PART 1 – from PRESENT FROM NANCY to TO THE HIGHE$T BIDDER
“Sometimes we even are progressive and we listen with attention to the Mothers of Invention”… The Netherlands at the end of the Sixties is a country on the move: Everywhere the growth of a youth counter culture dominates. Newspapers and television are full of stories of long haired “freaks” calling for more freedom, abortion on demand, white (free) bikes, soft drugs, Phil Bloom – the first naked woman on TV and the growth in popularity of science fiction novels and the books of Tolkien. The rebellion of the youngsters is set starkly against the grey and rusting “traditional” society; the young seek new alternatives. Above all, the music adopted by, and made by this generation reflects an urge for freedom, for renewal, for opening up new horizons. In England groups such as Pink Floyd and SoftMachine began life at clubs such as UFO in London’s Tottenham Court Road playing hour-long improvisations and immerse an audience lying on the ground before them with a wall of sound augmented by the liquid light projections of Mark Boyle. In the Netherlands a musical reaction had to come. It is a country often at the forefront of new visions and is known as a tolerant society. Musically, a new generation is looking for something else than the three-minute pop songs that largely comprise the domestic Top 40, at this time dominated by the Bee Gees, Cliff Richard and Dutch singers delivering tear jerking ballads. At this moment Holland found its own underground heroes. The future of Dutch music seemed to be found in Supersister.
Supersister were something of a phenomenon. They were among the first of the Dutch groups to make some impact in Britain, where DJ John Peel was a firm champion of their records on his BBC Radio One show. Their music stood alone from other bands. It is possible to spot the stylistic influence of British bands such as Soft Machine, early Pink Floyd and Caravan, but this was also fused with other influences ranging from Frank Zappa and the Mothers of Invention (a band named checked in the song “Corporation Combo Boys”) to the music of Erik Satie and classical music. Supersister relished long, instrumental pieces, with lots of solo have varied with short, often hilarious intermezzos. Songs sung in English about a nonexistent girl named Nancy or having tea with the spiral staircase gnome revealed that wit was a vital ingredient of the band’s work, alongside some breathtakingly original music. Supersister were very much a band in keeping with the spirit of the era. The Supersister story begins in 1965 at the Grotius College in The Hague. Drummer Marco Vrolijk began a school band with friends Arnold Slagter (on tea-chest bass) and Gerhard Smit (on guitar, clarinet, vocals). Adopting the name The Blubs, Vrolijk soon sought out another musician to complete the lineup of the band. Robert Jan Stips was well known at the Grotius College for his exceptional musical prowess. A winner of many cultural contests, Stips began playing the piano from the age of five and was an obvious enormous talent. When approached to join The Blubs Robert Jan was honoured by Marco’s request to join the group and readily agreed. Rehearsing in the attic of Marco Vrolijk’s parents house, The Blubs began to perform occasional concerts, mostly featuring Robert Jan Stips on vocals and harmonica due to the absence of a piano at many venues. In 1966 the group was expanded with the addition of Theo Nijenhuis on guitar. Around this time the band changed their name to Q-Provocation, which was later shorted to Provocation. During this period Robert Jan Stips began to work for an organisation called Morgenstond (translated in English as “Early Morning”), a cultural company that represented and organised operettas and ballets, and with his wages Stips purchased an electric organ. Provocation soon acquired a manager in Bart Spoelstra, who within a short time found the pace of the music industry too much and was replaced at hisrequest by Dick Zwikker. Towards the end of 1966 bass guitarist Ron van Eck replaced Arnold Slagter. It was soon after van Eck’s arrival that Provocation gained a wider recognition when they performed in the gardens of the Soestdijk Palace for the birthday party of Queen Juliana. The headline “Beat music in Palace Gardens” appeared the following day in the Dutch press and resulted in increased interest in the band.
By 1967 the influence of psychedelia began to take hold and further changes were instigated in the ranks of the band. Theo Nijenhuis departed the fold to be replaced by Sacha van Geest(flute) and Rob Douw (trumpet, toys and vocals). Rob would introduce the band to influences from the burgeoning hippieand alternative scene, which would soon change the feel of the group entirely. Provocation began to explore new musical directions, intent on appealing to the growing “underground” audience.
Their live performances during this period saw poets, dancers and body painters participate on stage and a lightshow utilised to great effect to enhance the performances. The influence of the emerging Canterbury band Soft Machine began to take hold on Robert Jan Stips in particular, who adopted the effects of fuzz and Wah-Wah pedal on the organ in a similar way to that pioneered by Soft Machine’s Mike Ratledge.
In keeping with the times, Rob Douw began to organise a psychedelic musical “happening” which would go under the name“Sweet Okay Supersister”. At the last minute the event was cancelled, in part due to opposition to such gatherings taking place, but the band adopted the name of the proposed event, later shortening the name to Supersister. On one such night Peter Sjardin from the band Group 1850 came along to a session bringing with him two acquaintances, his manager and record boss Hugo Gordijn and producer Hans van Oosterhout. Both Gordijn and van Oosterhout were impressed by Supersister and immediately offered the band the chance to record a single, released in the spring of 1970. With Supersister’s repertoire being somewhat lengthy, the task during the band’s first recording session was to come up with two pieces, each no more than three or four minutes duration. Hans van Oosterhout advised the band to re-write either one of the calmer pieces or an intense up-tempo piece for their first single. Typically, Supersister combined the two ideas and the highly innovative “She Was Naked” was born. Coupled with the eccentric “Spiral Staircase”, the single was released on the independent Blossom label and reached a height of number 11 on the Dutch singles chart, perhaps assisted by a memorable performance at the Holland Pop Festival in Kralingen (later known as the Dutch version of Woodstock). Thanks to the success of “She was Naked” and through the support of Dutch DJ Willem van Kooten and A&R scout Fred Haayen, Supersister soon signed a contract with the Dutch division of Polydor Records.
The first result of this new association with Polydor was the release of the single “Fancy Nancy” b/w “Gonna Take Easy”. Eager to remain unique, the A-side of the single was strange, but innovative. “Fancy Nancy” was a parody of Elvis Presley and late fifties rock and roll blended with progressive influences. The reaction to the single in the Dutch music press was stunned amazement and the hoped for commercial success failed to materialize. Despite this, producer Hans vanOosterhout recognised the underground appeal of Supersister lay more in the world of albums than singles. In four nights Supersister recorded their first long-playing record, the marvellous “Present from Nancy”. The music recorded acknowledged Supersister’s influences, but was uniquely their own. Fuzz-bass, floating flute solo’s, choral elements and complex but tuneful arrangements were all part of the puzzle, with lyrics written in English by Ron van Eck and music written by Robert Jan Stips.
The title track, “Present from Nancy” opened the album. A piece divided into two parts, the track began with an almost Latin influenced motif before evolving into a new movement dominated by fuzz bass and impressive flute solo. “Memories Are New (Boomchick)” was a work of three parts which began with a typical, almost whimsical Stips musical excursion for the “Memories Are New” section, before the organ dominated innovation of “11/8” took hold. The “Dreaming Wheelwhile” brought the work to a more sedate conclusion and had the spirit of Erik Satie looking over it.
The album’s second side opened with the Zappa-esque “Corporation Combo Boys”, complete with Wild Man Fisher-like shouting at the end and the guesting of former band member Gerhard Smit on guitar. “Metamorphosis” was another multifacet work of three parts: The first, “Mexico” began with an almost sinister overtone and could have been the soundtrack to any late-sixties European crime movie before van Eck’s lyrics take over. “Metamorphosis”, the second part of the opus, was a typical Supersister excursion into an odd time signature over which fuzz bass and then organ dominates. The last part of the piece is short and succinct; the twenty second “Eight Miles High”.
The closing track on the album, “Dona Nobis Pacem”, written by Supersister and producer Hans van Oosterhout, was another highlight on a near flawless record. Beginning with an evocative Gregorian chant, the music soon departed the cloister for a journey into space with a flute and subdued organ. Just as the listener was drawn into a relaxed state of mind the piece climaxed with a loud crash of a gong. When complete, “Present from Nancy” was a musical voyage of discovery for the listener: long pieces, few vocals and the presence of the unique sound of a Farfisa organ.
The album was released as Polydor Medium 2441 016 in the autumn of 1970. Adorned in a striking black cover with a photograph of the band in a wood recently scorched thanks to manoeuvres by the Dutch army, the album instantly stood out on the shelves of record shops. The inside of the gatefold sleeve was an elaborate cartoon drawing complete with slogans such as “We’re not perfect, we’re not original, so if I were you I shouldn’t buy this record”. The combination of highly innovative music and artwork made for a classic album eagerly adopted by the underground audience in Holland. “Present from Nancy” would also have an appeal outside the borders of the Netherlands.
Incredibly, the album was released in the USA some months later on the independent record Dwarf label, together with the single “She Was Naked”, the title of which was changed for a US release to “Dona Nobis Pacem” in fear of any backlash from moral groups who might object to any song that referred to nudity in its title! In England the leading light of counterculture radio, John Peel would soon give British radio listeners a taste of Supersister on his influential show and in Germany Supersister would also gain airplay. By the time of their next, equally excellent album, Supersister would see their work available on a British record label for the first time.
PART 2 – from TO THE HIGHE$T BIDDER to PUDDING EN GISTEREN
“The more you feel you’ve grown the more you feel alone”… The year 1970 had been a good one for Supersister. The band were something of a phenomenon, being among the first of the Dutch groups to make some impact in Britain, where DJ John Peel was a firm champion of their records on his BBC Radio One show. Their music stood alone from other bands. With influences ranging from Soft Machine, Frank Zappa and the Mothers of Invention (a band name checked in the song “Corporation Combo Boys”) to the music of Erik Satie and classical music, Supersister relished long, instrumental pieces, with lots of solo’s varied with short, often hilarious intermezzos. Songs sung in English about a non-existent girl named Nancy or having tea with the spiral staircase gnome revealed that wit was a vital ingredient of the band’s work, alongside some breathtakingly original music. Supersister were very much a band in keeping with the spirit of the era. The release of the single “She Was Naked” had brought the band to a wider audience by the Summer of 1970, and the release of their debut album “Present from Nancy”, recorded under the guidance of producer Hans van Oosterhout, demonstrated that Robert Jan Stips, Sacha van Geest, Ron van Eck and Marco Vrolijk were innovative musicians with much to offer.
Supersister embraced the new “progressive” attitude prevalent in rock music and created long pieces offering variation and constantly changing time signatures, seeking to push back musical and social boundaries.
This lyrical pessimism prevailed throughout the album. The second side of the album began with the longest track on the record, “Energy (Out of Future)”. A typical Supersister piece, it opened with a complicated time signature giving way to an up tempo musical motif with darker lyrics. The track featured some superb solo fuzzed organ from Robert Jan Stips and climaxed with electronic sounds more akin to German experimentalists Tangerine Dream, interspersed with a short excerpt of “She Was Naked”, before segueing into “Higher”, a lighter, more melodic song. Released in the Autumn of 1971, “To the Highest Bidder” was another remarkable work, perhaps demonstrating an advanced musical maturity not present on their first album, thanks in part to Supersister having more time to realise their ideas and feeling more comfortable in the recording studio.
Adorned in a striking gatefold sleeve depicting two eyes, the record was given a boost when British radio DJ John Peel released the record on his Dandelion label, at that time distributed and marketed by Polydor in the UK, adding “She Was Naked” to the track listing. To assist with album sales in the Netherlands Polydor released an edited “No Tree Will Grow” along with “The Groupies of the Band” (a humorous insight into certain followers of Supersister) as a single. In Britain “She was Naked” finally gained a release as a single, coupled with the edited version of “No Tree Will Grow”. Despite the excellence of the singles, neither release made an impact on the respective chart listings. This notoriety led to an appearance on Dutch television in February 1971. VPRO recorded Supersister live in concert at Groeneveld Castle in Baarn. The concert was part of a music series aired every Thursday night. The group performed established material such as “Introduction”, “Present from Nancy” and also introduced a new piece, “A Girl Named You”.
Prior to the appearance of Supersister’s second album, Polydor records in Holland insisted that the band record a single to capitalise on their growing reputation. Robert Jan Stips, Sacha van Geest, Ron van Eck and Marco Vrolijk were unconvinced that a new single was necessary, seeing the group’s future as an album orientated band.
Despite this, the pressure from Polydor grew and after some deliberation a new single, “A Girl Named You” b/w “Missing Link” was released. Even when looked at in the light of the times, both tracks were strange choices for release in the 45- rpm format, perhaps much more suited for inclusion on an album. However, with the release of the single, Supersister had the chance to concentrate on the recording of their second album. Recorded in June and July 1971, Supersister’s second album, “To the Highest Bidder” would be a major milestone in the group’s career. With Hans van Oosterhout producing once more, the album would feature four tracks of sophisticated originality. A ten minute long version of “A Girl Named You” opened the proceedings and immediately set the tone of the album. The trademark Supersister rhythmic dexterity introduced the piece, with an arrangement featuring solo flute, xylophone and harpsichord and subtle use of Mellotron in an effective ambient section of an otherwise jazz influenced piece.
“No tree Will Grow (on too high a mountain)” would be remembered as a highlight of the album, if not the entire Supersister canon. Beginning and ending with tape loped sombre electronic sounds, it is a work of dark musical genius..: life is no good friend
good friendship never ends
the more you feel you’ve grown
the more you feel alone
start boasting your friends away
you think that is life ‘your way’
though you know
no tree will grow on too high a mountain.
This lyrical pessimism prevailed throughout the album. The second side of the album began with the longest track on the record, “Energy (Out of Future)”. A typical Supersister piece, it opened with a complicated time signature giving way to an up tempo musical motif with darker lyrics. The track featured some superb solo fuzzed organ from Robert Jan Stips and climaxed with electronic sounds more akin to German experimentalists Tangerine Dream, interspersed with a short excerpt of “She Was Naked”, before segueing into “Higher”, a lighter, more melodic song.
Released in the Autumn of 1971, “To the Highest Bidder” was another remarkable work, perhaps demonstrating an advanced musical maturity not present on their first album, thanks in part to Supersister having more time to realise their ideas and feeling more comfortable in the recording studio. Adorned in a striking gatefold sleeve depicting two eyes, the record was given a boost when British radio DJ John Peel released the record on his Dandelion label, at that time distributed and marketed by Polydor in the UK, adding “She Was Naked” to the track listing. To assist with album sales in the Netherlands Polydor released an edited “No Tree Will Grow” along with “The Groupies of the Band” (a humorous insight into certain followers of Supersister) as a single. In Britain “She was Naked” finally gained a release as a single, coupled with the edited version of “No Tree Will Grow”. Despite the excellence of the singles, neither release made an impact on the respective chart listings.
Interviewed to promote “To the Highest Bidder”, Robert Jan Stips declared: “When we write music the process begins with themes written by me. The other players in the band bring their ideas to them and in the end this all blends together. Sometimes it’s difficult because we differ a lot as individuals, but in the end it always works out well. We have learned to live with the fact that we don’t have a lead singer. On the other hand, for us the instrumental part is much more important.” Sacha van Geest added; “Actually we make this music simply because we like it. 75% of what we write is done to satisfy ourselves with the remaining 25% written with the public in mind. If the audience shows that they like some pieces we play them more often. Of course, it’s very nice when people like what you like.” Stips concluded; ”We saw ‘Present from Nancy’ as the closure of a period, a kind of document of our progression up to that point. The new record is more balanced, more serious, with less humour. Popular music is a reflection of society, maybe that’s why our new record is like it is”.
After a series of concerts in the Netherlands, Supersister performed outside their homeland, undertaking live work in France, Italy and England. In October the band had the chance to work with an orchestra as part of a series of German concerts. The German TV channel NDR commissioned a performance with the Tanz und Unterhaltungsorchester des NDR, conducted by Alfred Hause. Ron van Eck and Robert Jan Stips wrote and arranged some new pieces for this special occasion, which made for a memorable event. Part of this concert appeared in 2000 as part of the limited edition CD release “Memories Are New”.
With the favourable reception of their collaboration with an orchestra, Stips soon announced collaboration between Supersister and the Nederlands Danstheater (the Dutch Dance Theatre company), a modern ballet with music written and played by Supersister. This music would play a significant role in the creation of the band’s third album. Around this time rumours circulated that Supersister was going to expand its line-up by adding ex-Brainbox guitarist John Schuursma to the group. Despite discussions with this in mind Schuursma did not join the band, although this prompted thoughts of adding new instrumentation to within the ranks of Supersister. To this end Sacha van Geest mastered the tenor saxophone and began to play the instrument on stage at live concerts.
With the magnificent “To the Highest Bidder” Supersister had established itself as a respected album group. Despite being nominated, the album failed to win the prestigious Edison award (the Dutch equivalent of a Grammy). However, the fact that Supersister were even considered for the accolade demonstrated the impact they had made in the Netherlands, the product of much hard work and a desire to better themselves with each new recording. This innovation would lead to another remarkable album and further progression.
PART 3 – from PUDDING EN GISTEREN to ISKANDER
“It’s really hard today to find some truth There’s even acid in your apple juice”…
By the close of 1971, Supersister had reached a new height of popularity and the band was at a new peak of their creative powers. Released in the Autumn of 1971, “To the Highest Bidder”, the band’s second album, was a remarkable work that was a logical progression from their debut opus, “Present from Nancy” and perhaps demonstrated an advanced musical maturity not present on their first album, thanks in part to Supersister having more time to realise their ideas and feeling more comfortable in the recording studio. Adorned in a striking gatefold sleeve depicting two eyes, “To the Highest Bidder” was given a major boost when British radio DJ John Peel released the record on his Dandelion label, at that time distributed and marketed by Polydor in the UK, adding “She Was Naked” to the track listing. The critical acclaim for the album had led to a series of concerts in the Netherlands, followed by live work in France, Italy and England. In October the band had the chance to work with an orchestra as part of a series of German concerts. The German TV channel NDR commissioned a performance with the Tanz & Unterhaltungs- orchester des NDR, conducted by Alfred Hause. Robert Jan Stips and Ron van Eck wrote and arranged some new pieces for this special occasion, which made for a memorable event. With the favourable reception of their collaboration with an orchestra, Stips soon announced a collaboration between Supersister and the Nederlands Danstheater (the Dutch Dance Theatre company), a modern ballet with music written and played by Supersister. This music would play a significant role in the creation of the band’s third album. Around this time rumours circulated that Supersister was going to expand its line-up by adding ex-Brainbox guitarist John Schuursma to the group. Despite discussions with this in mind Schuursma did not join the band, although this prompted thoughts of adding new instrumentation to within the ranks of Supersister. To this end Sacha van Geest mastered the tenor saxophone and began to play the instrument on stage at live concerts. He would soon utilise the instrument on the band’s next album.
By the beginning of 1972 Stips’ plans of collaboration with the Nederlands Danstheater were cemented. Subsidised by a grant from the Dutch Department of Culture and choreographed by Frans Vervenne, the ballet, with a working title of “Signalen” (“Signals”), was premiered on March 3rd 1972 at the Circusgebouw, Scheveningen in The Hague. For the performance of the ballet Supersister played live in the orchestra pit. By the time of the premiere, the name of the work had been changed to “Pudding en Gisteren”, names of characters in a very old Dutch joke. The ballet, which was directed by Walter Nobbe, was performed in a scenic backdrop of bright coloured lighting and visual projections on a huge screen at the back of the stage. The combination of ballet and rock music was generally well received. For the first performance the newly commissioned music was well performed, although the ballet dancers occasionally failed to synchronise entirely with the musicians. Despite this, the critical reception to the ballet was enthusiastic enough for the Nederlands Danstheater to take the ballet on tour, albeit without Supersister.
Running parallel with preparations for the ballet, Supersister entered the Phonogram recording studios in Hilversum to begin work on their third album. With ‘fifth member’ Hans van Oosterhout assuming production duties once more, the album Supersister would deliver was destined to remain one their most loved creations. Opening with “Radio”, a catchy, succinct melody, it was chosen to precede the release of the album by being released as the A-side of a single (coupled with the excellent instrumental “Dead Dog”). Perhaps due to the title and more “commercial” nature of the song, “Radio” gained airplay in the Netherlands and reached number 21 in the Dutch singles charts.
On the first side of the album, “Supersisterretsisrepus” was a short interlude that introduced the darkly humorous “Psychopath”. The lyrical black humour present on “To the Highest Bidder” continued:
It’s really hard today to find some truth
There’s even acid in your apple juice
I don’t think it’s too hard to understand
there are people who don’t even trust a helping hand
They prefer to drawn in water than in the drifting sand
Some of them have already cast their dice
they hide in alcohol or Jesus Christ
And others grew completely out of bounds
now the festival of violence is all around
and the cry of one’s despair is no more than a sound
The album’s second side was dominated by “Pudding en Gisteren (Music for Ballet)”. Perhaps the ultimate Supersister music, the piece adopted the familiar time signature changes, long flute solos and electronic sounds; in short, an adventure in music, influenced by the work of Erik Satie. A superb exercise, “Pudding en Gisteren” would be recognised as a major achievement. Released in the early Summer of 1972, the album “Pudding en Gisteren” was hailed by critics and followers as the finest album by the band to date.
Adorned in an elaborately designed gatefold by artist Wouter Stips, Robert Jan’s elder brother, the front had a small see-through-hole in which part of the comic strip cartoon, which comprised the inner gatefold, could be seen. This comic strip inside the gatefold sleeve related to the scenario of the ballet but it also is a satirical comment on the music industry at that time. As an added twist, a cryptic message within the comic strip gave instructions to cut along the bottom of the glued tab of the sleeve to open out the cover to reveal pictures of the band and full credits printed on the inside.
Around this time the band appeared at the Holland Festival, held at the Circusgebouw in Scheveningen. A mobile recording unit was despatched to record Supersister’s set, with a live version of “Wow” appearing on the compilation album “Superstarshine Volume Three” the following year. Some weeks after the release of the album in the Netherlands, the record appeared in Germany and Britain under the translated title, “Pudding and Yesterday”. Once again Supersister were nominated for a prestigious Edison award (the Dutch equivalent of a Grammy). This time the band won the “Best New Album” category. Independent in spirit, Supersister appeared at the award ceremony, broadcast live on Dutch television, using the occasion to pass comment on the “false” nature of such ceremonies, as they perceived it. When accepting the award from the event’s host Willem Duys, Robert Jan Stips deliberately dropped the statuette, narrowly missing the toes of Mr. Duys. In stead of performing the expected song “Radio”, Supersister launched into a version of the “ghost” track on “Pudding en Gisteren”, with Stips miming on an organ made from a cardboard box. This irreverent attitude appealed greatly to fans in Holland, and was seen as an act of brave defiance against the expected norms of the Dutch record industry. Soon after the event, Supersister declined offers to perform in Britain and the USA, preferring to remain in the Netherlands.
The band courted further controversy in March 1973 when they appeared the bill of an event at the Vliegermolen in Voorburg featuring artists who had won an Edison Award. The three hour event was broadcast live on television and featured artists such as The Eagles, Slade, Rod Stewart, Colin Blunstone, Rory Gallagher, Ry Cooder, Chi Coltrane and The Who. Alongside these performers appeared the Dutch acts Livin Blues, Kaz Lux and Supersister. The vocalist Chi Coltrane (billed to perform prior to Supersister) had exceeded her rehearsal and sound checking time much to the annoyance of the band. When Supersister took to the stage they performed only a fraction of their allotted time with a rendition of an excerpt from “Pudding en Gisteren” before walking off stage. Afterwards, following some criticism from the Dutch press, the band cited the poor sound balance for curtailing their performance. Soon after the Edison event Polydor records released a studio version of “Wow” as the Aside of a single with the track “Drs. D” as the B-side. Surprisingly, given the popularity of the song in concert, it failed to make an impression on the Dutch singles chart. The release of the single “Wow” seemed to herald the arrival at a creative crossroads for Supersister. Robert Jan Stips and Ron van Eck expressed a desire to take the band in a different direction, adopting more free jazz elements and instrumentation with more of an improvisational element to their music. Indeed, both musicians had surprisingly expressed their dissatisfaction with some aspects of the “Pudding en Gisteren” album in private. Marco Vrolijk and Sacha van Geest became increasingly opposed to this change of musical direction, preferring to pursue a more structured approach to performing and writing. On August 1st 1973 the departure from Supersister of Marco Vrolijk and Sacha van Geest was announced. With studios sessions for a fourth Supersister album booked at the Manor studios in Oxfordshire, England from the last day of September, the urgent search for musical replacements began.
PART 4 – from ISKANDER to …
“What is fame to those who know you?”
In the summer of 1973, after recording three remarkable albums, a clutch of singles and earning a place as one of the most innovative “progressive” bands to emerge in Holland, Supersister arrived at a creative crossroads. Keyboard player Robert Jan Stips and bass guitarist Ron van Eck expressed a desire to take the band in a different direction, adopting more free jazz elements and instrumentation with more of an improvisational element to their music. Indeed, both musicians had surprisingly expressed their dissatisfaction with some aspects of 1972’s “Pudding en Gisteren” album in private. Drummer Marco Vrolijk and flautist and vocalist Sacha van Geest became increasingly opposed to this change of musical direction, preferring to pursue a more structured approach to performing and writing. On August 1st 1973 the departure from Supersister of Marco Vrolijk and Sacha van Geest was announced. With studios sessions for a fourth Supersister album booked at the Manor studios in Oxfordshire, England from the last day of September, the urgent search for musical replacements began.
With producer Giorgio Gomelski agreeing to supervise the new record, new musicians were recruited into the ranks of Supersister. Herman van Boeyen was recruited on drums and flautist and saxophonist Charlie Mariano was also confirmed as a new member. Mariano was a versatile player who came from a jazz background. He was accomplished on a range of instruments in addition to saxophone and flute, such as bass clarinet and the Nathasuaram, an Indian oboe like instrument. In his career he had performed with such notable names in the jazz world as Stan Kenton and Charles Mingus, also recording and releasing albums in his own right.
Throughout October 1973 Supersister worked on their fourth album. Giorgio Gomelski strongly put his creative mark on the music recorded and the finished album would be quite different to earlier Supersister work, albeit equally accomplished. With the compositions all written around the conceptual theme of the life of Alexander the Great (Iskander being the Persian name for Alexander), the record headed into jazz rock territory. Depicting in music the story of the battle between two cultures, western logic on one side, eastern magic and mystery on the other, pieces such as “Dareios the Emperor” were stunning excursions into new musical territory for Supersister.
The music retained a Middle Eastern element, thanks to the influence of Charlie Mariano’s use of ethnic wind instruments. Throughout the album the band were assisted by the percussive skills of Gong drummer Pierre Moerlin, a band with whom Supersister had been compared.
Overall there were very few musical references to the Supersister of old. The music retained a greater structure with whimsical elements entirely absent. Perhaps the only piece on the album that retains a similarity of older Supersister material was the final track on the record, “Looking Back”, which coincidentally featured Sacha van Geest guesting on flute.
Released in December 1973, “Iskander” met with a mixed reception. The previous sense of humour in Supersister’s album sleeve designs was now entirely gone. Adorned in a “straight” album sleeve depicting a stone carving of Alexander the Great, the album came with a printed insert explaining the concept of the music on the record. Despite this exceptional stylistic change, “Iskander” was indeed a fine record. The hard core of Supersister followers was divided in opinion on the direction taken by the band. Whilst some remained faithful champions of Robert Jan Stips and Ron van Eck’s new musical direction, others were disillusioned. Viewed as an album in its own right, “Iskander” remains a major musical achievement, albeit very different in feel to any other Supersister record. To promote the album Polydor records in Holland released the track “Bagoas” as the A-side of a single. The record was backed with a new version of “Memories Are New” but met with a muted response commercially and failed to chart. To many, the new incarnation appeared to feature fine musicianship but lacked the unique spark of the band of old. Robert Jan Stips continued to express his enjoyment at performing with the new band, citing the group as fresh and vibrant. The faith in the new Supersister was confirmed by concert promoters who continued to book tours of Holland and France, including an appearance at a festival in Poitiers recorded and broadcast by Radio Luxembourg. Stips also announced that a live album would be recorded on the forthcoming series of live dates, although this failed to materialise.
Aside from this activity, Charlie Mariano began to feel repressed working within the strict environment of one band. Naturally a musical free spirit, he had always performed with a variety of musicians but found himself unable to do so thanks to Supersister’s increasing concert schedule. Eventually this frustration led to Mariano’s departure from the band in early 1974. Reduced to a trio, Supersister went through a period of performing live with different guest musicians augmenting their ranks. Guitarist John Schuursma, saxophonists Rob Kruisman and Fred Leeflang all joined the group on stage at various concerts, although none became part of a fixed line-up. The biggest surprise name to perform with Supersister during this period was former Soft Machine saxophonist Elton Dean. Upon announcing live dates with the band Dean declared in an interview; “Since I made the decision to leave Soft Machine I also decided to play with many people and bands as possible.” The association with Elton Dean brought Supersister to a wider international press and gained them some notable attention. As a live band Supersister developed into a free jazz group with rock elements. The audience they had gained over the past five years began to dissipate and concert attendances began to diminish. As if to emphasise the inevitable, Robert Jan Stips confessed to feeling uncomfortable within his own band, declaring that his own compositions didn’t fit in with the improvised pieces the band played on stage.
Fate soon played its hand to force the end of Supersister when Elton Dean accepted an offer to join Georgie Fame’s band and Robert Jan Stips accepted an invitation by Cesar Zuiderwijk (drummer with Dutch group Golden Earring) join his band on a tour of the USA that began in ten days. Herman van Boeyen soon joined a new band with Eelco Gelling and Harry Muskee (both ex-members of Cuby and Blizzards), whilst Ron van Eck returned to his studies and started the short-lived group Stamp ‘n Go..
In 1974 Sacha van Geest returned to prominence when he recorded the album “Spiral Staircase” under the name Sweet Okay Supersister. Among with musicians assisting with his project were Robert Jan Stips and Ron van Eck, who joined a large cast of musicians to make a unique and remarkable record which brought the lighter, whimsical and humorous approach of the earlier Supersister albums to the fore. Released by Polydor records, the album was also supported with the single “Coconut Woman” b/w “Here comes the Doctor” which featured the Los Allegres steel band. A one-off concert was staged to mark the release of the album, during which the record was performed in its entirety. The live spectacle concluded with an encore performance of Supersister’s classic “Present from Nancy”. The concert would feature the last live performance of any Supersister related band for twenty six years.
Amazingly, in 2000 Supersister reformed to perform at the ProgFest event in Los Angeles. Robert Jan later recalled; “We all happened to get together for a sad occasion. Our former manager and friend Dick Zwikker died suddenly and we all knew we had to play for him at his funeral. So we did, together with Cesar Zuiderwijk of Golden Earring who was also a close friend. We did a quick half an hour rehearsal the night before and everything felt so amazingly natural after almost 30 years that when we happened to receive the invitation for the LA ProgFest some months later, we decided to accept”
The band made plans for more concerts, maybe even a new record. After 27 years the spark was certainly back again. All four original members enjoyed playing together again enormously. Following the LA concert concerts were arranged in Holland in Groningen, Tilburg, The Hague and at the Paradiso in Amsterdam. The final show was to be recorded and filmed for CD and DVD release. Prior to these dates Supersister released a limited edition CD, “Memories Are New”, on the SOSS Music label. The album featured archive live recordings, including those made with NDR Orchestra in Germany in 1971.
The Paradiso concert was an emotional and memorable event and the resulting live album (released under the title “Supersisterious”), and DVD (“Sweet Okay Supersister”) were wonderful souvenirs and received excellent praise from both critics and fans alike. Encouraged by the warmth of the welcome they had received upon reforming, Supersister made plans for more concerts and were considering the possibility of recording a new studio album.
Sadly, on July 29th 2001 Sacha van Geest died. With his passing Supersister came to an end.
In an attempt to join Nearfest 2011 with the remaining trio, which also did a minor performance in 2010 on Dutch television, on July 20th the astonishing message came from Supersister’s website that bass player and lyrics/music composer Ron van Eck passed away after a seven year struggle with an on-going illness. Thus leaving only half the original group.
In their career Supersister made some of the most original popular music ever committed to disc. In the spirit of the early 1970’s they refused to be tied down stylistically or commercially and it was the pursuit of this ethic and the desire to constantly evolve that made their four studio albums so special. With the remastering of their entire Polydor catalogue on CD, it is time to tune in once more to the unique music of Supersister. Memories are NEW!


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domain: travel


Scott Shreeve co-founded MedSphere, the Southern Californian open source distributor of the VistA EHR. His latest effort is Crossover Healthcare. Scott has been tracking recent developments in the consumer driven health plan sector. Today he shares his take on a series of reports that suggest the CDHP movement may be faltering. The following piece was originally published on his blog, which can be found here.
Jumpstart (jŭmp stärt) v.
1. Starting an automobile engine that has a weak battery by means of jumper cables 2. Start or re-start in a vigorous manner3. Start something by tapping into another source of power
A recent report by the Wall Street Journal casts some concern over the vitality and validity of the entire consumer driven health movement. The critique provides some hard numbers regarding the actual uptake in numbers which is significantly less than some other reports indicate. Worse still, a recent report by Towers Perrin indicated that many people with HDHP plans are dissatisfied with their consumer experience to date.
A few representative (and instructive) comments from the WSJ article include the following:
“…the approach appears to be stumbling — largely because of consumers’ unease in using them"
“…consumer-directed health plans often report lower satisfaction and confusion about how the plans are supposed to work"
“If I were a product manager in any other industry and saw scores
this low in customer satisfaction and understanding, I’d be thinking of
pulling that product from the shelves”
“One reason for the frustration is the uphill battle many consumers describe in trying to shop for their health care."
“Few employers are focusing on the costly measures — such as
offering better coverage or more consumer education — that may be
needed to accelerate these plans.”
“…the vast majority of companies still do not have the time, effort or resources to prime the pump."
So, is consumer driven healthcare just another passing fad?
The WSJ article and the Towers Perrin report fairly acknowledges
many of the obstacles to consumer driven health uptake in the market.
However, I was always taught by my father that obstacles are what you
see when you take your eyes off the opportunity. Therefore, my read of
these articles was that smart, nimble entrepreneurial companies should
be jumping up and down at the opportunity to jumpstart consumer
directed adoption by health plans, large employers, and consumers
themselves. In fact, as I have highlighted before,
in the new healthcare paradigm of increased informational complexity
just wait until we get into genomics and true personalized medicine!)
advisory services will become essential.
As I have also stated before, "Consumer Directed Healthcare" is a
misnomer. Consumers can’t "direct" or "drive" healthcare because they
are just one player in a complex game. In addition, consumerism as the
panacea is an oversimplification which miscalculates the role of
consumers within the value driven reform movement currently underfoot.
However, consumerism will undoubtedly be important because consumers
are being asked to pay for more of their healthcare bill – whether or
not they are in a HDHP. Rising premiums, rising deductible, and overall
rising costs mean that the inevitable cost-shifting will be directed to
the least (initially influential person in the power struggle ->
However, with enough of the cost pressure being redirected to
consumers, and with increasing concerns over healthcare quality,
safety, and value, consumers will inevitably self-organize to become a
powerful and influential voice. Consumers are currently and will
increasingly be emboldened by a new cadre of health information
companies providing the next wave of information technology that can
aggregate, analyze, and advise them regarding their personal health
information. These companies will leverage core principles of value
driven healthcare, transparency, and web 2.0 that support and empower
consumerism to make rational health care decisions. The interactions
that occur will be personal, relevant, timely and engage the consumer
at the medical condition across the full cycle of care. These
interactions will also add value to the consumer, support them in their
new role as health care shoppers, and help them achieve the very best
This is the level and type of support required to help nurture the
fledgling consumer movement. I don’t believe that anyone can honestly
tell me that a more engaged consumers is bad for the health care
system. However, no one should be under the impression that after 50
years of healthcare paternalism, consumerism is currently at the "just
add water" stage. So between the current state and the fully activated
state, there needs to be a consumerism catalyst – a trusted third party
like HealthEquity*, who is solely focused on helping consumers
understand HDHP and HSA’s so that they can "better save and spend their
health dollars". HealthEquity is an example of a company "priming the
pump" by aggregating information, analyzing data, and provide value
added advisory services back to consumers.
This is exactly what is needed to jumpstart the Consumer Empowered
Health market – next generation Health 2.0 companies that serve as
"catalysts of consumerism" by offering a suite of consumer advisory
services. These services will empower consumers to not only understand
their CEHP plans, but also make rational health care choices across all
aspects of the care cycle and demonstrate superior outcomes in a
transparent and value driven health system.
Now, that is something to drink (water) to!
* DISCLAIMER: I am currently consulting with HealthEquity to build out their consumer platform.


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From the producers of Syfy's hit series Face Off, Hot Set is an extreme design challenge pitting two Hollywood production designers each week in a head-to-head battle to design, build, decorate and ultimately create an original and signature movie set that transports the viewer into an immersive world.
Each week, two teams, led by talented production designers, will be challenged to create an immersive world around a surprise element - an unusual prop, character, or animal. They will have just 3 days and a limited budget to create an original space that holds up to the scrutiny of Hollywood's top creative experts.
Hot Set is produced by Mission Control Media and Executive Producers Michael Agbabian, Dwight Smith, and Aliyah Silverstein.
This September watch hollywood set designers build movie magic in Syfy's New Original Series Hot Set.
Rival set designers compete to create a den worthy of a comic book super villain.
Sometimes what seems easy is actually hardness in disguise as Ty renounces his God spirit and becomes mortal.

domain: artistic


These are the simplest and most popular type of Heat-pipe and are used
in most applications to transfer heat energy from one point to another.
They can also be used as heat spreaders to isothermalise components
where a uniform temperature is desired. Although Heat-pipes are
predominantly used in cooling applications, they can also be used very
effectively in heating applications, this negates having multiple
electrical heating elements, and simplifies cabling, design and
are Heat-pipes with an axial concentric hole through the middle. These
may be used in a variety of situations where high heat transfer is
required together with mechanical access,
examples include; as a flow channel for gas or liquid, for cabling or
thermocouple access, as a push rod mechanism location sleeve.
Larger diameter Heat-pipe rollers have also been produced similarly
with open bore for use as rotary thermal spreaders and having internal
Baffled Heat-pipes are used in water cooled applications i.e. core
cooling applications used commonly in plastic injection moulding tools.
The Heat-pipes are installed into manifolds and transfer heat from the
heat source to the cooling water. The baffle plates direct water along
the Heat-pipe cooling length to give an increased cooling area contact.
Bent Tubular Heat-pipes
application requirements require Heat-pipes to be bent to fit a route
in a particular installation, possibly involving complex 3-D
architecture. By using special internal wick structures, CRS
Engineering is able to produce Heat-pipes which can be formed to shape
by customers upon installation. Where exact bending is required, or
where tight bending radii are involved, it is essential that CRS
Engineering carry out this process during manufacture.
Flexible Tubular Heat-pipes
limited degree of flexibility is possible with most standard range
Heat-pipes, as a function of their length and diameter. Often this may
be sufficient to accommodate small dimensional tolerance differences
encountered during assembly and installation with other components.
Truly flexible Heat-pipes incorporate an intermediate convoluted
bellows section providing excellent flexibility and anti-vibration
High Performance Heat-pipe Heat Sinks
Heat-pipe heat sinks built with cooling fin assemblies provide one of
the most effective means of providing efficient cooling for power
electronics components. The forced air cooled assembly shown opposite
achives an oustanding thermal performance.
Performance: Rth = 0.09°C/W.
i.e with 100 W heat dissipation the input heat block temperature is only 9°C higher than the ambient cooling air temperature!
Diode Heat-pipes have a high thermal conduction in one direction and a
low thermal condution in the opposite direction. They are typically
used in aerospace applications where it is possible for heat sink
temperatures to exceed the Heat-pipe evaporator temperature due to
solar radiation. Usually an array of diode Heat-pipes are used together
to dissipate heat to a number of alternative heat sinks so that heat
sinking facilities are constantly maintained.
Variable Conductance Heat-pipes
Heat-pipes provide a means for automatic temperature control. By
regulation of the Heat-pipe thermal conductivity it is possible to
maintain the evaporator section at near constant temperature with
around only 5 °C fluctuation. VCHP’s are specifically pre-set to
operated over a specific temperature range of varying ambient
condidions and variable heat input loading. Where very precise control
is required they can be also integrated with electronic control
achieving temperature stabilization of better than 1°C with minimal
electrical power comsuption for the controlling circuit.


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(Host) The Vermont Attorney General’s office has asked to meet with officials of the Catholic Diocese of Burlington to discuss allegations of past sexual abuse by priests.
The attorney general requested the meeting after the diocese acknowledged it has recently received several reports of alleged incidents.
VPR’s Steve Zind reports.
(Zind) Attorney General William Sorrell says officials from the diocese have agreed to meet with his office later this week or early next week.
The Reverend Wendell Searles, the vicar of the Burlington Diocese, has confirmed the diocese has recently received several complaints of past sexual misconduct by priests. Searles says some of the alleged incidents date back to the 1960s.
The allegations come in the wake of the disclosure that at least 70 priests in the Roman Catholic Diocese of Boston have been accused of sexual abuse. In the past several weeks, there have been similar reports in New Hampshire and Maine. Sorrell says he doesn’t yet have details about the Vermont allegations:
(Sorrell) “I don’t think it will be anything comparable to what we’re reading about in the papers that’s going on the in the State of Massachusetts, both in terms of numbers and severity. My suspicion is that anything that they have will be really quite old.”
(Zind) Vermont’s statute of limitations for prosecuting sexual abuse cases varies, depending on several factors. For victims who were under ten years old at the time of the incident, there is no time limit. Sorrell says Vermont law does not require the church to report alleged abuse.
(Sorrell) “But the letter of the law is one thing. The spirit of the law is another. And I’m fairly strongly of the view that a religious organization that hears information of this sort, that’s at least credible, ought to be forwarding it to the authorities.”
(Zind) Bishop Kenneth Angell plans to meet with the diocesan Sexual Misconduct Board later this week to consider the new allegations.
For Vermont Public Radio, I’m Steve Zind.

domain: law


A leading archaeologist has told of her fears for the "fragile" environment of Skellig Michael, after the remote Irish island was used as a location for filming the latest "Star Wars" movie.
The protected island, which lies almost 7.5 miles off the west Kerry coast, was granted world heritage status by UNESCO in 1996.
But earlier this week the far-flung outcrop hit the headlines after it was taken over by the crew and cast of the upcoming "Star Wars" episode.
A 2 mile exclusion zone around the island, policed by an Irish Naval Service patrol ship, was set up to coincide with three days of filming up to last Wednesday.
But concerns have been raised that the island, which is home to a Christian monastery built as early as the 6th century, might have been left with permanent damage to its archaeology and rare wildlife.
The Irish Times reports that archaeologist and historian Dr. Niamh Whitfield was "astonished" that filming was given the green light on the steep isle – which rises more than 100 feet out of the Atlantic ocean – for the upcoming Episode VII movie.
Dr. Whitfield, one of the world's leading experts in early Christian art and archaeology, described the monastic site as "one of the most fragile, as well as most important" early medieval archaeological sites in western Europe, adding: "It is unique and, once damaged, is difficult to repair."
Dr. Whitfield said she would question what professional advice was sought beforehand and what professional guidance was given on location by conservation archaeologists.
She also pledged to find out whether a professional independent survey would be conducted to find out what impact filming has had on the site's wildlife and archaeology.
Similar fears have already been voiced by another leading archaeologist, Micheal Gibbons.
And Birdwatch Ireland senior conservation officer for seabirds, Dr. Steven Newton, said he was concerned that filming had taken place during the breeding season for birds.
In a statement to the Irish Times, the Irish Film Board stressed that consent for filming was given the green light after "extensive scientific analysis" by the National Parks and Wildlife Service (NPWS).
A spokesman added that the limited filming schedule was granted "subject to several agreed conditions and restrictions and is also the subject of a detailed management and mitigation plan and ecological oversight," which included the presence of experts from the NPWS on the island and a senior ecological adviser with the production company.
Meanwhile, excitement reached fever-pitch in west Kerry amongst film buffs and "Star Wars" fans this week after a number of well-known stars were spotted in the Kingdom.
Mark Hamill, now 62, who played Luke Skywalker in the original series, was barely recognizable when he arrived in Kerry earlier this week with a beard and greying hair.
And "Star Wars" director JJ Abrams was pictured outside the Butler Arms hotel in Waterville, Co. Kerry, where he stayed during filming.
Meanwhile, the cast and crew have relocated to Northern Ireland to begin filming on location.


Ambulatory blood pressure monitoring (ABPM) is a useful clinical tool for tracking a patient’s cardiac status continuously in real-life outside of a physician’s office. It can provide a more complete, holistic and unbiased view of patient’s health than either self reporting or intermittent monitoring by clinical professionals. In a recent study, the Biobeat chest sensor (cuffless) was found to provide comparable data to cuffed based devices.
The device measures diastolic and systolic BP, as well as heart rate, mean arterial pressure, cardiac output, and systemic vascular resistance. Measurements are accessible via the patient’s mobile phone via a designated app, and are also readily available for physicians through an online report-analysis web-application. By utilizing the wide range of vital signs measured by the Biobeat device, the report enables health care providers to gain a profound understanding of the root cause of the issues identified and truly personalize medicine, allowing for more precise prescription and titration of medications and therapies.
Incarta has sample blood pressure holters available for use in general practice. If you are a general Practitioner and interested wearable technology please get in touch and we would be pleased to forward you an evaluation unit.
This monitor is a regulated medical device and only available for use under physician supervision.


When American Pharoah crossed the finish line in the Belmont Stakes on June 6, becoming the first Triple Crown winner in 37 years, I cried.
After talking with friends who also watched the race, most of us men in our 50s and 60s, I discovered I was not alone. Many of us were overcome by emotion and, as it turns out, mostly for the same reason: We were thinking about our dads.
For a generation of American men born during the Great Depression, racing was much more than a five-week diversion from the first Saturday in May to the first Saturday in June. It was an obsession.
And the obsession was shared with us, their children, so that in many cases horse racing came to define the relationship we had with our fathers in the little free time they had to share with us.
For me and for so many of my friends Saturday, the one person with whom we all wanted to share this historic moment was no longer by our side. The joy and thrill of the race was tempered by a profound sadness.
My dad, Irwin Ginsberg, has had four great passions in life: the law, tennis, his family and thoroughbred racing, though not necessarily in that order.
He developed his fascination with horses as a kid in Buffalo during what was arguably the sport’s heyday, following the exploits of horses like War Admiral and Citation. Between the ages of 7 and 18, he had already witnessed an astonishing five Triple Crown winners, and he was hooked.
He wanted to make sure I got hooked, too. Sunday, the one day of the week he didn’t go into his law office, was race day. We’d pile into our Chrysler New Yorker and head from our home in Buffalo to the Fort Erie Race Track in Ontario.
Once there, Dad would walk me through the intricacies of the racing form (speed ratings, past performances, class levels) before placing a series of exotic bets on the fillies and mares traveling the hard-bitten southern Ontario race circuit. When he lost, which was more times than not, he’d angrily crumple the betting slips, ending up with a small mountain under his seat by the end of the day.
But we were in front of our Zenith TV for the best race of all, the 1973 Belmont. Secretariat had already run the fastest Kentucky Derby and Preakness in history, and came to the race of champions as the prohibitive favorite.
For my dad, it represented the best chance to end a 25-year Triple Crown drought. My 11-year-old self sensed the moment’s historic significance, so I brought my tape recorder.
Listening to that cassette today, I can hear the tension in my father’s voice as the horses make their way to the starting gate (he yells at me to move away from the screen though the race is still a minute from post).
Then the race starts, and it quickly becomes a two-horse contest with Secretariat pulling away after the half-mile pole. We’re quiet at first, but the silence breaks when I shout, “He’s going to win.” My father shushes me, and we both go quiet again until Secretariat rounds the final turn.
My father starts repeating: “Oh, my God. Oh my God,” while I’m unable to control my prepubescent excitement and begin screaming again at the screen.
In the years that followed, we watched Seattle Slew and Affirmed win their Triple Crowns and continued our Sunday tradition at the track — eventually with me adding to the mountain under our seats, thanks to my paper route earnings. Then I left Buffalo for college, law school and life in New York. And another Triple Crown drought set in.
A decade ago, my father found out he had Alzheimer’s. His mom, dad and brother had all had the disease. He had feared it his entire adult life, and now he was to suffer the same fate. He was forced into a retirement he never wanted. But his love of horses endured. Three summers running, I took him to the Saratoga Race Course until the betting became too complicated for him.
But the Belmont still held a special place. Even as his brilliant mind declined, twice he managed to travel by himself from Buffalo to New York with hopes of witnessing one more Triple Crown alongside his son. And twice we were denied.
Standing side by side, watching first Smarty Jones and then Big Brown lose in heartbreaking fashion, were among the happiest moments of my dad’s retirement and of my adult life.
Just after the Belmont this year, my face still flushed from crying, I called my mom in Buffalo to see if Dad had watched. No, they hadn’t watched the race. He wouldn’t know a horse from a rabbit, she said. Instead, they were sitting at the table having dinner, my father oblivious that his 37-year wait for another Triple Crown winner was over.
I started to cry all over again.


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Supreme Court decisions
Several decisions by the US Supreme Court yesterday, although none that are probably of much interest to my legions of faithful readers. In one case, the Court upheld the right of states to exempt their own municipal bonds from taxation, while taxing those of other states. If you're going to read the decision, put on a pot of coffee: the case produced seven different opinions. There was also a decision on the Armed Career Criminal Act, which you probably want to read if you do Federal criminal stuff, and a decision on the guy who wanted to blow up the LA airport back in 2000.
The case with the most import was US v. Rodriguez. The defendant had been convicted of pandering child porn by offering to sell somebody obscene pictures of his daughter. Turns out he didn't have any -- of her, anyway. (He did have obscene pictures of other minors.) He argued that prosecuting him for trying to sell something he didn't have violated the First Amendment, and the 11th Circuit, for reasons known only to them and their god, bought into this. The Supremes didn't.
Probably the most noteworthy aspect of the case was that it upheld the Prosecutorial Remedies and Other Tools to end the Exploitation of Children Today Act of 2003. That, of course, translates to the PROTECT Act of 2003. This, and the USA PATRIOT Act, which stands for Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism (no, I'm not making that up), convince me that (a) Congress is paying someone to do nothing besides come up with this stuff, and (b) that person could probably benefit from smoking the 70 joints a day that might, just might, increase his risk of heart disease, as the study I mentioned on Friday showed. If he did, you might see a law to protect elderly medical students given the beguiling name of the Bill to Universally and Legislatively Legitimize Septuagenarian Hospital Interns Today Act of 2008.
One case that I didn't blog about when it came out was one a couple months back, Snyder v. Louisiana. It involved a Batson challenge, with the Court deciding that a prosecutor's reasons for striking a black juror in a death penalty case were insufficient to establish a race-neutral justification. It's hard to discern a specific holding from Snyder, other than that examination of Batson challenges might not require as much deference to the trial court's determinations as prior cases have held.
In fact, Snyder might be one of those rare cases where the Supreme Court accepts certiorari not because of some overarching issue of constitutional law, but simply to correct a wrong. The case involved a black man accused of slashing his estranged wife and her boyfriend, killing the latter. The prosecutor had not only used his peremptories to strike all five blacks on the jury panel, but then repeatedly told the jury that it was "another OJ Simpson case."
I had blogged about the case when it was argued in December, and said at the time:
In fact, the probable result of Snyder will be a more demanding and less deferential standard toward trial judges on these issues. As became clearer and clearer during oral argument, the trial judge in Snyder's case had adopted a stance of almost total passivity in the face of the prosecutor's racially-charged arguments, in one instance stating that he'd allow the jury to consider the Simpson analogy because the prosecutor didn't mention Simpson's or Snyder's race. That prompted Justice Souter to dryly observe, "That is not a critical mind at work, is it?"
I'm not sure what's the most disturbing part about the case: the actions of the prosecutor, the actions of the trial court, or the fact that jury selection in the case started on a Tuesday, the jury was empaneled Wednesday, the defendant was found guilty on Thursday, and the death penalty was imposed on Friday.


Rebel News reporter Katie Daviscourt joined Tucker Carlson on Fox News on Monday.
Katie is currently in El Paso, Texas, to document the surge of illegal migrants flooding across the border from South America.
The surge comes as Title 42, a Trump-era policy that reduced the number of asylum seekers the U.S. would allow during the COVID pandemic, is set to expire on December 21.
Speaking on what she saw, Katie told Tucker:
“There is a clear invasion happening in El Paso even with Title 42 in place. I hopped off the plane at the El Paso airport, made my way to baggage claim, and that’s when I noticed more than 100 illegal immigrants sleeping on the ground with Red Cross blankets.”
Katie travelled all the way to Texas from her home base in Washington to get you the other side of the story.
Please help us crowdfund her trip and accommodations while she covers this critical story. Rebel News relies on donations to remain independent, meaning we need your help to pay for our journalistic missions.
You can see more of Katie’s reports from Texas and donate to support her work at RebelBorderReports.com.


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拉闊 - 藍調音樂
- (五) 09-08-2013 10:00 PM - 2 小時
$120 (預購); $150 (即日); 包括一杯特飲
憑藉深厚的根源在美國歷史上，特別是非裔美國人的歷史，藍軍在19世紀起源於南方種植園。它的發明者是奴隸，前奴隸和奴隸的後裔 - 非裔美國人佃農誰唱的，他們胼手胝足，在棉花和菜地。人們普遍接受非洲聖歌，非洲聖歌，勞動歌，現場霍勒斯，農村鼓笛音樂復興主義的讚美詩和鄉村舞蹈音樂，藍調演變而來。
Whitemud Slide is: Rev. Michael, summoning the spirits of the Mississippi Delta with his National resonator guitar; and Brother Neil, prestidigitator of the ungentle art of slap-bass. Established in 2011, Hong Kong-based Whitemud Slide delivers raucous Delta-inspired acoustic blues that gets hips swinging and joints jumping.
In 2000, Vincent Lam brings together a group of musicians with the mind to inject a young, exciting Blues act into the Hong Kong music scene.
After a few line-up changes, the band now consists of Vince on guitar and vocals, Hiroshi on guitar, Koya on bass and Jimi on drums.
The band composes its own material that brings a new edge to Blues-based rock and pop. A well known fixture on the live indie circuit, their energetic Blues interpretations, thumping rhythms and dynamic improvisations make an explosive combination. The electric chemistry and seamless communication among the band members bring a delightfully unexpected depth and complexity to their music, making this band a must-see live.
Vincent Lam – Vocals and Guitar
Hiroshi Shimamura – Guitar
Koya Hisakazu – Bass
Jimi Galvea – Drums
The newest kid on the block, Just Soda makes its debut performance at this show. Comprising seasoned rock and blues musicians, the band will entertain the audience with a wide range of post 50s blues based from the Yardbirds to John Mayer.
Just Soda is:
Vocal/Guitar: Szechai Bluesman
Guitar: Edward Chun
Bass: Calvin Wong
Drums: Jon Lee

domain: entertainment


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There have been some minor changes in the language of proposed Kansas Senate Bill 231, but not enough to calm the nerves of Riley County appraiser Greg McHenry.
The legislation, which is also known as the “COTA to BOTA” bill, would change the entire process of property valuations in the state — especially in the area of appeals.
The bill would change the overall appeal framework by changing the Court of Tax Appeals to the Board of Tax Appeals.
Under the current process, an appeal freezes the value of the property for one year, allowing both the property owner and county to exchange evidence and make their cases to COTA — normally over 6-9 months .
SB 231, however, would add another two years to the freeze and allow district courts to get in the mix.
McHenry argues that such a freeze would cause an inequity in property values that is unconstitutional under Kansas law.
Plus, he suggested that property owners would faces bigger tax bills after the freeze— if a property’s value rose during the prolonged appeal.
McHenry noted that values often raise 3-4 percent in any given year, so after a 3-year freeze the property’s value could be 12-15 percent higher and an owner could face a huge tax bill.
The appraiser also said a three-year freeze would cause confusion with competing property values — and very well could force a statewide reappraisal of all property to regain equity.
At least one problematical part of the bill has been scrapped, McHenry said.
Up until last week, the bill also allowed private tax representatives to appeal property values on the owner’s behalf — without the owner’s knowledge.
“In the original bill, a fee appraisal provided by a tax rep would be presumed correct — no matter the purpose, scope or date of the appraisal — without the signature of the owner,” McHenry said. “Thankfully, cooler heads prevailed.”
When it comes to bringing district courts in the process, McHenry said that could cause even more headaches. The courts were cut loose when the valuation process was last retooled.
“They were removed from the equation because it reduced costs and bureaucracy,” he said. “Putting them back in play costs everyone more money and time for the same result.
“The way the bill is currently written, you can pick and choose your district court. I know there are district judges against it, because their docket is already full with criminal cases and things like that. They’re not trained in appraisals.”
At the moment the bill is back in conference committee, McHenry said.
Lawmakers are in the midst of a three-week break.


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Bride and groom spend wedding night in hospital after a GUEST set his pit bull on them at reception
It should have been the happiest day of her life.
22-year-old Brittany Cortez and her new husband had just been declared man and wife and were celebrating marital bliss at their reception with friends and family.
But what had begun as her dream wedding quickly descended into a nightmare when one of the guests, Joel Nevarez, set his pit bull dog on her.
Scroll down for video
Distraught: Brittany Cortez sobbed as she described the attack
Savage: Cortez was badly injured in the attack, orchestrated by a man she once considered to be her best friend
The 31-year-old had walked out of the North Denver wedding on Saturday night, apparently upset about something.
When he returned he had the dog in tow and savagely egged it on as it launched at Cortez as she stood outside the venue.
'Sic her, sic her Skylo' he shouted as the brute sank its teeth into the bride.
It dragged her to the ground, its jaws locked around her shoulder, shaking her in its mouth.
In a teary interview with Cbs Denver Cortez described the attack, orchestrated by a man she once considered to be her best friend.
Horrific: What began as Cortez's dream wedding quickly descended into a nightmare when one of the guests, Joel Neveraz, set his pit bull dog on her
Brutal: Nevarez encouraged his pit bull dog as it launched its attack
The reason behind the attack remains unknown but Cortez said she thought a history of mental illness may have contributed.
'Joel stood there with the leash in hand laughing, laughing that the dog was biting me,' she said.
'I begged and pleaded with him "Just stop. Bring the dog home, it’s my wedding. Don’t do this, don’t do this",'
The dog then moved on to Cortez's new husband, Jorge Cortez-Trinidad, as he tried to save his bride whose screams he could hear from inside the venue.
But rather than call the dog off Nevarez joined in with the attack, punching the newlyweds with brass knuckles.
The couple were so badly hurt they needed stitches and spent their wedding night in the hospital.
'It was terrible,' Cortez told the news site. 'It made a beautiful party into something I’ll never forget.'
And the shocking attack has left wedding guests deeply shaken.
A day she'll never forget: But for all the wrong reasons
'I'm sleeping with my gun next to my nightstand because I am scared to just wake up and he's standing next to the bed,' Nevarez's sister, Monica Nevarez-Coronado, told 7News.
'Who knows what he's capable of?'
Nevarez has a history of violence and criminality, and is due in court in December facing charges of assaulting a peace officer.
At the time of the attack he was on probation for a destruction of private property conviction in Denver and was only very reluctantly invited to the wedding.
'I was afraid if I didn't, he would do something worse.' Cortez said.
Mugshot: Nevarez is known to be violent and has a history of arrests
Nevarez has since gone on the run, likely headed for Mexico, police believe, where his mother lives.
Friends said they have not hear from him since he sent a text message which read: '2 more stops then I hit my death bed nice knowin all yall ain’t this wat use want: (yup it will be a sick death but i aint going alone.'
He is now being hunted by police who say he is considered dangerous and likely armed. His pit bull is being held at the Denver Animal Shelter.
Watch the video here:
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domain: news


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Most people are drawn to the keto diet because of all the wonderful things it promises. Not only can it help you lose weight, but it can also give you an instant energy boost and help you focus more by getting rid of brain fog.
The problem is most people aren’t experiencing these results. If you have found yourself frustrated with the lack of results you have been getting from the keto diet, here are a few simple tips that will help you boost your results.
Don’t Give Up Too Soon
When you first start the keto diet you will feel lousy. Some symptoms you may experience include sore throat, fatigue, nausea, irritability, and muscle aches just to name a few.
This is often referred to as the keto flu and it is completely normal. When you first start the keto diet there is an adjustment period that your body has to go through.
These symptoms are a direct result to your body trying to adapt to burning fat for energy instead of glucose.
Most people will give up once they start experiencing these symptoms. As a result they never experience the real benefits of the diet.
So remember, its going to take some time for your body to adjust to this new way of eating. Just stick it out and in a few days you will start to feel better.
Keep Your Protein Moderate
While on the keto diet you will eat a moderate amount of protein. Overall it should only account for 20 percent of your daily calories.
All you need is about 4 ounces of protein with each meal. That is enough to keep you full and prevent your body from converting it into glucose.
If protein gets converting into glucose, which is a direct result of consuming too much protein, your body will start to use sugar for energy instead of burning fat for fuel.
This of course will have a major impact on your results. So make sure you keep your protein moderate.
Incorporate Intermittent Fasting
Intermittent fasting is one of the best ways to accelerate your weight loss results. And while it isn’t a requirement for those who are on the keto diet, it does provide you with a great way to force your body to create ketones.
While there are different ways you can do intermittent fasting, the most popular way is to fast for 14 to 16 hours out of the day and eat your daily calories between a 6 to 8 hour window.
The purpose of fasting is so that your body will go into ketosis. Once in ketosis your glucose reserves will get drained and your body will start burning fat for fuel.
Most people find that skipping breakfast is the easiest way to ensure they fast for 14 to 16 hours a day.
Try Carb Cycling
The biggest issue people run into on the keto diet is figuring out how to function on so few carbs. The standard keto diet recommends you consume 50 grams of carbs per day or less. For most people that simply isn’t enough.
And that’s where carb cycling comes into play. With carb cycling you will have one high carb day per week.
By eating more carbs one day out of the week you will help keep cravings at bay and will be less likely to quit the diet after the first week or two.
On your high carb day try to stick with clean carb sources. Great options include sweet potatoes, carrots and various berries.
Keep in mind you will continue following a low carb diet the remaining 6 days of the week.
Make Sure You Are Eating Quality Fats
The keto diet is a high fat, low carb diet. When it comes to the fats you eat make sure they are quality fats.
Low quality fats, the kind often found in prepackaged foods and fried foods, can lead to serious health issues such as high blood pressure, heart disease, inflammation, diabetes, and even some cancers.
Your best bet is to focus on foods that are high in saturated fat. Saturated fat is considered a stable fat which means it can’t be easily damaged by oxygen.
Grass fed butter is considered one of the best sources of saturated fat because it is loaded with fatty acids and antioxidants.
Other great sources of saturated fat include grass fed lamb, extra virgin olive oil, avocado, grass fed beef, pasture raised eggs and salmon just to name a few.
When it boils down to it the keto diet is not an easy diet to follow. It requires you to completely change the way you are used to eating.
And as with all new lifestyle changes, adjusting to the keto diet can take a little time. But if you stick with it you will experience the many benefits associated with a high fat, low carb diet.

domain: medical


Archive - Jan 2, 2013 - Sports Article
FORT WAYNE â€” For Columbia Cityâ€™s fifth game in five days, head basketball coach Chris Benedict is pleased.
â€śSometimes it might not be the prettiest, but our guys make the plays to win the basketball game,â€ť Benedict said. â€śThey do a really good job of finding a way to get the job done.â€ť
Columbia City topped Northridge 59-48 at the Memorial Coliseum Tuesday night in the Super Hoops Classic.
The Eagles were far from their 90 percent 3-point shooting display against Whitko in the season-opener. In fact, Columbia City shot 17 percent from behind the arc, one of the worst of the season.


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Online Casinos: Free Tips to Play Casino Games
There are literally hundreds of thousands of online casino games. If choicobaconline.top you’re looking to play casino games at no cost, there are almost all of them in one place. You don’t have to pay any money to play online casino games. You can play slots for free online as often as you want, for as long or little as you like, and you don’t have to pay a cent. Here are some tips to help you enjoy playing these games even more.
The first tip is that before you play a free online casino game, make sure that you read the rules. Most casinos online will have detailed instructions on how to be playing their slots. Before you begin playing the games, make sure to read these instructions. You’ll want to ensure that you are aware of the ins and outs of the free spin.
Tip number 2: Make sure to read all details regarding the online slots you are interested in. There is usually a great deal of helpful information on the website. This information will be broken down into different categories so that you can better understand the games and the way they operate. It is possible that some online casino games are more appropriate for your gaming style than others. It is important to look at the different games available on each site and you’ll be able find a few games you like.
Three-point tip Try a variety of casino software programs. A lot of the top online casino games come with streaming and download-able software. You might find that a video portion of the slots game is much more appealing to you than trying to determine the images of the actual reel. Spend some time experimenting with different casino software to see which one strikes your interest.
Tip number four : try a few times any casino slot games you like. It is possible to lose money, even if you’ve already spent real money at other casinos playing slot machines. Why is this? because slots are a game that is completely random. It is possible to be ill-informed over time. This could result in a loss, but practice will help you to interpret the results correctly and win more often.
Tip number five: Try free casino games for real money. Making an account registration is the only method to earn real money in an online casino that offers slots games. While this is money that is free but keep in mind that you will only be able to withdraw the entire amount of your account at any given moment. This is why it’s crucial to only gamble with what you are able to afford. In the event that you don’t, you could lose more than you expected. This is not the case for all slot machines. If you land on a particularly poor machine you have the option to cash out so williamhillcasino-hu.top you don’t lose any.
Tip number six – enjoy yourself! There’s no point in making yourself feel guilty about the bad luck while there are more important things to concentrate on. These slot machines are not gambling devices. They exist to help you make more money. Therefore, it’s your responsibility to maximize the value of these machines. This is a great opportunity to test something new if your passion is playing video poker. Of course, if love playing roulette or craps, you’ll always have your favorite casino games to go with.
These six tips will help you have a good time playing at online casinos. Be aware, however, that there are a variety of games online to choose from, so you’re sure to find slots games or video poker games that interest you. These guidelines will aid you in avoiding losing money when playing roulette or slot games.

domain: game


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Diary of an Illegal Immigrant: Memoirs from Spain and Morocco
Cannon, Elinor B.
- Immigration in the Europe and North America has become one of the most pressing issues of this century, and the world's civilizations grow closer and closer together every day. In Europe, already a hub for cultural exchange and overlap, people of all social classes and educational backgrounds from North Africa and the Middle East are leaving their countries and transplanting themselves all over ... read morethe continent. In 1999, Moroccan journalist Rashid Nini published Diario de un illegal (Arabic: Yawm y t muh jir sirr), a compilation of his memoirs and accounts of his time living and working in Spain illegally. The author is an educated, university-graduate Moroccan who arrives to Spain as a "journalist correspondent," but is forced to spend most of his time working in orange fields and cafes. Each chapter is written in the present tense, universalizing each of his experiences and reflecting the thoughts and feelings of all illegal immigrants. Originally written in Arabic, the book has since been translated into Spanish and published in Spain. I have worked to produce an English translation of the book, drawing from both the Arabic and Spanish versions, and used it as a basis for observations on comparative and collaborative translating. Finally, I reflect on the writer's experiences and how they represent the bloc of North African immigrants in Spain as a whole.read less

domain: library


We have in-house the latest technology water blasting equipment, including robots, crawlers and hand held units. The use of these water blasting units, with ultra-high pressure (UHP), has along with development of new equipment increased rapidly over the years. One of the main reasons is that water blasting is a dust-free blasting method with very few environmental side effects. This means that water blasting does not necessarily interfere with dust-sensitive work being done at the same time. Waterblasting can be used around delicate equipment such as bearings, controls and hydraulics without the need for protection.
The use of waterblasting also has the ecological advantage of eliminating the collection and disposal of blasting media.
The use of water blasting technology enables work to be done in areas where conventional blasting methods would be impossible. Water blasting is ideally suited to sensitive areas as such as terminals, refineries and urban areas.
Water blasting also has a very good cleaning effect. Apart from removing old coatings and rust, the ultra-high pressure also removes deeply-embedded crystallised salt, resulting in a notable reduction in the chloride levels on the surface.
Extensive testing has proved that achieving low chloride levels is the single most important phase in the surface treatment operation.
Premator initiated the use of water blasting some 40 years ago and can today offer a wide range of water blasting solutions to suit our customers’ every need.
The major coating manufacturers have now recognised the benefits of water blasting and they have developed a range of surface-tolerant primers and coatings that have been designed specially to adhere to water blasted surfaces.


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The Supreme Court of Nova Scotia approved a $10-million settlement Monday for survivors of sexual abuse by Roman Catholic priests in the Archdiocese of Halifax-Yarmouth.
The class-action lawsuit was brought by people who allege sexual abuse by priests dating back nearly 70 years. The lead plaintiff in the action, 62-year-old Steven Gallant, said no amount of money could make up for the lifelong burden of being a sexual abuse victim.
"It's always with you and I think along with your own inner turmoil, you also worry about all the others you know are probably out there suffering as well," Gallant said.
Gallant was abused when he was 14. He was an altar boy in the 1970s and the priest who was responsible for his abuse was eventually criminally convicted.
Gallant said he believes his efforts can make the church safer.
"That's certainly the hope," Gallant said.
The judge who approved the settlement noted Gallant's courage in coming forward.
"Mr. Gallant, you have been living with this for decades. It takes a lot of courage, resolve and determination. I have to commend you for everything you have done. I hope at the end of this you receive some type of closure. I wish you all the best," Justice Christa Brothers told Gallant in court.
As part of the settlement, the Archdiocese Halifax-Dartmouth will pay survivors between $30,000 and $350,000.
Gallant's lawyer, John McKiggan, said the process holds "the diocese accountable for what happened in the past and creates a means by which survivors can come forward in a respectful and confidential process to have their claims dealt with."
McKiggan said most victims were children when they suffered abuse, claims that could date back to 1954. He said most survivors are now seniors, some in their 80s. He estimated as many as 90 people could come forward.
"They do have from the date the claims process begins, which will be likely January, they will have one year to come forward and make their claims," McKiggan said.
In a statement on Monday, the church said there is zero tolerance for sexual abuse of any kind — past, present or future.
"While the class-action suit is a constant reminder of the damage and great hurt that has been inflicted on individuals by members of the clergy, it is necessary to provide an opportunity for justice and healing for all victims. It is a hard thing to do, but it is the right thing to do," said Rev. Brian J. Dunn, Archbishop of the Archdiocese of Halifax-Yarmouth.
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domain: sociology


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Hauntingly Beautiful: 9 Real Haunted Homes and Hotels of the South
Photo By: Roger Smith
Photo By: Carol M. Highsmith Archives/Library of Congress
Photo By: Coldwell Banker
Photo By: Hotel Monteleone
Photo By: Allen House Tours
Photo By: Kehoe House
Photo By: Grove Park Inn
Photo By: Octagon Museum
Photo By: Anna Abner
Calhoun House: Atlanta
The Calhoun-Thornwell House or “Tryggveson” was completed in 1922 and remains one of Atlanta's most intriguing residents. Back in the 1970s, when only the carriage house was occupied, local kids would scout the grounds to see if they could catch a glimpse of a ghostly figure in the main house. Rumor has it, they often did.
Gaineswood: Demopolis, Ala.
Located south of Tuscaloosa and west of Selma is the Greek Revival-style Gaineswood plantation house. The home, which took 20 years to complete, was designed and built by General Nathan Bryan Whitfield and was completed on the eve of the Civil War. A former female guest of the Whitfield’s died while visiting the estate and reportedly continues to haunt it. The ghost is not aggressive or destructive, however; she simply plays the piano and wanders the parlor.
McRaven House: Vicksburg, Miss.
The origins of this Mississippi home date back to 1797, and it was spared destruction during the Civil War as it was used as a hospital and field camp. At least five people have died there, including a former owner who was murdered on the grounds.
Hotel Monteleone: New Orleans
Guests of this historic New Orleans hotel report hearing voices and seeing figures up and down the hallways. We're not sure how many times they've gone around and around the Carousel Bar though.
Allen House: Monticello, Ark.
The Allen House was built in 1906 for the family of a prominent businessman named Joe Lee Allen, who wanted it to be the grandest home in town for his wife and three daughters. Allen would only enjoy the home for a little over 10 ears, as he died in 1917. He was not alive, thankfully, to witness the suicide by cyanide death of middle daughter Ladell, who attempted to take her own life in the master suite the day after Christmas in 1948. She died a few days later as a result of the poisoning. Her mother, Caddye, sealed off the room and no one was to enter it until 37 years later, after the home was sold. After Caddye’s death in 1954, her grandson divided the home into apartments. Tenants reported seeing Ladell in various parts of the house and often heard voices. In 1985, the new owners reportedly found a bottle of cyanide on a shelf in the bedroom.
Kehoe House: Savannah, Ga.
Located on Columbia Square is the jaw-dropping William Kehoe Historic Inn, a four-story, Victorian/Renaissance Revival mansion that now serves as a bed and breakfast. Interestingly, the home’s original owner came from meager beginnings and was reportedly not a “showy” person. He just wanted a home big enough to house his family, a home that is now listed on the National Register of Historic Places. William Kehoe spent the majority of his time in the study, and there is often a light on in the room with no explanation. His wife Annie has been spotted in rooms 202 and 203 and roaming the halls of the third floor. As the Kehoes were gentle and kind people, guests report that the ghosts are fairly pleasant, if a bit shocking. Check in and check it out for yourself.
Grove Park Inn: Asheville, N.C.
Located in Asheville, the Grove Park Inn is reportedly haunted by a jilted young woman in a pink gown who jumped to her death on the site. Those who have spotted her call the Pink Lady.
Octagonal House: Washington, D.C.
Located in Foggy Bottom, the Octagonal House was built in 1801 by Col. John Tayloe. The house is reportedly haunted by two of the Colonel's daughters. Both died after they fell down the stairs while quarreling with their father.
Carr Plantation: Duplin County, N.C.
This home in Duplin County was once the primary residence of the Carr family from Ireland. It was turned into a boarding house and rumored to be haunted by the former residents. A graveyard is also located on the property.

domain: history


Hybrids are slow, hybrids are boring, hybrids this, hybrids that… you’ve probably heard many of these complaints, and to a certain extent, some of them make at least a little sense. But it’s probably safe to say that most of these black marks concern older hybrids and, more precisely, the so-called self-charging hybrids. The modern plug-in hybrids can be fun, efficient, and even good-looking.
Take for example the BMW 330e, for which our Managing Editor Brandon Turkus said it’s one of the best 3 Series he’s ever driven. Since February last year, the 330e is also available as a estate in some regions of the world, and this makes it even more practical. That doesn’t mean it’s less fun to drive, and a new video from the AutoTopNL channel on YouTube shows us what this electrified estate is capable of.
Under the bonnet, the 330e has a 2.0-litre turbocharged engine shared with the 320i with an electric motor sitting ahead of the eight-speed automatic transmission. The combined system output of this system is 288 bhp (212 kilowatts) and 310 pound-feet (420 Newton-metres) for a 0-62 miles per hour (0-100 kilometres per hour) sprint in just 5.9 seconds. The top speed is rated at 143 mph (230 kph).
The vehicle from the video is a 330e estate and it hits the Autobahn for a top speed check. There’s measuring equipment that helps us compare the numbers from the instrument cluster with the actual GPS-based numbers. And while the 0-62 mph (0-100 kph) sprint is performed in 6.03 seconds basically matching what the automaker says, the top speed falls a little short of the official numbers. Still, 139 mph (224 kph) is definitely not bad for what is considered a practical family hauler.


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Burke performs classic songs on stage and television
After a long hiatus, the band is 'jamming' and testing out new singers
It's sort of like a family movie,' says screenwriter Peter Morgan. 'It's sort of like 'I hate my family, I want to be independent, and then I come back.''
'It's stuff that was either too poppy or too heavy metal or too weird to make it onto any of our records,' Cuomo tells 'Rolling Stone.'
Slim Shady talks childhood, overdose and controversial lyrics in interview with Anderson Cooper