“In the spring of 1958, after President Dwight Eisenhower called to create a civilian space agency, the US Air Force assumed it would lead any national spaceflight effort. As such, the service prepared a detailed, multi-stage plan called Man in Space with the goal of landing a man on the Moon by the mid-1960s.

 

The first phase of the Man in Space program was a technical demonstration phase called Man in Space Soonest (MISS). This phase would take the first steps in space to understand the human factors involved. The first six flights would be robotic missions designed to test the hardware and flight systems, followed by six animal flights over six months to test the live support system. Once everything was proven, a man would launch, ideally as early as October of 1960. These manned flights would round out the technical needs for the MISS phase by developing reentry and recovery techniques.

 

As though to compliment the simple goals of the MISS phase, the spacecraft for all stages was very basic. It was expected to be a simple high-drag, zero-lift, blunt-nosed cylinder eight feet in diameter with a flared bottom and an ablative heat shield to protect the passenger from the heat of reentry. The flared skirt would house the reaction control jets for in-orbit attitude control, the retrorockets that would start the spacecraft on its reentry path to Earth, and the recovery parachutes for a splashdown at sea. Throughout the mission, the pilot would lie on his back on a couch, and though it would be pressurized he would still wear a pressure suit as an extra safety measure. Alongside the pilot would be a certain amount of instrumentation, including the main guidance and control systems as well as the secondary power pack, telemetry and voice communications system.

 

MISS was intended to solve the key unknowns of human spaceflight, keeping the man out of the loop for his own safety; no one wanted to risk a human pilot in case it turned out that weightlessness was debilitatingly disorienting. The pilot would have increased control in later flights, but real pilot control wouldn’t come until the second phase of the program, Man in Space Sophisticated (MISSOPH).

 

Beginning in March of 1961, the first stage of this phase, MISSOPH I, would send robotic and animal flights in larger spacecraft designed to stay aloft for up to two weeks, the average time it would take to fly to the Moon and back. This spacecraft would be more or less a larger version of the MISS spacecraft but with an airlock to facilitate spacewalks. The second stage, MISSOPH II, would take advantage of the larger Super Titan Fluorine booster to launch to extremely high altitudes. The goal would be to get the spacecraft as far as 40,000 miles from the Earth so that when it returned it would reenter the atmosphere at about 35,000 feet per second, roughly the same speed as a spacecraft returning from the Moon. The third stage, MISSOPH III, would be the first to give the pilot a lot of control owing to its radical new shape. Unlike the blunt vehicles before it, MISSOPH III would feature a flat triangular bottom reminiscent of a boost-glide vehicle so the pilot could make smooth, gliding landings on a runway.

 

The MISSOPH III spacecraft would live beyond its dedicated stage, facilitating both Earth orbital and lunar missions, but not before the third Lunar Reconnaissance (LUREC) phase of the program flew. LUREC was intended to fly simultaneously with the MISSOPH phase beginning April of 1960. The first stage called LUREC I was devoted to figuring out the details of real-time tracking and communications with a spacecraft a quarter of a million miles from home. Once the tracking system was in place, LUREC II missions could launch on flights to test the guidance system that would get a spacecraft to the right target a quarter of a million miles away. Using an array of scientific instruments, these unmanned vehicles would also measure the temperature, radioactivity, and atmospheric density around the Moon, sending back television images at the same time to help mission planners narrow down safe landing sites.

 

With a better understanding of the lunar environment, LUREC III would be the first stage to attempt a soft landing on the Moon. The spacecraft would use retro-rockets to slow its descent and telescoping legs to cushion the impact. Staying intact was important; having landed, this spacecraft would gather the first in situ data about the Moon’s surface, including seismic and audio data from ground noises.

 

Building off lessons learned to this point, the final flight phase, Manned Lunar Flight (LUMAN), would be the one to land men on the Moon’s surface. The first stage, LUMAN I, called for circumlunar animal flights as early as May of 1962 to verify the hardware, computer, and life support systems. LUMAN II would fly the same mission but with human pilots on board. LUMAN III would resume unmanned flight, soft landing a payload on the Moon. In the LUMAN IV stage, that same spacecraft would land on, then launch from the Moon’s surface before returning safely to Earth ideally early in 1963.

 

At that point, everything would be in place for a manned lunar landing, the goal of the LUMAN V stage. On this mission, one pilot would bring his spacecraft to a soft landing on the lunar surface. Once there, he would leave the spacecraft through the airlock and, thanks to his special pressure suit, be free to explore the surface. He’d get back into his spacecraft for the return flight home and, upon his return, complete the program’s main goal sometime around 1965. Subsequent missions would focus on larger scientific and military goals; LUMAN VI and LUMAN VII would see more complex landed and orbital missions respectively with far more sophisticated science instruments.

 

When it was pitched in 1958, this Man in Space program was projected to cost $1.5 billion from the first unmanned missions through to the LUMAN missions. But success hinged on a few things, namely getting priority status and the freedom to take control over whatever resources the Air Force might need to get missions flying as soon as possible. And it needed to get that priority status by July 1, 1958, to stay on schedule; the date was just months after the proposal was written.

 

Though it pushed improved reconnaissance, communications, and early warning systems for protection against enemy attacks as valuable spinoffs, the Air Force’s proposal was deemed too lofty. It was scaled back to focus on the Man in Space Soonest phase that could be done quickly and before taking on something as challenging as a lunar mission, which suited the service just fine. Besides, there was little question for the Air Force that it would lead the way in space. It looked at the X-15 program as a model, the joint USAF-NACA (National Advisory Committee for Aeronautics) program that had the NACA doing the bulk of the detailed engineering work and the USAF pilots getting the glory of flying record-breaking flights. Why would spaceflight be any different?

 

Sadly, for the Air Force, President Eisenhower’s decision to found a civilian space agency — NASA — preempted any military program. A year later, NASA’s Mercury program was under development with seven astronauts already selected to fly its missions. The Air Force’s involvement in the program was minimal, supplying Atlas rockets and ground support while the new agency’s astronauts became national heroes.”

 

Above at/from:

 

www.popsci.com/how-air-force-planned-to-put-men-on-moon/

Credit: Amy Shira Teitel/Popular Science website

  

Also:

 

“It all began on February 15, 1956, in Baltimore, Maryland. Commander of Air Research and Development Command (ARDC) General Thomas S. Power held a staff meeting and called for studies to begin on manned space vehicles that would succeed the joint USAF/NACA X-15 spaceplane program. There were two types of vehicles to choose from: winged and ballistic. One winged approach that would later receive funding was the X-20 Dynamic Soarer. The Task 27544 Manned Ballistic Rocket Research System consisted of a reentry capsule boosted by an intercontinental ballistic missile, or ICBM. Unlike the spaceplane approach, ballistic vehicles could be used for two purposes: speedy delivery of cargo to any point on Earth during an emergency and manned spaceflight.

 

The Air Force developed a multistage plan with the goal of landing men on the moon by the mid-1960s called Man in Space. Man in Space was split into four phases, the first being MISS. This phase had two objectives: the demonstration of the technological capability and superiority of the United States, and the exploration of the functional capabilities and limitations of the human body in space. Twenty-five flights would have taken place, twelve using the Thor-Vanguard rocket and thirteen using what was referred to as the "Thor-Fluorine". The first six flights would have been robotic missions that tested the spacecraft's hardware and flight systems. The next six would have flown animals over a period of six months to test the life support system and to develop reentry and recovery techniques. They also would have studied the effects of weightlessness and radiation on living creatures. Finally, the first man would fly in space as early as October of 1960. These flights would have used both Thor and Atlas boosters.

 

Even though the Air Force knew exactly which rockets to use, and therefore already had launch sites picked out as well, one major component was missing— the spacecraft. Even though winged vehicles were still being developed, it was agreed that the optimal choice for MISS was the ballistic reentry capsule. The requirements for such a craft included an ablative heat shield, a window, a 30-inch hatch, and a flared skirt. It also needed to be a high-drag, zero-lift, blunt-nosed cylinder 8 feet in diameter. The flared skirt would contain reaction control jets for attitude control while in orbit, the retrorockets for reentry, and the recovery parachutes that would be deployed during splashdown. Cockpit instrumentation included the main guidance, navigation, and control system, a secondary power pack, and the telemetry and voice communications system. The pilot would lie on his back on a couch during the orbital portion of the mission inside a pressurized cabin. His suit would also be pressurized for safety. According to "Proposal for Man-in-Space (1957-1958)", the astronaut would have been given some control over the spacecraft's attitude and the action of the reentry rockets if he was capable of making decisions during his flight. It was still unknown if microgravity affected cognitive functions.

 

In June 1958, the first astronaut selection in history took place. Nine pilots were chosen to be the world's first space explorers. Their names were Neil Armstrong, William Bridgeman, Scott Crossfield, Iven Kincheloe, John McKay, Robert Rushworth, Joseph Walker, Alvin White, and Robert White. Armstrong was the only member to join NASA's Astronaut Corps after MISS (and the X-20 program) were cancelled. He flew in space during Gemini 8 in 1966, where he performed the first docking of two spacecraft, and Apollo 11 in 1969, where he became the first person to set foot on the moon. Walker became the first member of the group to reach space according to the Fédération Aéronautique Internationale's definition of space while Robert White because the first to do so according to the USAF definition.”

 

Above at/from:

 

www.spaceflighthistories.com/post/man-in-space-soonest

Credit: Aeryn Avilla/SPACEFLIGHT HISTORIES website

 

And last, but NOT least:

 

www.astronautix.com/m/man-in-space-soonest.html

Credit: Astronautix website

 

Fascinating. Surely an exceedingly rare work. Unfortunately, no artist’s signature is visible.

 

Finally, thanks to G's posting of this very image, its associated press slug:

 

"This is how a General Electric artist envisions the first man in space. The rockets that have propelled him from the earth's surface have fallen away and he is in orbit charting an area never before penetrated by man.

 

Chicago Daily News,

Chicago 6, Illinois"

 

The "Chicago" information being exactly what's stamped on the verso of my photograph. Synergy…pretty cool! 😉

Gaucho knots from 7 lead 6 bight Turk's heads, Spanish ring knots, and a center Gaucho knot from a 5 lead 4 bight knot.

 

I started with just two strands, one black and one white of 0.9mm cord, working each of the knots from left to right, but the final large Gaucho ended up a bit uneven after tightening, so I cut it off and properly retied another...

Steely Dan is an American rock duo founded in 1972 by core members Walter Becker (guitars, bass, backing vocals) and Donald Fagen (keyboards, lead vocals). Blending rock, jazz, latin music, reggae, traditional pop, R&B, blues,[2] and sophisticated studio production with cryptic and ironic lyrics, the band enjoyed critical and commercial success starting from the early 1970s until breaking up in 1981.[2] Throughout their career, the duo recorded with a revolving cast of session musicians, and in 1974 retired from live performances to become a studio-only band. Rolling Stone has called them "the perfect musical antiheroes for the Seventies".[4]

 

After the group disbanded in 1981, Becker and Fagen were less active throughout most of the next decade, though a cult following[2] remained devoted to the group. Since reuniting in 1993, Steely Dan has toured steadily and released two albums of new material, the first of which, Two Against Nature, earned a Grammy Award for Album of the Year. They have sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001.[5][6][7][8] VH1 ranked Steely Dan at #82 on their list of the 100 greatest musical artists of all time.[9] Founding member Walter Becker died on September 3, 2017, leaving Fagen as the sole official member.

  

Contents

1History

1.1Formative and early years (1967–1972)

1.2Can't Buy a Thrill and Countdown to Ecstasy (1972–1973)

1.3Pretzel Logic and Katy Lied (1974–1976)

1.4The Royal Scam and Aja (1976–1978)

1.5Gaucho and breakup (1978–1981)

1.6Time off (1981–1993)

1.7Reunion, Alive in America (1993–2000)

1.8Two Against Nature and Everything Must Go (2000–2003)

1.8.1Firing of Roger Nichols

1.9Touring, solo activity (2003–2017)

1.10After Becker's death (2017–present)

2Musical and lyrical style

2.1Music

2.1.1Overall sound

2.1.2Backing vocals

2.1.3Horns

2.1.4Composition and chord use

2.2Lyrics

3Members

3.1Timeline

4Discography

5See also

6References

7External links

History

Formative and early years (1967–1972)

Becker and Fagen met in 1967 at Bard College, in Annandale-on-Hudson, New York. As Fagen passed by a café, The Red Balloon, he heard Becker practicing the electric guitar.[10] In an interview, Fagen recounted the experience: "I hear this guy practicing, and it sounded very professional and contemporary. It sounded like, you know, like a black person, really."[10] He introduced himself to Becker and asked, "Do you want to be in a band?"[10] Discovering that they enjoyed similar music, the two began writing songs together.

 

Becker and Fagen began playing in local groups. One such group, known as the Don Fagen Jazz Trio, the Bad Rock Group and later the Leather Canary, included future comedy star Chevy Chase on drums. They played covers of songs by The Rolling Stones ("Dandelion"), Moby Grape ("Hey Grandma"), and Willie Dixon ("Spoonful"), as well as some original compositions.[10] Terence Boylan, another Bard musician, remembered that Fagen took readily to the beatnik life while attending college: "They never came out of their room, they stayed up all night. They looked like ghosts—black turtlenecks and skin so white that it looked like yogurt. Absolutely no activity, chain-smoking Lucky Strikes and dope."[10] Fagen himself would later remember it as "probably the only time in my life that I actually had friends."[11]

 

After Fagen graduated in 1969, the two moved to Brooklyn and tried to peddle their tunes in the Brill Building in midtown Manhattan. Kenny Vance (of Jay and the Americans), who had a production office in the building, took an interest in their music, which led to work on the soundtrack of the low-budget Richard Pryor film You've Got to Walk It Like You Talk It or You'll Lose That Beat. Becker later said bluntly, "We did it for the money."[12] A series of demos from 1968 to 1971 are available in multiple different releases, not authorized by Becker and Fagen.[13] This collection features approximately 25 tracks and is notable for its sparse arrangements (Fagen plays solo piano on many songs) and lo-fi production, a contrast with Steely Dan's later work. Although some of these songs ("Caves of Altamira", "Brooklyn", "Barrytown") were re-recorded for Steely Dan albums, most were never officially released.

 

Becker and Fagen joined the touring band of Jay and the Americans for about a year and a half.[14] They were at first paid $100 per show, but partway through their tenure the band's tour manager cut their salaries in half.[14] The group's lead singer, Jay Black, dubbed Becker and Fagen "the Manson and Starkweather of rock 'n' roll", referring to cult leader Charles Manson and spree killer Charles Starkweather.[14]

 

They had little success after moving to Brooklyn, although Barbra Streisand recorded their song "I Mean To Shine" on her 1971 Barbra Joan Streisand album. Their fortunes changed when one of Vance's associates, Gary Katz, moved to Los Angeles to become a staff producer for ABC Records. He hired Becker and Fagen as staff songwriters; they flew to California. Katz would produce all their 1970s albums in collaboration with engineer Roger Nichols. Nichols would win six Grammy Awards for his work with the band from the 1970s to 2001.[15]

 

After realizing that their songs were too complex for other ABC artists, at Katz's suggestion Becker and Fagen formed their own band with guitarists Denny Dias and Jeff "Skunk" Baxter, drummer Jim Hodder and singer David Palmer, and Katz signed them to ABC as recording artists. Fans of Beat Generation literature, Fagen and Becker named the band after a "revolutionary" steam-powered dildo mentioned in the William S. Burroughs novel Naked Lunch.[16][17][18] Palmer joined as a second lead vocalist because of Fagen's occasional stage fright, his reluctance to sing in front of an audience, and because the label believed that his voice was not "commercial" enough.

 

In 1972, ABC issued Steely Dan's first single, "Dallas", backed with "Sail the Waterway". Distribution of "stock" copies available to the general public was apparently extremely limited;[19] the single sold so poorly that promotional copies are much more readily available than stock copies in today's collectors market. As of 2015, "Dallas" and "Sail the Waterway" are the only officially released Steely Dan tracks that have not been reissued on cassette or compact disc. In an interview (1995), Becker and Fagen called the songs "stinko."[20] "Dallas" was later covered by Poco on their Head Over Heels album.

 

Can't Buy a Thrill and Countdown to Ecstasy (1972–1973)

Can't Buy a Thrill, Steely Dan's debut album, was released in 1972. Its hit singles "Do It Again" and "Reelin' In the Years" reached No. 6 and No. 11 respectively on the Billboard singles chart. Along with "Dirty Work" (sung by David Palmer), the songs became staples on classic rock radio.

 

Because of Fagen's reluctance to sing live, Palmer handled most of the vocal duties on stage. During the first tour, however, Katz and Becker decided that they preferred Fagen's interpretations of the band's songs, persuading him to take over. Palmer quietly left the group while it recorded its second album. He wrote the No. 2 hit "Jazzman" (1974) with Carole King.

 

Released in 1973, Countdown to Ecstasy was not as commercially successful as Steely Dan's first album. Becker and Fagen were unhappy with some of the performances on the record and believed that it sold poorly because it had been recorded hastily on tour. The album's singles were "Show Biz Kids" and "My Old School", both of which stayed in the lower half of the Billboard charts (though "My Old School" and—to a lesser extent—"Bodhisattva" became minor FM Rock staples in time).

 

Pretzel Logic and Katy Lied (1974–1976)

 

Guitarist Jeff "Skunk" Baxter left Steely Dan in 1974 when they ceased performing live and began working in the studio exclusively.

Pretzel Logic was released in early 1974. A diverse set, it includes the group's most successful single, "Rikki Don't Lose That Number" (No. 4 on the Billboard Hot 100), and a note-for-note rendition of Duke Ellington and James "Bubber" Miley's "East St. Louis Toodle-Oo".

 

During the previous album's tour, the band had added vocalist-percussionist Royce Jones, vocalist-keyboardist Michael McDonald, and session drummer Jeff Porcaro.[21] Porcaro played the sole drum track on one song, "Night By Night" on Pretzel Logic (Jim Gordon played drums on all the remaining tracks, and he and Porcaro both played on "Parker's Band"), reflecting Steely Dan's increasing reliance on session musicians (including Dean Parks and Rick Derringer). Jeff Porcaro and Katy Lied pianist David Paich would go on to form Toto. Striving for perfection, Becker and Fagen sometimes asked musicians to record as many as forty takes of each track.[22]

 

Pretzel Logic was the first Steely Dan album to feature Walter Becker on guitar. "Once I met [session musician] Chuck Rainey", he explained, "I felt there really was no need for me to be bringing my bass guitar to the studio anymore".[22]

 

A rift began growing between Becker-Fagen and Steely Dan's other members (particularly Baxter and Hodder), who wanted to tour. Becker and Fagen disliked constant touring and wanted to concentrate solely on writing and recording. The other members gradually left the band, discouraged by this and by their diminishing roles in the studio. However, Dias remained with the group until 1980's Gaucho and Michael McDonald contributed vocals until the group's twenty-year hiatus after Gaucho. Baxter and McDonald went on to join The Doobie Brothers. Steely Dan's last tour performance was on July 5, 1974, a concert at the Santa Monica Civic Auditorium in California.[23]

 

Becker and Fagen recruited a diverse group of session players for Katy Lied (1975), including Porcaro, Paich, and McDonald, as well as guitarist Elliott Randall, jazz saxophonist Phil Woods, saxophonist/bass-guitarist Wilton Felder, percussionist/vibraphonist/keyboardist Victor Feldman, keyboardist (and later producer) Michael Omartian, and guitarist Larry Carlton—Dias, Becker, and Fagen being Steely Dan's only original members. The album went gold on the strength of "Black Friday" and "Bad Sneakers", but Becker and Fagen were so dissatisfied with the album's sound (compromised by a faulty DBX noise reduction system) that they publicly apologized for it (on the album's back cover) and for years refused to listen to it in its final form.[24] Katy Lied also included "Doctor Wu" and "Chain Lightning".

 

The Royal Scam and Aja (1976–1978)

The Royal Scam was released in May 1976. Partly because of Carlton's prominent contributions, it is the band's most guitar-oriented album. It also features performances by session drummer Bernard Purdie. The album sold well in the United States, though without the strength of a hit single. "Haitian Divorce" (Top 20) drove sales in the UK, becoming Steely Dan's first major hit in that country.[25] Steely Dan's sixth album, the jazz-influenced Aja, was released in September 1977. Aja reached the Top Five in the U.S. charts within three weeks, winning the Grammy award for "Engineer – Best Engineered Recording – Non-Classical." It was also one of the first American LPs to be certified 'platinum' for sales of over 1 million albums.[26][27]

 

Roger [Nichols] made those records sound like they did. He was extraordinary in his willingness and desire to make records sound better.[28] The records we did could not have been done without Roger. He was just maniacal about making the sound of the records be what we liked... He always thought there was a better way to do it, and he would find a way to do what we needed to in ways that other people hadn't done yet.[29]

~ Steely Dan producer Gary Katz regarding Roger Nichols' role in the band's recording legacy.

Featuring Michael McDonald's backing vocals, "Peg" (No. 11) was the album's first single, followed by "Josie" (No. 26) and "Deacon Blues" (No. 19). Aja solidified Becker's and Fagen's reputations as songwriters and studio perfectionists. It features such jazz and fusion luminaries as guitarists Larry Carlton and Lee Ritenour; bassist Chuck Rainey; saxophonists Wayne Shorter, Pete Christlieb, and Tom Scott; drummers Steve Gadd, Rick Marotta and Bernard Purdie; pianist Joe Sample and ex-Miles Davis pianist/vibraphonist Victor Feldman and Grammy award-winning producer/arranger Michael Omartian (piano).

 

Planning to tour in support of Aja, Steely Dan assembled a live band. Rehearsal ended and the tour was canceled when backing musicians began comparing pay.[30] The album's history was documented in an episode of the TV and DVD series Classic Albums.

 

After Aja's success, Becker and Fagen were asked to write the title track for the movie FM. The movie was a box-office disaster, but the song was a hit, earning Steely Dan another engineering Grammy award. It was a minor hit in the UK and barely missed the Top 20 in the U.S.A.[25]

 

Gaucho and breakup (1978–1981)

 

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Becker and Fagen took a break from songwriting for most of 1978 before starting work on Gaucho. The project would not go smoothly: technical, legal, and personal setbacks delayed the album's release and subsequently led Becker and Fagen to suspend their partnership for over a decade.

 

Misfortune struck early when an assistant engineer accidentally erased most of "The Second Arrangement", a favorite track of Katz and Nichols,[31] which was never recovered. More trouble — this time legal — followed. In March 1979, MCA Records bought ABC, and for much of the next two years Steely Dan could not release an album. Becker and Fagen had planned on leaving ABC for Warner Bros. Records, but MCA claimed ownership of their music, preventing them from changing labels.

 

Turmoil in Becker's personal life also interfered. His girlfriend died of a drug overdose in their Upper West Side apartment, and he was sued for $17 million. Becker settled out of court, but he was shocked by the accusations and by the tabloid press coverage that followed. Soon after, Becker was struck by a taxi while crossing a Manhattan street, shattering his right leg in several places and forcing him to use crutches.

 

Still more legal trouble was to come. Jazz composer Keith Jarrett sued Steely Dan for copyright infringement, claiming that they had based Gaucho's title track on one of his compositions, "Long As You Know You're Living Yours" (Fagen later admitted that he'd loved the song and that it had been a strong influence).[32]

 

Gaucho was finally released in November 1980. Despite its tortured history, it was another major success. The album's first single, "Hey Nineteen", reached No. 10 on the pop chart in early 1981, and "Time Out of Mind" (featuring guitarist Mark Knopfler of Dire Straits) was a moderate hit in the spring. "My Rival" was featured in John Huston's 1980 film Phobia. Roger Nichols won a third engineering Grammy award for his work on the album.

 

Time off (1981–1993)

Steely Dan disbanded in June 1981.[33] Becker and his family moved to Maui, where he became an "avocado rancher and self-styled critic of the contemporary scene."[34] He stopped using drugs, which he had used for most of his career.[35][36][37] Meanwhile, Fagen released a solo album, The Nightfly (1982), which went platinum in both the U.S. and the U.K. and yielded the Top Twenty hit "I.G.Y. (What a Beautiful World)." In 1988 Fagen wrote the score of Bright Lights, Big City and a song for its soundtrack, but otherwise recorded little. He occasionally did production work for other artists, as did Becker. The most prominent of these were two albums Becker produced for the British sophisti-pop group China Crisis, who were strongly influenced by Steely Dan.[38] Becker is listed as an official member of China Crisis on the first of these albums, 1985's Flaunt the Imperfection, and played keyboards on the band's Top 20 UK hit "Black Man Ray". For the second of the two albums, 1989's Diary of a Hollow Horse, Becker is only listed as a producer and not as a band member.

 

In 1986 Becker and Fagen performed on Zazu, an album by former model Rosie Vela produced by Gary Katz.[39] The two rekindled their friendship and held songwriting sessions between 1986 and 1987, leaving the results unfinished.[40] On October 23, 1991, Becker attended a concert by New York Rock and Soul Revue, co-founded by Fagen and producer/singer Libby Titus (who was for many years the partner of Levon Helm of The Band and would later become Fagen's wife), and spontaneously performed with the group.

 

Becker produced Fagen's second solo album, Kamakiriad, in 1993. Fagen conceived the album as a sequel to The Nightfly.[citation needed]

 

Reunion, Alive in America (1993–2000)

 

Steely Dan, shown here in 2007, toured frequently after reforming in 1993.

Becker and Fagen reunited for an American tour to support Kamakiriad, which sold poorly despite a Grammy nomination for Album of the Year. With Becker playing lead and rhythm guitar, the pair assembled a band that included a second keyboard player, second lead guitarist, bassist, drummer, vibraphonist, three female backing singers, and four-piece saxophone section. Among the musicians from the live band, several would continue to work with Steely Dan over the next decade, including bassist Tom Barney and saxophone players Cornelius Bumpus and Chris Potter. During this tour, Fagen introduced himself as "Rick Strauss" and Becker as "Frank Poulenc".

 

The next year, MCA released Citizen Steely Dan, a boxed set featuring their entire catalog (except their debut single "Dallas"/"Sail The Waterway") on four CDs, plus four extra tracks: "Here at the Western World" (originally released on 1978's "Greatest Hits"), "FM" (1978 single), a 1971 demo of "Everyone's Gone to the Movies" and "Bodhisattva (live)", the latter recorded on a cassette in 1974 and released as a B-side in 1980. That year Becker released his debut solo album, 11 Tracks of Whack, which Fagen co-produced.

 

Steely Dan toured again in support of the boxed set and Tracks. In 1995 they released a live CD, Alive in America, compiled from recordings of several 1993 and 1994 concerts. The Art Crimes Tour followed, including dates in the United States, Japan, and their first European shows in 22 years. After this activity, Becker and Fagen returned to the studio to begin work on a new album.

 

Two Against Nature and Everything Must Go (2000–2003)

In 2000 Steely Dan released their first studio album in 20 years: Two Against Nature. It won four Grammy Awards: Best Engineered Album – Non-Classical, Best Pop Vocal Album, Best Pop Performance by Duo or Group with Vocal ("Cousin Dupree"), and Album of the Year (despite competition in this category from Eminem's The Marshall Mathers LP and Radiohead's Kid A). In the summer of 2000, they began another American tour, followed by an international tour later that year. The tour featured guitarist Jon Herington, who would go on to play with the band over the next two decades. The group released the Plush TV Jazz-Rock Party DVD, documenting a live-in-the-studio concert performance of popular songs from throughout Steely Dan's career. In March 2001, Steely Dan was inducted into the Rock and Roll Hall of Fame.[5][6]

 

In 2003 Steely Dan released Everything Must Go. In contrast to their earlier work, they had tried to write music that captured a live feel. Becker sang lead vocals on a Steely Dan studio album for the first time ("Slang of Ages" — he had sung lead on his own "Book of Liars" on Alive in America). Fewer session musicians played on Everything Must Go than had become typical of Steely Dan albums: Becker played bass on every track and lead guitar on five tracks; Fagen added piano, electric piano, organ, synthesizers, and percussion on top of his vocals; touring drummer Keith Carlock played on every track.

 

Firing of Roger Nichols

In 2002 during the recording of Everything Must Go, Becker and Fagen fired their engineer Roger Nichols, who had worked with them for 30 years, without explanation or notification, according to band biographer Brian Sweet's 2018 revision of his book Reelin' in the Years.[41]

 

Touring, solo activity (2003–2017)

To complete his Nightfly trilogy, Fagen issued Morph the Cat in 2006. Steely Dan returned to annual touring that year with the Steelyard "Sugartooth" McDan and The Fab-Originees.com Tour.[42] Despite much fluctuation in membership, the live band featured mainstays Herrington, Carlock, bassist Freddie Washington, the horn section of Michael Leonhart, Jim Pugh, Roger Rosenberg, and Walt Weiskopf, and backing vocalists Carolyn Leonhart and Cindy Mizelle. The 2007 Heavy Rollers Tour included dates in North America, Europe, Japan, Australia, and New Zealand, making it their most expansive tour.[43]

 

The smaller Think Fast Tour followed in 2008, with keyboardist Jim Beard joining the live band. That year Becker released a second album, Circus Money, produced by Larry Klein and inspired by Jamaican music. In 2009 Steely Dan toured Europe and America extensively in their Left Bank Holiday and Rent Party Tour, alternating between standard one-date concerts at large venues and multi-night theater shows that featured performances of The Royal Scam, Aja, or Gaucho in their entirety on certain nights. The following year, Fagen formed the touring supergroup Dukes of September Rhythm Revue with McDonald, Boz Scaggs, and members of Steely Dan's live band, whose repertoire included songs by all three songwriters. Longtime studio engineer Roger Nichols died of pancreatic cancer on April 10, 2011.[44] Steely Dan's Shuffle Diplomacy Tour that year included an expanded set list and dates in Australia and New Zealand. Fagen released his fourth album, Sunken Condos, in 2012. It was his first solo release unrelated to the Nightfly trilogy.

 

The Mood Swings: 8 Miles to Pancake Day Tour began in July 2013 and featured an eight-night run at the Beacon Theatre in New York City.[45] Jamalot Ever After, their 2014 United States tour, ran from July 2 in Portland, Oregon to September 20 in Port Chester, New York.[46] 2015's Rockabye Gollie Angel Tour included opening act Elvis Costello and the Imposters and dates at the Coachella Valley Music and Arts Festival. The Dan Who Knew Too Much tour followed in 2016, with Steve Winwood opening. Steely Dan also performed at The Hollywood Bowl in Los Angeles with an accompanying orchestra.

 

The band played its final shows with Becker in 2017. In April, they played the 12-date Reelin' In the Chips residency in Las Vegas and Southern California.[47] Becker's final performance came on May 27 at the Greenwich Town Party in Greenwich, Connecticut.[48] Due to illness, Becker did not play Steely Dan's two Classics East and West concerts at Dodger Stadium and Citi Field in July.[49] Fagen embarked on a tour that summer with a new backing band, The Nightflyers.

 

After Becker's death (2017–present)

Becker died from complications of esophageal cancer on September 3, 2017.[50] In a note released to the media, Fagen remembered his longtime friend and bandmate, and promised to "keep the music we created together alive as long as I can with the Steely Dan band."[51] After Becker's death, Steely Dan honored commitments to perform a short North American tour in October 2017 and three concert dates in the United Kingdom and Ireland for Bluesfest on a double bill with the Doobie Brothers.[52] The band played its first concert following Becker's death in Thackerville, Oklahoma, on October 13.[52] In tribute to Becker, they performed his solo song "Book of Liars", with Fagen singing the lead vocals, at several concerts on the tour.[53]

 

Becker's widow and estate sued Fagen later that year, arguing that the estate should control 50% of the band's shares.[54] Fagen filed a counter suit, arguing that the band had drawn up plans in 1972 stating that band members leaving the band or dying relinquish shares of the band's output to the surviving members. In December, Fagen said that he would rather have retired the Steely Dan name after Becker's death, and would instead have toured with the current iteration of the group under another name, but was persuaded not to by promoters for commercial reasons.[55]

 

In 2018, Steely Dan performed on a summer tour of the United States with The Doobie Brothers as co-headliners.[56] The band also played a nine-show residency at the Beacon Theatre in New York City that October.[57] In February 2019, the band embarked on a tour of Great Britain with Steve Winwood.[58] Guitarist Connor Kennedy of The Nightflyers joined the live band, beginning with a nine-night residency at The Venetian Resort in Las Vegas in April 2019.[59]

 

On June 25, 2019, The New York Times Magazine listed Steely Dan among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[60]

 

Musical and lyrical style

Music

Overall sound

Special attention is given to the individual sound of each instrument. Recording is done with the utmost fidelity and attention to sonic detail, and mixed so that all the instruments are heard and none are given undue priority. Their albums are also notable for the characteristically 'warm' and 'dry' production sound, and the sparing use of echo and reverberation.

 

Backing vocals

Becker and Fagen favored a distinctly soul-influenced style of backing vocals, which after the first few albums were almost always performed by a female chorus (although Michael McDonald features prominently on several tracks, including the 1975 song "Black Friday" and the 1977 song "Peg"). Venetta Fields, Sherlie Matthews and Clydie King were the preferred trio for backing vocals on the group's late 1970s albums.[61] Other backing vocalists include Timothy B. Schmit, Tawatha Agee, Brenda White-King, Carolyn Leonhart, Janice Pendarvis, Catherine Russell, Cynthia Calhoun, Victoria Cave, Cindy Mizelle, and Jeff Young. The band also featured singers like Patti Austin and Valerie Simpson on later projects such as Gaucho.

 

Horns

Horn arrangements have been used on songs from all Steely Dan albums. They typically feature instruments such as trumpets, trombones and saxophones, although they have also used other instruments such as flutes and clarinets. The horn parts occasionally integrate simple synth lines to alter the tone quality of individual horn lines; for example in "Deacon Blues" this was done to "thicken" one of the saxophone lines. On their earlier albums Steely Dan featured guest arrangers and on their later albums the arrangement work is credited to Fagen.

 

Composition and chord use

Steely Dan is famous for their use of chord sequences and harmonies that explore the area of musical tension between traditional pop sounds and jazz. In particular, they are known for their use of the add 2 chord, a type of added tone chord, which they nicknamed the mu major.[62][63][64] Other common chords used by Steely Dan include slash chords for example Bb/C or E7/A. This notation shows a chord (shown to the left of the slash) with a note other than the tonic (shown to the right of the slash) as the lowest pitched note.[65]

 

Lyrics

 

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Steely Dan's lyrical subjects are diverse, but in their basic approach they often create fictional personae that participate in a narrative or situation. The duo have said that in retrospect, most of their albums have a "feel" of either Los Angeles or New York City, the two main cities where Becker and Fagen lived and worked. Characters appear in their songs that evoke these cities. Steely Dan's lyrics are often puzzling to the listener,[66] with the true meaning of the song "uncoded" through repeated listening, and a richer understanding of the references within the lyrics. For example, in the song "Everyone's Gone to the Movies," the line "I know you're used to 16 or more, sorry we only have eight" refers not to the count of some article, but to eight-millimeter film, which was lower quality than 16 mm or larger formats, underscoring the illicitness of Mr. Lapage's movie parties.

 

Thematically, Steely Dan creates a universe peopled by losers, creeps and failed dreamers, often victims of their own obsessions and delusions. These motifs are introduced in the Dan's first hit song, "Do It Again," which contains a description of a murderous cowboy who beats the gallows, a man taken advantage of by a cheating girlfriend, and an obsessive gambler, all of whom are unable to command their own destinies; similar themes of being trapped in a death spiral of one's own making appear throughout their catalog. Other themes that they explore include prejudice, aging, poverty, and middle-class ennui.

 

Many would argue that Steely Dan never wrote a genuine love song, instead dealing with personal passion in the guise of a destructive obsession.[67] Many of their songs concern love, but typical of Steely Dan songs is an ironic or disturbing twist in the lyrics that reveals a darker reality. For example, expressed "love" is actually about prostitution ("Pearl of the Quarter"), incest ("Cousin Dupree"), pornography ("Everyone's Gone to the Movies"), or some other socially unacceptable subject.[68] However, some of their demo-era recordings show Fagen and Becker expressing romance, including "This Seat's Been Taken", "Oh, Wow, It's You" and "Come Back Baby".

 

Steely Dan's lyrics contain subtle and encoded references, unusual (and sometimes original) slang expressions, a wide variety of "word games." The obscure and sometimes teasing lyrics have given rise to considerable efforts by fans to explain the "inner meaning" of certain songs.[69][70] Jazz is a recurring theme, and there are numerous other film, television and literary references and allusions, such as "Home at Last" (from Aja), which was inspired by Homer's Odyssey.

 

Some of their lyrics are notable for their unusual meter patterns; a prime example of this is their 1972 hit "Reelin' In the Years", which crams an unusually large number of words into each line, giving it a highly syncopated quality.

 

"Name dropping" is another Steely Dan lyrical device; references to real places and people abound in their songs. The song "My Old School" is an example, referring to Annandale (Annandale-on-Hudson, New York, is home to Bard College, which both attended and where they met), and the Two Against Nature album (2000) contains numerous references to the duo's original region, the New York metro area, including the district of Gramercy Park, the Strand Bookstore, and the upscale food store Dean & DeLuca. In the song "Glamour Profession" the conclusion of a drug deal is celebrated with dumplings at Mr. Chow, a Chinese restaurant in Beverly Hills. The band even employed self-reference; in the song "Show Biz Kids," the titular subjects are sardonically portrayed as owning "the Steely Dan T-shirt."

 

The band also often name-checks drinks, typically alcoholic, in their songs: rum and cokes ("Daddy Don't Live in That New York City No More"), piña coladas ("Bad Sneakers"), zombies ("Haitian Divorce"), black cows ("Black Cow"), Scotch whisky ("Deacon Blues"), retsina ("Home at Last"), grapefruit wine ("FM"), cherry wine ("Time Out of Mind"), Cuervo Gold ("Hey Nineteen"), kirschwasser ("Babylon Sisters"), Tanqueray ("Lunch with Gina"), Cuban breeze (Fagen's solo track "The Goodbye Look"), and margaritas ("Everything Must Go") are all mentioned in Steely Dan lyrics.[71]

 

Members

Current members

 

Donald Fagen – lead vocals, keyboards (1972–1981, 1993–present)

Former members

 

Walter Becker – guitar, bass, backing and lead vocals (1972–1981, 1993–2017; his death)

Jeff "Skunk" Baxter – guitar, backing vocals (1972–1974)

Denny Dias – guitar (1972–1974, studio contributions until 1977)

Jim Hodder – drums, backing and lead vocals (1972–1974; died 1990)

David Palmer – backing and lead vocals (1972–1973)

Royce Jones – backing and lead vocals, percussion (1973–1974)

Michael McDonald – keyboards, backing vocals (1974, studio contributions until 1980)

Jeff Porcaro – drums (1974, studio contributions until 1980; died 1992)

Olympus digital camera

Lead singer for the Doors, died at age 27. Buried in Pere Lachaise Cemetery, Paris France.

Benny Goodman, Helen Ward - Sing Me A Swing Song

www.youtube.com/watch?v=RWQPmN1-9D8

 

General View of the Llywernog Silver Lead Mine Museum at Ponterwyd near Aberystwyth in Ceredigion, Wales.

 

From left to right - the Jigger House, The Crusher House and the Mine Offices. Between the Crusher House and Mine Office is a waterwheel pit. It had been the intention to erect a Cornish waterwheel in this location which had been loaned by the Trevithick Society. However, it was not installed and taken to the site of the treatment floors of Snaefell Mine at Laxey, Isle of Man where it was erected as the "Lady Evelyn" wheel.

 

Camera: Contax 137 + Carl Zeiss 50mm f1.7 Planar lens

 

For a gallery of imaged of Llywernog in the 1980s please click here: www.jhluxton.com/The-35mm-Film-Archive/Mines-of-Wales/Lly...

  

Llywernog Silver Lead Mine and Mining Museum is located close to the A44 road.

 

Known locally as Gwaith Poole. (Poole’s Minework), the original discovery of the mineral vein was made around the year 1742, during the reign of George III.

 

By 1790, two ‘adits’ or levels were being blasted into the hillside using techniques of hand-drilling and gunpowder charges. Both of those original tunnels are now accessible to visitors. One tunnel struck the ‘Main Lode’ of silver-lead ore (technically known as (‘Argentiferous Galena’) at a depth of 17m below the surface outcrop and a productive period of activity began. The other adit, driven further to the east was a disappointment, and cut only a minor lode with little or no ore visible. This tunnel now forms part of the ‘Miners Trail’ and is known as ‘Balcombe’s level’, named after James Barton Balcombe, Managing Director of the Llywernog Silver-Lead Mining Company in 1870.

 

Between 1824 and 1834, Llywernog Mine was leased (along with many others in the district) to Cornish ‘Mine Adventurers’, the Williams family of Scorrier House, Gwennap, near Redruth in Cornwall. This was the start of a long association between the Mining Districts of Cardiganshire and Cornwall that was to continue until the 1900s.

1 of 5 for my #wcw out of a little series we shot in LA. We were driving around looking for a place for a shoot my wife was doing, and it just so happen that this 70s Ford was parked across from where we stopped. Once I saw it I knew that it had to be used

Model:

Lilith Lead Singles (restyle by me)

 

Fashion credits:

outfit and accessories: Erin High End Envy

©2014 Jamie A. MacDonald

Loosely based on a 12950's Mercury..

Gorgeous in Elise's polka dot chiffon dress. I am absolutely in love with this outfit - it is marvelous.

 

Eden here reminds me a lot of Emily Van Kamp from Revenge.

Sitter: unknown

 

Studio: J. Davis & Sons, Preston & Lancaster.

 

Plain back CDV.

 

J. Davis occupied studios at the following Preston addresses:

 

12, Fylde Road, Preston 1882

130, Church Street, Preston 1889-1890

 

Saint Bartholomew church in London

Home terrariums are very hot in interior design right now. Happily, this is one trend Singaporeans can really take part in! No need to seal everything up to conserve water, because goodness knows there's enough in the air. This beautiful, large terrarium cover has hand-made, leaded glass with one section of opaque stained glass in malachite-colored swirls. One section swings open much as a birdcage door might, but you can also just lift the whole thing off. we think you could get some really nice mosses and such growing under there if you have a green thumb...

Prints and Canvasses Available

 

Taken from the 'summit' i.e. top of the highest spoil heap at Lodge Sike mine

Providence RI graffiti. Used to say "lead hates toys" until it got buffed but it didnt stay like that for long haha

Peeling Paint, Lead Paint pics by Mike Mozart instagram.com/MikeMozart

"Lead, Kindly Light, amidst th'encircling gloom,

Lead Thou me on!

The night is dark, and I am far from home,

Lead Thou me on!

Keep Thou my feet; I do not ask to see

The distant scene; one step enough for me."

- J.H. Newman

  

Shot on the iPhone

Steel Pulse

Steel Pulse is a roots reggae musical band. They originally formed at Handsworth Wood Boys School, in Birmingham, England, composed of David Hinds (lead vocals, guitar), Basil Gabbidon (born Basil Glendon Gabbidon, 29 October 1955, Buff Bay, Jamaica - lead guitar, vocals), and Ronald McQueen (bass). Hinds, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards.Originally produced by Pete King

Formed in 1975, their debut release, Kibudu, Mansetta And Abuku arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with Nyah Love for Anchor. Surprisingly, they were initially refused live dates in Caribbean venues in the Midlands because of their Rastafarian beliefs. Aligning themselves closely with the Rock Against Racism organisation and featuring in its first music festival in the spring of 1978, they chose to tour with sympathetic elements of the punk movement, including the Stranglers, XTC etc.: "Punks had a way of enjoying themselves - throw hordes at you, beer, spit at you, that kind of thing". Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records.

Their first release for Island was the Ku Klux Klan 45, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage. By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nisbett (drums), Alphonso Martin (vocals, percussion) and Mykaell Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British Reggae (Executive Producer Pete King). However, despite critical and moderate commercial success over three albums, the relationship with Island Records had soured by the advent of Caught You (released in the US as Reggae Fever).

Tom Terrell, who would later serve as their manager, was instrumental in masterminding the U.S. premiere of Steel Pulse on the night of Bob Marley's funeral, which was broadcast live around the world from the 9:30 Club, 930 F Street, N.W., Washington, D.C. on May 21, 1981.

They switched to Elektra Records, and unveiled their most consistent collection of songs since their debut with True Democracy, distinguished by the Garvey-eulogising 'Rally Round' cut. A further definitive set arrived in Earth Crisis. Unfortunately, Elektra chose to take a leaf out of Island's book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant. Babylon The Bandit was consequently weakened, but did contain the anthemic "Not King James Version", which was a powerful indictment on the omission of black people and history from certain versions of the Bible.

Their next move was of Hinds of Steel Pulse to MCA for State Of Emergency, which retained some of the synthesized dance elements of its predecessor. Though it was a significantly happier compromise, it still paled before any of their earlier albums. Centennial was recorded live at the Elysee Montmartre in Paris, and dedicated to the hundred year anniversary of the birth of Haile Selassie. It was the first recording since the defection of Alphonso Martin, leaving the trio of Hinds, Nisbett and Selwyn. While they still faced stern criticism at the hands of British Reggae fans, in the United States their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York City Taxi & Limousine Commission in the Supreme Court, asserting that their cab drivers discriminated against black people in general and Rastafarians in particular.

The Steel Pulse message of hope, education and activism has struck a chord with music lovers worldwide. Their international success has resulted in a Grammy award for their 1986 classic Babylon The Bandit, and nominations for subsequent albums Victims (1991) and Rastafari Centennial (1992). In 1989, the group contributed I Can't Stand it to the soundtrack of Spike Lee's film Do The Right Thing.

In 1994, the group headlined some of the world's biggest reggae festivals including Reggae Sunsplash USA, Jamaican Sunsplash, Japan Splash and Northern California annual Reggae on the River Festival. In 1986, Steel Pulse contributed an ethereal version of Franklin's Tower on Pow Wow Records' Fire on the Mountain: Reggae Celebrates the Grateful Dead compilation. They recently covered The Police's Can't Stand Losing You for a reggae compilation of Police tunes that will appear on the Ark 21 label. The band is particularly proud of "Rastanthology," a 17-song collection of Steel Pulse classics (the 1996 compilation was released on the band's own Wise Man Doctrine label).

"We're not here to start a physical revolution, we're just here to open everybody's eyes and let them check themselves and continue in a very educational mode to change things on that tip", Hinds explains. "We're losing ourselves and I think it's very important for us to realize that. Too many of our youths have been lost to drugs, or by the gun, or not having the education needed to persevere and move in an upward direction. I think RAGE & FURY will contribute to their enlightenment."

In 2007, The band released their music video for 'Door Of No Return', a track taken from their latest studio album "African Holocaust", which explores themes of the Trans-Atlantic Slave Trade. Shot on location in Senegal and New York City by Driftwood Pictures Ltd.

Steel Pulse played Friday night on the Jazz World Stage at the 2009 Glastonbury Festival.

Steel Pulse are collaborating with Driftwood Pictures to create a definitive feature length documentary on the band's thirty year history.

The band is currently working on a new album due out in 2010 and has released the single Barack Obama Song.

Original member Basil Gabbidon released the album Reggae Rockz in 2008.

Discography Studio albums

•Handsworth Revolution (1978)

•Tribute to the Martyrs (1979)

•Caught You (1980)

•True Democracy (1982)

•Earth Crisis (1984)

•Babylon the Bandit (1986) Grammy Award Winner - Best Reggae Band

•State of Emergency (1988)

•Victims (1991)

•Vex (1994)

•Rage and Fury (1997)

•African Holocaust (2004)

The 2017 Paris Sevens was the 15th edition of the France Sevens, and the ninth tournament of the 2016–17 World Rugby Sevens Series. The tournament was played on 13–14 May 2017 at Stade Jean-Bouin in Paris.

South Africa won the Cup final, defeating Scotland by 15–5 to clinch the overall series title for the season with an unassailable lead over the defending champions Fiji New Zealand finished third in the Paris tournament, and Argentina won the Challenge trophy for ninth place.

The teams were drawn into four pools of four teams each. Each team played all the others in their pool once. The top two teams from each pool advanced to the Cup quarter finals. The bottom two teams from each group advanced to the Challenge Trophy quarter finals.

The 2016–17 World Rugby Sevens Series, known for sponsorship reasons as the HSBC World Rugby Sevens Series, is the 18th annual series of rugby sevens tournaments for national rugby sevens teams. The Sevens Series has been run by World Rugby since 1999–2000.

The 2016–17 Series also serves as a qualifying tournament for the 2018 Rugby World Cup Sevens. Nine of the core teams have already qualified for that tournament. The top four finishers in the 2016–17 Series from among the remaining six core teams will qualify for the 2018 RWC Sevens.

In this series, World Rugby abolished the minor trophies of Plate, Bowl and Shield that were previously awarded in the finals play-offs at each tournament. While the winner's Cup was retained as the major trophy, the awarding of gold, silver and bronze medals to players from the three respective top-placed teams was introduced for this series. A Challenge Trophy was established for teams competing in the lower bracket of the finals play-offs at each tournament. Additionally, the playing time for Cup final matches was reduced from 20 minutes to 14 minutes, in line with all other tournament matches.

Rugby sevens is a variant of rugby union in which teams are made up of seven players playing seven minute halves, instead of the usual 15 players playing 40 minute halves. Rugby sevens is administered by World Rugby, the body responsible for Rugby Union worldwide. The game is popular at all levels, with amateur and club tournaments generally held in the summer months. Sevens is one of the most well distributed forms of rugby, and is popular in parts of Africa, Asia, Europe, and the Americas, and especially in the South Pacific. Rugby sevens is commonly referred to by rugby union media and fans as simply "sevens".

Rugby sevens originated in Melrose, Scotland in the 1880s; the Melrose Sevens tournament is still played annually. The popularity of rugby sevens increased further with the development of the Hong Kong Sevens in the 1970s, the World Rugby Sevens Series in 1999, and more recently with the 2009 vote by the International Olympic Committee to bring rugby back to the Olympics beginning in 2016.

The main competition for rugby sevens is the World Rugby Sevens Series, a series of seven to twelve tournaments played each year from approximately November to May. Rugby sevens is also played at some quadrennial events. The main quadrennial events are the Rugby World Cup Sevens and the Summer Olympics. Rugby sevens is now recognised as an Olympic sport and made its debut in the 2016 Summer Olympics. This followed a vote by the International Olympic Committee in 2009 to include the sport. Rugby sevens is also played at regional events, such as the Commonwealth Games and the Pan American Games.

Rugby sevens is sanctioned by World Rugby, and is played under similar laws (with exceptions noted below) and on a field of the same dimensions as the 15 player game. While a regular rugby union match lasts at least 80 minutes, a normal sevens match consists of two halves of seven minutes with a two-minute half-time break. The final of a competition can be played over two halves of ten minutes each. (In the World Rugby Sevens Series, only the Cup final, which determines the overall winner of an event, is played with 10 minute halves; all finals for lower-level trophies are played with 7 minute halves). Sevens scores are generally comparable to regular rugby scores, but scoring occurs much more frequently in sevens, since the defenders are more spaced out. The scoring system is the same as regular rugby union, namely five points for a try, three points for a drop goal (whether from penalty or open play) and two points for a post-try conversion.

The shorter match length allows rugby sevens tournaments to be completed in a day or a weekend. Many sevens tournaments have a competition for a cup, a plate, a bowl, and a shield, allowing many teams of different standards to avoid leaving empty-handed.

Sevens tournaments are traditionally known for having more of a relaxed atmosphere than fifteen-a-side games, and are often known as "festivals". Sevens tournaments gained their "popularity as an end of season diversion from the dourer and sterner stuff that provides the bulk of a normal season's watching." Fans frequently attend in fancy dress, and entertainment is put on for them.

The Hong Kong Sevens tournament has been especially important in popularising the game in Asia, and rugby sevens has been important as a form of international rugby "evangelism", hence is perhaps the most widely played form of the game, with tournaments in places as far apart as Bogota and Bangkok, Kuala Lumpur and Kenya, Singapore and Scandinavia, as well as the countries in which rugby union is well known

Women's rugby sevens has been dominated by New Zealand, with either the New Zealand team (1999–2001) or Aotearoa Maori Women's Rugby sevens team (playing as New Zealand) winning the annual Hong Kong Sevens tournament from 1997 until 2007. The United States won the Hong Kong Sevens in 2008 by defeating Canada in the final (New Zealand failed to send a team).

A women's rugby sevens game in the USA

The inaugural Women's Rugby World Cup Sevens tournament took place in Dubai together with the men's tournament during the first weekend of March 2009. England defeated Canada 12–0 in the Bowl final while Australia edged New Zealand 15–10 in extra-time to become the first to win the Women's Rugby World Cup.

WR, then known as the International Rugby Board (IRB), organised its first official women's sevens tournament outside of the World Cup as part of the 2011 Dubai Sevens. This was part of a plan to launch a full IRB International Women's Sevens Series for 2012–13. The international series was officially christened as the IRB Women's Sevens World Series in an IRB announcement on 4 October 2012. The series, as planned, launched for the 2012–13 season and initially featured events in Dubai, the USA, China and the Netherlands. Two additional events were planned for the 2013–14 series, but in the end only one of these events, in Brazil, took place. For the 2014–15 series, China dropped from the schedule, while Canada and England hosted new events. The series was rechristened for 2014–15 as the World Rugby Women's Sevens Series, following the November 2014 renaming of the IRB as World Rugby. The 2015–16 series included only five events; the England and Netherlands events were dropped and an event in France was added. The 2016–17 series returned to six events with the launch of an event in Japan.

Women's rugby sevens was included in the 2016 Olympic Games due to the IRB's successful bid to reintroduce rugby to the Summer games. Australia claimed the gold medal for the event, beating New Zealand in the final with a score of 24-17. Canada claimed the bronze medal after beating Great Britain 33-10 in the third place play-off. WR also successfully pushed for the inclusion of women's sevens in the 2018 Commonwealth Games.

 

Paris accueillera la 9ème étape du HSBC Seven series.

Le Paris Sevens aura lieu du 13 au 15 mai, au Stade Jean-Bouin.

A l’issue du Tournoi de Singapour qui à vue le premier sacre du Canada, les poules pour Paris ont été dévoilées.

La France devra se défaire de l’Angleterre, du Kenya et de l’Espagne.

Devant ses fans, l’Equipe de France sera opposée à l’Angleterre, au Kenya et à l’Espagne dans la poule C. Pour se qualifier en quart-de-finale de Cup, les Bleus devront terminer à l’une des deux meilleures places de la poule C, au terme de la journée du samedi 13 mai.

POULE A : Afrique du Sud, Ecosse, Japon

POULE B : Nouvelle Zélande, Pays de Galles, Argentine

POULE C : Angleterre, Kenya, France, Espagne

POULE D : Australie, Fidji, Samoa, Russie

France Sevens , actuellement hébergé comme le Paris Sevens , est un tournoi international annuel de séminaires de rugby . L' événement fait partie de la Sevens World Series et a été accueilli à Bordeauxen 2004. La France a également accueilli des tournois dans la série Sevens Grand Prix , à Lyon .

De 1996 à 1999, le tournoi était connu sous le nom de Air France Sevens et, en 2000, il faisait partie de la série inaugurale IRB Sevens World Series.

La CISR a accueilli le tournoi à Bordeaux en 2004, avant de retourner à Paris pour 2005 et 2006 . L'événement a effectivement été remplacé dans la World Sevens Series par Scotland Sevens à Edinburgh pour lasaison 2006.

Entre 2011 et 2015, Lyon a organisé une étape du circuit européen, la Sevens Grand Prix Series .

La Série mondiale Sevens est revenue en France pour la saison 2015-16, avec la reprise du tournoi Paris Sevens en 2016.

Les IRB Sevens World Series sont créés en 1999-2000 et le tournoi parisien en fait partie. Les Néo-Zélandais conservent leur titre et s'imposent de nouveau en dominant largement l'Afrique du Sud sur le score de 69 à 10. Entre 2000 et 2004, les World Sevens Series passent par Cardiff, abandonnant le tournoi français.

En 2004, l'étape est cependant réintégré aux programme mondial. Elle se dispute cette année-là au Stade Chaban-Delmas à Bordeaux où la Nouvelle-Zélande l'emporte à nouveau en battant les Anglais 28 à 19 en finale. La saison suivante, elle fait son retour à Paris mais cette fois au Stade Jean-Bouin. C'est l'équipe de France qui est sacrée grâce à sa victoire 28 à 19 contre les fidjiens, première victoire française lors d'un tournoi des World Series. La compétition fait son retour à Charléty la saison suivante et elle connaît sa dernière édition avec une victoire de l'Afrique du Sud aux dépens de l'équipe des Samoa (33 à 12). La France n'organise pas l'édition 2007 en raison de la coupe du monde de rugby à XV qui disputera la même année. Les World Sevens Series intègrent alors l'Écosse dans le circuit mondial et Glasgow reste par la suite une étape annuelle.

L’élite mondiale du rugby à 7 a rendez-vous à Paris. Venez partager l’esprit Sevens et soutenir les Bleus les 13 & 14 mai prochains à Paris au stade Jean-Bouin !LES STARS DU RUGBY À 7 ONT RENDEZ-VOUS À PARIS

Avant dernière étape du circuit mondial rugby à 7 (HSBC World Rugby Sevens Series), les seize meilleures équipes internationales du rugby à 7 se réunissent pour s'affronter sur la pelouse de Jean-Bouin.

Le jeu à 7 est connu pour sa rapidité et son spectacle. Il va donc y avoir du jeu et de l’enjeu !

2 JOURS DE FÊTE NON STOP

Amateurs de rugby et/ou de fête, le HSBC Paris Sevens est fait pour vous !

Avec le Sevens, le spectacle est sur le terrain mais aussi dans les tribunes où l’ambiance bat son plein avec des supporters chantant et dansant parés de leur plus beau déguisement.

Paris ne va pas déroger à la règle : les 13 & 14 mai 2017, Jean-Bouin sera sportif ET festif ! Rempli de supporters français et du monde entier, remontés à bloc, l'Esprit Sevens sera au rendez-vous.

LE PROGRAMME Samedi 13 mai 2017 :

Le premier jour du tournoi est réservé aux matches de poules, décisifs pour accéder aux phases finales.

Dimanche 14 mai 2017 :

Le second jour est réservé aux phases finales, très importantes pour établir le classement final.

Sans oublier les nombreuses animations qui seront proposées dans les tribunes, dans les coursives et sur le parvis qui permettront aux spectateurs de vivre une expérience unique de fête, d’échange et de partage pendant ces 2 jours de compétition.

C’est la bonne nouvelle de ce samedi midi ! À Jean Bouin, les Bleus sont parfaitement entrés dans le Paris Sevens. Auteurs de quatre essais face à des Kenyans redoutables, récents vainqueurs du tournoi de Singapoure, les coéquipiers de Julien Candelon ont effectué une formidable deuxième mi-temps pour emporter le premier round du tournoi à 7 hexagonal (22-14). Visiblement revigorés par le retour à la compétition de Virimi Vakatawa, dont la puissance a causé de nombreux problèmes aux défenseurs kenyans, les Bleus ont envoyé un signal fort aux quelques 10 000 spectateurs présents depuis 11 heures ce matin, Porte d’Auteuil.

En fin de match, le tricolore Manuel Dall’Igna analysait : « Les Kenyans nous ont cueillis à froid par un essai magnifique. De notre côté, nous nous sommes un peu précipités en rendant des ballons au pied. A 14-5, on s’est fait peur et, à l’avenir, nous devrons également resserrer les boulons en défense. Mais l’essentiel est sauf ». De ce match, on retiendra le « off-load » magnifique de Virimi Vakatawa et l’essai de cinquante mètres aplati par Julien Candelon, après un raffut magnifique. La prochaine étape, pour les Bleus, se disputera à 16 heures contre l’Angleterre.

Vainqueurs de l'Ecosse lors de la finale du Paris Sevens (15-5), ce dimanche, l'Afrique du Sud est déjà assurée de remporter le circuit mondial.

L'Afrique du Sud a remporté dimanche le tournoi de rugby à 7 de Paris en battant l'Écosse en finale (15-5). C'est le cinquième tournoi (sur neuf joués) remporté par les Blitzboks cette saison. Les Sud-Africains sont assurés de remporter le circuit mondial avant même la dernière étape à Londres, le week-end prochain. Ils succèdent au palmarès aux Fidji, victorieux des deux dernières éditions.

La troisième place du tournoi a été prise par la Nouvelle-Zélande, qui a battu l'Angleterre en petite finale (12-5). Les Bleus, eux, ont terminé septièmes.

Le rugby à sept (ou rugby à 7) est la variante du rugby à XV qui se joue par équipes de sept joueurs sur le terrain (plus les remplaçants). Le rugby à sept reprend les caractères communs du rugby à XV : deux équipes qui se disputent un ballon ovale, le ballon joué à la main (passes) ou au pied (coups), des formes de mêlées et de touches, un objectif qui consiste à marquer plus de points que l'adversaire en réussissant soit des essais soit des buts.

Le rugby à sept est originaire d'Écosse et s'est développé dans la seconde moitié du xxème siècle dans les pays anglo-saxons (Afrique du Sud, Nouvelle-Zélande, Australie, Royaume-Uni), puis en France. Le 9 octobre 2009, le rugby à sept devient un sport olympique à partir des Jeux olympiques de Rio de Janeiro 2016, où l'équipe masculine des Fidji et l'Australie du côté des dames, ont remporté les premières médailles d'or.

En 1976, Ian Gow et Tokkie Smith, président de la filiale de Rothmans à Hong-Kong et entrepreneur sud-africain ressuscitent le jeu à sept en organisant un tournoi réunissant douze équipes à Hong-Kong. C'est un succès qui va entraîner la création de plusieurs autres tournois.

En 1993 à Édimbourg en Écosse a lieu la première coupe du monde de rugby à sept mettant aux prises 24 équipes nationales. Cette coupe du monde de rugby à sept aura désormais lieu tous les quatre ans.

En 1999-2000, l'IRB (International Rugby Board) organise une série de dix tournois internationaux, l'IRB World Sevens Series, qui couronne la meilleure nation sur l'ensemble de la saison.

Le 9 octobre 2009, le Comité international olympique intègre le rugby à 7 parmi les sports présents aux Jeux olympiques d'été et ce à compter des jeux de 2016 L'arrivée du rugby à 7 dans le programme olympique entraîne d'abord un arrêt de la Coupe du monde de rugby à 7 après l'édition de 2013 en Russie (qui est attribuée à la Nouvelle-Zélande après son écrasante victoire face à l'Angleterre 33 à 0). Cependant, en juin 2013, l'IRB décide que la compétition sera maintenue et se tiendra tous les quatre ans à partir de 2018.

Les règles de base du rugby à 7 sont fondées sur celles de son homologue à XV. Les différences y sont, comme on peut s'y attendre, principalement liées au nombre réduit de joueurs. La liste de variations officielles est détaillée dans un document de World Rugby. (Ci-dessous, entre parenthèses figure la version correspondante du rugby à XV.)

Joueurs : Par équipe, il y a 7 joueurs sur le terrain (15). Hors terrain, 5 remplaçants (7) et 3 remplacements possibles (8) au maximum sont permis par équipe. Un joueur remplacé peut revenir en jeu sauf en cas de blessure ouverte ou saignante (c'est possible à 15). Les mêlées se font avec 3 avants (8) par camp. Comme au rugby à XV, les joueurs sont classés par poste : en ligne avant, deux piliers et un talonneur qui forment la mêlée ; les arrières, 2 demis de mêlée et d'ouverture, 1 centre, et un ailier-arrière. Du fait que le terrain est le même qu'à 15, la faible densité de joueurs rend le jeu plus dynamique et les essais beaucoup plus fréquents. De ce fait également, le gabarit des joueurs est moins massif.

Temps de jeu : Un match est joué en deux mi-temps de 7 minutes (40) au plus de temps de jeu (non arrêté), avec une pause de 1 minute au plus (10 à 15) pour changer de côté. Une finale de tournoi peut durer 2 fois 10 min, avec au plus 2 min de pause. En cas d'égalité (match nul), ce temps de jeu est suivi d'une ou plusieurs prolongations de 5 min jusqu'à ce qu'une équipe l'emporte par les premiers points marqués (ordinairement 2 prolongations de 10 min, puis tirs au but).

Marque : Une transformation se fait par coup de pied tombé (anglais drop goal), dans les 40 secondes (ordinairement par coup de pied placé, et 90 s). L'équipe qui a marqué effectue la remise en jeu (c'est l'adversaire qui remet en jeu), par un drop goal qui doit atteindre la ligne des 10 mètres adverse. En prolongations, les premiers points marqués déterminent le vainqueur final.

Arbitrage : Il y a un juge d'en-but par côté (les juges de touche vont dans l'en-but) qui aidé par un juge de touche signale le passage de pénalités et transformations. Un joueur exclu temporairement pour anti-jeu ou jeu dangereux (carton jaune) l'est pour une durée de 2 min (10 min) : une telle suspension engendre une faiblesse très sévère de son équipe du fait qu'1 joueur sur 7 est exclu (1 sur 15). La règle de l'avantage est rapide, durant habituellement un temps de jeu (plusieurs). Nombre de pénalités suivant des fautes de jeu se font par un tir libre (free kick) du centre de la ligne médiane (proche du lieu de la faute), au choix à la volée ou en drop goal (en coup de pied placé). pour un tir au but, cela doit se faire dans les 30 secondes (60 s)

With so many things to follow.

It's better to be a leader.

A well pad for a hydraulically fractured gas well sits in a manmade clearing in the rolling hills near Duckworth, W.Va. Photo by Mike DuBose, UM News. Aerial photography flight courtesy of SouthWings.

Take your shoes or boots off at home to avoid tracking in lead or other pollutants.

quickie

lead holder (the canon)

Peeling Paint, Lead Paint pics by Mike Mozart instagram.com/MikeMozart

at the old spaghetti factory, new westminster, bc

Entre 1997 et 2007 le groupe français «

Les Gigolos »

parcourt le Monde (

Nouvelle Zélande,

Liban, Maroc, Tunisie, Finlande, Italie, Danemark, Allemagne, Suisse, Angleterre, etc.) en

reprenant la musique de Louis Prima.

Le leader du groupe, Stéphane Roger, remonte aujourd’hui une formation s’inspirant au

plus près de la formation initiale de Louis Prima, avec une chanteuse.

Vous y entendrez tous les tubes, de « Just a Gigolo » à « Buona sera », « Jump Jive and

Wail », « Sing Sing Sing » et bien sûr les fameux duos comme « Nothing’s too good for my

Baby » et « Sentimental Journey ».

Stéphane Roger s’est entouré de 7 musiciens exceptionnels qui connaissent parfaitement

cette musique. !!

!

!

!

Pauline ATLAN (Chant)

Fille du clarinettiste Pierre ATLAN, Pauline est née dans le jazz. Elle commence par

chanter le répertoire « Nouvelle Orléans » cher à son père puis le « modernise » avec les

standards de l’American Songbook et va vers un style, toujours classique mais plus swing,

de la musique de jazz.

Elle se produit avec les meilleurs musiciens du genre sur les scènes des jazz clubs parisiens

comme dans les festivals internationaux.

« Elle chante les mélodies avec une parfaite mise en place et un sens du swing

incontestable, d’une voix agréable qui pourra suggérer la grande Billie ». (D.Burucoa, Jazz

Classique)

Sa personnalité et son sens de la scène lui confèrent d’indéniables atouts pour tenir le rôle

de Keely Smith. !

Stéphane ROGER (Batterie et Band Leader)

Musicien professionnel depuis 30 ans, Stéphane fait ses armes au sein de formations telles

que celles d’Olivier Franc (meilleur représentant de la musique de Sidney Bechet), de

Fabrice Eulry ou de Paris Barcelona Swing Connection (groupe franco-espagnol).

En 1989 il monte le groupe Mégaswing qui donnera naissance aux Gigolos en 1997 puis à

Pink Turtle en 2007.

Festivals : Waîheke (Nouvelle Zélande), tournées au Brésil (Rio, Sao Paulo, Belo Horizonte,

Brasilia), Beyrouth (Liban), San Javier, Barcelone, San Sebastien (Espagne), Ascona

(Suisse), Nice, Vienne, Marciac (France).

Discographie : 4 albums avec Paris Barcelona Swing Connection dont un avec Franck Weiss

et un avec Wild Bill Davis. 5 albums avec Mégaswing, 3 albums avec les Gigolos et 3 albums

avec Pink Turtle. !!

!!!

Patrick BACQUEVILLE (Chant/Trombone)

Tromboniste et chanteur autodidacte, Patrick découvre le jazz en écoutant Louis Nelson,

George Lewis, Jim Robinson et la musique de la Nouvelle Orléans. Il se retrouve au côté

d’Olivier Franc puis de Maxim Saury pendant de nombreuses années.

Il participe à l’aventure «Slapscat » et à quantité d’autres formations où se révèle ses

talents de chanteur de jazz.

Il intègre les Big Bands de François Laudet, de Michel Pastre et le Paris Swing Orchestra où

il joue un rôle de soliste essentiel.

En 1997 il participe à la création du groupe « Les Gigolos » qui rendra hommage à Louis

Prima pendant 10 ans.

Patrick Bacqueville a acquis ses lettres de noblesse en participant aux meilleurs orchestres

de jazz français où il perpétue le swing dans tous ses états et de toutes les époques. !!

!

Michel BONNET (Trompette/chant)

Prix Sidney Bechet de l’Académie du Jazz en 1995, Michel découvre le jazz en 1974 au

contact des Haricots Rouges. En 1979, avec des amis, il fonde son premier orchestre, le

sextet « les Tom Cats » où il jouera près de 10 années. Ils se produisent entre autre à

Antibes Juan-les-Pins (1987) et à la Grande Parade de Nice (1990).

Parallèlement il joue avec Gilbert Leroux et Les Globe Trotters.

De novembre 1993 à janvier 2000, il fait partie du Big Band de Claude Bolling avec qui il

enregistre 4 albums (The Victory Concert, Cinéma Dreams, The Drum is a Woman et A Tone

Paralell to Harlem).

Il intègre « Les Gigolos » en mars 1997 avec qui il se produit dans les plus grands festivals

(Nice, Antibes, Vienne, Bayonne) ainsi qu’à l’Olympia, au Casino de Paris, à la Cigale, à

l’Européen et dans de nombreux pays.

Il a fait partie de « Pink Turtle » pendant 6 ans et joue régulièrement dans le Big Band

« Paris Swing Orchestra ». !!!

Claude BRAUD (Saxophone/chant)

Claude, c’est 35 années de saxophone où il a partagé de grandes scènes internationales au

sein de multiples formations.

C’est un son exceptionnel, doux, chaud et rond dans les balades, « animal » quand il

s’attaque au répertoire de Sam Butera, le saxophoniste de Louis Prima.

Avec Saxomania de Claude Tissandier il a accompagné Benny Carter, Phil Woods, Clark

Terry, Lew Tabackin.

Il a tourné 7 ans avec Mégaswing, 10 ans avec Les Gigolos et il a enregistré avec le

tromboniste chanteur Gene « Mighty Flea » Conners. !!

!

!

!

!

!

!

!

Nicolas PESLIER (Guitare)

Guitariste et banjoïste, Nicolas effectue ses débuts professionnels en 1990.

Figure du Swing parisien, il est récompensé en 2004 par l’Académie du Jazz qui lui décerne

le prix Sidney Bechet.

Sa polyvalence stylistique et ses facultés d’adaptation font de lui un sideman demandé par

les musiciens de jazz « classique », du New Orléans au Swing.

Accompagnateur sans faille et soliste inspiré, il collabore régulièrement avec le Claude

Bolling Big Band, Dany Doriz & Manu Di Bango, Rhoda Scott, les Trios Jazz des brunchs du

Méridien Etoile, Marc Laferrière, Le François Laudet Big Band (avec Robin McKelle), le

Claude Tissendier Tentet.

Très influencé par Charlie Christian et les guitaristes « bluesy » (B.Kessel, K.Burrell,

G.Benson), il participe aux orchestres de Boogie-Woogie de Jean-Pierre Bertrand (Boogie

Machine) et Jean-Paul Amouroux (Festival de la Roquebrou) dans le style des Rhythm Kings

d’Albert Ammons. !

!

!

Fabien SAUSSAYE (Piano)

Pianiste et percussionniste de formation classique, Fabien découvre très tôt le jazz et le

blues.

Si en début de carrière son orientation professionnelle est axée sur les percussions

classiques où il obtient plusieurs prix de Conservatoire ainsi qu’un diplôme d’Etat, très vite

les musiques afro-américaines et notamment le blues, prennent une place importante dans

sa vie musicale.

Il joue régulièrement dans les clubs parisiens (Caveau de la Huchette, Jazz Club du

Méridien Etoile, Petit Journal Montparnasse) et dans de nombreux festivals français et

européens (Cognac Blues Passion, Ascona Jazz Festival, Andernos, Breda, Mirepoix,

Châtelguyon, Munster, La Baule, Luxembourg Jazz Rallye, Blues sur Scène, etc.).

Pianiste du Drew Davies Rhythm Combo depuis 2007, il se produit aussi avec de nombreux

artistes français et internationaux (Shanna Waterstown, Boney Fields, Shakura S’Aida, Nico

Duportal, French Blues All Stars, FM Laeti). !!

!

Enzo MUCCI (Contrebasse)

Guitariste, banjoïste et contrebassiste, Enzo fait ses débuts dans la région toulousaine au

sein de nombreux groupes régionaux.

En 1980, il rejoint la capitale où il joue avec le saxophoniste soprano Olivier Franc

jusqu’en 1986.

Au banjo, il participe à l’enregistrement de musiques de films de Claude Bolling.

Il est guitariste dans le sextet du pianiste François Rilhac.

Il accompagne à la contrebasse le pianiste de Blues Memphis Slim pendant 3 ans et fait

ainsi la connaissance de tout le milieu blues et boogie. Il joue régulièrement avec Jean-

Paul Amouroux et Jean-Pierre Bertrand.

Multicartes, Enzo baigne aussi dans les milieux tziganes et manouches où il joue avec

Romane, Dorado Schmith, Birelli Lagrène et Angelo Debarre.

Pendant 2 ans, il est le guitariste de la chanteuse Cécile McLorin Salvant.

Actuellement, il est le contrebassiste du « 3 for Swing » de Jacques Schneck et le

guitariste du « Big Band Paris Swing Orchestra ».

A group of seven Israeli Defense Forces officers, lead by Maj. Gen. Yoav Har-Even, visited the Nimitz-class aircraft carrier USS Theodore Roosevelt (CVN 71) in the Mediterranean off the coast of Sicily last week, for a day of familiarization and discussions with American naval personnel. During the visit the officers had the opportunity to observe flight and maritime operations from the deck of the carrier and receive a brief on how Sailors organize, direct, and move aircraft around the four-and-a-half acre flight deck, as well as a brief on the ship’s navigational systems. They also learned about the operations of the ship, the flight squadrons, and the Carrier Strike Group. The activities included an up-close view of flight operations such as catapult launches, an in-air refueling demonstration, arrested landings, search and rescue operations, and a tour of the ships vast aircraft hangars, flight squadrons, operation center, bridge, and flight control tower. The purpose of the visit was to demonstrate the capabilities and firepower of USS Theodor Roosevelt and the TR Carrier Strike Group and to support cooperation between the U.S. and Israeli navies, as well as ensuring interoperability between the U.S. and their Israeli partners. Such visits are a means of sustaining the U.S.’s long-standing alliance with Israel. The group, which also included officers from the Cypriot military, was hosted by the ship’s commanding officer, Capt. Daniel C. Grieco, and the commander of the Carrier Strike Group Rear Adm. Andrew Lewis.

USS Theodore Roosevelt deployed from Norfolk and will execute a homeport shift to San Diego at the conclusion of deployment.

Theodore Roosevelt is the flagship of the Theodore Roosevelt Carrier Strike Group (TRCSG), which is composed of Carrier Strike Group 12, Carrier Air Wing 1, Destroyer Squadron 2 staff, the guided-missile cruiser USS Normandy (CG 60) and the guided-missile destroyers USS Winston S. Churchill (DDG 81), USS Farragut (DDG 90) and USS Forrest Sherman (DDG 98).

TRCSG consists of approximately 6,000 Sailors and Marines who have spent the last year conducting intensive training and certification exercises to establish a safe, cohesive organization capable of performing a wide variety of missions across the globe, ranging from counter-piracy and ground support operations to humanitarian assistance and disaster relief.

U.S. Naval Forces Europe-Africa, headquartered in Naples, Italy, oversees joint and naval operations, often in concert with allied, join, and interagency partners, in order to advance U.S. national interests and security and stability in Europe and Africa.

 

Lead Foot - Cobbler's shoe form (sorry...it's actually cast iron not lead), machined stainless steel wheels, RC engine, conduit fitting, propane torch tip, carburetor float, lamp switch, jig clamps and typewriter parts. one foot long (of course!), 7" wide, 4" tall.

 

Annual large car show, held each Labor Day weekend in New Jersey.

Whitinsville Christian 85, Hopedale 63: Undermanned..By Jared Keene/Daily News staff..At 6-foot-6, senior Paul Manning is the main rebounder and inside threat on Hopedale’s boys basketball team...Just 2:25 into last night’s contest with Dual Valley Conference rival Whitinsville Christian, however, Manning picked up his second foul, earning him a spot on the bench for the rest of the half...The Crusaders took full advantage, out-rebounding the hosts by 18 in the first half while lighting it up from the field in a 85-63 victory...“If I didn’t get those silly fouls at the beginning of the game, I felt like I would have played the whole first quarter, so that alone would have kept the rebounding up to par with the other team,” Manning said. “We wouldn’t have been down so much.”..Hopedale coach Tony Cordani saw a variety of factors key the visiting Crusaders...“They came ready to play and I don’t know what their percentage was in the first half, but they shot the ball extremely well,” said Cordani after his team fell to 6-3 (2-1 DVC). “And Paul got into a little foul trouble, so we couldn’t rebound with them. The combination of their exceptional shooting in the first half and our lack of rebounding was the difference, I thought.”..Whitinsville Christian seemed to set the tone early by forcing a turnover and an airball on the Blue Raiders’ first two offensive possessions...The Crusaders held a 19-9 lead after the first quarter, thanks in large part to their eight offensive rebounds — allowing for second-chance opportunities — and tough man-to-man defense that seemed to fluster the Hopedale offense...“One of our keys to the game was to win the rebounding battle tonight and keep them off the offensive glass and for the most part we did a pretty good job of that,” Whitinsville coach Jeff Bajema said. “We’ve also been working hard on our defense. We don’t have the height this year, but we’ve got some quick guards and kids that like to defend. That’s our game right now.”..In the second quarter, the Crusaders also started taking advantage of the various zone defenses the Blue Raiders played. Whitinsville Christian spread the floor and used quick, crisp ball movement to end up with numerous open 3-pointers...Of the seven triples the Crusaders hit for the game, five came in the second quarter, a period in which the visitors built their lead to 25 by halftime (50-25). Two of those five treys came from the hand of Colin Richey, who finished with a game-high 20 points...“I’ve seen these guys play on a number of occasions and the teams that have gone man-to-man (against them), Richey has been able to penetrate and then he becomes a problem,” Cordani said of the decision to play zone. “I was just hoping that we could weather the storm a little bit and have some in the tank at the end. It was a gamble we took. I guess we’ll see what happens next time we play them.”..Hopedale came out a different team in the third quarter, out-rebounding Whitinsville by six while outscoring the Crusaders 22-12 to pull within 62-47...Just 15 seconds into the fourth quarter, the Blue Raiders cut the lead to 13, but that was the closest they got the rest of the way, as Whitinsville used a 14-4 run to take its lead back up to 23 at 76-53 and ice the game...--------------..Colin Richey led all scorers with 22 points, including two 3-pointers for the visiting No. 9 Crusaders (4-1, 3-0 Dual Valley). Tyler VandenAkker added 15 points, and Antonio Estrella scored 12 for Whitinsville Christian. Jeremy Bacon's 15 points paced the Blue Raiders (6-3, 2-1). ..WHITINSVILLE CHRISTIAN.Name.FGM.3PM.FTM.Pts..Tim Dufficy.4.2.0.10.Eric Monroe.1.1.0.3.Connor Dolan.2.0.0.4.Scott Ebbeling.1.0.1.3.Jesse Dykstra.4.0.0.8.Antonio Estrella.6.0.0.12.Colin Richey.8.2.4.22.Grant Brown.3.2.0.8.Tyler VandenAkker.7.0.1.15.Totals.36.7.6.85..HOPEDALE.Name.FGM.3PM.FTM.Pts..Colby Caso.1.0.0.2.Cole Dedonato.0.0.0.0.Shane Finnegan.2.2.0.6.Kevin Lynch.4.1.0.9.Evan Lerner.2.0.2.6.Ian Strom.4.1.0.9.Dan Manoli.1.0.0.2.Paul Manning.4.0.1.9.Jeremy Bacon.3.0.9.15.Nick Walker.2.1.0.5.Totals.23.12.12.63.

 

Shot at ISO 3200, Aperture of 2.8, Shutter speed of 1/500 and Focal Length of 135.0 mm

Taken with a Minolta/Sony AF 70-200mm F2.8 G lens and processed by Aperture 3.2.2 on Monday January-09-2012 20:43 EST PM

Loosely based on a 12950's Mercury..