united states – Triakel http://triakel.com/ Thu, 17 Mar 2022 06:56:39 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://triakel.com/wp-content/uploads/2021/10/cropped-icon-32x32.png united states – Triakel http://triakel.com/ 32 32 How Swedish band Ghost conquered heavy metal and the charts https://triakel.com/how-swedish-band-ghost-conquered-heavy-metal-and-the-charts/ Wed, 16 Mar 2022 13:00:08 +0000 https://triakel.com/how-swedish-band-ghost-conquered-heavy-metal-and-the-charts/

On stage at Honda Center Arena in Anaheim, Tobias Forge is not himself.

Instead, he’s Papa Emeritus IV, frontman of Swedish metal band Ghost, singing behind a latex mask and corpse paint, dressed in nun garb or bat wings.

His character is the demonic pope of Ghost, preaching war and plague like a prophet of doom amid heavy guitar riffs and snappy pop melodies. Some lyrics are more prescient than fantastic, from the warning of “contagious, disease-spreading beliefs” on 2018 song “Rats” to the band’s new album “Impera,” which denounces building an empire in time for the future. brutal invasion of Ukraine by Russia.

Forge says he is simply an observer of history and “the circularity of things”, as destructive human impulses repeat themselves catastrophically through the centuries. “Flags, pandemics, flus and dictators come and go,” he says happily. “Empires come and go. It’s always in circles, because at the end of the day, we’re dealing with humans.

Forge, 41, is out of costume and sipping coffee at his West Hollywood hotel after a night of hard rock performances, complete with pyro eruptions and a large stage meant to convey gothic arches and ominous stained glass. Offstage, Forge is less explosive, wearing a treasured T-shirt from the 1988 Candlemass tour, his light auburn hair cropped and swept up. It’s a thoughtful and quick interview with a joke, a family man with a wife and fraternal twins in Stockholm. The previous night’s concert in Orange County was the latest leg of a co-headlining tour with Danish band Volbeat, intended as a prelude to the March 11 release of the band’s fifth album, ” Impera”.

During pre-tour rehearsals, Forge had “a very mild case” of the Omicron virus. Then the other eight members of the touring band tested positive, along with four crew members. “The whole band got it at once, so we just had COVID rehearsals,” he says. The tour went according to plan and Ghost will be back in the US later this year.

“The lyrics don’t talk about God. They’re about the man,” says Tobias Forge of Ghost, aka Papa Emeritus.

(Brian van der Brug/Los Angeles Times)

The band’s latest record, 2018’s “Prequelle,” was nominated for a Grammy Award for Rock Album and reached No. 3 on Billboard’s Top 200. The band counts Metallica and Dave Grohl among its high-profile fans and attracts a multi-generational rock audience, from kids in baby pope outfits to older fanatics nostalgic for ’70s shock rock.

“Ghost has a diverse following, which I like to see, especially for metal,” says Sammi Chichester, editor of Revolver Magazine, a keen observer of the metal scene.

Forge is able to find pop hooks even as he exploits his own low expectations for humanity. Due to this catchiness, Ghost has been controversial among some extreme metal tastemakers. “It’s a routine topic – metalheads love to argue,” laughs Chichester.

The music tends to be more engaging than depressing, despite the disturbing religious imagery.

“The lyrics don’t talk about God. They’re about the man,” Forge says. “We are, ultimately, some sort of occult, pop, satanic rock ‘n’ roll band meant to entertain a bunch of people who are already broke with that stuff.”

Any discussion with Forge quickly reveals him as a pop music obsessive, as he casually references Leonard Cohen, the Bangles and the primal weirdness of the Shaggs. Not your typical metal high priest. “In my teens, I was completely a death metal/black metal person in action and in message,” he says. “But I always listened to a lot of other stuff. And that came to fruition in the music that I was writing.

Ghost was created in 2006 with Forge’s recording of a track called “Stand by Him”, built on a slippery metal riff and firmly rooted in Scandinavian black metal. The music that followed rarely deviated from a rumbling metallic core, but showed surprising flourishes early on, from busy keyboard melodies to delicate acoustic guitar.

The group arrived with a fully formed image that took on a demonic and bizarre take on Catholic tradition, accented with gothic flair and comedy. Forge stood on the mic as a series of demonic popes called Papa Emeritus (Nos. I-IV), in flamboyant papal garb, with a band of musicians called Nameless Ghouls in silver masks. (Ghouls now spawn in what look like gas masks from a dystopian future.)

Forge, who is the only consistent member of the group, kept his identity hidden behind face paint and a pseudonym until he had to reveal his real name during an unsuccessful 2017 lawsuit by four former Ghost members for salary arrears.

“Impera” was recorded last spring and summer, after the initial plan to work with an American producer in the United States was canceled as the coronavirus crisis dragged on. Instead, Forge reunited with Swedish producer Klas Åhlund (Ghost collaborator on 2015’s “Meliora”), and he took his time composing new songs.

He sketched out a melody for the album’s closest, a nearly seven-minute progressive epic titled “Respite on the Spitalfields”, on the small electric piano in his daughter’s bedroom. “Twenties” emerged as a frenzied chronicle of greed and oppression, in the form of a “demagogue cult leader speaking to his followers with utter contempt,” he says. The sly, catchy ’80s rock of “Griftwood” was inspired by former Vice President Mike Pence and leaders who use the Bible as a means to gain political power.

The album also arrives as a pair of hit TV series – ‘Cobra Kai’ and ‘Peacemaker’ – reintroduced an earlier generation of pop-metal to the masses, with a prominent use of 80s hits by people like Twisted Sister, Faster Pussycat, Hanoi Rocks, Ratt, Mötley Crüe, Scorpions and Def Leppard.

Ghost is not a throwback to the hair-metal era but shares a taste for hooks and melodrama. Forge hasn’t seen “Peacemaker” but has spent some free time at his home in Sweden watching “Cobra Kai” with his teenage daughter. “This series is a slam-dunk,” he says of the show, which continues the story of the “Karate Kid” movies. “And the music is awesome.”

Ghost’s brain admits nostalgia for what was commonly called “album-oriented rock,” the mainstream rock category embodied by Journey, Foreigner, Boston, and other FM radio stars of the 70s and 80s. am a big fan of AOR bands,” Forge says, describing the genre as “clever divorce rock played by older men with mustaches who’ve been through their lives a bit.”

Forge was raised in Linköping, Sweden by a single mother and indoctrinated into rock music early, by a brother 13 years her senior. Before he was 10, Forge bought English and German rock magazines he couldn’t read and absorbed as much metal, punk and classic rock as he could.

As a teenager, his tastes became even darker and more extreme as he discovered underground metal from Europe and America – then turned away from anything new to the genre after 1994, when he felt things were getting too polished, spoiling the creepy lo-fi sound and picture he loved.

As Ghost himself grows more sophisticated in his sound and approach, Forge knows some longtime fans want him to return to the band’s original recipe. Forge understands the sentiment and admits he would love nothing more than to produce new albums from bands from his youth so he can force them back to an earlier sound.

He says he wants to satisfy the fans while challenging them. “I handle it professionally in one way, and as a fan in another.”

Forge fully appreciates the intense feelings a music fan can have about a recording artist. Evolution is not always welcome.

“It has a lot to do with the type of personalities that are drawn to the world we’ve been talking about: metal, hardcore, comics, sci-fi – it’s a retreat, a safe place of order, organization, knowledge “It’s the world you hide in after school. And now there’s someone trying to…evolve? It’s disruptive.”

“It’s neither good nor bad. The future is what we don’t know, as much as it hurts.

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Bayonne, New Jersey covers Vladimir Putin’s name on the 9/11 memorial https://triakel.com/bayonne-new-jersey-covers-vladimir-putins-name-on-the-9-11-memorial/ Tue, 15 Mar 2022 20:18:08 +0000 https://triakel.com/bayonne-new-jersey-covers-vladimir-putins-name-on-the-9-11-memorial/

A town in New Jersey erased Vladimir Putin’s name from a 9/11 memorial the Russian government donated to the United States in 2005.

On Monday, officials in Bayonne, New Jersey, added an acrylic panel to cover the Russian president’s name on the memorial, which is officially called “In the fight against global terrorismbut is also known as “Teardrop Memorial” and “Tear of Grief”.

The sculpture was a gift from Russia and Putin visited Bayonne in 2005 for the inauguration of the memorial.

However, after Putin sent troops to invade Ukraine, city officials decided erasing his name from the dedication plaque was a prudent move.

“It’s certainly a satisfaction, but I don’t want to take anything away from the monument,” said Tom Cotter, director of the city’s public works department. told NBC New York. “It’s unfortunate that Putin’s name is on the monument, but I don’t want it to be Putin’s thing. I still want it to be a 9/11 monument.

Cotter said having Putin’s name on a memorial protesting against terrorism is not entirely appropriate given current events.

“Basically what’s happening in Ukraine right now looks like a form of terrorism, the invasion of this country,” Cotter said.

Mayor of Bayonne Jimmy Davis took credit for the action, saying he made the decision so that “we don’t degrade this tribute to the victims and families of 9/11/01, and we show our support for the people of Ukraine. “. according to NJ1015.com.

Davis also said covering Putin’s name was a statement against the president alone, not the Russian people.

“We remain grateful to the Russian people for the memorial. They did not start the war. Mr. Putin did. The memorial will remain in place on our waterfront. It’s not going anywhere,” Davis said in a statement.

Davis doesn’t seem worried about how Putin might react if he’s removed from the city’s memorial, mainly because he doesn’t have fond memories of the Russian leader.

“In my opinion, he’s probably the coldest human being I’ve ever met,” Davis, who was a police captain at the time of Putin’s visit, told NBC New York.

The memorial titled ‘To the Struggle Against World Terrorism’ is seen during dedication ceremonies in Bayonne, New Jersey, September 11, 2006. Russian President Vladimir Putin’s name is now concealed on the sculpture.

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Pocket Lighters Market Report Covers Future Trends With Research From 2022 To 2028 – BIC, Tokai, Flamagas, Swedish Match – The Bollywood Ticket https://triakel.com/pocket-lighters-market-report-covers-future-trends-with-research-from-2022-to-2028-bic-tokai-flamagas-swedish-match-the-bollywood-ticket/ Tue, 15 Mar 2022 14:09:15 +0000 https://triakel.com/pocket-lighters-market-report-covers-future-trends-with-research-from-2022-to-2028-bic-tokai-flamagas-swedish-match-the-bollywood-ticket/

Pocket Lighters Market 2022-2028:

Pocket Lighters Market exhibits comprehensive information which is a valuable source of insightful data for business strategists during the period 2022-2028. Based on historical data, the Pocket Lighters market report provides key segments and their sub-segments, revenue and demand and supply data. Considering the technological breakthroughs in the market, the pocket lighter industry is likely to emerge as a laudable platform for emerging investors in the pocket lighter market.

The complete value chain and essential downstream and upstream elements are scrutinized in this report. Key trends like globalization, progress in growth reinforce fragmentation regulation and ecological concerns. This market report covers technical data, manufacturing plant analysis, and raw material source analysis of Pocket Lighters industry along with explanation of which product has the highest penetration, its profit margins and the state of R&D. The report makes future projections based on the market subdivision analysis that includes global market size by product category, end-user application, and various regions.

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This Pocket Lighters Market report covers manufacturer data including shipment, price, revenue, gross profit, maintenance record, trade distribution etc., these data help the consumer to get to know the competitors better.

First leading manufacturer covered in this report:
BIC, Tokai, Flamagas, Swedish Match, NingBo Xinhai, Baide International, Ningbo Shunhong, Shaodong Maosheng, Zhuoye Lighter, Benxi Fenghe Lighter, Wansfa, Hefeng Industry, Shaodong Huanxing, Shaodong Lianhua

Analysis of product segments:
Flint lighters, Electronic lighters, Others

Application Segment Analysis:
Super and Hypermarkets, Convenience stores, Specialized retailers, Online retailers, Direct sales

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Regional Analysis for the Pocket Lighters Market

North America (United States, Canada and Mexico)
Europe (Germany, France, United Kingdom, Russia and Italy)
Asia Pacific (China, Japan, Korea, India and Southeast Asia)
South America (Brazil, Argentina, Colombia, etc.)
The Middle East and Africa (Saudi Arabia, United Arab Emirates, Egypt, Nigeria and South Africa)

The objectives of the report are:

– Analyze and forecast the market size of the pocket lighters industry in the global market.
– To study the global key players, SWOT analysis, value and global market share of key players.
– To determine, explain and forecast the market by type, end use and region.
– To analyze the market potential and benefits, opportunities and challenges, restraints and risks of key regions of the world.
– To discover significant trends and factors driving or restraining market growth.
– Analyze market opportunities for stakeholders by identify high growth segments.
– To critically analyze each submarket in terms of individual growth trend and their contribution to the market.
– Understand competitive developments such as agreements, expansions, new product launches and market possessions.
– Strategically describe the main actors and comprehensively analyze their growth strategies.

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At last, the study gives details about the major challenges that are going to impact the growth of the market. They also provide comprehensive details of business opportunities to key stakeholders to grow their business and increase revenue in specific verticals. The report will help the company existing or intending to join this market to analyze the different aspects of this field before investing or developing their trade in the pocket lighter markets.

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[email protected]

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JD Motorsports and metal band Ghost team up for Phoenix https://triakel.com/jd-motorsports-and-metal-band-ghost-team-up-for-phoenix/ Fri, 11 Mar 2022 19:00:00 +0000 https://triakel.com/jd-motorsports-and-metal-band-ghost-team-up-for-phoenix/

Sean Gardner | Getty Images

GAFFNEY, SC – JD Motorsports is proud to announce its new partnership with Grammy Award-winning metal band Ghost.

Loma Vista Recordings artists will be the title sponsor of Bayley Currey’s #4 Chevrolet Ghost at the United Rentals 200 at Phoenix Raceway on Saturday, March 12. The Swedish band recently wrapped up their tour across the United States in support of their upcoming album, “Impera.”

RELATED: Phoenix Weekend Schedule | List of entries

This unique partnership marks the group’s first foray into American motorsport.

“I’m a musician myself,” says Tony Priscaro, vice president of sales and marketing for JD Motorsports, “it’s been great working with Ghost and Loma Vista Recordings on this car. We can’t wait to put the pedal to the metal.

The design of the Chevrolet Ghost No. 4 tells the story of the creation of this unprecedented partnership. The paint scheme includes the band’s logo, along with their partners Loma Vista Recordings, Global Merchandising Services, Revolver Magazine and Rick Sales Entertainment (RSE).

The partnership is managed by marketing and content creation agency AE Engine with promotional support provided by Out of the Groove and its host, Eric Estepp. The Out of the Groove logo will also be featured on the #4 Chevrolet Ghost.

“Me and Craig at AE Engine are both huge Ghost fans,” says Eric Estepp. “Fans know I love the band and I regularly wear Ghost shirts on my show. I constantly get comments on my channel or people coming up to me at races telling me how much they love the band too. So we knew it would be really exciting for the fans.

“Eric actually introduced me to Ghost,” says AE Engine CEO Craig Baroncelli. “We exchanged texts about the new song ‘Call Me Little Sunshine’ when it came out, and we realized that the new album will be released a day before the race in Phoenix. At that time, it was a obvious – we had to pursue this opportunity. I’m just grateful that Loma Vista Recordings answered our call! They are the ones who brought this car to life.

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South Florida band Artikal Sound System sues Dua Lipa for copyright infringement https://triakel.com/south-florida-band-artikal-sound-system-sues-dua-lipa-for-copyright-infringement/ Fri, 11 Mar 2022 14:00:00 +0000 https://triakel.com/south-florida-band-artikal-sound-system-sues-dua-lipa-for-copyright-infringement/

South Florida-based reggae band Artikal Sound System has entered the murky world of music copyright law with a federal lawsuit alleging pop star Dua Lipa’s chart-topping song “Levitating” copied a melody from a track the group released in 2017.

In a lawsuit filed this week in federal court in California, members of Artikal Sound System claim their track ‘Live Your Life’ was the source of Dua Lipa’s melodic hook in ‘Levitating,’ which broke Billboard The Hot 100 chart is the oldest single in the top ten by a female artist.

Band founders Chris Montague and Fabian Acuna joined drummer Adam Kampf and keyboardist Christopher Cope in filing the copyright infringement case. They are seeking damages from the alleged authors of “Levitating”, including Stephen Kozmeniuk, Clarence Coffee Jr., Sarah Hudson and Dua Lipa. Warner Records, who released the song in 2020 as Dua Lipa’s fifth platinum-selling track nostalgia for the futureis also named as defendant.

Artikal Sound System is a regular on the South Florida reggae circuit that stretches from the Terra Firmata bar in Stuart to the North Beach Bandshell in Miami Beach. They also tour nationally, playing reggae festivals and theater gigs across the United States.

The song in question uses a series of two-note chords that some listeners (and obviously members of the Artikal Sound System band) have found similar to the chorus of “Levitating”. Both songs briefly utter the phrase “all night” in similar rhythms as well before diverging in lyrical structure.

“Given the degree of similarity, it is highly unlikely that ‘Levitating’ was created independently of ‘Live Your Life’,” the complaint alleges.

According to Artikal Sound System, “Live Your Life” was a hit on its own, albeit on a smaller scale, as it rose through the ranks. Billboard reggae chart after its 2017 release. Citing ongoing litigation, the band’s attorney, Stewart Levy, declined to comment for this story.

Kozmeniuk (AKA Koz), a Canadian record producer and longtime Dua Lipa collaborator, explained in a 2020 podcast for Song Exploder that he wrote the chords and hook for “Levitating” on a vintage Roland synthesizer. He said that when he worked with Lipa, he usually cooked up melodies ahead of studio sessions with the now 26-year-old British singer.

Lipa added on the podcast that she remembered the “exact date” she composed her parts for “Levitating.”

“‘Levitating’ premiered on August 28, 2018,” she said. “I knew I wanted to touch influences from my childhood, and a lot of my childhood influences are really songs and music that my parents listened to – a lot of Jamiroquai, Prince and Blondie.”

The singer kicked off her Future Nostalgia tour at the FTX Arena in Miami last month after a long delay precipitated by the pandemic. As of March 2, the music video for “Levitating” has garnered over 475 million views on Dua Lipa’s YouTube channel.

new times could not reach Lipa representatives for comment.

In order to prove copyright infringement in federal court in California, members of the Artikal Sound System band will first need to prove that Dua Lipa or her co-authors had access to the band’s work. They must then establish that “Levitating” is “substantially similar” to the protected musical elements of “Live Your Life”.

If these basic standards are met, the process of assessing copyright infringement can become even more subjective under California law – with what’s called the “intrinsic test.” This test typically tasks a jury with evaluating whether the feel and concept of an allegedly infringing song is the same as the plaintiff’s original work. The Ninth Circuit, the appellate circuit that ruled California’s federal courts, described this final step as relying on “an ordinary person’s subjective impressions of similarities between works.”

The Ninth Circuit has brought some of the most high-profile music copyright infringement cases in recent years, including a lawsuit in which the heirs of R&B legend Marvin Gaye claimed his track “Got to Give It Up” had been scammed by producer Pharrell Williams and singer Robin Thicke. An appeal panel in 2018 ultimately upheld a multi-million dollar award against Williams and Thicke.

Most recently, a Ninth Circuit appeals panel in March 2020 ruled in favor of rock legends Led Zeppelin, who were defending themselves against a lawsuit claiming their 1971 staple “Stairway to Heaven” ripped the track “Taurus” from the Spirit group.

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Insertion of a gastric band for revision sleeve gastrectomy: a case report https://triakel.com/insertion-of-a-gastric-band-for-revision-sleeve-gastrectomy-a-case-report/ Wed, 09 Mar 2022 17:34:38 +0000 https://triakel.com/insertion-of-a-gastric-band-for-revision-sleeve-gastrectomy-a-case-report/

Bariatric surgery for the treatment of obesity, first introduced in the 1950s and 1960s, is now relatively common. Often, patients have an adjustable gastric band inserted first because it does not require modifying or removing parts of the gastrointestinal tract. This procedure is associated with short hospital stays and quick recoveries and can be adjusted without further surgery. Typically, it is only after mechanical banding failure or failure to achieve a satisfactory reduction in body mass index (BMI) that patients undergo other bariatric procedures that involve modifying or to remove parts of the gastrointestinal tract. Recent research has suggested that gastric banding is associated with better weight reduction outcomes as a secondary or follow-up procedure after failed initial bariatric surgery.

Here we report the case of a 43-year-old woman with a history of cryptogenic organizing pneumonia, gastroesophageal reflux disease (GERD), asthma, obesity, and previous sleeve gastrectomy who underwent band insertion laparoscopic gastric surgery to revise anterior sleeve gastrectomy, reversing the typical sequence of bariatric surgeries.


Obesity is a major cause of morbidity and mortality worldwide. While a wide range of treatments are currently being implemented for the management of obesity, bariatric procedures, in particular, are recommended as a treatment option for patients with a body mass index (BMI) of 40 kg/m2 (by definition, morbid/severe/obese class 3 [1]) who implemented but failed a diet and exercise program and had obesity-related comorbidities [2,3]. Bariatric surgery is correlated in the literature with a longer life expectancy in obese patients compared to obese patients who do not undergo bariatric surgery [4]and is also associated with remission of diabetes mellitus [5]. Bariatric surgery has also been shown to reduce the risk of gestational diabetes and hypertensive disorders of pregnancy such as pre-eclampsia in women who become pregnant later. [6].

Bariatric procedures can be categorized, based on the main mechanism(s) of the procedures on the gastrointestinal (GI) tract. Sleeve gastrectomy and gastric banding are considered restrictive procedures, in which either the size of the stomach is reduced or the luminal diameter of the stomach is reduced by the occupation of space, resulting in a satiety with reduced food consumption. [7]. Gastric banding involves inserting a saline-inflated silicone band around the bottom of the stomach; this slows down and limits the amount of food that can be eaten at one time, and weight loss is achieved primarily through this restriction of nutrient intake [8]. Gastric banding is associated with a very low mortality rate (about 0.05%) [9]. Currently, in the United States, only one gastric band brand retains Food and Drug Administration (FDA) approval: Lap-Band (ReShape Lifesciences, San Clemente, CA), which is classified as a weight-loss device. [10] and is designed to be inserted laparoscopically. Due to its safety and effectiveness, gastric banding was generally the first choice or initial bariatric operation for the surgical treatment of obesity. [11]; laparoscopic gastric banding, once estimated to account for more than a third of all bariatric surgeries in the United States a decade ago [12]they are now estimated to represent only about 1% of all bariatric surgeries in the United States [13].

Sleeve gastrectomy is a procedure in which a large portion of the stomach along the greater curvature is surgically removed. Although invasive and permanent, the procedure is associated with dramatic reductions in all-cause mortality in obese adults (59% reduction in mortality in people without type 2 diabetes mellitus and a 30% reduction in mortality in people with type 2 diabetes mellitus) and increased median gains in life expectancy compared to non-surgical treatment of obesity (9.3 years in people with type 2 diabetes mellitus and 5.1 years in people without type 2 diabetes) [14]. It is now estimated that sleeve gastrectomy accounts for approximately 60% of all bariatric surgeries in the United States [13].

We present a case in which a 43-year-old woman with a long medical history, including cryptogenic organizing pneumonia, gastroesophageal reflux disease (GERD), asthma, obesity, and previous gastrectomy, underwent a Laparoscopic gastric band insertion to revise prior gastrectomy. , a sequence of bariatric procedures that is the reverse of the typical sequence for bariatric surgeries.

Presentation of the case

Our patient is a 43-year-old woman with shortness of breath (SOB) and morbid obesity refractory to sleeve gastrectomy. Previously, the patient had undergone a laparoscopic sleeve gastrectomy in 2014; at the time of this operation, she had a BMI of 36 kg/m2. Despite beginning a diet and exercise regimen intended to complement the procedure and lead to weight loss, the patient was unable to lose significant weight. The patient reports SOB while walking a flight of stairs or walking a block.

The patient’s medical history includes asthma (with an exacerbation in 2015), cryptogenic organizing pneumonia (2008), GERD, migraines and recurrent UTIs (UTIs, 2009 and 2010). Between presentation and surgery (two months), the patient was put on a strict 800-calorie diet, an increased exercise regimen, and saw a dietitian.

On examination, the patient had a BMI of 44 kg/m2. The patient was also found to have a cough, shortness of breath and wheezing. Subsequently, the patient was diagnosed preoperatively with morbid obesity refractory to anterior sleeve gastrectomy. The patient underwent diagnostic laparoscopy, adhesiolysis and insertion of a gastric band. The laparoscopic band was successfully placed without incident, and the postoperative diagnosis was morbid obesity refractory to prior gastrectomy.

The patient’s history of bariatric surgery required both an upper gastrointestinal X-ray and an abdominal X-ray (or KUB, for “kidney-ureter-bladder”), which showed both a properly placed and functional gastric band and no signs of leakage (Figures 12). The patient was discharged without incident and followed on an outpatient basis. After the operation, the patient continued to follow with monthly outpatient visits where she was counseled on diet, exercise and received support groups for regular attendance. During these visits, the gastric band was adjusted as needed. Five months after gastric band insertion, the patient had achieved a BMI of 32 kg/m2, representing a 27.2% reduction in total BMI from the time of presentation. Using a BMI of 25 as a standard endpoint [15]our patient’s excess BMI loss (%EBMIL) was 63.2%.

Upper GI X-ray showing contrast retention, indicating good gastric band function and no leak (red arrow)


Gastric banding was, until recently, the first choice or initial/primary bariatric operation for the surgical treatment of obesity due to its safety and effectiveness. [11], as well as the fact that gastric banding does not involve permanent changes to the gastrointestinal tract. Until 2011, estimates suggested that more than a third of all bariatric procedures performed in the United States were laparoscopic gastric band insertions [12,13]; the most recent estimates suggest this has dropped dramatically, so that gastric banding accounts for only 1% of bariatric surgeries, and instead sleeve gastrectomies now account for around 60% of all bariatric surgeries [13].

Recent research has suggested that more permanent bariatric procedures such as sleeve gastrectomy or Roux-en-Y gastric bypass, despite the greater risks than banding due to permanent alterations to the gastrointestinal tract, should be the preferred option. initial or first choice bariatric surgery for the treatment of obesity. [16-18]. This research is supported by the greater weight reductions associated with more permanent bariatric surgeries: gastric banding alone was associated with a 47.5% weight reduction, gastric bypass alone with a from 61.6%, gastroplasty (including sleeve gastrectomy) alone to 68.2% % weight reduction and biliopancreatic diversion/duodenal switch alone, a weight reduction of 70.1% [16]. These reports may have contributed to the dramatic increase in sleeve gastrectomies and decrease in gastric band insertions performed over the past decade.

Research examining gastric banding as a salvage, secondary, or follow-up procedure to follow up on failure of other primary bariatric surgery has reported additional reductions in weight and therefore improvements in BMI [19,20], suggesting that the use of gastric banding as secondary bariatric surgery for obesity is a viable treatment. One study found that gastric banding as a salvage procedure for follow-up of failed Roux-en-Y gastric bypass surgery resulted in an additional 20.8% reduction in weight. [19]while another found that rescue banding after failed Roux-en-Y gastric bypass surgery resulted in excess loss of BMI (%EMBIL) from 55.9% to 94.2% [20]. This is consistent with our patient’s outcome, in which a 27.2% reduction in total BMI (an EBMIL % of 63.2%) was achieved with gastric band insertion as surgery. secondary bariatric after failure of primary gastrectomy to achieve reductions in weight and BMI.


Gastric banding was often the first choice bariatric procedure performed for the surgical treatment of obesity. However, gastric banding has been replaced over the past decade by sleeve gastrectomy as the preferred bariatric procedure for the surgical treatment of obesity. Despite this, gastric banding as a follow-up or secondary procedure has been shown to be effective in achieving weight reductions in obese patients whose primary bariatric surgery failed. Our case further demonstrates the effectiveness of gastric banding as a secondary bariatric procedure and suggests that despite the declining popularity of gastric banding, it should still be strongly considered as an option for obese patients whose surgery primary bariatric surgery did not achieve satisfactory weight reductions or patients at risk of failure of primary bariatric surgery.

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Metal Band Ghost teams up with Bayley Currey, JD Motorsports in Phoenix https://triakel.com/metal-band-ghost-teams-up-with-bayley-currey-jd-motorsports-in-phoenix/ Tue, 08 Mar 2022 17:23:05 +0000 https://triakel.com/metal-band-ghost-teams-up-with-bayley-currey-jd-motorsports-in-phoenix/

Metal band Ghost will sponsor Bayley Currey in Phoenix. Image courtesy of JD Motorsports.

JD Motorsports proudly announces its new partnership with the Grammy Award-winning metal band Phantom.

the Loma Vista Recordings the artists will be the main sponsor of by Bayley Currey No. 4 Ghost Chevrolet at the United Rentals 200 at Phoenix Raceway on Saturday, March 12. The Swedish band recently wrapped up their tour across the United States in support of their upcoming album, Impera.

This unique partnership marks the group’s first foray into American motorsport. “I am a musician myself,” says JD Motorsports Tony Priscaro, Vice President of Sales and Marketing, “It’s great to work with Ghost and Loma Vista Recordings on this car. We can’t wait to put the pedal to the metal.

The design of the Chevrolet Ghost No. 4 tells the story of the establishment of this unprecedented partnership. The paint scheme features the band’s logo, as well as their partners Loma Vista Recordings, Global Merchandising Services, revolver magazine and Rick Sales Entertainment (CSR).

The partnership is managed by a marketing and content creation agency AE engine with promotional support provided by out of the groove, and its host Eric Estepp. The Out of the Groove logo will also be featured on the #4 Chevrolet Ghost. The paint scheme for the #4 Chevrolet Ghost was featured exclusively on Eric’s Youtube channel.

“Me and Craig at AE Engine are both huge Ghost fans,” says Eric Estepp. “Fans know I love the band and I regularly wear Ghost shirts on my show. I constantly get comments on my channel or people coming up to me at races telling me how much they love the band too. So we knew it would be really exciting for the fans.

“Eric actually introduced me to Ghost,” says AE Engine CEO Craig Baroncelli. “We were texting each other about the new song ‘Call Me Little Sunshine’ when it came out, and we realized the new album will be out a day before the race in Phoenix. At that time, it was a no-brainer – we had to pursue this opportunity. I’m just grateful that Loma Vista Recordings answered our call! They are the ones who brought this car to life.

25-year-old Bayley Currey is in his first full-time year with JD Motorsports, but he’s no stranger to Phoenix Raceway, having notably made a Cup Series start there in 2019, as well as the Xfinity Series more recently. years. Currey finished seventh in last March’s LS Track 250 Xfinity Series race at Phoenix Raceway.

“I’m ready to rock,” Currey says. “I’m excited about this one, and I know the boys at the shop are also excited about this one, we have a lot of metal fans on our team. Once we heard a deal was imminent, we started working on the cars for the Ghost songs. With Ghost on my car, I’m ready to take on the world.

The United Rentals 200 is live on FS1, MRN and SiriusXM NASCAR Radio (Ch. 90) Saturday, March 12 at 4:30 p.m. EST.

—JD Motorsports—

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Barney Greenway Doesn’t Classify Napalm Death As A Metal Band https://triakel.com/barney-greenway-doesnt-classify-napalm-death-as-a-metal-band/ Mon, 28 Feb 2022 15:12:09 +0000 https://triakel.com/barney-greenway-doesnt-classify-napalm-death-as-a-metal-band/

Napalm Death’s Barney Greenway was the final guest on Full Metal Jackie’s weekend radio show. With the Resentment is always seismic – One Last Punch EP now out, the singer discussed the two covers featured on the eight-song release and clarified that these aren’t just 2020s snippets Throes of Joy in the jaws of defeatism.

With much of Napalm Death’s influence coming from the early hardcore punk scene and their willingness to incorporate other sounds and styles outside of what many concretely consider heavy metal, Greenway was hesitant to call Napalm Death a band. pure hard metal.

Greenway also talked about the title of the EP and, in particular, the meaning of the emotion that is resentment.

Read the full interview below.

Resentment is always seismic – One Last Punch is largely a continuation of Throes of Joy in the jaws of defeatism. What hasn’t been said by this latest album that may have made it incomplete?

It wasn’t outtakes [from the last album]. We think they are of the same quality as those on the main album. We ended up with a ton of leftover songs that were as good as anything, so we made a mini album like we used to do back then.

Death by napalm, “Narcissus”

Resentment is a central theme of the new mini-album. What is particularly dangerous for you in this particular emotion?

It’s quite a psychological analysis because resentment in itself is something that increases. Once it increases the level of associated violence, whether it’s mental violence or physical violence, it really adds up and that’s pretty significant.

I guess I was referring to the general trend right now, not that it’s never been there in the past, but the general trend right now is to really separate people you don’t like. Very often this aversion is not even understood. So the point is, [the word] “seismic” is the ultimate way I could put it. Resentment really creates damage, so that was the parallel.

There is Dale! and Bad Brains covers on the new mini-album. How did these particular bands and songs coincide with your own musical point of view?

It could have been any of the 1000 groups [that influenced us] because Napalm is very strongly influenced by hardcore punk. That’s where Napalm Death came from, so there’s a clear parallel there and Bad Brains is a really interesting band because they not only had the early strains of hardcore punk but also reggae elements which are really interesting.

Slab! are a bit more of an unknown group. People who were really into the 80s and 90s industrial scene might know them. They were a British band that did some pretty catchy dance stuff in a way, but the actual production and the sounds underneath were still really abrasive and really harsh. So there are definite sonic parallels with Napalm Death and by covering it just means we’re stretching it.

We were stretching out a lot more and I think one of the things with Napalm Death is to not just stagnate. We’re always trying to get things done, so it’s really a double-edged sword with the Slab! blanket.

Napalm Death, “Don’t Need It” (Bad Brains cover)

For most of your adult life you have been present in the metal community with Napalm Death. In what ways has this longevity shaped a statesman’s outlook in you?

I don’t feel that if I’m being honest. It’s really interesting that you talk about the metal community, but as we mentioned, Napalm is much more than that.

That’s part of the reason for the longevity because I don’t really classify us as a metal band. Sure, we have elements of metal, but the general focus of Napalm Death is much more than that – it’s hardcore punk and alternative music and it’s a broad spectrum.

It’s really good that people say such nice things about us, you know, and if we’re considered statesmen or whatever, all we do is try to get things done with the group as much as we can try to do the best we can. That is just about everything. Everything else is purely accidental.

Napalm Death will be touring the United States this year with Arch Enemy and Behemoth. What will be different about your road diet after contracting COVID on tour here last year?

We’re really careful not to take any extra risks now, but it’s not always foolproof. You are in crowded environments and it’s really hard to avoid people. You always have this kind of ideal strategy for how you’re going to do it, but there are so many other places you could be exposed.

I don’t know what the situation is in the US right now, but hopefully we will continue to do what we can to at least reduce the risk as much as possible. I don’t want that anymore, no way. Not after last tour ended – it was miserable and wouldn’t recommend to anyone [laughs].

Thanks to Barney Greenway for the interview. Get your copy of ‘Resentment is Always Seismic – A Final Throw of Throes here and follow Napalm Death on Facebook, Twitter, Instagram and Spotify. Find out where you can hear Full Metal Jackie’s weekend radio show here.

The “Big 4” of 17 metal subgenres

Everyone knows the “Big 4” of thrash metal, but what about other styles of metal?

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X-Band Radar Market to Drive Incredible Growth During Forecast Period 2022-2030 – Materials Handling https://triakel.com/x-band-radar-market-to-drive-incredible-growth-during-forecast-period-2022-2030-materials-handling/ Fri, 25 Feb 2022 11:31:25 +0000 https://triakel.com/x-band-radar-market-to-drive-incredible-growth-during-forecast-period-2022-2030-materials-handling/

the X-Band Radar Market The research report enhances decision-making abilities and further helps in creating powerful counter-strategies to gain competitive advantages according to the recent Quince Market Insights research report. The X-Band Radar market research report is specifically offered for the global market which includes development trends, competitive landscape analysis, important regions, and development status.

The recent X-Band Radar Market research analysis provides an in-depth analysis of significant market shares of the strategies and business models of the most notable players in this global market. The research report also provides a comprehensive analysis of important factors, regional data, industry data, as well as country-specific data. The research report covers the vast literature that includes all types of information on the evolving X-Band Radar market.

X-Band Radar Market Overview
Market segments By Application (Defense, Government, and Commercial), Type (Mobile and Maritime X-Band Radar), Network (Active Electronically Scanned Array (EASA), Passive Electronically Scanned Array (PESA)
Key players Japan Radio Company Limited (Japan), Terma A/s (Denmark), Northrop Grumman Corporation (USA), Raytheon Company (USA), Saab AB (Sweden), Furuno Electric Co. Ltd. (Japan), Israel Aerospace Industries (Israel), ThalesRaytheonSystems (France), Selex ES SpA (Italy), Kelvin Hughes Limited (UK), Reutech Radar Systems (South Africa)
Regions North America, Europe, Asia-Pacific, Middle East and Africa, South America

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Regional overview
North America United States, Canada, Mexico, rest of North America
Europe Germany, Russia, United Kingdom, France, Italy, Spain, Netherlands, Rest of Europe
Asia Pacific China, India, Japan, South Korea, Australia, Indonesia, Rest of Asia Pacific
Middle East and Africa United Arab Emirates, Saudi Arabia, Qatar, South Africa, Rest of Middle East and Africa
South America Brazil, Argentina, Colombia, Rest of South America

Competitive landscape

The market research report deals with the in-depth competitive analysis which includes the company profiles of the major market players that are operating in the global market. The section also contains information related to new product launches, mergers, acquisitions, collaborations, etc., to give a clear understanding of the competitive landscape prevailing in the global market. Focusing on strategies, several major developments have been made by large companies such as Japan Radio Company Limited (Japan), Terma A/s (Denmark), Northrop Grumman Corporation (USA), Raytheon Company (USA), Saab AB (Sweden), Furuno Electric Co. Ltd. (Japan), Israel Aerospace Industries (Israel), ThalesRaytheonSystems (France), Selex ES SpA (Italy), Kelvin Hughes Limited (UK), Reutech Radar Systems (South Africa)

Market segmentation

The segmentation of the global X-Band Radar market has been done on the basis of technology, product, distribution channel application, industry vertical, and end-user. Apart from this, the segmentation is also done based on the geographical landscape. The detailed segmentation offered in the report will help clients to get a clear idea of ​​market segments and factors that will drive segmental growth. The X-band radar market has been segmented By Application (Defense, Government, and Commercial), Type (Mobile and Maritime X-Band Radar), Network (Active Electronically Scanned Array (EASA), Passive Electronically Scanned Array (PESA)

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The X-Band Radar Market is further categorized by region as follows:

North America (United States, Canada, Mexico) Market Size, Growth Market Size, Growth and Opportunity Analysis, Future Forecast and Opportunity Analysis

Europe (Germany, Russia, UK, France, Italy, Spain, Netherlands, Rest of Europe) Market Size, Growth, Future Forecast and Opportunity Analysis

Asia Pacific (China, India, Japan, South Korea, Australia, Indonesia, Rest of Asia Pacific) Market Size, Future Forecast and Opportunity Analysis

Middle East and Africa (UAE, Saudi Arabia, Qatar, South Africa, Rest of Middle East & Africa), North Africa, South Africa, Rest of Middle East & Africa) Market Size, Future Forecast and Opportunity Analysis

South America (Brazil, Argentina, Colombia, Rest of South America) Market Size, Future Forecast and Opportunity Analysis

X-Band Radar Market

A few points from the table of contents:

Market overview: It contains five chapters along with information on research scope, major manufacturers covered, market segments, X-Band Radar market segments, study objectives and years considered.

Market landscape: The competition in the global X-Band Radar market is assessed here in terms of value, sales, revenue, and market share by organization along with market rate, competitive landscape, and recent developments, transaction, growth, sales and market share. of the best companies.

Company Profiles: Key players of the global X-Band Radar market are studied based on sales, major products, gross profit margin, revenue, price, and production growth.

Market outlook by region: The report reviews gross margin, sales, revenue, supply, market share, CAGR and market size by region in this segment. North America, Europe, Asia-Pacific, Middle East & Africa, and South America are some of the regions and countries studied in depth in this study.

Market segments: It contains the in-depth research study that interprets how different end-user segments/applications/types contribute to the X-Band Radar Market.

Market Forecast: Production Side: In this part of the report, the authors have focused on production and production value forecasts, major producers forecasts and production and production value forecasts by type.

Search results: This section of the report presents the findings and analysis of the report.

Conclusion: This part of the report is the last section of the report where the conclusion of the research study is provided.

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The research report offers answers to the following questions:

  • What is the expected growth rate of the global market for the forecast period?
  • What are the major driving factors shaping the fate of the X-band Radar market during the forecast period?
  • What will be the overall market size during the analysis period?
  • What are the key market trends influencing the development of the X-band Radar market across various regions?
  • What are the major market players and the market strategies that have helped them secure the leading position in the global market?
  • What are the challenges and threats likely to impede the growth of the X-band Radar market?
  • What are the main opportunities companies can get to succeed in the world?

Impact of COVID-19 on the X-Band Radar Market

As the whole world is affected by the outbreak of COVID-19, the X-band radar market has been severely impacted. The market research report contains an overview of the future impact of COVID-19 on the supply chain, exports, imports, regional government regulations, as well as market size in the global radar market in tape X. The study also contains an in-depth analysis of how the pandemic has caused the company to suffer huge losses. Moreover, the coronavirus pandemic has also affected all aspects of life. In terms of the industrial landscape, the COVID-19 pandemics have brought about many variations.


The study is a compilation of first-hand data, qualitative and quantitative data by industry analysts and input from market experts and key players in the value chain process. The study offers an in-depth analysis of current market trends, micro and macro indicators and driving factors, and industry attractiveness by segment. The report also maps the qualitative impact of various market factors on market segmentations and geographies.


QMI has the most comprehensive collection of market research products and services available on the web. We provide reports from virtually all major publications and regularly update our list to provide you with immediate online access to the world’s most comprehensive and up-to-date archive of professional market, company, property and model information. global.


Overview of the quince market

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Swedish singer-songwriter Kristian Matsson plants his world’s tallest man flag in the triangle https://triakel.com/swedish-singer-songwriter-kristian-matsson-plants-his-worlds-tallest-man-flag-in-the-triangle/ Wed, 23 Feb 2022 11:41:53 +0000 https://triakel.com/swedish-singer-songwriter-kristian-matsson-plants-his-worlds-tallest-man-flag-in-the-triangle/

The tallest man in the world | The Haw River Ballroom, Saxapahaw | Saturday, February 26, 8 p.m., $35

“I’m looking at a hawk right now,” says Kristian Matsson, the Swedish singer-songwriter better known as The Tallest Man on Earth. It’s a Friday morning and, on the phone with INDY WeekMatsson eagerly tells the story of his recent move to the Triangle, while watching the birds from his home on the outskirts of Durham.

“I’m fascinated by all the raptors you have here,” he said. “Back home in Sweden, you see a hawk once in a while and it’s like, ‘Wow!’ Here it is all the time.

A confluence of factors led Matsson to North Carolina: his newfound relationship with old friends who run local artist management company The Glow, for example. The creative flash he remembers bottling on a friend’s lawn in Raleigh in 2011, as he rode an internationally acclaimed first wave and retired here to write “Little River”. And the new album he wrote and is currently recording in the isolated Chapel Hill studio of Betty, Nick Sanborn and Amelia Meath. To sweeten the Tar Heel deal, Matsson kicks off his Songs of Hope Tour – his first North American swing in two years, with several sold-out dates in major markets like Boston, New York, Chicago and Los Angeles – at Haw River. Ballroom at Saxapahaw on February 26.

“It’s kind of like a hometown show in a charming way,” he says.

After keeping an apartment in New York for six years, the pandemic changed Matsson’s priorities.

“I needed to help my parents, so I thought I would go back to Sweden for two months,” he recalls. “Then I was banned from the United States for 18 months. I got rid of my apartment in New York, and now I’m slowly doing [North Carolina] my place in America. I love it. I have all my gear here for touring and recording. When I got here the songs just started coming out of me. There must be something about this place.

It’s a rare admission of contentment for Matsson, a famous hyperactive and nomadic singer-songwriter. He’s revered by critics for his intricate fingerstyle guitar and dreamlike storytelling spanning five studio albums and four EPs, and fans are equally wowed by his emotional intensity and energetic live presence. Prowling the stage and jumping over amps, his head and neck move with frenetically selected beats as he sings and howls in a high-pitched, throaty rasp often compared to that of Bob Dylan.

However, Matsson’s open-hearted vulnerability and prismatic voice stand in stark contrast to Dylan’s icy inscrutability. World’s Tallest Man’s 2015 album, The black bird is at homedug into the thorny subject of divorce, while 2019 I love you. It’s a fever dream. swirling, Springsteen-style scaffolding around some of Matsson’s most personal songs (see the haunting triptych of “I’m a Stranger Now”, “Waiting for My Ghost” and “I’ll Be a Sky”).

Buried just below the surface of all this grief is a lifelong fascination with nature, especially avian persuasion. Past EP tracks include Sometimes the blues is just a bird of passage (2010) and When the bird sees the solid ground (2018), while the 2012 album cover There’s no leaving now represents geese taking off.

“I’m kind of a hummingbird as a person,” Matsson laughs. “During the pandemic, when the tours were canceled, I was at home in a beautiful place in Sweden. But I was always at home. That didn’t necessarily calm me down. Oddly enough, it’s the moving around – meeting other people and being in the world – that calms me down. I used to think I was an introvert who needed alone time. I now realize what a little social creature I am.

This new extroversion extends to Matsson’s new material, which was written expressly in the spirit of collaboration – a big difference from his past dedicated to doing it all alone. He does, however, keep thematic discussions about the songs close to the vest, cryptically hinting that he’ll reveal more in a future interview (“Let’s do it again after the album is done to see how it all went” ).

“I wrote these songs thinking they might change when people walk into the room and add them,” he says. “I’m much more open now to invite others. In the past, I was very shy about showing my work or never thinking I was really good.”

So does the world’s tallest man suffer from a Scandinavian strain of Tall Poppy Syndrome, the Australian cultural phenomenon that puts people off standing out? Matsson answers with an emphatic yes.

“In Sweden, we’re not supposed to be really proud of what we achieve,” he says. “We do a lot of things in the dark and we won’t show them until they’re pristine. But I gave up. It’s part of my attraction to America. It’s not the stereotype that you’re brash and loud and arrogant, because that’s not what I see. But it’s a bit more… you dare to do things here.

Matsson speaks fondly of local friends whose bold artistry he admires: Brad and Phil Cook, who introduced him to Sanborn and Meath; Phil Moore of Bowerbirds (“one of my favorite bands of all time”); Flock of Dimes’ Jenn Wasner (“The album she released during the pandemic saved me from a lot of dark times”); and Mountain Man’s Meath, Molly Sarlé and Alexandra Sauser-Monnig (the latter’s solo project Daughter of Swords will open for Matsson on her first 12 US dates).

Then, he spends a few breathless minutes expressing “deep feelings of love” for his “travelling circus” of a road crew; shyly reflecting on the vulnerable cheekiness of his social media presence (describing his genre as “sad pony music”, adding an old press photo with the updated caption “What were you so afraid of, kid mate? Losing your pick? Your ghost costume not believable enough? Just play your songs”); and decisively dismissing “the vanities I had before the pandemic”. Like what? “Like saying, ‘I don’t don’t want to play in this room because the AP is bad,'” he laughs. “Now it’s like, ‘Give me a scene!'”

Exhaling, he laughs and apologizes for his enthusiasm.

“Well, he said, I’m inspired by my friends. The warm breezes here are magical to me. For the first time in a long time, I’m having a lot of fun. I feel myself relaxing in the strange craziness and emotional outbursts that music can bring.

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