EXCLUSIVE: Pretty Lights Details The Vision Behind NOLA Pop-Up Parade, Shares Insight On New Album

first_imgLoad remaining images During the final hours of sunlight on Sunday, May 7th, 2017, as this year’s Jazz Fest wound to a close, Derek Vincent Smith took his vision for Pretty Lights to the next level, hosting a pop-up second line parade in his current home of New Orleans, LA. The parade ended beneath a highway overpass, setting up those in attendance for an intimate, once-in-a-lifetime performance by the pioneering DJ/producer, a brigade of brass blowers, and the many musical friends who joined in along the way.To those outside the Pretty Lights camp, the event was seemingly spontaneous. Earlier that morning, a map of the second line’s route was sent out to his devoted fanbase with the hashtags #PLpopup and #PLparade, hinting at what was about to go down. But while the event was a surprise to fans, the parade was months in the making and a hugely collaborative effort manifested by Smith, the Pretty Lights team, and a huge network of musicians, artists, officials, and more.The massive production on Sunday doubled as a celebration and a music video shoot for Pretty Lights’ newest single, “The Sun Spreads In Our Minds,” which we can officially expect to hear next month. The song is also the lead track on the upcoming Pretty Lights album—his first official release since 2013’s A Color Map Of The Sun.“Since I haven’t released music in four years, it’s been really important for me to have a coherent message that sets the tone moving forward,” Derek tells us of his new music and its presentation. He continues, “I left my management firm in 2015. It was starting to feel like the industry was trying to push me in a certain direction that felt very contained and boxed in. My team — my homies—that works with me has built a moral support around this decision. Since then, we’ve been figuring out how to do this completely independently and figure out how to do new things on every level that embody the philosophy of Pretty Lights, which is all about doing it for fun, doing it for the music, and trusting that whatever money you need to survive and to make it keep happening will always come back.”“The Sun Spreads In Our Minds” made its triumphant live debut in the midst of a grand celebration. The multi-dimensional experience brought together a New Orleans-style second line parade, an experimental popup show, a music video production, and a collaboration across music and visual arts.With a speaker system at its helm, the second line–complete with a full brass section–made its way down Tureaud and N. Roman St. for about a mile. On the final block, the music stopped and Derek began to explain the relationship between light energy and human energy. He explains, “One of the first samples in this new song says that ‘human energy is a form of light,’ and then all the samples have this conversation about that.”With the vibe officially set, the emotional opening string samples of “The Sun Spreads In Our Minds” slowly rose over the din of the crowd, carrying the song as the parade continued onward toward its final destination, the I-10 overpass. At the exact moment the second line turned the corner and found themselves basking in an uninhibited sunlight, the song dropped into its drum part—a serendipitous, unplanned occurrence that seemed to underscore the theme of the event’s planning and execution.Above the newfound stage was a striking backdrop: a brand-new mural by international street artist Boxhead. The massive set depicted a signature Boxhead holding her arms open–hugging and presenting at the same time–to welcome the crowd to the special performance. Unplanned moments along the way, like the fans who rushed the stage, the unstoppable freestyles of Maurice Brown, and the sudden appearances of saxophonists Joe Kirchem Jr.(The One Percent) and Khris Royal (Rebelution), shaped the ultimate spirit of the experience: all coming together to create an unforgettable moment in Pretty Lights history.The spirit of the second line and the presentation of this latest single shine a light on the ultimate philosophy of Pretty Lights—one that focuses on the unity of human and universal energies, and the ability of a multiplicity of individuals to come together as one to manifest a vision.“More than anything, it was an artist collective,” reiterates Derek, when asked about how the event came to be.The idea was first spurred at a summit in Colorado last year, when members of the Pretty Lights team congregated for a creative brainstorming session. The session was focused on developing unconventional fan experiences, a hallmark of Pretty Lights from his earliest years (when he pioneered the practice of giving his music to the fans free of charge) up through now (as his ongoing  episodic music festivals that have replaced a more regular touring schedule).“We were trying to figure out how to lace the album release with the music release to make it totally new, while coinciding it with our upcoming tour that we’ve been planning — which is also pretty unorthodox.”Derek continues, “We wanted to incorporate the film aspect and really unify all the elements of the whole crew.” Admitting that the work goes far beyond the electronic producer, Derek explains how he now thinks about Pretty Lights, “It’s about the manifestation of a whole team of artists.”With the knowledge that they wanted to merge collective artistry and innovative fan experiences for their next projects, Derek and his girlfriend and Pretty Lights creative director, Meghan Zank, eventually thought up the idea of creating some sort of multi-dimensional event to close out Jazz Fest’s second weekend in their home of New Orleans.Derek’s goal was to combine Jamaican soundsystem culture with New Orleans second line culture, while Meghan’s focus was to collaborate with a muralist to create a layered experience, one that would ultimately leave its mark on the city long after the experience itself ended. The two also wanted to create a counterpoint to Pretty Lights’ episodic festivals — he confirms there will be a total of eight of these events, including the recently announced Gorge weekend and the returns to Red Rocks Ampitheatre and Northerly Island. Instead of mirroring these more familiar festival experiences, they wanted to produce intimate, more spontaneous situations for fans that tap into Pretty Lights’ increasing inclination toward the pop-up shows and experiences that harken back to the beginnings of Pretty Lights.“I started giving Pretty Lights music away for free from the beginning, and over time that’s become the norm for artists who are trying to get their music out there. It really felt like a big next step in spreading the music, the philosophy, and the vibe would be through free shows,” says Derek.Over time, the idea for a free pop-up second line celebration to close out Jazz Fest began to take form, incorporating both Derek and Meghan’s initial ideas into one vision. Derek explained, “It just clicked that we could make a sound system, use it to lead a second line, amplify the second line through the speakers, dub it, play beats, and end at the painting and rock the pop-up show.” He recruited Chief Jigga to seal the vision’s authenticity.While the team was excited by this out-of-the-box project and immediately got behind the idea, it was simultaneously intimidating. Management was nervous because there was no income model attached to it, eventually requiring that all its funding be out-of-pocket. Logistically, it also became apparent rather quickly that the scope of their Jazz Fest-closing second line would require bringing in many other individuals from within and outside the Pretty Lights team to pull off the project.“We ended up just inviting people to get involved, and people seemed to think it was an amazing idea and were all about it,” says Derek. “It had to be a bunch of people working together. Instead of envisioning exactly what we wanted and pushing for that, it was more about painting the picture of the vision to others here locally, getting them hyped on it, and then seeing who was interested and what ideas they had. As soon as we started allowing the vision to adapt and shape shift based on what possibilities existed, it ended up happening just bigger, faster, and cooler than we could have imagined.”This approach was new to the producer and DJ, though it’s clearly left its mark on Derek. He explains, “I’ve thought about myself as an individual artist for so long, so as soon as Meghan and I really started working together symbiotically, it enlightened me the fact that our work can amplify and magnify when working within the same artistic atmosphere. It became about working on each other’s art, and we applied that concept to our work with everyone involved in this production.”Despite rallying behind the shared vision, pulling off the event required a huge amount of work—an amount that seemed insurmountable at points. Derek explains, “Everyone was super amped, though still scared about whether it was going to work out.” This energy—the simultaneous excitement and doubt—became a theme throughout the production stages, necessitating that everyone trust that everything would turn out as it was meant to.The first hoop to jump through was getting the city on board. While Derek notes that the team considered it might be easier to “ask for forgiveness rather than permission,” Mike Bertel, Derek and Meghan’s neighbor and local real estate developer, and Zach Fawcett were tasked with sourcing support from the city. Luckily, the city’s approval came delightfully easily due to the enormous support the city of New Orleans regularly shows for its resident creatives. With the vision painted, the people hyped, and the permits in order, it all came down to piecing together the puzzle.To lead the second line, The Shady Horns saxophonist Ryan Zoidis (Lettuce) was recruited as the musical director to coordinate the live elements of the parade, which included the combined musical efforts of over twenty talented musicians.***Check out Live For Live Music’s live stream of the second line parade***“He called me about arranging the horns for the second line, and he wanted an intro to the show that was related to the new single that he premiered,” explains Zoidis. He continues, “He had the Indian Chiefs from the 7th and 9th wards, and he had The Hundreds, a young brass band from the 7th ward. I don’t know much about leading a traditional second line and we wanted that element, so I called the Soul Rebels. Then, we thought about having a huge section for the intro, so we asked Ashlin Parker and The Trumpet Mafia to come through. They brought Maurice Brown and a handful of great trumpet players.”While the musicians were readily behind the project, the various artists tapped for the second line did not have much time to meet with Derek and rehearse what they would do on the day of the spectacle.“I had a 40-minute hang with the Soul Rebels in the backyard, and another 40-minute hang with The Hundreds brass band, but that was really to get the horn parts worked out for the main collaborative track we did. . . So we did have a few rehearsals, but it was more-so to paint the picture and excite people,” says Derek.Despite the exact details not being fully nailed down, the project moved forward powered by a faith in the communal vision and the talent of the musicians onboard. All the while, Meghan and Derek were researching painters and locations for the artistic centerpiece—the project’s “mark on the city”—that would capture the vibe of the experience and the “The Sun Spreads In Our Minds.” Eventually, Meghan discovered Begoña Toledo or Boxhead, who was brought on after providing the best artistic response to Derek’s new track, making her a clear partner for this endeavor.“When I first listened to the single, I could feel the sun spreading in my mind,” Toledo explains. “I felt every beat of the track running through my body, from the darkness into an explosion of light. I felt it somehow like the perfect soundtrack to what’s happening in the world right now, the peoples are waking up, a revolution is about to start, in unity around the globe. . . My favorite moment in the song is when there’s a voice, almost sounding from the underground, shouting ‘we’ve been living in the dark,’ and then the whole track accelerates into the hardest beat I’ve heard from Derek to this date.” She continues, “That’s the moment I wanted to capture in my piece.”Toledo added her own vision into the collection of different ideas coming together for the second line: “I knew I wanted to incorporate as many of the colors in the spectrum as possible, to symbolize unity and diversity. And I knew the center of the piece had to be the brightest, the sun, the light. The mural captures the very moment when the light hits our consciousness,” she explains. “The head extrudes, spreads to the sides, in slices that merge into the darkness, vibrating, undulating as if they were sound or energy waves.”The other members of the production immediately got behind Toledo’s concept, and the artist got to work so that her mural could eventually serve as the backdrop to the final-destination pop-up show beneath the underpass.[photo by Dorian Weinzimmer]On the day of Pretty Light’s pop-up parade in New Orleans, the months of work by dozens of individuals paid off, tapping into the communal magic behind the shared vision and ultimately creating a grander experience than ever thought possible. “As soon as we showed up and started playing beats through the sound system before the parade started, all the horns players started jamming on the beats. It was amazing how symbiotically it all worked and how these groups of musicians can synchronize and jam on it without any rehearsal,” say Derek.After the second line streamed down the streets of New Orleans to its final destination at the underpass, and after the sun eventually set, the dream of Toledo’s mural as a visual accompaniment to Derek’s music became more powerful than originally conceptualized, with added 3-D mapping of the art installation magnifying the experience. The collaborative and fateful energy never stopped, even once it was underway — the production, its spirit, and its energy had taken on a life of its own.“I ended up singing, free styling, rapping, with other MCs like Maurice jumping up to rock this new kind of second line hip-hop. I would have never expected any of that to happen,” say Derek. “Even in the moment of the whole event, it was the same vibe of how it all came together—which was feeling nervous and then realizing that the fear was just the clue of how important it is. It’s about taking the leap and going with it. It’s true what they say, that the bliss was on the other side of the fear.”The ability for the team to trust in its success and let the universe have its way with the event is ultimately what allowed the Sunday second line to be such a special, once-in-a-lifetime event. For it to go down, a bunch of small parts came together to create something much larger than ever thought possible. Appropriately, this idea perfectly encapsulates the theme behind Pretty Lights’ upcoming album. While the new album has no scheduled release date, nor does it have a final title, Derek shared a phrase that heavily inspired this new studio effort: “Looking back from the future.”He explains, “Basically, I watched this YouTube video of this woman from Alaska who was talking about polychromatic microtonal music. She says something like, ‘If you look back from the future, it makes total sense that we would evolve a much more sophisticated musical system.’ Just the phrase really inspired me and everyone I brought it to.” He goes on, “If you can see where you want to be . . . when opportunities or choices or circumstances arise, then it’s like every little choice you make can add up to manifesting your dreams. Instead of letting the circumstances dictate your dreams, you let your spirit or soul consult the circumstances.”If for nothing else, Sunday’s spectacle was proof of an exciting future for Pretty Lights. The collective team’s vision crystallized in unity under the spark of the sun, and has officially paved way for all the world that will come. Derek Vincent Smith is set on breaking barriers, and fans have only gotten their first taste of how Pretty Lights will continue to evolve. The spirit of experiment has been tested and will continue to pick up steam as the many pieces of Pretty Lights come together before our eyes. It’s only just begun.Pretty Lights Second Line Credits:Illumination Sound System:Beats & Emcee –  Derek Vincent Smith & Joseph Kechter (Derek’s little brother)Muralist: BOXHEAD aka Begoña ToledoMeghan Zank:Pop Up Show Producer & Creative DirectorMike Bertel:Associate ProducerPhil Salvaggio:Production Management & Associate ProducerReeves Price:Winter Circle Productions- Associate ProducerJason Starkey:Associate Producer + AudioPL FilmsCinematography, editing, film shootDorian WeinzimmerRyan BerenaHunter CourtneyRaven Productions:-Designed and built sound system truck.-Ran On Site Production-Fabricated Modular Wall for paintingEric Mintzer of Imaginex:Projection MappingRyan Zoidis of Lettuce:Second Line Musical DirectorSecond Line Performers:TRUMPET MAFIA:Ashlin Parker (leader)- New OrleansAnthony Coleman -Bay AreaEmily Mikesell-OrlandoDehan Elçin-IstanbulAya Wakikuromaru- TokyoParris Fleming- ChicagoAurélien Barnes -NOLAMaurice Brown (also emcee)-New YorkSOUL REBELS:Julian GosinErion WilliamsEdward LeePaul RobertsonHUNDREDS BRASS BAND:JeromeDesmondDarrellMarcusEfuntolaRevertREBELUTIONKhris Royale- SaxophonePretty Lights LiveChris Karns – battery powered turntable scratch 45 rpm records79ers GangChief JiggaBig Chief Romeo from the 9th Ward of New OrleansBig Chief Jermaine from the 7th Ward of New OrleansPretty Lights Pop-Up Show | New Orleans | 5/7/17 | Photos by Jeremy Scottlast_img read more

Planting a research center in the arboretum

first_imgAs blossoms unfurl at the Arnold Arboretum, Harvard’s plant scientists are welcoming the opening of more than just flowers this spring, as the Arboretum’s new Weld Hill Research Building fills with staff, scientists, and sophisticated equipment.The 44,000-square-foot building received final approvals from Boston in December, and since then has been awash in moving boxes and crates. One of the first occupants was the arboretum’s new director, William “Ned” Friedman, the Arnold Professor of Organismic and Evolutionary Biology.Friedman, an esteemed botanist who came to Harvard from the University of Colorado, took over the arboretum’s leadership in January, his start dovetailing nicely with that of the building that will be his new home.During a walk through the building shortly after his arrival, Friedman enthusiastically showed the new labs and equipment, and spoke of the community he hopes will grow among scientists who work in the open, shared laboratory spaces.“By getting the walls out of here, there’s a social component. The goal is to have people mixing,” Friedman said. “If you’re in your own office and the door is closed, you can’t have a conversation with someone else.”The building allows the arboretum’s researchers, who moved from offices at the Cambridge campus, to share space with those in charge of managing the collections, who had been based at the arboretum.  Researchers and graduate students began moving to their new offices in January, even as the new laboratory equipment was arriving.“The most joyful thing in the world is having a new microscope,” Friedman said. “My postdoc is a microscopist; he’s just about passing out with all the new equipment.”The new building has enough extra room, Friedman said, that there is space for visiting scholars from other institutions and for undergraduates pursuing plant science research.In order to bridge the physical distance between the arboretum, which is in Boston’s Jamaica Plain and Roslindale neighborhoods, and the Cambridge campus, a shuttle van will be used to ferry students or entire classes for lessons that draw on the arboretum’s resources.“Without students here, this wouldn’t be a University,” Friedman said. “There are chances to do undergraduate honors theses based on these resources. My goal is that every undergraduate honors project should be publishable and should lead to a next step.”An advantage of the new building is its proximity to the arboretum’s living collection, Friedman said. While the arboretum doubles as a city park and an important part of Boston’s string of parks called the Emerald Necklace, it also is one of the world’s pre-eminent collections of woody plants. As a living collection, the arboretum also includes other forms of life, such as fungi and insects, that can be studied by researchers at Weld Hill.“Out there are not just lots of plants, but incredible numbers of insect, fungal, and microbial species. We have 275 acres of biodiversity,” Friedman said.The building also has a dozen greenhouses where some specimens can be grown and others collected from the field can be raised, including for Friedman’s own research into the origin of flowering plants, collected in New Caledonia.Doctoral student Becky Povilus and postdoctoral fellow Julien Bachelier moved to Harvard from the University of Colorado to continue their work with Friedman and were among the first to settle into the new building. Bachelier said it was “everything we heard, but better,” while Povilus said having the arboretum nearby was a plus, as it is a place to both collect samples and to walk around and get ideas for new avenues of research.For the next few months, Friedman said, the staff will focus on getting researchers situated and their work under way. A major emphasis, Friedman said, is to further develop relationships with the community through activities such as open houses and the new director’s lecture series.last_img read more

Vermont Downtown Development Board funds $127,594 in transportation projects

first_imgThree communities were awarded grants this week by the Vermont Downtown Development Board to fund local infrastructure improvements such as new sidewalks, signage and streetlights.The Vermont Downtown Development Board announced the awards totaling $127,594 on Monday for Morrisville, Rutland City and St. Albans City. The funds, which are from the state’s Downtown Transportation Fund, are available to communities that are part of the Vermont Downtown Program. Established in 1994, the Vermont Downtown Program helps invest in the economic growth and cultural landscape of Vermont’s cities, villages and towns. Funding Awards:Morrisville – $27,594 for sidewalk reconstruction on and around Main Street and Pleasant Street, as well as new sidewalk and streetlights on Portland Street.  Matching funds were provided by the town, as well as $15,000 in private donations to the community’s downtown organization. This project continues the town’s efforts to improve pedestrian access within their downtown.Rutland City – $25,000 for phase 2 of the city’s new wayfinding signage program to direct visitors to downtown destinations such as the Paramount Theater, the Amtrak train station and local shops.St Albans City – $75,000 for new streetlights along Main Street, as part of a larger $1.5 million project to improve the city’s pedestrian infrastructure, including outdoor dining, trees and broader sidewalks in downtown. ‘These are terrific projects that recognize the importance of high-quality pedestrian amenities in support of downtown business development,’ said Noelle Mackay, Commissioner of the Department of Economic, Housing and Community Development and Chair of the Downtown Development Board. ‘The board is pleased to be able to support these projects, and to recognize the energy and commitment in each community that makes our downtowns so special.’ The Vermont Downtown Development Board also renewed the village center designation on Monday for Enosburg Falls, West Rutland, Royalton and South Royalton, which are four of the 102 village centers participating in the Vermont Downtown Program.  Downtowns and village centers that are part of the Vermont Downtown Program are eligible for a number of benefits, including tax credits, loans and grants from various state agencies to help enhance economic opportunities, preserve historic buildings and improve infrastructure in core areas.For more information, visit www.historicvermont.org/programs/downtown.html(link is external).last_img read more

Are you HARPing?

first_img ShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr The Home Affordable Refinance Program (HARP) expires at the end of 2015. It’s been a great opportunity for millions of Americans to refinance to lower rates even when they owed more than the value of the home. But some estimates indicate there are still millions of eligible borrowers who have not taken advantage of it. Is this an opportunity for Credit Unions to be memberlicious?I think so………….HARP is truly a great program for borrowers. It can save them hundreds of dollars on a monthly payment or reduce the term of their loan. There are criteria to qualify for HARP, but the main points are below:A borrower eligible for HARP if they meet all of the following criteria:The mortgage must be owned or guaranteed by Freddie Mac or Fannie Mae.The mortgage must have been sold to Fannie Mae or Freddie Mac on or before May 31, 2009.The mortgage cannot have been refinanced under HARP previously unless it is a Fannie Mae loan that was refinanced under HARP from March-May, 2009.The current loan-to-value (LTV) ratio must be greater than 80%.The borrower must be current on the mortgage at the time of the refinance, with a good payment history in the past 12 months. continue reading »last_img read more

One click to borrow?

first_img continue reading » Fifty Northwest credit union CEOs gathered last year, and the topic turned to Amazon Prime. Nearly all were members and enjoyed Amazon’s “One Click to Buy” feature. Convenient, cool and a new normal most agreed. One CEO lightheartedly asked, “Could we ever see a day with ‘One Click to Borrow?’” All in the room favorably nodded.Retail is retail. Consumers/members have expectations of their experiences in retail, regardless of product. What they receive through digital engagement, real-time status and anytime access outside the credit union is exactly what they expect when engaging with the credit union. Review this list of consumer expectations of retail experiences and consider added ways that your credit union can enhance its commitment to members.Simple. Apple refined the ease of navigating a computer in your hands and now members primarily engage with credit unions from their handheld devices. How many transactions can a member complete digitally? How many steps are necessary to conduct business? Could a member go “branch-free” and still deepen a relationship with your credit union?Personal. For all the mobile-first and do-it-yourself habits of members, sometimes a face-to-face conversation is necessary. How advanced are your front-line leaders in their communications and consulting skills? If a member completed “Steps A through C” on her own, could your front-line leaders pick up at “Step D?” How skilled are your front-line leaders in showing empathy and interacting with diverse members? ShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblrlast_img read more

Msgr. Tom Hartman, of God Squad Fame, Dies

first_imgSign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York Msgr. Thomas Hartman, the Roman Catholic priest from Long Island nationally known as half of the God Squad, a popular television show about religion, died following a years-long battle with Parkinson’s disease. He was 69.Father Tom, as he was known, became a household name with Rabbi Marc Gellman following the success of the TV show they co-hosted for 20 years on Telecare, the faith-based cable network that Hartman ran for the Diocese of Rockville Centre. The show led to a nationally-syndicated newspaper column, as well as regular TV and radio appearances on shows with larger audiences than their own, such as Good Morning America. After his diagnosis, Hartman stepped back from the spotlight and founded a charity that donated millions to find a cure for Parkinson’s.“Our friendship produced many words, but it never needed words,” Gellman wrote in his Newsday column Wednesday eulogizing Hartman. “Tommy taught me that smiles are more important than words, and I do not need words now to remember that transformative wisdom.” Hartman grew up in East Williston before entering the Hempstead seminary when he was in the ninth grade after passing up his dream of becoming a baseball player and instead joining the clergy like his uncle, aunts and cousins before him. He was ordained in 1971 and eight years later graduated with a Doctor of Ministry degree from the Jesuit School of Theology at Berkley.Hartman was also a parish priest at St. Vincent de Paul in Elmont and a chaplain for the Nassau County Police Department. Hartman joined forces with Gellman, the Rabbi Emeritus of Temple Beth Torah in Melville, after the two met while discussion religion on News12 Long Island. The next day, they formed the God Squad, in which the straight-laced Hartman and quick-witted Gellman discussed morality and religion.The duo eventually became LI’s best-known clergymen, making appearances on national cable news networks. They were even animated for an HBO children’s special based on their book of the same name, How Do You Spell God? But if they ever struggled to balance their fame and their duties, it never showed.”I’m definitely the straight man,” Hartman told The New York Times during the height of their fame in the ‘90s. ”Marc is much funnier than I and more vocal. I’m quieter. I want Marc to be the star. To some degree I’ve had more fame. Initially he had to gain it. So it was bigger in his mind. And in many ways he’s more talented than I.”In 2003, Hartman broke the news of his diagnoses in his newspaper column, which had only launched a year prior. He had kept it secret for four years by that point. Gellman still writes the column for Tribune Media Services, but visited Hartman weekly at the nursing home where Father Tom lived until his passing.Hartman’s charity donations led to the formation of the Thomas Hartman Foundation for Parkinson Research  in the Department of Neurobiology & Behavior at Stony Brook University. Funeral arrangements have not yet been announced.last_img read more

Ørsted Issues Green Bonds, Secures GBP 900 Million

first_imgØrsted has secured nominal GBP 900 million through the issuance of green senior bonds, to finance its green growth ambition towards 2025 including the investment in the 1,386MW Hornsea Project Two offshore wind farm in the United Kingdom.Ørsted has completed the pricing of new unsecured green senior bonds comprising a GBP 350 million fixed-rate tranche with maturity in 2027, a GBP 300 million fixed-rate tranche with maturity in 2033 and a GBP 250 million inflation-linked tranche (CPI) with maturity in 2034. All tranches have settlement on 16 May 2019.Hornsea Project Two is located 89km north-east of Grimsby and will comprise 165 Siemens Gamesa 8MW wind turbines.Once operational in 2022, Hornsea Two will surpass the 1.2GW Hornsea Project One, currently under construction offshore Yorkshire, to become the world’s largest wind farm.last_img read more

23 LGUs declare NPA ‘persona non grata’

first_imgIn Iloilo,these were the municipalities of Maasin, Janiuay, Igbaras, Bingawan, andMiag-ao, and Iloilo City. The otherbarangay councils were Cuartero, Capiz (Putian, Mahunod-hunod, San Antonio,Carataya) and Calinog, Iloilo (Binulosan). ILOILO City –Twenty-two municipalities and a city in Panay Island have declared the NewPeople’s Army (NPA) persona non grata, according to the Armed Forces of thePhilippines (AFP). “We expect moretowns and villages do to the same,” said Pancito. Palabricaconfirmed that the NPA tried to recruit students of Bingawan National HighSchool in recent months. The signing ofcovenant was participated in by students and youths, barangay officials andother sectors. The peacecovenant also denounced NPA atrocities. On Nov. 14 thelocal government of Bingawan, Iloilo rallied its constituents into signing apeace covenant supporting the anti-insurgency campaign of the Armed Forces ofthe Philippines and Philippine Nationa Police (PNP) and declared rebels aspersona-non-grata.center_img In Antique, thelocal govern units that made such declaration were San Jose, Anini-y, Barbaza,Belison, Caluya, Culasi, Hamtic, Libertad, Pandan, Patnongon, San Remigio,Sebaste, Sibalom, Tibiao, Tobias Fornier, Bugasong, Lauan-an, and Valderrama. Barangaycouncils, too, were declaring the rebels persona non grata, said Army CaptainCenon Pancito, spokesperson of the 3rd Infantry Division. “We arepublicly denouncing the rebels and warning them to stop recruiting students.They are not welcome in our town. What we want is peace, and we want an end tothe armed conflict,” said Mayor The most recentof these barangay councils was that of Barangay Igtuble in Tubungan, Iloilo. Itissued the declaration yesterday. Mark Palabrica. “We persuadedthe students not to attend or join the activities of militant groups becausethose were preludes to NPA recruitment. We told them joining the NPA woulddestroy their dreams. After our talk with the students, we received informationthat the rebels did not pursue their recruitment activities,” said Palabrica./PNlast_img read more

VanDenBerg scores first IMCA Modified win at Lee County

first_imgBy Brian NealDONNELLSON, Iowa (April 24) – Carter VanDenBerg raced back into the lead on the ninth of 20 laps and stayed in front the rest of the way to earn his career-first Budweiser IMCA Modified fea­ture win Friday at Lee County Speedway. VanDenBerg was briefly in the lead following an early restart. Bill Roberts Jr. slipped under him to grab the point. The front pair raced side-by-side for two circuits before VanDenBerg regained first. John Oliver Jr. was able to challenge Abe Huls for the top spot for a couple laps before Huls pulled away to pick up his second consecutive local Donnellson Tire and Service IMCA Stock Car vic­tory. Adam Birck pulled away over the final seven laps to capture his first Shottenkirk of Fort Madison IMCA Northern SportMod feature win of the season at Donnellson.Brandon Symmonds edged Garrett Eilander at the line by a half a car length to pick up his first career Coors Light IMCA Hobby Stock win. Travis DeMint started 11th and finished first in the Armstrong Small Engine Sales and Service IMCA Sport Compact feature. Kimberly Abbott started ninth and took second on the last lap.last_img read more

Harold A. “Tony” Powers, 64

first_imgHarold A. “Tony” Powers, 64, St. Paul, Indiana, passed away on Tuesday, May 5, 2020 at the Decatur County Memorial Hospital in Greensburg.  Born January 13, 1956 in Greensburg, he was the son of Harold E. and Rose C. (Dwenger) Powers.  Tony graduated in 1974 from North Decatur High School.  He worked at Delta Faucet and then he worked and retired from MESCO Manufacturing.  He loved hunting, softball, and coaching.  He was learning how to play golf. He loved music, playing guitar, and singing. He is also survived by Norita Powers; two sons, Steven Coblentz, Eli Powers; two daughter, Tonya Powers, Angela Brown; four brothers, Donald (Dawn) Powers, Ghent, KY, Art (Christine) Powers, Sandusky, Andy (Dawn) Powers, Greensburg, Jacob (Vicki) Powers, Illinois; two sisters, Angela Miller, Greensburg, Dot Perkins, Clay City; many grandchildren, 4 great grandchildren; several nieces, nephews, and cousins. He was preceded in death by his parents, one brother, Raymond Powers; four sisters, Mary Brogan, Rita Sallee, Mabel Kay Yorn, Susan Wilmer. Due to the recent public health safety mandate of limited gatherings, a private graveside service will be held for the immediate family at the Mt. Carmel Cemetery in Clarksburg with Rev. Forrest Hamilton officiating. Porter-Oliger-Pearson Funeral Home has been entrusted with the arrangements. Online condolences can be made to the family at www.popfuneralhome.comlast_img read more