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Mother struck 2-year-old, left him to die in the woods and faked an injury: Police

first_imgThe Florida Department of Law Enforcement(TAMPA BAY, Fla.) — The 2-year-old Florida boy found dead after a five day-hunt was left to die by his own mother, according to authorities.Police arrested 21-year-old Charisse Stinson and charged her with first-degree murder and child abuse on Tuesday after the body of her son, Jordan Belliveau, was found in a wooded area.Stinson admitted to striking her child “in a moment of frustration” with a blow that caused him to hit his head against a wall in their home, according to the arrest affidavit filed by Largo Police, ABC affiliate WFTS in Tampa Bay reported. The injured boy then got steadily worse through the night and suffered seizures.But instead of seeking medical help, Stinson took the child to a wooded area and left him to die, the affidavit continued. She then hit herself to create “self-inflicted injuries” that she later presented as results of a conflict with a stranger.An Amber Alert was issued for Jordan the next day on Sunday, hours after Stinson turned up at an inn in the wee hours of the morning appearing to be injured. She said she had been knocked unconscious and dumped in a park by a stranger she called Antwan, who had given Jordan and her a ride. She had last seen the toddler when they were in Antwan’s car, she told police.But police said in a press conference on Wednesday that they believe the story is completely made up.“We do not believe there was an Antwan,” said Largo police Lt. Randall Chaney. “That was all fabricated by Ms. Stinson to help cover her alibi for what she’d actually done.”Throughout the five days authorities searched for the child and interviewed his mother, she repeatedly changed her account based on the line of questioning and did not show any remorse, Chaney said.Just a few hours before Jordan was killed, Stinson and her son had been visited at home by a member of the Florida Department of Children and Families, which was investigating the family, Chaney said. The boy had previously been in foster care, but had been given back to Stinson.Jordan’s parents have a turbulent history. They have both been arrested on separate occasions for violence against the other, according to court records in the possession of ABC News. In the latest incident in July of this year, the argument between the two was triggered after the father drove their child to Stinson’s residence to exchange custody access and she said she did not want the child yet.For nearly a week, multiple law enforcement agencies, including the Largo Police Department and the Florida Department of Law Enforcement searched bodies of water, reviewed surveillance footage, deployed canine search teams and interviewed family in the hunt for the child.Police said they had recovered “bloody items” from the apartment where Jordan and his mother lived, although they did not say it was in any way connected to the boy’s disappearance.Copyright © 2018, ABC Radio. All rights reserved.last_img read more

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HR’s early involvement in M&As is vital

first_imgHR must take the lead when businesses are involved in international mergersand acquisitions (M&As), according to research. A new guide by the Chartered Institute of Personnel and Development (CIPD)said the early involvement of HR expertise – particularly in the appointment ofa post-merger integration manager and team – is key to minimising the risks topost-merger business performance. The report, International Mergers and Acquisitions, said that success ininternational M&As is often hampered by a workforce that is not committedto a future with the new business, and poorly informed management decisions andbehaviour. The loss of key talent, high levels of internal conflict and an inability toattract new talent are also problems that HR can be key in solving, claims thestudy. CIPD international manager, Frances Wilson, said the active involvement ofHR throughout the process is critical, and companies should beware ofmisunderstandings brought about by local stakeholder influences and culturaland legal differences. “The result can be costly mistakes, corporate clashing and ultimatelypoor integration,” she said. “HR will bring a management focus topotential problems that arise during a merger or acquisition, includingresistance to change, poor communication and declining employee morale.” www.cipd.co.uk/infosource Previous Article Next Article HR’s early involvement in M&As is vitalOn 14 Oct 2003 in Personnel Today Comments are closed. Related posts:No related photos.last_img read more

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Knights of Columbus Bowling results

first_imgHigh Games:Maurice Santaro – 160, 135Tony Kotowki – 191, 222, 226 (639)Rich Naviello – 173, 179,172 (514)Bob Moskalczyk – 161Gary Bejgrowicz – 211, 206 (570)Lee Fahley – 151, 177John Vida – 177, 179, 180 (536)John Rokicki – 80, 192, 212 (584)Sal Gullace – 116 Week 22PGK Rokicki took 7 points from PGK BejgrowiczPGK Charowsky took 4 points PGK LudwiczewskiHigh Games:Lee Fahley – 173, 158, 144 (476)Tony Kotowski – 223John Rokicki – 193, 194 (572)Sal Gullace – (132)Rich Naviello – 178, 180, 189 (547)Maurice Santaro – 135, 133John Vida – 170, 160Bob Charowsky – 165, 186 (505)Walt Adamkowski – 234, 181 (571)Bob Moskalczyk – 176, 182, 178 (536)Gary Bejgrowicz – 214Week 23PGK Charowsky took 3 points from PGK LudwiezewskiPGK Bejgrowicz took 2 points from PGK RokickiHigh Games:Bob Moskalczyk – 173, 168 (468)Gary Bedgrowicz – 183Lee Fahley – 159, 164, 148 (469)Rich Naviello – 173, 167, 163 (506)Bob Charowsky – 173, 161John Rokicki – 206Tony Kotowski – 228, 203 (627)John Vida – 186, 153 (468)Steve Cappellutti – 117Sal Gullace – 112, 109, 103 (324)Week 24PGK Charowsky took 5 points from PGK RokickiPGK Ludwiezewski took 4 points from PGK BedgrowiczHigh Games:Bob Moskalczyk – 159, 254 (547)Gary Bedgrowicz – 195Walt Adamkowski – 174, 214 (535)John Vida – 177, 178, 193 (548)Tony Kotowski – 216Rich Naviello – 200Lee Fahley – 157, 166, 163 (488)John Rokicki – 212Bob Charowsky – 181Maurice Santaro – 134, 154Sal Gullace – 122Steve Cappellutti – 105 Week 21PGK Bejgrowicz took 5 points from PGK CharowskyPGK Ludwiezewski took 5 points from PGK Rokickilast_img read more

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Press release: Royal Navy’s new offshore patrol vessel named HMS Tamar

first_img Today’s naming marks an important milestone in HMS Tamar’s programme ahead of starting sea trials and being accepted into operational service next year. HMS Tamar, the fourth of the Royal Navy’s five cutting-edge new Offshore Patrol Vessels, has been formally named in Glasgow today.The next-generation River Class ship will boost Britain’s counter-terrorism and anti-smuggling work and provide essential support to defence operations.The 90-metre vessel, which is equipped with a 30mm cannon and flight deck capable of accommodating a Merlin helicopter, is part of a five-strong OPV contract with BAE Systems, worth a combined £635m.Minister for Defence Procurement Stuart Andrew said: HMS Tamar was formally named in Glasgow today. BAE Systems copyright.All the Batch 2 OPVs, named HMS Forth, HMS Medway, HMS Trent, HMS Tamar and HMS Spey, are set to be delivered to the Royal Navy by the end of 2020.Last year it was announced by Defence Secretary Gavin Williamson that the Batch 1 Offshore Patrols Vessels, HMS Tyne, HMS Mersey and HMS Severn, which currently support the Fishery Protection Squadron, would also be retained for at least the next two years. From patrolling our coastlines and protecting UK waters, to anti-smuggling and counter terrorism operations, these ships are a key part of our Royal Navy fleet. HMS Tamar continues the legacy of ships being built on the Clyde for the Royal Navy and will perform a vital role defending the UK’s interests.center_img It is great news that we are celebrating this milestone alongside our partners in the Royal Navy and BAES. We look forward to the delivery of the remaining OPVs and the further progress on the Type 26 build programme. HMS Tamar was formally named in Glasgow today. BAE Systems copyright.At Scotstoun today, the ship’s sponsor, Lady Peach, officially named HMS Tamar by pressing a button to smash a bottle of Camel Valley ‘Cornwall’ Brut against the hull – in recognition of the ship being affiliated to Cornwall.All the vessels are initially constructed in BAE System’s Govan yard, before being moved to their Scotstoun site to be fitted out with their systems ahead of rigorous sea trials.Alongside the Type 26 anti-submarine frigate programme, the Royal Navy work has filled the Glasgow shipyards’ order books until the early 2030s, protecting 1,700 Scottish jobs and supporting a further 2,300 roles across the nation through the supply chain.Sir Simon Bollom, chief executive for Defence, Equipment and Support, the MOD’s procurement agency, said:last_img read more

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Manifest Destiny: Jamiroquai’s Triumphant Return After 13 Years of U.S. Silence

first_imgOver this past week in California, British electro-funk icons Jamiroquai returned to the U.S. after thirteen long and agonizing years of silence. The legendary group is touring the world on the heels of their Automaton LP, unveiled just over a year ago to widespread acclaim among the band’s most arduous fans. Yet the release was somewhat confounding, and it did not exactly set casual fans on fire. Many were surprised by the band’s updated, grown n’ sexy sound, which is certainly a departure from their youthful acid-jazz adventures. A sizable portion of Jamiroquai’s fanbase clutches onto the classic JMQ-era of their first three albums. Following Automaton‘s release, people seemed to have their curiosities collectively piqued and wanted to know what this freaking fuss was all about. To their credit, Jamiroquai harnessed the sum of this pressurized energy and stepped into the spotlight—and themselves. The band delivered a mammoth return performance in San Francisco on April 17th, bookended by strong showings in the Mojave Tent at Coachella on April 13th and 20th.After performing the title track of Automaton on the Late Late Show with James Corden to decidedly mixed reviews, all eyes were on founder/bandleader Jay Kay as he led his band of troubadours into the desert of Indio, California, for a seventy-five-minute set.  According to our man on the scene, Jamiroquai’s legendary reputation for sexy vibes and funky grooves lured a massive surge of bodies to spill out of the Mojave Tent—most impressive as the group was scheduled against The Weeknd, one of the festival’s mega-headliners. Absolutely unfazed by the moment or the pressure, Jamiroquai uncorked a thorough, if truncated, set that kept fans screaming and gleaming well into the night.“The Kids”[Video: Coachella]Rolling Stone led their Coachella coverage with Jamiroquai, and the notoriously blasé crowd was clearly wowed as frontman Jay Kay serenaded the throbbing desert masses in the now-omnipresent, color-changing LED Automaton headpiece. They transformed the Mojave Tent into something of a UK discotheque, as thousands watched in real-time around the globe on the Youtube Coachella live-stream. For the fourth song, Long Beach, California, legend Snoop Dogg—blunt in one hand, bedazzled custom goblet-microphone in the other—joined the Space Cowboy during “Dr. Buzz”, an ode to the sticky-icky off the band’s most recent LP. The boys behind them pumped out the funkadelic hip-hop groove embedded in the song, while the DoggFather laced up rhymes found within his own “Drop It Like It’s Hot” and “Gin & Juice.” Otherwise, for the remainder of the show, the band stuck to their core setlist from the past year or so, mixing a couple of new compositions in with their timeless anthems like “Cosmic Girl”, “Alright”, and “Canned Heat”, among other standards.As Friday came to a close at Coachella, running out of time, the band aborted the instantly recognizable pianos of their biggest hit “Virtual Insanity”. Jay Kay instead instructed the band to launch into the emotionally-charged “Love Foolosophy”. Never one to be content in satiating the greater populace, the focused and fiery frontman chose to deliver the stronger song to his hardcore fans, in spite of the former’s enduring popularity. Class move indeed, along with omitting “Automaton” from the U.S. live performances—a song which despite the band’s best efforts, has not caught on well. What we’ve learned is that in 2018, Jay Kay clearly listens and responds to his fans; they were vocal about their displeasure with the song “Automaton”. Alas, it was not played at any of the three concerts after its television appearance.As the electro-funk juggernaut barreled into the Bay Area for their proper U.S. return—hosted at San Francisco’s Bill Graham Civic Auditorium on Tuesday, April 17th—loyalty and super fandom for the group would proudly be on display everywhere in the city. Beginning on Saturday, drummer Derrick McKenzie would step into the San Francisco night with a fantastic DJ set at Halcyon, opening for the legendary mixmaster Miguel Migs with a tasty hour-plus of classic Deep House. On Monday afternoon, McKenzie would host a drum workshop at local funk haunt, Boom Boom Room, where the skinsman demonstrated his virtuoso on the kit and explained how he applies his skill set to the band. McKenzie spoke at length to the assembly, regaling fans with personal tales of recording, performing, and even a variety of Jamiroquai narratives running over their entire career, offering a precious peek into just how it all goes down. A fascinating few hours with a humble professional, who afterward, graciously held a short audience with any of the attendees who asked to meet him.Thousands of the most hardcore Jamiro-freaks traveled from around the country to take in the first proper U.S. Jamiroquai show since 2005; I personally live here in Northern California and had been patiently waiting for this day to come for a very, very long time. Most American fans had virtually given up on the idea of Jamiroquai ever returning to this country, but as we soaked up their week-long sojourn through California, the hype machine shifted into a high gear and anticipation reached a fever pitch. The band’s name was on the tip on so many tongues, all over social media feeds, and the stage was set for their triumphant re-emergence. Privately, some worried that they might not be prepared to live up to this level of hype. Predictably and atypically, elitist Americans and the (supposed) pop culture cognoscenti continued to throw rocks at the throne. This was nothing new to this particular crew, who had long battled assertions that they had appropriated, or that their sound was dated. So when Jay Kay and company arrived in the Bay, they didn’t just have chips on their shoulders, they carried a collective ten-ton boulder.Once the San Francisco show finally arrived, walking into the sold-out BGCA among a posse nearing fifty was nothing short of surreal. Many like-minded funk freaks had prioritized this event on the music calendar, and given that Jamiroquai hadn’t played the U.S. in a very long time, people flew in from all over. Paired with the rabid, fanatical Jamily that began lining up at the venue as early as 7 a.m., and you begin to get a sense of the palpable, tangible passion that was present for this performance. Slowly but surely, the 8500-capacity venue filled up with an extremely diverse and eclectic squadron of fans. Immediately, the wide-swath of demographics that made up this vibrant audience was noticeable. It felt like utopia before the band even began playing, as men and women, white, black, Asian, Latino, Middle Eastern, European, gay and straight, couples, and lone rangers swarmed the place, dressed fly as hell and ready to dance—all peoples checked their personal and political baggage at the door and came together united under the ‘Jamily’ flag of funk. We were here to take in a monumental concert of epic proportions, and the ecstatic energy among fans inside the venue was rapturous as we approached the opening bell.“Shake It On” > “Little L”[Video: Heady Flair]The entire Jamiroquai band—sans frontman—took the stage swiftly at 8:40 p.m. and launched into Automaton’s thunderous opening jam, “Shake it On.” The crowd reacted with a decent cheer, but as the first verse approached, Jay Kay casually sauntered to the front of the stage aglow in his LED headdress. When the cat in the hat offered the lyrical question “So What Can I Do?”, the people definitely took notice and said so. Musical director Matt Johnson’s bumping clavinet rode the first of several merciless four-on-the-floor beats from longtime drummer McKenzie, as did the sensual tones of their backup singers, affectionately dubbed “Cosmic Babes”. The crew settled into this song that was born to open their show, and by the time Jay Kay sang the foreboding lyric “before I step on Mars”, the audience had fully come alive. After the second verse, the enigmatic singer offered a salutation in “San Francisco…”, and this time the sold-out massive responded with an eruption that in no uncertain terms expressed their tremendous gratitude for Jamiroquai’s return. After a standard run through the opener, the band segued into “Little L” with gusto, nailing the transition as they’ve continued to do throughout this touring cycle. Fans of the local cultural institution, the Grateful Dead—the band that fifty-plus years ago in the Haight/Ashbury area of San Francisco first introduced this sort of conceptual/intentional “two-fer” to improvisational-focused music—very much appreciated the opening segue, and again conveyed this sentiment with authority. Kay looked fantastic in a special-edition Adidas tracky with matching Adidas trainers and crisp denim jeans. He recalled shades of youth in that outfit, but was transformed by the ever-present Automaton hat. The patented Jay Kay headpiece was again a wonder in itself. It worked in tandem with the LED screens that projected a variety of psychedelic and retrofitted imagery above the band. Jay gave off both an affable aura and a stoic defiance. This dude knew he had something to prove, and every step, every note, every spin and kick was delivered with laser-sharp focus. The band’s entire presentation and production was profound; within fifteen minutes of thrilling funkification, it was readily apparent to both the band and fans that this would be a night to remember, fueled by an indescribable, kinetic energy.    Now, it was time to get nasty; next up on the docket was a “song from way back,” as McKenzie counted off “Kids”, a rockin’ rager from 1995’s much-heralded sophomore LP The Return of the Space Cowboy. The charging, guitar-driven tune was accentuated by the frontman’s patented wild dance moves—leaps, chops, and kicks of yesteryear came flying out again. People were shocked; it’s no secret that Jay Kay has suffered from serious back ailments over the past half-decade, causing him to cancel a series of shows last year, both before and after back surgery. As such, he’s gained a little weight as his mobility has been restricted, so his stamina and onstage movement have somewhat suffered accordingly. At Coachella a few days earlier, he’d moved fairly well but was clearly playing it safe. During San Francisco’s “Kids”, Kay felt truly at home, and he frolicked and bounced with reckless, youthful abandon.Jay Kay commented on the sweet smell of ganja that permeated the air, as his own beloved ode to the medicine “The Return of the Space Cowboy” emerged to another roar. This obviously was the first time Jamiroquai had visited the States since California legalized recreational weed, and they appeared to marvel at the clouds of cannabis smoke wafting above the sea of dancing domes. The cherished chestnut was unveiled with an exquisite rendition, as bassist Paul Turner really dug into the immortal low-end theory that defines this ageless wonder. The entire group coalesced into a whirling dervish of soundscapes, as Kay scatted and crooned around the groove like only he can. He nimbly scampered around the stage, betraying his age and injury with nary a f*ck given. The Cosmic Babes captivated, and Kay responded with a hair-raising riff on the “You got it” refrain. The band’s dynamics in this section were positively flawless, and “Space Cowboy” was the first jaw-dropping example of extended jamming and instrumental brilliance from the entire ensemble. Led by the robust rhythm section of McKenzie, Turner, and longtime percussionist extraordinaire Sola Akingbola, Jamiroquai glided through a glorious outro that worked the libidinous masses into hysteria. And I like what you’re doing to me.“Space Cowboy”[Video: Heady Flair]Guitarist Rob Harris’ ethereal licks swam with Johnson’s analog synth flurries, and Jay Kay called up 1996’s Traveling Without Moving global fan-fave “Alright”. The MD pivoted to Rhodes, and the timeless chords sang to the moon, toward dearly departed Jamiroquai co-founder Toby Smith. It was the late Toby’s heavenly keyboard prowess and sturdy songwriting skills that defined the band’s early career nearly as much as Kay did himself. Johnson would often borrow a page or two from Smith’s book of lush voicings and memorable ivory patterns throughout the evening, but never so poignantly as during “Alright”. For seven-plus minutes, the high-vibe-and-imbibed crowd sang the lyrics in exuberant unison, as Turner slapped the bass with domineering precision, walking the groove between Johnson, McKenzie, Harris, and the others.“Alright” and “Cloud 9” [Video: Heady Flair]During “Space Cowboy” a foreign object had been heaved onstage left, where Turner and the Cosmic Babes were located. After the enchanting “Alright”, Kay ambled to that area and scooped up what appeared to be (roughly) a quarter-pound of cannabis in a gallon Ziploc bag. He appeared clearly moved and bemused by this gift, remarking that whomever was responsible was a “proper fella, a real gentleman”, and that it was “ a very kind gesture”, before acknowledging that this might be a bit of a problem on the plane back home. He also joked that even Snoop could likely not get through that bag in 3 days. (It was later revealed that the gift was courtesy of Mendocino County’s legal organic cannabis farm Shepherd’s Meadow.)Not coincidentally, the rest of the show was a veritable blur, as Jamiroquai cruised into another gear for Automaton’s breezy “Cloud 9”, unveiled with a new arrangement on the intro that caught the alert attention of quite a few fans. Trusty veteran percussionist Akingbola shined behind his arsenal of congas, obscure drums, cymbals, blocks, toys, and whatever else he has back there to concoct the sizzling rhythms he did on “Cloud 9”. His presence, though understated, remains absolutely essential to the Jamiroquai sound and vibe—a fact he proved time and again with his spirited, inventive playing. The affair shifted into higher elevation as the group detonated the driving “Main Vein” from 2001’s criminally underrated masterpiece, A Funk Odyssey. The gigantic and aggressive disco kiss-off was sent soaring into the night with a sassy attitude and unforgiving swagger. Backing vocalists Elle Cato, Hazel Fernandes, and Valerie Etienne had their work cut out for them, taking on Beverley Knight’s titanic bridge. As a side note, allow me to be the first to declare that the Cosmic Babes tore the roof off this mutha with a steezy series of vocal gymnastics that left just about every jaw in the auditorium on the floor. The programmed horns and ever-present synth strings were somewhat of an acquired taste, but there was absolutely no denying Rob Harris’s searing guitar riffage, or the spicy, steady mobbin’ from the babes in the back.“Main Vein”[Video: Heady Flair]Jamiroquai followed that blistering number with another deep cut, Traveling’s “Use the Force”, an intoxicating romp that Jay explained (at Coachella) was written for the World Cup but never used in that capacity. As usual, it was the warrior Sola Akingbola who led the Force-fueled charge, with thrilling, spirited riddims underneath swinging Rhodes and sensualized vocal harmonies. Akingbola kept things fresh by employing lusty Afro-Cuban Bata rhythms underneath the second verse, and Jay seemed to mine a certain pizzazz from these savory Latino beats that breathed beneath the boogie time. Jay spastically worked himself into a dithers, and Akingbola never seemed to break a sweat, his toothy-grin visible from the last row of the arena. Transfixed, we could literally feel it in the air; the audience began to hop, skip, and skank along to the rhythms, mimicking our fearless leader’s exuberance as the embattled and emboldened singer held nearly nine-thousand strong in the palm of his hand. By the conclusion of “Use the Force”, there was nary a doubt in the hall, we were bearing witness to history. The first song that where the audience thought they could collectively come up for air was “Hey Floyd”, the lone track from 2010’s middling LP Rock Dust Light Star. Surprisingly, the tune came alive in the auditorium; its haunting piano intro, anthemic chords, and chorus appeared to resonate with Americans’ inherent will (or need) to win at all costs. Turner and McKenzie dipped into a righteous ragga riddim, another nod to the spliffy origins of this crew. Heads from all over the world began to sing the righteous reggae harmonies along with the Cosmic Babes, who did their best I-Threes behind Jay’s toastings. This was the only song performed that was written by the entire core group- Kay, McKenzie, Akingbola, Harris, Turner, and Johnson.A thumping bass drum, funky guitars, and a disco Rhodes groove announced the classic Traveling single “Cosmic Girl”, the band leaning heavy on the synth strings and analog sounds as a Studio 54-styled dance party exploded into hyperspace, sending revelers from the dancefloor into the rafters in every possible direction. The band has added a super-disco-breakdown, an almost Bossa styled passage in the middle, and the backing vocalists really shined atop this song with a seminal, 70’s smoking section. Kay took the opportunity to sign a few t-shirts that fans had tossed onto the stage. Better yet, at one point, Jay motioned for a fan to hand over their original vinyl pressing of 1992’s Acid Jazz debut single “When You Gonna Learn”, which the singer marveled at for a moment before signing it with a Sharpie and returning it to the hyperventilating fan in the first few rows.After a run through “Don’t Give Hate a Chance”, the band reached back to High Times: Singles 1992-2006 for the wildly-popular “Runaway”. With its coy, boyish come-ons, irresistible chorus, and catty attitude, the song is a snapshot and a sign of those Jay Kay playboy times. Meanwhile, the enthralling frontman was so impassioned by Akingbola’s aphrodisiac riddims on “Runaway” that he unleashed an absolutely furious flurry of moves—a flying kick, then struck a pose, and four consecutive spins across the front of the stage before casually shimmying back into the chorus. What bad back? The mesmerized audience was levitating, as the band and their fearless leader soldiered on past the hundred-minute mark, focused and aflame.     Thus far, the concert had already exceeded even the most hardcore fans’ lofty expectations, but we were about to have our minds blown when Jay Kay made reference to a video shoot here in the Bay Area way back when. With that, the squad fired up the bombastic bass that cocks and loads Traveling Without Moving’s leviathan title track. Paul Turner did his damndest to rechristen the iconic bassline his own, as for nearly two minutes, McKenzie, Sola, Turner, Harris and the crew cooked up some sizzlin’ stew. The Cosmic Babes oohed and ahhed behind the electrifying singer as he conducted the entire band, be it a fleeting glance, hand signals embedded in his dance maneuvers, or merely a facial expression at any or all of his faithful troops. As the jam got cooking Turner cut loose on the swag train, poppin’ basslines that would make any and all saints shudder. Showing merciless precision and impeccable fret control, this bass bully was a harbinger of low-end gluttony to come. As the song began to pick up steam, Akingbola began a dizzying array of techniques that completely revolutionized the already-fantastic groove. Buried behind an arsenal of percussion artillery, in his stealthy mohawk, sunglasses and futbol jersey, Sola Akingbola was the low-key MVP all night long.On Monday at the workshop, drummer McKenzie was asked about how Jay Kay was as the Jamiroquai bandleader, since he technically doesn’t play an instrument and cannot read music. Derrick explained that Jay Kay was a bandleader in the traditional sense, and beyond the generic blueprint of a verse/bridge/chorus, everything onstage is pretty improvised. As such, the entire ensemble watches Jay’s every move and follows each frequency, always alert for his command, however it is delivered. As the band careened through the spastic funk of “Traveling Without Moving”, it was a marvel to watch this magnificent performer lead his troupe in the tradition of the greats. Elements of James Brown, Prince, and even contemporary firestarters like D’Angelo, they all fronted a regimen with military precision—the fashion in which we bore witness to Jay this evening. The entire performance was astounding from start to finish, but a showbiz pro, Jay Kay saved some of the best for last. In a surprise move that shocked even the most dedicated believers, Kay captained the crew into the serene Dynamite single “Seven Days in Sunny June”, a beautiful number that was delivered with appropriate emotion and panache from the weary troubadour. The song elicited an impassioned response from fans as we all asked responsively “Why’d you have to drop that bomb on me?” Once again, it was the mystical tones and feverish vocals from Elle Cato, Hazel Fernandes, and Valerie Etienne that shimmered and sizzled behind Kay’s pleading lead. The band performed a stirring version of this semi-ballad, but it was merely a bait-and-switch for the fury that was en route. The familiar rolling synth-bassline from “Revolution 1993” could only mean one thing; now, they were not going to finally pull out a song from their organic acid jazz debut Emergency on Planet Earth. Instead, they built up the “Revolution” vamp into a fierce intro for their second biggest hit, “Canned Heat”, found on 1999’s future-funk opus Synkronized, but most well-known in the U.S. as the Napoleon Dynamite jam. Once the band turned the corner and the song was revealed, there was nothing left to do but dance. Jay Kay’s never been one to lean toward faith or worship, but when fell to a Jesus Christ pose, the band took that hand-off to the house. Jamiroquai collectively unleashed a torrid assault of dance-party energy that will go unrivaled for a long, long time to come. Veering in and out of the “Revolution” theme one more time,  then settled into a captivating improvisational passage that showed off the skill set and connectivity of the entire band. Jay repeatedly belted out the enormous chorus with the verve of 1999, but the cagey veteran’s smirk of 2018. It was a tangible moment in time, as the band headed toward the evening’s home stretch.The whole night was extremely emotional, but as we neared the end of this supernatural journey, ‘twas those bright bouncing pianos and “magic formulas” of “Love Foolosophy” that finally opened the floodgates for real. Partly because I couldn’t help it, partly because I was wearing sunglasses as we danced to a mystical muse, I made no attempts to stifle the flow nor wipe them away. I just let the tears spill down my cheeks, which were now swollen wide, bulbous from the otherworldly vibration and infectious grooves swimming all night long. The entire audience was falling in love, belting out “I don’t want the world I want you,” at both strangers and lovers alike. “Love Foolosophy”[Video: Matt Codina]The California sunset lyric got what was likely the largest roar of the night, and before I knew it, the waterworks were sweetly infectious. Several folks around us, old friends who’d come from all over, and brand new ones alike, we all just had ourselves a good cry while we shook what our mamas gave us. The pure essence of unrequited, unabashed joy and love. Undeniable evidence of one of the happiest nights of our blessed lives. We were waiting so long! The band slowly left the stage after “LoveFool” to a thunderclap of an ovation, as the capacity crowd hooted and hollered at the top of their lungs. This is one of the only times I can remember where the fans cheered considerably louder at the end of the show than at the beginning. The band retook the stage after being properly called back for an encore, this audience, ignored for thirteen long years, was not going out with a whimper. Some of us wished for “Deeper Underground”, others held out hope for “Supersonic”, as both tracks have closed various Jamiroquai shows of the past decade. Alas, the band chose to forward their single most defining song “Virtual Insanity”. Yes, the one-hit wonder, the flash in the pan, the song that caught lightning in a bottle back in 1997. An arena brimming with people still seemed to know every last damn word, and we sang them jubilantly, spilling out into the brisk Bay night, collectively content to be governed by this glistening love we have.  In retrospect, this mega-hyped show was even more magical than anybody possibly could have imagined; we’d dreamt it up a certain way, but it was even better. On April 20th, the band returned to Coachella for week two, and delivered to them the songs they’d played in San Francisco but had not forwarded in the desert one week earlier. All reports say that Jay was again in fine form, hitting the high notes and moving around with a zesty flow, and that the band followed suit with a sturdy performance that wowed the Mojave Tent for the second straight Friday.It’s safe to say that Jamiroquai went three-for-three this week in the state of California, and I’ve yet to read a single negative review, or come upon a cross word about their performances. We can collectively concur that the first leg of the 2018 U.S. Jamiroquai mission was an astounding success. I hope that now, once he is safely back at Chillington frolicking merrily with his two young daughters, Jay Kay will reflect on the experience similarly. We all can begin to look forward to the return to New York City on September 8th, and then Suwannee Hulaween seven weeks later.With all the horrors that surround us in this country in 2018, and certainly around the world, it’s imperative that as human beings we seek out and celebrate beauty, within each other, the arts and the cultures that surround. Life-affirming experiences like this one, thirteen years or even a lifetime in the making, they make this all worth living. With the weight of the world’s ugliness resting firmly on our collective shoulders, something, anything has got to give. But for one week, and particularly one magical, unforgettable San Francisco night, the beloved band Jamiroquai made sure it did, and how. On behalf of nearly nine-thousand beating hearts blasted wide-open, Sir Jason Kay—as we loosely like to say in the Bay—Thank you for a real good time! EPILOGUEOne of the most serendipitous parts of this entire experience was meeting the fans who’d traveled from far and wide to the Bay Area to welcome Jamiroquai back to the USA. To conclude this report, I’d like to allow some space for the JAMILY to be heard and offer their own unique perspectives on this historical event. Thanks to all who opened their hearts, minds, and offered this insight.“Seeing Jamiroquai play in 2005 opened the door for my love of traveling for concerts and festivals. It led to my first Coachella the following year, and now it has come full circle, my seeing the band at Coachella and San Francisco in 2018, and they are stronger than ever!” Pete, 37, Minneapolis, MN“This band is one of the reasons I picked up a bass guitar.  We had been waiting for this moment. Jay Kay had something to prove, this show in SF was his comeback statement. Jamiroquai exceeded the expectations of even the most hardcore fans.”  Dave, 32, Atlanta. Bassist- HIVE MIND “This show brought me more happiness than I ever could have imagined. I was in the front row and Jay sang right to me! I cried real tears of pure joy. Hands down the best night of my life! Now I am just hoping that that they see our US Jamiro-love, and they will come back!” Randi, 40, San Francisco, CA“To go to San Francisco, CA and the West Coast for the very first time, to meet and share the experience with Jamily from all over the world, it was incredible. Taking in the huge crowd was overwhelming- in a good way- very exciting. The energy in the venue was so contagious, and now I am extremely excited for their NY gig this September.” Viv, 32, Brooklyn NY “Seeing Jamiroquai in San Francisco for the first time after being a huge fan for so many years- it was exactly the sonic eargasm I had hoped for. The energy was simply electric that night. My son has been a fan since he was six years old, he turned 13 last month, and it made for a lifetime memory for us both. Jay and the band delivered a performance worthy of their legendary reputation.”  Tim, 43, Reno, NV. Guitarist, Mojo Green “SF marked my 10th Jamiroquai concert, but it ranks #1 in my book. A smaller venue than the European stadiums I had recently become accustomed to, the SF show opened the floodgate of memories back to 2005,  those very intimate shows where Jamiroquai last gave their heart and soul to America.” Cynthia, Washington DC, (age not given)“Jay Kay seemed so pleased by the obvious displays of love and appreciation from the crowd.  It warmed my heart to see him realize that he truly has a dedicated, devoted, rabid fan base in the US.  I’m sure he’s had his doubts over the years, and it was a great moment to witness the realization wash over him.  I’m sure he felt some of that after weekend 1 of Coachella, but I think the SF response was on a completely different level.”  Julie, 52, Seattle“Jay Kay was on some kind of spirit quest or something tonight (in SF), because he outshone any of his performances this last year in every way tonight. He was busting tons of moves,  just in a frenzy a lot of the time. His showmanship was on point as was his singing and riffing. This was the concert of my life. What a show!”  Matt, 32, Huntington Beach, CA “YES. SAN FRAN. ‘nuff said!” Paul, 50. UK. Bassist-JamiroquaiRead quotes from the ‘Jamily’ and the piece’s epilogue hereWords: B.GetzPhotos: Ross McIntirePhoto: Jamiroquai | Bill Graham Civic Auditorium | San Francisco, CA | 4/17/2018 | Credit: Ross McIntire Load remaining imageslast_img read more

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Broadway Court Cases: Rebecca’s Will Reach Trial & More

first_imgThree crimes involving Broadway productions or Broadway alums have made headlines this past week. Here is what we know so far in each of the three cases.Rebecca Proceeds to TrialThe Rebecca saga continues as the suit against press agent Marc Thibodeau proceeds to trial, according to Deadline. The New York State Supreme Court’s Appellate Division affirmed the Manhattan Supreme Court’s ruling that Thibodeau was in breach of contract by sending an email under an alias that caused an investor to withdraw $2.25 million from the production.While the new decision states that the May 2015 Supreme Court decision ruled correctly in favor of the show’s producers Ben Sprecher and Louise Forlenza regarding Thibodeau’s contract breach (because the press agent was hired to facilitate the production), the appellate panel also affirmed that issues of fact remain in the allegations of his defamation and interference.On August 19, the Facebook page for Rebecca announced: “After successfully winning both of our court cases, we are now finally in a position to move forward with our production.” While the court did rule in favor of the production, the trial for their allegations is not expected to begin until this fall. No details about a forthcoming Broadway bow have been set.Agent Arrested Over Alleged Kathleen Battle Play with Lupita Nyong’o Rolan Scahill, a former theater agent, has been arrested and arraigned on charges of Criminal Possession of Stolen Property, Grand Larceny and Scheme to Defraud, according to the New York County District Attorney’s Office. Scahill is alleged to have raised $165,000 from seven potential investors for a project he referred to as The KB Project, a play based on the life of soprano Kathleen Battle and her tempestuous relationship with the Metropolitan Opera.Scahill is accused of falsely claiming he had received Battle’s life rights and that Oscar winner Lupita Nyong’o—who received a Tony nomination earlier this year for her Broadway debut in Eclipsed—was attached to star. He also reportedly claimed to have booked the Booth Theatre for the show and secured a deal with Netflix to film a performance. All parties involved in these alleged deals say they were never contacted by Scahill.The prosecution states that the raised funds were used for stock investments, personal credit card payments, rent and various food, alcohol and entertainment purchases.Broadway Dancer Marcus Bellamy Charged with MurderMarcus Bellamy, a former Broadway dancer who appeared in Spider-Man: Turn Off the Dark and Tarzan, has reportedly confessed to murdering his partner Bernardo Almonte.According to NY Daily News, Bellamy wrote a Facebook post stating “I did it for love. I did it because I love you. He told me love and hate are the same emotion” shortly after beating and strangling Almonte. Bellamy then alerted a neighbor to his crime and was arrested shortly after.Bellamy appeared in a Gotta Dance feature for Broadway.com during his time in Spider-Man: Turn Off the Dark in 2012. View Commentslast_img read more

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Joining the euro would end Britain’s economic success story

first_imgWould you like to read more?Register for free to finish this article.Sign up now for the following benefits:Four FREE articles of your choice per monthBreaking news, comment and analysis from industry experts as it happensChoose from our portfolio of email newsletters To access this article REGISTER NOWWould you like print copies, app and digital replica access too? SUBSCRIBE for as little as £5 per week.last_img

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‘Rapid test is a commercial commodity’: Ombudsman

first_imgTopics : According to her, the Central Java Ombudsman found that some hospitals in the region were charging up to Rp 500,000 for one rapid test kit and service. “If the rapid test can further contain the spread of the virus, mass rapid tests should have been done wherever a mass crowd is found. But the service has shifted substantially as it is now a mere commercial commodity,” Farida said on Thursday as quoted by kompas.com.Farida went on to say that there were only several independent rapid tests in the capital city of Central Java province, Semarang, and it was performed without any clear standard. She stated her concern as crowded places such as bus stops, ports, terminals and train stations in the region were rarely targeted for mass rapid tests.Even though some COVID-19 rapid test centers have adhered to the ministry’s price ceiling, the Central Java Ombudsman on Thursday reported that several hospitals were still charging prices ranging from Rp 250,000 to Rp 500,000 for a rapid test service. The Indonesian Ombudsman has urged the government to review the regulation on COVID-19 rapid tests as there might be price discrepancies between test providers, resulting in people being charged “unfair” prices for the test.Following the circular letter issued by the Health Ministry on Monday, which set a price ceiling of Rp 150,000 (US$10.49) for the COVID-19 rapid test, the ombudsman presumed that some stakeholders might be using the test and the pandemic situation to make a profit.Central Java Ombudsman member Siti Farida said “the state should have made rapid tests free of charge or at least subsidized the test,” as it was hoped to curb the spread of the virus.center_img Nevertheless, the deputy chairman of the Indonesian Medical Association (IDI) Slamet Budiarto deemed the government “too reckless” for issuing such a regulation. He argued that the price ceiling of Rp 150,000 would not be enough to cover all the expenses needed for one rapid test.“The basic price for a rapid test [kit] is between Rp 150,000 and Rp 200,000,” he said as quoted by tempo.co. Meanwhile, there are still many other components, which require financial expenses namely the disposable medical kits, personal protective equipment and the medical services.In other words, hospitals still need to cover the expenses of other components if they choose to adhere to the ministry’s price ceiling.“The ministry should have standardized the highest retail price for a rapid test [kit], not for the [entire] service price,” he said, indicating that the government should not have burdened the hospitals with the remaining costs.Prior to the Health Ministry’s circular letter, Transportation Minister Budi Karya Sumadi said he had asked the Finance Ministry to subsidize rapid tests for public transportation users as they are required to submit negative COVID-19 tests before taking long-distance journeys.The request was made following numerous complaints over the high prices of rapid tests and polymerase chain reaction (PCR) tests. As of Wednesday, nearly 970,000 samples had been tested nationwide. The official data show that 68,079 cases of COVID-19 have been identified in Indonesia, with 3,359 deaths. Not only is the test currently unaffordable for many people, but stigma also deters Indonesians from getting tested for COVID-19. (trn)last_img read more

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Gabriel Magalhaes makes William Saliba prediction after completing Arsenal transfer

first_img Metro Sport ReporterFriday 4 Sep 2020 11:57 amShare this article via facebookShare this article via twitterShare this article via messengerShare this with Share this article via emailShare this article via flipboardCopy link15.5kShares Comment Gabriel Magalhaes makes William Saliba prediction after completing Arsenal transfer Advertisement William Saliba impressed during the recent friendly win over MK Dons (Picture: Getty)‘He is a great player and I am sure we will get along very well. It is a dream I am living the dream right now to play for this club with such a massive history and achievements.‘Everything is there to achieve and I am very happy to be here. It hasn’t really sunk in yet but i am glad to be here and I can’t wait to play with my new team-mates.’More: Arsenal FCArsenal flop Denis Suarez delivers verdict on Thomas Partey and Lucas Torreira movesThomas Partey debut? Ian Wright picks his Arsenal starting XI vs Manchester CityArsene Wenger explains why Mikel Arteta is ‘lucky’ to be managing ArsenalArteta is now likely to turn his attention to selling some of the defenders he has deemed surplus to requirements. Sokratis Papastathopoulos is wanted by Napoli after they missed out on Gabriel, while the Gunners will also listen to offers for the likes of Shkodran Mustafi, Rob Holding and Calum Chambers. David Luiz penned a new deal earlier in the summer while January loan recruit Pablo Mari has been signed on a permanent deal from Flamengo.MORE: Arsenal legend Sol Campbell reveals interest in replacing Freddie Ljungberg on Mikel Arteta’s coaching staffMORE: Alexis Sanchez reveals he asked to rejoin Arsenal after his first Manchester United training sessionFollow Metro Sport across our social channels, on Facebook, Twitter and Instagram.For more stories like this, check our sport page. Gabriel and William Saliba could form a powerful looking new central defensive partnership at Arsenal (Picture: Getty / Twitter)New Arsenal signing Gabriel Magalhaes is confident William Saliba has all the qualities necessary to become a key player for Mikel Arteta’s new-look side.The France Under-21 international joined the Gunners from Saint-Etienne last summer but was loaned back to the French club for another year as part of the deal.Saliba is likely to former a new-look central defensive partnership with Gabriel, whose own move to the Emirates Stadium was confirmed earlier this week.Arsenal beat competition from the likes of Napoli and Manchester United in order to complete the signing of the 22-year-old Brazilian from Lille, and Gabriel is relishing the opportunity to strike up an understanding with his new team-mate.AdvertisementAdvertisementADVERTISEMENTHe said: ‘I did not follow him much but I know he’s a talented young player and if he is joining arsenal it is because of his quality. We have a few friend in common and I did play against him before. Advertisementlast_img read more

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Family-size home shipshape on Yacht Street

first_imgThe home at 31 Yacht St, Clontarf is up for auction.STROLL to the waterfront from this modern two-storey family home in Clontarf. Mitch and Rochelle Wilson built the home at 31 Yacht St in 2012 after knocking down the original house that stood on the block. Mr Wilson said they bought the “old dump” because it was on a 519sq m corner block close to the sea. “Being close to the water was a big part of it,” he said. “We’d lived in Scarborough previously so we wanted that lifestyle and the accessibility to the city.” The home has an inground pool with glass fencing.Mr Wilson said when they designed the new home, it had to have a nice kitchen, a pool and a layout that was conducive to modern family living. More from newsLand grab sees 12 Sandstone Lakes homesites sell in a week21 Jun 2020Tropical haven walking distance from the surf9 Oct 2019On the ground floor there is an open-plan living, dining and kitchen as well as a laundry, bathroom and office. The kitchen has stone benchtops, stainless steel appliances, soft-close drawers and a butler’s pantry with sink and fridge space. There is also a double-car garage with a workshop and storeroom on the bottom level. Upstairs, the master bedroom has a walk-in robe and ensuite with dual basin vanity and a double shower. A “nice kitchen” was a must-have when the house was built.The four other bedrooms have built-in wardrobes and there is a media room. Back downstairs, the open-plan area opens to the timber deck and fenced inground pool. Mr Wilson said his family especially enjoyed the outdoor space, having barbecues on the deck and spending hours in the pool.“We’ll miss the place,” he said. “This is where our two youngest kids have grown up and we’ve had some really enjoyable moments in the house as a family.” The property is being marketed by Adam Clark-Lynch from Kindred. The home will be auctioned on April 27 at 6pm.last_img read more