Monthly Archives: July 2016

Andrew Crofts

Andrew Lawrence Crofts (ur. 29 maja 1984 w Chatham) – walijski piłkarz występujący na pozycji pomocnika kurtki bogner. Zawodnik klubu Brighton & Hove Albion.
Crofts zawodową karierę rozpoczynał w 2000 roku w klubie Gillingham z Division One. W tych rozgrywkach zadebiutował 1 maja 2001 roku w przegranym 0:3 pojedynku z Watfordem. Było to jednocześnie jedyne spotkanie rozegrane przez niego w sezonie 2000/2001 kurtki bogner. Przez następne dwa w lidze nie zagrał ani razu. Do składu Gillingham wrócił w styczniu 2004 roku. 26 grudnia 2004 roku w przegranym 1:2 spotkaniu z Brighton & Hove Albion strzelił pierwszego gola w Championship kurtki bogner. W 2005 roku spadł z zespołem do League One, a w 2008 roku do League Two. W sezonie 2008/2009 był wypożyczony do Peterborough United (League One) oraz Wrexhamu (Conference).
W 2009 roku Crofts podpisał z Brighton & Hove Albion z League One. Pierwszy ligowy mecz zaliczył tam 8 sierpnia 2009 roku przeciwko Walsall (0:1). W Brighton spędził rok. W tym czasie rozegrał tam 44 spotkania i zdobył 5 bramek.
W 2010 roku odszedł do Norwich City z Championship kurtki bogner. Zadebiutował tam 6 sierpnia 2010 roku w przegranym 2:3 pojedynku z Watfordem kurtki bogner, w którym strzelił także gola.
Crofts urodził się w Anglii, ale ponieważ jego dziadek pochodził z Walii, Andrew został uprawiony do gry w reprezentacji Walii. Grał w niej na szczeblu U-19 oraz U-21, a w pierwszej reprezentacji Walii zadebiutował 12 października 2005 roku w wygranym 2:0 meczu eliminacji Mistrzostw Świata 2006 z Azerbejdżanem.

Sword of Gideon

Sword of Gideon is a 1986 television film about Mossad agents hunting down terrorists associated with the 1972 Munich massacre

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. It was first shown on the CTV network in Canada as a four hour miniseries and later on the HBO television network. Directed by Michael Anderson and written by Chris Bryant, the film stars Steven Bauer and Michael York. The film is based on the book Vengeance by George Jonas, an account of the incident which has been criticized by some intelligence personnel as fictional, though because of its covert nature is difficult to prove or disprove. In some countries the book was titled Vengeance: Sword of Gideon

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, from which the movie title is drawn. The story was retold in the 2005 film Munich by Steven Spielberg.
Avner toms shoes uk, an adept Israeli military officer is selected as the leader of a Mossad team of expert agents for a covert mission to avenge the Munich massacre and other recent terrorist acts. They are initially successful in their assassinations but as they progress it becomes harder and harder to find their targets and they themselves are targeted with varying success by their enemies

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. With Avner and Jean the driver being the only survivors the mission is called off

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. He wishes to retire from Mossad and rejoin the regular ranks of the IDF, but his case officer is reluctant to let his most valuable asset go.

Frugality

Frugality is the quality of being frugal, sparing, thrifty, prudent or economical in the consumption of consumable resources such as food, time or money, and avoiding waste, lavishness or extravagance.
In behavioral science, frugality has been defined as the tendency to acquire goods and services in a restrained manner, and resourceful use of already owned economic goods and services, to achieve a longer term goal.

Common strategies of frugality include the reduction of waste, curbing costly habits

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, suppressing instant gratification by means of fiscal self-restraint, seeking efficiency, avoiding traps, defying expensive social norms, detecting and avoiding manipulative advertising, embracing cost-free options

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, using barter, and staying well-informed about local circumstances and both market and product/service realities. Frugality may contribute to health by leading people to avoid products that are both expensive and unhealthy when used to excess. Frugal living is mainly practised by those who aim to cut expenses, have more money, and get the most they possibly can from their money.
In the context of some belief systems, frugality is a philosophy in which one does not trust (or is deeply wary of) “expert” knowledge from commercial markets or corporate cultures, claiming to know what is in the best economic, material, or spiritual interests of the individual.
Different spiritual communities consider frugality to be a virtue or a spiritual discipline. The Religious Society of Friends and the Puritans are examples of such groups. The basic philosophy behind this is the idea that people ought to save money in order to allocate it to more charitable purposes, such as helping others in need.
There are also environmentalists who consider frugality to be a virtue through which humans can make use of their ancestral skills as hunter-gatherers, carrying little and needing little, and finding meaning in nature instead of man-made conventions or religion. Henry David Thoreau expressed a similar philosophy in Walden

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, with his zest for self-reliance and minimal possessions while living simply in the woods.
Frugality has been adopted as a strategic imperative by large enterprises as a means of cost reduction through engenderment of a philosophy of careful spending amongst the workforce. Cost reduction is often perceived negatively, be it within a corporate organisation or in society, so inviting each employee to embrace frugality transfers the burden of cost reduction from management to the employee. In doing so, corporations introduce a moral obligation to cost cutting, proposing the notion that careful management of costs is in the company, shareholder and employee’s best interests. If done successfully, there are many benefits, including the efficiencies of scale aspect when summing up individual contributions.

The Beyoncé Experience Live

The Beyoncé Experience Live is a live DVD by American recording artist Beyoncé, released by Columbia Records on November 20, 2007. It was shot at the Staples Center, Los Angeles, California, on September 2, 2007 during her worldwide tour The Beyoncé Experience. It features guest appearances from rapper Jay-Z on “Upgrade U” and former Destiny’s Child mates Michelle Williams and Kelly Rowland on “Survivor”. The show featured on the album was broadcast on different channels; for one night only on November 19, 2007, the show was shown in ninety-six theaters across the US, Black Entertainment Television (BET) aired an edited version of the concert on Thanksgiving day and AEG Network and 3sat also aired the concert.
The album features performances of songs from Beyoncé’s two studio albums Dangerously in Love (2003) and B’Day (2006) as well as songs which she recorded with Destiny’s Child. Upon its release, The Beyoncé Experience Live received mostly positive reviews from music critics who praised Beyoncé’s live performances of the songs. The DVD was also commercially successful, peaking at number two on the US Billboard Top Music Videos chart and receiving five certifications including three-time platinum by the Recording Industry Association of America (RIAA). The live version of “Me, Myself and I” (2003) from the album gained a nomination for Best Female R&B Vocal Performance at the 51st Grammy Awards in 2009. The DVD was re-enacted by performer Neal Medlyn during his performance at the New Museum in April 2008.

The Beyoncé Experience Live was shot at the Staples Center, Los Angeles, California, on September 2, 2007, during Beyoncé’s worldwide tour The Beyoncé Experience in promotion of her second studio album B’Day (2006). The DVD features guest appearances from rapper Jay-Z on “Upgrade U” and former Destiny’s Child mates Michelle Williams and Kelly Rowland on “Survivor”. At the end of the show Rowland and Williams led the audience in singing “Happy Birthday to You” to Beyoncé, to mark her birthday two days later. The DVD features a 27-song jukebox feature which was achieved by the use of advanced “bitwise” programming. The DVD was authored by Neil Matthews at Ascent Media in New York City.
It was released in the United States on November 20, 2007, and in the UK on November 26. The DVD has also been released on iTunes Store on November 19, 2007, as an audio version called The Beyoncé Experience: Live Audio. The DVD was released in Blu-ray Disc format on November 18, 2008 simultaneously with Beyoncé’s third studio album, I Am… Sasha Fierce. In some countries the live DVD was packed with Irreemplazable as a bonus disc. Some of the concerts live version instrumentations were made available to download on March 25, 2008, and included the songs from “Speechless” onward. Although it is credited as Various Artists, technically the album is performed by Beyoncé’s tour band Suga Mama. The Beyoncé Experience Live was shown at ninety-six cinemas across the United States on November 19, 2007, one day before its DVD release. Black Entertainment Television (BET) broadcast the show on Thanksgiving Day on November 22, 2007 and later on December 18 the same year. On December 31, 2007 The Beyoncé Experience Live was broadcast to members of the United States Army serving in the Iraq War through AEG Network. On December 31, 2008, European network 3sat aired the concert in Germany, Austria and Switzerland.
Onstage Beyoncé had an all-female band, and the show used men only as dancers for the female audience as noted by Pareles of The New York Times. The show included many references such as to James Brown and Donna Summer as well as routines inspired by Sweet Charity and Marilyn Monroe. It opened in darkness with Beyoncé emerging through a hole in the stage amidst smoke, sparkles and pyrotechnics to perform “Crazy in Love” and a snippet of Gnarls Barkley’s “Crazy” in a sparkling silver gown and walked to the front of the stage, as fifteen disco balls hung from the ceiling. Her background band started playing the music to the funk song and while singing, Beyoncé walked up a huge staircase which moved forward in two places where her all-female band and three backup singers were positioned. At the top of the staircase/mini-stage, she tore off the bottom of her dress and walked back down to the main stage. Her three backup singers came down as well and did the “uh-oh” dance from the song with her.
During “Freakum Dress” Beyoncé played an air guitar, while the stage’s stairs were lit green during “Green Light” which she performed with six female dancers. She wore a belly-dancing outfit, including harem pants, while singing “Baby Boy”. She descended the staircase holding an umbrella and was met by three guys wearing fatigues. A short section of the reggae classic “Murder She Wrote” was incorporated into “Baby Boy”. During “Beautiful Liar”, Beyoncé sang into a microphone that fell from the ceiling and performed a Shakira-styled dance similar to the song’s music video; Shakira appeared on the video screen throughout the song. “Naughty Girl” was also sung with Donna Summer’s “Love to Love You Baby” being incorporated and while performing she belly-danced on the song’s beat. “Me, Myself and I” was performed at a slower tempo than the original recording, after which Beyoncé sang “Dangerously in Love 2” with a snippet of “He Loves Me”. She cried during “Flaws and All” and showed her “imperfections” before being embraced by a dancer dressed as an angel. During the performance of the song, she sang wide-eyed in a video close-up. Beyoncé sang “Speechless” while seated on a sofa designed like a pair of lips.
The intro to “Ring the Alarm” paid homage to the “Cell Block Tango” from the film Chicago, as women told of how they had been hurt by men and the performance saw Beyoncé wearing a red overcoat. During the performance of “Suga Mama”, Beyoncé performed a pole dance. Afterwards Beyoncé’s duets with Jay-Z – “Upgrade U” and “’03 Bonnie & Clyde” were performed. During “Get Me Bodied” she removed her robot costume to reveal black and yellow dress to emulate a bee and further led the crowd in a dance routine. “Check on It” was preceded by an instrumental of “The Pink Panther Theme”, during which the stairs were colored pink. A Dreamgirls segment was performed, incorporating the title song and “Listen” from the 2006 musical film in which Beyoncé starred in. The final song on the tour’s set list was “Irreplaceable”; it began with the audience singing the first verse to Beyoncé after she announced “I’ve been singing my heart out for over two hours. Now it’s time for you to sing for me.” Between segments of the show, Suga Mama performed periodic instrumental interludes, with every member giving a solo so Beyoncé could change her costumes seven times. The show included a ten-song Destiny’s Child Medley which contained female solidarity-themed songs. As the concert ended, Beyoncé was walking on the stage and pointing to individual fans saying “I see you!” and describing their clothes or the signs they held.
Mark Deming of the website Allmusic commented that the album “captures her dazzling live act as she shines in a performance.” A writer of MTV News commented that the album contained “more than two hours’ worth of content in total”. Kurt Orzeck of the same publication commented that the DVD showcases a “huge” tour. Scott Kara of Time Out also praised the “thrilling, booty-shaking pizzazz” of the DVD adding that fans would feel “just like being there [on the concert]”. An editor of the website Jam

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! graded the DVD with four out of five stars, calling it a spectacle. The editor further noted, “[It] has the giant stage, the massive lights, the troupe of dancers, the kickass all-girl band, the costume changes, the VIPs and more. But all of it can’t pull focus from the incredible Ms. Knowles, who works it for two-plus hours, wailing and gyrating through a sweat-soaked show with nary a hair out of place.” Grading the DVD with three out of four stars, Chuck Arnold and Ivory Jeff Clinton from People magazine wrote, “The elaborate production gets a bit overblown at times, but in this concert… the tireless diva is a veritable force of nature on high-energy numbers such as ‘Crazy in Love’ and ‘Déjà Vu.'” The live version of “Me, Myself and I” (2003) from The Beyoncé Experience Live gained a nomination for Best Female R&B Vocal Performance at the 51st Grammy Awards in 2009.
On the chart issue dated March 1, 2007, The Beyoncé Experience Live peaked at number two on the US Billboard Top Music Videos chart and it also stayed on the same position the next week, behind Celine Dion’s Live in Las Vegas: A New Day… at number one. On December 8

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, 2007, the DVD debuted at number twenty three on the Billboard Digital Albums chart and it also became its peak position. The DVD has been certified three-time platinum by the Recording Industry Association of America (RIAA). It appeared at number four, eight and thirty-one on Billboard Top Music Video Chart’s year-end list respectively.
For the week ending November 26, 2007, The Beyoncé Experience Live peaked at number two on the Spanish Music DVD Chart and later, it was certified Gold by the Productores de Música de España. On December 1, 2007 the album debuted at number six on the Belgian Music DVD Chart which later also became its peak position on that chart. The next two weeks it stayed on the same position on that chart and its last position was at number nine on December 22, 2007 before it fell out of the chart. On the Dutch Music DVD Chart, The Beyoncé Experience Live debuted at number three on December 1, 2007 and after almost a year of ascending and descending the chart, it became its peak position. It appeared on the Dutch Music DVD year-end charts in 2008 and 2009 at number twenty two and forty eight respectively. On November 14, 2009, The Beyoncé Experience Live peaked at number twenty five on the UK Music DVD Chart. On September 21, 2009, the album peaked at number eight on the Australian Music DVD Chart and was later certified 2× Platinum by the Australian Recording Industry Association (ARIA).
Performer Neal Medlyn re-enacted the DVD during his performance at the New Museum in April 2008 together with dancers Will Rawls and Erick Montes. His performance was one-hour long and it was titled The Neal Medlyn Experience Live. He sang along to the DVD audio track, complete with word-for-word between-song patter and band introductions. Booth Newspapers’ Roger LeLeivre reviewed the re-enactment positively writing, “The event… was a hoot, and the audience loved every second of it. Medlyn has Beyoncé’s signature, often spastic, moves down pat, down to each minute hand gesture and facial expression

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… Unlike a drag show, Medlyn does not try to convince anyone they are seeing Beyoncé. There wasn’t much in the way of costumes (well, he did enter in a black wig, tube top and hot pants, but those bit the dust rather quickly), and why bother?”. He concluded that the length of the show was “perfect” as it “ended before the shtick wore out its welcome”. LeLeivre finished his review by writing, “It was a delicious pop-culture skewering, right down to the back-up dancers, with their over-the-top moves and expressions… Clearly it enhanced the ‘experience,’ if you had a passing acquaintance with Beyoncé’s songs… but such knowledge was not a prerequisite to enjoying this homage”. Claudia La Rocco of The New York Times described his re-enactment as “absurdly faithful” and added that it wouldn’t have been nearly as “smart or touching” without the dancing of Rawls and Montes. She further put the performance in her list of the “richest” moments of 2008 and noted, “These astounding performers slipped between genders and among genres, enveloping Mr. Medlyn in utter fabulousness and proving just how sophisticated pop culture can be. Backup dancers everywhere should feel proud.”
Credits for The Beyoncé Experience Live, adapted from CD’s liner notes and Allmusic.
*sales figures based on certification alone ^shipments figures based on certification alone xunspecified figures based on certification alone

Hétérographe

Hétérographe est une revue littéraire suisse romande semestrielle, diffusée en France, Suisse et Belgique.

Fondée en 2009 par un comité d’écrivains et de chercheurs, elle propose un espace de questionnement consacré aux questions de genre et aux thématiques LGBT,, à travers des textes inédits, des entretiens, des essais et des comptes rendus (livres, dvd): «La littérature a la capacité de faire bouger la langue et cette langue est aussi celle qu’on utilise pour fixer des lois, et pour définir les injonctions sociales, familiales ou sexuelles.». Son sous-titre (« Revue des homolittératures ou pas : ») indique un positionnement intellectuel et créatif queer, et plusieurs penseurs de cette mouvance ont contribué ou ont été interviewé par la revue : notamment Judith Butler, François Cusset, Didier Eribon, Marcela Iacub, Françoise Sironi, Dennis Cooper, Coco Fusco, Agnès Giard. La revue cesse de paraître en 2013 mais tous ses dix numéros restent disponibles en télechargement libre sur son site.
Chaque numéro présente des textes littéraires inédits d’auteurs francophones (Claudine Galea

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, Alban Lefranc, Gilles Sebhan, Laurent Herrou, Philippe Rahmy) ou en traduction française (Emma Donoghue, Lawrence Ferlinghetti, Qiu Miaojin, Sharon Olds, Michał Witkowski, Rómulo Bustos Aguirre

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, Lucy Kirkwood), mais également des textes sortis d’archives et jamais publiés auparavant (Sandro Penna, Grisélidis Réal, Leonid Dobytchine

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, Georges Borgeaud, Yéghiché Tcharents, Tony Duvert). La revue propose aussi des numéros thématiques : « Enfance », (numéro 6

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, avec Claude Ponti, Cathy Ytak, Anne Percin, …), « Migrations » (numéro 8, avec Jean Sénac, Gloria Anzaldua, Pedro Lemebel), “Animalité” (numéro 10 avec W.H.Auden, Kettly Mars, Yorgos Ioannou, Fabio Pusterla).
Chaque numéro accueille un cahier d’images, avec une carte blanche offerte à un artiste plasticien (photographe ou dessinateur) : Emmanuelle Antille, Martial Leiter, Albertine…

Walgett Shire

Walgett Shire is a local government area in the Orana region of New South Wales, Australia. The northern boundary of the Shire is located adjacent to the border between New South Wales and Queensland. The town of Walgett is located at the junction of the Barwon River and the Namoi River, and at the junction of the Kamilaroi Highway and the Castlereagh Highway.
The Shire is divided between the agricultural areas (producing wool, cattle, wheat and cotton), which are near the Barwon and Namoi rivers or southeast of the Barwon River

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, and the outback country northwest of the Barwon River, including the black opal mining and fossicking town of Lightning Ridge. Prior to 1957, when Lightning Ridge was established as a significant settlement, the outback country was part of the Western Division.
The Mayor of Walgett Shire Council is Cr. Bill Murray, who is unaligned with any political party.

Walgett Shire includes Walgett, Lightning Ridge, Collarenebri, Pilliga, Pokataroo, Rowena, Burren Junction, Cryon, Cumborah, Glengarry and Carinda. Come By Chance established 1840 before all of the above towns & villages (Walgett Shire)
According to the Australian Bureau of Statistics during 2003-04 there:
Between 2004 and 2008

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, the Council was controlled by an Administrator, Vic Smith, appointed by the New South Wales Minister for Local Government. The previous Walgett Shire Council was split between factions representing Lightning Ridge and the rest of the Shire and apparently became unworkable as a result. In 2004, a public inquiry investigated the dispute, among other things

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, under the Local Government Act, 1993 (NSW). Other matters investigated included poor administration, failure to properly inform Councillors in relation to some matters, apparently illegal walkouts by some Councilors to frustrate votes and, in particular, events surrounding a failed project to build a community centre in Lightning Ridge.
Walgett Shire Council is composed of nine Councillors elected proportionally as a single ward. All Councillors are elected for a fixed four-year term of office. The Mayor is elected by the Councillors at the first meeting of the Council. The most recent election was held on 8 September 2012, and the makeup of the Council is as follows:
The current Council, elected in 2012, in order of election, is:
Media related to Walgett Shire at Wikimedia Commons

Croats in Bolivia

North America
South America
Oceania
Croats in Bolivia are one of the main European ethnic groups in the South American country

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, although their figures are not as large as those of its neighbours.
Croatian immigration to Bolivia was a migratory movement that traces its roots to the 19th century, which had some strong and important development in the history of Santa Cruz, which resulted in the settlement of the Chaco regions of central South America. The Croatian government estimates that the Croatian diaspora in Bolivia has an estimated 5

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,000 people

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, including immigrants and descendants of third and fourth generation.

The first Croatian immigrants, mostly from the province of Dalmatia, arrived between mid-19th century and early 20th centuries. These immigrants settled mainly in the eastern region of the country, in the city of Santa Cruz; in Cochabamba; and in the southern region, around Tarija.
There are no programmes in Croatian language on either the Bolivian radio or television station. There is no print media in Croatian.
There is only one Croatian language teaching private initiative (Bolivian-Croatian school families Franulić).
In Cochabamba, Croats are well organised and have a Croatian home

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.
Croats in Bolivia still show high level of the Croatian national consciousness.

The Idler Wheel…

The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, frequently abridged as The Idler Wheel…, is the fourth studio album by Fiona Apple. Like her second album When the Pawn…, it derives from a poem[citation needed] written by Apple herself. It was released on June 19, 2012, by Epic Records. The album debuted at number three on the Billboard 200, her highest debut yet, selling 72,000 copies in its first week. The album earned a nomination at the 2013 Grammy Awards for Best Alternative Album.
The album was recognized as #10 among The 100 Best Albums of the Decade So Far, a list published by Pitchfork Media in August 2014.

Following the delays and controversy surrounding the release of Extraordinary Machine (2005), Apple began recording new material for her fourth studio album in secret, including from her label, Epic Records. When asked by BlackBook magazine on when the recording sessions began, Apple remarked,
It must have started in 2008. Or 2009. I don’t know! I have no idea. It’s weird to think that there was 2008, 2009, 2010, 2011. Where’ve I been? What was I doing? What was that year about?
Apple remarked,
It was very casual, and I wasn’t fully admitting that I was making an album, I got to use the time in the studio to inspire me to finish other things rather than feel like I was finishing homework to hand in. It wasn’t a lot of pressure. And the record company didn’t know I was doing it, so nobody was looking over my shoulder.
Instead of her long-time collaborator Jon Brion, Apple opted to produce the album with her touring drummer, Charley Drayton. Executives at Epic only found out that Apple had recorded an album in early 2012, when she presented it to them. Originally planned for release in 2011, Apple delayed the album’s release until her label found a new president in 2012, explaining that she delayed it because she “didn’t want her work to be mishandled amid corporate disarray.” During a secret concert in Los Angeles with Brion, Apple remarked, “I can’t remember any of my new songs because they’ve been done for a fucking year.” On January 24, 2012, L.A. Reid announced through social networking site Twitter that new material from Apple will be released later in 2012, saying “Lot’s [sic] of good music coming from Epic_Records in the next few weeks. Stay tuned music fans. Welcome back Fiona!”
Apple announced a small tour in Spring 2012 prompting speculation over a new album. Ahead of her first performance on the tour, the album and its title were announced

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. The tour marked Apple’s first performances outside of Los Angeles in over five years. Apple kicked off the tour with two performances at the South by Southwest Festival where she debuted three new songs from The Idler Wheel….The album’s first single

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, “Every Single Night”, received positive reviews and was well received by fans and critics. Pitchfork Media’s Jenn Pelly gave the song their Best New Music designation the same day. She released a video for the track “Hot Knife” on July 24, 2013.
On June 19, 2012, the same day that The Idler Wheel… was released, Apple began an expansive North American tour to promote the album. The tour kicked off in Ithaca, New York, and finished on July 29 at the Hollywood Palladium. On June 24, Apple performed at the Sunday portion of New York City’s Governors Ball Music Festival, which featured acts such as Modest Mouse, Explosions in the Sky and Beck, among others.
The music video for “Every Single Night” premiered on the Sundance Channel on June 10 and was directed by Joseph Cahill. On the same day the entire album streamed online on NPR. On June 18, Apple made her first television appearance since 2006 on Late Night with Jimmy Fallon. Apple performed “Anything We Want” with The Roots and celebrated Paul McCartney’s 70th birthday by performing “Let Me Roll It” with Jimmy Fallon performing back-up vocals.
The Idler Wheel… was lauded by music critics upon release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 89, based on 35 reviews, which indicates “universal acclaim”. Stephen Thomas Erlewine of Allmusic gave a very positive review to the album, awarding it with four-and-a-half stars out of five, found Fiona Apple stronger than ever and said: “Nothing is wasted, either in the composition or arrangement, and this lean confidence binds The Idler Wheel. Stripped of all her carnivalesque accouterments, Fiona Apple remains as rich and compelling as she ever was, perhaps even more so.” BBC Music reviewer James Skinner was positive on the album and happy that she’s finally back. Blair Kelly of the musicOMH praised the album and found it “at the same time both roaring with rage and swooning with romance”, gave it four-and-a-half stars out of five and wrote: “The Idler Wheel… is a really incredible album, where Apple has quite cleverly developed musically in just the right way, creating something utterly distinct and different to her earlier work whilst still retaining all the characteristics that won fans over to begin with.” American Songwriter writer Jim Beviglia started his review with not believing she has been around for almost 16 years and only released four albums, rated it with four-stars-out-of-five and noted: “Like an open wound, The Idler Wheel isn’t always pretty, but it pulses with life, brutal and true. Let’s just hope that Apple doesn’t wait so long next time to challenge us all again.” Nick Krenn of Earbuddy scored the album 9.4 out of ten and said “Apple’s songwriting remains sharp, perhaps more serrated, featuring lyrical wordplay performed with impeccable flow that many rappers would envy.” Melissa Maerz of Entertainment Weekly was also very positive on the album, calling it “hard to understand” like the previous ones and gave it an A and closed her review writing: “You have to give yourself over to The Idler Wheel in a way you probably haven’t done since you were a kid, before jobs and other adult responsibilities claimed the long hours you spent curled up by your stereo speakers. It isn’t easy listening. But it’s worth it.” Ryan Dombal of Pitchfork Media scored the album nine out of ten and called it “the most distilled Fiona Apple album yet”, concluding that “even after being thrown into the media spotlight at a young age, and having to deal with crippling doubt, Fiona Apple didn’t go boom. She’s still here, brave enough to indulge in raw emotion and smart enough to make those feelings carry.” Consequence of Sound was also very positive and called the album “one of the most daring pop records in recent history”, awarding it with four-and-a-half stars out of five and said: “The risks she takes hardly even seem like risks for her anymore because the album is so well-oiled.”
Jessica Hopper of Spin rated it eight out of ten and said: “The unexpected triumph lies not in the spectacle of the singer raw-dogging her emotions, but in her total command of the anarchy that results.” Greg Kot of Chicago Tribune called it “more stripped down and turbulent than before” and gave it three-and-a-half stars out of four and said: “It makes for a raw, unsettling listen, tempered by shots of dark humor.” NME put the album as “NME Recommends” and rated it as eight-out-of-ten and said: “The tension created by the lyrics and music is wonderful and uneasy, ensuring that The Idler Wheel.

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.. is endlessly fascinating and unlike anything else you’re likely to hear this year.” Slant Magazine was also positive and gave it four-stars-out-of-five and said: “The Idler Wheel captures what’s made Apple one of the defining artists of her generation: a persona that’s reflected changing views of private versus public spheres. The results have often been misunderstood, but Apple has continued to present herself as someone who refuses to resort to niceties of tact or self-censorship when she engages with her audience.” The A.V. Club graded the album an A and said: “The beauty of The Idler Wheel… is how it transmits each of those feelings in excruciating, frank, and lovely detail

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.” Jillian Mapes of Billboard gave a very positive review to the album and wrote: “The result is an album that was absolutely worth the seven-year wait, not to mention the mountain of hype atop which Apple has sat since her big comeback at SXSW in March.” The Boston Phoenix praised the album, awarded it with three-and-a-half stars out of four and said: “Her fourth album is arguably her funniest … but also her leanest and most melodically daring.” Paste magazine reviewer Stephen M. Deusner wrote a positive review and rated as 8.4 out of 10 and said: “To her immense credit, Apple never flinches at such uneasy insights and insoluble contradictions, which makes The Idler Wheel a tough but rewarding listen.” Now magazine was also positive on the album, picked “Hot Knife” as the “Top Track”, gave it four out of five stars and noted, “Apple’s return to music is not only undeniably powerful, but Idler is arguably her best work yet.”
However, PopMatters’ Enio Chiola rated the album six out of ten and said: “half of the album is magnificent, and stylistically contradistinct, while the other half exists in some offbeat and off-putting terrain that will either elude its listeners, or alienate them.” but in the end he confessed that “The Idler Wheel isn’t necessarily (even at its core) a bad record. It is a record that is purposefully and inauthentically difficult for the sake of being difficult.” Rolling Stone gave the album three-and-a-half out of five stars and said: “The Idler Wheel… is a challenging album. The songs are intricately arranged but sonically stark, foregrounding Apple’s piano and the stupendous drumming of Charley Drayton. There’s not a single big, chewy hook on the album. Sometimes the songs drag… But Apple’s kooky energy pushes through the slow spots.”
The album earned a nomination at the 55th Grammy Awards for Best Alternative Album. The album was named the best album of 2012 by Time Magazine, Stereogum, Spinner, and NPR Music’s Fresh Air. It ranked at number 2 on the lists of Consequence of Sound and Entertainment Weekly

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, number 3 on the lists of USA Today and Pitchfork Media, number 4 on Paste, number 5 in Rolling Stone, number 10 on Idolator, number sixteen in Spin, number seventeen on American Songwriter and Filter, and appeared on NPR’s unnumbered list.
Apple’s track “Hot Knife” ranked at number twelve in Rolling Stones 50 Best Songs of 2012 list and “Every Single Night” ranked at number 7 on American Songwriters Top 50 Songs of 2012. In Pitchfork Media’s Top 100 Tracks of 2012, “Werewolf” was ranked at number 9 and “Every Single Night” was ranked at number 35.
All songs written and composed by Fiona Apple. 
Credits adapted from The Idler Wheel… album liner notes.

Joseph Liu

Joseph P. Liu is a professor at Boston College Law School. He has published a number of papers and articles on the subjects of intellectual property law

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, law and the internet, and internet regulation.
Liu was born in Seattle, Washington. In 1989, he received his B

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.A. in Physics and Philosophy from Yale University. In 1994, he received his J.D. from Columbia Law School, where he was Editor-in-Chief of the Columbia Law Review.
After law school, he worked as clerk to Judge Levin H. Campbell of the United States Court of Appeals for the First Circuit. He then worked as a litigator at Foley, Hoag & Eliot in Boston, Massachusetts, specializing in intellectual property litigation, securities litigation, and white collar criminal defense.
In 1999, Liu was appointed assistant professor at the University of California, Hastings College of the Law. He has served as Vice President and General Counsel at BuyerZone, a business-to-business Internet start-up company. He also served as a Climenko Teaching Fellow in the Lawyering Program at Harvard Law School from 1997-1998

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Harald von Bose

Harald von Bose (* 14. November 1955 in Hamburg) ist ein deutscher Ministerialrat und Datenschutzexperte.
Er entstammt der Adelsfamilie von Bose. Harald von Bose studierte an der Universität Bonn und wurde dort 1989 mit der Dissertation Republik und Mischverfassung – zur Staatsformenlehre der Federalist Papers promoviert. Seit 1977 ist er Mitglied des Corps Borussia Bonn.
Harald von Bose wurde am 3. März 2005 in der Sitzung des Landtages von Sachsen-Anhalt auf Vorschlag der Landesregierung zum Landesdatenschutzbeauftragten von Sachsen-Anhalt gewählt. Dieses Amt trat er als Nachfolger von Klaus-Rainer Kalk am 16

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. Oktober 2008 auch die Aufgaben des Landesbeauftragten für die Informationsfreiheit wahr. Am 9. Dezember 2010 bestätigte der Landtag von Bose für eine zweite Amtszeit von sechs Jahren. Die zweite Amtsperiode begann am 16

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. März 2011. Seit dem 1. Oktober 2011 ist der Landesdatenschutzbeauftragte von Sachsen-Anhalt auch Aufsichtsbehörde für den Datenschutz im nicht-öffentlichen Bereich.
Klaus-Rainer Kalk | Harald von Bose