click links in text for more info
SUMMARY / RELATED TOPICS

Ringasd el magad

In 1972 Ringasd el magad, the second album of Hungarian rock group Locomotiv GT was released. Its instrumentation was worked out and rehearsed in Budapest, the album was recorded at MHV Studios in the Hungarian capital, whereas the running order was put together by the band at a restaurant on Oxford Street, London. Although the style of the band was the same, the sound and stylistic diversity of the songs show a considerable progress. While on Locomotiv GT they used electric instruments exclusively, the instrumentation of Ringasd el magad is much more complex; the songs reflect the influence of many genres. Because of the longer instrumental sections, the album opener "Cirkusz", "Kotta nélkül", "Azt hittem" can be labelled as progressive rock; the long, distorted organ solo heard in "Kotta nélkül" makes the song the most reminiscent of that genre. "Lincoln fesztivál blues", "Megvárlak ma délben", "Ringasd el magad" resemble to blues-rock. "Lincoln fesztivál blues", the first instrumental song of the group, was inspired by the Great Western Express Festival, held in Lincoln, between 26 and 29 May 1972, where LGT was the only performer coming from the continent.

The version of "Ringasd el magad" featured on the album is not the same as the one that opens the group’s next release, Bummm!. "A semmi kertje" is a seminal fusion of Japanese music. The sung verses are accompanied by vibraphone and bass; the Japanese expression "mite kudasai", repeated at the end of each chorus, means "please, look" in English. The unusual sound is connected to the group’s performance at the World Popular Song Festival in Tokyo in 1971; the elegiac "Szerenád – szerelmemnek, ha lenne" is the first of Gábor Presser’s piano ballads that he would perform alone. It has a lot in common with the songs "Arra mennék én" and "Ahogy mindenki" on the albums Mindig magasabbra and Locomotiv GT V. respectively. "A szerelem börtönében" and "Ne szédíts" are melodic pop rock songs. The country-spoof "Kakukkos karóra" is an unusual recording. Ringasd el magad was the last album of LGT to feature Károly Frenreisz as bassist, he would leave the band in January 1973, form his own band Skorpió that same year.

In 1973, Ringasd el magad was issued in Czechoslovakia by Supraphon, CS Hifi Klub and the Hungarian MHV Pepita label. Its cover art was the same. An unreleased version of the album includes a different take of the song Kotta nélkül, as well as an additional piano track in the song Azt hittem, omitted from the actual LP, extended versions of several other tracks; the black and white cover photograph is a manipulated image. The original picture shows the two former Omega members and Laux standing next to each other on one side, at some distance from them Barta standing next to Frenreisz. "Cirkusz" – 4:30 "A szerelem börtönében" – 3:08 "Szerenád – szerelmemnek, ha lenne" – 2:25 "A semmi kertje" – 4:30 "Lincoln fesztivál blues" – 4:58 "Ne szédíts" – 3:20 "Kakukkos karóra" – 2:01 "Kotta nélkül" – 6:34 "Azt hittem" – 5:26 "Megvárlak ma délben" – 3:56 "Ringasd el magad" – 1:09 Tamás Barta – electric and slide guitar, vocals, lead vocals Gábor Presser – Hammond organ, electric piano, thumb piano, marimba, sound generator, lead vocals Károly Frenreisz – Fender bass, soprano saxophone, tenor saxophone, oboe, lead vocals József Laux – Ludwig drums, percussion Anna Adamis – lyrics Sarolta Zalatnay Bartók Kamarakórus conducted by Mihály Tóth Judit Lukács – engineer Zoltán Hézser – executive producer István Bara, Tamás Féner – photos György Kemény – cover art Information on the official LGT website Lyrics on the official LGT website Information on the Hungaroton website

Humberto Álvarez Machaín

Humberto Álvarez Machaín is a Mexican physician from Guadalajara, accused of aiding in the torture and killing of the American Drug Enforcement Administration agent, Enrique Camarena Salazar, in February 1985. He was acquitted of the charges. Álvarez is a citizen of Mexico. A federal prosecutor in Los Angeles confirmed that Álvarez had been captured in Mexico by bounty hunters seeking a reward offered by the US government, giving rise to concerns over the legality of his apprehension. However, the United States Drug Enforcement Administration continues to deny news reports that it had offered a reward of as much as $100,000 for the capture of Álvarez. Álvarez was indicted by a federal grand jury in Los Angeles, California, in 1990 for alleged complicity in the kidnapping and murder of U. S. Drug Enforcement Administration agent Enrique Camarena-Salazar and his Mexican pilot Alfredo Zavala-Avelar in Guadalajara, Mexico in February 1985; the U. S. District Court for the Central District of California issued a warrant for Álvarez's arrest after his indictment.

Álvarez was tried for Camarena's kidnapping and murder in 1992. After the presentation of the government's case, the district court judge granted Álvarez's motion for judgment of acquittal on the ground of insufficient evidence to support a guilty verdict; the district court concluded the government's case was based on "suspicion and hunches, but no proof" and that the theory of the prosecution's case was "whole cloth, the wildest speculation." As a result, Álvarez was repatriated to Mexico. In 1993, Álvarez initiated a civil action in the United States District Court for the Central District of California, alleging numerous constitutional and tort claims arising from his abduction and trial. Sosa, Gárate, five unnamed Mexican nationals, the United States and four DEA agents were listed as defendants; the district court ruled in favor of Álvarez in the amount of $25,000, the U. S. Court of Appeals for the Ninth Circuit affirmed Sosa's liability on appeal; the U. S. Supreme Court granted certiorari on December 1, 2003 to determine the issue of whether Álvarez was entitled to remedy, pursuant to the Alien Tort Statute.

The Supreme Court held that an illegal detention of a single day did not constitute a sufficient harm for relief. Mexican Drug War United States v. Alvarez-Machain

All-Star Baseball

All-Star Baseball is a series of baseball video games, developed and published by Acclaim Entertainment. The series began in 1997 with the release of All-Star Baseball'97 Featuring Frank Thomas, the successor to Frank Thomas Big Hurt Baseball. New York Yankees play-by-play announcers John Sterling and Michael Kay were the announcers for 1998-2000 editions of the game; the final game in the series is All-Star Baseball 2005. Another game in the series was cancelled, while Acclaim Entertainment ceased operations on September 1, 2004. Within the individual games, there are several different modes of play, such as exhibition, managing an existing Major League Baseball team or creating a team. Many cities around the world are available for "expansion," in addition to Mexico City and Puerto Rico. Most of the games feature Derek Jeter on the cover; the first game in the series featured Frank Thomas and was released for the PlayStation and Sega Saturn. The game marked the debut of play-by-play commentary.

This is done by two New York Yankees broadcasters: Michael Kay. Larry Walker appeared on the game's box. All-Star Baseball 2005 features a variety of things that most previous versions did not include, such as classic players like Babe Ruth, Yogi Berra and others. Apart from each of the MLB teams, the game features MLB legends of different eras and the 2004 American and National league teams. One particular game characteristic is that it includes the Montreal Expos, who relocated from Montreal to Washington D. C. and changed their name to the Washington Nationals for the 2005 MLB season. The game includes all thirty stadiums as of the 2004 season, as well as other fictional and non-fictional ball parks to bring the total to over eighty parks; some of these parks include: the Polo Grounds used by the New York Giants. The Nintendo 64 versions received positive reviews, with an average score in the mid-to-high eighties according to GameRankings; the Gamecube version of All-Star Baseball 2002 received the lowest reviews of all the home console games in the series, with an average score of 67%.

All-Star Baseball 2000 on the Game Boy Color has the lowest scores of the entire series, at 60%. The first game in the series, All-Star Baseball'97 Featuring Frank Thomas, received mediocre reviews upon its release for the PlayStation. Triple Play series MVP Baseball series MLB 2K MLB: The Show All-Star Baseball 2005 at Gamespot.com All-Star Baseball series at MobyGames

DJ Rush

Isaiah Major best known as DJ Rush, is an American musician, DJ and record producer of electronic music. Isaiah Major was born in Chicago, United States. Isaiah Major finished his degree in Computer Operations, Anger Management and won several first place awards in Art competitions. In the blooming house scene of Chicago, DJ Rush came to like electronic music, he made his first appearances as a DJ in the Chicago Clubs "Music Box", the "Powerhouse", the Warehouse where he played his sets for up to ten hours. He began producing. In 1991 DJ Rush released his first single on the label Trax Records, he began to gain ground in Berlin. In 1996 he released two full-length albums on Trax Records. In 1998 DJ Rush had a Europe-wide breakthrough with the record "Motherfucking Bass", it was regarded as one of the "club hymns" of that year. Following this success he teamed up with Tina Panitzke to start the booking agency and record label Kne'Deep in Berlin. In 2001 he displaced Jeff Mills as the Reader's Choice for most popular DJ in Groove-Magazine.

As his fame grew, he used his status to help up and coming techno artists get their breakthrough by remixing their tracks, or releasing them on his label, Kne'Deep. He sometimes DJ's and MC's a unique way to entertain the crowd. DJ Rush is regarded as one of the most iconic persons of techno. DJ Rush is 6' 6" tall. DJ Rush's official website DJ Rush discography at Discogs DJ Rush on Twitter DJ Rush on Facebook DJ Rush's channel on YouTube

At the Hub

At the Hub is a lengthy 2007 Hebrew political poem written by Uri Zvi Greenberg and edited by Dan Miron and Greenberg's widow Aliza Greenberg–Tur-Malka. Its publishing was made possible with the help of the Menachem Begin Heritage Center, the Israeli Ministry of Education, the Israeli Ministry of Culture and Sport, the Yehoshua Rabinovich Foundation for the Arts, Tel Aviv, the Mifal HaPais Council for the Culture and Arts. Writing for the far-leftist newspaper Haaretz, Ariel Hirschfeld from Hebrew University of Jerusalem's Hebrew literature department called the poem "one of the highest peaks of Hebrew poetry", compared Greenberg's work to those of Hayim Nahman Bialik, Shmuel Yosef Agnon, Dahlia Ravikovitch, James Joyce, Dr. Nathan Zach, Franz Kafka, Dr. Yitzhak Laor, W. B. Yeats, William Faulkner, Osip Mandelstam, Rainer Maria Rilke, "as, his work is equal to theirs," adding that the poem "is a wellspring of rare beauty and wisdom," and is "the most profound confrontation written in Hebrew with man's breakdown during the 20th century, including the dissolution of European Jewry during World War II, man's shattered mirror."Also writing for Haaretz, critic Dr. Oreet Meital opined that Dr. Miron attempted, via the aforementioned footnotes, to depoliticize Greenberg's poem: "Uri Zvi Greenberg's poetry should not lose, upon moving from the fringes to the mainstream, its provocative, and, paradoxical nature, its canonization if done so tendentiously and deliberately, is a castrating mechanism working against the text's subversiveness and against the wild dimension, part of its magic and essence.

Hence, one should be wary of this whitewashing rendering Uri Zvi Greenberg anemic."Writing for the right-leaning magazine Nativ: A Journal of Politics and the Arts, critic Dr. Yoram Beck underscored that "at a time during which talks of a clash of civilizations are common, Uri Zvi Greenberg's ideas seem relevant more and more, however, we still do not understand their implications," for, "Uri Zvi Greenberg's poetry is a poetry of heights, a poetry of a deep soul which demands, both from itself and from others, extraordinary demands, one cannot be at the presence of this poetry comfortably; this poetry and foremost, is bestowed by a zest for life — not a hedonistic but an ecstatic one — and, it embraces all layers of life: from the mundane to the historical, from the material to the spiritual, from the erotic to the religious. Uri Zvi Greenberg constructs his poetry out of all of life; this is a poetry of complete freedom, in which the poet allows himself to use all registers, all associations, all literary forms, in order to express himself," as, "this is a poetry of loneliness."

אלפרוביץ, ד״ר ליאור. האדישות הקוסמית לסבל ולשכול. בתוך: טיים־אאוט תל אביב, פתח תקווה: סטימצקי, גיליון 250, ב׳ עד ט׳ באלול ה׳תשס״ז/16 עד 23 באוגוסט 2007, עמ׳ 244. מן, ד״ר ניר. משורר החזון והכתלים החלקים. בתוך: מקור ראשון, תל אביב–יפו: ישראל היום, כ״ז בתמוז ה׳תשס״ז/13 ביולי 2007. פישלוב, פרופ׳ ד״ר דוד. גלות מרצון ומאונס. בתוך: ידיעות אחרונות, ראשון לציון: ידיעות אחרונות, ה׳ באב ה׳תשס״ז/20 ביולי 2007. גרינברג–טור־מלכא, אורי צבי. בַּעֲבִי הַשִּׁיר: מבחר שירים, ע. עליזה גרינברג–טור־מלכא ופרופ׳ אמריטוס ד״ר דן מירון, עם ״פתח דבר,״ עמ׳ 15–35 מאת פרופ׳ אמריטוס ד״ר דן מירון. ירושלים: מוסד ביאליק, ה׳תשס״ז/2007, מהדורה שנייה: ה׳תשס״ט/2008, 616 עמ׳, 9789653429239