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dustedmagazine · 5 years

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Dust Volume 6, Number 2

Grisha Shakhnes

Time for another collection of short, sharp reviews, covering a gamut of styles. Our most tireless contributor, Bill Meyer, turned in a record eight Dusts this time, so if you like jazz, improv and experimental music, this is your edition. Other writers included Ray Garraty, Jennifer Kelly, Justin Cober-Lake, Tim Clarke and Ian Mathers.

Max B — House Money (Self-released)

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Max B is doing 75 years in prison, yet before his bid he recorded a lot of music to be used by trusted collaborators. Last year’s Coke Wave 5 with French Montana felt authentic enough to be confused with Max’s pre-prison mixtapes, only a bit more polished. This new EP is no less wave-y and goofy, but too many guest verses dilute the fun. If French, with whom Max B recorded a lot of mixtapes together, seems like a natural collaborator, the rest of the guests are an uneasy fit. House Money is a Frankenstein-y affair exactly because Max himself wouldn’t invite them to his booth (not that they are lousy talents, they are just on a different frequency with Max B). It is probably mixed and produced by someone who thought that these collaborators would attract additional audience, yet the result is the opposite: Max B’s fans would feel alienated by impostors in his own domain.

Ray Garraty

Jeb Bishop / Jaap Blonk / Weasel Walter / Damon Smith — JaJeWeDa (Balance Point Acoustics)

Pioneer Works Vol. 1 BPA 19 by JeJaWeDa (Jeb Bishop / Jaap Blonk / Weasel Walter / Damon Smith)

No matter how big the stage they occupy, it isn’t big enough for Jaap Blonk and Weasel Walter. Both men are masters of strategic exaggeration. Put them together and a clash is inevitable. Blonk not only spews sound poetry like a symphony of pan-lingual news broadcasts and surreptitiously recorded mouthwash experiments, he manipulates electronics with a video game controller that looks especially ridiculous in his gangly hands. Walter mugs and wallops, each movement lunging simultaneously at your ears and your funny bone. Perhaps you’re wondering, “isn’t this a record review? How will these visual descriptions clue me into the sound?” Play this record and you will know. And you will also marvel at the way bassist Damon Smith and trombonist Jeb Bishop balance the other half of the band’s nuttiness with seriousness so unfailing, you might put your money on them against Roscoe Mitchell in a game of poker.

Bill Meyer

Ben Carey — Antimatter (Hospital Hill)

ANTIMATTER by Ben Carey

Sydney-based electronic musician Ben Carey played saxophone before he took on modular synthesizers. This may explain the quivering, palpable presence of the sounds he devises; he makes static pulse and shake like swollen lips engaged in the act of vocalizing. His deployments of attenuated tones, sudden swells, and insistent chimes are discontinuous and episodic, but also quite thoughtfully planned out. Both the sudden shifts and the long considerations of discrete elements feel as essential as the unforgettable bridge in a bubblegum cart hit, and the qualities of the sounds Carey ponders amply reward the attention required to follow their shifts in and out of audibility and back and forth across the stereo spectrum. If you’re inclined to get well acquainted with Antimatter, consider springing for the LP. Since both Carey and his label are situated in Australia, it might take some looking and spending, but Rashad Becker’s cut and the 45-rpm playing speed guarantee maximum presence.

Bill Meyer

John Chantler — Tomorrow Is Too Late (Room40)

Tomorrow Is Too Late by John Chantler

From the pig’s ass on the sleeve to the titles of the album’s two tracks, John Chantler’s Tomorrow is Too Late promises to deal with endings. But when you put the record on, you find yourself adrift in events that defy linear description, let alone the definition of a final point. Oh, sure, both of them end, but they don’t spend the time leading up to those terminations making sure that you know where they’re going. The title track was commissioned for the 2018 iteration of the French electronic music institution INA GRM’s Présences Électronique festival, and most of its sounds were obtained from a François Coupigny synthesizer that is over 50 years old. Rare earl synths are like worlds unto themselves, and the listener is adrift with Chantler as he invites sounds to converge, dispel, and recongregate in winking, restless masses. On “We’re Always at the End,” the electronic sound convergence make way for a pipe organ, which coheres into a solid sonic presence, but when it disappears, the piece does not. This is music to inhabit, over and over again.

Bill Meyer

Richard Dawson — 2020 (Weird World)

2020 by Richard Dawson

This sixth full-length from cult songwriter Richard Dawson unspools like a series of linked short stories, the characters sharing a blighted, latter-day English backdrop and perhaps avoiding one another’s eyes as they pass on the streets. Sung in Dawson’s wavery tenor — with flights up into a very uncertain falsetto — and backed with the most straightforward of rock-ish instrumental arrangements, the songs flourish in their specificity. The metal-riffing “Jogging,” for instance, tells the story of a mid-life crisis with startling exact-ness, an ex-school counselor, laid off and too anxious to leave the house, advised by a doctor to take up jogging. The story is told first person, in the most straightforward way possible, with minimal embellishments. If it weren’t for the crashing guitar chords, the squiggly lines of synth, you might be listening to a friend over coffee. The scenarios are mostly dreary, of people stuck in soul-sucking jobs, in towns where things go wrong through neglect and inertia. Yet, once in a while the sun comes piercing through, and life, however stunted and bare and grey, turns ever so slightly hopeful. I’ll leave you with verse from lacerating “The Queen’s Head.”

“The guy from the vape shop Ferrying his chocolate labs Waves to us cheerily From a leaky kayak ‘I've lost everything apart from what counts’ Pointing to his dogs and then at his heart.”

Now that’s a pre-chorus.

Jennifer Kelly

Frank Denyer — The Boundaries of Intimacy (Another Timbre)

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On The Boundaries of Intimacy, composer Frank Denyer explores volume dropped to a soft level. The approach produces a sort of intimacy, nearly everything sounds hushed, although it remains unclear whether, as listeners, we're leaning into a confidant or cupping our hand to a wall to eavesdrop. Regardless of our position as listeners, Denyer continues his work with unpredictable instrumentation, highlighting sneh and koto playing in various places (including two version of a koto piece), and combining flute and electronics for a strange tonal study called “Beyond the Boundaries of Intimacy.” When he works with a more traditional set of instruments, as on “String Quartet,” the ostensibly comfortable sounds become unfamiliar, an experienced aided by Denyer's play with dynamics, turning from a crescendo to a near disappearance. Denyer presents those sorts of challenges across these pieces (written over the past 40 years). He requires attentive, patient listening, but rewards it with unsettling experiences.

Justin Cober-Lake

Avram Fefer Quartet—Testament (Clean Feed)

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This record is credited to the Avram Fefer Quartet, and it’s true that the Brooklyn-based alto and tenor saxophone wrote the tunes and leads the band. But he’s not necessarily the guy you will listen to every time that you play it. Not that there’s anything wrong with Fefer’s playing, which combines Sonny Rollins’ muscularity with an affinity for bold melodies rooted equally in soul jazz and West African pop music. He’s got ideas, emotion and chops to spare. But damn, what a band! Fefer and bassist Eric Revis have an association going back to the 1990s; no matter which way the music rolls, the foundation is solid. Drummer Chad Taylor is a regular member of a trio with Fefer and Revis which made a couple records a decade or so back, and he’s also a member of bands led by Revis and guitarist Marc Ribot. Taylor never misses a chance to turn the music up a little closer to a boil, and the blues-rooted tone that Ribot favors here adds steely sentiment to the blues, mass to the Afrobeat repetitions, and confident complexity to the free interludes in this music. So, if your attention wavers from the saxophone for a second, it’s probably because you’re listening to how one of his accompanists is playing off of another one. Wotta band!

Bill Meyer

Roc Marciano — Marcielago (Self-released)

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In “Saw” Roc Marciano says, “Sometimes I pinch myself in disbelief,” referring to a level of fame he’s achieved after 20 years in the rap game. The listeners are pinching themselves as well, but for a different reason: Marciano doesn’t repeat himself. Roc Marci works with his lyrics on two levels: line by line as well as bar by bar. As defined by Marci, his songs are “poetry over beats.”Marcielago is a quieter effort, closer to Rosebudd’s Revenge 1 and 2, than to 2018’s KAOS and Behold a Dark Horse. To rephrase the poet himself, on Marcielago he’s more like a pimp than a mack. The standout here is “Ephesians” which starts with early electronica and then explodes into a full-scale attack. Marci’s long time collaborator Ka spits here a verse which does an impossible thing: Marciano is murdered on his own turf.

Ray Garraty

Machtelinckx / Badenhorst / Cools / Gouband — Porous Structures (Aspen Edities)

porous structures by Machtelinckx/Badenhorst/Cools/Gouband

This quartet comprises two steel-stringed acoustic guitarists, one percussionist prone to placing stones on his drums, and one clarinet and a saxophone player who likes to sing. The album’s title implies permeability, and the music delivers by creating the impression of actions happen in different places at the same time. Ruben Machtelinckx and Bert Cools’ guitars create structures made of slow-moving, finger-picked patterns. Toma Gouband and Joachim Badenhorst often sound like they are playing in some resonant space outside of the guitars’ sanctuary, where their sounds can spread a halo of echo around and occasionally blow through the dry, close-miked string sounds. The former’s rattling rocks create more texture than motion; the latter’s distant croons and spare tones create a sense of distance. In their own quiet way, these musicians have arrived at a sound that can’t be mistaken for anyone else’s.

Bill Meyer

Salim Nourallah — Jesus of Sad (Palo Santo)

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The narrators of Salim Nourallah's songs don't often find things going so well. Nourallah's taken that point to its logical conclusion on new EP Jesus of Sad. Rather than indulging depressive tendencies, though, the songwriter brings his sense of humor for a parodic take. “So, you think you've suffered?” he sings to open the disc. “I sip the tears of the world from my coffee cup.” The hyperbole might immediately develops his exaggerated character. Accompanied by multi-instrumentalist Billy Harvey, Nourallah moves on to “Born with a Broken Heart,” a funky number owing something to Soul Coughing while providing one of the best bass lines in his catalog. The cut's full of wit while addressing serious questions about faith, gender equality, and more.

“This Doesn't Feel like Peace, Love, or Understanding” (the second track here to echo a Nick Lowe title) sounds like quintessential Nourallah, with a pop-rock sound that would have fit on any of his last few records and a relatable sentiment conveyed in smart lyrics. Two versions of “Misanthrope” close out the disc. Nourallah co-wrote the song with Rhett Miller, but here he turns away from the Old 97's' bouncy version (called“She Hates Everyone”). Nourallah slows it down, building complex feelings; he can't fully enjoy his strange love now under his anxiety about the future. It closes the EP well, being yet more honest emotion that manages to misdirect and complicate things, the true heart covered by the knowing satire of “Jesus of Sad.”

Justin Cober-Lake

Parashi—Tape From Oort Cloud (Sedimental/Skell)

When a record provokes images of a Captain Beefheart lyric turned inside out, you know its makers are on to something. The squelchy sounds that usher in “The Vanishing Coast,” which is the first of this LP’s four tracks, does not bring to mind synthesizers, even though that’s what Mike Griffin (that’s Mr. Parashi to you) probably used some time them. Nor does it bring to mind someone else’s record. Rather, I hear the words “slow and bulbous” as the music sinks slowly into its own swampy stealth. “Broadcast Failures” leaves even those alinear coordinates behind as it pings its way woozily into the depths. The titular malfunctions might be echoed calls which fail to distract the sonar-like main body of sound, or the squashed, distant carousel that follows. Or maybe it doesn’t. File this under best practice befuddlement, but be sure to tape a bookmark to the plastic outer sleeve to remind yourself of the necessity of playing it.

Bill Meyer

Tom Redwood — The Glue (self released)

The Glue by Tom Redwood

With The Glue, his fourth album, Melbourne-based singer-songwriter Tom Redwood has tapped into a rewarding strain of country/folk that pulls hard on traditional roots, while adding a knowing wink, flowing performances, and plenty of tuneful song craft. As in Jim O’Rourke’s beloved series of Drag City albums, the music-making is taken seriously but is undercut by self-deprecating humor. On “Easy Love” Redwood sings, “When I was young I was easy loving / But now that I’m old, I’m not so dumb,” and on the title track he makes a playful reference to “round, gorgeous thighs.” He’s not afraid to play it straight, though, such as on the haunting “Cold Mother Night,” and reflective closer “Shut the Door.” There’s superb lap steel playing by Kier Stevens, smart counterpoint on guitar and “cheesy keys” from producer Matt Walker, and ethereal backing vocals from Rosie Luby, which contrasts nicely with Redwood’s aw-shucks delivery.

Tim Clarke

Grisha Shakhnes — Being There (Unfathomless)

being there by grisha shakhnes

Being There presents the listener with a document of actor, action and the arena in which the former enacts the latter. Essentially, Grisha Shakhnes recorded himself recording and recorded the room in which he was recording. Sometimes a recording device filters the subjects of his inquiry on the way to the recorder; while the sounds were captured by a Zoom digital recorded, some of them went through a Rvox reel-to-reel tape deck along the way. Equipped with the knowledge that you’re hearing Shakhnes making recordings, you quickly find yourself making decisions about what sounds to follow, and then dealing with the consequences of the choices you made as your act of following draws you into the chain of events that made the album in the first place. You are present with Shakhnes, sharing in the creation of Being There.

Bill Meyer

Six by Seven — Dream On (Cargo)

D R E A M . O N by six by seven

One of the great shoulda beens of 1990s British rock (on the other side of the Atlantic, it’s doubtful anyone not reading something like the NME at the time would have heard much of them), Six by Seven are also one of the few from that era to keep going in a way that’s not just repeating old glories. Now almost entirely just frontman Chris Olley (his son Charlie drums here, but otherwise it’s a solo show) you wouldn’t guess it from the massive, warmly analogue psychedelic/motorik drones and drifts here. Stylistically speaking, Olley can be a restless guy, never really revisiting the glory of Six by Seven’s first three albums (what you might call their classic period, and well worth checking out) but also covering an astonishing breadth during the years since. The recent Dream On is as good a place to dip into his stream of work as any, boasting three massive soundscapes (the best of which might be “And No One Knows Your Name” as well as briefer, dreamier song like “Hey Kid” and the title track. Both his muse and the demands of making music your day job keep Olley forever moving, though — even writing up this release was marked by the appearance of a double album-length Dream On 2, so anyone on Olley’s wavelength can expect a lot to keep up with.

Ian Mathers

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shakespearesglobeblog · 6 years

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Music Instrument Design for Edward II.

Our wonderfully talented Director of Music, Bill Barclay has built some unique instruments for our production of Edward II. In this blog he tells us about these instruments and the three different worlds of sound he has created for the production.

Christopher Marlowe’s dark history of Edward II still reverberates loudly today both in its powerfully modern assertion that love is love, and in the incompatibility between vulnerability and the corridors of power. To help tell the story of these contrasts that ripple through time, I’ve built two new musical instruments that provide natural reverberation in the Sam Wanamaker Playhouse, which has a warm yet dry acoustic. These devices play alongside a raft of ethnic and period instruments to create three contrasting palates of sound.

The first world of sound: war, rebellion, dissidents, and political pressure

The first sound world describes the sounds of war, rebellion, dissidents, and political pressure. This is achieved through the creation of a steel cello, which is an instrument I first encountered in Boston built by musician Matt Samolis, also known by his stage name Uncle Shoe. I was infatuated with his creations and had used them in theatre before, but this is this instrument’s debut in the United Kingdom. With Matt’s guidance I’ve constructed a new kind of steel cello bespoke to the Sam Wanamaker.

This is how it works: several large deep ride cymbals and metal rods are bolted to a large stainless steel resonating sheet, which amplifies the metal objects as they are bowed and struck. The instrument is capable of a wide range of sounds which are almost entirely below the frequencies of consonants in speech, making words intelligible over a rash of haunting textures. Amazingly, the instrument often sounds synthesised – digital, even – metallic, industrial, dark, and yet shimmering. Matt and I used to play it for sound meditations in long beautiful drone concerts, and yet it can also distort to provide an incredible lexicon of theatrical punctuation. The whole band takes a turn on it, but it is chiefly played by Music Director Rob Millett, and it is played throughout the production.

The steel cello is complemented by a bass drum, field drum, and Sarah Homer’s contra alto clarinet – a rare instrument lower than the bass clarinet which gurgles at the low end of the hearing spectrum under the steel cello’s reverberant strokes.

The second world of sound: love

The second sound world was meant to contrast with the first as much as possible in order to depict the love between Edward and Gaveston as incompatible with its oppressive cultural antipathy to homosexuality. For this world we lean on Tunde Jegede’s kora – the West African harp, chiefly from the griot storytelling tradition of Mali.(A griot is a West African historian, storyteller, praise singer, poet, or musician).

The kora melds with a swarmandal, a Hindu harp the characteristic buzzing from its sympathetic strings. To fill out this pan-ethnic texture, we use a hammered dulcimer and a bass dulcimer, instruments that are from all over the world, though perhaps most prominent in music from the Middle East. These three harp-like instruments from around the world emphasise the beauty, the universalism, and perhaps the exotic presence that define love so unabashedly in this play. The textures these strings make with each other seems to chime perfectly with the candlelight, and lend an extraordinary atmosphere to the Playhouse.

The third world of sound: the church

The third sound world is of the church. Here the tubular bells, accordion (mimicking an organ), cello, and contra alto clarinet form a league of ominously low, yet sinuously melodic instruments that collect like vines around the ankles of the play’s characters – powerful yet beautiful. Also in this world is the singers, who at various moments intone the Latin prayers of the Requiem Mass, as if the death of Edward I (Longshanks, Edward II’s father), still looms over the cracked glass of our protagonist’s troubled reign.

The second original instrument is the spring machine. Two long helical springs are attached to the theatre’s back wall, and connect directly to the heads of two frame drums bolted to the face of the music gallery. When the springs are rubbed and struck, we discovered that the sounds that pour out of the drums are unearthly, unsettling, and hard to mentally place. For weeks I had been seeking sounds for the play’s horrible final scenes that were truly original – sounds that could only mean this peculiar horror. We tried attaching a double bass to the springs, and had 4 springs start on each string, going into four drums. The sound was amazing but I could still hear the double bass, and the sound was too familiar.

When we took the bass away and hung the springs to a hook instead, it focused the sound much more on the strange sounds of the springs themselves, which we then tightened to amplify the signal. This revealed the coups de grace: when the drum heads are struck with a mallet in a heartbeat pattern, the heartbeat flows to the back wall and out the drums again, creating an analogue looping system. The intention is to recreate the sound of hearing your own heartbeat thudding in your ears, as you imagine the worst. The secondary intention is to allow the truly horrible parts of the story be truly horrible, by preparing our subconscious with unsettling sounds that have no preconceived identity. We don’t want you to be listening to the ‘music’ here – we want the sounds to unsettle the psychological anticipation of Edward’s grisly demise.

Once the act occur, there is no need, or room, for any more music in its final pages. The stage stays mostly in darkness, the characters have their comeuppance, and silence seems the only appropriate ending. We are still processing the horror, and the tragedy, and after two hours of steady building to this moment, it feels right to go out with these solo odd springs.

Other instruments used in the show include the tagleharpa, a medieval bowed three-string harp made for the Globe by a Russian instrument maker in Karelia. This undergirds the ancient character of Old Spencer and provides a bit of the dark ages as an important colour for the older generation of this world. Paul Johnson also plays several ethnic flutes:

Kaval - a Bulgarian wooden flute

Tambin - the national instrument of the West African Fula

Bansuri - a common North Indian flute

Bombard - a loud double-reed member of the shawm family used to play Breton music

Portuguese and English bagpipes

Occasionally Paul plays the bagpipes against Sarah Homer’s soprano saxophone – an entirely modern instrument but ones whose timbre, when mixed with the pipes, creates the sensation of two fanfaring trumpets.

Finally, the Nyatiti, the lyre from Kenya, makes a few important solo appearances. This instrument means ‘daughter-in-law’, and it is the female counterpart to the maleness of the West African kora. The two harps provide contrasting emotional colours – the kora in act 1 when love is free, and the Nyatiti in the second half when it is not.

The ambitious nature of this score is testament to the dozens of shows played at the Globe by these four incredible musicians; indeed, the score has been composed for their unique multi-instrumentalism. There is no other person in London who could double on kora and cello than Tunde Jegede, nor any other player than Music Director Rob Millett who plays the dulcimer at an expert level, yet can learn how to work magic from something so new as a steel cello. Paul Johnson and Sarah Homer each in turn provide similarly original contributions that speak to their true uniqueness as players.

The overarching goal here was for the Globe to do what it does best – be inventive, embrace the parameters of acoustic music, and lean heavily on the unique experience of its core artists. I remain a student of period music at the Globe, but only in service of bringing period sounds together with improvisation, new instruments, living composers, and surprising orchestrations.

In collaborating in this way, we attempt to fabricate an entirely unique sound world that can only define the world of this play, here, right now.

Edward II is in the Sam Wanamaker Playhouse until 20 April.

Musical instrument photography by Hannah Yates Edward II production photography by Marc Brenner

#music #edward ii #sam wanamaker playhouse

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thesunlounge · 6 years

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Reviews 202: S&W

Dub Disco has been growing increasingly ambitious with each release and their upward ascent hit a high point last year with the pop psychedelia and euphoric remix collection Dub Disco Presents Aporia + Remixes. And now, the imprint steps beyond their characteristic brown sleeves, playful caricatures, and 12” oriented jams into the wonderful world of the balearic long player. Thomas Schiller and Samuel Krist, otherwise known as S&W, have appeared on Dub Disco before and their track “Cashmere Green” from Dub Disco Presents S&W is among the label’s best. But even considering the high quality of that 12”, the awe-inspiring visions and expansive sonic vistas of duo’s debut album A Weekend Far Out are quite surprising, as S&W craft a sun-dappled soundtrack for a fantasy vacation along the mediterranean, one where crashing waves background immersive balearic adventures through ambient clouds, dreamy African folk spells, hypnotic house and disco rhythms, lush Rhodes chordscapes, island breeze mallet instruments, 90s chill-out glides, and paradise worlds of tropical krautrock and kosmische synthesis, among many other shades and styles. And tying together the whole journey is the magical full color artwork of @victoria-stampfer.

S&W - A Weekend Far Out (Dub Disco, 2019) Crashing waves introduce “Arrival at the Shore” and are soon joined by a Rhodes piano…it’s liquid chord fantasias decaying mesmerically over starlight arpeggiations. As the seaside ambiance slowly fades away, it is replaced by heavenly pads that swirl in from oceanic depths through hypnotic phaser movements and cut-off manipulations, adding a feverish sense of motion to the faded aqua haze. “Ocean View Drive” follows with golden piano leads and balmy synth chords flowing above timbales and breathy cymbal movements while romantic electronic squiggles swim through the sky…this magical introduction eventually washed away by effervescent kick drums, static smothered snares, and rimshots that echo over bubbling krautrock basslines. Buzzing synths weave LSD dreamscapes and sometimes the melodic elements back away, leaving clacking rimshots and hypnotic motorik beats to chug beneath grooved out bassline magic. It’s like slow motion cruising down the autobahn on a serene sunny day, only as if transported to a fantastic seaside world where euphoric synth sequences float on rays tropical sunlight, bringing vibes of Hatchback and the rest of the Pacifica scene along the way.

“Cloud Palace” will surely be one of the balearic anthems of the year, starting as it does with aquatic marimba patterns looping the mind into a solar trance state while luscious synthwaves build underneath. And as the idiophones dance over thumb piano tapestries, flamboyant gated tom fills introduce a slamming seaside breakbeat that soars beneath deep house pads. Wooden mallet tones dance on spiritual sparkles and everything grows into a vibed out jam, one that’s supremely spaced out and sees crystalline piano chords floating on immersive sub-bass waves. The reverb soaked breaks glide eternally through paradise realms while static patterns surf in the background ether, evoking the heyday of 90s chill out and José Padilla’s Cafe del Mar compilations A mesmeric mallet instruments weave wooden dreamwebs. Cosmic synth descents bring airs of smooth jazz and touches of Afro-folk and at some point, everything vaporizes into gas, leaving the listener to float through the titular cloud palace before dropping once more into a vibed out jam seeing thick and subaqueous bass synths pulsate alongside climactic piano chords...the whole thing evoking some beachside dancefloor in a world of dreams, where everyone raises hands in the air as they surrender to S&W’s mystical ocean magic.

In the Crocodile Funk featuring “Mondello,” machine disco rhythms, spectrally morphed hand drums, and rattling snares are danced over by kaleidoscopic balafon melodies…the wooden planks and gourds vibrating ecstatically as they cast sunshine spells. Double-time hi-hats rush through the air while tropically flanged guitars play off the Malian folk incantations…like vibes of Tortoise intermingling with fiery Afro-disco. Sliding bass fluids move all around and give the disco glide a glowing dub pulse while echoing string and chime melodies dance on sunbeams. Then a radiant lead enters and is backed by morphing reso-squelches...as if smeared out alien steel drums are skipping on seashells while all around, white sand crystals gleam in the sun and wiggling mirage electronics and equatorial fevers fade in and out of clear blue waters. The wonderfully titled “New Age Fantasy” follows and features percussive synth bubbles, future-island hand drums swaying on squelching bass currents, and hypnotic panning beats. The effect is like being momentarily transported to a lazy summer vacation in the south Pacific, with percolating chime melodies like cool sea-spray against warm skin. It all strongly evokes the tropical exotica of Haruomi Hosono, especially as liquid star shine melodies flutter towards the clouds, marimbas float through psychedelic echo bubbles, and resonant fusion leads and wah-wah synths paint dream vibrations in the salty air.

The epic “Monte Pellegrino” features Gustaaf and unfurls across two parts, with the first setting emotional disco beats to glide on cosmic clouds while harmonious pads wash in with etheric wave flows. Twanging slap bass loops fire off alongside tight synthbass percolations and bongos ride through a balearic dreamscape adorned by strange sliding tones that simulate whale songs and dolphin lullabies. Mallet instruments are submerged in cosmic-aquatic fx as they dance through the sky before dropping away and allowing the track to vibe out for an extended passage of lush synthesized chordscapes and tropical disco rhythms. As the sea-blue idiophones return, they grow in strength while the rhythms recede, giving space to pad meditations, chirping insects, and the ceremonial sounds of the sea. The second part of “Monte Pellegrino” emerges from these oceanic nature spells with bass synths walking along the shore and trancey orchestrations building atop chill-out atmospherics. Bongos join pulsating string synths as the schmaltzy fusion slap-bass returns…the whole mix floating in a beatless ambient wonderland where everything seems to radiate gold and aquamarine. When the disco beat finally returns alongside polyrhythmic mallet dreamwebs, we find ourselves gliding towards a sunset horizon as everything zones out for toes in the sand and cocktail in hand bliss…like sitting on some hidden beach of impossible beauty while birds of every color fly tree to sea and rainbow fish shimmer below the water’s surface

New age keyboard chimes and a hovering sense of seaside warmth pervade “Garden of Cosmic Speculation” and a vibed out beat is led by heady cymbals…the whole thing reveling in that kind of slow motion balearic house by way of fantasy disco that you find in Maricopa’s recent work. Gorgeous staccato synth riffs blast the mind with currents of aquatic power that are physically enveloping and swell the heart and minimal chord ascents carry a nostalgic sense of euphoria as we transition towards playful pastures where jacking bass synths dance and descend across glowing cosmic pools while looping synth chords move through the sky and pan-pipe electronics skip on the surface of an interstellar ocean. When we return to the sensual disco paradise, soul-lifting FM synth fluids solo and vibrate…their leads bringing polychromatic visions and joyous laughter until the mix momentarily spaces out into fractal streaks of starlight, zany delay oscillations, and emotional chord flows under soft filter movements. And as we journey once more to the playful realm of cosmic dance magic, huge columns of reverb drift into the sky while balafons join the spiritual sea sway.

There are further slow-motion disco romantics and heady hi-hat patterns on display in “After the Tempest,” with the mix featuring seabirds flying high in the sky…their evocative calls morphed into silvery light and moving through gaseous bodies of synthesizer mist. Chugging basslines thump the chest as Rhodes pianos drop gemstone percolations that shimmer throughout the mix. Tambourines jangle while tubular square wave leads enter…their meditative movements backed by narcotic fog banks of mermaid euphoria…and sizzling synth winds blow all around, eventually leading to an ambient passage where heart-wrenching chords movements and fluttering echoes preclude a climactic sound rush that brings back the soaring beats. As they return, the disco drums seem to hit harder than before...the whole song evolving into hammock house perfection ringing out from eternal island cliffs and rained down upon by kosmische sequences and LSD filter tweaks. The vacation ends with “Homecoming” and its alien contrabass tones emanating from underwater caverns. Bubbling sea synths communicate with coral and fish and the inky black ambiance is eventually brought into the light by beautiful pianos that wrap the soul in their watery chord flows. Chiming sequences swim through the depths as rays of sunlight break through the surface and refract off of a seabed of rubies, emeralds, and sapphires and all the while, pizzicato melodies beamed in from another dimension stoke wistful memories of a time in paradise and crashing waves sounds return to cleanse the mind.

(images from my personal copy)

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alexartsoffice · 3 years

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The 43rd Alexandria Jazz Festival is this weekend! Are you excited? We're excited! This year's event is ticketed to help maintain social distancing and there are currently no open reservations, but the waiting list is available. Link in bio.⁣ ⁣ This week, we're going to give you a sneak peek into who's performing. ⁣ ⁣ Meet our second act: The Eric Byrd Trio (3 of 3)⁣ ⁣ Collectively, The Trio has played with jazz trumpeters Wynton Marsalis and Randy Brecker, jazz guitarists Charlie Byrd and Mike Stern, jazz saxophonists Bob Berg, Buck Hill, David “Fathead” Newman, and Cecil Payne, jazz pianists George Colligan and Kenny Drew, Jr., jazz saxophonists and flautists Sonny Fortune and Gary Thomas, be-bop jazz trumpeter, flugelhornist, flautist, and saxophonist Ira Sullivan, jazz steel pan player Othello Molineaux, jazz vibraphonist Warren Wolf, gospel harpist Jeff Majors, jazz vocalists Vanessa Rubin and Rebecca Parris, gospel vocalist Yolanda Adams, and Cuban American singer/songwriter Jon Secada.⁣ ⁣ Eric, Bhagwan, and Alphonso are educators with advanced degrees in Music History, African American Music, and Jazz Performance. They frequently give clinics on music history, jazz, and the relationship between the spirituals/gospel, blues, and jazz. Because of their immense knowledge of music, commitment to music education, and ability to teach diverse and international audiences, they have been sponsored by the Untied States Embassy as Kennedy Center/U.S. State Department Jazz Ambassadors touring South America, Central America, the Caribbean, Eastern & Western Europe, and the Middle East. The Trio has also delighted audiences across the globe at the historic Montreux Jazz Festival and in Bolivia, Chile, Colombia, Dubai, Estonia, Honduras, Italy, Peru, Scotland, and Trinidad and Tobago.⁣ ⁣ @ericbyrdtrio https://instagr.am/p/CPZS5NftXtV/

#IFTTT #Instagram

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berlysbandcamp · 4 years

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Fimber Bravo is one of the most influential exponents of cutting edge steel pan in contemporary music: blasting it in the black power protests of his native Trinidad in the late 60’s; in fusion with West African stars in the 70’s, 80’s & 90s; and integrating them in leftfield improvisations with Western pop and electronic sounds today. Collaborating on his forthcoming album LUNAR TREDD with the likes of - Alexis Taylor, Hot Chip; Susumu Mukai, (aka Zongamin) ; the brilliant Senegalese griot and kora player, Kadialy Kouyate; Tom Furse of The Horrors; Cathy Lucas, (Orlando & Vanishing Twin) the street vocals of Cuttie William's, along with the high energy charge of Leo Taylor's drumming and that of Senegalese master drummer, Mamadou Sarr. Mixed alongwith Ghost Poet’s producer Shuta Shinoda and Lapo Frost, mastered by Tom Furse.

#steel pan #world #electronic

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omgindustrynews · 4 years

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Saturated Polyester Resin Market Share, Various Types, Application, Relevant Trends & Forecast to 2020

The global Saturated Polyester Resin market was valued at USD 4,281.1 million in 2019 and is expected to reach USD 6,598.5 million by 2027, growing at a CAGR of 5.59% from 2020 to 2027.

Saturated polyester resin is formed by the reaction of polybasic acids and polyols, and its feature includes excellent flexibility and hardness. It is mainly used in can coating, rolled steel, non-stick pan, ink, adhesive, PET coil, metallic baking paint such as automotive paint, and so on.

Saturated polyester resin is water, heat, and humidity resistance, therefore, they offer a wide range of applications in several industries such as paint & coating which are projected to boost the market growth over the forecast period. The rising industrial sector is influencing to spur market growth in the upcoming years. Furthermore, strict government regulations imposed on VOC emissions have resulted in the development of eco-friendly technologies that are substituting solvent-borne coatings. This, in turn, might fuel the demand for saturated polyester resin

Request Sample Report @ https://qualiketresearch.com/request-sample/Saturated-Polyester-Resin-Market/request-sample

Saturated polyester resins are primarily used to manufacture solvent-free powder paints and coatings. Owing to its superior properties, such as good weather resistivity, excellent impact strength, and adhesion to metals (even under humid conditions). Saturated polyester resins are favored for exterior and interior architectural applications, coating machinery, domestic appliances, steel furniture, and garden tools.

Growing construction and automotive sector are expected to drive the usage of powder coatings, thereby boosting the growth of the market during the forecast period.The construction sector has been witnessing a robust growth in Asia-Pacific and Middle East & Africa. In the Middle East & African region, governments have been making efforts to develop the non-oil sectors, after the region faced a financial crisis, due to the drastic fall in oil prices in the past.

Significant numbers of raw materials used in coatings formulations are either derived directly from oil for their chemical composition, or indirectly as a result of energy derived from oil for their mining and/or processing. The price of oil can be highly volatile and many factors can impact this forecast, driving the price/barrel either up or down. As a result, oil prices have a significant impact on the price of coatings raw materials.

ChemQuest estimates that there is a “pass-through factor” of roughly 50%—i.e., if the price of oil doubles, raw material prices will increase by 50%. A realistic worst-case scenario might see prices of crude oil 50% higher than the forecast, which would increase raw materials for paints and coatings roughly 25%.Over the coming five years, the price of oil is forecast to remain relatively stable, within the range of $60–$70/barrel according to the U.S. Energy Information Administration (EIA).

The implication for raw material suppliers and coatings formulators is that the price of the base materials that comprise coatings will likely rise at a rate similar to the rate of inflation to 2022.

Consumer and regulatory pressure to replace bisphenol-A (BPA)-based materials in food contact metal packaging coatings has increased in recent years.Bisphenol-A (BPA) is a chemical commonly used in food contact plastics and coatings applications such as the BPA-epoxy-based linings of metal cans containing food or beverages.

With increasing pressure from food brands, formulators and can makers are actively looking for alternative solutions that can meet or exceed the performance of BPA-based coatingsAmong all the new resin technologies today, polyesters with a balance of key performance attributes have emerged as one of the most promising alternative solutions.

The outbreak of coronavirus has resulted in major disruption of saturated polyester resin production, supply chain, shortage of raw materials, and increased costs. In addition, the cost volatility of petroleum products is impacting the market. Nevertheless, end-users are seeking alternative supply sources to maintain supply chains. The recovery is likely to be strong after the outbreak is brought under control, owing to the wide scope of applications for saturated polyester resins.

Saturated Polyester Resin Market Segmentation

Based on the type segment, the overall saturated polyester resin market is segmented into solid saturated polyester resin and liquid saturated polyester resin. The liquid saturated polyester resin segment dominated the target market in 2019 due to its extensive usage in the coating industry as industrial paints and automotive paints.

By application-wise, the worldwide market is classified into the automotive industry, home appliances, industrial machinery, and OEMs. Among this automotive industry has the highest market share owing to surge in the sale and production of vehicles around the globe.The demand is driven by rising sale and production of vehicles which requires polyester resins for automotive paintings, light covers, dashboards, panels, coating and among others.

Regional Analysis

North America to grow at the highest CAGR during the forecast period

Geographically, the global Saturated Polyester Resin market is divided into North America, Europe, Asia Pacific, Latin America, and Middle East & Africa. Among these, the North America accounted for the highest revenue share.

North America Saturated Polyester Resin Market was valued at USD 763.6 million in 2019 and is expected to reach USD 1,202.9 million by 2027, growing at a CAGR of 5.88% from 2020 to 2027. Growing adoption of the electric vehicles due to growing awareness about the pollution control devices, and rising the disposable income in this region have propelled the saturated polyester market

Top Key Players

Various key players are discussed in this report such as Royal DSM N.V., Allnex Belgium SA/NV, Arkema S.A., Nuplex Industries Ltd., Stepan Company, Evonik Industries, Nippon Gohsei, Covestro AG , and Megara Resins.

Recent Developments

DSM and Avril completed creation of joint venture to develop plant-based protein in July 2020

Arkema invested in continuous composites, strengthening their strategic partnership in July 2020. Arkema reinforces its high-performance thermobonding adhesives business with the acquisition of Fixatti

Covestro announced partnership with Genomatica, a San Diego based biotechnology company, will deploy Genomatica's strengths in developing industrial-scale bioprocesses to produce widely used chemicals. Covestro complements the collaboration with strong know-how in chemical process technology and application development in March 2019

Market Segmentation

By Type

Liquid saturated polyester resin

Solid saturated polyester resin

Solid carboxyl-terminated saturated polyester resin

Solid hydroxyl-terminated saturated polyester resin

By Application

Powder Coatings

Industrial Paints

Coil & Can Coatings

Automotive Paints

Flexible Packaging

2k PU Coatings

Others

By Region

North America

Latin America

Europe

Asia Pacific

Middle East & Africa

Browse Full Report @ https://qualiketresearch.com/reports-details/Saturated-Polyester-Resin-Market

About Us

QualiKet Research is a leading Market Research and Competitive Intelligence partner helping leaders across the world to develop robust strategy and stay ahead for evolution by providing actionable insights about ever changing market scenario, competition and customers. QualiKet Research is dedicated to enhancing the ability of faster decision making by providing timely and scalable intelligence. We use different intelligence tools to come up with evidence that showcases the threats and opportunities which help our clients outperform their competition.

#Saturated Polyester Resin Market #Saturated Polyester Resin Market Size #Saturated Polyester Resin Market Share #Saturated Polyester Resin Market Worth #Saturated Polyester Resin Market Report

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dibbletailor42 · 4 years

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The Different Wheels Of Roulette

The remainder of the action is dependent on chip placement. The six line features the top or bottom six numbers with a payout of 5 to 1. In the American version of roulette, the top line is another place to put your action on. These are reminiscent of s’mores, but a cheaper, easier version. Today, we have made the further decision to take Pan MacMillan up on their offer and are beginning the process of removing his titles from our warehouse. The list includes his publisher Pan Macmillan, bookstore Dymocks, BIG W, Coles, kitchenware company Baccarat, Woolworths, House homewares, Target, Kmart, Booktopia and David Jones. I've done some tests with the pressure cooker, the House is Australia's largest independent and dedicated retailer of quality Homeware & Kitchenware products. Baccarat Damashiro Japanese knives are made from the finest quality Japanese steel. Baccarat always offers discounts, and to find the correct validation coupon code, you need to check that the current offer is available. Though, the European single zero offers players better odds since the American wheel has a single and a double zero making the odds less likely than a European wheel.

If the total of cards in a hand goes into double digits, you do not consider the first digit. The inclusion of the green zero or double zero can be played in a special street called the basket. In this race, where we only have three horses, you can see Laser Focus is the underdog, while Green Eggs (no ham) is the favorite. Interesting to see the differences between what my mother fed us on in the UK when she was managing on a small income and the kind of things your mother fed you on. In June 2018, the eurodollar market suggested that the Fed would cut interest rates at some point when the U.S. Point Spread: This is a number of points given to the underdog by the Linemaker in order to handicap the favorite. From an economic point of view, the tens of billions of pounds saved within pension funds could be used as an investment tool to finance the requirements of industry. It makes sense. Tens of millions of shares shorted the last day or two to slam our stock and a hit job by Hindenburg. The payout for a corner bet is 8 to 1. A split happens when the bet touches only two numbers.

A corner bet occurs when the chip is placed where four numbers touch it. If you think there is a greater than 40% chance of the outcome happening then you have found yourself a value bet. Two hands with two cards will be then dealt for the 'banker' and 'player'. Life seemed much more simple then. Baccarat is a simple game with three possible results - 'Player', 'Banker', and 'Tie'. And there you have it, a simple way to calculate a Dutch bet the next time you can't make up your mind. My mother also made Oatmeal Fudge cookies way back in the 1950's. My friends loved coming to our house hoping mother had made those cookies. When ice cream was on sale, I remember mom bringing home an entire gallon carton of vanilla and cooking up her famous homemade hot fudge sauce. The oatmeal fudge sounds quite interesting and I know that would go well around here. I remember saying, “That’s oatmeal fudge”. 2. 카지노사이트 : This may not sound familiar to you, but this recipe later became known as “No Bake Cookies”.

Anti-Trump activists will be allowed within yards of Downing Street when the US President has lunch with Theresa May on Tuesday. Correct street bets payout at eleven to one. Playing the street means wagering on any three numbers in horizontal placement on the betting board. AstraZeneca has signed several deals with companies and governments around the world to supply more than three billion doses of the vaccine as it gets closer to reporting early results of a late-stage clinical trial. The objective of the game is to achieve a hand closest to nine with two or three cards in a hand. Many propositions in this game offer near equal odds. Black or red can be bet on for an equal payout. Slightly riskier bets can result in a 2 to 1 payout. Odd versus even, 1 to 18, and 19 to 36 are the other ventures that have a similar payout. I have been waiting for Baccarat knives for a very long time, and when I saw them at 75% off, I thought - why not? Playtech’s Grand Baccarat is a sparkling affair with gold lavishly splashed over the studio and the dealer’s outfit.

The police source, who declined to be named because he was not authorized to speak to the media, said the protest leaders had until Nov. 30 to acknowledge the charges over comments made at protests on Sept. Barton, who is African American, is wise to be wary. Bond 'yields' are a measure of the annual return to investors who buy this government debt. So though the days of gathering the “tribe” around a big, custom made table are long over, the recipes and the memories live on in the aroma, taste and hearts of all who ate a Mom’s recipes. I love how old family recipes stir up memories (good or not so good!) - and sometimes the simpler the food, the better. 3. Texas Tommie’s: Apart from the other recipes above, I feel very little affection to “T. No affection here, but I’m betting my brothers would still eat cookie sheet after cookie sheet if someone constructed a batch or two. I still do this for my family and it’s fun to include sprinkles, whip cream and other treats to make our own sundae bar.

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globalmarketreports · 4 years

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Saturated Polyester Resin Market Size, Growth, Demand and Forecast Report by 2027

The global Saturated Polyester Resin market was valued at USD 4,281.1 million in 2019 and is expected to reach USD 6,598.5 million by 2027, growing at a CAGR of 5.59% from 2020 to 2027.

Request Sample Copy of this Report @ https://qualiketresearch.com/request-sample/Saturated-Polyester-Resin-Market/request-sample

Drivers: Increasing demand for powder coatings

Challenges: Economic Influences

Key Players:

Market Taxonomy

By Type

Liquid saturated polyester resin

Solid saturated polyester resin

Solid carboxyl-terminated saturated polyester resin

Solid hydroxyl-terminated saturated polyester resin

By Application

Powder Coatings

Industrial Paints

Coil & Can Coatings

Automotive Paints

Flexible Packaging

2k PU Coatings

Others

By Region

North America

Latin America

Europe

Asia Pacific

Middle East & Africa

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tropicalfete · 7 years

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New Post has been published on http://tropicalfete.com/2017/07/29/the-melo-groove-steele-orchestra-keeping-pan-culture-alive/

The Melo Groove Steele Orchestra keeping Pan Culture alive

Written by Jason Walker-

Steel Pan or steel drums were created in the Caribbean islands of Trinidad and Tobago in the early 1930s. The Steel Pan is a unique form of musical expression, but the origin of steel pan started centuries before in Africa. Africans brought the concepts of drumming and festival which would eventually evolve into Carnival when the Spanish and then British-ruled Trinidad & Tobago. There was even a period in 1877 where the British government tried to ban aspects of the Carnival. They found parts of Carnival offensive including the drumming. Drumming was mainly done by instruments made out of bamboo with stamping tubes and some metal containers and some scrap metal. By the 1930s the metal instruments dominated and we began to see what we know as today as the Steel Pan aka as the Steel Drum. The cultural form began to grow among people of color on the island. Steel Pan & Carnival even became cultural manifestations that united the African and Indian populations in Trinidad & Tobago.

In the early days of the Steel Band acceptance was not across all areas of Trinidad and Tobago society. After many evolutions, the Steel Pan Culture would, however, eventually become a national treasure, especially under the father of the Republic of Trinidad and Tobago, Sir Eric Williams. The Steel Pan was now the source of great pride for all Trinibogians. The instrument travelled throughout the Caribbean and Central America and eventually the rest of the world. Today Steel Pan groups can be found anywhere that Caribbean communities are heavily saturated. There is an organization that is helping to keep the culture growing right here in South Florida.

The organization is The Melo Groove Steele Orchestra Inc, a non-profit organization started through the inspiration of a Trinidadian who played Steel Band instruments since the age of 12 during the early decades of the Steel Pan Movement. The late Mr. Melville Esdelle (1939 – 1992) had come to Florida where he taught children how to play the Steel Pan instruments. The organization began operations in the city of Sunrise the 1st of January 2016, continuing that mission of Esdelle, affectionately called Melo. According to the organization “Melo Groove Steel Orchestra, Inc. strives to keep Melo’s dreams alive which are creating a safe structured outlet for young people to embrace the culture and to continue to elevate steel pan music,” a dream that includes teaching children and henceforth keeping the culture alive and growing.

Melo Groove Steele Orchestra’s general manager Bryan Heyliger shows that the Orchestra is a family, community, and cultural manifestation. At age 10 his daughter had gotten involved with the orchestra, which came about by the influence of her Trinidadian godfather. Heyliger’s wife soon followed after going to the practices, and eventually, Bryan Heyliger was brought in soon becoming general manager. His son also recently started playing Pan. According to Heyliger, “my Caribbean heritage comes from the small beautiful Island Federation of St. Kitts and Nevis, whereas my wife’s heritage comes from the Republic of Trinidad and Tobago. As for my daughter as the saying goes, “wherever your parents are from, that’s where you are from as well.”

Besides providing great cultural entertainment along with both mental and musical skills for youth and adults in communities throughout, the spreading of the Pan Culture is a teaching tool about the Caribbean. Heyliger accentuates this point by stating, “the views that impact one’s heritage……(are) that if we the parents fail to teach our children here in the US about our Caribbean culture we have the fear of seeing it being lost.”

Illustrating the power of family in the orchestra, Heyliger describes how he has been influenced by Esdelle, although never meeting him. “Unfortunately, I was not blessed with meeting Mr. Esdelle, however, I can definitely say that I have met him through our Grandmother (his wife) of the band, Mrs. Elaine Esdelle and I call her Ma. The passion, support, and love she displays are clearly a representation of Mr. Esdelle aka Melo”.

Within the South Florida community, the orchestra is gradually making an impact. “We have created a band with a difference. Meaning that we do not just play music for our audience, we perform for them. I have observed a strong sense of acceptance from ALL of our performances during our little over a year of being in existence. Also, we have created a family oriented environment for the children to express their talents while creating memorable milestones.” “Steel pan music has been now embraced all over the world, and, there are still platforms open to sharing this wonderful style of music. (We) make a difference by playing ALL genres.”

Existing as a Steel Pan Orchestra in the United States does have challenges. Heyliger gives us insight on this by stating, “this is a very important part of the survival of this musical art. Many bands face the challenges of practice space, funding, and exposure. If these areas can be addressed I feel that Steel Pan can be elevated at a higher rate.” The funding mainly comes from those in the orchestra’s organization, performances, food sales and donations from supporters.

Challenges there are but in a short time, this orchestra has already been able to achieve watershed moments. “One of our very huge accomplishments was placing 3rd in our first panorama competition in 2016. Melo Groove was formed in January of 2016 and played for the first time in May of 2016. So, to see how dedicated the band was to put our best foot forward for our first competition is a feeling none of us can forget. Then to have Kes himself give us props for our people arrangement was also awesome.”

The accomplishments and skills that are present with this orchestra so quickly beg the question: what will be seen in the future? “I see a Melo Groove Steel Orchestra Performing Arts Theatre. Some may say that it seems far-fetched but I know the potential of my team and it would not be impossible, just another accomplishment under our belts.”

All the above is possible because the team at Melo Groove Steel Orchestra “has created an environment that draws young people. We have also engaged musical directors that have had prior experience with teaching children. Overall, giving the young people a voice in the band and always showing them support in the band and outside of the band creates that bond.”

Heyliger credits success to the fact that “we put God first and then embrace teamwork and family values.” Currently, the orchestra is focusing on upcoming events, “we are preparing for the Houston Caribbean Festival that we were invited to take part of and after that trust me we have big plans for South Florida and even beyond. Definitely claiming the 1st place this year at Panorama. Each day and every minute Melo Groove Steel Orchestra is here to keep PAN ALIVE!”

Melo Groove consists of 15 pan players, 6 rhythm players currently. According to the Melo Groove Steel Orchestra Facebook page: “we will always aim to please our audience which consists of a variety of cultures. Our musical selections include R&B, Classical, Jazz, Reggae, Soca and more. Our goal when we perform is to engage with the audience and to leave a lasting impression.”

Treasurer Alicia Phillips contributed generously to this article.

Friday, October 6, 2017 – Miami Carnival Panorama

Competition. 8pm- 11pm

For more event locations, concert artists, list of registered Mas Bands and more information visit www.miamibrowardcarnival.com or follow on social media at-

Instagram@miabrocarnival

Twitter @miabrocarnival

Facebook-https://www.facebook.com/MiamiBrowardOneCarnival/

Sponsors for the Miami Carnival include: Greater Miami Convention and Visitors Bureau, Jet Blue, Cox Media Group, 99 Jamz, Hot 105 and “With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.”

#Bryan Heyliger #Eric Williams #Melo Groove Steele Orchestra Inc #Melville Esdelle #Steel Pan #Steel Pan Movement #Caribbean Cultural News

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lightsize95-blog · 5 years

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Adidas reinvents Original Six jerseys in EA Sports' 'NHL 19'

In some ways, the latest New York Rangers jersey fits their decades-old template. It's red, white and blue, with the team's diagonal lettering across the front. But that's where the similarities end and the reinvention begins, with the solid red area at the shoulder and the solid white area near the waist broken up by a slanted "NEW YORK" that resembles a pageant sash. Not to mention those pristine, white gloves.

The official Adidas-designed jersey is one of the most distinct Rangers sweaters in existence, though the context of that existence is debatable, when in fact it exists only in a video game.

In EA Sports' "NHL 19," the Original Six have gotten a radical makeover.

It's been 30 years since the releases of Blades of Steel and Nintendo Ice Hockey. But which game had the upper hand?

One month into the 2018-19 season, Ducks goalie John Gibson is giving the Edmonton Oilers star a run for his money for MVP. Here's an early look at players in the mix for all the major awards.

Carey Price remains a popular pick as the most reliable goalie in a must-win game. Plus, new award suggestions, career stitch tallies and much more.

2 Related

Say hello to the Digital Six, a first-of-its-kind collaboration among Adidas, EA Sports and the Original Six teams, who had a say in how these jerseys ended up looking in the game.

"We got together and started thinking about the opportunity to go beyond the guardrails of what exists in the real NHL and start exploring what we could create that doesn't exist in the real world," EA Sports' Evan Dexter, Sr. Global Campaign Lead for "NHL 19," told ESPN. "That was a super exciting thought, and by doing it in 'NHL 19' exclusively, it meant that we got to push the boundaries and try things that might be more bold than teams would be willing to try if it were a real-world, physical design. It was a chance to take six teams with a ton of heritage and tradition, which fans can, understandably, feel conservative around, and do something progressive and exciting with their brands."

The Digital Six jerseys will be first available in Hockey Ultimate Team mode on Nov. 5 and additional game modes on Nov. 19.

Matty Merrill, Design Director for Adidas Hockey, said there was no intimidation in remixing iconic hockey looks.

"These are the oldest, most storied franchises on earth, and they are based in the most hockey-crazed markets in the world. The crests and sweaters they wear on ice are sacred. They don't change them lightly," Merrill said. "But this was digital ice, so it was different. In the same way you can do dekes in 'chel' that you might never be skilled enough to do on real ice, we could do things with these digital jerseys that we would never consider for actual league play. Once those constraints were off, there were tons of ideas for all of the teams. We were able to create on a whole new level."

Here's a look at the new looks of the Original Six in "NHL 19."

The unbalanced colors and the circle of stars around the B are like nothing the Bruins have ever worn. There are 13 stars, representing the 13 original colonies, as the Bruins were the NHL's first American franchise.

But there's something curious about the logo, as it seems to evoke another popular Boston sports entity: Barstool Sports. One assumes that there is significant crossover between the young, predominately male audiences for the game and the site. Was this intentional? Merrill says no.

"This is about Boston. Bostonians are so proud of their history as the front line of the American Revolution that they have their own special holiday called Patriots Day. The 13 stars and stripes represent the 13 colonies that declared independence against the British. This uniform is literally dipped in stars and stripes, so that Stoolies, and every other proud Bostonian, can play 'chel' in a jersey that celebrates the city and its history in the revolution," Merrill said.

The Blackhawks' reinvention was one of the most distinct, as the seven colors of their logo were used in multiple stripes on the lower part of the jersey, the sleeves and the socks, giving the uniform almost a pan-African color scheme.

"That was one I've been wanting to do for a long time," Merrill said. "That Blackhawks logo is so unique. There are no other sport logos in the world that have seven colors. Creating a stripe that uses all the colors was an exciting challenge. We even tried to use them in a ratio similar to the crest. The result was surprisingly successful. It's a completely new-looking stripe that still feels very 'hockey' and captures the energy of the city of Chicago."

If there's one Digital Six jersey that feels like it was played fairly safe, it's the Red Wings'. Except for the candy cane socks, this jersey would have been at home in a Detroit outdoor game. In fact, it was inspired by a look the Red Wings had in 1926. According to Adidas, it was also inspired by "Detroit's automotive history, adorned with the kind of racing stripes that decorated many local muscle cars."

Although this might seem like a simple approach, Dexter said there's a lot going on with it. "I'm a native Montrealer, so if I had to choose, I would, of course, go with my favorite team's design," he said. "It's a completely new take on the classic Habs jersey design, and I love how it feels youthful in its integration of 'MTL' while still incorporating French heritage in its striping, as well as design elements from the traditional crest by moving the 'C' to the captaincy space on the chest. It just hits home."

The influence for the Rangers' redesign was the team's primary logo, which is created here on a jersey in its full glory. Why "NEW YORK" and not "RANGERS" across the front? The designers felt that using the city's name would make it "larger than life."

It isn't hard to draw comparisons between this Leafs jersey and the Canadian national team jerseys that seemingly inspired them. But Merrill wasn't worried about fans of other Canadian teams taking issue with the "Centre of the Hockey Universe" claiming a Team Canada look.

"I don't think so. This sweater is all about the two things that Torontonians love the most: the Maple Leafs and Canada. When the Leafs unfurl that rink-sized, blue-and-white Canadian flag with their logo as the leaf, even I get goosebumps," he said.

For now, these jerseys exist as Easter Eggs in "NHL 19," though they've been designed by the league's official gear-maker in consultation with Original Six teams.

Is there a chance that these sweaters could escape the game and enter the real world, should they prove popular enough?

"This is just the beginning. Fans want to rep their team in new and more exciting ways all the time. Looks that generate excitement in the digital world will inevitably have an influence on the physical world," Merrill said.

Source: http://www.espn.com/nhl/story/_/id/25177678/nhl-adidas-reinvents-original-six-jerseys-ea-sports-nhl-19

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shariktmr-blog · 6 years

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Global Flat Top Grills Market Innovative Trends Implemented by Manufacturers Steering Growth until 2028

FactMR will soon publish a fresh research report focusing on the “Flat Top Grills Market” market. The main aim of this assessment would be to provide deeper insight about the “Flat Top Grills Market” sector for the period during 2028. Readers will get to access vital information associated to market size, revenue share and regional outlook, so as to decipher the various projections related to the target market. Furthermore, the contribution of leading market players would surely be investigated and carefully presented.

Request TOC of this Report- https://www.factmr.com/connectus/sample?flag=T&rep_id=2262

The flat top grills are an essential cooking appliance used for numerous cooking techniques such as toasting, simmering, pan frying, grilling, baking and roasting among many other techniques. Flat top grills are available in a various number of burners such as two burner’s flat top grill, four burner’s flat top grill, and others at a large chain of sales channels. The economic cost of flat top grills as well as their numerous applications, is amplifying their demand in the global flat top grills market. These products mainly used for a commercial and residential purpose. The global market for flat top grills consists of several small and prominent manufacturers across the globe. With growing urbanization and increasing demand for flat top grills through various retailers and third party online channels is expected to create a significant opportunity for manufacturers to sign a contract with several online retailers/distributors for increasing the sales of flat top grills.

Global Flat Top Grills Market Scenario

The globe market for flat top grills is projected to register significant year on year growth with a single-digit rise in CAGR during forecast period. The global flat top grills market has grown considerably and estimated to reach over US$ 500 Mn owing to the rising demand of outdoor activities, which is expected to increase the production of flat top grills globally. Developed economies in the European and North America regions such as the Germany, UK, France, and US are expected to be driven by various growth factors such as high GDP growth in these countries coupled with per capita income spending on the leisure and recreational household activities. However, the market is expected to exhibit strong growth in developing countries, such as China, India, and the Middle East & African countries owing to the rapid adoption of western culture with outdoor picnic and cookouts. The most significant share of the flat top grills market is estimated to be contributed by Asia Pacific excluding Japan region due to changing lifestyle and habits of daily living in this region followed by North America and Europe.

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The rising preference for grilled food is one of the prime reason for the demand of the flat top grills. The other primary factor which is driving the flat top grills market in the consumer products industry is the continuous innovation with respect to comfort of end users and safety issues. Alternate factors driving the global flat top grills market include rising demand for flat top grills for restaurants chains with grills on the table like barbeque nations. Rise in consumer spending on household and kitchen equipment’s has also seen an upsurge translating the opportunity for flat top grill market. However, some of the factors likely to restrain the growth of the flat top grills market are lack of knowledge about the use of flat top grills in the low economies. Risk associated with the injuries while using the flat top grills can impact the market negatively. Many such cases of accidents has been registered due to the flat top grills.

Global Flat Top Grills Market Segmentation

The flat top grills market can be segmented on product types, number of burners, material type, application and sales channel. On the basis of product types, flat top grills can be categorized into Portable and built in. On the basis of number of burners, the market can be segmented into 1 burners, 2 burners, 4 burners and 6 burners. On the basis of material type, the market can be classified into steel, cast iron, stainless steel, aluminium, porcelain, metal, cast aluminium, and other material type. On the basis of application, the flat top grills market can be classified into commercial and residential. On the basis of sales channel, the flat top grills market can be classified into direct sales, third party online sales, electronics chains, modern trade, company online channel, and speciality stores. Geographically, the global flat top grills market can be segmented into seven regions, namely North America, Latin America, Europe, CIS & Russia, Japan, Asia Pacific except Japan, and Middle East & Africa.

Global Flat Top Grills Market Key Players

Despite the concentration of players in North America and Europe, flat top grills manufacturers are primarily focusing on Asian countries, mostly India, China and the Middle East & African countries. These companies are continuously introducing innovations in flat top grills market. Some of the key market participants in the global flat top grills market are Camp Chef, Inc., Weber-Stephen Products LLC, Blackstone, Meadow Creek Welding, LLC, Traeger Pellet Grills, LLC, Nexgrill Industries, Inc. and other prominent players.

The research report presents a comprehensive assessment of the market and contains thoughtful insights, facts, historical data and statistically supported and industry-validated market data. It also contains projections using a suitable set of assumptions and methodologies. The research report provides analysis and information according to market segments such as geographies, type, application, and end use.

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jazzviewswithcjshearn · 7 years

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A deeper look at Jaco Pastorius: Truth, Liberty And Soul-- Live In NYC, The Complete 1982 NPR Jazz Alive Recording (Resonance, 2017)

Jaco Pastorius: bass; with collective personnel including Randy Brecker: trumpet; Bob Mintzer: tenor saxophone, electric bass clarinet; Othello Molineaux: steel drums; Don Alias: percussion; Toots Thielemans: harmonica; Peter Erskine: drums plus many others.

Thirty years ago, Jaco Pastorius tragically left this planet. His innovations to the bass have been so ingrained into the fabric of music that it can be hard to imagine just how unbelievable he was when his self titled debut dropped on Epic in 1976, with a star studded cast including Herbie Hancock, Sam and Dave, Hubert Laws and Lenny White. Simply put, when Charlie Parker's “Donna Lee” opened the album in a brief two and half minute duet with the congas of Don Alias, what Pastorius was doing for the bass, had never been heard in jazz, much less than music in general. In a sense parallels could be made to when organist Jimmy Smith came onto the scene twenty years earlier, the Hammond organ had never been a modern jazz instrument before then, and his lines on the instrument were more like a horn player. Pastorius had taken the electric bass out of it's background foundation that had been heard in rock and R&B, made the bass a lead instrument, and by virtue of using a fretless bass, he was able to apply the phrasing of an acoustic bassist or a cellist, lending a natural, voice like quality. Certainly, contemporaries like Stanley Clarke had also made innovations with the electric bass, his slap technique as well as guitar like musings on tenor bass, in Return To Forever and his own projects were things seldom heard in the jazz orbit up until that time, but Pastorius was in an entirely different category.

Following “Jaco Pastorius” (Epic, 1976) the bassist joined jazz-rock juggernaut Weather Report, first playing on two tracks of “Black Market” (Columbia, 1976) before becoming an integral part on the band's best known, million selling smash hit “Heavy Weather” (Columbia, 1977) and remaining with the band through 1982. Jaco and keyboardist Joe Zawinul had been experiencing well documented tensions, not only in personality, but in musical direction, where the bassist's own playing was increasingly subsumed by Zawinul doubling on synth bass and various keyboards to which Pastorius famously quipped about “technological overkill”. What added fuel to the fire was Zawinul's put down of Pastorius' ambitious large scale “Word of Mouth” (Warner Bros, 1981) project that boldly announced his growth as writer, orchestrator and bandleader since his unforgettable debut. The Word of Mouth big band was an unapologetically modern look at the genre, a configuration out of vogue since the swing era. Though big bands did exist during the early eighties like the Count Basie Orchestra and Duke Ellington ghost band, big bands were much rarer, much less ones playing very contemporary music. Pastorius examined this group with the albums “Invitation” (Warner Bros, 1983) and Japan only “Twins”, of which the former album was a truncated version of those concerts. By 1982 and the resultant Japan tour, the bassist's erratic behavior, exacerbated by his struggle with bipolar disorder was becoming more apparent, taking a toll not just musically but in his personal life. Resonance's new release “Truth, Liberty And Soul: The Complete 1982 NPR Jazz Alive Recording” marking the first official release of a famous radio broadcast of when Jaco and the Word Of Mouth big band were at peak form, is perhaps not only one of the finest releases in the bassist's discography, but one of the best jazz releases of the year thus far.

The Word of Mouth Big Band has been previously documented on the Warner Bros recordings mentioned above, and also on “The Birthday Concert” first released in 1996; but as good as that album was, meticulously restored from cassettes owned by Peter Erskine, the music and level of inspiration on “Truth, Liberty, And Soul” is on another level. The reasons for that are many-- Resonance founder Zev Feldman was introduced by record producer extraordinaire Michael Cuscuna to Tim Owens in 2011, producer of NPR's Jazz Alive program from which a portion of the set was broadcast, setting a long six year negotiating process to get the music released officially. The second reason is the sterling audio quality of the original 24 track tapes recorded by Paul Blakemore in the Record Plant's famous remote truck. Blakemore initially unhappy with the quality of his original mixes, was afforded the rare opportunity to once again have access to his original masters deemed lost, and for this project did a remarkable job remixing the audio with astounding clarity. Each instrument was individually miked, and is heard rich and powerfully, very present in the mix. The work from the incredible rhythm section of Pastorius, steel drummer Othello Molineaux, the late Don Alias on percussion and Peter Erskine, plus the fantastic trumpet section headed by Randy Brecker, also featuring Jon Faddis and Ron Tooley is incredibly potent. This is as the liners state, the only recorded performances of the New York edition of the band, incredibly tight and well oiled playing with a joy, grit and abandon from note one. “Invitation”, the classic standard opens the album with a considerably different complexion than the version heard on “The Birthday Concert” that featured a thrilling duel between Bob Mintzer and Michael Brecker. Here, high octane solos are shared by Mintzer and Randy Brecker, who utilizes electric trumpet, and wah wah effects. Mintzer and Brecker once again steal the show on a nearly 11 minute full band rendition of “Donna Lee”. Dave Bargeron's tuba multiphonics on the intro are an intriguing textural element, and his bebop dexterity on the unwieldy horn is remarkable. Mintzer's electric bass clarinet slices the air with uncanny fluidity foreshadowing his work in later decades on the EWI, and Randy Brecker alternates between electric effects and straight trumpet in his solo.

Toots Thielemans six cameos on harmonica starting with the classic “Three Views Of A Secret” are especially poignant since the late maestro's passing last year, his own ripping “Bluesette” and duet with Pastorius on Ellington's timeless “Sophisticated Lady” are wonderful. For all the criticisms by some of the bassist's penchant for flows of notes, his support of Thielemans really frames what he plays beautifully.

Among the other gems in the collection are the lengthy reading of the African leaning “Okonkele Y Trompa”, featuring a extended conga and bongo intro by Don Alias that also reiterates how much the late percussion master is missed. Weaving effortlessly in and out of the triple meter that is a backbone of the piece, his signature muscular rhythms masterfully set the stage for Pastorius' popping circular maze of harmonics underneath John Clark's mournful French horn. Unlike the studio version, the French horn gets space to improvise a bit prior to launching into it's unforgettable melody. The use of the classic bembe rhythm is retained on the medley of “Reza-Giant Steps” where Othello Molineaux's lithe steel pans get a chance to work on the swinging matrix of Coltrane's behemoth harmonic endurance test. The fourteen minute “Bass and Drum Improvisation” is another look at Pastorius' use of rudimentary looping devices to set up a backdrop to solo upon, and like his famous “Slang” solo that was his nightly feature in Weather Report documented on “8:30” (Columbia, 1979) he works in references to other pieces. He quotes his own “River People”, and nod to Hendrix's “Purple Haze” over a looped pedal point, not surprisingly his favorite Hendrix quote of “Third Stone From The Sun” appears earlier in the set. A flurry of fuzz distortion and brief rendition of “America The Beautiful” segues to Peter Erskine's drum solo incorporating tympani as an added color for dramatic effect as a intro of sorts for the stunning full big band free improvisation of “Twins”.

“Truth, Liberty And Soul” is the most definitive document to date of the Word Of Mouth Big Band, and bears serious consideration as the year's best archival release. To take it a step further, this release is the definitive posthumous Pastorius document; the cheap poorly recorded bootlegs that have appeared from the bassist's last years, sometimes presented as a multi volume “Live in New York” series are not even worthy of consideration or discussion. The deluxe package contains a whopping 100 page booklet featuring essays and interviews that continue to demonstrate Resonance's commitment to thorough documentation and for those that continue to be collectors in the changing digital distributed age of music. A perfect companion to 2015's engaging, harrowing documentary “Jaco”.

Rating: 10/10

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wildlyburningsandwich-blog1 · 8 years

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Discover great events and parties, follow your favourite places and friends and see what's happening near you. Toastr makes it easy for you to follow event organisers to be notified of their events in the near future.

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Humayun Khan and Douglas J. Cuomo have formed Turquoise Lake, an eight-piece ensemble of musicians from a variety of improvisational traditions to create music that blends the raga tradition of North India and Afghanistan, Farsi poetry of the great Sufi masters, and Afghan folk melodies and ghazals, with western jazz and rock styles. At the heart of Turquoise Lake is the idea that a band led by a Muslim and and American Buddhist that includes members who are Hindu, Jewish, African-American Christian, and Catholic can, in it’s small way, show the possibility of what the world could be; what it already is if only you have a chance to experience it that way.

Humayun Khan and Turquoise Lake Featuring Douglas J. Cuomo

Les Canards Chantants presents SEX, DRUGS and MADRIGALS Molly Netter, soprano Eric Brenner, countertenor Robin Bier, contralto Owen McIntosh, tenor Jacob Perry, tenor Graham Bier, bass Paul Morton, theorbo Join us for our New York City solo debut with a wild and theatrical ride through the extremes of style, drama, humor and emotion in the late Italian madrigal: Willaert, Marenzio, Gabrieli, Banchieri, Croce, d’India, Schütz, Gesualdo, Valentini, and of course, Monteverdi. National Sawdust Sunday, April 2, 7:00-8:15pm Tickets $29 advance, $34 at the door www.nationalsawdust.org ‘Among the most impressive performances were those of Les Canards Chantants, which presented a brilliant and moving program of late Italian madrigals—this was some of the best Gesualdo and D’India you are likely to hear…’ - Early Music America Magazine '...The “Singing Ducks” instilled their superb performances with the liveliness and theatricality that were historically an important part of the madrigal tradition….' - The Boston Musical Intelligencer, 2015 'The six-voice Canards are highly animated performers, playing off of each other with visual theatricality that bordered on mugging, but never at the expense of elegant vocalism…' - The Philadelphia Inquirer

Les Canards Chantants at National Sawdust

The second annual NS Percussion Festival takes over the venue on April 1, curated by contemporary percussion gurus Ian Rosenbaum and Andy Akiho. The evening concert features sets by notable percussion luminaries including Joe Locke performing a solo set on vibraphone, drummer Will Calhoun (of the band Living Colour) performing a new project inspired by African drumming, and more to be announced. The NS Percussion Festival, a day-long showcase of contemporary music’s leaders and innovators from all over the world, draws together many different groups and genres within the percussion community, giving artists a platform to share their latest work and hear works of other trailblazers in the field. Curator Ian Rosenbaum, whose first solo album, Memory Palace, was released on NS’s in-house label VIA Records this past January, joined the Chamber Music Society of Lincoln Center’s CMS Two in 2012 as only the second percussionist ever to have been selected for the program; and curator Andy Akiho, a steel pan specialist, composer, and winner of the 2014-15 Luciano Berio Rome Prize, has had his compositions played by Bang on a Can and American Composers Forum, among many others. This year’s Percussion Festival is generously supported by Evans, Promark and The D’Addario Foundation.

National Sawdust Presents: Percussion Festival (Evening Show)

The second annual NS Percussion Festival takes over the venue on April 1, curated by contemporary percussion gurus Ian Rosenbaum and Andy Akiho. The afternoon marathon features a startlingly diverse range of percussive styles with back-to-back performances by Payton MacDonald, Sandbox Percussion, Max ZT and Andrew Nemr, Ayano Kataoka, Kenneth Salters & Gilad Hekselman, Evan Chapman, and more to be announced. The NS Percussion Festival, a day-long showcase of contemporary music’s leaders and innovators from all over the world, draws together many different groups and genres within the percussion community, giving artists a platform to share their latest work and hear works of other trailblazers in the field. Curator Ian Rosenbaum, whose first solo album, Memory Palace, was released on NS’s in-house label VIA Records this past January, joined the Chamber Music Society of Lincoln Center’s CMS Two in 2012 as only the second percussionist ever to have been selected for the program; and curator Andy Akiho, a steel pan specialist, composer, and winner of the 2014-15 Luciano Berio Rome Prize, has had his compositions played by Bang on a Can and American Composers Forum, among many others. This year’s Percussion Festival is generously supported by Evans, Promark and The D’Addario Foundation.

National Sawdust Presents: Percussion Festival (Marathon)

Cellist and composer Rebecca Foon has been a fixture of the Montréal music community for two decades. She co-founded the Juno Award-winning contemporary chamber group Esmerine in 2002 and was a core member of the celebrated cult post-punk band Thee Silver Mt. Zion Memorial Orchestra from 2001-2008 and the experimental instrumental collective Set Fire To Flames. Foon was also a founding member of the instrumental trios The Mile End Ladies String Auxiliary and Fifths of Seven. Alongside over a dozen albums as a composer and player with the aforementioned projects, Foon has a long list of recording and performing credits as a guest player, and several soundtrack projects under her belt (including the award-winning tar sands documentary H2Oil). Most recently, she has been a member of Colin Stetson’s acclaimed “Sorrow” orchestra (performing Gorecki’s 3rd Symphony) and part of the band for the live documentary performances of filmmakers Sam Green and Brent Green. www.saltland.ca http://cstrecords.com/saltland/

Rebecca Foon: Saltland with guest Grey Mcmurray

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brookstonalmanac · 8 years

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Events 2.25

138 – The Roman emperor Hadrian adopts Antoninus Pius, effectively making him his successor. 493 – Odoacer surrenders Ravenna after a 3-year siege and agrees to a mediated peace with Theoderic the Great. 628 – Khosrau II is overthrown by his son Kavadh II. 1336 – Four thousand defenders of Pilėnai commit mass suicide rather than be taken captive by the Teutonic Knights. 1631 – François de Bassompierre, a French courtier, is arrested on Richelieu's orders. 1797 – Colonel William Tate and his force of 1000–1500 soldiers surrender after the Last invasion of Britain. 1831 – Battle of Olszynka Grochowska, part of Polish November Uprising against Russian Empire. 1836 – Samuel Colt is granted a United States patent for the Colt revolver. 1843 – Lord George Paulet occupies the Kingdom of Hawaii in the name of Great Britain in the Paulet Affair (1843). 1848 – Provisional government in revolutionary France, by Louis Blanc's motion, guarantees workers' rights. 1856 – A Peace conference opens in Paris after the Crimean War. 1866 – Miners in Calaveras County, California, discover what is now called the Calaveras Skull – human remains that supposedly indicated that man, mastodons, and elephants had co-existed. 1870 – Hiram Rhodes Revels, a Republican from Mississippi, is sworn into the United States Senate, becoming the first African American ever to sit in the U.S. Congress. 1875 – Guangxu Emperor of Qing dynasty China begins his reign, under Empress Dowager Cixi's regency. 1901 – J. P. Morgan incorporates the United States Steel Corporation. 1912 – Marie-Adélaïde, the eldest of six daughters of Guillaume IV, becomes the first reigning Grand Duchess of Luxembourg. 1916 – World War I: The Germans capture Fort Douaumont during the Battle of Verdun. 1919 – Oregon places a one cent per U.S. gallon tax on gasoline, becoming the first U.S. state to levy a gasoline tax. 1921 – Tbilisi, capital of the Democratic Republic of Georgia, is occupied by Bolshevist Russia. 1928 – Charles Jenkins Laboratories of Washington, D.C. becomes the first holder of a broadcast license for television from the Federal Radio Commission. 1932 – Adolf Hitler obtains German citizenship by naturalization, which allows him to run in the 1932 election for Reichspräsident. 1933 – The USS Ranger is launched. It is the first US Navy ship to be designed from the start of construction as an aircraft carrier. 1939 – The first of 2 1⁄2 million Anderson air raid shelters appeared in North London. 1941 – February strike: In occupied Amsterdam, a general strike is declared in response to increasing anti-Jewish measures instituted by the Nazis. 1945 – World War II: Turkey declares war on Germany. 1947 – The formal abolition of Prussia is proclaimed by the Allied Control Council. The Prussian government had already been abolished in 1934 by the Law for the Reconstruction of the Reich. 1948 – The Communist Party takes control of government in Czechoslovakia and the period of the Third Republic ends. 1951 – The first Pan American Games were officially opened in Buenos Aires, Argentina by President Juan Perón. 1954 – Gamal Abdel Nasser is made premier of Egypt. 1956 – In his speech On the Cult of Personality and Its Consequences, Nikita Khrushchev, leader of the Soviet Union denounces the cult of personality of Joseph Stalin. 1964 – North Korean Prime Minister Kim Il-sung calls for the removal of feudalistic land ownership aimed at turning all cooperative farms into state-run ones. 1968 – Vietnam War: One hundred thirty-five unarmed citizens of Hà My village in South Vietnam's Quảng Nam Province are killed and buried en masse by South Korean troops in what would come to be known as the Hà My massacre. 1980 – The government of Suriname is overthrown by a military coup led by Dési Bouterse. 1986 – People Power Revolution: President of the Philippines Ferdinand Marcos flees the nation after 20 years of rule; Corazon Aquino becomes the Philippines' first woman president. 1987 – Southern Methodist University's football program is the first college football program to receive the death penalty by the NCAA's Committee on Infractions. It was revealed that athletic officials and school administrators had knowledge of a "slush fund" used to make illegal payments to the school's football players as far back as 1981. 1991 – Gulf War: An Iraqi scud missile hits an American military barracks in Dhahran, Saudi Arabia killing 28 U.S. Army Reservists from Pennsylvania. 1991 – The Warsaw Pact is declared disbanded. 1992 – Khojaly massacre: About 613 civilians are killed by Armenian armed forces during the conflict in the Nagorno-Karabakh region of Azerbaijan. 1994 – Mosque of Abraham massacre: In the Cave of the Patriarchs in the West Bank city of Hebron, Baruch Goldstein opens fire with an automatic rifle, killing 29 Palestinian worshippers and injuring 125 more before being subdued and beaten to death by survivors. 1997 – Yi Han-yong, a North Korean defector, was murdered by unidentified assailants in Bundang, South Korea. 2009 – Members of the Bangladesh Rifles mutiny at their headquarters in Pilkhana, Dhaka, Bangladesh, resulting in 74 deaths, including more than 50 army officials. 2009 – Turkish Airlines Flight 1951 crashed during landing at the Amsterdam Schiphol Airport, Netherlands, primarily due to a faulty radio altimeter, resulting in the death of nine passengers and crew including all three pilots. 2015 – At least 310 people are killed in avalanches in northeastern Afghanistan. 2016 – Three people are killed and fourteen others injured in a series of shootings in the small Kansas cities of Newton and Hesston.

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