In marine ecosystems, characterisation of the foraging areas and habitats of predators is a key factor in interpreting their ecological role, We studied the foraging areas of the macaroni penguin Eudyptes chrysolophus at Bird Island, South Georgia, throughout the breeding seasons of 1999 to 2001 using satellite tracking. We investigated differences in foraging ranges and characteristics between different stages of the breeding season, between sexes, between years and between individuals, During incubation, on foraging trips of 10 to 26 d, both sexes travelled long distances from Bird Island (male average = 572 km; female average = 376 km) in a north-westerly direction towards the Maurice Ewing bank; some individuals, particularly males, travelled to forage in the Polar Frontal Zone. In contrast, during the chick-rearing period, both sexes mainly foraged relatively close (average 62 km) to South Georgia over the continental shelf. Foraging trip characteristics differed between males and females during chick rearing: females travelled further on average and on more direct trips. During chick rearing, males and females on longer foraging trips covered greater distances and travelled further from Bird Island, There were no interannual differences in characteristics of foraging trips, although sex differences in some parameters varied between years. The bearings of chick-rearing foraging trips were non-random and most were in a north-westerly direction, Variation, both intra- and inter-individual, in bearings of foraging trips was high. Travel speeds were slower during foraging trips in the chick-rearing period than during incubation, probably relating to the differences in distances travelled. The stage of the breeding season, associated constraints on the penguins at different stages, and sex were important in determining variation in foraging range and characteristics in macaroni penguins, but year and individual effects were relatively unimportant.
View post tag: EUNAVFOR View post tag: Seychelles View post tag: ESPS Victoria Authorities November 11, 2015 Spanish warship ESPS Victoria, part of Operation Atalanta, carried out counter-piracy training with the Seychelles Air Force on November 7, 2015.The first training exercise saw ESPS Victoria acting as a merchant vessel that was under attack from pirates. The pirates were in fact some of the Spanish crew on board one of their fast rigid hull inflatable boats (RHIB).During this exercise, ESPS Victoria simulated a distress call, which was picked up by the Seychelles Air Force, who answered the call and took control of the situation.A second training exercise took place on Monday November 9, with the Seychelles Maritime Patrol Aircraft conducting a surface search for a vessel that had been reported by ESPS Victoria as acting suspiciously and trying to avoid detection. Again the ship’s crew were acting as the suspected pirates in their RHIB.Operation Atalanta regularly trains with regional states to develop the counter-piracy and maritime security procedures in the region which covers the Southern Red Sea, the Gulf of Aden and a large part of the Indian Ocean, including the Seychelles, Mauritius and Comoros. The area of operations also includes the Somali coastal territory, as well as its territorial and internal waters.[mappress mapid=”17395″]Image: EUNAVFOR Back to overview,Home naval-today ESPS Victoria, Seychelles Air Force Practice Skills View post tag: Operation Atalanta ESPS Victoria, Seychelles Air Force Practice Skills Share this article
HMAS Moreton saves money for Australian Navy View post tag: HMAS Moreton Training & Education Navy vessels visiting Brisbane have had straightforward and simple access to services while they’re alongside, due to a small but effective team the nation’s smallest commissioned establishment.The small team at HMAS Moreton, on the south bank of the Brisbane river, coordinates with external agencies to arrange things like stores replenishment, refuelling and waste disposal for visiting Australian warships.Since taking on this role, Moreton has provided logistic support to about 10 vessels, saving Navy a substantial amount of money.Commanding Officer, Commander Mark McConnell said one of the biggest challenges came in April when Moreton’s crew received 48 hours’ notice of amphibious ship HMAS Choules’ arrival to load disaster relief equipment in response to Cyclone Debbie.“We had to make sure there were no delays as we were quite conscious there was a time limit with getting Choules up into area of operations,” he said.“To achieve this we made sure port authorities were well aware of what was coming in and what was required.“We had to have all the resources available to ensure Choules’ logistics requirements were met and the ship received everything she needed.“We’ve taken on the responsibility of understanding what a platform needs to achieve its mission and delivering it,” Commander McConnell said.Moreton has a billeted staff of only four but heavily relies on the reserve force and personnel posted to the base short-term.Moreton also provides admin support to about 150 permanent Navy personnel and 900 reserves posted or residing in south-east Queensland.The base is home to Personnel Support Unit South Queensland, the South Queensland Reserve Cell, Navy Band Queensland, Navy Cadet Unit Gayundah and Army Cadet Unit 12.Army units also make use of Moreton for training in small boats, water purification and development of bomb dogs in unfamiliar areas.The Australian Federal Police and Queensland Emergency Service also make use of the base for training.Moreton is the only Defence base in south-east Queensland with water access and can be used as a mounting base for a company sized force.It was used as a command and control centre for the G20 Summit in 2014 and the 2011 Brisbane flood emergency.Vessels up to 500 tonnes can come alongside at its pontoon. The base also maintains warehouse and storage facilities utilised by several Defence units.This includes support to visiting operational ships, training activities and mounting base operations.The biggest project under consideration is a proposal to build a new 60-person transit accommodation building, along with a multi-user facility featuring conference rooms and office space.Refurbishment of Moreton’s pontoon and wharf and the base’s IT systems are due to be finished by the end of the year.It’s hoped some of the additional office space could be used to accommodate Navy people wishing to work remotely.“We currently have 11 personnel that are based here at Moreton but are working remotely for other organisations. That’s a saving to Defence,” Commander McConnell said.“Since they’re not working as members with dependants unaccompanied their input to capability and organisational commitment to Navy is a lot stronger because they’re at home with their families.“Once we get more office space in the new facilities, Moreton will no doubt become a base of choice for those personnel.”Construction of the new facilities is expected to begin later this year. July 5, 2017 Back to overview,Home naval-today HMAS Moreton saves money for Australian Navy View post tag: Australian Navy Share this article
“We think it’s important for every student to be able to fully participate in university life, regardless of background, gender, sexuality, or any specific need, and if elected our team will work hard to ensure this.” Emily Di Dodo, running for the Disabled Students’ Officer position as part of Right to Education’s slate, told Cherwell, “Immediately after finding out that some of the venues for hustings were not accessible, we decided that it would be against our ethos to attend, as we believe that education is a right and should be accessible to all.” “I am very pleased that this prompted both Oriel and Univ to change their locations and I hope that this will translate to more consistent awareness that accessibility is important and needs to be addressed for each and every event they run, not just the events where they specifically know disabled people will attend. To avoid something like this happening in the future I want to ensure that we have Disabled Students Officers in all colleges.” Lindsay Lee, the rival candidate for Disabled Students’ Officer, told Cherwell, “My team, For Oxford, decided against attending hustings held at inaccessible venues because no one thought it made sense for us to attend a husting that not all our candidates could go to, not to mention our entire voting base, considering our entire platform is based on improving accessibility in all its forms. Meanwhile, Univ’s JCR President Josh Richards described the difficulties faced in finding a suitable room for husts, explaining, ”I originally indicated that Univ’s venue was not accessible because both common rooms — the two venues that the student body would have access to regardless of what husting time we were allocated — are not accessible. “I’m really glad that we’ve been able to find an accessible venue for the husts. The College and the JCR are working to improve Univ’s accessibility and I particularly look forward to hearing from the candidates for disabled students’ officer as to how best Univ and colleges like it could be made into more accessible, welcoming environments.” All candidates attended central hustings at Wadham on Wednesday. OUSU could not be contacted for comment. Husts for this year’s OUSU elections have been moved to accessible venues after candidates from the For Oxford and Right to Education slates refused to hust at Hertford on Sunday.Oriel, which held hustings on Thursday evening, and Univ, due to hold them on Sunday, confirmed this week that entirely accessible venues have now been found after candidates and JCR Presidents voiced their concern. Will Obeney, For Oxford’s presidential candidate, explained his slate’s decision to not attend any hustings at inaccessible venues, telling Cher- well, “We’re running on a platform of accessibility and we don’t think it’s fair to attend hustings that not all members of our community – and not even all members of our team – can attend and hear the points we raise about accessibility.” As a result neither For Oxford nor Right to Education were at Hertford on Sunday 9th November. Hertford JCR President Josh Platt told Cherwell, “Will and his slate have taken that position which they have every right to do. Hertford is far too inaccessible and it’s something I’ve told College about, and which they’re aware of. It was a shame Will wasn’t able to come to our husts and make the point that the status quo is unacceptable, but I understand that he felt it would have been hypocritical of him to attend. I’m delighted that accessibility is at the forefront of the election campaign.” Husts at Oriel — which happened on Thursday — and Univ — due to happen on Sunday — were subsequently moved to apparently accessible rooms. Will Obeney told Cherwell, “We’re really pleased about the response our move has had, from the positive messages to positive action, with all remaining venues being fully accessible. My thanks go to the JCR Presidents and the Returning Officer for their work on this.” Presidential candidate Becky Howe told Cherwell, “Team ABC are really glad that this election is being made as inclusive and accessible as possible. It’s great news that the hustings at Oriel and Univ have been moved to accessible venues, so that all students wishing to attend can do so.” Meanwhile, Adam Roberts, the independent presidential candidate, remarked, “Some colleges are absolutely awful for accessibility, and a lot of hard work has gone into trying to make every hustings venue accessible. All of the events I’m personally organising will be. I’m attending all husts but not because I think the status quo is anywhere near acceptable.” Oriel’s husts on Thursday were attended by all candidates after the College managed to find an accessible room following booking difficulties. JCR President Kit Owens told Cherwell, “Oriel has a number of rooms that have disabled ac- cess but the booking system makes them harder to obtain, especially when the event includes people from outside Oriel. I had intended the previous venue to be a stopgap whilst I tried to find a more accessible room.“However (thanks to a very helpful Decanal team), I have managed to source an accessible room for Thursday night and all three candidates will come along as before. I would like to take this opportunity to make it clear that Oriel JCR is dedicated to providing a welcoming and accessible environment for any and all disabled students and I offer my unreserved apologies to any affected.” “I’ve been really happy to see that some colleges are making a real honest effort to make their venues as accessible as possible despite the unbelievable access issues there are at all colleges. But unfortunately I think people still need educating about what physical accessibility actually means before they can label their events ‘accessible’.”
Keller Williams is preparing to release his twenty-third album, KWahtro, adding even more facets to his diverse catalog. Over the course of his career, there has only been one unchanging, undeniable element that unifies his genre hopping sonic gymnastics: a near-blinding inner joy. You can actually hear the beaming smile he wore in the studio as he has explored the far reaches of his sound alone and with some of the finest collaborators.No matter what instrument he touches, Williams’ plays with a sense of timing, tempo and force that indicates uncountable hours honing his skills, while never losing the palpable sense of glee that informs his every note. In the first of our two-part interview with Keller Williams, we look back with an album by album discussion of thoughts, memories and wishes of the catalog of a sonic chameleon.Our own Rex Thomson shares a silly and serious walk down memory lane with Keller in this first entry, while in the soon-to-be-released second part, we’ll look more in depth at Williams’ present and future. Enjoy!L4LM: Before we get to the history proper, after going over your 22 going on 23 releases, I did have one quick question…What is with the single word titles? Some kind of marketing trick or are you just anti-verbosity?Keller Williams: Well, it started in the early nineties with the first record which we called Freek. The idea was to describe the entire record…the vibe of it with one syllable. Trying to follow the “Less Is More” philosophy. A “Say more with less” type scenario. That was the idea behind the first one, and I just went from there. In hindsight it would have been interesting to have some sort of end goal…like a phrase…with verbs and nouns and…pronouns. And adjectives! Those are important. Sentence structure. I wasn’t really thinking that far back then. But to the general idea is to describe the compilation of songs with one syllable.L4LM: Let’s start at the beginning, because I run an orderly ship. Your current Wikipedia liner notes of your first album, Freek, list “Freky Aziz Reffelruz” listed as “Background Dancer.” Ummmm…what? Is that real or is someone having fun with you?KW: That’s the thing about Wikipedia…you could go in right now, if you want, while you are talking to me and write your name in, and make yourself the background dancer. They’re not that reliable.L4LM: Actually I went in and renamed one of your albums after me already. For your second album, Buzz, you made a dramatic move away from you one-man-band setting and had many collaborators, including your first collaborations with Larry Keel and Gibb Droll. Why the direction shift?KW: You can do more with other people than you can do alone. That was the mentality. The solo thing had started as more of a necessity. I was in couple bands in the late eighties early nineties and we were playing small places and fraternity parties. Once the bands broke up I was working the same places and they were paying me by myself the same money they were paying the full bands.I realized “Hmmmm… this could be a real job.” From that came the looping, and once that started, all this started happening for me and I always say “If it ain’t broke don’t fix it.” But the idea, from my teenage years on, was to be part of a band. To share that onstage camaraderie, that musical telepathy. That was the original idea. So even though I was having some success solo, I always wanted to surround myself with other musicians. L4LM: On Spun you go into great detail about falling in love in line for a Port-a-potty… those are dangerous mental wires to be crossing. I can’t think of a fetish I’d be more scared to develop.KW: Definitely not! The “Hot hippie girl gotta pee” dance is something I witnessed when I first started going to Grateful Dead shows in ’87. It’s a bit of a fictional tale, but definitely not a fetish. With so many festivals these days this is a more normal situation.L4LM: On Breathe you drafted your friends from The String Cheese Incident into becoming your backing band. That worked out pretty well. If you magically front any band from the last 150 years, who would you pick and why?KW: Oh wow. If I could magically front any band…WOW. That’s a tough one. The Denver Symphony! That would be a big pressure thing. I would love to do something like that.L4LM: “The Symphonic Music Of Keller.”KW: Exactly. That would be a big pressure thing. It starts with the song. You would really need to study the song choices to make sure they worked. There was an offer about ten years ago from the Jacksonville Orchestra when they were reviving their concert series. It didn’t work out, but I have always kept that in mind. Warren Haynes does it really great with playing Jerry’s music, with playing the Dead’s music with a symphony. He’s even actually playing Jerry’s guitar. So that’s a real special thing. L4LM: For your fifth album, Loop, you went live. It’s amazing to hear what you do in the studio, but when you’re up there all alone live building songs that sound like five people are up there with you I always wonder the same thing…is it just that you’re cheap?KW: Once the looping took off people just didn’t want me with a band. Loop was a very infantile part of my looping. It’s an interesting documentation on where my looping started. Very minimal…but I was younger and hungrier and less jaded.L4LM: Yeah, I usually don’t get a “Jaded” vibe from you.KW; I’m not. It was just a late night last night. I would say I am the opposite of cheap. After a couple years went past and the looping stuff was getting successful, I started to bring in humans. I personally want to pay everyone way more than the budget will allow. No matter what we could pay because of things like expenses…it never seemed enough. I always wanted to pay more. And the folks who I wanted to play with…no they need more. They’ve earned more. But that’s the difference between recording and touring. It’s a big country. Some places it’s hot, some places it’s not. It’s tricky to take a band.With so many different projects I have to pick and choose where and when to do something. But sometimes it’s fun to get back to basics and do the solo stuff. So it’s not like I play alone because I’m cheap, it’s because it’s the most comfortable to me. When Loop was recorded there was a slowly building buzz around my solo shows, and that was the documentation of where I was at that point in my career.L4LM: Laugh included a slew of your most beloved songs from this era, including “Freaker,” “One Hit Wonder,” and “Kidney In A Cooler.” Songwriting wise, were you just in a groove at that point in your life?KW: 100% yes. That was pre-babies. I have two kids now, and eight year old boy and an eleven year old girl. In that time frame it was a songwriting boom for me. I was doing three weeks on the road, doing six nights a week like two or three hundred miles between shows for around two hundred shows a year. That would be two or three weeks on, two weeks off…something like that. Sometimes we would do a whole loop around the country. Go across the country down through the southern route, up the west coast and then back down the east coast. That would take like six weeks.The beauty of it was when we would get back the first week was decompression, where you get your rest and refresh in. But then the boredom would start to sit in during the second week and that’s when the creative juices would start flowing. A lot of songs that have remained in the rotation that came from that era. When the kids started to come I adapted my touring schedule. I made it a weekend thing so that I leave Thursday and be home Sunday night, Monday so I could do drop offs and pick ups… y’know, do my dad/husband thing. There’s really not a lot of down time other than when the kids are at school or after they go to bed. Songs definitely come in that time frame, but not like they did before the kids came. It’s interesting progression with the songwriting. When your lifestyle changes, it naturally affects the songwriting. I’m happy when the songs do come, and I think they’re getting deeper. I think it’s a good trade.L4LM: You busted out a remix album called Dance next. With all the beats and loops you do have you ever considered going full DJ? Giant podium and dancing girls? Perhaps some sort of mask?KW: Yes I do! I have an entire concept in my mind. To pull off correctly it will take a million dollars. But there’s no way to do it. I have been a fascinated lover of EDM for a long long time. The Thievery Corporation thing, the whole chill downbeat style of electronica. That progressed into a house jungle area, leading into trap and more. I did have a DJ program and I worked with a buddy to set up a loop based show controlled by the laptop. We did a show and I recorded all these instruments live that I control through foot pedals. My shtick was comedian one liners. I was working in Steve Martin, Richard Pryor, Steven Wright, Kat Williams, Bill Murray. There was a lot of Eddie Murphy in there too. We could lay them in there and Lou, my sound engineer, I would play around with it after shows were done as like an after-show thing. But there’s no way I could do a whole show live like that, and make it be what I wanted. I’m just not really that much of a computer program. I guess I like being on the other side of the tables. But I could see doing a whole record like that. L4LM: Home was spiritually dedicated to your childhood home of Fredricksburg, Virginia. Can you describe what it is about the area and growing up there that makes it so special to you?KW: I think it’s more special living here as an adult. It’s a historic town. It’s got the history of the Civil War. That history is at the core of the town. There was a small music scene, not a whole lot of venues and that made it small town-ish. I’m not sure what effect it had on my personality, but it was and is really nice here.It’s nice now to be here. To feel really close to where I grew up. There’s a lot of transplants here because we’re we so close to DC. But it’s definitely a community. Sometimes you recognize a face of someone you went to kindergarten with. It’s a trip.My parents live here. My wife’s parents live here. My wife’s 96 year old grandmother lives down the street from us, her brother has a farm right next to us. It’s just a really special community to come home to.L4LM: On Stage, your second live album, you show off your uncanny ability to make cover songs your own. With your versatility, there really aren’t many songs outside of your range. Do you have a tune you have always wanted to try and cover but haven’t figured out a way yet?KW: There’s a lot of Grateful Dead songs that I refuse to do. Once I start doing Dead songs, and they get into my repertoire and they stop sounding like Dead songs to me. I think any song written is usually better done as a bluegrass song. So the answer is no, I don’t think there’s any song I can’t cover. That was the question right?L4LM: Close enough for me. Grass is your first full album with the king of flat picking, Larry Keel and his bass playing wife Jenny. You and Larry were picking buddies before your respective careers started rising, did you ever envision yourself sharing stages and albums with him when you were jamming back in the day?KW: When we met, I was like twenty one or twenty two and he was a bit older. I was running an open mic in Fredericksburg on a Monday and he came in with his band Fizzawah. He was always a bluegrass guy, but this was a side project that did more psychedelic stuff but with bluegrass instruments. So we hit it off and I started jamming with him from time to time.Larry had a band called McGraw Gap that I started opening for, and that’s who I had backing me on Buzz on the track “Inhale To The Chief.” Wow. I forgot about that song. I’ve always wanted to be a mandolin player but I could never fit my fingers on frets like I needed to, and I would have to relearn all the scales. So I would take all these smaller instruments and try and form them into a mandolin sound. While I was hanging with those guys they were looking for a mandolin player and for a bit I was playing with this bluegrass band. We did a bunch of gigs. And so doing that record, Grass, was real easy. It took just a couple days.I did the singing, and in the studio were were separated by glass for sonic purposes, but it was just so easy, man. A really comfortable fit. Hell, we just played together Sunday! It was great! I love playing with Larry and Jenny.L4LM: On Dream you decided that “more is more” and brought in an army of collaborators, including Béla Fleck, Bob Weir, the String Cheese guys, Martin Sexton, Charlie Hunter, Michael Franti and more. Did you ever think of just packing the studio with players and then sneaking out the back door and letting them make an album for you?KW: No. That would be impossible! Between everyone’s schedules and the cost that would be impossible. The Dream record took three years from when the Keels record, Grass, came out. While Dream was being made I put out Grass and a performance DVD.It was just such a long process getting everything recorded and getting people to do their tracks. Like Béla says…”Never say no.” I was like “You can say no… I’ll just stop asking.” He really wanted to do it, but it took a year and a half to get him in the studio. All these different players, all these different locations around the country. Recording in places like Bob Weir‘s house to do a track with him there and New York City to do a track with Charlie Hunter. We had Steve Kimock and John Molo come here to Fredericksburg. A lot of the rest of it was passed from musician to musician around the country. I would work on something then send it to Jeff Sipe. A couple months later he would send it to Victor Wooten and on and on. I’m really proud of that Dream record. It was an era of my life I wanted to document and go back and listen to when I’m old.L4LM: You named your twelfth album 12, and it was a mostly greatest hits package with one song from each of your previous albums. Are you a fan of anthology or greatest hits packages in general?KW: That was actually a hitless greatest hits record. I have a good buddy in the radio industry. He thought that the song “Breathe” could do well. The concept the album was to span the twelve years with my twelfth album. And of course, twelve is the last number that is only one syllable. So when you put all that together… This was all back in the day when stores carried things called “CDs.” These were things called “compact discs” that were like physical copies of music. Compilations like these would be mixed in with other physical copies of records. If you were looking at an artist’s “Discs” in a store, and you weren’t sure what to get, something like 12 could help them learn about a band. That was the idea.L4LM: You first digital download only disc was called Rex. I’m flattered, but don’t you think you should have asked my permission first? Lawsuits are expensive my friend.KW: It was an homage to you so I just didn’t think I needed your permission. The Rex record is what we call Grateful Grass, Jeff Austin and Keith Moseley doing bluegrass versions of Grateful Dead tunes. All proceeds went to the Rex Foundation, which is a non-profit started by the Grateful Dead in the eighties.L4LM: For Odd you tried something different, releasing tracks one by one before dropping the whole package. What was your reasoning behind that?KW: That was an experiment using the computer technology and downloading. I was trying this thing we were calling “Once A Week Freek.” We would release a live track, an old studio track, whatever once a week The record grew from that, just me seeing how the new ways to distribute the songs would work for me.L4LM: You re-teamed with Larry & Jenny Keel for Thief, a collection of re-purposed songs done in a bluegrass-y style. How hard was it picking songs to do?KW: Some of them were tunes the Keels and I had been doing live, like “Sex & Candy.” That one was actually an afterthought in the studio. The Kris Kristofferson stuff, those are songs from my childhood. My dad had the Willie Nelson Sings Kris Kristofferson album on 8 track. “Cuss That Fiddle” and “2003,” which book-ended the record, those were songs from my childhood.The Raconteurs thing was interesting. It’s like this western, psychedelic rattlesnake venom thing. It’s a dark, interesting song. “Rehab,” the Amy Winehouse track. Like the first record with them, it only took a couple days. Just turn the lights down and do it.L4LM: Your style is perfect for a project like Kids. Any thoughts to doing another all ages album in the future?KW: Well my daughter is all over that Kids record and I wanted to do the same for my son, but he doesn’t really like the confines of the studio. My daughter was more like a sponge; when she heard the songs playing as we drove around, she just learned them. When we went into the studio, she was ready to just do it and sang along with me no problem. We ended up using a bunch of that.I think out of all the records, that one will last the longest. Parents can turn their kids on with it, and those kids can grow up and share it with their kids. There’s always going to be kids so we will always need music for them. As far as live kids performances I think I am done with that. and like I said, my son doesn’t seem too interested in it.L4LM: Your multi-dimensional playing got super funky on Bass. You make the switch back and forth look so easy live, but is it that simple for you to go back and forth between the low and high end instruments?KW: Yeah. My guitar style has always revolved around the bass line anyway. My style focuses on that bass line. The treble side is what happens when I am not focusing on the bass line. It’s more of a percussive thing, It’s never really more of a strumming thing for me. So playing bass is really comfortable for me.But it is in my style though. I play with a pick. So it’s not really “Bass Player Worthy.”L4LM: Speaking of, your next album was called Pick, but I am thinking you had a more bluegrass connotation in mind. Being a good old Virginia Boy, how does it feel to play bluegrass alongside such highly pedigreed musicians like the Travelin’ McCourys. I know you’ve also shared the stage with their legendary father. How does it feel to play with literal bluegrass royalty?KW: It’s surreal. You’re right, to me they are bluegrass royalty. It’s amazing how open minded they are and how much they accepted me into their world. I played a lot more shows with them then I thought they would allow. I think there are going to be a handful more in the future too. They are the real deal.L4LM: As usual, you completely changed direction and turn yourself into a lounge crooner for piano versions of Grateful Dead classics on Keys. Is this something you were already doing to make extra cash on the road, pop up piano bar shifts?KW: Piano was my first instrument. I can write on it, but I never really had the chops. I have an alter ego named Bernie Ballad that sometimes shows up in hotel lobbies with pianos and no security guards. Between two and three AM, I’ll do fifteen minutes sets or however long it takes for someone to come and ask me to stop. In 2006 we moved into the new house there was a piano and every time I sat down I was playing Jerry ballads. It gave me an excuse to do something completely different. Keys is just me and a piano, and again all proceeds from that record as well go to the Rex Foundation. A lot of people don’t know about this record. It was a bit self indulgent, but I like how it came out.L4LM: You finally get down and dirty on Funk. Coming from the the hills and mountains of Virginia, I can understand the bluegrass elements in your style easily enough, but where did your funk love come from?KW: Go-go music came out of DC and I’m pretty close to DC. In public school, go-go music was huge. In eighth grade I played trombone in a marching band and we had a big go-go section with rototoms, cow bells and two big kick drums. We had these big armed guys who would just rock it.There was a beat that was instilled in me then. Always just loved the funk, the dirty low down grooves. So I put a funk band together for a run of holiday sessions, just for the novelty of doing it. We recorded that record and released it, and we have just been doing a handful of shows every year since then. It’s a really fun project to jump in and out of.L4LM: Speaking of jumping back into projects, you recently went back into the Grateful Grass world for a second helping called Dos. The energy between you and Jeff Austin is always amazing, but how hard is it to keep the two of you on target?KW: Jeff approaches this project as my backup. With the Jeff Austin Band he’s in charge, he’s on point. This project I think is really fun for him because he gets to not be in charge. I’m not speaking for him, but he really does seem to enjoy it. We have a weekend with him after Thanksgiving where we’re playing with him, but I can’t talk about that yet.L4LM: Can you tell me if it’s on the left hand side of the country or the right hand side of the country?KW: It’s on the left. NO! Wait. It’s on the right hand side of the country! I was facing Mexico! L4LM: Never face Mexico! On Vape you actually got a sponsorship from a vaporizer company for the ensuing tour. How did that work out for you? KW: They paid for a tour bus for The Motet and I through the medical states, California, Oregon and Nevada. And on that bus was a thirty foot vape pen and our names. It was great. A super fun tour.L4LM: How do you even hit a thirty foot vape pen? Or pack it. I’m confused.KW: Sigh. It was a picture. They were never that lenient with the inside stuff. But the legalization of medicine is a good thing, and it is worth celebrating.That’s it for part one of our chat with Keller Williams. After covering his past, next up we’ll look at his latest releases and the future of this amazingly diverse artist. See you soon!
The band was a mixture of familiar faces and new contributors, longtime drummer Sam Halterman and bassist Dale Jennings continued marching in the Orgone tradition with rhythms that were bathing in lusty grooves. Old school instrumentals like “Open Season” were given new life, and classics like “Dialed Up”, from the seminal album The Killion Floor, saw de Leon, Hastie and Rios sync up for some truly magical onstage chemistry. Auxiliary vocalist Terin Ector was a game-changer as well, finding the sweet spot harmonies alongside de Leon for many of the evening’s most sultry sing-alongs. “We Can Make It” featured a priestly benediction from the lead vocalist de Leon, as the whole band channeled a Lenny Kravitz vibe to bring it on home. Stalwart guitarist Rios shined particularly bright when taking a minimalist, feedback-dripping solo on the blazing set ender “Earhole.”After a roaring ovation, the beloved Los Angeles-based team returned for a smoking run through “Don’t Stop” that saw the mesmerized audience shaking what their mamas gave ‘em in a grand finale of epic proportions. Unfortunately, there was no time for their titanic closer, an always-torrid take on The Meters‘ “Ain’t No Use”–the song that first sold this writer on Orgone many Bear Creek moons ago. But alas, another tune was simply not necessary, as this swanky soul contingent had once again satiated our appetite for funk, and did so with maximum impact.Setlist: Friday | 3/15/19 | New Parish | Oakland CA.Party People, Revolt, Do What You Came to Do, All Good Things, All This Love, Light in Me, Junkman, Workin’ for Love, Ride My Swing, Open Season, Quit the Bit, Whisper, Easy Love, Dialed Up, Time Tonight, Testify, Be Thankful, We Can Make it, Earhole.E: Don’t Stop[words: B.Getz] Holding down the swagger in the City of Angels, Orgone boasts a storied history over nearly two decades of making tail-feathers shake. From the halcyon days on the LA scene with pals like Breakestra, to a triumphant trio of albums on the iconic label Ubiquity, to their most recent 2019 scorcher Reasons, the krewe has long been a steady torch-bearer for authentically vibey funk and groove.On a balmy East Bay Friday night, celebrated funk/soul squad Orgone returned to the New Parish in Oakland with a fiery performance, nearly one hundred minutes of flames that highlighted many colorful elements of their ever-engrossing live set. Led by co-founder/guitarist Sergio Rios, co-founder/keyboardist Dan Hastie and statue-esque vocalist extraordinaire Adryon de Leon, Orgone were certified groove merchants and delivered a monster performance to a packed room, an audience that was left reeling by the end of the night.After a solid opening set from Sal’s Greenhouse, Orgone took the stage and started the rage with instrumental tracks “Party People” and then 2013’s “Revolt”. Soon thereafter, the towering, show-stopping frontwoman took her place at the front of the krewe and held court on “Do What You Came to Do” and “All Good Things”. When Ms. de Leon steps up front and center, she holds the room in the palm of her hand with a commanding presence, belting out the tunes with joyful aplomb. Yet there were more vocal stars in the sky on this night; other highlights included their unheralded Cyril Neville collaboration “Junkman”, plus “Workin’ for Love”, and a phenomenal run through “Testify, all with singer Terin Ector handling lead vocals.
Related Two years ago, the Harvard Art Museums purchased “U.S.A. Idioms,” a massive collage and drawing by the contemporary artist Kara Walker, who first rocked the art world in 1994 with her cut-paper silhouettes that evoked slavery’s horrors and lasting impact in contemporary America.Walker’s work made its long-anticipated Harvard debut last week.“U.S.A. Idioms,” created in the summer of 2017 in the wake of the violent protests in Charlottesville, Va., involving white nationalists and supremacists and counterprotesters, takes aim at the same subjects through a series of vignettes depicting African-American figures and oppressors. In the work, bodies are woven through the branches of a dead tree; others perch atop a stump. A torn Confederate flag waves from one branch. What appears to be a white flag hangs from another.Walker’s work speaks to the present moment “in a way that is so vital, so critical, so engaging,” said Mary Schneider Enriquez, Houghton Associate Curator of Modern and Contemporary Art, who helped acquire the new work and arrange the gallery where the drawing is on view through early October.Similar to the images Walker crafted for her earlier silhouettes, the figures in “U.S.A. Idioms” are familiar stereotypes that come from our past and that we all have seen and taken for granted,” Enriquez said. “We all recognize in some way each of the figures in the piece, but the longer you look at it the more both familiar and then completely disturbing and strange the drawing becomes.”,In addition to “U.S.A. Idioms,” a print, an etching, and a pop-up book featuring Walker’s unmistakable silhouettes are also on display from the museums’ holdings. Pairing the new piece with the other items allows viewers to “see this work comes from what her practice is about,” said Enriquez. “It’s daring and it’s taking new risks, but at the same time it comes from her tradition.”“U.S.A. Idioms” takes center stage in the museum’s first-floor contemporary gallery. At 12 by 15 feet, the work is one of the largest drawings in the collection. Its considerable size proved challenging for the museums’ installation team. Hanging the piece took “three straight hours with 11 people and no breaks,” said Enriquez. The drawing was slowly unfurled from a roller and affixed to the gallery’s wall with a series of small magnets. “We were unrolling it literally inch by inch so that nothing crumpled and everything was even. It was an amazing effort.”,Displaying the piece without a frame or any glass covering is an intentional curatorial choice, one the organizers hope will afford viewers a truer sense of the work and the artist’s process and intent. “One of the especially interesting things about a drawing (and collage) is the intimacy it provides; you feel the artist’s hand,” said Enriquez. Visitors will want to view Walker’s work and intricate details up close, she added, but they will also want to observe it from a distance.“This bold, disturbing, extraordinary work on paper of this giant scale draws you in,” said Enriquez. “Yet it’s so big that you also need to step back in order to really see all of the imagery and the visual tension there that’s really dynamic.”Walker’s new work fits with the museums’ core mission of teaching and learning, said Enriquez. “The demand for her work by major institutions and major collectors was enormous, so it was very exciting that we were able to get it for our teaching museum.”The installation is also part of the “Vision & Justice” event and conference at Harvard next month, which will explore the role of the arts in understanding the nexus of art, race, and justice, with a particular focus on the African-American experience. Harvard acquires new work by Kara Walker ‘Powerhouse’ statement by top contemporary artist is largest drawing in museums’ collection
Marathon-ready Daniel Lieberman offers evolutionary perspective on Bannister 4-minute mile, human speed limits, and ‘Man Against Horse’ Related Bad knees through the ages Research from Lieberman Lab goes deep to clarify prevalence of osteoarthritis The Daily Gazette Sign up for daily emails to get the latest Harvard news. Daniel E. Lieberman doesn’t hate shoes. The Edwin M. Lerner II Professor of Biological Science and chair of the Department of Human Evolutionary Biology wants to clear that up right away.“There has been debate about barefoot running being good or bad, or shoes being good or bad, and this is the wrong debate,” Lieberman said. “It should be about what the costs and benefits of shoes are and how we can better understand how shoes affect our feet, our health, the way we walk.”He should know.,Since Lieberman published his groundbreaking study, “Endurance running and the evolution of Homo,” in Nature in 2004, researchers across the globe have studied the biomechanics of running, particularly as it involves bare or shod feet. But, oddly, few have considered walking, the primary mode of transportation humans have used to get from Point A to Point B over the past quarter of a million years.Now comes Lieberman with his latest paper, which has just been published in Nature. This time he explores the value of the calluses we develop while walking barefoot, finding them to be a marvel of natural selection’s ability to engineer without trade-offs.Most people are aware of how developing calluses protects skin. Common sense would suggest that there is a price to be paid in lost sensitivity. Not so, say Lieberman and his collaborators, who found no matter how thick, tough, and crusty the skin on the bottom of walkers’ feet became, they could still feel the ground as well as someone with virtually no calluses.,“We tested the sense of touch, the dynamic sense of what you feel on the ground. We found these stiff calluses don’t prevent any communication between the force of the feeling of what you are stepping on and what makes its way to the nerve cell to be transmitted to your brain,” said Nicholas B. Holowka, a postdoctoral fellow in the Graduate School of Arts and Sciences and lecturer in Human Evolutionary Biology. Holowka shares first-author credit on the study with Bert Wynands of Germany’s Technical University of Chemnitz.To study habitually barefoot walkers, Lieberman and members of his lab joined their German collaborators in Kenya, where they worked with Professor Robert Ojiambo of the University of Global Health Equity and orthopedic surgeon Paul Okutoyi of Moi Teaching and Referral Hospital. In a rural town in the western part of the country, the team studied the feet of people who never wear shoes, then compared them with the feet of a similar demographic of people from a nearby city who are typically shod.Technical University of Chemnitz Professor Thomas Milani, the lead scientist from Germany and an expert on how sensory perception affects gait and foot function, said his team meticulously calibrated and adapted their instruments for the study to guarantee the testing equipment’s validity and reliability. Their devices and observations not only confirmed that calluses didn’t interrupt the sense of touch, but that people with thick calluses didn’t walk any different than people with thin ones.,This wasn’t true, however, for shoe wearers. The study found that they had heavier foot strikes than their barefoot counterparts. The researchers don’t know what this extra force does to the body over a lifetime of wearing sandals or sneakers, but they wonder whether and how it relates to increasing rates of degenerative joint diseases such as osteoarthritis.Lieberman and Holowka returned to Boston to conduct more research using a local cohort of barefoot enthusiasts. The results backed up their findings in Kenya: Calluses serve a unique function and aren’t nuisances to be scrubbed away during a pedicure.“We live in this weird world where calluses are bad, like you have a problem with your shoe, and you go to a podiatrist, and they remove them,” Lieberman said. “But until recently it was abnormal not to have calluses. We’ve lost touch with our bodies in some respects and this is a good example of that. When we tell our results to barefoot people, they say, ‘Tell me something I don’t already know.’” How fast can we run?
*Based on internal testing in Dell labs, running the system on idle, using an Alienware m15 equipped with the optional 90Whr battery as well as the Intel Core i5 processor and an NVIDIA GeForce GTX 1050 Ti graphics card. m15 with Intel Core i5 processor and NVIDIA GeForce GTX 1050 Ti configuration available in Mid-November based on regional availability.Sign up to learn more – https://home.application-app.dell.com/DELL_US_Cons/US_ALIENWARE_2015 Engineering is the branch of science and technology involved with the design and building of machines and it’s not every day that a machine gets smaller and lighter while maintaining premium performance. Today, Alienware is proud to announce the Alienware m15 with our “Epic” industrial design featuring magnesium alloy surfaces built for both power and portability. Available in Epic Silver and Nebula Red, Alienware m15 lets gamers play where, and how, they want to play – without sacrificing the performance they have come to know and love from Alienware. Whether heading to a friend’s house to chew up opponents in a late-night battle royal game, spectating your favorite esports tournament on-the-go or dominating from the hotel on your next road trip, it’s a light-weight piece of artillery that will deliver powerful PC gaming experiences. Available for sale now starting at $1,379 USD, direct from Alienware.com and in retail stores. Please note, regional availability will vary.Adding to a growing and award-winning portfolio of gaming systems, the Alienware m15 is the lightest and thinnest 15” gaming laptop ever from Alienware and the best solution for gamers who prioritize weight and thinness allowing for even more portability. Attuned to the evolving on-the-go lifestyle of our gaming community, Alienware has in its DNA a 22-year history of designing premium, high-performance desktops, laptops and other PC gaming devices. Both Alienware and Dell share a commitment to innovation driven by visionary pride, consumer need and community.Did we compromise performance and quality by going thinner and lighter on the m15? If you know Alienware, you don’t need to ask. Optimized for performance, quality and maximum mobility, our design and engineering teams worked tirelessly to pack it all into a form factor approximately 14.3” by 10.8” and less than .83” from front to back cover, weighing a mere 4.78 pounds. Its sleek design features a narrow side bezel to maximize screen space to view explosive action and another first, a numeric keypad on a sub-17” Alienware laptop. The new Alienware mSeries keyboard even features 1.4mm of key travel, anti-ghosting keys and four Alien-FX enabled zones to light up the room during any gameplay, while also supporting in game lighting reactions for over 150 game titles.The Alienware m15 cranks up the performance with 8th generation Intel processors and NVIDIA GeForce GTX 1060 OC and 1070 Max-Q graphics cards capable of VR and beyond, with additional support for the Alienware Graphics Amplifier. Of course, it comes with all the bells and whistles you expect, including our Alienware Command Center technology with AlienFX customizable RGB-lighting across six unique zones, Alienware Cryo-Tech 2.0 for superior thermal management, and while on idle up to a maximum of 17 hours of battery life* with the optional 90Whr battery. It’s a lean and efficient gaming machine.GAME ON! Any Time! Any Where!
Dusty, a new multi-media show celebrating the music of 60’s pop icon Dusty Springfield, will receive its world premiere at London’s Charing Cross Theatre next month. Written by Kim Weild and Duncan Sibbald with dramaturg Jack Bradley, the production is directed by Chris Cowey. Dusty will begin previews on May 25 and officially open June 3; it is currently set to shutter on August 22. Casting will be announced later.With original music by Dusty Springfield, audiences will see and hear Springfield on stage using 3-D technology and digital media. Dusty follows the highs and lows of Springfield’s rise from middle class suburban London to the recording of her seminal album Dusty in Memphis. Through the eyes of Nancy Jones, one of Dusty’s childhood friends, and other key figures who accompanied her on her journey, Dusty celebrates the life of one of Britain’s most influential recording artists.The production will feature set designs by Phil Lindley, lighting by Eugene O’Connor, choreography by Lyndon Lloyd and sound by Paul Gavin and James Nicholson. Musical direction is by Dean Austin.Another tuner based on the pop legend, Forever Dusty, closed off-Broadway in spring 2013. View Comments