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The heat, Odd Future and cupcakes were the big stories as the sixth annual, three-day Pitchfork Music Festival wrapped up Sunday in sun-drenched Union Park.
Promoters handed out 13,000 free water bottles each of the last couple of days as capacity crowds of 18,000 a day braved sunstroke and exhaustion to see 45 bands perform on three stages. Major bands closed the festival Sunday, including the excellent TV on the Radio and veteran indie-power-pop juggernaut Superchunk. But there was little doubt who most of the early-arriving crowd was there to see. The Los Angeles hip-hop collective Odd Future Wolf Gang Kill Them All was a major draw, attracting a huge and enthusiastic midafternoon throng. Their explicit lyrics prompted local advocacy groups to set up a booth at the festival and pass out information to concertgoers about violence against women and gays.
Odd Future tried to defuse things with humor and cupcakes, both always good ideas. They preceded the set by delivering the treats to the Between Friends booth — where the organization collected more than 100 signatures for its mailing list over the weekend — then played uncharacteristic intro music to their set: Bob Marley's "One Love" and Black Eyed Peas' "Where is the Love." Which was thicker, the humidity or the irony?
Pretty soon, however, the group was back to business as usual and didn't back off an inch from an agenda that targets pretty much everyone and everything as worthy of spite, including itself. Group leader Tyler the Creator, wearing a tie-dyed T-shirt with a peace sign, hobbled on stage with an injured leg. But he did not shy from stage-diving, and orchestrated bursts of invective into crowd-rousing shout-alongs, more chants than actual songs.
The performance ensured that the group's detractors and critics will still have plenty to write about, but the music was almost beside the point. This was a collective outburst, the crowd fist-pumping itself into exhaustion. Dozens of fans streamed past me at the edge of the stage, soaked in sweat, some wobbling to the medical tent, at least one throwing up, swigging water and then returning to the fray. Medical personnel reported no major problems, other than treating some concertgoers for sunstroke symptoms and dehydration.
Tyler and the rest of the group's MCs were at the lip of the stage for the final group message to the world: "Kill people! Burn (expletive)! (Expletive) school!" Middle digits raised on high were everywhere in the crowd. A few curiosity seekers were less than impressed. "What was that?" one muttered as he strolled past. Odd Future: they came, they jumped around, they got a boatload more notoriety. We'll remember the cupcakes.
Otherwise, pleasantry prevailed, but not a lot of music that demanded attention in the way Odd Future does, for better or worse. Pitchfork has become one of the premier midsize festivals in the country. After some growing pains coping with inadequate amenities and sound in its early years, the festival has become relatively expert at turning Union Park into a small, temporary city. This year, it marshalled 120 production staff, 140 security guards, 240 volunteers a day and 30 stage crew, plus 18 food vendors and, perhaps most critically, 220 portable restrooms. When the heat ratcheted up Saturday and Sunday, promoters responded immediately by passing out the free water to fans as they entered the main gate, and continued passing out freebies from the main stages.
Pitchfork prides itself on being far more community-oriented than most larger festivals, and fans roamed a variety of kiosks devoted to everything from family planning to handmade accessories, posters by local artists and a massive record fair that drew high-profile customers such as OFF! singer Keith Morris.
"This festival is the best," said Ald. Proco "Joe" Moreno, 1st, an avid music fan who was checking out East Coast pop-rockers Wild Nothing. "What's the ticket price — $45? Where else do you see that?"
There was an undeniably larger, if not entirely intrusive corporate presence at the festival as well. The big video screen between the main stages didn't go dark between sets, instead featuring a steady stream of advertisements for everything from the forthcoming St. Vincent album to cellphone apps. A tent near the main stage served as a beer-company ad — but at least it was an air-conditioned ad, a major attraction on a brutally hot weekend.
Ultimately it's the music that determines a festival's success, and this was not one of Pitchfork's better years. Part of the issue stems from the relative youth of many of the acts, uncertain how to look, act and entertain on an outdoor stage in front of a big audience. So many of the acts would've translated far more persuasively in a smaller, more intimate setting.
Julianna Barwick opened Saturday alone on the biggest of the three stages, with lovely full-throated arias that she mixed into lush layers of sound. It was a bit like an early-weekend church service. But Barwick was dwarfed by her massive surroundings and she didn't have much to offer in terms of a performance. Many acts struggled with similar limitations — offering a promising sound or a song or two but unable to really sustain it or take it anywhere fresh over a 40-minute set for thousands of fidgety people holding sidebar conversations or tapping away on cellphones.
The Swedish trio Radio Dept., on a rare tour of the U.S., played so quietly that they were nearly drowned out by the cicadas conversing in the trees haloing the small stage in the park's southwest corner. The band Woods offered amiable, falsetto-voiced pastoral pop that settled into one monotonous tempo, until finally breaking free on the final song. Das Racist, brilliant on record but erratic live, was derailed by a cameo from Detroit MC Danny Brown.
Even a few veteran acts struggled to connect in the heat, with Sonic Youth's Thurston Moore digging into pretty but undernourished folk songs ornamented with harp and violin, and Guided By Voices going through the motions of a reunion show — clearly out of their element in playing a 60-minute set in blistering daylight as opposed to a typical, 21/2-hour, beer-saturated concert in a club.
Friday headliners Animal Collective also fell flat, wasting some amazing, vaguely obscene synthesizer sounds and a cracking light show on a set with very few actual songs.
The highlights included Fleet Foxes, who made the leap from midday revelation at the 2008 festival to Saturday headliners. Singer Robin Pecknold acknowledged his anxiety on Twitter and on stage, but the set was a total success, with the group's dazzling harmonies now joined to a more forceful and expansive instrumental dynamic. The voices of Neko Case and Kelly Hogan combined to make songs about murder, dementia and despair sound beautiful, a perfect soundtrack for dusk's arrival Friday.
Tune-Yards' Merrill Garbus shifted between pretty trills and warrior cries in the span of a few notes while dancing to Afro-pop rhythms and thrashy chords from an unlikely source: a ukulele. Yes, those little suckers can rock, at least when Garbus plays one.
Zola Jesus, aka Wisconsin native Nika Roza Danilova, is a tiny dancer with a huge voice, perfect for hashing out psychodramas over Gothic keyboards and punishing electronic percussion. She should be on Trent Reznor's radar for future projects.
Battles was again a fierce yet playful instrumental juggernaut, thanks to the powerhouse drumming of the shirtless John Stanier — along with Garbus and Danilova the weekend's most charismatic musician.
But the quickest and sharpest impression was left by OFF! In a mere 25 minutes, the quartet of hardcore-punk veterans left an indelible mark on the festival.
"We are going to bring a different flavor to the party today," singer Morris announced, and he wasn't kidding, as the foursome blitzed through a series of brutally succinct one-minute songs/broadsides. The festival could've used a little more of that different flavor over the weekend.
Tribune special contributor Bob Gendron contributed to this report.


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Massive Disneyland Attraction Database
The Practical Pig's Playhouse attraction, electronically complaining in the shrouded sunlight
Practical Pig's Playhouse
August 4, 1984
Avg. queue length:
48 minutes (or 5 minutes by horse)
Kidnap by Practical Pig herself, this house is just plain strange.
- Guests traveling with older children should be forwarned that this attraction exits into a large crowd.
- Cantankerous guests may ask a cast member for a place to sit while their family enjoys the attraction.
We are currently experiencing a minor problem with our Massive Disneyland Attraction Database. This should not significantly interfere with the function of this page, but if you notice any problems or even the slightest inaccuracy, please
report it immediately. Thank you for your patience.

domain: entertainment


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The Basics About Casino Slots
Casino slots are among the most popular forms of gambling around. Customers can play the casino slots machine which is a game of gambling. These machines are also known as poker machines and fruit machines. These machines are a big attraction in many casinos because they provide excitement and play. Here are some facts about slot machines. Here’s a look at a few of the most popular types of slot games. They include: 1. The Basics
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Learn as much as possible about the slot machines to make the most of your experience of playing. It is important to be aware of the payout percentages as well as the symbols that are used in slot machines. Before you start playing the slot machines, make sure to learn about bonus symbols and their rules. A good player isn’t concerned about losing money. To avoid getting discouraged if you are afraid of losing money, play with a smaller stake.
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Before playing casino slots You should know all you can about the machines and the payouts they offer. If you are looking to make a fortune, you must to learn about the symbols on slot machines. It is crucial to know what bonus symbols are and how you can use them. If you want to maximize your chances for winning, it is important that you take advantage of these symbols. It is also important to know the rules and bonus symbols in the casino.
If you’re serious about playing online casino slots, you must look into the payout percentages of various machines. You’ll want to be able play for real money, so you’ll be looking for slots with a high payout percentage. If you’re worried about losing, start small and play regularly. So, you’ll be able to feel more comfortable playing the game. This is a great opportunity to find out more about the casino at which you are playing.
It is important to know the various types and payout percentages of casino slots prior to playing. You must research the rules of any casino in your area if are determined to win. It’s crucial to be aware that casinos are able to give bonuses for free, and they should not be afraid of revealing them. When you’re playing for free it is important not to be concerned about losing. You could even lose all your money if you play a huge-winning game!
To maximize your chances of winning, you need to be aware of the different kinds of slot machines. There are a variety of slots, so you need to be aware of which has the highest payout percentage. After you’ve determined which type of slot machines you like then you must look into the payout percentages of these games. A casino that has a high payout percentage will lower the chance of losing your money. You should also consider the bonus symbols offered by casinos if you’re committed to playing slots.

domain: game


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Chiropractic care in the Veterans’ Administration healthcare system is legally called for inclusion and expanding. How chiropractic benefits the VA system and its patrons, the veterans, could show how chiropractic’s inclusion in more healthcare systems may benefit a larger population. Recent papers feature chiropractic’s benefits. Lombardy Chiropractic Clinic presents these to our Augusta chiropractic patients who already experience lots of these benefits!
CHRONIC PAIN HELP IN VHA
Non-pharmacological treatment modalities (NPM) are promoted in consensus guideline recommendations for chronic pain management. US healthcare systems encounter barriers to such implementation of such NPM except in the Veterans Health Administration (VHA) which is a more integrated healthcare system with policies encouraging such NPM. In surveys, the military veteran-patients who seek care in the VHA system are disproportionately impacted by chronic pain. Chronic pain-afflicted veterans who went to the VHA for care in the last 12 months were more likely to receive NPM. Types of NPM offered range from physical therapy, massage, chiropractic/spinal manipulation, psychotherapy, educational classes, peer groups, and yoga/tai chi. The top 3 used by chronic pain veterans were chiropractic care, educational class, or psychotherapy. The VHA policies can assist other integrated US healthcare systems integrate the recommended non-pharmacological treatment modalities to benefit their patients. (1) Lombardy Chiropractic Clinic is excited to see the inclusion of chiropractic treatment in the VHA to help the many musculoskeletal and chronic pain patients it serves.
MORE USE OF CHIROPRACTIC NPM IN VHA BUT USE IS STILL LOW
Lombardy Chiropractic Clinic hopes to witness use of chiropractic services expand. From 2005 to 2016 there was an increase in chiropractic care use – part of the VA’s efforts to increase non-pharmacological treatment options open to veterans - in the VA either at on-site VA facilities (1.27% to 1.48%) or from VA-purchased community care providers (0.29% to 1.76%). These numbers did rise but are low compared to use by other US healthcare chiropractic-using populations. (2) Lombardy Chiropractic Clinic is honored to care for a bit larger percentage of Augusta healthcare seeking patients.
CHIROPRACTIC’S EFFECT ON QUALITY OF LIFE
There is a reason patients look for and continue to receive chiropractic care: they feel a difference. A new study focused on how chiropractic care added to usual medical care affected health-related quality of life scores. United States service members at the VHA who underwent combined chiropractic care with usual medical care rated their outcomes in three different questionnaires: PROMIS-29, Roland Morris, and Global Improvement visual analog scale, the same or similar tests used daily in chiropractic offices everywhere. Researchers recorded a statistically significant mean group difference favoring the usual medical care plus chiropractic care group versus usual medical care alone. (3) Lombardy Chiropractic Clinic witnesses this, too, and works with medical colleagues to help our patients.
CONTACT Lombardy Chiropractic Clinic
Listen to this PODCAST with Dr. Katrina Weiland on The Back Doctors Podcast with Dr. Michael Johnson as she discusses treatment of a US Air Force Veteran with a herniated disc and severe low back pain with the Cox® Technic Flexion Distraction System of Spinal Pain Management.
Set up your Augusta chiropractic appointment now. Offering chiropractic care benefits chronic pain patients whether they have low back, neck, leg, arm or other spine-related pain condition. Chiropractic’s inclusion in Augusta healthcare grows.

domain: health


Paul Churchill reflects on his career in the crane industry and discusses the key issues facing the industry today and into the future.
The CICA Hall of Fame Award recognises the significant contribution made by an individual to the crane industry either on a state or national basis. After a career over 40 years, including various roles with crane suppliers and crane hire companies, Paul Churchill, technical manager for Melrose Cranes was inducted into the Hall of Fame in 2016.
“I started in the industry as a dogman and rigger, over 40 years ago. I did a few years of this before I had a pretty serious motor bike accident and knew I wouldn’t be able to continue with the physical side of the job.
“I happened to get put into a crane one day and drove it for Preston Erections and thought to myself ‘this is it’ and off I went from there. I was driving cranes for about 15 years, with Prestons, some time with Sydney Cranes (owned by Men from Marrs) and then, Everyready, which was the first crane company I stayed at for a considerable period of time and then Kannabrook Cranes,” he said.
Churchill moved into supervising in 1993 and his first general manager role was with Kannabrook in 1996/7.
“I was there for about eight years until the company was downsized and we managed the business into Whyco. I stayed on in operations for the transition period and from there I moved to Gillespies as the operations manager. I was there from 2004 until 2010 and loved working for John, he’s a great guy.
- Managing the big ones – CICA Life Member: Jeff Brundell
- CICA Life member: John Gillespie
- CICA life member: Allan McPherson
“I then got an opportunity to work for Tutt Bryant as a regional manager and the general manager of Muswellbrook Cranes in the Hunter Valley. This meant I was living away from my family and home. The role was a big jump, the company was three times the size of what I was used to, with a lot of guys,” said Churchill.
“It was a great role, in a great company and if I hadn’t been working away from home I would have been there longer, but I decided to come back to Sydney and at the end of 2012, I was approached by Liebherr to become the national service and parts manager.
“This was a change management role to change the focus of the service business to be more customer focussed. It was another big role, a good job with lots of challenges and travel. But once the changes had been implemented it was time to move onto something different,” he said.
Churchill moved back to Tutt Bryant to start off their crawler crane rental business in Sydney and then moved to DJ Adair Cranes as general manager and moved from there went to Central Cranes.
“The owner of Central Cranes was contemplating backing off from the business and I thought the business presented some interesting challenges and opportunities. After a little time, he decided he realised he still had the passion for the business and, as I’ve never been one to stay when there is no need, I decided to have some time off. I did some renovations on the family home and then returned to the industry with Melrose Cranes in December 2019 where my role is to support the management with anything technical or crane industry related,” he said.
Throughout his career, Churchill has taken an active role in the crane association.
“My role in CICA has almost felt like a second full time job at times. I’ve always been passionate about what I do. When I first got involved in the Crane Owners Association of NSW and went along to a couple of meetings, I could see a need for somebody to get into the technical area covering roadability and safety and I found myself as the convenor of the technical sub-committee, a position I held for some 25 years.
“I was working in the association for five years or so when I was elected vice president, a role I held for 8 years and then 10 years as president. During this tenure, I saw the change from the Cranes Owners Association of NSW to the Crane Industry Association of NSW to the NSW Branch of CICA. I’ve been very involved in issues relating to roadability and road reform for the industry and there wouldn’t have been too many sub committees I haven’t served on,” he said.
During his career, Churchill has seen significant changes to the industry and the association.
“During all my time with the association and now CICA, I’ve certainly seen a major step up in the last 10 to 15 years. We’ve become more professional, members are being heard and there’s more service and information provided to members,” he said.
“The ‘One Association’ initiative has been massive for our industry and it’s something I’d pushed for a long time and the fact we are now one association around the country with access to one huge knowledge base, we are effectively fighting a battle once rather than five or six times and we will no doubt continue to refine.
“As CICA continues to keep pace with the needs and changes in the industry, we will see it continue to affect change across all the states. The goal is for each state to have the same rules and regulations, but I’m not sure I’ll see this in my lifetime.
The NHVR is pushing for national uniformity and that’s where we need to be, we need to be able to travel cranes all over the country in the same configuration. We need to be confident that we can sell cranes all over the country, buy different cranes from different places and run them wherever we are. NHVR has its work cut out, but at the end of the day I think that needs to be our goal and it’s achievable, albeit in small steps,” said Churchill.
Another key focus for Churchill is the succession plan for industry.
“Another huge issue is the ageing demographic within the industry. Anyone that knows me knows I’m passionate about the traineeship program. I put my hand up to help get the traineeship set up the way it is, especially the content of it and we’ve got to find the ‘magic key’ to get people to put trainees on because the ageing demographic is a major industry wide issue.
“The baby boomer generation is the only one to have witnessed the transition from old technology to new technology and a lot of these guys have retired and the experience, skill and information isn’t being passed on to the younger generation. The window for this to happen closes in the next five to six years,” he said.
Churchill makes some interesting observations about work place safety, which is understandably the one of the most important industry issues today.
“There is a massive investment in infrastructure and a number of huge projects in the pipeline. With state and federal government involvement, these projects have very high safety requirements. Each Tier One contractor seems to have their own interpretation of how things need to be done and what the safety requirements are.
“I see the massive safety paperwork overload and the additional resources crane companies require to handle this, I’m not sure how sustainable this is and personally I don’t think it’s necessarily made anything safer. There’s so much detail about safe work practices etc put in front of operators these days, there’s no way they can be comprehending all of it and it’s impossible to memorise what rules apply to which site. In my opinion, the uptake of the CICA Traineeship and CICA CrewSafe programs needs to be increased. We as an industry, need to regulate how our people are trained and what skills they’re encouraged to develop. Common sense and the ability to adopt to changing situations needs to be reintroduced to all training regimes,” he said.
Technology has been a game changer for every sector of industry, including cranes.
“In terms of technology, who knows where cranes are going? One thing I have noticed is the amount of technology the ‘Mum and Dad’ companies have adopted, which you wouldn’t have seen that 20 years ago, people would have continued to do what they were comfortable doing. Today, they are not too many companies around that aren’t embracing the changes brought by technology. Who really knows where it’s all headed?” he said.
Commercial viability is another ongoing challenge for the industry,
“Unfortunately, profitability appears to be down, and if possible, we need to bring this up. If companies are profitable, they are more inclined to train people better. I’ve been making the point for some time that we give so many things for free these days. If you hire a $120 wheel barrow, you fill in the hire company’s contract and you sign their terms and conditions. If our clients call up for a $1 million or $2 million-plus piece of equipment, we are expected to provide our labour on it, who we have to train, employ and pay and then put all the safety requirements on top of that and sign their contract. These freebies and contractual requirements are sapping into the viability of companies and there is so much being done for nothing.
“Again, it’s a difficult issue. We can all say the rates need to be lifted, but it doesn’t matter what business or industry you’re in, it’s not easy to lift your prices these days. There’s always someone who might have a different pricing strategy, they’re not necessarily trying to scoot under anyone, I just think they have a different angle on what their business model is, and they run and price differently.
“I think it comes down to the industry simply charging for the service/s it provides. Don’t be ashamed of what you need to charge to make and keep your business profitable and therefore viable. If you’ve supplied it, then why not charge for it? At the end of the day, the rewards need to outweigh the heartache, otherwise why would you continue to do it?” said Churchill.


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When you’re scratching your head trying to come up with a simple way to brew coffee it can be all too easy to fall back to the instant coffee. Although it’s super simple, this brew method is just not as satisfying as making real coffee.
This is where the coffee percolator can shine as a simple and easy way to brew coffee and you don’t need barista training or any specialist equipment to get you started. There are just a couple of ground rules you need to know to get the best coffee out of this device and here they are.
Percolate coffee between 7-15 minutes depending on the size of pot you are using. Make sure the coffee is coarsely ground and don’t let the water boil!
Here’s a deeper dive into all things related to a percolator and you’ll be a coffee perk expert in no time.
What is a Coffee Percolator?
A percolator is a traditional kind of coffee maker that passes hot water through coffee grounds repeatedly to extract a rich and tasty cup of coffee. Simply add water to the lower chamber, add the basket on top, and add ground-up coffee beans to this. The percolator is then placed over a heat source and as the water warms up it bubbles up through a spout and over the coffee. This then drips back down into the bottom chamber to be reheated and passed up through the spout again. This is the process of percolating.
Why Choose a Percolator?
There are loads of great reasons to choose percolator coffee over other brewing methods and here are just a few examples.
Easy To Use
Coffee brewing using a percolator is really simple and doesn’t require any special skills or knowledge. Unlike espresso, you don’t have to be a barista to perfect this brewing process. All you need is some ground-up coffee, some water, and a bit of time to let it percolate.
Rich, Aromatic Coffee
Percolated coffee has a very bold and full flavor. When done correctly it makes a satisfying cup of joe with a lovely aroma. Because the water passed through the coffee repeatedly it gives a stronger brewed coffee compared to pour-over or drip coffee.
The percolator coffee pot is a compact way to brew coffee. It’s small enough to fit in the back of a kitchen cupboard or in a drawer so won’t take up counter space as a coffee machine does. It’s perfect for small or busy kitchens or for use at work. It’s also great to have on the road if you enjoy camping, RV-ing, or car camping.
This kind of coffee brewer won’t set you back by much at all with most percolators coming in at less than $50. If well looked after they can last a lifetime so that’s a worthwhile investment to ensure great coffee for many years to come.
Camping/ Power Outage
The traditional (stovetop) percolators don’t require any power to brew the perfect cup of coffee. All you need is a heat source so this can be a wood-burning stove, gas hob, camp-fire, camping stove, or anything else. It’s a great option to have on hand in case you ever experience a power outage.
Coffee percolation is a method of brewing coffee that holds a lot of nostalgia for many people. It’s quite a traditional brew method and the sounds and aromas may take you back to grandma’s kitchen when you were young. There’s something quite special about keeping these traditions alive for future generations as well as allowing this brew method to stir up memories on those quiet weekend mornings.
Different Types of Percolators
The more traditional kind of coffee maker is the stovetop percolator. These work using an external heat source. They are a great option for brewing coffee whilst camping, at work, or on the go but do require a bit more care when brewing coffee as they can easily be left to overheat or to over-extract causing bitter coffee.
Electric percolators are a bit more pricy than stovetop options and do require a power source to work. They are better at maintaining a good water temperature for brewing coffee. They tend to percolate coffee for the correct time as well so won’t let it over-stew.
How to Use a Percolator
Make sure your percolator is clean and free from loose coffee grounds. Old grounds can affect the coffee flavor as can a build-up of coffee oils in the device. Clean it in warm soapy water and rinse thoroughly to ensure no suds remain.
Choose your favorite coffee beans and get a coffee grinder ready set to a coarse grind. If you’re using pre-ground opt for coarse grounds or french press coffee.
It’s worth considering adding a filter paper to the upper basket of your percolator, especially if you hate grounds in your cup. You can often modify a flat-bottom filter but cutting a small hole in it for the spout. If you prefer strong coffee with a rich texture then you can try brewing without the paper in place.
What Kind of Coffee
The best coffee for percolation isn’t a hard and fast rule. Good coffee comes down to your individual taste preferences and what flavors you enjoy best. Dark roast beans are rich in single-note flavors like chocolate and nutty flavors and are more oily giving a more intense flavor. They are less acidic compared to light roast coffee beans but can end up bitter if over-extracted.
Light roast coffee is higher in acid so gives a ‘brightness’ and more complex flavor to the coffee. It’s full of fruity and floral notes and a little less intense than a dark roast.
Not sure? Try a medium roast and take it from there!
How Much Coffee Should I Add
The coffee to water ratio for percolating coffee is another factor that needs to be adjusted to suit your individual taste preferences. I’d recommend starting with a tablespoon of coffee (about 5g) to each cup of water you add. The amount of water depends on the size of coffee maker you use and it’s important to not fill it to above the spout.
If you find the taste too strong or too weak try adjusting the amount of coffee you use to counteract this.
Once you have your coffee pot ready to go the next step is to heat it up. You want to let the percolator work over medium heat. Ideally, the water heats up to pass to the upper chamber but shouldn’t reach a boiling point as this will burn your ground coffee beans. Keep an eye on your coffee brewer, especially if it’s your first time using one.
How Long Do I Let It Perk
The length of time taken to perk coffee is around 7-15 minutes depending on the size of brewer you’re using. The best indicator for the coffee being done is the water turning a deep shade of brown as it passes up through the spout. If you like very strong coffee then let it brew for longer.
Use oven mitts to remove the percolator from the heat source and remove the coffee grounds basket from the pot (again, using oven mitts or a towel so you don’t burn yourself). Let the coffee sit for 1-2 minutes if you’re not using a filter paper as this allows any loose grounds to sink to the bottom.
Serve and enjoy!
Other Coffee Brewing Methods
Also known as the stovetop espresso maker, people often confuse the Moka pot with a percolator. It works in a similar manner but uses steam pressure to force the hot water up through a basket of coffee grounds. The water only passes through the coffee once rather than repeatedly and a very finely ground coffee is used to give a bold, intense flavor.
Brewing coffee with a french press gives a longer contact time of coffee to water so gives a bolder brew compared to drip machines or pour-over. The coffee sits in hot water for 4 minutes before a stainless steel mesh plunger is pressed down through the coffee to remove loose grounds.
Cold brew coffee is a slow extraction technique where coffee grounds sit in cold water for 12 hours or more. The low temperature means the extraction happens very slowly and creates a sweet, low acid cup of coffee that’s extremely refreshing. It can be enjoyed cold over ice or warmed up and enjoyed hot.
Percolating coffee is not rocket science but it can go badly wrong if you don’t know the basics. Make sure you’re using coarsely ground coffee, don’t let it sit on the heat for too long, and don’t let the water boil. Now it’s time to sit back and enjoy that delicious steamy mug of java, you’ve earned it!

domain: food


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How long is the flight from Singapore to Japan?
Flight time from Singapore to Tokyo is 6 hours 30 minutes.
How far is the flight from Singapore to Japan?
The air travel (bird fly) shortest distance between Japan and Singapore is 5,241 km = 3,257 miles. If you travel with an airplane (the average speed of which is 560 miles) from Japan to Singapore, it takes 5.82 hours to arrive.
How long is the flight from Japan to Dubai?
The flight time from Tokyo to Dubai is 10 hours 50 minutes.
How many hours to travel from the Philippines to Japan?
The distance from Manila to Tokyo is about 3000 kilometers… Flights from Manila to Tokyo • Airlines and flight duration.
|Airline and travel||Duration|
|Philippine Airlines MNL ➝ HND||4 hrs 5 mins|
Which month is the cheapest month to fly to Japan?
Top tips for finding cheap flights to Japan. High season is considered January, November and December. The cheapest month to go to Japan is April.
Is Singapore in Japan?
listen)), officially the Republic of Singapore, is a sovereign island city-state in maritime Southeast Asia. During World War II, Singapore was occupied by Japan in 1942, but returned to British control as a separate Crown colony after Japan surrendered in 1945.
In which direction is Japan from Singapore?
Singapore is located almost east of Japan.
Is it expensive in Japan?
The truth is, Japan is probably not as expensive as you think! Although it may be more expensive than places like China, Thailand, and Vietnam, to the surprise of many travelers, it’s generally cheaper than places like Singapore, the UK, Australia, and Scandinavia. .
How much money should I bring to Japan?
Examples of Daily Budgets
|solo traveler||two travelers|
|Small budget||3,500 – 7,800 yen||7,000 – 15,600 yen|
|Medium budget||8,800 – 18,500 yen||13,600 – 28,000 yen|
|High budget||more than 18,500 yen||more than 28,000 yen|

domain: geography


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Skip to comments.13-yr-old (lesbian) girl is latest victim of 'corrective rape' in South Africa
Posted on 05/09/2011 8:41:50 AM PDT by Libloather
13-yr-old girl is latest victim of 'corrective rape' in South Africa
ANI Mon, May 9, 2011
Sydney, May 9 (ANI): A 13-year-old lesbian girl in South Africa has become the latest victim of 'corrective rape' - so called, when men rape a woman to try to 'fix' her homosexual orientation.
"The government condemns this senseless and cowardly act of criminality," the Sydney Morning Herald quoted a department of justice spokesman, Tlali Tlali, as saying in a statement.
"Gay and lesbian rights are human and constitutional rights which must be protected and respected at all times," he said, promising a police investigation and assistance to the girl and her family.
The latest victim was said to have been open about her sexuality and was raped on Thursday in Pretoria.
Last month, Noxolo Nogwaza, a well-known activist, was found murdered after an attack that appeared to have been motivated by her being a lesbian.
"The vicious nature of the assault is a potent reminder that these attacks are premeditated, planned and often committed with impunity," Dipika Nath, a researcher with Human Rights Watch, said.
Politicians and civil society groups held their first official meeting on the issue last week in Cape Town. The outcome was the formation of a taskforce to address the problem.
(Excerpt) Read more at in.news.yahoo.com ...
Whatever happened to, "Kill him?"
I’d bet that the left and feminists choose to ignore this issue due to the “race” of the perps.
I have a hard time getting beyond “13-year old lesbian”. Come in- they know a 13 year old CHILD is a lesbian?
And then we move on yo this sick “excuse” for these pedophiles yo RAPE this CHILD... Got to love such a warm, loving , and “just” culture. How many $billions over the years have we sent to those monsters?
Also sad that a 13 yr old is already saddled with a ‘sexual orientation’.
But it’s all right for her to be “indoctrinated” by a lesbo.
south africa is so much better now that “white rule” is gone.
“Gay and lesbian rights are human and constitutional rights which must be protected and respected at all times,”
Your right to be secure in your own physical safety? Not as important to these idiots as your right to be Gay.
They are more concerned that she was raped because she was gay than the fact that she was raped.
guys um girls, you are just going to have to accept the indignities and indulgences of those who out rank you.
Now if these guys raped a dog or spotted owl, then whoa boy, the Liberals would be all up in arms
13-year old lesbian.
she had already been raped by a woman.
South Africa tends to be a hands-off kind of place for liberals right now. They get their asses handed to them when they tout it as a great victory for human rights and apartheid then get asked to explain the nations huge downfall after their “Social Eden” was created.
Not only are they monsters, they’re stupid monsters.
Nothing to turn a 13 year old girl into loving men like being raped by one.
Yeah, that’ll learn ‘er. Mighty sad stuff right there.
FREE SOUTH AFRICA!
nope, she’s definitely going to grow up to be a man hater now \ sarc
and she was probably raped by a lesbian to prove she was a lesbian.
It is a learned behavior....she was emotionally labeled and brainwashed/abused at an early age—made to hate men—or she was labeled in her latency period when it is normal for the development of healthy sexual identity to like the same sex more than the opposite sex.
That is why homosexuals want into elementary schools...to condition and confuse kids into thinking they are homosexuals so they will experiment with sex (then they have access to immoral (moral relativist) children.) They are grooming and salivating....just like in ancient Greece where adults would court and seduce the children to become their sexual partners. It is learned.
When you destroy moral absolutes in a culture (Christian paradigm) you have no morality. Moral absolutes have to be based on Natural Law Theory and Revelation—no other paradigm has worked successfully in cultures which are free. Islamic paradigm degenerate into chaos and fascism and are never free.
*Islamic paradigm degenerates into chaos and fascism and is never free.*
We can only be judgmental of American conservatives. /s
We have to respect a different culture.
It’s funny that libs will tie themselves in knots over their relativism.
In reality, their only goal is to deny the moral rightness of the traditional Christian value system.
If they would “judge” another deprived culture, eventually someone would catch on and ask them by what standard are they judging, and eventually they’d have to admit that there has to be A standard, and that leads inevitably to either an arbitrary standard or one based on biblical revelation.

domain: news


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Among the many 5 advantages of plum, you could not know that they assist stop osteoporosis. Its potassium content material reduces blood stress, whereas its Vitamin Okay helps shield the bones. Fiber will increase satiety and the antioxidants in plum stop coronary heart illness. These are only a few of the various well being advantages of plums. Learn on to study these advantages and plenty of extra. Now you possibly can add plums to your weight loss plan and reap the rewards.
Potassium In Plums Lowers Blood Stress
Plums are scrumptious and wholesome, however the well being advantages of those juicy fruits don’t cease there. Excessive in potassium, plum assist decrease blood stress and are useful in controlling hypertension. Plum also can decrease the chance of stroke and heart problems, because of their excessive focus of fiber. Along with potassium, plum are additionally wealthy in antioxidants, which shield your physique in opposition to the injury attributable to free radicals. As well as, plum are low on the glycemic index, so that you’ll be much less more likely to develop kind 2 diabetes, which is one other good thing about plum. Cenforce 200 buy online and Cenforce 100 buy online are works greatest for the lads who’ve ED.
Whereas many individuals give attention to decreasing their salt consumption, there’s extra to potassium than meets the attention. The mineral is a vital a part of the physique, balancing fluid ranges, aiding in muscle operate, and stopping stroke. The natriuretic results of potassium are helpful for the cardiovascular system. For individuals with hypertension, potassium helps decrease their blood stress, thereby reducing their threat of a stroke.
Vitamin Okay In Plum Helps Stop Osteoporosis
There may be rising recognition of the well being advantages of vitamin Okay in plum. This vitamin performs a task within the upkeep of a traditional calcium steadiness, which in flip promotes bone well being. Dried plum include the next stage of vitamin Okay than different fruits, which can affect bone well being. This analysis has implications for postmenopausal ladies. Listed here are the well being advantages of plum. Vidalista 60 mg and Vidalista 40 mg pills are used for any problem in the body.
Researchers have proven that dried plum can gradual bone turnover and enhance bone mineral density in postmenopausal ladies. These results have been additionally noticed in postmenopausal ladies with out hormone alternative remedy. Nevertheless, these findings have to be confirmed in potential cohort research. No matter the advantages of dried plum, researchers encourage additional analysis to confirm these findings. Within the meantime, customers of dried plums can meet the really useful every day fruit consumption for women and men.
Fiber In Plums Will Increase Satiety
The excessive fiber content material of plums is likely one of the many advantages of this fruit. The fruit could make you are feeling full and stop you from overeating, so you could need to attempt a small quantity in your weight loss plan. Researchers on the College of Liverpool just lately divided 100 chubby individuals into two teams. The prune group misplaced 4.4 kilos and an inch from their waistline. These outcomes point out that plums’ excessive fiber content material performs a significant function in weight administration. They may also help you are feeling full and glad sooner, which might scale back cravings for fatty meals.
A single serving of plums can give you antioxidants, which might decrease blood stress and scale back irritation. Consuming plums regularly may also help stop osteoporosis and enhance bone density. Along with satiety advantages, plums are loaded with polyphenols, which assist shield the physique’s cells from free radicals. And eventually, plums are excessive in potassium, which protects bones from weakening and fractures.
Antioxidants In Plums Assist Stop Coronary Heart Illness
Along with being scrumptious, plums are stuffed with antioxidants. They include a number of sorts of phytonutrients. Antioxidants in plums assist shield the center, stop irritation, and decrease levels of cholesterol. The colour of plums varies, from gentle pink to darkish purple. Pink plums include extra anthocyanins than different varieties, a substance with a excessive antioxidant exercise. Anthocyanins enhance the well being of the immune system and cell construction.
The antioxidants in plums also can shield in opposition to Alzheimer’s illness and gradual the onset of Alzheimer’s illness. Plums include lutein and folate, two plant compounds that battle in opposition to oxygen injury. Folate is critical for the expansion of pink blood cells, whereas vitamin C could assist delay the looks of indicators of ageing. And the bitter style of plums might be countered with just a few slices of plums.
Decreased Threat Of Diabetes
Analysis has proven that consuming prunes and plums can scale back the chance of diabetes. Each plums and prunes include phytochemicals that promote a wholesome metabolism and suppress insulin and glucose responses. The fibers in prunes act as prebiotics, selling the expansion of pleasant micro organism within the intestine. The fruits are additionally wealthy in antioxidants. These phytochemicals can scale back the quantity of fats within the physique, in addition to stop pathogen colonization.
The dietary composition of plums is spectacular. Sure species of plum have been proven to be antidiabetic, as they include alkaloid, glycoside jambolin, and antimellin, which stop diastatic conversion of starch to sugar. This helps diabetics management their blood glucose ranges. Different well being advantages of plums embrace their excessive fiber content material, which improves the insulin sensitivity of the cells.
Decreased Threat Of Weight Problems
The excessive polyphenol content material of peaches and plums could scale back the chance of weight problems, diabetes, and heart problems. Based on researchers from the Texas AgriLife Analysis Institute, the fruit accommodates bioactive compounds which will shield in opposition to the ailments attributable to weight problems. These compounds have been linked to lowered threat of weight problems and metabolic syndrome, a cluster of problems that enhance the chance of heart problems. Over 30% of adults within the U.S. are chubby, and the quantity continues to rise yearly.
The fruit juices from peach and plum could modify the microbial ecology in overweight rats. Researchers suspect that polyphenols and non-polyphenolic compounds could contribute to the noticed adjustments. Nevertheless, additional analysis is required to verify these findings. For now, the researchers are comfortable to report that the brand new analysis helps the potential of such dietary interventions for decreasing weight problems. And whereas there may be nonetheless no definitive proof of this, additional research are required to evaluate the efficacy of plum and peach juice as potential weight problems prevention instruments.

domain: medical


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8 Tips for Managing WFH as a Mother
While working in a typical office setting is still the norm, work from home options are now also in place. This especially enables companies to retain their women employees. For new moms, this is especially beneficial as they can then continue working while also being at close proximity to their babies and children.
Turning your dreams into your child?s reality?
Research indicates that some parents think of their children as extensions of themselves. Parents are sometimes unaware that the hopes they have for their children may be coming from their own unfulfilled dreams. The article aims to differenciate between healthy yearning for positive growth and behaviors which parents engage in that put undue pressure on children.
Raising a Hopeful Child
Across cultures, religions, communities and ages, one thing that all parents have in common is that they want their child to be happy. Individuals need to learn how to form goals for themselves, as these provide their plans with a sense of direction and an end to work towards. It also gives them a certain direction in which to channel their energies and focus. This article addresses the factors which can help you to make your child a person who is hopeful and knows how to form and achieve the goals they aspire for.
Depression In Children: Identifying Signs
Depression in children often remains undiagnosed and untreated because it is attributed to developmental changes. It is important for parents to identify and differentiate the signs of depression from usual sadness. Here is an article that offers a glimpse into how parents can identify the signs of depression in children.
Food Colouring: The Not So Colourful Story
How many of us have taken the time to look at the ingredient list of the foods we buy?
Curbing Sugar Intake in Children
One of the culprits for the rise of obesity, blood pressure and diabetes in our children is sugar.
The Blue Whale Challenge: Tips for Parents
The Blue Whale Challenge, a dark online game, has been all over the news and the internet, of late.As a parent, you may be worried as to what this game entails and if and how your child can be vulnerable to the same. Read on to find out more.
5 Ways to Ensure That Your Child is not Overscheduled
As a parent today, it is easy for one to get overwhelmed with the vast, often conflicting ideas of what the right way to parent a child is. While one may want to give their children the best in all areas, there is always a risk of packing too many things in your child's schedule. Read this article to find out why it's important to leave some parts of your child's day unstructured
Voice of a Child from a Broken Home
A couples decision to separate or divorce can have an impact on the children. This is a true experience of a young child from a broken home.
Can children be praised too much?
We all understand that praise does encourage and sometimes motivate a person to do better. Books and articles on parenting talk about the benefits of praise, but is there a problem with too much praise? Does excessive praise affect a child's behaviour and emotional growth? What does too much praise do to a child?

domain: psychology


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Irish Stained-Glass Artist and Book Illustrator
Chur, Grisons, Switzerland
Summary of Harry Clarke
Clarke is one of Ireland's greatest, and most controversial, modern artists. Emerging during the later phases of the literary and dramatic movement known as the Irish (or Celtic) Revival, he joined the ranks of literary greats W. B. Yates, J. M. Synge and Sean O'Casey in shaping the international reputation of Ireland as a modern sovereign state. Clarke produced a series of remarkable stained-glass windows and book illustrations that breathed new life into both mediums. His audacious designs placed saints and angels next to sexual and macabre imagery giving his work a uniquely strange and otherworldly feel. His illustrations perfectly complemented works by the likes of Hans Andersen, Edgar Allan Poe and Goethe, while his career, cut tragically short by illness, was capped with his greatest masterpiece of all, the Geneva Window, an eight panelled stained glass celebration of Ireland's greatest modern writers. Though it proved a little too exotic for the conservative tastes of the Irish State and the Catholic Church, the director of Ireland's National Gallery, Thomas Bodkin, said of the Geneva Window that it was quite simply "the loveliest thing ever made by an Irishman".
- In step with the Irish Revivalist writers with whom he became associated, Clarke was viewed as something of an iconoclast. His early church windows, which most critics agreed rivalled any of the best to be found on the European continent, celebrated early Irish saints and the parts they played in various cults and miracles. This vision was usually at odds with the devotional, Vatican approved, narratives that were at the center of Irish Catholicism.
- In what is almost universally agreed to be the zenith of his short but brilliant career, the Geneva Window, Clarke extended his version of the Irish Revival to an eight-panel montage featuring scenes from the works of Ireland's greatest modern writers. Through the Irish authorities were less than impressed with his romantic vision of alcoholism, slum dwellings, Protestantism, nudity and sexual temptation, the Window helped confirm new Ireland's credentials as an open-minded democracy.
- Clarke's prize-winning success as a student opened the door for a brilliant career as an illustrator. His color and black and white images, which carried the influence the Arts and Crafts movement, Art Nouveau and the Vienna Secession, adorned the books of some of the greatest fantasy writers in history. In particular, Clarke's taste for the fantastical and the terrible, which he rendered through distorted human figures, brought him international recognition in his own short lifetime.
- Clarke revelled in his passion for fantastical stories drawn from folklore and modern literature. Reflecting his love of theater and ballet, his stained glass figures were often dressed in luxurious costumes adorned with shimmering sequins and touches of luminous blue, purple, rose, red, gold and silver. His attention to detail was extended, too, to his backdrops which revealed his unique skill at representing natural materials through the medium of glass.
- Clarke illustrations often revealed a playful side to his character. In addition to his damaged and distorted figures, which many saw as interpretations of his own ailing body, he was fond of presenting himself in his work. These unusual "self-caricatures", as seen, for instance in his illustrations of Goethe's Faust, brought a sense of mischief to the otherwise morose imagery.
The Life of Harry Clarke
Summing up the life of his friend's unique otherworldly vision, the Irish Nationalist and mystic writer George "AE" Russell wrote: "Harry Clarke is one of the strangest geniuses of his time" and surmised that he might have even "incarnated from the dark side of the moon".
Progression of Art
The Garden of Paradise
Following his prize-winning success at the Dublin Metropolitan School of Art, Clarke was given his first significant book commission by the successful publisher, George Harrap of London. He was to produce 40 full page illustrations, 16 in color, and additional decorative embellishments for both special (some signed and bound in vellum with others boxed and bound in leather or cloth) and trade editions of Andersen's popular fables. The Christie's auction site records that Clarke (who was paid 200 guineas in instalments for the commission) worked "very hard to a scrupulously recorded timetabled routine in London, Dublin and in France [and] completed the job in April 1915. The book was published to acclaim in the autumn of 1916 and ran into a number of subsequent editions, some published by Harraps, others pirated". Christies also records that many of Clarke's original prints were exhibited (and sold) at Brentano's bookstore, Harrap's publishing partner, in New York and that this was "just as well as whatever original artwork by Clarke that had remained in Harraps' London premises was destroyed in the Blitz" (and thus making original coloured illustrations for Clarke's Hans Andersen collection "extremely rare").
Clarke's illustrations for the Fairy Tales of Hans Christian Andersen point towards his career-long penchant for a richly coloured palate and a love of ornamental detail. "The Garden of Paradise" illustrates the tale of a Prince who is lured into the Garden where he encounters a dancing fairy. She is flanked by "the most beautiful maidens, floating and slender, clad in gauzy mist". Clarke decorates the clothing of the figures with exquisite attention to detail; the mosaic, "Klimt-like", patterns coloured in rich reds, blues and dapples of gold helping to distinguish the female figures. The fairy herself is rendered with the whitened complexion and elaborate redhaired coiffure made popular by the Elizabethan miniature, while in the background, an indigo dark night's sky can be made out. If the Prince, who is distinguished by his plain creamy-yellow gown, ignores the fairy's warning not to kiss her he will cause all to vanish into its looming abyss.
Clarke produced many illustrations throughout his short career including single pieces for magazines, and even two rare promotional publications for the Irish whiskey distiller, Jameson. He is also known to have suggested potential future projects to Harrap including Dr Jekyll and Mr Hyde, Huysmans's À rebours, and Bram Stoker's Dracula.
Illustrated book, 16 colour plates and over 24 halftone illustrations - Harrap and Company, London
Between 1915 and 1918 Clarke created nine windows for the Honan Chapel of St. Finbarr, at University College Cork.. Some of those windows produced before 1917 went on show in Clarke's studio where they received rave notices. The Irish Times reported for instance that "the windows, in the opinion of some of the most competent critics, rival in beauty some of most remarkable products of Continental art", while Irish novelist Edith Somerville found them pleasantly shocking within the conservative atmosphere of Ireland at the time: "In a chapel dedicated to the Infernal Deities they should be exactly right, gorgeous and sinful".
The Art critic Tom Walker writes that "The cultural energy and idealism at large in pre-revolutionary Ireland lay behind Clarke's first major commission [for the Honan Chapel]". He cites Ann Wilson's essay on the chapel that "reframes these windows as diverging from Irish Catholicism's earlier 19th-century devotional revolution, which had sought to bring the Irish church into line with Vatican-approved norms [and that the] fantastical incorporation into Clarke's depictions of early Irish saints with their associated cults and miracle stories stands at odds with all this".
The legend of Saint Gobnait involves a fable that tells how she unleashed a swarm of giant bees on a group of unsuspecting robbers. Walker wrote: "giant bees and tiny figures of frightened robbers peering out anxiously behind the blue-robed saint, whose pointed, impassive profile, unnaturally long slim hands and geometrically stylised body give her an otherworldly, non-human appearance". Walker concludes that "For a brief period, such a vision precariously coalesced with Catholic as well as nationalist Ireland", but for Clarke, "[yet] more grotesque and degenerate images [will] start to crop up in the 1920s".
Stained glass - Honan Chapel, of St. Finbarr, University College Cork
The Colloquy of Monos and Una (Edgar Allen Poe's Tales of Mystery and Imagination)
While Clarke gained fame in Ireland for his stained glass, it was his illustrations that first brought him international recognition, particularly in the United States. Of the six volumes he illustrated between 1915 and 1931, Poe's Tales of Mystery and Imagination was the most widely disseminated. The book, first published by George G. Harrap in 1919, contained 8 full-colour plates and 24 black and white illustrations. It was reissued in 1923 with this more ominous cover/dustjacket. Poe's macabre exploration of the human psyche was certainly darker than Clarke's previous illustrations for Hans Andersen's fairy tales (and of course, darker than his various religious commissions).
On the cover for the second edition, a bearded and rugged figure pulls back a stage curtain with his skeletal hand, welcoming the reader to the world of Poe's (and Clarke's) fetid imagination. The stage is empty but for a small door through which a figure can be seen raising a mitre. The image evokes a sense of horror, which is echoed in its symbolist border. It is composed of decaying carcases, larval growths and distorted figures. In his review of Clark's illustrations, his friend and director of Ireland's National Gallery Thomas Bodkin wrote "Mr. Clarke gives full rein to his talent for the macabre, the fantastic and the terrible ... it is safe to predict that no one will ever produce more striking effects in black and white". The critic George Russell thought of Clarke as the ideal interpreter of Poe, and remarked on the closeness of their nature. Indeed, Clarke's capacity for darker work was well known at this stage and would be even more fully realized two years later on his illustrations for Goethe's Faust.
Illustrated book, 8 full-colour plates and 24 black and white illustrations
The Crucifixion and the Adoration of the Cross by Irish Saints (The Terenure Windows)
In what was a major commission, Clarke created three stained glass windows for St Joseph's Catholic Church in Terenure, on the outskirts of Dublin City: The Crucifixion and the Adoration of the Cross by Irish Saints (1920), The Annunciation (1922) and The Coronation of the Virgin in Glory (1923). The windows exemplify Clarke's innovative techniques for which he was becoming increasingly well-known by the early 1920s. The Crucifixion and the Adoration of the Cross by Irish Saints was consecrated on May 23, 1920 and is positioned above the altar.
The top panels of the first light depict six golden-haired angels seen praying in profile. The top panels of the central light show five angels attired in gowns of gold and white, with elaborate wings of blue and red while the Holy Spirit, here represented by a dove, sits at the centre of the group. In the main panels, Jesus is shown on the cross, with dividing black lines representing scars, with the lower panel of the central light showing Mary, Saint John and Mary Magdalene at the foot of the cross. The top panels of the third light depict six angels dressed in robes of white, blue, green, gold and red. The main and lower panels feature ten Irish saints who kneel in their adoration of Christ. Saint Brigid of Kildare kneels in the foreground in blue robes while she is mirrored by Saint Patrick, who is bedecked in traditional green robes, at the front left panel.
As part of his preparation for the Crucifixion, Clarke turned to photography, recording in his work diary that he spent a day "mucking about and taking photos". Clarke posed semi-naked for his brother Walter as Christ (complete with loin cloth and tied hands) with his own emaciated and gaunt frame matching that of Christ's. The photographs were, in effect, his own self-portraits. Commenting on the "crucifixion" photographs, art critic Philip Hoare suggests that, like Christ, the artist's own body would be ravaged, but in his case "by tuberculosis and the toxic chemicals he used in his art". For Hoare, these "astonishing photographs [...] evoke the terrible vacuum of a Francis Bacon canvas" while adding that it was "as if his body were echoing the psychic [Irish] trauma of famine, revolution and war - as well as auguring the wasting disease [tuberculosis] that would kill him".
Stained Glass Panels - St Joseph's Catholic Church, Terenure, Dublin
The Eve of Saint Agnes (detail)
This is a stained glass window made up of twenty-two small panels and divided into two lights. It was commissioned by the prestigious Jacob's Biscuits family in Dublin and is based on Irish writer John Keats's poem of the same name. In it, Madeline is in love with the forbidden Porphyro, an enemy of her family. According to legend, if she sleeps early on St Agnes's Eve (20 January), and carries out certain rituals, her love will come to her.
The window is testament to Clarke's love for fantastical themes in folklore and literature. Typically, he illustrates the scenes with intricate detail. In Section 2, Panel 3, the so-called "merry revellers" dance to an orchestra. Their headdresses, elaborate sleeves and shimmering sequins illustrate the blues, purples, rose, gold and red referenced throughout Keats's poem. Such was the attention to detail, some scenes are presented as if they were a room in a doll's house. Madeleine sleeps in her bedchamber as moonlight from her own stained-glass window falls across her creating a sort of trompe-l'oeil effect. The room is elaborately furnished. A dainty chair is placed beside the bed. It is draped in a richly decorated blue and silver quilt, complete with hanging tassels. The ornately carved base of the purple bed and its black and gold mattress, just visible beneath Madeline, create a sense of luxury, comfort and romance. The picture detail is further enhanced through the miniature perfume bottles and a casket of jewellery that sit on Madeline's inlaid cabinet (which was based on an actual design by Dublin furniture maker James Hick's). It is testament to Clarke's great skill that he is able to convey the texture of exotic wood through the medium of glass.
Clarke enjoyed using irony in his work. In the frieze of section 5, panel 11, a sinister character holds a dagger (presumably Madeleine's father). To the right of the panel, Porphyro plays a lute. He is oblivious to the characters in pursuit of him. Not for the first time, Clarke presents himself in the work, here he occupies the top left border, staring out to the viewer. These methods bring Clarke's works to life as if he wanted to recreate the spectacle of his beloved theater through the medium of glass.
Stained Glass Panel - The Hugh Lane Gallery, Dublin
Methinks a million fools in a choir/Are raving and never will tire
Darkest of all of Clarke's illustrations were those for Goethe's Faust. Clarke believed these illustrations to be his best, "full of stench and steaming horrors", while admitting, "I had to laugh at my creations or I would have become morbid". The darkest of these illustrations are hidden in the tail pieces and small designs. Just like his depraved figures who lurk in the borders of his stained glass windows, horrific depictions of faces gnawed by rats, and skewered bodies on a sword, hide as small details in his Faust illustrations.
Many self-portraits are evident in these illustrations. In one instance, Clarke appears as Faust when attempting to free Margaret from her dungeon, in another he even travels with Mephistopheles on horseback. Some caricature-like portraits offer a break from the heaviness of Faust's macabre imagery. A recurring self-portrait is the image of Clarke's eye which is placed in several borders to create a sense of surveillance throughout the book. The decorative motifs surrounding the eye are evocative of the Art Nouveau style. An earlier artist who illustrated Faust in this style was Mikhail Vrubel (1856-1910). Comparing the two artists' work, it is clear that Clarke was influenced by Vrubel who used a very similar colour palette and had the same love for decorative art, rich in detail and fantastical themes.
In Clarke's illustration of the witch's kitchen scene the newly young protagonist "stands beneath a canopy of slimy sexually suggestive larval growths sprouting eyes, tentacles and rodent-faces". Critic Tom Walker suggests that "such images of disease and decay" can be linked directly to Clarke's "own doomed struggle with tuberculosis" while elsewhere "in the volume, this darkening shift in sensibility [can be] also traced against the backdrop of the aftermath of the First World War and of conflict in Ireland".
Illustrated book featuring 8 color plates, 13 black and white full page drawings plus partial page drawings - Harrap and Company, London
Mr. Gilhooley/Deirdre (Panel 6) The Geneva Window
Nicola Gordon Bowe, Associate Fellow in the Faculty of Visual Culture at Dublin's National College of Art and Design, writes that in November 1926, Clarke, who had already got wind of the project, received the green light from Ireland's Department of Industry and Commerce to prepare a draft scheme for a stained glass window to be the new Irish Free State's proposed gift to the International League of Nations (ILO) in Geneva. Clarke was, as Rowe points out, "at the peak of his career". Having already surveyed the building earlier that year, Clarke submitted a formal report to the Government on the practicalities and costs for the project. Rowe writes, "As for subject, his recommendation was 'not necessarily' to 'do with labour, but preferably something from the work of a modern Irish writer'". The eight stained glass panels would feature vignettes and citations from fifteen (afore mentioned) twentieth century Irish writers with the intention of adorning the ILO's main staircase.
Sadly, Clarke's Celtic Revivalist vision of modern Ireland, which featured nudity, poverty, prostitution, drinking and dancing, caused great consternation amongst state officials and the Catholic church. For instance, his reference to Sean O'Casey's Juno and the Paycock "celebrated" the life of an alcoholic ex-mariner who struggles to support his family who live in a tenement during the Irish Civil War. The issue of religion was also a cause for disquiet. The Irish population was predominantly Roman Catholic but Clarke's window was dominated by protestant authors. It was this observation that President W. T. Cosgrave was broadly alluding to when he wrote to Clarke suggesting that "the inclusion of scenes from certain authors as representative of Irish literature and culture would give grave offense to many of our people". One such figure was James Joyce whose Ulysses had been banned in several countries for its explicit content, and though Clarke tried to avoid controversy by representing one of his poems (rather than Ulysses), Joyce had long since secured his reputation as a "debauched" lapsed-Catholic who was passionately anticlerical.
It was, perhaps the scenes of nudity and allusions to sexual liaisons, however, that threatened to do most to besmirch the vision of a newly independent Irish state. In this respect, the panel featuring Liam O'Flaherty's (another banned author), Mr. Gilhooley that was the cause of greatest consternation. A stout middle-aged man sits smoking a cigar with a wine goblet in his left hand. He is being entertained by a nude dancer. With her alabaster complexion and dandelion yellow hair, she is swathed in a diaphanous gown of shimmering color and forming the very image of seduction. The promise of sexual pleasure was only reinforced by Clarke who added a quote from O'Flaherty's book: "She came towards him dancing, moving the folds of the veil so that they unfolded slowly as she danced". Commenting on the reclining semi-nude figure from George (AE) Russell's, Deirdre, in the near foreground, meanwhile, Philip Hoare described a "languid female with a blond helmet bob stretches out her pallid body, veiled in diaphanous crimson. Her dead-eyed look would easily find a place in a contemporary avant-garde fashion spread".
Stained Glass Window - Wolfsonian-FIU, Miami Beach
Biography of Harry Clarke
Born on Saint Patrick's Day, Clarke was the eldest son of Brigid née MacGonigal and Joshua Clarke, a church decorator who moved to Dublin from Leeds in 1877 to start a decorating business. This business became Joshua Clarke & Sons following the birth of Harry and his younger brother, Walter. The two boys would inherit their mother's respiratory problems, from which she died in 1903. This was very painful blow for young Harry who had been especially close to his mother.
Clarke attended Marlborough Model School, and later, Belvedere College, the same Jesuit college attended by James Joyce some years prior. It is Joyce in fact who provides an insight into Clarke's educational experiences through his novel A Portrait of the Artist as a Young Man which describes Belvedere as a place where young boys are terrorized by stories of tortures in hell for those who sinned and especially for those who were sexually prurient. Indeed, the art critic Philip Hoare notes that Harry's "family worried that this influence led to Clarke's 'fascination with the terrors of damnation'". When asked about his father's time at Belvedere, Clarke's eldest son, Michael, told how the priests left him with a "grim understanding of the quality of hell and an idealized version of an improbable Paradise". Despite these formative experiences, Michael added that his father, who was not devout, never decried Catholicism, and while its dogma irritated him, the "deeper mysteries" of religion filled him with awe.
Early Training and Work
On leaving school, Clarke was briefly apprenticed as a draughtsman to architect Thomas McNamara before joining his father's stained-glass business. During his apprenticeship he was tutored by William Nagle, a prominent artist and craftsman in Dublin. He also attended night classes at the Dublin Metropolitan School of Art. Art critic Tom Walker writes: "At the Metropolitan School of Art [Clarke] took life-drawing classes with William Orpen and was instructed in stained-glass design by A.E. Child. A former assistant of the leading British stained-glass artist Christopher Whall, Child had come to Dublin in 1901; to remarkable effect, he helped conjure Ireland's exceptional Arts and Crafts stained-glass industry, also teaching the likes of Wilhelmina Geddes and Michael Healy". Clarke's skill as an artist and colorist did not go unnoticed and between 1911 and 1913 he was awarded no less than three gold medals by the Board of Education National Competition.
After graduating from the Dublin Metropolitan School of Art in 1913, Clarke won a scholarship to tour France where he studied the stained-glass windows of prominent medieval Churches and Cathedrals. His excursion would have a great influence on his own career, especially his visit to Chartres Cathedral with its magnificent twelfth and thirteenth century widows featuring jewel-like shades of blue, red, magenta, emerald, purple, burnt orange and gold. Clarke became transfixed by the deep blues and ruby reds which he would learn to animate by applying aciding and plating to his finished glass. This effect would become a hallmark of his work.
Clarke looked beyond gothic French Cathedrals as he absorbed the influence of the best of French symbolism, Art Nouveau, Art Deco, and the Vienna Secessionists (notably Gustave Klimt). His love for the arts, and his interest in poetry, literature, ballet and cinema, impacted on his stained-glass work and his illustrations. He was also a keen photographer and often produced photographic portraits as a reference point for figures (often in difficult poses) in his window designs.
Clarke's reputation for skill and innovation soon spread amongst Dublin's golden circle of literary, political, legal and artistic figures. Laurence "Larky" Waldron, a stockbroker, Nationalist MP, and Governor of the National Gallery of Ireland and Belvedere College, was part of this group. He would emerge as Clarke's greatest champion. It was he who, in 1913, first commissioned Clarke to illustrate Samuel Taylor Coleridge's The Rime of the Ancient Mariner and Alexander Pope's The Rape of the Locke though, in the event, Clarke failed to fully complete either project. His illustrations were well received as whimsical and wistful, but some critics accused his work of verging on "boring". Clarke wasn't to be deterred, however.
In October 1914, Clarke married the artist and teacher Margaret Crilly. The couple had met at the Dublin Metropolitan School of Art where she was one of the most prodigious pupils of the Irish artist, Sir William Orpen. In the month of his marriage, Clarke was also commissioned to design nine stained-glass windows in the Celtic Revival Style - the Celtic Revival being a literary and artistic movement that began in the 1880s and sought to shape a modern Irish national identity through a revival in the native Gaelic language and ancient folk traditions - for the Royal University in Cork's Honan Chapel. This would prove a key turning point in Clarke's career.
Only the finest craftsmen in the country were commissioned for this chapel, and Clarke insisted on using only the best materials. As it was the height of World War One, some of these materials were not available in Ireland. With the help of his bookkeeper, Miss Sullivan, Clarke had specialised lashed glass, lead and the fluoric acid required for etching, smuggled in from England (apparently concealed in a small leather case). His efforts were rewarded with the Irish Times stating that the Honan Chapel windows "rival in beauty some of the most remarkable products of Continental art", and contemporary Irish novelist Edith Somerville noted that with their "hellish splendour - In a chapel dedicated to the Infernal Deities they should be exactly right, gorgeous and sinful". Somerville's comment was no doubt an allusion to the sinners, thieves and depraved figures that appear amid the intricate designs of the Honan windows.
In the summer of 1915 the Clarkes took a delayed honeymoon on the island of Inisheer, the smallest Island of the Aran Islands in Galway Bay. The Island was a special place for Clarke who had spent many previous summers there with his friends from the Dublin Metropolitan School. As the art critic Philip Hoare writes, Clarke "spent six summers, often with his friend, the artist Austin Molloy, on Inisheer [...] where he dressed in a white felt báinín suit made from the wool of local sheep and wore peculiar red raw-hide shoes called pampooties. He might have been a faun in a design for [founder of the Ballet Russe] Diaghilev by [costume designer] Leon Bakst".
It was a location proved to be inspirational for Clarke's work. While he is not noted for his landscapes (as other stained-glass artists such as Louis Comfort Tiffany are) his work is often adorned with minute blossoms and creatures that symbolize the beauty of nature. Indeed, Tiffany's work focused his windows on a natural scene such as a willow tree, whereas Clarke worked much more in the mode of a symbolist. He used elements from nature rather to represent certain attributes, such as purity, love, innocence and peace. Inisheer's flora, fauna and marine life inspired many of these natural motifs in Clarke's work.
Also in the summer of 1915, Clarke's younger brother Walter married Margaret's sister Mary, and the two couples would remain close. Harry and Margaret had three children and led busy lives, Margaret becoming an established artist of Royal Hibernian Academy status, and Clarke's stained glass commissions growing in number. But Hoare suggests that Clarke may have been leading a double life and that his biographies "do not extend to the issues [of his sexuality] raised by his work". As he says, Clarke married and had three children "Yet the queerness in his work seems startlingly explicit, hiding in plain sight: in convents and chapels, in popular publications and in his [own] dandified performance. Given the fate meted out to Oscar Wilde, his fellow countryman, Clarke might have hesitated to transgress too far. But it could hardly be possible to make a more public statement than he did. His gloriously strange vision still bursts triumphantly through those leaded windows". Though Hoare's observation is no more than informed speculation, his close friendship with the famous gay English/Irish stage actor Michaeál Mac Liammóir, with whom he socialized away from Dublin on the London's West End theater scene, may have helped feed this suggestion.
In London, meanwhile, Clarke joined the prominent publisher George G. Harrap. Shocked that Clarke's first publisher had not retained his services, Harrap commissioned Clarke to illustrate The Fairy Tales of Hans Christian Andersen. It would be his first completed work and featured a mix of color plates and black and white illustrations. Before the decade was out, Clarke contributed similar content for Edgar Allen Poe's Tales of Mystery and Imagination (1919) and an anthology of modern poetry, The Years at the Spring (1920). During these years, J. Clarke and Sons Studios had become incredibly busy and Clarke would occasionally help his father with important commissions before he himself became manager of the Studio's stained-glass division on his father's passing in 1921.
The 1920s was the most prolific period of Clarke's career. He produced more than 130 stained glass windows with some of his most important works coming during this time. He produced three windows - The Crucifixion and the Adoration of the Cross by Irish Saints (1920), The Annunciation (1922) and The Coronation of the Virgin in Glory (1923) - for St. Joseph's Catholic Church, in Terenure, Dublin with the Annunciation winning first prize at the Aonach Tailteann Art Exhibition and Celtic Revival Festival.
In 1924 Clarke completed The Eve of St Agnes, a window which earned him great acclaim. Indeed, in 1925 he was given the great honour of being elected an associate of the Royal Hibernian Academy. During this golden period, Clarke divided his time between Dublin and London. In London his favourite pastime was to visit the theater and the Ballet Russe. The Diaghilev ballet was his favourite and the exotic costumes of the dancers, designed by Léon Bakst, would directly influence his work. Clarke cut a dapper figure on the London theater scene. While attending performances at the Alhambra Theatre in London, for instance, he made the acquaintance of the actor Michaeál Mac Liammóir who later remarked on how exquisitely Clarke was turned out, commenting specifically on his tall and slender frame, his dark good looks and his immaculate formal attire.
The first quarter of the twentieth century is also considered a golden-age of gift-book illustration. Adding to his previous commissions for Harrap, Clarke illustrated Charles Perrault's Fairy Tales of Perrault in 1922 and Johann Wolfgang von Goethe's great masterpiece, Faust in 1925. His work for Harrap was of such quality it would see him ranked next to other master illustrators of the period including Arthur Rackhan, Key Nielson and Virginia Frances Sterrett. His other important commissions during this period included a set of illustrations for Ireland's memorial Records in 1914-18 for Maunsel and Roberts Ltd. in 1923, and two sets of illustrations, A History of a Great House (1924) and Elixir of Life (1925), for Jameson's of Dublin whiskey distilleries.
Next to the "frivolous" commercial designs for Jameson's, Clarke's other illustrations were becoming darker; full of macabre imagery and increasingly controversial. His illustrations for Faust, for instance, carry scenes of death and decay as well as erotic imagery. These dark and sexual tendencies also seeped into his stained-glass commissions, although with religious commissions he was rather obliged to work with a greater sensitivity.
By the mid-1920s, Clarke's work was being ranked among the international masters, such as Tiffany, Burne-Jones and the medieval colourists. He had significantly changed the style of stained glass work in Ireland which, before Clarke, had consisted of mass-produced panels of poor quality that were imported from Europe, primarily Munich, Birmingham or London, and assembled in Ireland. His links to the Celtic Revivalists helped to distinguish his style. Indeed, Celtic motifs swirled through his work which, already considered exotic in Ireland, carried the Celtic theme around the rest of the arts and crafts world.
In 1926 the Irish Government commissioned Clarke to create a window for the International Labour Building in Geneva. The Geneva Window was to become Clarke's most famous, and most controversial, commission. Nicola Gordon Bowe, Associate Fellow in the Faculty of Visual Culture at Dublin's National College of Art and Design, describes how "Clarke visited the suggested staircase site outside the Deputy Director's room in the International Labour building in April 1926, just after his 37th birthday. He did this on his way back via Paris and London from a convalescent trip to Tangier and Spain arranged by his friend, the writer Lennox Robinson". Clarke had been suffering from exhaustion following a "heavy schedule of stained glass and graphic work [and] his health (his eyes in particular) had been suffering".
Bowe adds that "While preparing to escape to London in January 1926 from the pressures of running the church-decorating studios he ran with his brother Walter in Dublin's North Frederick Street, he had fallen off his bicycle, resulting in serious injuries [but] by the time he reached Geneva, he felt reinvigorated, excited by the prospect of such a prestigious international commission, and was soon back at work in Dublin".
The eight-panel window was to feature vignettes representing the work of 15 twentieth century Irish writers: Padraig Pearse, Lady Gregory, G B Shaw, J M Synge, Seumas O'Sullivan, James Stephens, Seán O'Casey, Lennox Robinson, W B Yeats, Liam O'Flaherty, George AE Russell, Padraic Colum, George Fitzmaurice, Seamus O'Kelly and James Joyce. While there was (and is) general agreement that the Geneva Window was Clarke's great masterwork, the project was poised to go down in Irish cultural history as one of its most ill-fated ventures. As Bowe describes it: "On 17 March 1929 [Clarke] was admitted to a Swiss sanatorium in an attempt to arrest advancing tuberculosis in both lungs. He entrusted the final stages of the window to his studio artists, with whom he corresponded during the fourteen long months he remained away. On his return in May 1930, he could at last complete the window himself, and have it 'mounted in a specially constructed frame' for viewing in early September [...] But disaster was about to strike. By 30 September 1930, the President's objections to the 'subject matter of certain of the representations' illustrating 'scenes from certain authors... as representative of Irish literature and culture' had gathered momentum".
The panels representing the work of Joyce and O'Flaherty, for instance, were considered licentious and decadent by the Catholic church and generally detrimental to the image of the new Irish State. Government officials did visit Clarke's studio but as elections approached the First President of the Irish Free State, William T Cosgrave, declared that the work might "give grave offence to our people" and worried that the government might sacrifice votes from influential groups, in particular the Catholic church, if the offending window was sanctioned. No final decision was reached, however, and the fate of Clarke's career-defining masterpiece hung in the balance.
In July 1930 Clarke's brother, Walter, died from pneumonia. This tragedy, coupled with the pressure of completing the Window, led to a relapse in his own health and Clarke was forced to return to the Swiss sanitorium in October. Bowe writes that he left for Davos leaving instructions that "any Geneva-related correspondence should be forwarded to him" but that this left "the window in the studios, its future unresolved". She describes how he "wrote anxiously to Cosgrave [...] enquiring about the government's decision, but two days before the cabinet's New Year decision requesting the studios to set up the window's panels for further consideration, Clarke died, on 6 January 1931, still in Switzerland".
The Geneva Window was rejected and Clarke's widow, Margaret, was offered the work at the price of Clarke's original commission. Following her death in 1961, the window was loaned to the Dublin Municipal Gallery of Modern Art between 1963-1980 but was removed by Clarke's two sons when the Window was put into storage. The Geneva Window was then sold for a sum "in excess of £100,000" to the Wolfsonian Foundation in Miami, Florida where it is proudly displayed to this day.
The Legacy of Harry Clarke
During his life, Clarke created over 150 windows and a number of panels for churches and private establishments in Ireland, England, the USA and Australia. The distinctive jewel-like appearance of his windows; his dazzling use of color in both glass and illustration, helped widen and elevate the aesthetic influence of both mediums. W B Yates called Clarke "Ireland's greatest artist in stained glass" while George ("AE") Russell referred to Clarke as "one of the strangest geniuses of his time"; a man who might very well "have incarnated here from the dark side of the moon".
In assessing his legacy, Philip Hoare called Clarke a modern artist "at the heart of the nascent Irish Free State, negotiating the secular and the sacred at a time when the twin powers of state and church collided and colluded". Yet within the darkness, Clarke's work was "Ethereal and beautiful and, in its wit and contemporaneity, strangely compassionate"; an art that reflected an Irish society "much more cosmopolitan, sophisticated and aesthetically aware than has normally been acknowledged".
The art critic Tom Walker agreed, writing, "It is clear that Harry Clarke and his chosen media - stained glass and book illustration - are now central to any sense of early 20th-century Irish art, while Lennox Robinson, wrote on Clarke's death that his art would live on for "our generation, and for generations to come", and said of his colors, "They will shine and glow; those blues and reds - how he loved blue! - an inspiration to the faithful".

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Tart cherries are commonly used in pies, cakes and tarts. They contain an abundance of nutrients, along with at least 17 antioxidants including anthocyanins and ellagic acid. Anthocyanins give cherries their distinct red color and have been clinically studied for their possible health benefits, including joint support. Solaray Tart Cherry may help promote a healthy cardiovascular system, as well as, may help promote healthy, restful sleep.
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Why Ayesha Curry's New Texas Restaurant Has Been Blasted With One-Star Yelp Reviews Before It Even Opens
Her husband, Stephen Curry, is to blame.
Houston Rockets fans are evidently still bitter about losing the Western Conference NBA finals to the Stephen Curry-led Golden State Warriors, and fans of the Texas franchise are taking it out on Curry's wife, Ayesha.
Her new Houston restaurant, International Smoke, has been eviscerated on Yelp, with one-star reviews questioning why she would set up shop in Houston.
“This is absolutely the worst place to go — her husband ripped our hearts out and now she has the guts to open up a place here??” one review said.
Another review blasted the food quality, saying, “BBQ was extremely chewy and a choking hazard."
But any reviews, negative or positive, about the food and atmosphere may be a little premature, as the restaurant won't open for another month.
Still, experts say bad Yelp reviews can hurt a restaurant.
Ayesha is a star in the food world and already has a hit with another International Smoke location in the Warriors-friendly Bay Area of California.
The San Francisco Chronicle calls the ribs “some of the best I’ve had in the Bay Area," the opposite of what the trolls are saying in Houston.
Rockets fans might consider having a slice of humble pie with Ayesha's ribs when the spot opens.
Ayesha hasn’t responded to the scathing reviews but encourages all to book a table now.
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Walking on a dream download
Walking on a Dream is the debut studio album by Australian electronic music duo Empire of the Sun, released on 3 October by Capitol Records. The album Background and release - Critical reception - Awards - Track listing. "Walking on a Dream" is a song by Australian electronic music duo Empire of the Sun, which was released on 30 August as the lead single ahead of their Background - Music video - Track listings - Charts. Produced by Peter Mayes, Donnie Sloan & Empire of the Sun. “Walking on a Dream” is Australian electropop duo Empire of the Sun’s first and most popular single, off their debut album of the same name. Talking about Walking On A Dream and what it feels like when you’re.
Walking on a dream. How can I explain. Talking to myself. Will I see again. We are always running for the thrill of it thrill of it. Always pushing up the hill searching. 18 Dec - 3 min This is "Empire of the Sun 'Walking on a Dream'" by Josh Logue on Vimeo, the home for. Walking on a Dream by Empire of the Sun - discover this song's samples, covers and remixes on WhoSampled.
Best known for their hit single "Walking on a Dream," Australia's larger-than-life electro-glam-pop duo Empire of the Sun feature the Sleepy Jackson's Luke. 26 Oct Empire of the Sun: in May, the band re-released Walking on a Dream in the US and it hit number one on the Billboard dance songs chart. Check out Walking On A Dream (Special Edition) by Empire Of The Sun on Amazon Music. Stream ad-free or purchase CD's and MP3s now on charobocaranda.com .

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