without direct access to the outdoors.
In order for a building to be ventilated adequately via buoyancy driven ventilation, the inside and outside temperatures must be different. When the interior is warmer than the exterior, indoor air rises and escapes the building at higher apertures. If there are lower apertures then colder, denser air from the exterior enters the building through them, thereby creating upflow displacement ventilation. However, if there are no lower apertures present, then both in- and out-flow will occur through the high level opening. This is called mixing ventilation. This latter strategy still results in fresh air reaching to low level, since although the incoming cold air will mix with the interior air, it will always be more dense than the bulk interior air and hence fall to the floor. Buoyancy-driven ventilation increases with greater temperature difference, and increased height between the higher and lower apertures in the case of displacement ventilation. When both high and low level openings are present, the neutral plane in a building occurs at the location between the high and low openings at which the internal pressure will be the same as the external pressure (in the absence of wind). Above the neutral plane, the internal air pressure will be positive and air will flow out of any intermediate level apertures created. Below the neutral plane the internal air pressure will be negative and external air will be drawn into the space through any intermediate level apertures. Buoyancy-driven ventilation has several significant benefits: {See Linden, P Annu Rev Fluid Mech, 1999}
Does not rely on wind: can take place on still, hot summer days when it is most needed.
Stable air flow (compared to wind)
Greater control in choosing areas of air intake
Sustainable method
Limitations of buoyancy-driven ventilation:
Lower magnitude compared to wind ventilation on the windiest days
Relies on temperature differences (inside/outside)
Design restrictions (height, location of apertures) and may incur extra costs (ventilator stacks, taller spaces)
The quality of air it introduces in buildings may be polluted for example due to proximity to an urban or industrial area (although this can also be a factor in wind-driven ventilation)
Natural ventilation in buildings can rely mostly on wind pressure differences in windy conditions, but buoyancy effects can a) augment this type of ventilation and b) ensure air flow rates during still days. Buoyancy-driven ventilation can be implemented in ways that air inflow in the building does not rely solely on wind direction. In this respect, it may provide improved air quality in some types of polluted environments such as cities. For example, air can be drawn through the backside or courtyards of buildings avoiding the direct pollution and noise of the street facade. Wind can augment the buoyancy effect, but can also reduce its effect depending on its speed, direction and the design of air inlets and outlets. Therefore, prevailing winds must be taken into account when designing for stack effect ventilation.
Assessing performance[edit]
One way to measure the performance of a naturally ventilated space is to measure the air changes per hour in an interior space. In order for ventilation to be effective, there must be exchange between outdoor air and room air. A common method for measuring ventilation effectiveness is to use a tracer gas.[6] The first step is to close all windows, doors, and openings in the space. Then a tracer gas is added to the air. The reference, American Society for Testing and Materials (ASTM) Standard E741: Standard Test Method for Determining Air Change in a Single Zone by Means of a Tracer Gas Dilution, describes which tracer gases can be used for this kind of testing and provides information about the chemical properties, health impacts, and ease of detection.[7] Once the tracer gas has been added, mixing fans can be used to distribute the tracer gas as uniformly as possible throughout the space. To do a decay test, the concentration of the tracer gas is first measured when the concentration of the tracer gas is constant. Windows and doors are then opened and the concentration of the tracer gas in the space is measured at regular time intervals to determine the decay rate of the tracer gas. The airflow can be deduced by looking at the change in concentration of the tracer gas over time. For further details on this test method, refer to ASTM Standard E741.[7]
While natural ventilation eliminates electrical energy consumed by fans, overall energy consumption of natural ventilation systems is often higher than that of modern mechanical ventilation systems featuring heat recovery. Typical modern mechanical ventilation systems use as little as 2000 J/m3 for fan operation, and in cold weather they can recover much more energy than this in the form of heat transferred from waste exhaust air to fresh supply air using recuperators.
Ventilation heat loss can be calculated as: theta=Cp*rho*dT*(1-eta).
Where:
Theta is ventilation heat loss in W
Cp is specific heat capacity of air (~1000 J/(kg*K))
Rho is air density (~1.2 kg/m3)
dT is the temperature difference between inside and outside air in °K or °C
Eta is the heat recovery efficiency - (typically around 0.8 with heat recovery and 0 if no heat recovery device is used).
The temperature differential needed between indoor and outdoor air for mechanical ventilation with heat recovery to outperform natural ventilation in terms of overall energy efficiency can therefore be calculated as:
dT=SFP/(Cp*Rho*(1-eta))
Where:
SFP is specific fan power in Pa, J/m^3, or W/(m^3/s)
Under typical comfort ventilation conditions with a heat recovery efficiency of 80% and a SFP of 2000 J/m3 we get:
dT=2000/(1000*1.2*(1-0.8))=8.33 K
In climates where the mean absolute difference between inside and outside temperatures exceeds ~10K the energy conservation argument for choosing natural over mechanical ventilation might therefore be questioned. It should however be noted that heating energy might be cheaper and more environmentally friendly than electricity. This is especially the case in areas where district heating is available.
To develop natural ventilation systems with heat recovery two inherent challenges must first be solved:
Providing efficient heat recovery at very low driving pressures.
Physically or thermally connecting supply and exhaust air streams. (Stack ventilation typically relies on supply and exhaust being placed low and high respectively, while wind driven natural ventilation normally relies on openings being placed on opposing sides of a building for efficient cross ventilation.)
Research aiming at the development of natural ventilation systems featuring heat recovery have been made as early as 1993 where Shultz et al.[8] proposed and tested a chimney type design relying on stack effect while recovering heat using a large counterflow recuperator constructed from corrugated galvanized iron. Both supply and exhaust happened through an unconditioned attic space, with exhaust air being extracted at ceiling height and air being supplied at floor level through a vertical duct.
The device was found to provide sufficient ventilation air flow for a single family home and heat recovery with an efficiency around 40%. The device was however found to be too large and heavy to be practical, and the heat recovery efficiency too low to be competitive with mechanical systems of the time.[8]
Later attempts have primarily focused on wind as the main driving force due to its higher pressure potential. This however introduces an issue of there being large fluctuations in driving pressure.
With the use of wind towers placed on the roof of ventilated spaces, supply and exhaust can be placed close to each other on opposing sides of the small towers.[9] These systems often feature finned heat pipes although this limits the theoretical maximum heat recovery efficiency.[10]
Liquid coupled run around loops have also been tested to achieve indirect thermal connection between exhaust and supply air. While these tests have been somewhat successful, liquid coupling introduces mechanical pumps that consume energy to circulate the working fluid.[11][12]
While some commercially available solutions have been available for years,[13][14] the claimed performance by manufacturers has yet to be verified by independent scientific studies. This might explain the apparent lack of market impact of these commercially available products claiming to deliver natural ventilation and high heat recovery efficiencies.
A radically new approach to natural ventilation with heat recovery is currently being developed at Aarhus University, where heat exchange tubes are integrated into structural concrete slabs between building floors.[15]
While some commercially available solutions have been available for years,[13][14] the claimed performance by manufacturers has yet to be verified by independent scientific studies. This might explain the apparent lack of market impact of these commercially available products claiming to deliver natural ventilation and high heat recovery efficiencies.
Standards[edit]
For standards relating to ventilation rates, in the United States refer to ASHRAE Standard 62.1-2010: Ventilation for Acceptable Indoor Air Quality.[16] These requirements are for "all spaces intended for human occupancy except those within single-family houses, multifamily structures of three stories or fewer above grade, vehicles, and aircraft."[16] In the revision to the standard in 2010, Section 6.4 was modified to specify that most buildings designed to have systems to naturally condition spaces must also "include a mechanical ventilation system designed to meet the Ventilation Rate or IAQ procedures [in ASHRAE 62.1-2010]. The mechanical system is to be used when windows are closed due to extreme outdoor temperatures noise and security concerns".[16] The standard states that two exceptions in which naturally conditioned buildings do not require mechanical systems are when:
Natural ventilation openings that comply with the requirements of Section 6.4 are permanently open or have controls that prevent the openings from being closed during period of expected occupancy, or
The zone is not served by heating or cooling equipment.
Also, an authority having jurisdiction may allow for the design of conditioning system that does not have a mechanical system but relies only on natural systems.[16] In reference for how controls of conditioning systems should be designed, the standard states that they must take into consideration measures to "properly coordinate operation of the natural and mechanical ventilation systems."[16]
Another reference is ASHRAE Standard 62.2-2010: Ventilation and Acceptable Indoor Air Quality in low-rise Residential Buildings.[17] These requirements are for "single-family houses and multifamily structures of three stories or fewer above grade, including manufactured and modular houses," but is not applicable "to transient housing such as hotels, motels, nursing homes, dormitories, or jails."[17]
For standards relating to ventilation rates, in the United States refer to ASHRAE Standard 55-2010: Thermal Environmental Conditions for Human Occupancy.[18] Throughout its revisions, its scope has been consistent with its currently articulated purpose, “to specify the combinations of indoor thermal environmental factors and personal factors that will produce thermal environmental conditions acceptable to a majority of the occupants within the space.”[18] The standard was revised in 2004 after field study results from the ASHRAE research project, RP-884: developing an adaptive model of thermal comfort and preference, indicated that there are differences between naturally and mechanically conditioned spaces with regards to occupant thermal response, change in clothing, availability of control, and shifts in occupant expectations.[19] The addition to the standard, 5.3: Optional Method For Determining Acceptable Thermal Conditions in Naturally Ventilated Spaces, uses an adaptive thermal comfort approach for naturally conditioned buildings by specifying acceptable operative temperature ranges for naturally conditioned spaces.[18] As a result, the design of natural ventilation systems became more feasible, which was acknowledged by ASHRAE as a way to further sustainable, energy efficient, and occupant-friendly design.[18]
An decent auroral display tends to go in cycles, from quiet arc to rayed band, then break up into pulsating but rather diffuse rays/bands/patches. This was one of the few times I had almost clear skies during this display, and the display was in the break up phase with pulsating forms, which show up quite well in the time-lapse.
The discoveries not foreseen by nature are turns to ability with a figurative thinking. The system is found a base model. It is by manufacturability, by the reflection of emotions. Beauty keeps beauty. An incomprehensible combination of factors. Art is declared universal, but knowledge is still elitist. Whatever the news feed pulsate. Sometimes it's from the heart. Everyone has their own incomprehensibility.
Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...
#smalltowninertia New story, live.
smalltowninertia.co.uk/market-town-tilney1-watching-a-pla...
It was as though watching a man drowning beneath the ice.
I see him hitching for breath, chest heaving, eyes wild, fingers whipping at the indifferent, almost invisible, wall above.
I can do nothing but witness.
I, as trapped in these moments, as he imprisoned below, our eyes now connected. His fear, his absolute and consuming terror is loud within his gaze, as loud, I imagine, as his frozen water screams, muted by the barrier between us.
His fear resonates, pulsates with the realisation that we are both completely aware of what is happening and both completely helpless to alter a single fucking thing.
It was watching time run out.It was watching a trapped man caught in the throes of desperation.
It was watching a car crash in slow motion.It was watching a plane fall from the sky, aflame.
It was face pressed to the observation slit upon the cell of a forgotten and falsely imprisoned man in solitary confinement.
It was each and all of these things.It was as though they were all real.
It was and is, this real.
Witnessing Tilney1’s battle with Paranoid Schizophrenia over the course of the past 12 months, his medication changes, his endurance in isolation, his fight to exist and to navigate existence with and often without the regular support and contact with professional care teams, has been brutally illuminating.
Living alone can often be a vicious limbo. Coupled with Tilney1’s symptoms, fears and the crippling effects of his diagnosis and medications, life for Tilney1 has been brutal.
A change in C.P.N’s (Community Psychiatric Nurse) home visits from crisis teams dwindling, due to their own battle with staffing and budget cuts to local mental health services, led to Tilney1 missing medication.
It began, slowly. A missed pill here, a skipped pill there. Soon, bags of unopened medication were stockpiled within his bathroom. With each pill missed, a little more of Tilney1’s character traits, for years suppressed by medication, would rush to the surface.
It was a dangerous game, addictive. With each pill missed, a little more self-confidence and a little more, a little more, a little more. A dangerous game, for soon, without correct and timetabled medication, with no medicinal brakes nor physical checks to slow his diagnosis and it’s multiple symptoms, this initial rush of confidence, of euphoria, would lead to mania and manic episodes.
A potent and cruel trick, being so close to a remembered self, to be led by a hand, so soothing, to seem in reality to be escaping the trap of the prison within the self, yet all the while being led to the inevitable crash.
Especially cruel as Tilney1 was able to watch all this happening to himself, to have that insight, possess that awareness, yet to be completely incapable of intervening, of stopping, to be trapped beneath the ice, screaming for a way out.
Photo By: Cate Infinity
Step into the Lynchian wonderland of the "Rabbits" event at Lynchland, where Myrdin Sommer, the wizard of interior recreation, meticulously resurrected the living room from David Lynch's eerie masterpiece. Picture this: you find yourself sinking into a magenta retro leather sofa, a portal to an alternate reality where the bizarre is the norm. Myrdin Sommer's attention to detail didn't stop at furniture; she orchestrated a symphony of Lights FX that transformed the venue into a dreamscape. It was as if the very essence of Lynch's uncanny vision had materialized, with every flicker and glow sending shivers down your spine. The auditory voyage was equally enchanting, courtesy of the musical conjurers – DJ Frank Atisso, DJ Khaos, DJ Seventh, and DJ Snowkat. Their sets weren't just music; they were spells, weaving an ethereal tapestry that transported the audience to dimensions unknown. The energy pulsating through the room was nothing short of electrifying, making it impossible to resist the gravitational pull of the dance floor. Now, let's address the Rabbitea head, the controversial mandatory accessory that added a peculiar twist to the night. Brilliant and refreshing, it became a symbol of the event's commitment to embracing the strange. Sporting the Rabbitea head wasn't just a choice; it was a statement, a plunge into the surrealistic depths of Lynch's imagination. In the end, the Rabbits event was an unmitigated success. It wasn't merely a gathering; it was an immersive journey into the quirky universe of David Lynch. Lynchland, under Myrdin Sommer's enchantment, became a haven for those seeking an escape from the mundane. If you missed it, you missed stepping through the looking glass into a night where reality and surrealism waltzed hand in hand. An eccentric triumph, indeed! - Cate Infinity
***More***
Visit the nostalgia and get your free "Rabbits" head by Jay Pockets here: maps.secondlife.com/secondlife/Pearl%20Coast/188/33/3053
Presented to you by Infinite Productions and The Freakout Group
***NOTE***
"Welcome to LynchLand, where the magic never sleeps! Our enchanting locations are open 24/7, inviting everyone to indulge in their splendor. Feel free to meander through picturesque landscapes, capturing moments with your camera, or discovering the perfect nook to relax, embrace, dance, or simply bask in the soothing and eccentric melodies of our land radio. For an even more unforgettable experience, I extend a warm invitation to stay in our exquisitely adorned cabins and motel. Unleash laughter and camaraderie with friends in our vibrant Fun&Games Hall. Let's unite to infuse life and boundless joy into the heart of LynchLand!"
“I don’t think that people accept the fact that life doesn’t make sense. I think it makes people terribly uncomfortable.”
― David Lynch
Listen within; vibrations; pulsating echoes, heart beats of the universe.
www.flickr.com/photos/42514297@N04/sets/72157632988389457...
View “A Life Of Music - to be cont.'d ...(with GRATITUDE!)” slideshow
www.flickr.com/photos/42514297@N04/sets/72157635185040413...
View “Photos for Media” slideshow
For both: Click on 'Show info' to see captions w' slideshow – Click on ‘Options’ to control speed
For slow “animated” slideshows click the double rectangle at the top right side of "set"- album page of choice.
____
Premik playing celtic flute @ The Living Room in NYC ~Photo by photographer Ruth Eichmiller
Thank you to Eva for two of her photos used in the about photo collage (#'s 5 & 6)
Eva Photography- www.evaphotography.net/apps/photos/album?albumid=15341094
______________________
If you missed this workshop watch for more throughout the year.
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March 4, 2014 @ 8:00pm PST
Flutes of the World with international recording artist Premik Russell Tubbs and Friends
Gandharva Loka World Music
1650 Johnston Street
Vancouver, British Columbia, Canada
www.facebook.com/events/617474881646432/?ref_dashboard_fi...
Recording from September 9th, 2013
www.gandharvaloka.ca/premik-russell-tubbs-internationally...
_________
Most recent recordings and projects:
In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'
Sound Samples:
Amazon
www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...
CB Baby
www.cdbaby.com/cd/chandrikakrishnamurthyta2
Check out "JOG"
****
Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.
Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.
‘Premik has become part of the family...'
www.newagemusicworld.com/will-ackerman-interview-new-in-2...
imaginaryroadstudios.com/
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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.
www.zonemusicreporter.com/admin/performers.asp
ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/
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New Age / Ambient / World Top 100 Radio Chart
ZoneMusicReporter.com
Top 100 Radio Play - #1 Top Recordings for January 2014
Title: Call of the Mountains - Artist: Masako
www.zonemusicreporter.com/charts/top100.asp
Premik plays wind synth on tracks 4 "Watching the Clouds", & 9 "Purple Indulgence".
****
Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?
Sound samples here: www.bangalorebreakdown.com/music.html
****
Premik and Uli Geissendoerfer released in 2014 their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com
www.flickr.com/photos/42514297@N04/15543396956/
****
Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com
****
Premik’s ‘Journey To Light Ensemble’
Sound is East/West, jazz., a journey....
With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),
Dave Phelps (guitar),
Leigh Stuart (cello),
Nathan Peck (upright & electric bass),
www.alexskolnick.com/biography-nathan-peck/
Todd Isler (drums, percussion)
Naren Budakar (tabla)
www.sooryadance.com/html/Milan/naren.htm
Watch for a Journey To Light Ensemble album to be released in 2014
****
TriBeCaStan
Premik (saxophones, flutes, lap steel, wind synth)
TriBeCaStan's "Coal Again"- Cd Release 2014
www.flickr.com/photos/42514297@N04/15447303643/in/photost...
***
Performing in:
25th Anniversary of the Rainforest Fund Benefit Concert
Thursday, April 17, 2014
Carnegie Hall
Stern Auditorium / Perelman Stage
7 PM
www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...
***
Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA
Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014
Watch/Listen
YouTubes
Premik solo with the London Royal Philharmonic performing "Apla Kathar."
The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.
www.youtube.com/watch?v=XbhReDbyIOY
High praise from Craig Pruess:
"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer
www.heaven-on-earth-music.co.uk/
www.youtube.com/watch?v=4euUuBNUzco
Song of the Ocean by Kristin Hoffmann
All performers of the evening take the stage with the London Royal Philharmonic Orchestra
__________________
Contact/Listen
www.emusic.com/album/premik/mission-transcendence/10884302/
en.wikipedia.org/wiki/Premik_Russell_Tubbs
__________________
Short Bio
World / Jazz / Experimental / Improv / East-West / Ambient / Pop
PREMIK RUSSELL TUBBS
Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.
Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.
Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).
Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.
www.premik.com/recordings/discography/
In 1978 Premik joined Carlos Santana on a six-week European tour as part of an opening act for the Santana Band called Devadip Oneness.
www.youtube.com/watch?v=beD58ordH08
"Gardenia" - DEVADIP European tour w/ Carlos Santana, Dec.'78 in Paris
www.youtube.com/watch?feature=player_embedded&v=juVuh...
!978 Devidip Orchestra
_________
YouTube -DEVADIP CARLOS SANTANA ~~ HANNIBAL ~~ 1980
Russel Tubbs, saxo
Devadip Santana, guitar
Interesting signage at Atlantic City, New Jersey. Whenever I see this olive I think of the movie War of the Worlds, with the spaceships pulsating weapons.
But, after I took this photo and noticed the surveillance camera aimed directly at the olive, I began to wonder if the bar has had problems with people trying to snatch that thing.
At sunset on 25 February 2012, I watched Etna's restless New Southeast Crater from the "Piano del Vescovo", a point with a direct view on the crater at about 1400 m elevation on the southeast flank of the volcano. There was a lot of gas emission, sometims it seemed to contain a little bit of ash, but no evident explosive activity - no glow, no noise. Still, it was a suggestive sight. There was also strong, pulsating gas emission from the Northeast Crater, hidden behind the New Southeast Crater in this view, but its gas plume - illuminated by the setting sun - can be seen at right
The still pictures were loaded to PHH Sykes account on Flickr and made into this album there www.flickr.com/photos/phhsykes/albums/72157718108801852 here is a wonderful wyrd film presentation of them.
If I open to look I never find the impetus to continue with posting these images and a snippet of the original text.
Here is a part of the notes and some of the images from a collections of images that have found their way into the digitising archive. The numbered allocations refer to the new catalogue allocation, not to the old ones, but the titles of the images remain the same even though the numbers have changed. I have spent some frightening times trying to post these images and to have them and the text stay in the current catalogue. Each time I try to review and edit the pictures I am filled with sleep that on waking was full of strange nightmares, more than once I have been in a sleep at the keyboard and wake to find that my head has found a pillow on the keys and I have ‘face typed’ all over the digital documents that I was creating for the archive. If you can see these images and read the accompanying text I hope that they do not effect you as they have effected and even haunted me?
“The storms have kept us busy trying to keep the weather out of the house that has now become our beautiful, but beleaguered on site research laboratory. We are too tired to investigate further for now and it seems the phantasmagoria that raised the storm is now lulling us towards sleep. We try to get this information, this confirmation through to you, but we are too sceptical of our findings to share them fully and cannot begin to think of the further ramifications of our discoveries. The natural elements have challenged us since we were first seen recording the disturbing phenomenon that others here will not acknowledge. It was a foolhardy notion that struck me to bring more and more laboratory equipment with me after we decided to set up here.
It seems too long ago that I first decided to spend a long weekend at Halliard’s House and I wish that I never had. The rough gruff social manner, the exterior curves and whiskers of Dr. Halliard had led to him being referred to as The Walrus. Some thought that he had coined the term himself to give leave to be the surly, swift in sarcasm and slow in praise creature he seemed. To some he created a character that he mainly preferred to play in most situations and to some he never changed. He was next to rude and not available much of the time, yet he was the one who seemed to find you when you needed help the most. He was credited in many student submissions as being the sounding board, the inspiration, or the indicator of information and even the executor of application that gave struggling near quitting students the essential breakthrough that they so badly required.
I mention him, his house and talk of him as an executor. Simply put, though complex over many years and several different projects, through joint ventures he and I had raised funds on our respective properties and had gone into a creation of a partnership in separate contracts to protect and prosper our intellectual property and to begin testing towards real time application of our developments. He often said that I had unwittingly become the heir to his empire as he was very fixed on the idea that he was living out his last years. There was no outward appearance of ill health and to my caring inquires whenever he made his latest statement of my being in line to his empire he would say that he was hale and hearty from good healthy stock, but that he knew a time was approaching when he, like his forebears would drop upon the spot fulfilling an active life to the last breath. His last note to me said to me that were close to a breakthrough and that we needed more equipment on site. Out of some thoughts of honouring our original agreements and to keep a tight hold on the discoveries I have involved as few people as possible and now find myself here isolated and afraid.
I am rambling and slightly incoherent in my thoughts. Before sleep I want to share images and reveal something of our findings. I am bound by all sorts of threads that keep me from blurting out some necessary information. I have mentioned Halliard and the House. He is dead and I need people to know what is occurring in and around this place. I am not at liberty to reveal my name, or the line of work I am in. The research Halliard and I went into is a part of this story, I need legal clarification before I place myself against criminal charges. It was Halliard who mentioned bringing our equipment to his house. He said family memories would prevent him taking part in any such experiment, but he recommended the secluded spot for security and for a break from the too clinical settings in the full-time laboratories.
It was a great foundation to have necessary conditions and equipment required for the development of this project. Even if his dwelling would be completely the wrong environment for the full scale test and eventual application we had a great niche here in which we could nestle. I can still hear his words ringing in my mind. As I agreed to set up the home laboratories with two tests in progress I missed out on registering the words and his emphasis he placed on them, “Not right for me to make my home a testing centre, but the space is ready and waiting for you to conduct the required experiments that will lead to the next phase of development.” He foresaw that I alone would be here in this house as experiments delivered the results and indicated further potential beyond our original prospect.
Sleep is folding in on me, let me just reveal a few images. They are numbered and each have title and captions that leads towards explanations of what we have experienced and identified. Please if you can be open eyed, open hearted and open minded? Dismiss everything possible that you can until there is nothing left remaining, nothing except the potential beyond the science that we know and rely on. It took us time to unravel the tapestry of the past here that indicates why this place is more remote and more secluded than many, it is as some other such places removed from current society for reasons sometimes known, or half known to the locals and to those drawn to the history of such places. This site has been a stopping places for some peculiar figures and served as an outpost for strange societies. This place was never a staging post, rather it remains a dead end, a quiet road along which only those destined for this spot travel. Again I feel unable to reveal the requisite information, to list our path to conclusions as secrecy binds me. I can and I want to say that I will gladly reveal our data from several analytical inquires and I say too much when I state we have evidence of communication, of exchange of message sent and received in clear form of two-way communication. Don’t think of voice and answer in a language sense, don’t think of a direct scale of tone to answer tone. Think nothing of those two potentials and in the nothing of those is where we found what I am now sure Halliard knew to look for.”
If you are immune to the overpowering pull present within the pictures, or if you can understand the process better that I then please progress in your way and enjoy what you find and what you can look past.
Here are the new index allocation of the images all of which should be in a single folder together.
IMG_20200409_055211 X A
IMG_20200409_055211 X Eyes in the Night
IMG_20200409_055211 X Aboreal Eyes In Mist Riddled Skies
IMG_20200409_055211 X Always Reaching Seeking Vision
IMG_20200409_055211 X Always Searching Eyes
IMG_20200409_055211 X Eyes On Edge
IMG_20200409_055211 X Flickering Frames Reveal The Pulsating Centre In The Edge
IMG_20200409_055211 X Lost Avenues Recreated In The Mystery Of The Mist
IMG_20200409_055211 X Marks the Spot
IMG_20200409_055211 X Marks the Spots
IMG_20200409_055211 X Rise Of The Eyes On Edge
IMG_20200409_055211 X The Eyes Have It
PHH Sykes copyright 2020
phhsykes@gmail.com
Sing to me the Inside songs
from the Heart of the Creator
pulsating in all of life
weaving melodies
through every kingdom
conquered and unconquered
by glorious Vision
Open the sound of Oneness
through Essence
which came and assumed a body
and wrapped itself in time
and space to play
the game of lost and found
Sing to me the Inside Songs
that awaken every bud to bloom
with abandon and complete assurance
that the Sun will rise
again and again
that the sun will rise
and again
and again
again
inside
Ganga Fondan, 2009
Recently I read an article that revealed that the songs of birds have an impact on the buds opening in Spring. Birds are profound symbols of self-expression and joy. I want to sing like those birds so that my heart may always be aware and awake in the bounty that is life.
Old-school rock rebels and musical elders from the desert. Terakaft brings together the raw sounds of minimal indie guitar rock and the swaying pulse of Saharan journeys. They harness the energy of flirtatious midnight songs and the gravitas of respected advisors calling for peace and unity.
Tuareg guitar warriors, Terakaft keeps alive the musical spirit honed by decades of oppression, rebellion, and exile on Aratan N Azawad. Drawing on traditional forms of this Saharan nomadic people, filtered through an utterly fresh take on blues and rock, Terakaft ("Caravan") moves through Tuareg history and a sea of sand to take the plight of their people to the world, in angular guitar licks and pulsating grooves.
Based in Mali, the core of Terakaft got its start where it all started: with the boot camp blues that became a musical liberation movement. In hopes of liberating their denigrated, divided people scattered over five African countries, some Tuaregs turned to violence, gaining military and ideological training from the Libyans. But their casual, cigarette-fueled blues jams in between training sessions soon inspired a better way to shake up the Tuareg world: trade the machine guns for electric guitars, following in the footsteps of Bob Marley and John Lennon.
The resulting music sparked a revolution all its own, as young Tuaregs embraced the new sound, simply called “guitar" in Tuareg, and began taking ancient call-and-response poetic forms and making them rock. Terakaft leader Liya Ag Ablil (a.k.a. Diara) and the late Inteyeden (who like Diara once formed the core of Tinariwen) themselves began a new direction within that greater movement: They composed historical songs in the new rock style. Terakaft now embraces two generations of musicians and a body of music dedicated to the rich history and poetry of the Tuareg.
“Historically, our people had a huge territory that extended across the Sahara," explains bassist and singer Abdallah Ag Ahmed. “But now Tuaregs are all living in despair and isolation, each in their own little corner of the world. We want to unite our people," with rousing calls for progress like “Aghalem."
Terakaft has perfected the songs that launched this desert rock rebellion, with tracks like “Aratan N Azawad," which insists that children must study Tuareg language and history, which “is written in the mountains," for there to be hope. Originally composed by Diara during the Tuareg rebellion two decades ago, Terakaft brings balance and quiet insistence to the song's catchy melody and pared-down guitar solos.
Terakaft's vision of national unity and Saharan rock incorporates the rich heritage of Tuareg poetry and dance, blending it with the details of contemporary desert life. The brand image on a pack of Algerian cigarettes inspired “Akoz Imgharen" ("Four Patriarchs"), suggesting a council of wise elders for the four corners of Tuareg territory to Diara's imagination. The lyrical “Idiya Idohena" is based on iswat, the playful, sensual songs that accompany young Tuaregs' midnight dancing. The song is traditional, but Terakaft singer and guitarist Sanou Ag Ahmed adapted it for guitar and voices (and a subtle patter of palms).
Though firmly rooted in traditional forms, Terakaft has quietly expanded the musical palette of Tuareg rock. There's a sparkle and upbeat vibe reminiscent of West African guitar rock running parallel to the modal and bluesy feel that first won Tuareg music international attention. Interlocking bass grooves and drums add a funky complexity to songs like the romantic “Hegh Ténéré."
“We've just begun to work with musicians from other places, like the Indian singer Kiran Alhuwalia or a Celtic clarinetist we performed with not long ago in Angers," notes Diara. “It was great to play with them. And we now tour with Matthias [Vaguenez]," a percussionist and fixture on the French world music and trip hop scene, whose thoughtful playing weaves throughout the album.
Increasingly familiar with and known to the world at large, Terakaft remains devoted to their desert heritage and to their ongoing hope of a united Tuareg nation. “I have to say," reflects Diara, “there is nothing better than unity and peace."
Where is it / I am? // Rapidly pulsating / streams flow overhead / lost in a tree / or disturbed by electrons // is it me? // it feels magnetic / or is it magnificent? // Big protons have hit my battery. // Must get to the orange triangle / for the ultimate answer.
The visual synthesizer working. Each button does a different thing that's programmed in Processing. I can make the circle pulsate, bounce, change colour, and opacity.
Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...
What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
Selena Gomez took her sweet time before recording her debut album. After all, she had her hands full starring in her hit Disney Channel series "Wizards of Waverley Place," not to mention appearing in a string of movies and other TV shows. Still, music had been a core passion of hers going back to childhood. A child no more, Selena comes on strong with her Hollywood Records premiere CD, "Kiss & Tell." It is nothing less than the emancipation proclamation of a young artist with a lot to say.
Commentary.
West to east, Affric is one of a “triumvirate” of superlative glens, dissecting the North-West Highlands, Strathfarrar, Cannich and Affric.
Affric is sublime.
Partially drowned for Hydro-Electric Power in the 1960’s its slopes still glow with the oranges and golds of bracken, heather and birch.
For over thirty miles dark-green swathes of Scots Pine, remnants of the once mighty Caledonian Forest, pulsate with life along the lower slopes of the imperious mountains and deep valleys.
Lochs and reservoirs bristle with bays, peninsulas, beaches and enchanting islands.
Many, regard it as one of Scotland’s most exquisitely
beautiful glens, and I, for one, would not disagree.
After spending a week in the hospital (for elective surgery) and not being able to work on my app for my cell phone, I finally got enough energy back to do so. I thought of an idea with respect to making the numbers of the clock disappear - by having the numbers move away (or back to) their home positions in a spiral path.
My spiral path algorithm needs work (right now, it only seems to work if the point starts at 0° - clearly a bug in my implementation - I stared and stared at the code and just couldn't figure it out, so for now, I have a workaround that does the following: generate the path for 0° then rotate each point for each hour position with a simple trigonometric calculation - ugly, but it works for now) and the timing needs refinement, but it's close to what I wanted.
This is a test of the numbers spiraling way from the circumference of the clock face - eg, outwards beyond the visible screen. The numbers also spiral back to their home locations.
Selena Gomez
Alcatraz - Milano
16 Settembre 2013
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
Selena Gomez took her sweet time before recording her debut album. After all, she had her hands full starring in her hit Disney Channel series "Wizards of Waverley Place," not to mention appearing in a string of movies and other TV shows. Still, music had been a core passion of hers going back to childhood. A child no more, Selena comes on strong with her Hollywood Records premiere CD, "Kiss & Tell." It is nothing less than the emancipation proclamation of a young artist with a lot to say.
TAKE ME TO HEAVEN AND BACK
I do not want to be treat as a mortal.
I want to be treat like a sexual being.
I want to be pulled across the cosmos by my hair.
I want my thighs to be parted by the milky way,
as I look into the eyes of the shocked pulsating stars.
I am quickly imploding into a black hole,
Reach for me, just briefly,
And as a rocket we shall reach the stars.
The voyeur moon is serene.
Tease my hair unto the heavens
and spread it along my breasts,
as my eyes dream into yours.
Let the shock waves of our lovemaking
fall as meteor showers.
And when we lay panting,
May the sun rise up,
to signal my entrance to heaven.
Terrific night out seeing this great band again but this time at a different venue, at Eddie's Bandroom in Moorabbin, a perfect place to see and enjoy live music with pulsating sound and illuminating lighting. Look forward to catching these guys again down the track.
What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
Selena Gomez took her sweet time before recording her debut album. After all, she had her hands full starring in her hit Disney Channel series "Wizards of Waverley Place," not to mention appearing in a string of movies and other TV shows. Still, music had been a core passion of hers going back to childhood. A child no more, Selena comes on strong with her Hollywood Records premiere CD, "Kiss & Tell." It is nothing less than the emancipation proclamation of a young artist with a lot to say.
It can be all about timing. I had just received my order of teriyaki chicken at Austin Community College's little cafe when the fire alarm started pulsating deep drones telling us to evacuate. I took my lunch outside, sat down and ate as students milled around me. Was it a fire drill? A bomb threat? I never found out, but as the "all clear" sounded and the crowd re-entered the building, Jessie pulled up on her scooter. I had to ask her to join the 100 Strangers project. She moved to Austin via New York City and had scant minutes before teaching a journalism class, so we didn't talk for long. But a quick Google search uncovered her other life as an up-and-coming Austin musician/singer/songwriter: thepleasepleaseme.com/. Thanks for posing, Jessie!
She is my 165th stranger in the Flickr challenge to shoot photos of 100 strangers: www.flickr.com/groups/100strangers/.
You can see my full set of Stranger photos (so far) here: www.flickr.com/photos/joemoconnell/sets/72157627547511612...
See More Sopwith Snipe Photos at: www.flickr.com/photos/15794235@N06/sets/72157602936593835/
See Bentley BR2 Engine Photos at: www.flickr.com/photos/15794235@N06/sets/72157635476481389/
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
ourtesy of Robert Cooper
Paul and Paula Knapp
Miniature Engineering Museum
The Future of Romanticism
The skyline stretched before them, glowing in a kaleidoscope of neon blues and golds, a pulsating organism of light and technology. The towering dome across from their terrace blinked with ads seamlessly melded with art, its design a fusion of engineering precision and opulent creativity. This was their city; they knew it as a declaration that no height was unattainable, and no boundary was unbreakable.
The man rested his hands on the table's edge, his posture deliberate, almost rehearsed. His tailored jacket was woven with subtle patterns of light, a fabric that signalled wealth and power. His face, however, betrayed none of the pride his clothing implied. Instead, his eyes lingered on the horizon, searching for something he couldn’t quite name. His mind flickered between the cold ledger of their accomplishments—networks built, markets dominated, cities shaped—and the vague dissatisfaction that had crept into his soul like a shadow. "We’ve done it all, haven’t we?" he thought, in pride and disappointment.
She looked up from her glass, her features soft but distant. Her flawless, minimalist dress glowed faintly against the ambient lights around them. It was not the kind of attire for someone bound to the past. Yet, as she met his thought, something unspoken revealed in her eyes. We are climbing the same ladder over and over again. What else is left? Her every movement was a touch of perfection — her vitality, longevity, efficiency of decision-making, and lasting beauty. When does more stop being enough?
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www.jjfbbennett.com/2024/11/a-romantic-celebration.html
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Keywords:
Dystopia, Utopia, Existentialism, Decay, Resilience, Transformation, Hope, Desolation, Journey, Rebirth, Solitude, Redemption, Wellness, Love, Prosperity, Perfection
-The Graben Vienna is an exclusive and pulsating shopping street in the heart of the inner city with a plague column.
The Graben traces its origin back to the old Roman encampment of Vindobona. The south-western wall of the settlement extended along the length of the present-day Graben and Naglergasse; before the wall lay a trench (Graben). This trench still stood in front of the medieval city walls.
Most of the buildings in this pedestrian area origin from the 17th and 18th century and you can find here finest traditional shops. Some of these shops have a long tradition and were already popular in the times when Austria was ruled by emperors. These are for example the porcelain factory Augarten, the court jeweler Heldwein and also the court perfumery Nägele & Strubell. In the rooms of the former court menswear store Braun you can find today a shop of H&M. The historical noble interior remained in the shop. There are also plenty of coffee houses and restaurants between all those shops. Especially in the surrounding alleys you can discover a lot of them. In the alley Dorotheergasse is the coffee house Hawelka which is open since 1939 and a well known place where you can meet some times popular artists in a really old fashioned atmosphere. If you are a gourmet you should visit the shop of Julius Meinl at the end of the Graben (corner Naglergasse). The gourmet supermarket offers exquisite Austrian and international groceries. Julius Meinl got famous because of the excellent coffee, which you can drink in the included coffee house with the nice view on the splendid boulevard. There is also a well sorted wine cellar with a wine bar in the basement.
The Graben Vienna is the whole year a good tip for a stroll. In the summer you can rest in one of the plenty available outdoor areas of the cafes and have a look at the hustle and bustle in this boulevard. In the advent season an extravagantly Christmas illumination underlines the exclusive flair of this shopping street.
Hors d'oeuvre Perile’
All in all it had been the most charming of social occasions. He congratulated himself as he watched the gorgeous young thing in the perfectly lovely green French cut satin dress swish her way up the cobblestone path, heading back to the large manor house where the party was still in full swing. He stood up from the bench, seat still warm from where she had been sitting next to him, and continued to watch as he smiled in pleasant recollection of the evening so far…..
*******************************
Préalable
He had purposefully arrived late, giving his fellow guests plenty of time to enjoy their cocktails, wine and champagne. He was delighted to see that the group had indeed unknowingly followed his plan by freely imbibing! The great hall was positively buzzing with a score of overly happy couples chatting away. In the ballroom, half as many were gaily dancing, presenting a delightful montage of crisp black tuxes and colourfully dyed, rustling gowns and long fluttering dresses. And everywhere was the sparkling of jewels, some extravagantly large, and many expensively small, flickering and sparkling merrily from various points of interest from the rather fetching figures of the many pretty females who wore them.
He looked around, pulling back his tux jackets sleeves so his wrists were free, unencumbered for when the time came to put his hands to work. It happily did not take long for that to happen.
He soon spied a group of 2 males and 3 ladies chatting merrily by the huge oak fireplace. The large fire It contained, added an entertaining crackling scene as he approached. A passing waiter held a tray of drinks in his hand, and he had snatched one off, carrying it over to the group. He stood on the fringe, listening in for a minute to acquire the lay of the land. He soon joined in, telling a joke along the lines of their topic of conversation. He made his French accent even thicker, knowing how the English Ladies seemed to swoon when he employed it. He was soon one of the group, a waiting wolf amongst the curelessly bleating, well-dressed sheep. The waiter came around again, and he had set his glass ( untouched) on an oak coffee table, and helped pass them around. As he handed one of the ladies her drink, he had tripped a little, placing his hand upon the wrist she held at her bosom to steady himself, looking her in the eyes as she took the offered drink in her other hand, concerned that he had hurt himself. He apologised profusely at his clumsiness, then stepped back as she giggling accepted. He retrieved his glass and offered a toast. As they all raised their glasses and drank, he took his leave and scurried off. He looked back, the group was still chatting away happily, and the lady he had handed a glass of champagne to, was not yet noticing that her amazingly bright emerald and pearl bracelet had vanished from her gloved wrist.
He meandered over to the Ballroom, stopping to watch the few couples lingering as they awaited the next dance. The Orchestra was tuning up, preparing for a cotillion, something he fancied, a great dance for someone of his unique abilities to make a few “acquisitions”. As the music began he watched with interest the 60 or so guests that began the dance. In the vibrantly swirling mass he managed to pick out quite a few enchanting baubles worn by the gaily bedecked females. He bided his time, and when an opening presented itself, he inserted himself and joined in with the dancers as they moved in the tempo of the spirited music switching partners frequently. In a fast few minutes of the music, as he found himself partnered with 20 or so pretty females, some of them, by design, more than once.
It was from this select few that he managed to part from their persons a total of: 4 gemmed bracelets, half as many cocktail rings, and a dazzling ruby pendent and its chain of sparkling diamond chips! The dance ended all too soon, in his opinion, for the pickings had been altogether too easy, and there were more than a few with pretty jewels he would have liked to have held in his arms. As the boke off, he accepted an even dozen feminine hands gratefully thanking him for the dance( lifting a 3rd ring in the process!)
He then left the ballroom, walking backwards as he watched over the dissembling guests for any signs of discontent. It all appeared normal with them, no one as of yet realizing that some of them had been “pickpocketed.” He stopped and retrieved his drink from a table, still watching the ballroom, scanning the exits in case he needed to make a quick retreat.
When he turned back around he almost collided with an older lady with her long hair piled up and held up by a glittering tiara, who had been standing behind him. Her still quite perky figure was fetchingly clad in a long slithering dress of deep purple silk, with a brite glossy sash of deeper purple satin wrapped around her waist and tied in the back with a smart bow held by a rhinestone clip.
On the cuff, he asked her if she was free to dance. She delightfully was, and accepting his offer, held out her gloved hand. Sitting down his glass with a flourish, he took that hand with its well ringed fingers, into his and led her off. She elegantly picked up her dress with her other hand, and as she did he had a few seconds to admire and appraise the ladies dazzling “affichage de bijoux”. The new dance was a waltze, something he excelled at. And she allowed him to lead her, dancing about with the other couples, as he gracefully twirled her around. He would have preferred a tango, for her necklace, a collar of diamonds in a lace pattern, was quite valuable. But he made do with the waltz, managing to lift her equally dazzling brooch from the front of the wide shiny purple satin sash tied around her waist. The music ended, and he kissed her hand as she curtsied, giving him the opportunity to slip a glittering cocktail ring off from one of her long fingers. He then led her off the floor, offering to go get her a drink (with the intention of not coming back) but she had other plans….
Now, as they had danced, he had half listened to her prattle on about her niece, a lonesome soul who had recently had had her engagement broken off, for his attention focused mostly on the task of acquiring his pretty partners jewels! So instead of being able to make his escape by going off for drinks, he found his arm taken by the lady in purple silk and led him off to an area set aside as a sitting lounge for the ladies (the men’s smoking chamber being upstairs). It was there that they came upon a small, lithely shaped creature with loose sheets of long ginger coloured hair falling along her shoulders and back. She was sitting by herself, drinking a cocktail, her third by the number of empty glasses sitting upon the table at her arm. She was encased in a long slinking pretty French gown of green satin that fell quite nicely along her well-endowed figure, before pooling around at the feet of her matching satin high heels.
Her Auntie introduced them, and the niece offered her hand in cheerful greeting. She didn’t seem appear that she was in despair over her broken engagement atoll, he thought as he took her gloved hand, holding down her fingers as he curtly bowed and kissed the hands glossy gloved back side. He looked down upon the niece, she was wearing a choker of diamonds around her throat, and long dangling waterfall earrings cascading down from her ears. A long diamond pin was attached to the v in the “Décolletage” of her gown. Her gloved hands were free of rings and bracelets. But still, all in all, a quite vexing package indeed!
The Aunt, meanwhile, was arranging for them to dance. The Niece did seemed coyly reluctant at first, like she was thinking of a way out of it. But when the orchestra started to tune up for the next dance, a obviously a welcomed foxtrot, He poured on the charm, and broke through her resistance. And he gallantly gave her his hand and lifted her from her seat, to the squealing delight of the lady’s aunt in the deep purple silk dress. He nodded to the Auntie as he led her niece off, his eyes traveling back to his fetching partner’s throat. The diamond choker that encircled it would be a welcomed addition to this evening’s cueillette’!
She was a brilliant dancer, surprisingly spirited and nimbly quick. Thus he was unable to find an opening to acquire the lass’s sparkling trinket that adorned her throat. So he waited for his opportunity, figuring the next dance should be a slow one. He was right on the money and invited her join him in the slow dance he had anticipated. She most willing went into his arms, giving herself up to him 100 percent. At one point she looked up into his eyes, a look that told him she was falling to his charms. He cupped his hands to her face, lifting her head so it tilted up at him, and as she sighed deeply, he stroked his fingers through her hair, while slickly, and without shame, relieving her ears of their stunningly dangling diamond earrings in the process.
He was immensely pleased with himself upon his daring acquisition, and as the music faded off, he thought that that would be the end of things, and he prepare to take his immediate leave of the premises. But she apparently had garnered other thoughts, asking him if he wished to take a stroll with her outside in the extended gardens that surrounded the sprawling old estate proper. He looked down sweetly upon her, his eyes soaking in her gorgeously sparkling necklace which still was a vex for him, and told her sweetly he would like nothing more. As he followed her wonderfully swishing figure towards the double doors leading to a cement patio, he liberated a bottle of wine and two glasses from a servant’s cart. He followed her out onto the wide patio and down the sweeping steps that led into the hedged, proper English gardens below.
She led him to an old stone bench in a quite secluded corner, and alcove almost boxed in by a thick hedgerow. He couldn’t have picked a better spot himself, and he smiled, for fortune appeared to be with him that evening, “fortune semblait être avec lui ce soir-là” ! She motioned him to sit next to her, and he smiled, opening the wine, and pouring it. Handing her a glass he slipped in next to her. He prepared to falsely lead the damsel into believing he was falling under her spell, and as she did, taking the opportunity to relive this little one of her remaining jewels!
She snuggled up against him, her quite warm figure a pleasure to experience. She started to chatter, almost nervously, definitely coyly, as he noticed the pulsating rhythm of her heart beating into his side, she was certainly excited about something. She rather impishly told him a rather delightful little tale about an antique postcard that her aunt had in the library. A youth was sitting on a bench next to a pretty girl, a book on his with the title” The Jungle Book”. He was asking the damsel if she liked Kipling? She was looking up at him mischievously, why “I don’t know, you naughty boy, I’ve never kippled!”
He chuckled at this, pulling out a handkerchief form his pocket to wipe some imagined thing off her dress. She looked down at the spot( nothing had been there) and he used the distraction to finish slipping off the necklace whose clasp he had flicked open as she had told the punch line of her story.
Placing The necklace into a vest pocket, where it rested with the some of the other jewels he had purloined earlier that evening, including this one’s earrings. He now focused on her long glittery diamond pin.
He stood and refilled their glass’s for a third time( he had been spilling most of his out in a rose bush behind the bench as they had sat). He regained his seat, placing an arm around her, and she laid her hand upon his chest, burrowing in. She was becoming quite intoxicated and he knew the time was as ripe as it was becoming short. He laid his other hand on her lap, and she shivered as he murmured some French sayings in her ear,(including his favourite ” La nuit tous les chats sont gris.”)
He took advantage of the opening and feeling upwards cupped the pin as it hung down, feeling its clasp with his long nimble fingers, he waited. At that point she looked up into his eyes and slipped her hand around his waist. It was while she did this that he popped open the clasp, and slipped off the diamonded pin from the unwary girls rather scintillating gown.
He held onto the pin behind her back as they hugged. He could still feel the deliciousness of her heart beating rapidly, and knew his was also, but not for the reason she was thinking. He now had all her jewels, and as his eyes were focused on her glittering pin that he was admiring in his hand that held it above her back, , his mind was on escape.
Finally the wine had its desired effect upon the pretty, naively innocent, niece. With a wistful sigh, she rose, straightening her gown as she elegantly made her apologies, she needed to visit the ladies parlour to powder her nose. She sheepishly asked if he would wait. He rose an told her he would wait until the end of time( or for as long as he was in her sight). She hugged him, throwing her entire squirming being behind it.
They parted and she tuned and pertly swished off, her gown delightfully moving along her figure, brightly iridescent, as she swayed her way back down the moonlit path.
He rubbed a finger along his thin moustache as he enjoyed the show she was putting on. He had entirely beguiled that one he mused. It wasn’t until she gained the porch stair way that he moved. He turned away, and made his way down the path heading off out of the gardens. Gloating over how he had managed to pluck her ripe figure of all its valuable ornaments.. His hand automatically went into his vest pocket to finger his haul. Suddenly his whole demander changed, the pocket was empty! He quickly felt along his body, all of his pockets here empty. Pipe, Pouch, silver lighter, billfold and gold pocket watch, even the ruby pin from his knotted cravat, as well as all of the ladies jewels he had been removing with such panache all evening, all were gone, all without him ever feeling a thing!
He relieved he had been picked clean, obviously by the young niece! and turning he looked back spying that said niece standing at the top of the cement patio’s stairway watching him, catching his eye, she raised a finger, scolding him like one would an errant child, before turning with a purposeful, flaunting with a swirling of her green satin gown, and disappearing inside with a an air of obviously self-pleasure. Who was this child, with fingers even more nimble than the great Arsene’ Lupin?, he thought cockily.
He raised an imaginary glass to the closing door as the last of her fluttering gown slipped through it. Checkmate on me, my lady, he thought, Smiling whimsically as he turned away and stole away into the night. But still, he could not help but wonder, was she going keep those jewels to all to herself and let him take the blame?
He turned a corner of a hedge path and stopped immediately. Staring straight ahead, in his astonishment, he thought drolly to himself, if he had to start a new meal, might as well begin with Hors d'oeuvre. For there, at the end of the path, stooping over as she smelled a rose from a bush located by an exit, was a jewelled vision of pure loveliness.
Her hair was elegantly held back by a gloved hand with a wrist and fingers sparkling with a frenzy of coloures, said moon having had just now peeked from the cloud where it had been hiding.
He walked up to her, softly on the pads of his feet. She wasn’t to know that there was now someone else on the path behind her until his hands were in position to strike….
******************
Perile watched as the nice Frenchman walked off. He had ben ever so charming, couldn’t apologize enough for starling her as he had. He had taken her hand, kissing it as he had asked her name. He than gave him hers, thanking her for the honour that was his to give it. Arsene he announced with a flourish as he bowed to her. She has shivered, how so she loved the romantic sounding French language.
He soon turned a corner and was lost out of site. Perile stood there dazed for a full 3 minutes, her mind wondering. Her satin gloved hand which she had been holding upon her ample bosom, now moved up to her throat to take care of an itch. Suddenly she froze, finding her neck bare, she looked down, her diamond and ruby pendeant was no longer dangling down the glossy front of her eal gown. She bent under the rose bush to look for it, pulling up on the lower branches, as she did, she saw with a gasp that her large gemmed cocktail ring was also gone from her index finger. It was not until sometime later that she membered it was the vey hand and finger the charming Frenchman had ever so elegantly kissed!
Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...
2017 marks the 39th annual Carnaval San Francisco parade and festival. The Mission District transforms into an enormous celebration pulsating with dancing, drumming, live music, brilliant costumes and delicious food. The annual event attracts more than 400,000 people who come to enjoy the revelry and soak up the pageant of color and culture.
"At first when I see you cry,
yeah it makes me smile, yeah it makes my smile
At worst I feel bad for a while,
but then I just smile I go ahead and smile." -Lily Allen
I'm not feeling too well today... a little bit sick actually, so I thought I'd remind myself to smile... The party was amazing last night, but I think I'm paying for it today...
My head is pulsating right now...I'm gonna head to bed early and wake up fresh for uni tomorrow. I can't wait to catch up with your streams guys :)
Hope you guys are having a fun weekend. :o)
François Morellet
Random Distribution of 40,00 Squares (sector)
"The new art has made the principle in the foreground, that art can have only themselves to content. Thus we find in it not the idea of anything, but just the idea of art itself, from their self-content. The art is its own idea of objectivity " (Wassily Kandinsky)
Accompanied by pulsating music, projected light moves around the room and is variously reflected and deformed by hanging transparent plates.
Produced by Sigmasix - www.sigmasix.ch - this transfixing and ingenious work, was part of the Festival des cultures electroniques de Genève and was tailor made for Le Commun in Geneva.
During the early months of 2001, a new eruptive period at the Southeast Crater started off extremely gradually - a tiny lava flow began to ooze from a vent on the north-northeast flank of the Southeast Crater cone around 20 January. Veeeeeery slooooooooow emission of lava from this vent - which was informally named "Levantino" - continued for several months with little change, then gradually increased in April, and in early May some minor explosive activity - so-called spattering - accompanied the lava outflow from the "Levantino". Suddenly, on the afternoon of 9 May, the activity increased and culminated with pulsating lava fountains from the summit vent of the Southeast Crater, reminiscent of the phantastic 66 paroxysms in the year 2000. After this event, lava resumed its relatively quiet outflow from the "Levantino", often accompanied by minor spattering, and intermittent weak Strombolian explosions from the summit vent of the Southeast Crater.
In early June 2001, the activity began to show an on-off-on pattern. Lava outflow at the "Levantino" would increase and be accompanied by low lava fountains for a couple of hours, and then all activity would cease. This happened for the first time on the evening of 5 June, when the lava effusion rate increased for a few hours, and then suddenly all lava emission stopped. On the next evening, renewed vigorous lava outflow started and was accompanied by intense Strombolian activity from the summit vent of the Southeast Crater; activity again stopped on the forenoon of 7 June. A third episode occurred just after midnight on 9 June. With each of these events, the activity grew stronger; the "Levantino" now made beautiful Hawaiian-style lava fountains, whereas powerful Strombolian explosions but no true lava fountains occurred from the summit vent of the Southeast Crater. This trend continued with the fourth episode on 11 June.
For the fifth epidode I had invited a number of people, including geology students at the University of Catania, where I had finished my Ph.D. a few months earlier. I had told them to be ready to get a call in the middle of the night and drive out to a good viewing point together and watch the Greatest Show on Earth, much the same way I and a couple of friends had done during the magnificent paroxysms of the first half of 2000.
On the late evening of 12 June, lava started once more to flow from the "Levantino", and I began to call the people who had declared their interest in joining the "Etna Party"; around midnight we drove out to the "Mareneve" road above the village of Fornazzo, about 9 kilometers to the east of the Southeast Crater.
Initially, the buildup toward the paroxysm was agonizingly slow. A tiny lava flow was spilling a few hundred meters downslope from the "Levantino", and occasionally, weak Strombolian bursts were seen at the summit of the Southeast Crater. This went on, with barely perceptible fluctuations, for three hours. Often the "Levantino" seemed to shut down while activity at the summit vent increased, before the activity shifted back to the "Levantino". Finally, around 03:00 h in the morning, the "Levantino" suddenly shot jets of fluid lava gushing into the air; 10 minutes later a huge bubble of lava exploded in this vent, showering the surrounding area with huge blobs of liquid lava. Still, it took the summit vent another half hour or so to finally join in and produce huge explosions every second. The activity now increased dramatically. For the next about 30 minutes, nearly continuous Strombolian bursts from the summit vent reached 400 m high, while a continuous, brilliantly yellow and totally ash-free lava fountain shot up to 200 m high from the "Levantino".
Certainly this activity was spectacular, though it was nothing compared to the dramatic lava fountains of the previous year, which sometimes had roared to an amazing 1200 m height above the summit of the Southeast Crater, and which had split open both the northern and southern flanks of its cone during nearly every paroxysm. This photo was taken at the height of the 13 June 2001 paroxysm, with Strombolian jets rising from the summit vent of the Southeast Crater at left, a huge incandescent fountain from the "Levantino" in the lower center and lava flowing from the same vent at lower right.
Photo taken with a Canon AE1 and scanned from original Ektachrome color slide