![]() If it had managed, as it surely sought, to abduct a soldier or a civilian, or to seize a nearby kibbutz, the operation would today look utterly different. During the days prior to July 8, Hamas sent similar messages to Israel against that backdrop, it sought to launch a strategic operation, tunneling into Israel, killing civilians or soldiers. Hamas, beyond some of the shifts detailed to The Times of Israel on Monday, also sought to take a page out of the IDF playbook: On November 14, 2012, with the defense establishment under the care of the cagey Ehud Barak, the army sent messages of calm and then launched a decisive strike that changed the course of the operation, killing the commander of Hamas’s military and striking the majority of its strategic Fajr-5 rockets. A tunnel that the army and the Shin Bet found near Kibbutz Kerem Shalom – an allegedly dark work of art, equipped with lighting and ventilation and 300 tons of reinforced concrete – was not just an expression of Hamas’s understanding that, in the age of Iron Dome, it needs offensive tools beyond rockets, but also part of the comprehensive conclusions drawn in the wake of the November 2012 Operation Pillar of Defense. ![]() to late night Tuesday – here are five thoughts about the still unfinished mini-war:ġ. With roughly two divisions of combat troops perched outside Gaza, a battered ceasefire proposal still fluttering in the distance, and reinvigorated violence –125 rockets were launched at Israel from 9 a.m.
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![]() Lady in Black really hit hard in Northern Europe, one of the major hits back during this time. All of this goodness comes with some pretty good keyboarding to boot, and – for the time – really progressive drum work. But not at that level of red-hot intensity. Okay, we already enjoyed some rare falsetto shenanigans from David Byron earlier. And also to the later ones like the famous Demons and Wizards or Firefly. The change in style is drastic compared to their first album. The whole start to Salisbury pretty much comes as a shock. Which just adds to this overall delicious weirdness. The ballad The Park, all full of birdie sounds, and sweet, soft music, will greet you next. And I tell ya, the track is so funky that it kinda glues you to your earphones.īut there’s more falsetto for you. Some sort of an early metal scream before this even became an idea. Furiously fast, until those weird falsetto voices emerge, the mother of all nut-crunchers. First, Bird of Prey speeds away with a strange mix of Hard Rock and early Heavy Metal. This is the first impression you get when the album takes off. Let there be sound on the Salisbury plains, and it was rather strange! So here we got the stage set against an almighty competition that was the emerging Progressive and Hard Rock scene. And Black Sabbath got rid of Master of Reality, another good’un. This was also the year that Led Zeppelin unleashed Led Zeppelin IV 2). ![]() So, this review will focus on the European version.Īnd let’s think back to 1971 for a moment: Jethro Tull just released their ultimate career booster Aqualung 1). The different and truly boring cover and a slightly edited track selection – a failure in my view – did not quite cut it with the crew over here. Unfortunately, the US version of Salisbury was somewhat different and not to my taste. Which was at that time, and still is today, a military playground in the good old United Kingdom. Now, Salisbury would only be half-finished without this trademark orange cover with a Chieftain tank supposedly driving through the Salisbury Plains. Something that wasn’t yet quite common back in the early ’70s. And who would have thought that this would turn out to be one of the most controversial and inspiring albums Uriah Heep would ever produce. To be completely honest, even for us nerdy people this new style was a bit difficult to digest. Germany came in at rank 31, whereas the reception was a bit mixed in the United States. The land of the future metal scene of the ominous kind. On the other hand, Salisbury charted at # 1 in Finland. The comments the band had to endure at that time were pretty bad. But for most of the folks out there, nada. Except for a few nerds that relished this wailing somewhat fierce. Only, it didn’t quite connect with large swathes of the fan crowd. Uriah Heep truly excelled with some pretty stellar songwriting. And others LSD’ed themselves through Rock and Hard Rock with sometimes spectacular and – at other times – spectacularly bad effects. Most of the other outfits liked to produce the flower-power induced and drug-infused bullshit that was a staple at that time. Actually, this record – I am tempted to call it a masterpiece – was way ahead of its time. Starting with ‘Very ‘eavy, Very ‘umble’ a year earlier, Uriah Heep went on full progressive mode with Salisbury. Actually the antagonist hero in the story, no less. The band’s name derives from the Charles Dickens novel David Copperfield, by the way. Salisbury, the 2nd studio album of early Uriah Heep is one of them. Because far into the past, there already were jewels that nobody really knows anymore. But often we cover modern artists and sometimes forget the old masters. In 2003, an expanded deluxe edition was released with 7 bonus tracks.Well, I have dabbled in Progressive Rock and Metal for a while. The album was remastered and released with two bonus tracks in 1996. "Salisbury" also features the song Lady In Black, which became one of the most popular songs in the band's history and is still a fan favourite played at Uriah Heep's every show. The album is notable for the band's first attempts at more complex compositions resulting in a 16minute title track. The US edition, just like with the debut album, had a different album cover.Ĭontrary to the first album, "Salisbury" was written mainly by Ken Hensley, who was the band's primary songwriter on most of its releases until his departure in 1980. Recorded in late 1970 in London and released in early 1971. When the sync file is finished uploading to iCloud, your other registered devices will automatically download the file and then start syncing the database. Tap Forms will generate a sync file which will be uploaded to iCloud. Now tap on the sync button at the top-right of the iCloud Sync screen. You will see each registered device listed underneath the Registered Devices list. Tap on the Enable iCloud Sync switch to register your device. Go to the Tools screen, then to the iCloud Sync screen. To sync your devices with one another, first you must register all your devices with iCloud sync in Tap Forms. Please email me at if you need assistance.Frequently Asked Questions (version 3) Q: How does iCloud sync work?Ī: Before syncing, please make a backup of all your Tap Forms data and copy it to your computer or upload it to Dropbox for safe keeping. I would also recommend upgrading to Tap Forms 5 to avoid this issue. I'm just guessing this is what your issue is as it's the most common crash on launch issue. Version 4.0.9 is extremely old and does not support Face ID. You would need to re-install Tap Forms and not enable Face ID with this old version. If you move from an iPhone that has Touch ID to one that has Face ID this can happen. ![]() Thanks for the tip! That should get me by a while longer. I deleted and reinstalled TapForms, and as long as I don’t try to use Face or Touch ID on the new device, the app opens just fine. I had moved from a Touch ID device to a Face ID device, and the app was instantly crashing. I really, really, really hope this can be fixed. I’ve noticed that the new iOS 15.4 update seems to cause it to immediately crash. I absolutely love this app and have been using it for at least a decade now as my password manager, since long before password managers have become a thing to have. Get your Tap Forms Organizer and Secure Database app now.
![]() Honor the process by avoiding last-minute changes that the camp can’t verify.Įmotional safety requires attention. The camp should maintain a list, provided by parents at registration, of people allowed to pick up children. I’m all in favor of group hugs after the first few weeks once people know each other, and a camp counselor hugging a camper in public, but physical contact when one-on-one should be discouraged, and the campers should always be asked their opinion first. These include regulations restricting out-of-camp contact between staff/volunteers and campers, social media contact between staff/volunteers and campers, and explicit rules about physical contact. The camp should have policies designed to prevent abuse. Student employees should participate in pre-service training to learn the rules, values, and standards of the camp, and be assigned a supervisor who really supervises even the students who seem most mature do not have fully developed judgment capacity. This includes maintenance and food services staff as well as the counselors, teachers or volunteers working directly with kids. Camp administration should check the background and references for all people who have access to children. If parents drop off the children, are there procedures to ensure that the child passes from the parents’ supervision directly to a staff member? Is there a safe path to travel when the child leaves the car?īackground checks. If the children will be transported, will there be someone other than the driver to provide supervision? Excited kids can get unruly and distract a driver an older child assigned to lead songs and keep order may be enough if no staff member is available. Here are some important points to consider: A well-run program, with well-prepared staff, that is monitored by supportive parents can help ensure safety. I’ve seen the potential ways children can feel unsafe, and the ways they actually can be unsafe. Long before my career working with child abuse prevention, I spent summers during high school and college as a camp counselor. Regardless of the program you choose, one thing should be certain: that the camp is run in a way to keep children safe. With over 30 years of experience, The Summer Camp Advisors are highly successful at guiding clients to the most fitting camps and programs.Īfter decades have passed, many adults look back upon summer camp as the time of their life! So why take a chance and simply register for a summer program because the website looked nice? Finding the right camp takes thought.The school year will end before you know it, and now is the time to make summer plans for kids. Tell us your camp considerations, such as price, location, or any special conditions, and we’ll get on it. 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The mastery journal is all about the three scales of productivity, of discipline, of focus. ![]() That’s the process of mastering then you will get to that point of mastery. For me, the key to mastery is to wake up every single morning and to be a little bit better by the end of that day than you were that morning. The fact is you try to master something, it’s a lifelong passion, it’s a lifelong thing to master. They’re scared of trying to perfect and perfect. That’s a lot of the issues that people have. For me, mastering and perfecting are completely different processes. The key to mastering the three keys and skills within The Mastery Journal are productivity, discipline, and focus. You just came out with The Mastery Journal. John is also the creator of The Freedom Journal and The Mastery Journal, the latter having already raised $200,000 on kickstarter of which I’m one of John’s many backers. Hi, I’m Stephan Spencer, your host and today’s guest John Lee Dumas is the founder of Entrepreneur On Fire, an award-winning podcast that has grown into a multi-million dollar business with over 15,000 interviews to date and over 1.5 million monthly listens. You’re about to learn some from the millionaire podcaster, John Lee Dumas’, most powerful principles for success. Are you ready to become a master of productivity, discipline, and focus? Excellent. John offers some tools and recommendations for new podcasters.What’s in John’s warehouse, aside from the 20,000 copies of his book?.Personally, though, he’s happy with his self-publishing decision. In response to Stephan’s question about traditional publishers versus self-publishing, John acknowledges that he isn’t an expert in the subject.Did John hire a company that specializes in Kickstarter videos for his?. ![]() Building an audience takes free, valuable, and consistent content. ![]() With so much to do every day (or every week), why does John choose to do a daily podcast show?.He suggests, for example, not putting sound-only podcasts on YouTube, because people go there for videos. John shares his thoughts on how to do best on YouTube.We hear some of John’s advice for new speakers who don’t yet have a long or solid track record.John shifts into talking about becoming a speaker.What are John’s techniques for building and maintaining relationships? After answering, he gives his advice on how to make sure your podcast guests share your podcast once it’s live.John shares his advice on making the most of podcasts.He then talks about his favorite productivity gurus and books. John talks about his to-do lists, for which he particularly prefers WorkFlowy.What are some of John’s favorite productivity tools?.The 10-day recaps are important because they help you evaluate your flow and answer the hard questions.John talks about the daily self-evaluations in the Mastery Journal.John uses 42 minutes of focus followed by 18 minutes of refreshing, but he emphasizes the importance of finding numbers that work for you. We learn more about the four daily sessions in the Mastery Journal.His affirmation for today is gratitude for his new essential oils machine. John doesn’t have multiple affirmations, but rather one affirmation per day.Does John use Focus at Will to help him focus? It turns out both he and Stephan have interviewed the founder, Will Henshall.The morning routine is key, John reveals, and explains how best to take advantage of this concept.John talks about how he decided to create The Mastery Journal.What are the keys to mastery? There are three, John explains: productivity, discipline, and focus. ![]() "On the one hand there's this guy unwilling to be Caesar. Was I the guy who would bother to answer the phone? Yeah. Was I the guy who went and chatted up the local promoters? Yeah. On the other hand, was I the guy who bothered to actually go out of Detroit with no pennies in my pocket and tried to get a gig? Yeah. So eventually it was Iggy and the Stooges, so you have a little dichotomy set up there. So you make that compromise with them but they didn't dare do that with me so they'd do it behind my back. ' Oh, no, no, no, we'll decide who you are. It's like when you go into the Hall of Fame and say, 'Ok, great so all ten of the guys that were. Nobody told me the album was going to come out, nobody told me. Well later, little by little, we'd go far from Detroit and they'd just bill it: Iggy and the Stooges.įinally, when the second coming of the Stooges came around, they billed our gigs Iggy Pop (ex-Stooges). And I was humiliated and furious and I couldn't do anything about it. They were doing the product identification with me. And I was so excited and I ran in there and I got it and I turned it over and I was Iggy Stooge. There it is in the record store I used to work in. ![]() Finally, one day, it was late August, there it was in the window: (whispers) that's our record. I would walk to the record store, two miles into town every Tuesday for three months, waiting for our record to come out. I wasn't coming from like, 'okay, I've got a manager, I've got a plan.' I was just a kid from the Midwest. ![]() These are the three things a rock star is supposed to have. This is not Alice Cooper.' When they passed away they had houses, money and bad habits. Then when our first album came out they called me first and asked if I'd mind being Iggy Stooge and I said, 'yeah, I fucking mind. So these things started coming up and the next thing that happened was, little by little, the people would make a poster - I mean, we're talking about a dance where 200 people were going to come - it's like, the Stooges WITH IGGY, a show you won't forget - and we'd try to bonk that down but it kept coming out. See Iggy See him puke See him shit green See him jump Jump Iggy jump Then that would start to translate to reviews and then, of course, the fellas in the group would see a review or comments about our show and then, in the early group, I would wake up the next morning and there would be writing literally on the wall: And then you had a whole lot of other people who would say or write or still give interviews to the effect of, 'well, really the whole thing was this guy Iggy doing this thing and the group was just a bunch of these. Pop: Here's the deal, right from the get go you had people who liked the whole group. How great was the pressure from outside and inside to extrapolate yourself from the group? But with the release of Gimme Danger and an upcoming authorized biography, coupled with your possibile retirement, it's clear you're trying to set a public record straight before it's too late. But as Pop tells CBC Music in an emotional and candid interview, the tension born of that inevitable "dichotomy" would lead to a splintering of the original band, an act which would haunt the singer right through to its much-publicised 2003 reunion and the deaths of three of its original members.Īs the outlandish frontman for the Stooges, it's not surprising to hear that labels and managers tried to separate you from the group - to make you the star. ![]() ![]() Microsoft Windows: Vista, XP, 7, 8, 8.A great deal of pictures tools to make use.Auto-tune Pro Crack Sound reviews for remarks.The higher course of occasion assurance.The graphical setting for qualified users.Auto-tune Pro Crack will woks faultlessly with vocalists.It’s good with 32 and 64-bit programming frameworks.So, It likewise has the ability to change the gatherings.It empowers you to alter the live sound.So, It works consequently and additionally.Subsequently, surely understood music on-screen characters can impact tunes to record utilizing distinctive melodic instruments like guitar, drum, and electric gadget, etc. It has autotuned ability to tune-up slower music records. 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