In 1965, Haley released his first album, Bagpipe Blues, and it was a hit-for a bagpipe jazz record. Dorn was nothing if not unconventional, so for him Harley was a natural next step. He brought them Hubert Laws, a jazz flautist. A year earlier, the label had tasked Dorn with finding a new talent, someone who’d never lead a band before. But he kept at it, and by 1965 he’d caught the attention of Joel Dorn, a young Atlantic Records A&R assistant. He wasn’t really going to play jazz, was he? On that? Who did this guy think he was anyway? At the point of his bagpipe awakening, Harley was only 27 and had never released an album, so convincing club owners that he was serious was even more difficult. Club bookers and owners thought the whole thing was a gimmick. Harley was finding it tough to get into the jazz clubs to play. Oddly enough, however, the bagpipes weren’t an easy sell. He was able to adapt his playing in about six months. If all of this sounds hard, well, it wasn’t, at least not for Harley. Those nine notes need to do a lot of work. Add a trumpet player to the mix, and that player gets over 40 notes of his own to play around with. Probably not the ideal set-up if you’re trying to get on stage with someone like John Coltrane, considering Coltrane wielding a tenor sax could play over 30 notes. This pipe, played with two hands, provides the melody but it only plays nine notes. The bagpipes’ chanter also presented a problem. As author Daniel Goldmark explained in his essay “Slightly Left of Center,” Harley tuned his drones-the pipes that produce harmonizing notes-to F and B-flat, a switch from the instrument’s more common tuning, so that he’d be able to play with other jazz musicians. Harley enlisted the help of Dennis Sandole, a musician and music teacher who had been working with him for 20 years.Īdapting the bagpipes for jazz meant that Harley would have to approach the instrument unconventionally. History and relative oddity aside, the big question for Harley wasn’t why play the bagpipes, it was how. Over the centuries, versions appeared in Spain, Greece, North Africa, and the Middle East. The first written evidence of the bagpipes showed up in first-century Greece. He researched the bagpipes, finding out that, despite being most widely known as a Scottish instrument, the bagpipes have a worldwide reach. “In fact, every musician in Philadelphia thought I was crazy.” It didn’t matter, though. “The pawnbroker thought I was crazy,” Harley recalled in that same interview. There’s nothing like the real thing, and so that winter, Harley bought a set of bagpipes for $120 from a pawn shop, making him the first jazz musician to make the Great Highland bagpipes his primary instrument. He tried to make his horn produce that sound. “When I heard and saw the Black Watch Bagpipe Band marching across the funeral grounds,” Harley said in a 1982 interview, “I was very impressed with the sound of the instrument. Those low moaning notes falling over the procession were the exact sounds he had been trying to capture in his music. It wasn’t just the sadness of the day, it was that sound. Harley, a Philadelphia jazz musician who at that point had been playing the flute and saxophone, felt something stir in him. In the background, Harley heard a low sound. America had lost its leader, and with ears pressed to radios or eyes turned to television screens, each person witnessed the end of a tragic turn of events. This concluded with the crown, orb, and sceptre - symbols of the monarch's power and governance - being removed from the coffin and placed on the altar.Like most Americans alive at the time, Rufus Harley was transfixed by the Novemreporting from John F. It was then placed on a hearse to be driven to Windsor Castle, west of London, for a service at St George's Chapel. The coffinbegan its journey through central London, past the queen's Buckingham Palace home to the Wellington Arch at Hyde Park Corner, with the monarch and the royal family following on foot during the 1.5 miles (2.4 km) procession. He also played one final lament while her coffin was lowered into the Royal Vault beneath ST George's Chapel at Windsor Castle. The Queen's piper brought the service to an end with a lament that faded to silence. Trumpets rang out before the congregation sang "God Save the King". Towards the end of the service, the church and much of the nation fell silent for two minutes. Many different pieces, including Elegy Op 58 by Sir Edward Elgar, Reliqui Domum Meum by Sir Peter Maxwell Davies, and Fantasy On O Paradise by Malcolm Williamson, were played before the funeral service.
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"I thoroughly enjoy singing these songs every night," DeLaughter says. It's exactly the kind of music you would expect a busload of grinning Texans in robes to make. The Spree's next album, "Together We're Heavy," out this summer on Walt Disney's Hollywood Records, builds on the sugarcoated wonder of the debut. He's also a big fan of harmony bands like the Fifth Dimension and the Association. That's because the first record DeLaughter ever bought was "Beach Baby" by First Class, an AM radio pop band that mixed Beach Boys harmonies with a queasy orchestral soundtrack. THE POLYPHONIC SPREE SOUNDS LIKE LSD-SUCKING ELVES. Everyone else is just going to have to adjust." "I go against the grain on stuff like that. He has no plans to trim the number of members in the band, which at times has swollen to 29 people, including a nine-member choir, several symphonic percussionists, a harpist, trumpet players, violin players and, most important, a piccolo player. Shows about getting rid of the clutter are all the rage on cable TV. We just bunk up with each other and do what we have to do. Even though the Polyphonic Spree's 2002 debut, a demo recorded in just two days called "The Beginning Stages Of," has sold exceptionally well in Europe and had songs plucked from it for Volkswagen and iPod commercials, as well as the new Jim Carrey movie, "Eternal Sunshine of the Spotless Mind," DeLaughter and his band mates still have to drink Pabst Blue Ribbon. Taking more than two dozen people out on the road isn't cheap - just think of the toilet paper costs alone.
As a result, you have far greater control over the final result than DxO PureRaw’s largely automated noise reduction. Finally, Denoise AI offers more in the way of manual adjustments. Secondly, DxO PureRaw 2 only denoises raw files, while Denoise AI will process both raw and JPEG. Topaz Denoise AI is much cheaper than DxO PureRaw 2. This is a tight race, and you can’t go wrong with either. That being said, you might prefer to trade Denoise AI’s flexibility for NoNoise AI’s speed, particularly if you have a lot of images to work with. As a result, there are times when a carefully adjusted Denoise AI image serves up a better result. However, ON1 NoNoise AI lacks Topaz Denoise AI’s array of adjustments making it a little less flexible. In practice, I found ON1 NoNoise AI’s noise reduction to be, for the most part, at least as effective as Topaz Denoise AI. Furthermore, NoNoise AI runs much faster than Topaz Denoise AI and includes Tack Sharp AI – an image-sharpening tool similar to, but not as good as, Topaz Sharpen AI. Like Denoise AI, ON1 NoNoise AI 2023 is an exceptional noise reduction application. But how does it fare against the competition? Topaz Denoise AI vs ON1 NoNoise AI Topaz Denoise AI Comparedĭenoise AI is one of the best noise reduction software applications available today. But if you want quick results, there is an alternative. In my opinion, the wait feels entirely reasonable, given the result. When you select a new AI model, make an adjustment, or zoom/pan your image – Topaz Denoise AI will pause for a period between five and fifteen seconds while it rerenders your denoised image. In terms of speed, Topaz Denoise AI is similar to other AI-powered noise reduction applications. And if you don’t want to make manual adjustments, you’ll do well enough to leave Topaz Denoise AI in its hands-off automatic mode. Is Denoise AI nice to use?Īs a specialist noise reduction application, Denoise AI’s interface is clean, nicely presented, and stocked with well-named tools and adjustments. Therefore, to get the best out of Topaz Denoise AI, you should turn off your camera’s in-built noise reduction and let Denoise AI handle the rest. Inadequate noise reduction, such as that built into your smartphone, tends to wash away color and detail, leaving Topaz Denoise AI nothing to work with. The one area in which Topaz Denoise AI and all other AI noise-reduction applications fail is processing images that have already suffered poor noise reduction. Having used many noise reduction applications, I consider Denoise AI one of the best. As the samples above demonstrate, Topaz Denoise AI works exceptionally well. This becomes the greatest foul that NBA 2K22 pulls among a handful of others. While The City sounds great on paper, its execution lacks the kind of success that The Neighborhood brought in previous titles. Some Great Changes But Too Much of The Same NBA players, so why the hell not bring that level of integrity to the center stage game mode? For now, that “Anyone, anywhere can hoop” slogan has an invisible asterisk next to it. To further this point, the WNBA mode within NBA 2K22 has your WNBA team scrimmage against NBA teams. Your character also starts out through social media and streaming as an influencer, which is a medium that basically everyone uses now to put themselves out there. You never see the finer details about getting drafted or some of the more specific logistics, instead focusing on the ground level human interactions as opposed to the backend specifics. The way the story plays out in The City facilitates this approach. The City could easily include separate paths for these two genders while keeping the mode’s execution the same. While female NPCs frequent the space, The City only allows male players to enter. The NBA and WNBA are undisputedly separate leagues but streetball is universal, and The City is supposed to be about meeting up with random players on the street and shooting hoops. Fouled-Up Choiceīefore I wrap this up, I want to mention the way that 2K handles the WNBA. NBA 2K22 also does this to some extent, allowing you to earn credits you use for buying card packs (as well as customization options for your custom player). MLB The Show allows you to play whatever mode you want while still earning credits for its card-based game mode. The card game modes make the most money for annualized sports titles now, but not every game features a user friendly mode. The rest of the space features storefronts for customization, sponsorship representatives for building your brand, and great distances between all points of interest. Pick-up basketball games are sprinkled around the large map, where you compete with other online players. Successful open world games saturate the world with things to do and experience, and The City does nothing of the sort. Unfortunately, open-world fundamentals are forgotten in favor of flare and showmanship. An open-world-esque setting for a basketball game’s social hub, which includes a complete quest log with objectives to complete, could work as long as it executes its fundamentals well. Going into this year’s game, the City had me the most concerned. All in all, MP’s story lacks the high level production and writing from NBA 2K21, but it has its own natural merit worthy of your time even if The City bogs it down. The people MP meets and works with feel interesting without needing too much character development to fulfill their role in a sports story like this, even if a few come across as cheeky or peculiar. The dialogue ends up being more fast and loose, which also comes across more naturally. The game forced me to try out joystick controls, and now I want to get proficient with them. Slight flicks in different directions issue a fake step or shot in that direction, which can then be immediately shifted into a shot. However, the game pushes you into training sessions where you utilize posts and fake shots, which the right joystick facilitates nicely. Going into NBA 2K22, I was reluctant to shoot using the right joystick controls. This year demands discipline, and I live for it, even when I get angry after making dumb mistakes. Last year, we had more flexibility and forgiveness when making minute mistakes. The biggest change for me comes with the fundamentals of the game and how NBA 2K22 demands you approach them. This works so well because you can keep an eye on the ball while still keeping track of your opponent. For example, if you place your left hand on a player, then the left haptic system activates. Instead of violent, resistant feedback, NBA 2K22 instead manages the intensity of the vibrations based on what you do on the field. Haptic feedback sees a natural progression from last year. This way, you can make sure no one watches your clips without permission. Furthermore, there are various other settings that make your job easier, such as automatically adding movies from a specific folder.įor security reasons, you can configure the Helper to request a password when a client requests access to the streamed videos. The PC is instantly visible within the mobile app, and the streaming can be started without a lot of hassle. One of the best things about VLC Streamer Helper is that it doesn't require a complex configuration. A convenient way to stream videos to your Android / iOS handset VLC Streamer streams movies from your computer to your iDevice. Alternatively, the application enables you to define custom video and audio bitrates and playback width and tamper with some advanced conversion settings that are bound to make the playback smoother. Sit anywhere in your house and watch movies or TV shows on your iPhone, iPod or iPad. The conversion quality can be customized, and you should choose the option that fits your connection speed best (low bandwidth connections for slower networks or normal to very high resolutions for superior transfer speeds). Supports Windows, Vista, Windows 7 and Window 8. The array of compatible files is generous enough to meet the requirements of most users. VLC Streamer is designed to work on your local network, and the free helper app has to run on your Mac or PC. Alternatively, it is possible to browse for a specific file and add an entire DVD to the queue. Add movies to the list and set the conversion qualityĪdding movies or videos to the streaming list is very easy, as you only have to drag and drop them onto the main window. With a modern-looking interface and straightforward options, VLC Streamer Helper delivers an intuitive management app for the streamed movies and the entire conversion process. Once the two apps are installed and running, your PC should be instantly visible in the main window of the mobile app. In other words, the VLC Streamer Helper is the server side that makes it possible for the clip to be played on the handheld device. VLC Streamer Sit anywhere in your house and watch movies or TV shows on your iPhone, iPod or iPad. Stream PC videos on your Android / iOS deviceįor the streaming process to work, you must install the Android / iOS edition of VLC Streamer on your device and deploy VLC Streamer Helper on your PC (a Mac OS edition is also available). If you want to enjoy watching clips on your Android or iOS device, not only that this method is more convenient, but it saves you from having to copy the files manually and thus, take up a significant amount of storage space when this is actually not necessary. VLC Streamer offers you a better alternative to copying movies or videos on your phone, by streaming them directly from your PC via a wireless connection. In Gelot’s shots, it emerges how religion is part of the human experience and how it represents a force that can shape the world around us and its aesthetic representation. Observing how people face the challenges of nature and photographing them means living a life of faith firsthand, which becomes a tool for understanding and analyzing what is sacred and profane. Photographing faith becomes for Brice Gelot an expression of the reality. It is perhaps in this never running out of meaning in the real world that the success of religious art over the centuries lies, called upon to interpret and depict symbols that are always the same but take on new meanings from time to time. The gaze is toward religion – the Christian Catholic religion in particular – understood as a social-cultural system of behavior, which exceeds rational explanations by tending toward transcendence. “For the love of god” is also the title of the photographic series by French artist Brice Gelot, which Collater.al is publishing in full preview. It is in common use, embedded in language as much as religion itself is pervasive, for multiple and complex reasons, in society. In our gallery you will find a selection of paintings by Gideon Rubin, to discover more go to his site.įor the love of God is an expression that expresses an image of religion understood as a solution to salvation, often associated with a sense of dissatisfaction or impatience. The large and dense brushstrokes, combined with a palette of soft colors ranging from white, beige, pink powder show a world apparently flat, but not very different from that of everyday life, from moments of peace that we carve out between a thousand commitments.īy portraying everyday life and voluntarily deciding not to reveal too much, without showing any specific details and, above all, the faces of his subjects, the protagonist of his paintings could be anyone, we could be. For this reason, the Israeli artist paints moments of everyday life: two spouses who have themselves photographed, a girl in the pool, but also more intimate, like taking off her shirt after closing in the room, reading something lying on the bed, wearing only underwear. Gideon Rubin takes his cue both from old vintage photos and from his family’s memories. Born in 1973, Gideon Rubin is an Israeli artist, born in Tel Aviv, famous for his paintings in which the people portrayed do not have a face and for this reason are not recognizable. In a world where the only means of knowledge for the prisoners is what they see and hear, Plato states that “if someone, using force, were to pull him away from there and to drag him up the cave's rough and steep ascent and not to let go of him until he had dragged him out into the light of the sun” (Sheehan, Freedom, Stage Two, par. As stated, the prisoners are a representation of human beings chained to their ignorant opinions, ideologies, sensory appearances, and illusions. The prisoners “are very much like us humans” (Sheehan, part one, par. The shadows, the game and the cave are a gateway that blind prisoners from practicing deductive knowledge and reasoning. This is imprisonment because it deprives the individual’s free will, which then limits their potential to develop. The only form of liberty they have is staring at whatever shows up in front of their faces. With a physical prison such as the cave, individuals are trapped and have no liberty. “Thus they stay in the same place so that there is only one thing for them to look that: whatever they encounter in front of their faces” (Sheehan, part one, par. While the shadows and the game are a mental prison, the cave is a physical prison that causes it. The game is simply an outline of people’s beliefs of how a person can be a master of false knowledge. In the game there is a master of ideological reasoning who everyone admires for his mastery of ideological knowledge. However, this game is different because it is based on ideological reasoning. The individuals in the cave play a game just like any form of entertainment, there is always a master, someone who is admired by people for their knowledge. “And if they were in the habit of conferring honours among themselves on those who were quickest to observe the passing shadows and to remark which of them went before, and which followed after, and which were together and who were therefore best able to draw conclusions as to the future?” (Plato’s Cave, par.14). The shadows are an illustration of the 99% of the individuals in the cave who believe ideological reasoning, perception, illusions, opinions and sensory appearances to be knowledge. The shadows, the game and the cave paint a clear picture of why and how the prisoners are imprisoned. There are three ways which explain how the prisoners are imprisoned and why they are imprisoned. The big question that it poses is that how do we know what we know is real. One of the main messages it sends is that in order to see clearly, an individual must gain knowledge through pure education and philosophical reasoning. The metaphor of the cave may be comprehended on an educational level, however it should not be taken lightly due to the message that it sends and the rhetorical question that it asks. Although possible, the cave depicts that it’s extremely difficult for individuals who base their knowledge on ideology to escape because they are trapped in a circle of misunderstanding and false knowledge. Knowledge based on ideologies is based on myths, sensory appearances, perception, conviction, beliefs, opinions and values. The cave is a prison for individuals who base their knowledge based on ideologies. The allegory of the cave is a metaphor designed to illustrate human perception, ideologies, illusions, opinions, ignorance and sensory appearances. The famous metaphoric allegory of the cave presented by Plato is a brilliant work that is designed to be interpreted in many ways. Solar drying tests in forced convection were performed at airflow rates (150 and 300 m3/h) and air‐drying temperatures (60☌, 70☌, and 80☌), where the microwave tests were performed in microwave powers ranging from 50 to 450 kW. This paper aims to analyze solar and microwave drying of Horehound leaves (Marrubium vulgare) from an exergetic point of view. Thus, it is challenging to design and built new VMD systems with higher energy efficiency in food drying. Finally, product quality is discussed under different conditions, such as equipment design and temperature uniformity. In addition to some characteristics of process efficiency and energy consumption, VMD exhibits energy consumption savings of approximately 50% compared with other drying systems. The different VMD systems have been classified as static, rotary, continuous flow, and proprietary equipment. Key findings and conclusions: The review describes the phenomenological behavior of the drying process and how to optimize it using equipment modifications with computer simulations. Based on the characteristics and parameters of the VMD equipment in the drying process, it was possible to classify the effect VMD has on different food matrices. The objective of this review is to provide an overview of major developments in VMD research and its application in various foods and other materials. Both research and industrial use have grown by 303% in the last 20 yr. VMD is a promising, fast, and efficient process for reducing moisture content. Scope and approach: This review studies the VMD process whose principle is based on the electromagnetic radiation emitted by the magnetron on a food matrix in a reduced pressure environment and which is transformed into heat. This technology has evolved and different drying systems have been applied, such as convection, conduction, or radiation, and combinations thereof. Background: Drying is one of the oldest preservation techniques used in the food industry. Through dozens of interviews and access to never-before-seen documents, Boot recasts this cautionary American story, tracing the bold rise and the crashing fall of Lansdale from the battle of Dien Bien Phu to the humiliating American evaculation in 1975. It was a visionary policy that, as Boot reveals, was ultimately crushed by America's giant military bureaucracy, steered by elitist generals who favoured napalm bombs over winning the trust of the people. 'Judicious and absorbing' New York Times Book Review In this biography of Edward Lansdale (1908-1987), the man said to be the model for Greene's The Quiet American, Max Boot demonstrates how Lansdale pioneered a 'hearts and minds' diplomacy, first in the Philippines, then in Vietnam. Investigating this forgotten struggle and the reasons of its defeat can be useful not just to scholars and students eager to understand the historical evolution of European integration, the European Left, and European capitalism, but also to anyone interested in building alternative European and global futures.Ī Study Guide for Robert Frost's ¨«¨«¨«¨«The Road Not Taken¨«¨«¨«¨« The defeat of 'social Europe' was a result of a decade-long social conflict which ended with the affirmation of a neoliberal Europe. During the pivotal years following 1968, deeply marked by labour militancy, new social movements, economic crisis, and the unmaking of the 'postwar compromise', a window of opportunity opened in which European integration could have taken different roads. This project favoured coordinated measures for wealth redistribution, market regulation, a democratisation of the economy and of European institutions, upward harmonisation of social and fiscal systems, more inclusive welfare regimes, guaranteed employment, economic and social planning with greater consideration for the environment, increased public spending to meet collective needs, greater control of capital flows and multinational corporations, a reduction in working time, and a fairer international economic order favouring the global south. Based on fresh archival material, it shows that the western European Left-in particular social democratic parties, trade unions, and to a lesser extent 'Eurocommunist' parties-formulated a project to turn 'capitalist Europe' into a 'workers' Europe'. This book examines the European Left's attempt to think and give shape to an alternative type of European integration-a 'social Europe'-during the long 1970s. |