#David John Hall Builders

[alexlacquemanne]

Juillet MMXXI

Films

Le Colosse de Rhodes (Il colosso di Rodi) (1961) de Sergio Leone avec Rory Calhoun, Lea Massari, Georges Marchal et Conrado San Martín

Harry Potter à l'école des sorciers (Harry Potter and the Philosopher's Stone) (2001) de Chris Columbus avec Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane et Richard Harris

Black Widow (2021) de Cate Shortland avec Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz et O. T. Fagbenle

Flic ou Voyou (1979) de Georges Lautner avec Jean-Paul Belmondo, Marie Laforêt, Michel Galabru, Georges Géret et Jean-François Balmer

Harry Potter et la Chambre des secrets (Harry Potter and the Chamber of Secrets) (2002) de Chris Columbus avec Daniel Radcliffe, Rupert Grint, Emma Watson, Richard Harris et Kenneth Branagh

Mort sur le Nil (Death on the Nile) (1978) de John Guillermin avec Peter Ustinov, Jane Birkin, Lois Chiles, Bette Davis, Mia Farrow, Simon MacCorkindale, David Niven et Maggie Smith

Astérix : Le Domaine des dieux (2014) de Louis Clichy et Alexandre Astier avec Roger Carel, Guillaume Briat, Laurent Lafitte, Alexandre Astier et Alain Chabat

Reservoir Dogs (1992) de Quentin Tarantino avec Harvey Keitel, Tim Roth, Michael Madsen, Steve Buscemi, Chris Penn et Lawrence Tierney

Hold-up (1985) de Alexandre Arcady avec Jean-Paul Belmondo, Jean-Pierre Marielle, Kim Cattrall, Guy Marchand, Jacques Villeret et Jean-Claude de Goros

Mystère à Saint-Tropez (2021) de Nicolas Benamou avec Christian Clavier, Benoît Poelvoorde, Gérard Depardieu, Thierry Lhermitte, Virginie Hocq, Rossy de Palma, Vincent Desagnat et Jérôme Commandeur

Harry Potter et le Prisonnier d'Azkaban (Harry Potter and the Prisoner of Azkaban) (2004) de Alfonso Cuarón avec Daniel Radcliffe, Rupert Grint, Emma Watson, Gary Oldman et David Thewlis

Kaamelott : Premier Volet (2021) d'Alexandre Astier avec Alexandre Astier, Franck Pitiot, Thomas Cousseau, Jean-Christophe Hembert et Anne Girouard

Ouvert la nuit (2016) d'Édouard Baer avec Édouard Baer, Audrey Tautou, Grégory Gadebois, Sabrina Ouazani, Atmen Kélif et Michel Galabru

Sur la piste de la grande caravane (The Hallelujah Trail) (1965) de John Sturges avec Burt Lancaster, Lee Remick, Donald Pleasence, Brian Keith, Jim Hutton et Pamela Tiffin

Les Grands Ducs (1996) de Patrice Leconte avec Jean-Pierre Marielle, Philippe Noiret, Jean Rochefort, Catherine Jacob et Michel Blanc

Spectacle

The Doors : Live At The Isle Of Wight Festival (1970)

Simply Red: Live at the Royal Albert Hall (2007)

Deux hommes tout nus (2015) de Sébastien Thiéry avec François Berléand, Elise Diamant, Isabelle Gélinas et Sébastien Thiéry

Séries

The Rookie Saison 3

Conséquences - Injustice - La Fiera - Sabotage - Alerte à la bombe - Infiltrées - La Star déchue

Wandavision

Filmé devant public - Ne zappez pas - On passe à la couleur - Interruption du programme - Dans cet épisode très spécial... - Spécial Halloween - Briser le quatrième mur - Précédemment dans... - Le grand final

Nestor Burma Saison 4, 5

Les Paletots sans manches - Nestor Burma en direct - Sortie des artistes

Cat's Eyes Saison 2

Les Cat's Eyes à Paris - Mutation difficile - Ange gardien - Surprise dans le noir - Chambre forte - 107 - Douceur de vivre

Kaamelott Livre II, VI

Le Larcin - La Délégation Maure - L'Ivresse - La Cassette - Le Tourment II - Le Message Codé - Le Poème - Les Classes de Bohort - Feue la vache de Roparzh - Dies irae

Le Coffre à Catch

#32 : Le Père Noël est un Catcheur - #33 : Comment (mal) builder le Royal Rumble - #34 : Bobby Lashley contre….UNDERTAKER ??? - #1 : ECW ONE NIGHT STAND 2006 - #7 : Quand L'UNDERTAKER CRÉE la SURPRISE - #8 : 370KG DE MONSTRES DANS LE RING ! - #35 : ECW Originals vs. New Breed - #9 : BATISTA se fait POURRIR par les fans WWE ! - #10 : KURT ANGLE en mode MASTERCLASS

Loki

Un destin exceptionnel - Le Variant - Lamentis - Le Nexus - Voyage vers le mystère - Pour toujours. À jamais.

Sydney Fox, l'aventurière Saison 1

La Bouche diabolique - Labyrinthe

The Crown Saison 1

Wolferton Splash - Hyde Park Corner - Windsor - Catastrophe naturelle - Poudre aux yeux - Bombe à retardement - Le savoir, c'est le pouvoir - Joie et Fierté - Assassins - Gloriana

Papa a un plan Saison 2

Le Renard argentée - (Re)marié à tout prix - Grève contre grève - Un grand bol d'herbe - La Contremaîtresse - Les Nouveaux Voisins - La Guerre des héros - Maman, j'ai raté l'école - Le Désarmé - L'Homme le plus attentionné au monde - Devine qui vient pour le petit déjeuner, le déjeuner et le dîner - Gagnant gagnant - Crash imminent - Vidéos… et des bas - La Bataille des varices - Tel est pris - Roi d'un jour - La Méthode Burns - On déteste le fric - On a une fille - Entreprise familiale

James May's Cars of the People Saison 1

Gravir l'échelle sociale

Brooklyn Nine Nine Saison 6

Lune de miel - Hitchcock & Scully - Retour au lycée - En quatre mouvements - Un voleur peut en cacher un autre - La Scène de crime - La Taupe modèle - Parole contre parole - Le Chouchou - Gintars - Le Psy - L'Anniversaire de mariage - La Bimbo - Contre la montre - Retour du Roi - Cinco De Mayo - Taré - Suicide Squad

La Cloche

#59: Daniel Bryan Annonce Son Retour!

The Grand Tour Saison 2, 3, 4

Coup de vieux - Mozambique - Spécial Colombie : Partie 1 - Spécial Colombie : Partie 2 - La Loi du plus gros - The Grand Tour présente... Seamen

Top Gear Saison 17

Surfin' USA - Tout doit disparaitre - La Course des Tsars - La fièvre du Vintage

Dark Side Of The Ring Saison 3, 2

Collision en Corée - David Schultz & The Slap Heard Round the World - Brian Pillman Première Partie - Brian Pillman Deuxième Partie - Cocaïne et santiags : l'histoire de Herb Abrams

Livres

Rocketeer de Dave Stevens

La Nuit des Camisards de Lionnel Astier

Marvel - Le côté obscur #1 : Black Widow - Ce qu'ils disent d'elle de Richard K. Morgan et Sean Phillips

La ballade des Dalton de René Goscinny et Morris

Kaamelott : À la table du roi Arthur d'Éric Le Nabour

Drôles de morts de John Garforth

[berlysbandcamp]

Force Majeure is an uplifting suite of real, soulful comfort music – an album that cathartically encapsulates an all-too-familiar human experience of 2020. Featuring 11 pieces performed by bassist Dezron Douglas & harpist Brandee Younger across a series of live-streamed shows from their living room in Harlem, NY, the album was self-recorded by the duo using just a single microphone. The same day Governor Andrew Cuomo shut down “non-essential” businesses throughout the state of New York, Douglas & Younger set up a window to the world that would prevail as a weekly musical reprieve over the devastating weeks and months to come. As the early effects of covid-19 plagued the citizens of New York City, Douglas & Younger did as we were all ordered to do — shelter-in-place. From their apartment in Harlem, their reflex as players and community-builders was immediate. Broadcasting via social media and spreading the word to friends and family, the duo hosted “Force Majeure: Brunch in the Crib with Brandee & Dezron,” a Friday morning live stream where they performed songs, said “hi” to friends tuning in, and passed a digital tip jar. The name “force majeure” — known to diligent contract-readers as a seldom-invoked bit of legalese that voids commitments in event of “extraordinary circumstances” — was, for Douglas & Younger, a reference to the sudden loss of livelihood that they and their musician peers suffered in the wake of covid-19. “We vowed to become a part of the resiliency of this city,” says Douglas. “You can take the work away, but you can’t stop musicians from being creative. Live streaming is just a part of it. The world as a whole saw that arts & entertainment is an integral and vital part of this ‘service’ city. We, musicians and creatives, are as essential to this city as the MTA is. The NYC community responded with love and honesty on a high level. Expression became vital for people to make it through the day and, at the same time, listening and watching expression became vital.” The success of Douglas & Younger’s initial live streams turned their series into an ongoing weekly ritual for a fast-growing audience of supporters. For most, it was a momentary musical break that helped ease the stressful weeks of lockdown, even as the weeks turned into months and the re-opening date extended further and further into the future. In late May, as the country erupted over the compounded murders of Ahmaud Arbery, Breonna Taylor, George Floyd, and countless other Black Americans, Douglas & Younger continued to connect from their Friday morning platform, uniting with more and more people through the healing power of playing, sharing, and listening. The series got attention from NPR, The Wall Street Journal, Boiler Room, Downbeat, and others; but regardless, finding the creative energy to devote to the project was a regular challenge for the two musicians. “Sometimes it was hard to be creative because the mood in the world was so dark, but every Friday we felt compelled to give back and allow GOD to heal through vibration,” says Douglas. Not only was the human connection vital, the duo felt a responsibility as stewards of music’s future. “Whatever the next thing is, I will make it a point to be involved because Music saved my life, saves lives, and must be taken care of.” The repertoire that Douglas & Younger performed began with standards they knew and music they wanted to learn (or “get inside of,” as Douglas often said), but evolved on a week-to-week basis to incorporate shifting emotions, milestones, and special requests from friends and family. Younger recalls: “In choosing the repertoire we played, it was definitely more organic and personal. When we realized a birthday of a certain artist or holiday was coming, we'd do something in dedication… Sometimes we'd pick the rep based on our mood. On those very dark days that Dez mentioned, we'd play “Sing" to perk up the mood. Something about that song just brings smiles all around. It was very hard to fake when the mood was dark, though. Marvin Gaye helped us out a lot during that time, as did some spirituals.” With what became their brunch staples they covered a broad range of memories and sounds, including classics by The Stylistics, The Jackson 5, Alice & John Coltrane, Pharoah Sanders, Kate Bush, Sting, and The Carpenters, as well as a co-written original composition with which they ended every set, “Toilet Paper Romance.” From the earliest sessions, the duo worked alongside International Anthem to review the weekly recordings; together they compiled, edited, and eventually arrived at the stream-to-songbook of Force Majeure. Between the choicest takes of tunes chosen for the final album sequence, they put excerpts of their sometimes cute or comedic, often profound banter. Notably Douglas’s voice ends both side A and side B with off-the-cuff variations of: “Black Music cannot be replicated, it can only be expressed.” Like poetic bookends for Force Majeure, his words could also serve as foundational principles for the work, underscoring the importance of authenticity and integrity in music. Douglas elaborates: “Black Music, no matter what genre, is exactly what it is — Music created by Black Musicians for the sake of vibrating on our own frequencies of understanding and empathy. I love all music, but I also recognize that music is a cultural and regional vibration. You don’t have to be Black to play Black music, but if you are out here making money off of Black Culture and have no empathy for the People and the Culture then you are even more part of the problem. Black Lives Matter because for a long time our lives didn’t matter and it was Normal — normal to society and normal to us as Black humans. What’s different between then and now is the fact that the Virus has given people time to focus on the current social media platform used to document evil in this world. The filming and documentation of the loss of human life to evil is more powerful than Politics and Government. It’s LIFE showing us how Inhumane we are as a Human Race. Yet we still haven’t figured it out yet. Let’s hope we aren’t the catalyst for this planet to implode. That would be unfortunate considering we have the chance to fix it. We have the chance to do right by Mother Nature and we have the chance to do right by each other. We always have a chance. Change is inevitable, but is evil and selfishness and self-righteousness a part of change? Certainly! Is Love and Empathy and Humanity a part of change? Most definitely! What side are you on? We are on the side of Love.” Douglas & Younger understand that the revolution begins with a transformation of the heart. And for the heart to be transformed, it must be lifted up. “This album is a testament to the power of music to uplift us through the most challenging times,” says friend, collaborator, and fellow International Anthem recording artist, Makaya McCraven. Force Majeure is an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary. - bio by Joe Darling & Scott McNiece - Bassist, composer, bandleader, and educator Dezron Douglas has established himself as a major force in contemporary creative music. A protégé of the great Jackie McLean, the Downbeat Magazine 2019 Rising Star is known for his work with Pharoah Sanders, Ravi Coltrane, Cyrus Chestnut, David Murray, Louis Hayes, and also with piano legends George Cables, Eric Reed, Mulgrew Miller and Benny Green. Douglas has recorded on more than 100 albums, contributing to the artistry of numerous bandleaders and maintaining an integral presence in the sounds of his peers, which include Keyon Harrold, Jonathan Blake, Melanie Charles, and Makaya McCraven. He is an active music educator, currently on the Jazz Studies faculty at NYU Steinhardt. He has released 6 albums as a lead artist and maintains a variety of projects that he uses as platforms for his compositions. His band, Black Lion, released their latest single “COBRA” in October of 2020. Harpist, composer, educator, and concert curator Brandee Younger is known for her work with Ravi Coltrane, Moses Sumney, Lauryn Hill and producer Salaam Remi. The New Yorker has described her instrumental craft as “radiant playing ... as cogent on hip-hop and R&B albums as it is set against classical and jazz backdrops.” Her work often extends to illustrious heights, featured by Beyoncé in Netflix’s concert documentary Beyoncé: Homecoming as well as Quincy Jones and Steve McQueen in 2019’s “Soundtrack of America” series. She recently joined the harp faculty at NYU Steinhardt and the New School in Manhattan. When Alice Coltrane passed away in 2007, her son Ravi Coltrane asked Younger to perform at the memorial. Her performance “moved me and everyone in attendance from the first glissando,” Coltrane told the New York Times. “No harpist thus far has been more capable of combining all of the modern harp traditions — from Salzedo, through Dorothy Ashby, through Alice Coltrane — with such strength, grace and commitment.” Younger recently signed to Impulse! Records, with whom she has a new album planned for release in 2021. Douglas & Younger are long-time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through equally prolific careers. “Brandee and I met in college, University of Hartford, Hartt School of Music, back in 2001,” remembers Douglas. “Her practice room was across the hall from mine. We began a friendship instantly through music and Black culture. We would jam a lot in college when she wanted to practice ‘Jazz.’ She was a Classical Harp and Music Business double major and she was heavily influenced by Jazz and Black Music so I sort of became an outlet for her to walk on the wild side in the eyes of University and Classical politics.” To this day, Douglas and Younger often accompany each other in the ensembles they lead, respectively. The two have played together in the Ravi Coltrane Quartet, with The Baylor Project, and in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Force Majeure is their first release as a duo.

[davidjohnhallfootball-blog]

5 Tips To Become A Professional Footballer

Football is a great sport and is very popular all around the world; however it is not an easy sport to play especially when talking about becoming professional.

Below we have put together 5 important tips that you will need to obey if you have any hope of making it on to a professional footing in football. Before you go down this route, you need to have natural skill and talent and this is something that only a coach can tell you that you have.

Tip1

Firstly you need to be totally committed and this means being able to sacrifice nights out, drinking with friends and all the other 'vices' that young people enjoy doing. A lot of great football talent is flushed away with partying and nights out because they simply are distracted and people with more dedication who rest and have early nights perform better on the pitch.

Tip2

Outside of football training you need to have your own personal training and that means early morning runs, sprint training and gym training. All this needs to be done even in the rain or snow. Again this is down to sheer commitment and self motivation which is essential to succeed on the football pitch.

Tip3

There is a strong belief that a good footballer should be very into watching football both present day and classic matches as this gives them in sight into great moments, new skills and plays that work. When a young Mike Tyson was training as a teenager, he used to watch and study old fighters every night which gave him great mental knowledge of some of the past greats and new moves that he could use. The same principles apply to football.

Tip4

You need to be inspired and motivated and sometime the best way to do that is to have a current football icon that you strive towards. So if you are a Manchester United fan, you need to find a role model in there such as a great player like Wayne Rooney. A good way to find inspiration is to read his book and learn his story on how he came from nothing to wearing the great Manchester United kit.

Tip5

Practising football is essential to becoming professional and that means during training sessions, working hard at your weaknesses such as passing, shooting, defending or whatever they might be. Then after practice working on your own skills in your own time will help you improve.

To be a professional footballer you need to live and breathe the game both physically and mentally and even then there are no guarantees.

[rabbitcruiser]

Hockey Hall of Fame, Toronto (No. 4)

While many of the Hall of Fame exhibits are dedicated to the NHL, there is a large section devoted to hockey leagues and players outside North America. On June 29, 1998, the World of Hockey Zone opened. It is a 6,000 square feet (600 m2) area dedicated to international hockey, including World and Olympic competition and contains profiles on all IIHF member countries. 

The IIHF agreed to transfer its exhibits from the International Hockey Hall of Fame to the Hockey Hall of Fame in 1998. The World of Hockey Zone is sponsored by Tissot. The zone includes the IIHF Hockey Hall of Fame honor roll, listing each inductee by country and year of enshrinement. Each national association member of the IIHF is represented in the collection of artifacts in the display, which includes many national team hockey jerseys. The World of Hockey also recognizes members of the Triple Gold Club, and displays memorabilia from the "Miracle on Ice" at the 1980 Winter Olympic Games. Other notable events included are the 1972 Summit Series, the men's and women's Ice Hockey World Championships, national-level hockey leagues in Europe, the Spengler Cup, the World Cup of Hockey, and the Canada Cup.

As of 2009, new members can be inducted into the Hockey Hall of Fame as players, builders or on-ice officials. The builders' category includes coaches, general managers, commentators, team owners and others who have helped build the game. The category for on-ice officials was added in 1961 and a "veteran player" category was established in 1988. The purpose of the category was to "provide a vehicle for players who may have been overlooked and whose chances for election would be limited when placed on the same ballot with contemporary players". Eleven players were inducted into that category, but in 2000, the Board of Directors eliminated it; the players who had been inducted under this category were merged into the player category. 

Candidates for membership in the Hockey Hall of Fame are nominated by an 18-person selection committee. The committee consists of Hockey Hall of Fame members, hockey personnel and media personalities associated with the game; the membership is representative of "areas throughout the world where hockey is popular", and includes at least one member who is knowledgeable about international hockey and one member who is knowledgeable about amateur hockey. Committee members are appointed by the Board of Directors to a three-year term. The terms of the committee members are staggered so that each year there are six newly appointed or reappointed members. As of November 2018, the selection committee consists of: chairman John Davidson, James M. Gregory (Chairman Emeritus), and committee members David Branch, Brian Burke, Colin Campbell, Cassie Campbell-Pascall, Mark Chipman, Bob Clarke, Marc de Foy, Michael Farber, Ron Francis, Mike Gartner, Anders Hedberg, Jari Kurri, Igor Larionov, Pierre McGuire, Bob McKenzie, David Poile, and Luc Robitaille. 

Each committee member is allowed to nominate one person in each category per year. Nominations must be submitted to the Chairman of the Board of Directors by April 15 of the nomination year. The committee then meets in June where a series of secret ballot votes is held; any player with the support of 75% of the members of the committee present is inducted. If the maximum number of players does not receive 75% after the first round of voting, then run-off votes are held. Players with less than 50% are dropped from consideration for that year and voting continues until either the maximum number of inductees is reached or all remaining nominees receive between 50% and 75%. In any given year, a maximum of four players, two builders, and one on-ice official are inducted as members. Player and on-ice officials must have not participated in a professional or international game for a minimum of three years to be eligible for nomination. Builders may be "active or inactive".

The waiting period was waived for ten players deemed exceptionally notable; Dit Clapper (1947), Maurice Richard (1961), Ted Lindsay (1966), Red Kelly (1969), Terry Sawchuk (1971), Jean Béliveau (1972), Gordie Howe (1972), Bobby Orr (1979), Mario Lemieux (1997), and Wayne Gretzky (1999). Following Gretzky's induction, the Board of Directors determined that the waiting period would no longer be waived for any player except under "certain humanitarian circumstances".Three Hall of Fame members came out of retirement after their induction and resumed a career in the National League: Gordie Howe, Guy Lafleur and Mario Lemieux. Chris Pronger was inducted in 2015 while still technically an active player; in his case, he had signed a contract with the Philadelphia Flyers that was not due to expire until after the 2016–17 season. The Hall of Fame amended its by-laws by introducing the "three-year waiting period", which made Pronger eligible for induction because he had not played since 2011. 

On March 31, 2009, the Hall of Fame announced new by-law additions which were implemented on January 1, 2010. Starting in 2010, male and female players are considered for induction separately and a maximum of two women can be inducted as players per year. The by-law also clarifies that a builder does not need to have been a coach, manager or executive to be inducted. Although they remain separate categories, the builders and on-ice officials are considered on the same ballot and a combined maximum of two can be inducted each year. The Board of Directors will now meet at least once every five years to consider potential changes to the limits. 

There is also a category for "Media honourees". The Elmer Ferguson Memorial Award is awarded by the Professional Hockey Writers' Association to "distinguished members of the newspaper profession whose words have brought honour to journalism and to hockey". The Foster Hewitt Memorial Award is awarded by the NHL Broadcasters' Association to "members of the radio and television industry who made outstanding contributions to their profession and the game during their career in hockey broadcasting". The voting for both awards is conducted by their respective associations. While media honourees are not considered full inductees, they are still honoured with a display at the Hockey Hall of Fame. The ceremonies associated with these awards are held separately from the induction of the members of the Hall of Fame. Some of the award winners have also been inducted into the Hall of Fame as builders, including Foster Hewitt.

Source: Wikipedia

[wutbju]

William Robnett "Rob" Schoolfield was born in Pikeville, Tennessee, December 15, 1953, on his father’s birthday. He passed away at 68 years old on March 12, 2022, after a seven-month fight against pancreatic cancer. He is survived by his spouse, Brenda Thompson Schoolfield; son, Ellis Richard Schoolfield; daughter, Katherine Eunice Schoolfield; siblings: James Robert Schoolfield, Jr., Thomas Lurton Schoolfield, John David Schoolfield, and Francis Suzanne Schoolfield Sapp; along with nieces, nephews, grandnieces, and grandnephews. He was preceded in death by his parents, James Robert Schoolfield, Sr., and Hannah Tom Robnett Schoolfield.

Rob holds degrees from Tennessee Technological University, The University of Tennesseeat Chattanooga, and Bob Jones University and studied at The University of South Carolina. He studied percussion with Charles Hiebert, Joseph Rasmussen, Monty Coulter, and James Hall.

Rob was a musician, playing percussion and guitar. He played and sang with his friends in the Pure Mountain Water Band (known as The Tennesseans at Six Flags over Georgia). He performed with regional orchestras in Tennessee, North Carolina, and South Carolina as well as with the orchestra at First Presbyterian Church of Greenville, South Carolina.

Rob loved learning and teaching. He taught music in Tennessee and Alabama before moving to South Carolina to teach for 35 years at Bob Jones University. At BJU he founded the percussion program as Director of Percussion Studies. He supervised the equipment and logistics along with teaching private lessons and conducting the University Percussion Ensemble. He also served as associate conductor of the BJU Symphonic Wind Band. He performed with the University Symphonic Orchestra and the University Opera Association.

Rob said that he always wanted to be a father, and he was a loving and kind father. He and his wife rejoiced in their children’s accomplishments and growth. He loved his siblings and their children and grandchildren. Family was second only to his heavenly Father.

Rob died in faith, without fear, and with confidence that God. He looked for a "city having foundations whose builder and maker is God." (Hebrews 11:10). Rob believed that he would see his Redeemer, and he is now healed and saved.

The memorial service will be held 4:30 PM (EDT) Thursday, March 17, 2022 in the main sanctuary of First Presbyterian Church of Greenville. Before the service, the family will receive visitors beginning 3:00 PM. In lieu of flowers, donations may be made to the Cancer Society of Greenville County, or to the Gingery-Mack Music Scholarship at Bob Jones University.

A separate memorial service will follow a private graveside service in Pikeville, Tennessee. The date and time of those events are still being determined and will be announced.

[melbmemories]

This daguerreotype of Swanston Street in Melbourne is among the earliest taken of the fledgling city. The image was taken from the corner with Collins Street from the first Town Hall building looking down towards Flinders Street and the stone-arch Prince's Bridge. This bridge was just four years old and at the time was one of the longest, flattest stone arch bridges in the world. It also went by the name 'Lennox Bridge' after its builder David Lennox.

The daguerreotype photographic process was introduced to the world in 1839 by its inventor, French artist and chemist, Louis-Jacques-Mandé Daguerre. It was a process that produced a unique positive print on a copper plate covered with polished silver. It was widely used from the early 1840s to the late 1850s before being superseded by the wet plate collodion process. The daguerreotype process is still practiced today by a handful of enthusiastic devotees, maybe less than a hundred worldwide.

Swanston Street was named after Charles Swanston (http://adb.anu.edu.au/biography/swanston-charles-2713), a managing director of the Derwent Bank who had helped fund John Batman's early attempts to colonize Port Phillip. Along its length we can make out a number of Melbourne's early establishments. Directly opposite is the business of W. L. McKay Chemist and Druggist. Across the road is Belfast House where a Mr. Chesney ran his drapery business. Next door is the Commercial Chambers building, apparently built in 1854, from which a grocery and provisions business was run. Further along at 35 Swanston Street is the Central Land Office of Thomas Ham with a tobacconist on the ground floor. Towards the end of the street is an ironmonger business run by J. S. Craig, or Cragg, and between them and the Central Land Office are a wide variety of buildings from imposing two story brick to small timber fronted ones. This photo is attributed to a Thomas Glaister

[snowpatrolfanclubbrazil]

By Paul Mcnamee

Chasing Cars was the UK's most widely played song of the Noughties. But after global success, Snow Patrol have been quiet for seven years. Frontman Gary Lightbody was drawn into the 'dirt darkness' by drink and depression but now, he tells Paul McNamee, he's found his way home.

Gary Lightbody's moment came two years ago in a gym in Santa Monica. The Snow Patrol frontman has long had a reputation of indulging his appetites. But even he was going at in on a bigger scale, with a fierce, Valhallan vigour. The band's last tour had finished in late 2012.an then: "I started drinking." he says, "with a gusto that a professional boxer might train for a prize fight. It'd be mostly beer, I was quite a happy drunk. There was a hell of a lot of fun. Until it wasn't.

"I'd get to 2am sitting on my own, have a cry, and then a glass of something [stronger], I didn't have any relationships and I wasn't having sex either.I was very hermetic. Around 2015/2016 I was drinking every day and also I was hating it. I regret doing it even though I knew I was doing it out of compulsion" He was hitting the gym in the mornings to sweat it off. Then came the moment.

"I bent down to touch my toes and everything started spinning. It felt like the floor beneath me was moving. I thoughy it was an earthquake. But I kept going on. I phoned a friend who lived around the corner. I was like, 'Are we having an earthquake?' He said "Something's going on here'.

"I had a bunch of CT scans on my head. My whole head was infected - sinus, ears, eyes, everything. I'd been having styes and stuff on my eyes. Stick a teabag on it. This was the week before I was going to France to see Northen Ireland play in their first tournament i 30 years. I siad to the doctor, 'I'm flying to France in five days'. He's like, "No, you're not. If you fly with the air pressure it's feel like daggers ripping into your head'. I was still thinking maybe I'll be alright. I spoke to a friend, Gabrielle, an acupuncturist, an extraordinary human being. She'd been trying to get me to stop drinking for while..." So he stopped. Or at least, he began to stop. And in flooded the dark realities he'd been masking.

In recent weeks, as he's been working around the release of Wildness, Snow Patrol first album in seven years, Lightbody has started to talk for the first time about the mental health problems which have plagued him for year. ("I didn't talk about anything, nobody knew, the band didn't know.") Last year, after 12 months sober, came another key moment.

"Last summer", he says, "I thought I'd be relieved to get the album done. We'd just finished. But I wasn't. I was devasted. I'd opened a place in my psyche and I didn't know how to shut the door. It was like ark of the covenant was opened [from Raider Of The Lost Ark] and there were melting faces left and right and I didn't know how to shut the thing down. So instead of talking to somebody I tried to shut myself out. Let my own face melt. And the band knew something and they flew from London and arrived at the door and I broke down and told them everything. 

I have a depressive personality that has no relationship with reality. I could be having the best time on the surface and yet my depression goes 'You're still a cunt. Don't forget that. I'm dragging you down into the inkand the dirt and the darkness'. I could be playing to 15,000 people and three hours later be in a hotel room cruying on the floor. That's happened a bunch of times. The depression and the success have no relation to each other. It's just part of me. I've learned that rather than running from it, which you can never really do - you can have and turn and face it and look it in the eyes and say I'm not afraid of you any more".

And so he went home. Back to Northen Ireland, to North Down where he was brought up. It's the place he was desperate to leave in 1994, whe he ran to Dundee to star university, to start a band , to start years of chipping away with no success. Then he wrote Run and everything changed. 

It's easy, given their time away, to forget just how huge Snow Patrol were for a period from the mid to late Noughties, Nobody, really, was bigger. The song Chasing Cars, from fourth album Eyes Open, was picked up for UA his TV show Grey's Anatomy and propelled them to massive fame. Lightbody moved to Santa Monica around 2009. ("Soon as my feet hit the sand in Santa Monica something just hit and I thought, I want to live here") Recently he claimed he'd moved back to Northern Ireland because the band were getting ready to work again  and he needed to be near them. But it feels like the truth is little more complicated.

"You're right. There are quite few reasons. My dad isn't well, my mum isn't coping very well and my niece is going to be 11 in July, I've missed most of her life living in LA.

"And I missed home. It's a time in Northern Ireland as well when it feels like we're at a bit of a crossroads again. I felt a bit of a calling back here. Not that I figure I can help in any way, but I certainly won't feel connected if I'm 5,000 miles away I wanted to reconnect". We're meeting in the Crawfordsburn Inn, the picture post card hotel not far from Gary's shorefront home, overlooking Belfast Lough.

It feels timely. We meet on the 20th anniversay of a concert in Belfast's Waterfront Hall, hosted by U2, that helped deliver a huge Yes vote in the referendum for the Good Friday Agreement. In a nation where defiant, No's had been the lingua franca, a Yes was significant. A political statement and a cleansing.

On that day, John Hume and David Trimble were ushered onstage by Bono , a man with a keen eye for a moment, U2 sang Don't Let me Down. Ash were there too, being young and hopefull. Twenty years on, as Lightbody says, Northern Ireland is at a bit of a crossroads. And he's found his way home. The album, Wildness, is worth the wait. If Snow Patrol had touched on themes of running and movement in the past, Wildness has a leitmotif of finally settling; The word 'home' is laced throught several songs. Two tracks in particular illustrate what Snow Patrol can really do - the anthemic reach of the huge, wondroug openning track Life on Earth ( a track that took Gary five years to complete) and the intimancy of What If This Is All The Love You Ever Get?), a piece with just Gary on piano, a heartbreaker written for a friend going through a divorce. 

The song Soon marks another significant theme. It deal with Lightbody's father Jack's battle with Alzheimer's . It's a simple builder, full of grace note and sadness. There is a something quietly heroic in it. The video, filmed in Lightbody's apartment, sees him and his fater watching old home movies his dad recorded throught the years. As well as the sadness over what his father is losing, there is an understanding of a farewell to lost youth that the hopefulness of that other country is worth revisiting for both of them. "I love my dad," he says. "I have a lot of respect for him so I wanted to honour him, but at the same time I also have a lot of guilt for being away for most of my adult life. I don't just mean LA, I mean Glasgow, London,  or on tour constantly. And there is probably a place in my head where I go when I'm feeling somesick and that is both a place of calm and nostalgia and also a place of guilt and some shame.

"I've felt I've been running away most of the time from myself. So [he pauses]...someof the home references are me feeling disconnected rather than connected...feeling like I'd never really found a home. I never truly felt at home when I was growinh up in Northern Ireland. Then I left and never really felt at home anywhere else. And then I moved back to Northen Ireland and now I do feel at home here, but that has also coincided with me feeling at home inside my own body. Which was the whole problem the whole time. I wasn't comfortable with myself, I didn't like myself. So you have to figure that out before you can feel at home anywhere.

The band's influence and legacy go beyond their own work. They've helped shape the sounds that have become pervasive in post-millennial pop. Lightbody and band member Johnny McDaid have written with, among others, Ed Sheeran, Taylor Swift and One Direction. Snow Patrol took Sheeran on the road in the States in 2011, helping him break through. They remain close. "Between myself and Johnny McDaid, we're written a lot of things for other pop acts, him more than me", he say. "I would say Ed came fully formed from his first album. He'd done the groundwork. All the grafting that you need to do, when you're a young band. He busked his ass off from the age of 15 on the streets of London, sleeping on his mate's couch. He had turned up to gigs and said to promoter, can you give me 15 minutes after the doors open. And promoters say aye. That's how he started. He grafted harder and still does to this day - harder than anyone I know. Sheeran's returning the favour, taking the the band on an American tour autumn. 

Refusing to accept Snow Patrol as fountainheads of a sound, Lightbody says they are more like Zelig, "probably bystanders". One got away, though. Mutual friend James Corden introduced Lightbody to Adele. 

"It happened to be a birthday of somebody that James and Adele knew...and I sat down with her and she said when are we going to do [a song]. We did two days - Adele, Johnny McDaid and me - the bones of three really amazing fucking songs. But we never got round to finishing it. And then the album came out and obviously we weren't on it."

While his own album has just come out, there is already preassure to get busy on the next. Long time producer, friend and mentor Garret "Jacknife" Lee has been in touch ("he says we need to get cracking on the next one"). For now, ahead of their own arena tour in the winter, Lightbody is learning to cope, listening to podcasts ("StuffyouShouldKnow from HowStuffWorks is my favourite one") and Bon Iver ("I think he's the finest songwriter alive") and working things out. 

"Me, now not drinking, I like myself but I'm socially awkward, I'd rather be sitting with bandmates, my family. I'm 41. I know what I want.

  And that is? 

"Peace I want to make sure that every day of my life I take a moment and realise eveything is calmer. I've learned how to meditate, learned how to do Qigong. Learned a whole load of practices that I do every day. They mitigate the madness. The greatest thing I ever did for my own emotional wellbeing was to talk."

And if we went back 20 years, and said here are the successes, here are the demands it'll make on you mentally, personally, physically - would you have taken it? "I would have taken it for half the successes I can't believe what happened to us. I still can't believe when I look back at  it, at  everything that is successful that has been good. At everything that is still happening. It is a dream, It's a bloody dream."

[nsula]

NSU student wins State Fiddle Championship

NATCHITOCHES – Clancey Stewart of Florien was the Grand Champion of the 2018 Louisiana State Fiddle Championship held at Northwestern State University as part of the 39th Annual Natchitoches-NSU Folk Festival. Tied for second place were Cameron Fontenot of Eunice and Terry Huval of Lafayette. Ron Yule of DeRidder took third place, followed by Marguerite Gravois of Baton Rouge in fourth. The Championship was held in Magale Recital Hall on the Northwestern State campus.
 Stewart also took first place in the 21 and under championship division, followed by Fontenot in second and Owen Meche of Arnaudville in third. Gravois won first place in the 22-59 championship division, and Huval took first in the 60 and up championship division, with Yule coming in second, Wilfred Luttrell of DeRidder in third and Ronald Pace of Alexandria in fourth. Luttrell and Yule also took first place in the twin fiddle competition.

Dr. Shane Rasmussen, director of the Natchitoches-NSU Folk Festival and the Louisiana State Fiddle Championship, remarked that “the level of talent of the players in this year’s Championship was amazing, which accounts for the tie for second place winners in the grand championship. When the caliber of talent is so high it makes it very difficult for the judges to pick a single winner. Each of this year’s contestants is an extraordinary player.” 


Stewart has played the fiddle for the past 15 years. She takes part in a community jam session on the last Saturday of each month in the historic opera house in Fisher. She will be a senior this fall at Northwestern State.

As the new champion, Stewart also performed on the main stage in Prather Coliseum. Stewart remarked on the importance of getting experience playing in competition settings, saying “As far as competition, the losing is what makes it better. It challenges you to better yourself.”

Several of the contestants observed how positive they found it to play in the Championship. Said Fontenot, “It was a great experience listening to all of these great fiddlers. Can’t wait to do it again and it’s an honor playing here!”

Huval observed that the “Championship is a great program to give musicians an additional incentive to become more proficient with their instrument. Fiddling is an art form so much a part of our Louisiana culture —no matter what the style. This is indeed a wonderful event that needs more support.”

Remarked Gravois, “The fiddle competition is a great chance to meet other fiddlers and hear their selections. The organizers were very accommodating and made us all feel welcome. Plus, it gives us a great reason to visit the city—it’s beautiful.”

Although an accomplished musician, Stewart does not play Cajun music styles, and was surprised to win this year’s Louisiana State Fiddle Championship. “I was really excited. I didn’t think that I was going to win, especially Grand Champion. I was worried about playing in the Texas swing style.”

Stewart teaches fiddle to students in grades 6-12 in Sabine Parish public schools. She advises beginning players to “Never give up on yourself. It’s hard, but you have to stick with it and it’s worth it.” She plans on encouraging her students to take part in next year’s Fiddle Championship, remarking that “I hope to see this festival and competition grow in future years.”

Two fiddles made by master instrument maker Hilton Lytle were given away to contestants of this year’s Championship. A student in the Brazos Huval School of Music in Breaux Bridge, Meche was the beneficiary of a ¾ fiddle donated by Lytle. Fontenot was also the recipient of a handmade Lytle fiddle, donated by Carl and Joyce Parker of Downsville. Rasmussen remarked that Mr. Lytle has helped revitalize fiddle playing throughout Louisiana. “We are indebted to his tireless efforts and kindness to so many. His fiddles are works of art.” Reflected Stewart, who has known Hilton Lytle for several years, “Hil is one of the sweetest older men you will ever meet, and he has a huge heart for younger people. He brings new experiences into people’s lives.” Earlier in the day Lytle was inducted into the Louisiana Folklife Center Hall of Master Folk Artists. 
          

 2018 Fiddle Championship judges included fiddlers Andrej Kurti, Joe R. Suchanek, and Sofiko Tchetchelashvili. Suchanek was the 2017 Louisiana State Fiddle Champion. As the 2018 Grand Champion, Stewart will serve as a judge for next year’s Championship, which will be held on July 27, 2019.
           

Support for the Louisiana State Fiddle Championship and the Natchitoches-NSU Folk Festival was provided by grants from the Cane River National Heritage Area, Inc., the Louisiana Division of the Arts Decentralized Arts Fund Program, the Louisiana Office of Tourism, the Natchitoches Historic District Development Commission, the National Endowment for the Arts, the New Orleans Jazz and Heritage Festival and Foundation, and the Shreveport Regional Arts Council. Support also came from generous sponsorships from Acme Refrigeration of Baton Rouge, Dr. James Arceneaux, Bank of Montgomery, Louie Bernard, City Bank, the City of Natchitoches, Cleco, John Conine; Corkern, Crews, Johnson & Guillet; CP-Tel, Delta Car Wash, Dan and Desirée Dyess, Georgia’s Gift Shop, La Capitol FCU, the Harrington Law Firm, Billy Joe Harrington, Jeanne’s Country Garden, Maglieaux's Riverfront Restaurant, the Natchitoches Area Convention & Visitors Bureau, Natchitoches Wood Preserving, Inc., NSU Men’s Basketball, Page Builders, LLC, Sabine State Bank, R.V. Byles Enterprises, UniFirst, Dr. Michael Vienne, David and Shirley Walker, Waste Connections, and Young Estate LLC.

[architectnews]

Foster School of Business, Founders Hall, Washington

Foster School of Business, Founders Hall, University Of Washington Building, Architecture Images

Foster School of Business, Founders Hall, University of Washington

September 21, 2021

Design: LMN Architects

Location: 4215 E Stevens Way NE, Seattle, Washington, USA

LMN Architects Celebrates The Design And Topping Out Of The Foster School Of Business Founders Hall At The University Of Washington

The Founders Hall Learning Facility Expands The Michael G. Foster School Of Business While Vitalizing The Historic Campus Core.

Founders Hall, Foster School of Business, University of Washington

Seattle, Washington – September 21, 2021 – LMN Architects is proud to celebrate the “topping out” of the mass timber structure for Founders Hall at the UW Foster School of Business. Framing the northeast edge of historic Denny Yard, the open space at the heart of the original campus plan, the new 85,000 sf building is expected to be completed in the Summer of 2022.

Founders Hall expands the Foster School business education complex with a diversity of student-facing programs to further embed its interactive culture of learning, strategic thinking, and entrepreneurial initiative fabric of the central campus. The building is organized in two parts to optimize program functionality of workplace, learning and collaboration activities.

Active-learning, collaboration and event spaces are positioned at the south edge of the site to engage the distinctive qualities of the Denny Yard landscape, as well as link to the intensively used pedestrian pathways that traverse the precinct. Landscaped terraces and rain gardens reinforce the natural slope and evergreen plantings of the treasured open space. By contrast, the north building façade along Stevens Way is clad in masonry in response to solidity of campus buildings that front the ring road.

An open circulation space serves as a central connector with a feature stair that provides shared access to tiered classrooms, student commons, special event venue and outdoor terrace. The tiered classrooms are designed to serve multiple group sizes, from 65 to 135 students, with active-learning functionality. The collaboration zone is further activated by twenty-eight team rooms, four conference rooms, a student commons, and an event forum with an adjacent roof terrace.

Frank Hodge, Orin & Janet Smith Dean, Foster School of Business, comments: “LMN Architects has been a true partner in designing Founders Hall. Decisions were made in a collaborative manner with ideas openly shared and outcomes respected by both parties. Our decision to switch from a concrete and steel structure to a mass timber structure was a monumental shift in design. LMN excelled at incorporating all of our ideas to celebrate the use of wood in the project, and created a more open, inviting, beautiful, and highly functional design.”

Founders Hall reflects the highly interactive nature of business in the new century and is designed for sustainable performance and social connection to inspire future generations of business leaders. The project is a model for sustainable design at the University of Washington and is embracing UW’s Green Building Standards to reduce emissions from embodied carbon by 83%.

Mark Reddington, Partner, LMN Architects, comments: “This project completes a complex of interconnected buildings and spaces which we have been designing for the Foster School over many years. It serves multiple program functions with an inclusive and equitable social environment, integrated into the historic landscape of the UW campus.”

The building features a system of collaboration spaces designed to encourage teamwork and foster spontaneous interaction amongst students, program staff, and the broader business community. The classrooms, conference facilities, and recruiting spaces provide expanded opportunities for community and corporate engagement through hosting events and inviting outside speakers, alumni, and corporate recruiters.

Robert Vincent, Project Manager, Hoffman Construction Company, comments: “The guiding principle for our design-build team has been to identify the best alternatives and solutions for the project. We embraced the client’s desire for a mass timber structure, and although we experienced some supply chain disruption due to the pandemic, we are on track to become a model of what is possible with new technologies and construction techniques. It has been a pleasure to collaborate with everyone at the University of Washington, LMN Architects, the team of consultants, and all the trade partners involved in the success of the project.”

Robert Smith, Principal, LMN Architects, comments: “This project demonstrates how an integrated client and design-build team can translate a vision of sustainability into a building that is equally successful at fostering social performance of the users as well as the operational performance of the building. The 83% reduction in operational carbon is a result of careful balancing between envelope performance, the mechanical system design, and the users’ commitment to leverage operable windows and ceiling fans in lieu of energy-intensive air conditioning.”

The building is LMN’s most recent project within the Foster School of Business, which began with the initial master plan in 2002 and also includes the PACCAR Hall and Dempsey Hall projects. Founders Hall is one of the first projects at the University of Washington to be delivered through progressive design-build project delivery.

LMN Architects has designed more than 140 projects on 47 campuses in the United States, including the Bill & Melinda Gates Center for Computer Science & Engineering at the University of Washington in Seattle; the Voxman Music Building at the University of Iowa in Iowa City; Edward J. Minskoff Pavilion at Michigan State University in East Lansing; and the Wilbur O. and Ann Powers College of Business at Clemson University.

Founders Hall, Foster School of Business, University of Washington – Building Information

Design: LMN Architects

Project Title: Founders Hall, Foster School of Business, University of Washington.

Location: 4215 E Stevens Way NE, Seattle, WA 98105, USA

Design Years: 2018-2020

Construction Years: 2020-2022

Major Building Materials: Curtain wall, brick, mass timber structure (cross-laminated timber floors with glulam post and beam), concrete shear cores, steel long-span beams at classrooms.

Program: Case study classrooms, event space, student commons, team rooms, conference rooms, informal learning areas, administration and research offices, lounges, and outdoor event terraces. Includes surface parking, bike parking, and shower rooms.

Site Area:: 80,200 SFT (7,450 s.m.)

Floor Area: 85,000 SFT (7,897 s.m.)

Building Height:70’. (21.3 m.)

Number of Floors: 5

Project Images

Project Renderings: LMN Architects

Construction Images: Adam Hunter/LMN Architects

Project Credits

Architect: LMN Architects 801 Second Avenue, Suite 501 Seattle, Washington 98104

Project Team: Kjell Anderson, AIA David Backs James Blanchard Hank Butitta Nicholas Freese Andrew Gustin Emily Hankins Hanna Kato, AIA Mark La Venture, AIA John Lim, AIA Susan Lowance, AIA Vanessa Ly-Nguyen, AIA Veronica Macalinao, AIA Chris Patterson, AIA Mark Reddington, FAIA Chris Savage, AIA George Shaw, FAIA Robert Smith, AIA Masako Wada Kate Westbrook, AIA John Woloszyn, AIA Rushyan Yen

Design-Builder: Hoffman Construction Company.

Structural Engineer: Magnusson Klemencic Associates with Katerra.

Civil Engineer: Mayfly Engineering & Design, Pllc.

Landscape Architect: Gustafson Guthrie Nichol, Ltd.

Lighting Design: HLB Lighting Design.

Mechanical and Electrical Engineer: PAE Consulting Engineers, Inc.

Plumbing Engineer: Burman Design.

Signage: Studio Matthews.

Commissioning: Wilson Jones Commissioning.

Envelope Consultant: Morrison Hershfield.

LEED Administration and Energy Modeler: O’Brien360.

Environmental Graphic Designer: Advent, LLC.

Acoustics: The Greenbusch Group.

Trade Partners: Pellco Construction (Earthwork & Utilities), Steelkorr (Steel), Performance Contracting, Inc. (Interiors), McKinstry (Mechanical), VECA (Electrical), and Herzog Glass (Glazing).

Founders Hall, Foster School of Business, University of Washington images / information received 210921

LMN Architects

Location: 4215 E Stevens Way NE, Seattle, Washington, 98105, USA

Washington Architecture

Seattle Architecture Designs – chronological list

Seattle Architecture News

Seattle Fire Station 32 Architects: Bohlin Cywinski Jackson photography : Nic Lehoux Seattle Fire Station 32

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Federal Way Performing Arts and Event Center Design: LMN Architects photo : Jeremy Bittermann Federal Way PAEC Seattle Building

Rocky Pond Winery Tasting Room, Chelan, Washington Design: SkB Architects photo : Benjamin Benschneider Rocky Pond Winery Tasting Room in Chelan, Washington

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KEXP Headquarters, Seattle photo : Jeremy Bittermann Washington building by SkB Architects

Seattle Architect Offices

LMN Architects Seattle

Comments / photos for the Founders Hall, Foster School of Business, University of Washington page welcome

Website: USA

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[dfroza]

many people in this world have stood against our Creator’s truth.

just as Paul was opposed in ancient times in the message he shared.

Today’s reading of the Scriptures from the New Testament is the 25th chapter of the book of Acts:

Three days after arriving in the province, Festus traveled south from Caesarea to Jerusalem. The chief priests and Jewish leaders still had a plan to kill Paul and gave a report to Festus about their unresolved grievances against Paul. They suggested that as a favor to them, Festus should move Paul to Jerusalem. Of course, this was part of the plan to set an ambush for Paul and kill him en route. Festus instead offered to reopen the case. He would be going back to Caesarea soon.

Festus: So let your leaders accompany me, and bring your accusations against the man.

Eight or ten days later, Festus returned to Caesarea, and the next day he took his seat in court. He ordered Paul to be brought before him. The Jewish opponents from Jerusalem immediately surrounded Paul and from all directions bombarded him with all sorts of serious charges, none of which could be proven.

Paul (quietly and simply): In no way have I committed any offense against Jewish law, against the Jewish temple and all it represents, or against the emperor.

Here Festus saw an opportunity to do just the favor Paul’s Jewish opponents had requested.

Festus: Would you like to have your trial in Jerusalem? I’d be willing to try your case there.

Paul: If I had committed a capital offense, I would accept my punishment. But I’m sure it’s clear to you that I have done no wrong to the Jews. Since their charges against me are completely empty, it would be wrong to turn me over to them. No, I do not wish to go to Jerusalem. I am appealing to the court of the emperor in Rome.

Festus conferred privately with his council and returned with this decision:

Festus: You have appealed to the emperor, so to the emperor you will go.

Several days later, the provincial king Agrippa arrived in Caesarea with his wife Bernice to welcome the new governor. Their visit lasted several days, which gave Festus the chance to describe Paul’s case to the king.

Festus: Felix left me some unfinished business involving a prisoner named Paul. When I was in Jerusalem, I got an earful about him from the chief priests and Jewish elders. They wanted me simply to decide against him, but I informed them that we Romans don’t work that way. We don’t condemn a person accused of a crime unless the accusers present their case in person so the accused has ample opportunity to defend himself against the charge. I arranged for them to come here for a proper hearing. In fact, the first day after I returned to Caesarea, I took my seat in court and heard his case without delay. Contrary to my expectations, the accusers brought no substantial charges against him at all. Instead, they were bickering about their own religious beliefs related to a fellow named Jesus, who had died, but whom Paul claimed was raised to life again. I had no idea how to handle a religious squabble pretending to be a legal case, so I suggested Paul be taken to Jerusalem so he could be tried on Jewish turf, so to speak. But Paul refused, and instead he appealed to be kept in custody so the case could be referred to his Imperial Majesty. So I have held him until we can arrange to send him to the emperor.

Agrippa: This sounds interesting. I’d like to hear this fellow in person.

Festus: You will, then. We’ll bring him in tomorrow.

The next day, King Agrippa and Bernice arrived at the great hall with great formality, accompanied by the military commanders and the city’s leading men. Festus ordered Paul to be brought before them.

Festus: King Agrippa and all our honored guests, here is the man who has been charged with wrongdoing by the Jewish community—both in Jerusalem and here. They yelled for his execution, but I found him guilty of no capital offense. Then he appealed to our Imperial Majesty, so I have agreed that he will be sent to Rome. Here is where I need your help. I can’t send a man to our emperor without a letter logically detailing the charges against him, but I have no idea what to write. So, King Agrippa, and all of you honored guests, I’m requesting your help in determining what to write in my letter to the emperor.

The Book of Acts, Chapter 25 (The Voice)

Today’s paired chapter of the Testaments is the 16th chapter of the book (scroll) of Isaiah that looks at Judgment against Moab and points to their idolatry, but also reveals hope in the coming King who is the Son:

A Refugee (to the Moabites): Bring tender lambs to the ruler of the land.

From Sela through the desert

to the beautiful mountain called Zion, maybe they’ll let us in.

And indeed like birds whose homes were demolished,

like baby birds torn from their nests,

Moab’s daughters, scattered and fluttering, arrive at the fords,

ready to cross the Arnon River.

(to Jerusalem) Give us your best advice and do what is right.

When the day is at its fiercest, hide us in your cool shade.

Shield the trammeled and abused.

Keep your mouth shut when our enemy comes looking, seeking us out.

Let these refugees of Moab come in and stay.

Protect these tempest-tossed; be their hiding place,

a shelter safe from the destroyer.

See, when the one who has squeezed and oppressed you is gone

and the forces of crushing violence wane in the land,

Then God will establish a royal throne, in loyal love—

the One who rules there will be utterly reliable,

With absolute integrity under the auspices of David.

With a passion for justice, He will be quick to decide and do what is right.

Oh yes, we’ve heard of Moab, how much they think of themselves—

so important, so valuable, so hot-tempered;

But we know it’s just idle boasts.

Let them bemoan their destruction and fall—every last one of them.

Go ahead, mourn, all you who were struck down;

Cry for the raisin cakes of Kir-hareseth.

The productive fields of Heshbon are withering in the heat;

the choice vines of Sibmah are decimated.

The rulers of the nations are wreaking havoc across the land,

crushing its grape clusters and leveling its old stout vines.

Moab’s tender shoots spread from Jazer to the desert,

then right down to the sea and even across it.

This is why I cry salty tears over Jazer,

over the vines of Sibmah and over the fields of Heshbon.

And God’s-Ascent, Elealeh, I weep for you—over your branches,

once so green and strong, now broken and brown with death.

No one rejoices anymore over your fruits and harvest.

What joy these fields and orchards brought, what pleasure and delight,

with their beauty, with their bounty.

But no more cheerful shouts accompany the harvest of the vineyards.

No one is left to press the grapes into wine.

I have silenced all your joyous shouting.

My heart hums like a harp with grief for you, Moab.

I ache with soul-sadness for Kir-hareseth.

When the people of Moab present themselves to their gods, when they weary themselves with frequent journeys to their high places, when they enter their sanctuary to pray, then they will find none of their gods are able to help them. This is the message the Eternal gave Isaiah earlier about Moab. But now He has another message.

Eternal One: In just three years—as a hired hand might count them—the power and prestige of Moab will come to an end. Its population will be killed and scattered; only a few, the poor and powerless, will survive the onslaught.

The Book of Isaiah, Chapter 16 (The Voice)

A note from The Voice Translation:

God’s answer to Moab’s plea for help is none other than the Messiah. One day David’s son will take the throne and rule with absolute justice.

A link to my personal reading of the Scriptures for Thursday, june 24 of 2021 with a paired chapter from each Testament of the Bible along with Today’s Proverbs and Psalms

A post by John Parsons that reveals our pure hope:

“Whom have I in heaven but you? And there is nothing on earth that I desire besides you” (Psalm 73:25). Such is the “exile of hope” we suffer in this world... Torah begins: “In the beginning God created the heavens and the earth, and the earth was “tohu va’vohu v'choshekh” (תהוּ וָבהוּ וְחשֶׁךְ) - "confusion and emptiness and darkness" - which the sages interpret to mean that when we truly understand that God created the heavens and the earth, we will realize our earthy desires to be barren, empty and unreal.

In their despair, Plato and the early Greek philosophers sought “timeless universals” which they believed disclosed the reality of an “upper world,” a heavenly realm of unchanging goodness, beauty, and truth. The world we experience with our senses is a shadowy place of change and decay; but the real world, discerned by clear thinking, is a place of permanence, goodness and illumination. Likewise the righteous soul trusts that despite this fleeting world (העולם הנעלם) that turns to dust, there is an eternal realm (התחום הנצחי), a place of abiding love, and a heavenly home.

The land of promise is a “foreign land” to this world, but the heart of faith beholds “the city that has foundations, whose designer and builder is God” (Heb. 11:10). “For here we have no lasting city, but we seek the city that is to come” (Heb. 13:14). Therefore “we look not to the things that are seen but to the things that are unseen; for the things that are seen are transient (πρόσκαιρος), but the things that are unseen are eternal. For we know that if the tent that is our earthly home is destroyed, we have a building from God, a house not made with hands, eternal in the heavens” (2 Cor. 4:18-5:1). In this world we suffer exile, groaning to be with our Savior, the Source of all blessing: “I say to the LORD, "You are my Lord; I have no good apart from you" (Psalm 16:2). [Hebrew for Christians]

and a set of posts about the sovereignty of our Creator:

Among other things, our Torah reading this week (i.e., Balak) teaches that God can (and does) turn curses into blessings (see Neh. 13:2). There are many instances given in Scripture. For example, Joseph was blessed despite the ill-will of his brothers: "You devised evil against me, but God devised it for good" (Gen. 50:20). Note that the same verb for “devised” (i.e., chashav: חשׁב) is used to describe both the evil intent of the brothers and the good intent of the Lord. This teaches us that God overrules the malice of men to effect his own good purposes, and therefore we can rightfully affirm gam zu l'tovah (גם זו לטובה), "this too is for good" (Rom. 8:28). Underlying the surface appearance of life (chayei sha'ah) is a deeper reality (chayei olam) that is ultimately real, abiding, and designed for God's redemptive love to be fully expressed. Resist the temptation, therefore, to judge by mere appearances. Forbid your troubles (or the troubles of this world) to darken the eye of faith. Do not unjustly judge God's purposes or try to understand His ways. As the story of Balaam shows, God makes even the wrath of man praise Him (see Psalm 76:10). "Then God opened Balaam's eyes, and he saw the Angel of the LORD (מלאך יהוה) standing in the way, with his drawn sword in his hand. And he bowed down..." (Num. 22:31). Indeed, every knee will bow to the LORD our God and Savior (Isa. 45:22-23; Phil. 2:10-11).

We find comfort that the schemes of the wicked are ultimately subject to the sovereign purposes of the LORD our God. "Ein od milvado" (אין עוד מל��דו) - there is no power that can be exercised apart from God’s consent and overarching will... Indeed all authority on heaven and earth belongs to Yeshua, the “the Ruler of the Kings of the earth” (עֶלְיוֹן לְמַלְכֵי־אָרֶץ). As it is written, “All the nations you have made shall come and worship before you, O Lord, and shall glorify your name” (Psalm 86:9). Amen. Hashevenu, Adonai... [Hebrew for Christians]

In this week's Torah portion (i.e., Balak) we read an ancient prophecy of the coming Messiah: “a Star shall come out of Jacob...” Amazingly, the “meshugenah” prophet Balaam – who may have been the forebear of the “magi of the east” (Matt. 2:1-2) – actually foresaw the advent of the Messiah: “I see him, but not now; I behold him, but not near: a Star shall come out of Jacob (כוכב מיעקב), and a Ruler shall rise out of Israel” (Num. 24:17). Balaam’s prophecy actually described the coming of the Messiah and his reign in two distinct aspects: “A Star from Jacob shall come" (literally, "shall lead the way," i.e., דרך), which refers to our Messiah’s first coming as the way of life (i.e., הדרך החיים, John 14:6), “and a Ruler shall arise (i.e., וקם שׁבט) from Israel,” refers to our Messiah’s second coming to establish the Kingdom of Zion upon the final redemption. [Hebrew for Christians]

6.23.21 • Facebook

Today’s message (Days of Praise) from the Institute for Creation Research

June 24, 2021

Prayer of the Whole Heart

“Then shall ye call upon me, and ye shall go and pray unto me, and I will hearken unto you. And ye shall seek me, and find me, when ye shall search for me with all your heart.” (Jeremiah 29:12-13)

There are many promises and instances of answered prayer in the Bible. Unfortunately, many of us really don’t seem to believe them and therefore don’t experience the answers to our prayers. Halfhearted praying may sometimes secure partial answers, but God exhorts us to pray wholeheartedly. “The effectual fervent prayer of a righteous man availeth much” (James 5:16).

The principle is timeless and is stressed often in the Word. “Call unto me, and I will answer thee, and show thee great and mighty things, which thou knowest not” (Jeremiah 33:3). God’s resources are unlimited, but our motives must be pure, and our prayers must be from the heart. “Let him ask in faith, nothing wavering” (James 1:6). “Ye ask, and receive not, because ye ask amiss, that ye may consume it upon your lusts” (James 4:3).

In addition to right motives and genuine faith, there must be deep sincerity as we pray from the heart. “Men ought always to pray, and not to faint” said Jesus (Luke 18:1), who Himself found it necessary to pray long and earnestly. “Rising up a great while before day, he...departed into a solitary place, and there prayed” (Mark 1:35).

The early church followed His teaching and example, and saw His blessing. “These all continued with one accord in prayer and supplication” (Acts 1:14). “And they continued stedfastly...in prayers” (Acts 2:42). “We will give ourselves continually to prayer” (Acts 6:4). Consequently, “the word of God increased; and the number of the disciples multiplied in Jerusalem greatly” (Acts 6:7). God is honored when we search for Him and pray to Him with all our hearts. HMM

[orbemnews]

Second Life for Shipping Containers: Selling Bao Buns and Baked Goods To drum up publicity for his downtown Indianapolis food hall, Craig Baker posted photos of orange, turquoise and hot pink shipping containers on Instagram. They might seem like an odd way to promote a food emporium and culinary incubator, but the steel boxes piqued locals’ curiosity. “They’re very much like Legos, right?” Mr. Baker, an entrepreneur and a chef, said of the shipping containers inside the AMP, an artisan marketplace and a former utility garage where vendors will sell PB&J sandwiches, Ethiopian cold-brewed coffee and chocolate-covered strawberries coated in edible glitter. “We’re building our own little village inside a giant garage,” he said of the 40,000-square-foot space, which also contains a full-service restaurant, an open-air bar, a community prep kitchen and a stage. “People want to see what you built.” Shipping containers have been heralded as a trend in residential design, where they are used for modular homes, but they’re also winning over commercial planners who have used them to liven up the bars, cafes and restaurants within developments anchored by food halls. When used in industrial areas or port cities, the containers give the projects a sense of community, critical in a pandemic when retailers and restaurants are shutting their doors. But the shipping containers also present challenges for developers, including adapting them for indoor uses and making them safe for guests and employees during a pandemic. Most food halls rely on shipping containers to populate the vendor stalls, but some also use them as a canvas for art installations or as common spaces. As food halls proliferate, builders are using forward-looking design to stand out from the pack to avoid resembling a sterile cafeteria. “Food halls are a dime a dozen these days; there’s a lot of them doing the exact same thing,” said David Weitz, a co-founder of Carpe Real Estate Partners, which this month opened Oasis, a food and entertainment hub built on the site of a former ship engine repair firm in Miami’s artsy Wynwood neighborhood. Six yellow, pink and lavender shipping containers are used to sell bao buns and gyros while 16 more form a 75-foot-tall central Tower Bar painted in the same colors by the Spanish artist Antonyo Marest. The Oasis is one of a dozen food halls that use shipping containers and one of several opening this year, along with the AMP in Indianapolis and BLVD MRKT near Los Angeles. There are 242 food halls operating in the United States, a jump from 222 at the start of the pandemic, and cities have been relying on their creative concepts and communal dining spaces to re-energize dormant neighborhoods. At least 190 more are in the works, according to a Cushman & Wakefield report. The trend started in 2013 with the Downtown Container Park, a project conceived by Tony Hsieh, the Zappos chief executive, who died last November. The development, which was central to the $350 million revitalization of downtown Las Vegas, inspired other developers like Barney Santos, who will open BLVD MRKT this summer in the predominantly Latino neighborhood of Montebello after seven years of planning. “I remember seeing the container park and feeling so inspired by the design,” Mr. Santos said of the Las Vegas development. “I wanted to recreate that experience in my neighborhood, to do something no one would expect to see.” Developers like Mr. Santos said using shipping containers was a design choice rather than a cost-saving one. Used shipping containers cost $2,000 to $3,000, but builders can expect to pay five times that amount to add windows, doors, support structures, and kitchen and other equipment to pass local health inspections. That makes the cost comparable to installing regular food stalls. Today in Business Updated  May 11, 2021, 10:07 a.m. ET For entrepreneurs, opening a food stall in a shipping container allows them to add flourishing touches to personalize their space. At many indoor food halls, stalls often look the same except for a few variations in signage. “The creativity that opens up is the most curious,” said Mr. Baker, the project lead for the AMP. “You’re giving them a canvas, and you say: ‘Look, here’s your space. What are you going to do with it?’” That resonated with Joanna Wilson, owner of an AMP dessert shop, Punkin’s Pies. Ms. Wilson chose colors that matched her brand, adding black-and-white floors and awnings to the hot pink shipping container as well as a sparkly chandelier that shines like her glitter-covered strawberries. The semi-enclosed space also allows her to tuck away most of her kitchen equipment. “I’m trying to make it look dainty and neat,” Ms. Wilson said. “I don’t like showing my refrigerator, microwave and the kitchen area.” The design choice makes sense in major port cities like Long Beach, Calif., where the developer Howard CDM built SteelCraft, one of the earlier incarnations of a shipping container dining venue. “There’s shipping containers everywhere” in Long Beach, said Kimberly Gros, the founder of SteelCraft, which manages two other Southern California locations, in Garden Grove and Bellflower. “So we thought we would create a structure that was different, that really connected to us.” Reusing materials appeals to many consumers, both from an environmental and aesthetic standpoint. “I think when you take an item and subvert its original intent and create an entirely new use for that item, that’s always interesting,” said Erik Rutter, a co-founder of Carpe Real Estate Partners. For indoor food halls like the AMP, bright hues liven up an otherwise gray space while maintaining an industrial feel. “The color palette for the containers really pops,” Mr. Baker said. But there are a few caveats to using shipping containers in food-centric destinations. Some developers advise sticking to outdoor uses to avoid complex retrofitting. In an outdoor setting, oven ventilation can go straight from the oven hood through the roof, which is the most common setup. But for a food hall at the bottom of a 50-story building, the process becomes more complicated because the venting may have to go up 50 stories, said Mr. Weitz of Carpe. Most developers have stuck to outdoor uses, but some food halls in the Midwest, such as the AMP, Detroit Shipping Company and Parlor Food Hall in Kansas City, Mo., have placed them indoors. Design experts say the key is to stick to bakeries and other light cooking uses indoors instead of, say, a shop that requires a deep fryer. That’s why the AMP used shipping containers for businesses with limited cooking requirements and conventional stalls for those that required more, said John Albrecht, a principal at the architecture firm DKGR, which designed the AMP. Coping with the pandemic is also a bigger challenge for indoor food halls where guests often jockey for coveted seats. Most have pushed takeout and delivery services and have reconfigured their seating to enable social distancing, said Phil Colicchio, a co-leader of Cushman & Wakefield’s food and beverage consulting group. But perhaps the biggest struggle for shipping container-led developments is staying relevant as more open. “The worry is that the more that go this route, the more the spaces start to look alike,” said Trip Schneck, also a co-leader of Cushman & Wakefield’s food and beverage group. Expect shipping container developments to keep popping up, especially as cities identify more industrial areas in need of revitalization. But it won’t be long before architects identify the next big thing, said Howard CDM’s president, Martin D. Howard. “Brilliant thinkers and creative minds will come up with other ways to make it interesting for people to come out and eat and drink and have a good time,” he said. Source link Orbem News #baked #Bao #Buns #Containers #goods #life #Selling #Shipping

[ericvick]

Campbell sales opportunities fundraising pack as race starts in earnest

As the mayor’s race shifted into a new gear this 7 days with the entrance of acting Mayor Kim Janey into the four-year fray, newly-unveiled reports display how considerably cash the candidates raised very last thirty day period to finance their strategies.

Councillor Andrea Campbell has the most significant war upper body heading into April. According to the state’s Office environment of Marketing campaign and Political Finance (OCPF), Campbell’s marketing campaign experienced approximately $975,000 on hand as of April 1. Not considerably guiding is Councillor Michelle Wu. Her marketing campaign noted $941,191 cash on hand Rep. Jon Santiago noted roughly $526,000 Councillor Annissa Essaibi George opens the month of April with about $426,000 in her coffers.

John Barros raised about $215,000 in his very first month as a applicant and has $230,000 income on hand. Barros is the only prospect who is not at present in political office environment. Acting Mayor Kim Janey has $249,000, according to OCPF.

•••

On the council at-substantial front, there are two incumbent councillors who are looking for re-election: Michael Flaherty, who is presently the council’s longest-serving member, documented just more than $200,000 in his account as of March 31. Julia Mejia, who received a seat on the council in picture-finish-fashion in 2019, has $93,000 in her account to begin the thirty day period.

Among the field of candidates trying to get to earn just one of the four at-huge council seats, to start with-time prospect Ruthzee Louijeune led the pack of newcomers, setting up off April with approximately $100,000 in her marketing campaign account. David Halbert, who is operating for an at-large seat for a next time, experienced a robust demonstrating with $66,000 in his campaign account.

Kelly Bates, a different 1st-time candidate, had just underneath $56,000 funds on hand heading into April. Alex Grey, a City Hall analyst, documented $37,000 funds on hand. Hyde Park native, Jon Spillane has just below $29,000 in his marketing campaign account and South Boston business owner, Erin Murphy’s marketing campaign experienced about $27,000 cash on hand on April 1. Said Abdikarim, a West Roxbury resident, described just less than $18,000 in his campaign account.

Nick Vance, a Hyde Park resident who grew up in Dorchester and Mattapan, has around $9,500.

Candidates Peter Lin Marcus, Althea Garrison and Carla Monteiro— who just entered the race previous weekend— did not report any fundraising for March. 

•••

Laborers Neighborhood 223— the union when led by US Labor Secretary and previous Mayor Marty Walsh— endorsed Rep. Jon Santiago’s mayoral campaign on Friday. The Dorchester-dependent union community is led by Walsh’s first-cousin— also named Marty Walsh.

“The marriage among the developing trades and the mayor of Boston and the potential development of our town is important and we know that Jon Santiago is the chief that will go on that custom of partnership,” reported Walsh, the local’s small business manager. said in a statement. 

“The tale of this union and its associates, generations of immigrants and the variety they deliver to the labor movement in our town is emblematic of the tale of Boston. What they’ve finished to build our city and build Boston’s middle class is impressive,” reported Santiago, who was at the time section of CIR-SEIU at Boston Medical Heart. Nearby 223 has around 1,700 associates.

•••

James Reginald Colimon, a former aide to Mayor Walsh and a Roslindale resident, declared his bid for an at-substantial seat on the City Council past week.

“I am running for Metropolis Council since I believe that with additional equitable insurance policies and wider accessibility to prospects, our City – and our persons – can attain new heights,” Colimon said in a statement launched by his campaign.

A indigenous of Haiti, Colimon has worked for the city for much more than 15 years, commencing beneath Mayor Tom Menino’s administrations. He served as the liaison to the Boston Metropolis Council for 3 years and the International Partnerships Manager in the Office environment of World wide Affairs for 4 years.

“James is a connector and bridge-builder who is nicely known in the immigrant communities as someone who provides people jointly to remedy challenges,” claimed previous Condition Rep. Marie St. Fleur in a statement produced by the campaign. “His multilingual/multicultural skills are what is necessary to leverage the diversity that exists in our Metropolis.” 

St. Fleur has also offered her assist to a different at-big hopeful of Haitian descent: Ruthzee Louijeune.

Candidates have been hustling to satisfy voters and increase resources for— in some cases—months now. But next Tuesday, April 13- at 9 a.m. marks the official starting line for this year’s municipal election. That is the 1st day and hour that candidates functioning for mayor or council can use to pull nomination papers. Two weeks later— on April 27— the candidates can begin acquiring signatures. Each individual prospect for mayor will have to acquire at least 3,000 signatures from registered Boston voters. For at-significant council, the threshold drops to 1,500— and it is lower— 200— for most district seats. However, three district council seats have even decrease bare minimum signature prerequisites: District 7 (195), District 8 (130) and District 9 (164).

Reporter editor Monthly bill Forry contributed to this report.

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[snowpatrolfanclubbrazil]

Gary Lightbody’s moment came two years ago in a gym in Santa Monica. The Snow Patrol frontman has long had a reputation for indulging his appetites. But even he was going at it on a bigger scale, with a fierce, Valhallan vigour.

The band’s last tour had finished in late 2012. And then: “I started drinking,” he says, “with a gusto that a professional boxer might train for a prize fight. It’d be mostly beer. I was quite a happy drunk. There was a hell of a lot of fun. Until it wasn’t.

“I’d get to 2am sitting on my own, have a cry, and then a glass of something [stronger]. I didn’t have any relationships and I wasn’t having sex either. I was very hermetic. Around 2015/2016 I was drinking every day and also I was hating it. I regret doing it even though I knew I was doing it out of compulsion.”

He was hitting the gym in the mornings to sweat it off. Then came the moment.

“I bent down to touch my toes and everything started spinning. It felt like the floor beneath me was moving. I thought it was an earthquake. But it kept going on. I phoned a friend who lived around the corner. I was like, ‘Are we having an earthquake?’ He said ‘Something’s going on here’.

“I had a bunch of CT scans on my head. My whole head was infected – sinus, ears, eyes, everything. I’d been having styes and stuff on my eyes. Stick a teabag on it. This was the week before I was going to France to see Northern Ireland play in their first tournament in 30 years. I said to the doctor, ‘I’m flying to France in five days’. He’s like, ‘No you’re not. If you flew with the air pressure it’d feel like daggers ripping into your head’. I was still thinking maybe I’ll be alright. I spoke to a friend, Gabrielle, an acupuncturist, an extraordinary human being. She’d been trying to get me to stop drinking for a while…”

So he stopped. Or at least, he began to stop. And in flooded the dark realities he’d been masking.

In recent weeks, as he’s been working around the release of Wildness, Snow Patrol’s first album in seven years, Lightbody has started to talk for the first time about the mental health problems which have plagued him for years. (“I didn’t talk about anything; nobody knew, the band didn’t know.”) Last year, after 12 months sober, came another key moment.

“Last summer,” he says, “I thought I’d be relieved to get the album done. We’d just finished. But I wasn’t. I was devastated. I’d opened a place in my psyche and I didn’t know how to shut the door. It was like the ark of the covenant was opened [from Raiders Of The Lost Ark] and there were melting faces left and right and I didn’t know how to shut the thing down. So instead of talking to somebody I tried to shut myself out. Let my own face melt. And the band knew something and they flew from London and arrived at the door and I broke down and told them everything.

“I have a depressive personality that has no relationship with reality. I could be having the best time on the surface and yet my depression goes, ‘You’re still a cunt. Don’t forget that. I’m dragging you down into the ink and the dirt and the darkness’. I could be playing to 15,000 people and three hours later be on a hotel room crying on the floor. That’s happened a bunch of times. The depression and the success have no relation to each other. It’s just part of me. I’ve learned that rather than running from it, which you can never really do – you can never run away from yourself – is you have and turn and face it and look it in the eye and say I’m not afraid of you anymore.”

And so he went home. Back to Northern Ireland, to North Down where he was brought up. It’s the place he was desperate to leave in 1994, when he ran to Dundee to start university, to start the band, to start years of chipping away with no success. Then he wrote Run, and everything changed.

It’s easy, given their time away, to forget just how huge Snow Patrol were for a period from the mid-to-late Noughties. Nobody, really, was bigger.

The song Chasing Cars, from fourth album Eyes Open, was picked up for US hit TV show Grey’s Anatomy and propelled them to huge fame. Lightbody moved to Santa Monica around 2009 (“Soon as my feet hit the sand in Santa Monica something just hit and I thought, I want to live here”).

Recently he claimed he’d moved back to Northern Ireland because the band were getting ready to work again and he needed to be near them. But it feels like the truth is a little more complicated.

It’s a time in Northern Ireland as well when it feels like we’re at a bit of a crossroads again.

“You’re right. There are quite a few reasons. My dad isn’t well, my mum isn’t coping very well and my niece is going to be 11 in July. I’ve missed most of her life living in LA.

“And I missed home. It’s a time in Northern Ireland as well when it feels like we’re at a bit of a crossroads again. I felt a bit of calling back here. Not that I figure I can help in any way, but I certainly won’t feel connected if I’m 5,000 miles away. I wanted to reconnect.”

We’re meeting today in the Crawfordsburn Inn, the picture-postcard hotel not far from Gary’s shorefront home, overlooking Belfast Lough.

It feels timely. We meet on the 20th anniversary of a concert in Belfast’s Waterfront Hall, hosted by U2, that helped deliver a huge YES vote in the referendum for the Good Friday Agreement. In a nation where defiant NOs had been the lingua franca, a YES was significant. A political statement and a cleansing.

On that day, John Hume and David Trimble were ushered onstage by Bono, a man with a keen eye for a moment. U2 sang Don’t Let Me Down. Ash were there too, being young and hopeful. Twenty years on, as Lightbody says, Northern Ireland is at a bit of crossroads. And he’s found his way home.

The album, Wildness, is worth the wait. If Snow Patrol had touched on themes of running and movement in the past, Wildness has a leitmotif of finally settling. The word ‘home’ is laced through several songs. Two tracks in particular illustrate what Snow Patrol can really do – the anthemic reach of the huge, wondrous opening track Life on Earth (a track that took Gary five years to complete), and the intimacy of What If This Is All The Love You Ever Get?, a piece with just Gary on piano, a heartbreaker written for a friend going through a divorce.

The song Soon marks another significant theme. It deals with Lightbody’s father Jack’s battle with Alzheimer’s. It’s a simple builder, full of grace notes and sadness. There is something quietly heroic in it. The video, filmed in Lightbody’s apartment, sees him and his father watching old home movies his dad recorded through the years. As well as the sadness over what his father is losing, there is an understanding of a farewell to lost youth, that the hopefulness of that other country is worth revisiting for both of them.

I have a lot of respect for him so I wanted to honour him, but at the same time I also have a lot of guilt for being away for most of my adult life.

“I love my dad,” he says. “I have a lot of respect for him so I wanted to honour him, but at the same time I also have a lot of guilt for being away for most of my adult life. I don’t just mean LA, I mean Glasgow, London, or on tour constantly. And there is probably a place in my head where I go when I’m feeling homesick and that is both a place of calm and nostalgia and also a place of guilt and some shame.

“I’ve felt I’ve been running away, most of the time from myself. So (he pauses)… some of the home references are me feeling disconnected rather than connected…. feeling like I’d never really found a home. I never truly felt at home when I was growing up in Northern Ireland. Then I left and never really felt at home anywhere else. And then I moved back to Northern Ireland and now I do feel at home here, but that has also coincided with me feeling at home inside my own body. Which was the whole problem the whole time. I wasn’t comfortable with myself. I didn’t like myself. So you have to figure that out before you can feel at home anywhere.”

The band’s influence and legacy goes beyond their own work. They’ve helped shape the sounds that have become pervasive in post-millennial pop. Lightbody and band member Johnny McDaid have written with, among others Ed Sheeran, Taylor Swift and One Direction. Snow Patrol took Sheeran on the road in the States in 2011, helping him break through. They remain close.

“Between myself and Johnny McDaid we’ve written a lot of things for other pop acts, him more than me,” he says. “I would say Ed came fully formed from his first album. He’d done the groundwork. All the grafting that you need to do, when you’re a young band. He busked his ass off from the age of 15 on the streets of London, sleeping on his mate’s couch. He had turned up to gigs and said to promoters can you give me 15 minutes after the doors open. And promoters say aye. That’s how he started. He grafted harder and still does to this day – harder than anyone I know.”

Sheeran is returning the favour, taking Snow Patrol on an American stadium tour this autumn.

Refusing to accept Snow Patrol as fountainheads of a sound, Lightbody says they are more like Zelig, “probably bystanders”.

One got away, though. Mutual friend James Corden introduced Lightbody to Adele.

“It happened to be a birthday of somebody that James and Adele knew.… and I sat down with her and she said when are we going to do [a song]. We did two days – Adele, Johnny McDaid and me – the bones of three really amazing fucking songs. But we never got round to finishing it. And then the album came out and obviously we weren’t on it.”

While his own album has just come out, there is already pressure to get busy on the next. Longtime producer, friend and mentor Garret ‘Jacknife’ Lee has been in touch (“he says we need to get cracking on the next one”).

For now, ahead of their own arena tour in the winter, Lightbody is learning to cope, listening to podcasts (“Stuff You Should Know from HowStuffWorks is my favourite one”) and Bon Iver (“I think he’s the finest songwriter alive”) and working things out.

“Me, now not drinking, I like myself but I’m socially awkward. I’d rather be sitting with bandmates, my family. I’m 41. I know what I want.”

And that is?

“Peace. I want to make sure that every day of my life I take a moment and realise everything is calmer. I’ve learned how to meditate, learned how to do qigong. Learned a whole load of practices that I do every day. They mitigate the madness. The greatest thing I ever did for my own emotional wellbeing was to talk.”

And if we went back 20 years as this all started, and said here are the successes, here are the demands it’ll make on you mentally, personally, physically – would you have taken it?

“I would have taken it for half the successes. I can’t believe what happened to us. I still can’t believe when I look back at it, at everything that is successful that has been good. At everything that is still happening. It’s a dream. It’s a bloody dream.”

Wildness is out now. @pauldmcnamee

[rabbitcruiser]

Salt Lake Assembly Hall, Salt Lake City

The Salt Lake Assembly Hall is one of the buildings owned by The Church of Jesus Christ of Latter-day Saints on the southwest corner of Temple Square in Salt Lake City, Utah. It has seating capacity for an audience of approximately 1,400 people.

The Salt Lake Assembly Hall is a Victorian Gothic congregation hall. Rough granite walls are laid out in cruciform style making the hall's exterior look like a small gothic cathedral. Twenty-four spires mark the perimeter of the building's footprint and a tower rises from the intersection of the floor plan's apparent crucifix. The cruciform layout is complemented by Stars of David circumscribed high above each entrance. These symbolize an LDS perception that they are a re-gathering of Biblical Tribes of Israel.

However, the deceptively Gothic exterior conceals a more modern interior lacking vaulted ceilings.

Although built of quartz monzonite rock from the same quarry as the Salt Lake City Temple, the Assembly Hall's unhewn exterior looks much different. The stones for the Assembly Hall were not cut as exactingly as the Temple's. This accounts for the building's dark, rough texture and the broader masonry joints between stones.

Seagull Monument sits directly in front of the building to the east.

Construction of the Assembly Hall began on August 11, 1877. Building began on the southwest corner of Temple Square on the site of what was called the "Old Tabernacle," razed earlier that year. The old structure, an adobe building determined by the Church to be inadequate, was built in 1852 and seated 2500. The "Old Tabernacle" is not to be confused with the still-extant Salt Lake Tabernacle, built in 1867. The domed Tabernacle sits directly north of the Assembly Hall.

During the first two years of construction, the Assembly Hall was confusingly called the "new tabernacle." John Taylor, then president of the church, cleared up the confusion by naming it the "Salt Lake Assembly Hall" in 1879.

Obed Taylor was commissioned as architect, and designed the structure in Victorian Gothic style, which was popular at the time. Using mostly discarded granite stone from the ongoing construction of the Salt Lake Temple, builder Henry Grow completed construction in 1882 at a total cost of $90,000.

After the Tabernacle, the Assembly Hall was the second permanent structure completed on Temple Square. It has been modified several times since completion, however. A four-foot flying-angel weather vane like one that topped the older Nauvoo Temple in Nauvoo, Illinois was removed. Additionally, the original ceiling murals depicting ancient and modern prophets in the LDS Church were painted over.

The most comprehensive renovations occurred from 1979 to 1983 to correct structural weaknesses in the building's tower and roof trusses. While rebuilding the tower, each of the Hall's 24 spires were replaced with fiberglass moldings. Additionally, all the softwood benches were refinished, and Robert L. Sipe Organbuilders installed a new 3,489 pipe organ with a "German accent." The renovations also included creation of rehearsal studios in the building's basement. These spaces contain three practice organs, of 2-3 manuals each, built by the Austin, Kenneth Coulter, and Casavant Frères organ companies, as well as a one-manual harpsichord built in 1981 by William Dowd. Acoustics in the building were enhanced by installing hundreds of small speakers.

Currently, the Assembly Hall hosts occasional free weekend music concerts and is filled as overflow for the Church's Annual and Semiannual General Conferences.

Source: Wikipedia

[nsula]

Harrington to join Hall of Master Folk Artists

NATCHITOCHES – Long time Natchitoches musician, songwriter and philanthropist Rodney Harrington, singer for Johnny Earthquake and the Moondogs, will be inducted into the Louisiana Folklife Hall of Master Folk Artists at the 39th Annual Natchitoches-NSU Folk Festival which will be held on July 20-21 in Prather Coliseum on the Northwestern State University campus. In addition to being inducted into the Hall of Master Folk Artists, Harrington will perform at the Festival. On the evening of July 21 Harrington will appear along with Rock & Roll Hall of Famer guitarist James Burton, Estelle Brown of the Sweet Inspirations and Grammy winner and Cajun folk artist Jo-El Sonnier, as guests of Johnny Earthquake and The Moondogs in the Festival’s grand finale concert.  The concert will include a tribute to Elvis Presley featuring a recreation of the King’s Vegas-style show.

“We are honored to induct Rodney Harrington into the Hall of Master Folk Artists,” said Dr. Shane Rasmussen, director of the Louisiana Folklife Center and the Natchitoches-NSU Folk Festival. “He is not only a great musician, but his philanthropic efforts have benefited so many throughout the state.  Audiences throughout the South respond so powerfully to the music of the Moondogs because of the band’s love for Louisiana culture and music.  As leader of the Moondogs, Rodney has been a phenomenal cultural ambassador for Natchitoches and Louisiana.”

Harrington has been involved in music his entire life and has been an active part of the Natchitoches and Louisiana music scene for more than 30 years.  During that time, Harrington’s contribution to Louisiana’s regional roots and original music have been in his various capacities as a performer, song writer, producer, attorney, concert and festival promoter and organizer, philanthropist and radio host.

Harrington helped form a popular Natchitoches group in the late 1980s called Dick Dante and the Infernos which performed for several years.  In 1995, Harrington and some friends formed the group Johnny Earthquake and the Moondogs.  Over their nearly 25 years of existence, the Moondogs have become a popular band not only in the Natchitoches area, but across the South.  Under Harrington’s leadership, the Moondogs have managed to constantly change members (over 60 musicians have been members of the band over the years) while steadily increasing in popularity.  The Moondogs have garnered numerous awards and been called by City Lights Entertainment Magazine “Quite simply Louisiana’s best show band.”  Offbeat Magazine of New Orleans, a Louisiana roots magazine, in its review of one of the Moondogs’ critically acclaimed albums has observed “Tradition never sounded so good.”   Harrington has written and recorded several Louisiana and Natchitoches flavored original songs. One of them, Cane River Blues, was featured in a Hollywood movie.  Various compilation albums include his songs, such as “Hey Santa” which was featured on the recent The Very Best of Louisiana Christmas, a compilation released by the Louisiana Music Hall of Fame, with songs by Fats Domino, Aaron Neville, Dr. John, Brittney Spears and other Louisiana artists. Harrington’s music related philanthropic activities have been numerous.  He helped organize and for several years has served on the board of the James Burton Foundation which has provided hundreds of guitars for school children, veterans and their families and ailing children in hospitals.  The Foundation has also started music programs in schools that would not otherwise have them.  Harrington has also served on the board of The Friends of the Municipal Auditorium, which worked on the preservation of that historic venue and on the Board for the Ark La Tex Music Heritage Foundation, which raises money to purchase musical instruments for schools.  For several years, Harrington has served as the chairman of the board for the Natchitoches Jazz and R&B Festival.  Under Harrington’s leadership, the Festival has grown over the years to become one of the more popular music festivals in Louisiana and the South.   Harrington has often helped raise money for the Northwestern State University Department of Music.  When the Natchitoches Central High School Orchestra needed funds to go to Carnegie Hall, Harrington organized and produced a fundraising concert which raised thousands of dollars for the trip which made it possible for many students to make the trip who otherwise would not have been able to.  When Natchitoches blues artist Hardrick Rivers needed a prosthetic leg, Harrington came up with an idea for a concert called HardrickFest, which he organized and produced to raise money to purchase a prosthetic leg for Hardrick. For the past 20 years, Harrington has hosted the syndicated radio show “Jammin’ With Johnny—The Johnny Earthquake Show.”  The show, which is broadcast over much of Louisiana and into East Texas, has been rated number one in its timeslot.  In addition to spotlighting and promoting area community cultural events, the show often features interviews with artists and live music in the studio featuring local and area artists.  “Jammin With Johnny” is believed to be the only radio program in North and Central Louisiana that features live music on a regular basis.

          The Festival will be held in air-conditioned Prather Coliseum located at 220 South Jefferson Street on the NSU campus in Natchitoches.  The Festival will be held Friday, July 20 from 4:30 p.m. until 10:15 p.m. and all day on Saturday July 21 from 8 a.m. until 10:00 p.m..  The family-oriented festival is wheelchair accessible.  Children 12 and under are admitted free of charge.  For a full schedule of events, to purchase tickets or for more information call (318) 357-4332, send an email to folklife@nsula.edu, or go to louisianafolklife.nsula.edu.

Support for the Fiddle Championship and the Festival is provided by grants from the Cane River National Heritage Area, Inc., the Louisiana Division of the Arts Decentralized Arts Fund Program, the Louisiana Office of Tourism, the Natchitoches Historic District Development Commission, the National Endowment for the Arts, the New Orleans Jazz and Heritage Festival and Foundation and the Shreveport Regional Arts Council.

The Festival is also supported by generous sponsorships from Acme Refrigeration of Baton Rouge, Dr. James Arceneaux, Bank of Montgomery, Louie Bernard, City Bank, the City of Natchitoches, Cleco, John Conine; Corkern, Crews, Johnson & Guillet; CP-Tel, Delta Car Wash, Dan and Desirée Dyess, Georgia’s Gift Shop, La Capitol FCU, the Harrington Law Firm, Billy Joe Harrington, Jeanne’s Country Garden, Maglieaux's Riverfront Restaurant, the Natchitoches Area Convention & Visitors Bureau, Natchitoches Wood Preserving, Inc., NSU Men’s Basketball, Page Builders, LLC, Sabine State Bank, R.V. Byles Enterprises, UniFirst, Dr. Michael Vienne, David and Shirley Walker,  Waste Connections and Young Estate LLC.

[3dsrendercom]

The Makers: Design/Build at the Tulane School of Architecture

Since 2005, design/build studios at the Tulane School of Architecture have focused on making design services accessible to those who are underserved by the profession. Whether at the scale of the house or a pavilion, students learn technical skills while gaining an understanding of the broader social, economic, and policy issues that shape our built environment. Working with community partners, students recognize the power they have as architects to address these issues, as well as the limits of their knowledge and expertise.  Open to graduate and undergraduate students, these research studios take two forms:  URBANBuild is a two-semester, residential design/build studio focused on housing prototypes primarily in New Orleans’s Central City neighborhood. For this studio, URBANBuild partners with Neighborhood Housing Services, a nonprofit organization with a mission to create and sustain healthy and vibrant neighborhoods through real estate development, education, and community-building activities.  Small Center Studio is a one-semester design/build studio taught out of The Albert and Tina Small Center for Collaborative Design, the community design center of the Tulane School of Architecture. The Center believes that everyone should be empowered to shape where they live, work, and play and that an engaged design process can serve as a capacity and coalition builder. Many of the Center’s projects come through an annual request for proposals, where nonprofit organizations bring specific design and planning needs to the Center. Through a collaborative design process with these partners, students bring a project from design to completion in 15 weeks. This pace, and commitment to collaboration, offers students invaluable experience in engagement strategies, design and making, and project management. Students are also challenged to respond to “real-world” consequences that go beyond traditional classroom settings.   “ taught me the importance of getting uncomfortable. Occasionally, being locked in the studio you can forget the outside world and that architecture is not for other designers and critics, but the users. Design/build taught this aspect better than any other studio”. —Anonymous survey response from an alumni survey conducted in spring 2019 Gander Point  In the fall of 2017, students partnered with the City Park of New Orleans to design and fabricate Gander Point, a new public space offering access to the water’s edge. Located in the middle of New Orleans and bounded by eight neighborhoods with diverse socioeconomic and racial demographics, the 1,300-acre park is one of the largest and oldest of the nation’s urban parks. Until 2019, the park received no dedicated funding from the city of New Orleans. A long-time partner of the Small Center, City Park has played host to several projects including Grow Dat Youth Farm and the LOOP NOLA Pavilion. The park has a variety of programmed and unprogrammed spaces including open spaces, trails, playgrounds, soccer and football fields, an art museum, a sculpture garden, golf courses, and now: Gander Point.

Figure 1: Completed gathering area underneath cypress canopy provides space for individual reflection and collective gathering. (Photo credit: Small Center)   “My favorite part of Gander Point was how the design and build mirrored my personal experience. The project allowed me to appreciate an area of the city I was familiar with but hadn’t paid much attention to and the design offers others this same opportunity for discovery and exploration.” —Elliott Petterson, Tulane University Alumnus City Park staff identified the need for a formalized fishing and family gathering space that provided access to the often inaccessible water’s edge. They also wanted this area to be adjacent to the public soccer fields and playgrounds. The students chose the specific site through careful research engagement strategies including: time spent surveying on land and water, conversations with families and individual users, and gathering information from surveys and park staff. Additionally, students gained craftsmen skills through shop tutorials and material exploration. Diagrams and feedback from users on initial schemes, based on early observation and analysis, played an important role in defining the focus points for the projects: engaging the water, engaging families using the nearby soccer fields, security, and permanence.

Figure 2: Students constructing project onsite. (Photo credit: Small Center)

Figure 3: Students constructing project onsite. (Photo credit: Small Center)

Figure 4: Students constructing project onsite. (Photo credit: Small Center)    

Figure 5: Site diagrams explored programmatic adjacencies and access to the waterfront informing final design scheme. (Photo Credit: Small Center)   The final design responds to these points and is defined by key elements including: an axial path that creates a visual connection across the river to a discoverable folly—an alligator, a permeable metal screen that defines the spaces and offers a sense of enclosure, a gathering space along the path, and a ramp down to a fishing pier at the water’s edge. Full scale mock-ups allowed students to make critical decisions about each element of the project and, together, these elements frame natural vistas, create space for families and groups to get together and enjoy the natural setting, and allow for intimate waterfront access for fishing, birding, and contemplation. 

Figure 6: Alligator folly installed across the lagoon to encourage further park exploration (Photo credit: Neil Alexander)

Figure 7: Outlook provides fishing and viewing access. (Photo credit: Neil Alexander)   “It was the project in my portfolio with which my current employers were more interested during my interview. It also was my only class where I felt challenged to critically think about how my design might be built.” —Anonymous survey response ”… was a once in a lifetime experience that helped shape the way that I approach everyday life, the profession, community…” —Anonymous survey response At the core of the Tulane design/build experience is a belief that community engagement and design excellence are not mutually exclusive. Students gain a broader understanding of societal issues and an intimate understanding of the challenges and needs of their community partners. They also learn more traditional, technical design skills and recognize that their expertise is only one component of a collaborative project. These studios offer invaluable experience by shaping professional and personal trajectories while training the next generation of architects to understand the power of design.

Figure 8: Design ideas explored through public engagement on site. (Photo credit: Small Center)   — Learn more about URBANBuild: http://urbanbuild.tulane.edu Learn more about the Small Center and follow us on Instagram: http://small.tulane.edu Instagram: @smallcenter.tulane Learn more about City Park: https://neworleanscitypark.com Learn more about the Tulane School of Architecture: http://www.architecture.tulane.edu   Special thank to the entire Gander Point team! PROJECT LEADS Seth Welty (Design Lead, Adjunct Professor)  Nick Jenisch (Project Manager, Small Center staff) Sue Mobley (Engagement Advisor, Small Center staff) STUDENTS Antonia Butwell Monica Marrero Ciuro Carson Hall Carolyn Isaacson Izabela Lotozo Magda Magierski David Maples Christie Melgar Rachel Neu Elliott Petterson Rachel Rockford Nicole Saville Diego Schubb Jesse Williams SUPPORT City Park New Orleans Mr. and Mrs. (Erin) John-Paul Hymel SPECIAL THANKS Neil Alexander Photography Jenny Snape, PE (Batture, LLC) Maya Alexander Dan Etheridge Tyler Havans Tom Holloman Nick Perrin Dan Splaingard Dana Brown & Associates, Inc. Dash Lumber Tulane University offers a NAAB-accredited professional undergraduate degree (B.Arch), a professional graduate degree (M.Arch), and two related degrees (M.Arch II, post-professional), and a Master of Arts in Historic Preservation. Read more about the University here.    The post The Makers: Design/Build at the Tulane School of Architecture appeared first on Study Architecture | Architecture Schools and Student Information. Source link Read the full article