A friend of mine, Tom Homberger, who coaches a youth Sailing Team gave this analysis:
OK – I’ll take a shot. All sailing downwind.
GBR on Starboard tack has ROW over FRA & KIWI who are on Port tack (rule for vessels on opposite tacks).
FRA & KIWI???
Between these 2, FRA might be considered leeward vessel and have ROW over KIWI (rule for vessels of same tack). KIWI would need to give way by heading up.
Or – hard to tell but if FRA is overtaking KIWI boat from behind then KIWI is ‘boat ahead’ or ‘overtaken boat’ and would have ROW and FRA would need to give way (rule for same tack overtaking).
Generally ROW rules work well for keel boats, skiffs & dinghies. Not so much when zipping along at 45kts on a short ‘made for media’ course.
I remember the windsurf slalom racing in late 80’s/90’s basically threw out the rule book and it was every sailor for themselves. The tribe would settle disagreements in the parking lot afterwards. Kinda worked!
It seems the younger generation has rediscovered Steely Dan.
Just in time for my good friend, Jon Zeeman, to release an original song in their style, with his Steely Dan Tribute band – The Expanding Man.
Now there is a whole book about Steely Dan’s rediscovery by a new generation that is covered in this Atlantic review.
In hindsight, Steely Dan’s Zelig-like presence in sample-based hip-hop looks like a harbinger of the band’s current renaissance: A duo that was one of the most polarizing acts in rock even at its peak, in the 1970s, has lately acquired an army of new fans, many of them remarkably young.
Pappademas tries out several theories to explain the Danaissance’s timing. The most compelling of them is the idea that their songs, full of gallows humor and wry disillusionment, resonate with a generation raised on crashing economies and a climate crisis. “Donald and Walter’s songs of monied decadence, druggy disconnection, slow-motion apocalypse, and self-destructive escapism seemed satirically extreme way back when; now they seem prophetic,” he writes. “We are all Steely Dan characters now.”
For those weary of the “rockism”-versus-“poptimism” debates of the past couple of decades—and who isn’t?—Steely Dan offers a welcome escape from the reductive opposition between rock as Promethean self-expression and pop as a big-tent pleasure center. The band didn’t mind being dismissed by the most doctrinaire rock partisans: “soulless, and by its calculated nature antithetical to what rock should be,” as a Rolling Stone review of Aja summed up the brief against them. At the same time, Steely Dan’s music is unapologetically snobbish, flouting the “everything is great” ethos of extreme poptimism.
A band that charts an idiosyncratic path ends up acquiring an eclectic audience, this one united by a tenacious devotion to the work of a pair of artists who were themselves nothing if not devoted.
Watch these buildings being blown up. Overbuilding and corruption brought them down during the orgy of construction before COVID hit. These buildings were destroyed because they were deemed unsafe for habitation, due to corners that were cut during construction. China is littered now with ghost cities. Instead of “build it and they will come”, this looks more like “build it to keep people employed” for “social harmony”. Now the real estate boom is turned into a bust, with the government having to take over failed construction companies.
Roxana Küwen, born in 1989 in Northern Germany, of Iranian descent. She graduated in 2013 at Fontys Academy for Circus and Performance Art in Tilburg, Netherlands.
