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Book your room at Park Inn & Suites by Radisson, Vancouver
Guest Room Non-Smoking With BalconyMax Occupancy: 5 guests (up to 4 children, 2 infants)
Two Double Beds Non-SmokingMax Occupancy: 4 guests
Two Double Beds City View Non-SmokingMax Occupancy: 4 guests
One King Bed Non-Smoking with BalconyMax Occupancy: 2 guests (up to 1 child)
Standard Room, Non SmokingMax Occupancy: 3 guests (up to 2 children, 2 infants)
Guest Room - One Double Bed Non-SmokingMax Occupancy: 2 guests
Family-friendly hotel next to Vancouver General
A stay at Park Inn & Suites by Radisson, Vancouver places you in the heart of Vancouver, convenient to Granville Island Public Market and Stanley Park.
This family-friendly hotel is within close proximity of Vancouver International Film Centre and Plaza of Nations.
Make yourself at home in one of the 117 air-conditioned rooms featuring refrigerators and microwaves. Rooms have private balconies. Complimentary wireless Internet access keeps you connected, and cable programming is available for your entertainment. Private bathrooms with shower/tub combinations feature complimentary toiletries and hair dryers.
Take advantage of recreation opportunities including a nightclub and a fitness center. This hotel also features complimentary wireless Internet access and ski storage.
Enjoy a meal at a restaurant or in a coffee shop/café. Or stay in and take advantage of the hotel's room service (during limited hours). Quench your thirst with your favorite drink at a bar/lounge.
Featured amenities include a business center, dry cleaning/laundry services, and a 24-hour front desk. Planning an event in Vancouver? This hotel has facilities measuring 1925 square feet (173 square meters), including a meeting room. Self parking (subject to charges) is available onsite.Information missing or incorrect? Tell us!
At your hotel
At your hotel
The Park Inn & Suites by Radisson on Broadway is centrally located in Vancouver approximately 12 km (8 miles) from Vancouver Airport, within walking distance of shops and restaurants. The hotel is adjacent to Vancouver General Hospital, 7 blocks from Granville Island, 2.5 km (1.5 miles) from Rogers Arena and B.C. Place Stadium, and 9 km (5.5 miles) from UBC.
This Vancouver hotel offers an exercise room, full-service restaurant, and pub with live music. Laundry facilities are on site. Guests are welcome to use the luggage storage and a safe-deposit box (available at the front desk). Complimentary wireless Internet is also available on site.
Guest parking is available on site (surcharge).
- Number of floors - 7
- Number of buildings/towers - 1
- Free Wi-Fi
- Conference space size (feet) - 1925
- Conference space size (meters) - 173
- 24-hour front desk
- Bar/lounge
- Breakfast available (surcharge)
- Coffee shop or café
- Fitness facilities
- Dry cleaning/laundry service
- Laundry facilities
- Elevator/lift
- Business center
- Luggage storage
- One meeting room
- Multilingual staff
- Nightclub
- Total number of rooms - 117
- Restaurant
- Safe-deposit box at front desk
- Self parking (surcharge)
- Ski storage
- Smoke-free property
Stay connected
Available in all rooms: Free Wi-Fi
Available in some public areas: Free Wi-Fi
Park your car
Self parking (surcharge)
In your room
- Free Wi-Fi
- Connecting/adjoining rooms available
- Premium TV channels
- Hypo-allergenic bedding available
- Balcony
- Air conditioning
- Complimentary newspaper
- Soundproofed rooms
- Phone
- Free local calls
- Refrigerator
- Coffee/tea maker
- Microwave
- Daily housekeeping
- Private bathroom
- Complimentary toiletries
- Hair dryer
- Shower/tub combination
- Rollaway/extra beds available
- Iron/ironing board
- Television
- Desk
- Blackout drapes/curtains
- Cable TV service
- Climate control
- Room service (limited hours)
Eat and drink
Market Café - Three meals a day are available in this casual, 80-seat restaurant specializing in soup and salads, burgers, grilled steaks, and fresh seafood, including salmon fillets.
Fairview Pub - Dinner, appetizers, and drinks are served at this legendary Vancouver pub-style entertainment venue which offers live rap, jazz and classic rock music. This spot is locally famous for steak sandwiches and other dinner specials. A big screen is available for watching sport events.
The hotel is just 4 blocks from the Vancouver seawall, a 12-mile paved path on the waterfront popular with pedestrians, cyclists, runners, and in-line skaters.
The recreational activities listed below are available either on-site or near the hotel; fees may apply.
- Kayaking nearby
- Sailing nearby
- Cross-country skiing nearby
- Windsurfing nearby
- Downhill skiing nearby
- Hiking/biking trails nearby
- Golfing nearby
To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
- Accessible path of travel
- Accessible bathroom
- Roll-in shower
- Accessible parking
The fine print for Park Inn & Suites by Radisson, Vancouver
When you arrive
Check-in time starts at 4 PM
Minimum check-in age is 18
When you leave
Check-out time is noon
How you can pay
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
Parking height restrictions apply
- Breakfast fee: between CAD 7.25 and CAD 15.95 per person (approximately)
- Self parking fee: CAD 15 per night
- Rollaway bed fee: CAD 20 per night
We should mention
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.


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The Good, The Bad, And Miley Cyrus
Well maybe sometimes prayers are answered. And if you've been praying for [lastfm link_type=""]Miley Cyrus[/lastfm], well, you're in luck. Miley made some dreams come true for a group of terminally ill children by organizing a meeting with them in Los Angeles.
Miley took a break from her concert rehearsal to spend some time with 14 kids, who were flown to Hollywood on Monday by the Make-A-Wish Foundation, a non-profit organization which grants trips for patients with life-threatening medical conditions. The kids had a blast visiting tourist attractions, riding in stretch limousines and enjoying a trip to Universal Studios. Six-year-old Kayden Peets, who was diagnosed with leukemia last year, insists the highlight of the trip was meeting her hero Cyrus – and having a break from her studies.

subset: commoncrawl


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NON-STOP is basically two hours of Liam Neeson playing "Clue" on an airplane.
Alcoholic air marshal Bill Marks (Neeson) needs to find out who's murdering people on his flight. Fast. Every twenty minutes, another passenger will die unless $150 million is deposited in the mystery killer's bank account. As the body count rises, everyone aboard the plane becomes a suspect – Bill included, when the authorities realize the bank account is (gasp) his. Against a ticking clock, our haggard hero must save the plane, stop the killings, and punch whoever's responsible in the throat.
It's a fun, twisty mystery for a while. The film presents a whole crowd of murder suspects, all exchanging shifty glances and red herrings. Every time the ingenious script seems to paint itself into a corner, it knocks down a wall. Major plot twists are hidden inside smaller ones, carefully arranged like narrative time bombs (and one literal one). The direction is marvelous, too – one particular shot halfway through the film gracefully swoops from end of the plane to another, eavesdropping on a half-dozen characters with evolving agendas. A lot of skill went into this film, and it's easy to get swept up in the suspense.
But it's hard to stick with it. How's your suspension of disbelief? Because NON-STOP will put it through a triathlon. It's not just the numerous plot holes (don't even try to count them) – it's the jarring tonal difference between where it starts and where it ends. The first half is a plausible, low-key murder mystery at 40,000 feet, and the second half descends to LEGO MOVIE absurdity. Poison darts? Check. Fighter jets? Check. Zero-gravity shootout? Double-check.
The last fifteen minutes drop to face-palm altitude. When the criminal mastermind is finally unmasked, he/she delivers a forced and bewildering "how I did it and why" speech, like an unusually violent episode of Scooby Doo. I guess the villain's motivation doesn't matter that much; it's the end of the movie and Liam Neeson is in a neck-breaking mood.
NON-STOP isn't a bad thriller – it's just hard to love. It's too smart to be mindless fun and too stupid to be anything more. Heck, 2008's TAKEN delivered twice the butt-kicking with half the fuss.
I guess I like Liam Neeson better when he's creating the body count – not cleaning up after it.
-Taylor Adams


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What's your question? Search here
Spacesaver wheels for the new RAV4?You mentioned in a forum that Toyota will offer a spacesaver wheel for the new RAV4. My local dealer knows nothing about this, and cannot meet my need for a spacesaver for my 2011 RAV4 with 18 inch wheels. Can you point me in the right direction to get hold of one, please?
Asked on 12 May 2013 by Barry Boy
Answered by Honest John
It will be offered as an option on the RAV-4 from July. It is not yet available.
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More luxurious but not as practical as the previous version. Excellent, car-like road manners. Available with petrol and diesel automatics. Facelifted 2010.


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Storm Alert
Humidity 45%
Winds 0.0mph
Humidity 45%
Winds 0.0mph
Oct 7, 2012 12:11 PM by Scott Oathout
TUCSON- A suicide prevention walk is taking place this morning at Reid Park.
The walk, hosted by The American Foundation for Suicide Prevention, begins at 10 a.m. at Ramada 15.
According to the AFSP, a person dies by suicide every 15 minutes, claiming more than 36,000 lives each year in the United States.
Proceeds will benefit the AFSP and go towards increasing awareness about prevention, warning signs and the psychiatric illnesses.
20 hours ago


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Welcome to our online registration system.
As of July 2012, Bellarmine has a new registration policy. In order to register we require a deposit of $70.00 for all retreats which is applied toward the cost of your retreat or refunded to you if we receive your cancellation request 24 hours in advance.
Bellarmine will never turn anyone away for lack of funding, if you are unable to afford the $70.00 registration fee at the time, please do not hesitate to call us so we can help get you registered.
Our office number is 847-381-1261.
If you have any questions or receive a message indicating that the "event has reached the maximum number of attendees" and you would like to register with a specific group or be put on a waiting list, please contact us.
Thank you!
We look forward to seeing you soon!
[EVENT_ESPRESSO_CATEGORY event_category_id="mens-retreats"]


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2003: Movietone - "Snow is Falling"
The opening moments of the Movietone song "Snow is Falling" have always been like a magic wand. Despite the fragility of Kate Wright's voice, this tune belies the immaculate, frozen moment like no other. If it weren't so angelic, it'd perfectly capture the still, glazed-over hushedness of McCabe & Mrs. Miller's Presbyterian Church.
But this tune, nestled in the knee of Movietone's 2004 swan song The Sand and The Stars (Drag City, 2003), lights into the air and patiently sashays into the heavens on a swell of woodwinds. It's a song of small wonder, akin to the wide-eyed poise of Vashti Bunyan or the deliberate sentimentality of Antony. It's a place where you wanna be present, never once allowing the past or the future to shake your crystalline perspective. And, like a lot of the best things in life, it's gone before you can truly grab hold of it.
1989: The Strangulated Beatoffs - The Beatoffs
The unplanned obsolescence of St. Louis, Missouri was going to have an impact on the musical culture of the city at some point. That is, it was bound to have an impact besides setting everything back by 10, 15, 20 years, culturally; there were going to be bands that were reacting to their surroundings not by trying to sound like what they thought people wanted to hear, but by actually ingesting what was happening around them and spitting something else back. By the mid-1980s, money had started bleeding from the city of St. Louis badly, mostly due to old legislation that legally separated (and still separates) the county and city, and when families flooded to the suburbs in the 1950s, buildings started being abandoned, neighborhoods became poor, and the city as a whole began literally crumbling. The cultural hub for jazz and blues 50 years earlier had become ignored and desolate — entirely lonely.
The press release for The Beatoffs starts with a quote from Joe Stumble's regional blog, Last Days Of Man On Earth: "Today, I don't think people can accurately understand the cultural void that was the suburban Midwest in the early 1980s. No internet. No email. No cell phones. No social networking. Shit, there wasn't even cable in 1983." Earlier in the same blog post, Stumble brings up The Screamin' Mee-Mee's, an early-80s St. Louis band, saying they were "part of the great Midwestern archetype of the 'planned obsolescent' i.e. the lone set of eccentrics jamming in a basement with a tape-deck." Later, he says of The Strangulated Beatoffs that they "inherited the crown of planned obsolescence."
The joke behind The Strangulated Beatoffs was that they meant it. Their whole concept was intended to deter listeners, rather than attract them; most of their music is drones, loops, noise, and gristle, filled with irreverence. The last thing you hear on The Beatoffs is Stan Seitrich and Fritz Noble screaming, "Try the wine!" after singing a half-hearted rendition of "Her Majesty," followed by one of them making fart sounds while the other one laughs. More than one of the songs begins with someone burping. What did it matter? Not many people were listening, and those who did were in on it; besides, Stan and Fritz were making their music for themselves. And that's part of the reason we can be so sure that they meant it.
The Strangulated Beatoffs bring to mind Hermey the elf from Rudolph The Red-Nosed Reindeer, who wanted to be a dentist instead of making toys, who sang, "You can't fire me, I quit," before setting sail for the Island of Misfit Toys. They sidelined themselves instead of facing the rejection of other people doing it to them. The band is angry and smoldering, lazy and stoned. But the music that they made evolved and became a harsh experiment in misused psychedelics and crushing distortion — all tongue-in-cheek and laid out like a dare. Days Of Our Lives, their debut album, has a centerpiece of three songs, the longest of which, "Bothered," is nearly 20 minutes of pulsing, cloudy vocals and beat loops. Being a fan of their music can feel like a chore, like they made it that way just for the sake of unlistenability. Based on the size of their fan-base, it worked.
The Beatoffs, taken as an album, is short and strange; much of the music made by The Strangulated Beatoffs is purposefully pointless, looping in stasis rather than growing. But a record of Beatles covers is the ultimate exercise in pointlessness. This is a record that no one asked for, and it seems all the stranger because the covers aren't "re-interpretations" at all, but pretty straight-ahead versions of the songs recorded crudely to crackly multi-track cassette. And, all the more, it feels like they meant it; The Strangulated Beatoffs have never been a band to let down their bluff, and the concept on this album feels very Beatoffs-esque, like it ought to be a joke, but the punchline isn't there, and the joke just turns into a story.
Most of the songs are covered faithfully, especially "Don't Let Me Down" (where the bass stutters and trips as it recreates McCartney's bass line), "Ticket To Ride," and "Happiness Is A Warm Gun." There's even an unlisted, partial cover of the medley from Abbey Road near the end of side B, and by that point, there seems an obvious kinship between the bands: that, by the time The Beatles were recording The Beatles, they were less concerned with saying anything and more interested in making something, creating as a cure for boredom or as a means of making meaning and purpose. The Beatoffs' version of "Dear Prudence" is nothing more than clanging guitar and mumbled vocals — simple and fast, like they needed another song in order to flush out this concept and didn't feel like putting much work into it.
More than anything, The Beatoffs feels like a primary source document of the desolate Midwest that Joe Stumble describes. The band's music is typically misanthropic, bored, furious — but on this record, less so. We imagine mythos for the bands that we love and the worlds they create, and in the Strangulated Beatoffs mythos, they don't try, because trying is weakness, and when you're mocking everybody, you can't be weak. But they tried at this. Making sense of where this record fits into the Beatoffs' discography yields little fruit; this might as well be anybody, bored and lonely, taking frequent breaks from recording to smoke weed and walk down to the 7-11, television humming in the background, parents' foot steps overhead, listening back to Beatles songs over and over to figure out parts.
The Midwestern archetype of the "planned obsolescent" is a misnomer; these bands want to be listened to and loved, remembered, but they don't want to do it on your terms. They don't like you. And if you want to be a fan, they don't want it to be easy for you. Which is fine, I think — I like being challenged by people, feeling like I "get it," am "in on it." I'm not, of course. But no band has summed up the bitterness of living in St. Louis and the isolated Midwest more effectively than The Strangulated Beatoffs. When other people make life difficult for you, it is often your inclination to make life difficult for other people.
1996: The Melvins - "Theresa Screams"
"Hands down our all time favorite Melvins song," say the liner notes.
Well, on the face of it, that sounds like a pretty weird thing for a band with a discography as rich as The Melvins to claim. "Theresa Screams" looks very much like a B-side with a cosmic significance probably not much greater than zero. It originally came out as part of a series of 12 7-inches released one each month in 1996, later collated on CD. To all appearances, it's situated somewhere on the confusing border between space-filling throwaway garbage and precious collector-commodity (an ambiguous zone that Melvins releases have frequently occupied — cf. the entirely silent Shit Sandwich…And You Just Took a Bite 7-inch among others.) And unlike even the semi-notorious (and actually often diverting) fan un-favorite Prick, "Theresa Screams" features pretty much none of the things Melvins might be known for: no riffs, no drums, not even any kind of noise/sample manipulation.
Instead, it's composed of an unedited recording of the hapless "Theresa" being goaded into recapturing an earlier and apparently quite impressive scream, her every attempt deemed insufficient by the engineer or unsuccessful because of some mysterious (read: non-existent) "slight technical hitch." Near the start, Theresa says "I don't have anger, you guys; I'm too mellow," but with each unsatisfying effort, her screams become more cracked and desperate, closer to whatever the opaque criteria those involved are supposed to be judging it by. Exploitative? Hard to say — Theresa seems to be a volunteer, although she might not have had in mind the treatment she receives. Obnoxious? Perhaps, but although I concede that there have also been times it seemed irritating and unpalatable, I'll probably end up on the wrong side of history by saying that, in the right kind of mood, it can be pretty amusing.
That's probably the key. In the liner notes to the more recent (and unfortunately mostly underwhelming) covers album, Everybody Loves Sausages, King Buzzo says of The Fugs that they were "the kind of hippies I liked; mean spirited with a wicked sense of humor." These words might just as well be applied to his own band — and to what, as much as any of the things they're better known for, really sets them apart from many bands on their particular continuum of "heavy" music. For The Melvins, this particular kind of humor is a more entertaining stand-in for (real?) conceptual-musical experimentation, providing many of the latter's effects — uncertainty of outcome, the confounding of expectations, and the opening of previously unimagined vistas of sound-possibility, un-easy listening, etc. etc. — without unnecessary intellectualism or the years of having to figure out the meaning of it all. So maybe it constitutes a more accessible route to the same ends — if you're in on the joke, that is, not on the end of it.
Humor in music is, as everyone knows, difficult to execute effectively. To work, it usually has to be well-tempered, the right kind in the right measure; things to avoid (among others) include excesses of zaniness and goofiness, pretentiousness, condescension and straight-up smugness. But as Hobbes once wrote, "men laugh at Jests, the witt whereof always consisteth in the Elegant discovering and conveying to our mindes some absurdity of another." Not everyone these days would subscribe to such a theory, at least as the sole explanation of humor; it seems apt enough for The Melvins though. Their sense of humor may sometimes be cynical or cruel, but they have managed to evade the above-mentioned pitfalls more often than not. Of course, there's always a pretty fine line; which side of that line "Theresa Screams" falls on is up to you.
2013: The Drones - I See Seaweed
Mea culpa, but better late than never, and you don't need a Doc-equipped DeLorean to travel to a time where this record is still vitally relevant, because you're standing in it. We've paid The Drones their dues twice in a row for records still as essential as they were when they came out, so let me not allow the circle to go unbroken: I See Seaweed is the best album by The Drones yet, which makes it one of the best rock albums of this nascent decade, full stop, and go take a float down the river if you disagree. Arguing why you need to hear The Drones is almost a moot point by now, but this record perfects the smacks you around the noggin' with more dread-filled hopelessness than an entire tent of doomed Arctic explorers, while somehow remaining more elliptical and brutal than anything else they've released, moving with a mixture of reckless uncertainty and whiplash dynamism that makes "Jezebel" feel like breakfast cereal.
(Basic assumptions going forward: [1] Gareth Liddiard is the greatest lyricist currently working in the idiom of guitar music (uncontestable), and [2] When Iggy Pop gave up on punk, it went to Australia to be periodically resurrected there for at least a while [sorta contestable])
The Drones made their reputation on calling bullshit for what it is, whether the folly is English redcoats chasing down newly Antipodean convicts for sport or I See Seaweed extends the problematic to global warming, the degradation of rural towns for mining purposes, the destruction of animals for space research, and the hegemony of conservative media shock jocks. As usual, they beat you with their truth in a way that's peculiarly Australian, goldminer-cum-sledgehammer, but what's new is how much better they are at investing their arrangements with a deftness of cruelty, as if there's a sense of permanent incipience and tension, in that the hardest moment is always the one yet to come. They no longer need to blast you to get the point across, which is a strange mercy, and something largely due to Steve Hesketh's keyboards being constantly present like a drowning seagull pinned beneath a mast beam. Listening to the Drones is now more Pale King than Money, and we're richer for it.
Take "They'll Kill You," which details the failures that twenty-something Australian emigrants encounter when they try and escape reality by positing a greater one beyond that country's borders. The cracking of illusion is painted in the way the chord progression yields and opens to a seasick lurch down the scale in the bridge, sliding like the point in an argument where things start getting thrown, and sinking towards the inevitable conclusion: "this birdhouse migrates too". It's downright devastating, and in doing so, it pins down a peculiarly Australian neurosis in a way that's instantly accessible in a fashion that Sixteen Straws couldn't have been. The message is clear. The country isn't the problem.
Accessibility is a moronic characteristic to mention with a band as gut-shakingly vital as The Drones, but it bears an important point out: the more this band evolves, the more they are capable of bringing people inside the tent. Where once Liddiard scraped a comb across the Australian past, here he discusses our communal post-(and possibly pre-)atomic future in terms that leave no one cold, but everyone chilled. Although we're all fucked, this is not the paean to hopelessness that previous records have been; what I See Seaweed excoriates of false moralism, willed ignorance, abdicated responsibility, and misplaced misanthropy. As The Quietus pointed out, Liddiard isn't recommending the grab-a-gun-and-blow-your-mind-out fatalism of Havilah's "Oh My" anymore; this is him throwing down the fucking gauntlet, because he is talking directly to you here. This is not historical recollection, this is not documentary, this is the nine o'clock news, looking you right in the fucking eyes and waiting for you to start doing something real.
To get to the heart of I See Seaweed is to grow incredibly uncomfortable with the idea of only serving yourself, of condescending to your weaker parts, to say we didn't start the fire and curl up in front of Game of Thrones. To be more to the point, any forward-moving relevance that g/b/d/k/v music is going to have relies on music like this, stuff that uses the inherited, elemental force of sweaty anger to drive a stake through the arrogance that mere consumption and observation entails, the notion that old forms can be superseded through aiming towards invention alone, that considerations of mere aesthetic alone trump meaning and urgency, that having someone put their bloody hands around your throat is a passe gesture. Music that prescribes nothing but diagnoses, and leaves you to pick up the tools. What we need, what we will always need, is art that apprehends you with the threat of making you fucking afraid and aware of the fact that you are a problem. You are a problem, and I See Seaweeed has to ask: Whose side are you on? Just yours? Wrong answer.
1995: The Amps - Pacer
With all the hoopla (full-album setlisted original lineup tour, SPIN retrospective, etc.) around Last Splash in 2013, I can't help but feel it's time for Pacer to get its due. At the time of its releases, pithmaster General Robert Christgau slogged off the album as "slight," but time has shown me that where Frank Black Francis' yelping, David Thomas-y sing-song has grown shrill and cloying, Kim Deal's ciggy-charred, girl-group-that-beats-up-the-other-girl-groups voice has only calcified in its ineffable grace. There was such a charge putting this album on, after hearing "Tipp City" on 120 Minutes, and realizing it only gets better.
As much as I'd loved Last Splash, it paled in comparison to this catchy, cut-loose batch of unassailably distinctive garage anthems. The only thing slight about this album was that it left me wanting more, and near-20 years later, even spare, thorny sidesteps like "Breaking The Split Screen Barrier" and "Hoverin," have exponentially grown on me with their offbeat charms (dig that crash cymbal work at 1:48 on the latter). The Dean did offer some praise of Kim's voice, as it is one of those irresistible elements that make her stop-start musical career all the more frustrating. But life happens, and you can't force inspiration (some of Mountain Battles illustrated the unfortunate result of this).
I recommend the above video — my current favorite and side two opener, "First Revival" — as a stellar example (out of 12) of how this album is truly inspired and a million times better than its obscure displacement in rock history would suggest.
1988: Missing Foundation - 1933 Your House Is Mine
By 1988, when Missing Foundation's sophomore album 1933 Your House Is Mine was released, industrial music was approaching a crossroads. Leaving aside the weirdo experimentalism of artists like Current 93, Nurse with Wound, and Coil, its most visible proponents were groups making dance music for goth kids (not necessarily a bad thing), and Ministry's Land of Rape and Honey was about to initiate the next seismic shift into straight-up heavy metal. Set against this backdrop, MF feels like something of an anachronism, a regression to industrial's formative years spent straining radical politics, musique concrète, and performance art through a punk rock sieve.
It would be a stretch to describe 1933 as a "refined effort" compared to MF's debut, but amid the fragmentary bursts of noise heard on tracks like "Kingsland 61" and "1933," one could find tracks that more-or-less coalesce into structures that feel more conventionally song-oriented. "Burn Trees" is probably the most recognizably industrial-sounding track on the album, driven by an austere, endlessly repeated guitar figure and over which is laid a reptilian sample of front-man Peter Missing rasping the song's title. Semi-title track "Your House Is Mine" lurches to its feet from a series of false starts and becomes an ominous funeral march to the beat of metal-on-metal percussion. Hell, "Jameel's Turmoil" actually features an honest-to-goodness groove.
Of course, much of the conversation surrounding Missing Foundation has focused on their chaotic stage shows (they were accused of starting a riot in Tompkins Square in 1988), their unique iconography (the upturned martini glass graffitied onto buildings all along the lower east side) — in short, anything but their music. One could be tempted to believe that the apocrypha surrounding the group is more interesting than their output, but I would contend that this only speaks to both how successfully the group fused sound, visuals, and performance into an indivisible whole, and how supremely at home they were in New York of the 1980s. As Sam McPheeters of Men's Recovery Project (among others) points out, Missing Foundation embodied a spirit completely in tune with their time and place. MF were fixtures of the lower east side squatters movement, and their post-apocalyptic sound — cobbled together from trash, primitive samplers, and whatever partially working instruments they could get their hands on — sounded right at home in a city that still contained neighborhoods that looked like they belonged in a third-world nation.
For that reason, 1933 is perhaps the group's most emblematic work. The title is a reference to the fall of the Weimar Republic, which came into being in Germany at the end of the First World War and gave way to the rise of the Third Reich. It was a disorganized, ineffectual body, ill-equipped to deal with the near-insurmountable challenges facing its country: skyrocketing inflation caused by demands for war reparations, spiraling unemployment resulting from the Great Depression, and shattered morale and social unrest in the wake of Germany's defeat. Looking back 25 years later, this analogy seems more than a little over-the-top, yet at the same time, it's eerie how well this album resonates with our current political climate. "Your House Is Mine" may have been written as a screed against gentrification, but it could just as easily have soundtracked the wave of foreclosures that accompanied the housing collapse of 2008. "Invasion of Your Privacy" is more meaningful than ever following last year's revelations about the NSA and PRISM, and songs about ecological disaster like "Burn Trees" are, unfortunately, unlikely to ever become less topical.
As we've previously indicated, New York in the late 80s was a hell of a good place to live if you liked your rock noisy. But even amid such formidable acts as Cop Shoot Cop, (a soon to be huge) White Zombie, and Swans, Missing Foundation took the art of confrontational musical performance to a level that was difficult to match. Yet, 25 years later, their music, which once represented the ultimate in nihilism and urban alienation, seems strangely hopeful, a desperate howl against capitalist excess from a more idealistic age.
2000: Q and Not U - "A Line in the Sand"
Two-thirds into the opening track of Q and Not U's debut album, No Kill No Beep Beep, we can hear the start of a revolution. "A Line in the Sand" transitions seamlessly from angular to dancey, where everything — the rhythm, the feel, the mood — changes. The album was released in 2000, just when a new trend was emerging, with bands regularly recycling the sounds of Gang of Four, Delta 5, Bush Tetras, Liquid Liquid, and tons of other punks who loved having enormous basslines driving their noisy, angsty songs. Soon, it would become the sound of independent rock for a couple of years and even occasionally crossover to the mainstream.
In its original form, it was music to protest and party to; it was angry and poignant, sure, but it was also festive. Considering that the patron saints of this sound were the fiercely political Gang of Four, one could offer the speculative reason that, in a post-9/11 world, we needed music that was both outspoken and frenetic enough to dance like there was no tomorrow (not that politics were explicit for this wave of bands). But it was still a somewhat regional concern: Dischord has always reflected the sound of Ian MacKaye's bands. Early signees played out like Minor Threat companions, and most later bands embraced the paced, dexterous sound of Fugazi. Q and Not U surely took some cues from Fugazi, but they also seemed to be influenced by the dance music of the D.C. Go Go scene sound and the aforementioned post-punk bands.
Sure, The Rapture released an EP the year before and there were plenty of other offshoots playing in a similar fashion, but it's rare to hear a band shift five years into the future within a single song. And most amazingly, "A Line in the Sand" and all of No Kill No Beep Beep still feels like a contemporary party, something that can't be said about many subsequent "dance punks."
2004: Digital Mystikz & Loefah - Dubsession
Seven years after the dust has settled on its final golden year, we are now approaching the 10th anniversary of dubstep; or, rather, the 10th anniversary of its ur-release, Digital Mystikz' Dubsession, a.k.a. DMZ002. Binding the rootical electronica of 90s digidub to 2step's floor-friendly urgency, DMZ002 consecrated an emergent sound nascent in the productions of Horsepower and the DJ sets of Hatcha and Youngsta. On tunes like "Jah Fire" and "Ten Dread Commandments," the Mystikz submerged the slinky rhythms of UK garage in oily pools of reverb, slowing the tempo to a slimy skank punctuated by the whip-crack of snare-bursts masked in echo. Best of all, Loefah's "Horror Show" — murky with the haze of reverb-soaked howls and backmasked moans — stripped away everything that made 2step such a sickly head-rush, leaving only a fibrillating sub-lo riff and filigree patterns of tightly-enveloped kicks and snares. A plaintive two-note hook occasionally strobes in the darkness, tugging at the consciousness like desperate rope signals from a subaquatic rave, but for the most part "Horror Show" is thrillingly physical:
The final stages of a gurning comedown from the coke-sozzled delirium of 2step garage, Dubsession traced the outlines of a cavernous, futuristic dancehall from patterns of echo-space and bass-pressure. A renewed sense of the power of silence became possible in 2004, fired by sonic strategies of omission and distortion.
If these were uncharted waters, the idea of dubstep as a particular sound or genre washed up pretty quickly, leaving behind a fragmentary set of tendencies that continue to manifest unevenly across house/tech/pop boundaries. Dubstep's frangible quality has been the secret to its endurance as something between a folk memory and a music genre. The word itself has become an empty vocable, drearily signifying, at the very least, electronic music with a prominent bass line. But despite the word being overused to the point of nonsense, it's worth recalling that, for many producers, the discovery of dubstep was analogous to the discovery of a pocket of air beneath the deep freeze of mainstream reifications. Diverse outfits like Senking, Shackleton, Old Apparatus, Actress, and Machinedrum (etc., etc.) lack anything like a shared sound or style beyond a common ground in the space left behind by dubstep. It seems apt that a sound rooted in erasing and obscuring should be heard most clearly in the echoes left behind by its disappearance.
2012: Gunhild Seim & Time Jungle with Marilyn Crispell - "Elephant in the Room"
Every weekday night from 6 to 9 PM, Columbia University's radio station WKCR 89.9FM NY (best known to some as birthplace of the Stretch & Bobbito Show) broadcasts a program called Jazz Alternatives. The Wednesday edition, known as the Musician's Show, features songs specially selected by a guest co-host, usually an upcoming or established player who comes to the studio to discuss his or her music and influences.
So it went that one Wednesday evening in the spring of 2013, while driving from my old apartment in Huntington Station to my girlfriend's old apartment in the Huntington Bay area, I tuned my radio to its second preset only to hear some jazzman, whose name I didn't catch, introduce a song called "Elephant in the Room" by Gunhild Seim & Time Jungle with Marilyn Crispell.
Quite the mouthful, huh?
To be clear, I heard all of that but couldn't remember it, especially not after my mind was blown by the song's opening notes, an arcane yet oddly familiar piano melody as unsettling as it was beautiful. I was utterly enthralled and instantly obsessed, on some Phantom of the Opera ish. The riff soon became a foundation for the song's other players (Gunhild Seim on trumpet, Arlid Hoem on alto sax, John Lilja on bass, and Dag Magnus Narvesen on drums) to build on, each contributing another brilliantly imagined, perfectly restrained piece to the proceedings. By the time Arlid's saxophone solo came whirling in around the 2:50 mark, I had nearly reached my girlfriend's place, but I knew I would never forgive myself if I didn't find out exactly who and what I was hearing.
So, I looked up WKCR's phone number and called in, and the host graciously answered, provided me with the names of the group and the song (which I jotted on the back of a post-it note pulled from inside my wallet), and thanked me for listening. Such is the magic of non-commercial radio.
A Google search for "Gunhild Seim & Time Jungle with Marilyn Crispell" would produce the Elephant Wings album stream (located at the bottom of this post), and additional inquiries about Marilyn Crispell herself would lead my girlfriend and I to attend a duo performance with bassist Gary Peacock at the Rubin Museum of Art, where we would stick around after the show to purchase the pair's new ECM Records release, Azure.
All of this is well and good in its own right, but none of it can compare to the rush I experienced upon first hearing the beginning of "Elephant in the Room." For me, then, this song is all about how a single melody, no matter how simple or unremarkable in its form, when played just right, can pique a listener's interest and remain fresh in the mind no matter how many times it's repeated. Perhaps this very concept is the elephant to which the song's title refers, for in the worlds of free-jazz and avant-garde, repetition is sometimes viewed as a dirty word. Yet here is a melody repeated almost ad infinitum, an unwavering loop that, at least in this listener's case, truly gave the album its wings, inspiring me to reach out to the project's Norwegian originators and request that they send a copy my way. And despite the album's other strengths — of which, I'm sure you will find there are many — it's that elephantine melody that led me to put this post together in the first place.
1985 - 1998: Cop Shoot Cop and White Zombie
I want to talk about two bands that don't usually get mentioned in the same sentence. White Zombie should be a familiar name to most. Best remembered today for serving as the springboard for director/musician Rob Zombie's career, the band was a formidable force in the early- to mid-90s, helping to bring heavy metal to the masses with a pair of platinum-selling albums: La Sexorcisto: Devil Music Vol. I and (deep breath) Astrocreep 2000: Songs of Love, Destruction, and Other Synthetic Delusions of the Electric Head.
But before the hit singles, before getting plugged by Beavis and Butt-head, before signing to Geffen, and before moving to California, White Zombie was a modest noise rock band from New York City. Zombie and band co-founder (and then girlfriend) Sean Yseult spent a good chunk of the 1980s self-releasing records of testicle-twisting scum rock, playing shitty New York clubs, and rubbing elbows with bands like Sonic Youth.
Around the same time, Cop Shoot Cop was staging a proto-viral marketing campaign by plastering cryptic posters blazoned with their band name throughout the city. While beloved by fans of noise punk and industrial rock, Cop Shoot Cop have drifted into almost criminal obscurity (due in no small part to the fact that their discography has been out of print for many years). They gained some notoriety for their unusual lineup, replacing the guitar — the central weapon in nearly every rock band's arsenal — with a second bass guitar, and complementing it with a sampler (or two) and whatever scrap metal or detritus percussionist (and current Swans drummer!) Phil Puelo felt like pounding on.
While the two bands ended up in very different places, they share more in common than might be apparent on first glance. First off, since C$C kicked off in 1987, they and White Zombie moved in the same circles (in fact, White Zombie played shows with Black Snakes and Dig Dat Hole, two bands that featured future C$C founders Jack Natz, Todd A. and Puelo, respectively). Both groups were snapped up by major labels during the alt-rock boom of the 1990s (though C$C was a little too slow in migrating towards a more mainstream rock sound, a failure that eventually led to poor album sales, irreconcilable tensions between band members, and a terminated contract). Finally and most significantly, both groups made extensive use of electronic sampling: White Zombie songs were loaded with audio tidbits from grindhouse cinema and campy horror films; Cop Shoot Cop made similar use of found audio, often arranging them into collages in lieu of recorded vocals.
I haven't been shy about my love affair with Rob Zombie's old band, and one of my absolute favorite songs by the group is Astrocreep's "Real Solution #9."
Back in high school, I'd never heard anything like it. Delighted as I was in White Zombie's use of B-movie clips and fragments, I had to admit that they often occupied a somewhat superficial place in the compositions, serving as an intro or a coda to a song, or helping to fill out an otherwise sparse bridge. "Real Solution" was something different, though. Here, the band's sometimes cartoonish fascination with cinematic horror collided headlong into the horrors of the real world. The constantly recurring lyric "Who will survive and what will be left of them?" is the legendary tagline from The Texas Chainsaw Massacre, but most of the rest of the song's trappings are derived from Zombie's long-standing fascination with Charles Manson. The "#9" is an obvious nod to "Revolution #9," from the Beatles' White Album, which Manson saw as a prophetic document of the coming race war, and the track is peppered with excerpts from interviews with the Manson family.
The opening sample from a recorded statement by convicted murderer Patricia Krenwinkle sets the tone. Isolated and forced into a loop, that three word phrase "I'm already dead" takes on a grim musicality, weaving itself into very fabric of drummer John Tempesta's beat. But it's during the song's bridge where White Zombie really outdo themselves. They lift from the long-running reality/exploitation television series Cops an exchange between a police officer and a woman (?) who appears to be in the throes of religious ecstasy, the cadence of her frenzied ravings syncing eerily with the groove Jay Yuenger and Sean Yseult are grinding out. It wasn't the first or last time the band would incorporate a sampled vocal hook into a song, but it was without a doubt their most refined and effective attempt.
It would be well over a decade before I was introduced to Cop Shoot Cop, but hearing tracks like "We Shall Be Changed" and "Disconnected 666" took me immediately back to those joyously wasted hours spent pouring over Astrocreep 2000 as a teenager. My favorite of all C$C's collage tracks would have to be "Relief" from their 1991 sophomore album White Noise.
The vocal samples, culled from some kind of church addiction support group, are chopped into an incongruously catchy hook and set against a backdrop of wailing sirens. The marriage of grim, some might say tasteless, source elements with EDM-inspired groove seems like a pretty clear precursor to what White Zombie wanted to accomplish on "Real Solution #9."
I have no way of knowing whether Cop Shoot Cop's audio experimentalism had any influence on White Zombie's later work. After all, horror movie samples were finding their way into White Zombie's music as early as 1987's Soul Crusher, and there were certainly other artists engaging in similar exercises around this time. Still, the bands' shared history and mutual flirtations with industrial rock make drawing such a connection seem very tempting indeed.


text:
A Year Ago
By Communications on Thu, 09/06/2012 - 17:38
GLI's summer intern, Sarah Epstein, thanks her year-ago-self for helping her to be independent and embrace uncertainty today.
A year ago I had only traveled alone on a plane once, and my dad got me all the way to the gate with my mom waiting for me in baggage claim on the other side. Now I have flown solo more times than I can count, alone (and confident) every step of the way. Going to school across the country has led to inevitable flights between home and Boston, but I have also flown to Colorado and a few other places in the mix. In addition to air travel, I can now add Greyhound buses to my list of expertise, as this summer a friend of mine and I traveled on our own by bus and shuttle between Oakland, California and Zion National Park in Utah.
A year ago I knew exactly what I wanted to study, and eventually what I wanted to do with my life. Or so I thought. I was dead set on going to Boston University because they had the best Communications program, and I had this dream of working in media and I thought that was "it" for me. No other options. Well, a year later, I could not be more unsure. I am sticking to my major, because I am still interested in it, but while traveling across state borders on a Greyhound bus, it became evident to me that there is so much more I want to do and so many more places I want to go, and maybe a degree in Mass Communication won't really help me get there.
A year ago, this uncertainty would have scared the pants off of me. But if I have learned nothing else this past year, it's that being independent is invigorating, and not scary, and most definitely not something to shy away from.
This year has taught me to be brave, to go out on a limb, and to do what makes me happy, because at the end of the day that's what matters. I thank my "year-ago-self" for choosing Boston University because had I gone anywhere else I am not sure that I would have learned all that I did. I thank my "year-ago-self" for being so passionate about Communications because it led me to some really cool adventures, including a position as a student radio DJ and a photographer for a student magazine. I thank my "year-ago-self" for being flexible enough to learn, because now I need to take a lesson from her, realize that I still have more to learn and figure out, and I need to be flexible and easy going to allow these lessons to take place.
So, now as I am about to leave for another year at school, all I can do is hope that it will be as full of lessons as this one was, so that I can look back and write another blog post beginning with "a year ago I had never …"
Great Experience
Summer intern,Sarah Epstein, has clearly brought out the excitement and challenges of person who suddenly become independent and has to face problems of world all alone. In fact living an independent life makes one more tough and resilient and develop the confidence to handle any trying situation. The element of fear vanishes in such persons..


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AIA Merit Award: Garland Center
Posted 9/19/2011 12:00 am
Updated 2 years ago
PROJECT: Garland Center
FIRM: Amirmoez Foster Hailey Johnson
CONTRACTOR: Baldwin & Shell Construction Co.
LOCATION: Fayetteville
Garland Center is a mixed-use gateway to the University of Arkansas, consistent with UA planning guidance for this campus sector. It includes a 1,500-car, six-level parking garage along with retail tenant space and the University Bookstore. The garage is required to be efficient, intuitive in use and enticing for the patron.
Retail lease space along Garland Avenue should add shopping convenience and visual interest at pedestrian level. A two-level bookstore plus coffee shop and store-within-a-store brands add a "wow" factor.
Consistent with university goals, Garland Center is designed and built to sustainable criteria equivalent to LEED Silver. Budget and challenging schedule requirements had to be met.
Garland Center met sustainability goals, construction cost limits and dates to be open.
Owner/Client: Board of Trustees, University of Arkansas
Project Team: Jim Foster, FAIA; Bill Browner; John Krug, AIA; Phil Hadfield, AIA; Kirk V. Blunck; Khalid Khan; Brent Jackson; Kerry Weig; Mark Schmid
Consultants: Walker Parking Consultants, Henderson Engineers, Inc., Jacobs Engineering Group, Inc., Martin Roberts Design (formerly Grid2)
Photographer: Timothy Hursley


text:
Dorothy "Dottie" Jones Dillow, 86, of Bryant, Arkansas passed away June 8, 2012. She was born December 13, 1925, in Austin, Texas to Alfanso and Columbia Jones.
Dorothy 'Dottie' Dillow, Dec. 13, 1925 – June 8, 2012
Tuesday, June 12, 2012 | 11:13 p.m. CDT
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text:
Health Information - Med Help
My MedHelp
Swollen gums vitamin deficiency
Common Questions and Answers about Swollen gums vitamin deficiency
Also, until I read other people's symptoms, I hadn't realized that
was such an MS mimic. Even healthy people should probably track their
levels just as they do their cholesterol levels.
Read More
HI, Swollen
can be due to infection or gingivitis, or due to
of vitamins especially
C and B complex. Hence maintaining good oral hygiene and using mouth washes may help. Also multivitamin tablets may be taken. Do consult a dentist for an evaluation. Hope this helps.
Read More
I see that im getting canker sores and my glands are
and painfull all through my neck and under my chin. My
are sore too. Has anyone gone through this or might they know what it is,....
Read More
In some cases, advanced iron deficiency can lead to anemia and may cause scarring in the throat and esophagus, making swallowing difficult. While
to easily bruise and bleed, deficiency can lead to tooth loss. Vitamin D deficiency boosts risk of jaw fracture and gum disease." It could be you need vitamin C among others, but what you say sounds scary--good thing that you are going to the dentist right away. In the meantime, have some orange juice.
Read More
My teeth are a disaster area despite brushing and flossing daily. I have receding gums, three large molars completely cracked off to the gum line and i had to have three root canals and teeth rebuilt, 3/4 of my front tooth cracked off (rebuilt), excessive decay/rapid decay, fillings.... I have had hypothyroid symptoms for decades. I also have had deficiencies of calcium, magnesium, and vitamin D.
Read More
Hello, Such sore
can be due to gingivitis,infections,malnutrition and
,pregnancy or sensitivity to toothpaste or mouthwash . Take vitamin C supplements for some days and change your toothpaste brand and avoid using mouthwashes if your swollen gums are caused by sensitivity to toothpaste or mouthwash.Also have good oral hygiene. If the symptoms persist then pls consult a dentist and get gingivitis ruled out. Hope it helps.
Read More
I have
lips ans
and had a fever a few days ago. Has anyone had these problems before?
Read More
For over a year I have been experiencing sore and sometimes inflamed and
. I have seen both my dentist and hygienist and we have been unable to solve the problem or what is causing it. The pain is now there more often than not now, whereas before it was intermittent. I have not managed to pin point what may cause the symptoms.
Read More
Greetings, About two weeks ago I woke up randomly with what felt to be sore, inflamed gums near the first molars on each side of my front 4 incisors. I also noticed that the gums beneath them seem to have receded quickly. I also had several ulcers, one on the roof of my mouth, one under my tongue -- both of which feel as though they've healed up. I had a deep cleaning done a week ago -- the Dentist noticed a significant buildup of calculus on the back of my front incisors.
Read More
16.4 (range 3.0-17.0) -
D, 25 Hydroxy: 39 (range 25-79) -Magnesium: 2.1 (range 1.7-2.3) -Transferrin Total % Saturation: 26 (14-57) -Iron serum: 93 (range 50-212) Various, other test/scans/exams: -ANA is NEGATIVE (no Lupus). -Have had Western Blot for Lymes disease which was NEGATIVE. -MRI of head came back fine to rule out MS. Thyroid: Had ultrasound: Found 5 calcified nodules on left thyroid. All less than 2mm with no blood going to or circulating around the nodules.
Read More
I don't know if this is true of everyone who has Morton's toe, but they say those who have it have a P5P
. P5P is a breakdown of
B6. Maybe talk to your nutritionist about adding P5P (available in vitamin stores, etc.) along with your B-complex vitamin. I know it's supposed to affect magnesium and B12 in some way. This is not my expertise, just something I tripped across in my reading. Hang in there.
Read More
Pain in the gums can result from poor oral hygiene resulting in gum infection or gingivitis. It can also be due to
of the vitamins like
C. You should go to a dentist for an evaluation. The answer is based on information provided. Exact advice is not possible without a proper examination and investigations. You are requested to consult your Doctor. Take care and keep us posted.
Read More
diagnoised with TMJ, using a special mouth rinse for my
, now I am on my way to see a TMJ specialist for a mouth peiece for the TMJ pressure that is apparent: clinching teeth; some bone shifting in that r jaw area from missing tooth from childhood; also going to see Rheumatolgist; to see if it's a tissue problem since I have degenerative disk disease in my R shoulder and c-4 & c-5 neck disks.
Read More
I have the same problem as this red
itchy eyelids. Don't have allergies like this. I do wear contacts--why would they cause this? I haven't been wearing the contacts for days now....
Read More
ive got sore bleeding and
and its been about 4days now. i got betadine for gargling and teejel from the pharmacy on the 2nd day today is the 4th day and i still pain not feeling any better.what could it be?can this cause mouth cancer should i go consult the dentist or should i give it some time.
Read More
Hello, The common symptoms of B12 deficiency are diarrhea,constipation,pale skin,
, red tongue or bleeding
and long term
can cause loss of balance, numbness etc. A physical examination and tests like CBC, reticulocyte count, vitamin B12 levels may help. Other differentials of your condition are reflux disease, gastritis, ear problems etc. If the problem is severe it is best to contact a doctor and get examined. Keep me posted. Best luck and regards!
Read More
This can be because of poor oral hygiene,
of vitamins, drug allergy, disorders of the
and teeth etc. Proper oral care is the key to good oral health. Also taking of multi-vitamins and vitamin C, use of soothing gels may help. Also it is best to consult your Doctor for an examination as your problem is since several months. Hope this helps.
Read More
pain and tingling in extremities, twitching muscles, tremors, constipation, sinus pressure, insomnia, fatigue, eye pain, tachycardia, excessive sweating, chest pains, shortness of breath, tightness in chest, neck, and jaw, headaches, nausea,
, and now for the past 3 days I have had a fever that gets higher than 101 at night. I have been test for M.S.
Read More
I had a painful right swollen lymph node which later I developed a swollen right tonsil with a huge white spot and hurt alot. My
are very
and painful, I cant chew. I was put on antibiotics for strep throat. But didn't work and got worse, my neck swelled and right cheek. My bottom lip developed blisters with white puss and my tongue with canker sores.
Read More
I'd take high potency multi-Vit B with breakfast and lunch, plus, perhaps for a month or two, a bit extra of the separate B vitamins whose
symptoms you have, plus a good multi-
-multi mineral combination. When you see and feel improvement you can drop the additional separate B's, but continue with the rest of them. B vits tend to rev most people up with more energy, so I don't take them after 1 or 2 PM. Make a list of your symptoms: appearance, feel, taste.
Read More
Long-term deficiency can lead to a calcium deficiency, alcoholic hallucinations, unusual face and eye movement, alopecia (baldness),
, and lesions of the
. The symptoms of magnesium
are identical with many of the symptoms of thyroid disease, especially hyperthyroidism. A slight deficiency and you will notice slight depression and lack of well-being.
Read More
Herpes and HPV infection too should be ruled out with a history of unprotected sex and
lymph node. The tongue could be painful due to iron or multi
. It could also be due to oral thrush or fungal infection. Contact dermatitis or reaction to some irritant in food can be another cause. Use glycerin gel and clean the mouth well and tongue with a tongue cleaner (if there are no patches on the tongue). Take iron and multivitamin supplement and see if they help.
Read More
Sorry to hear of your problem, I understand how uncomfortable it is, because I myself have also suffered from this as well as having a
tongue in the past I learned that
B deficiencies are one of the most common deficiencies that can affect mouth and teeth. So I bought Vitamin B12 tablets that you place one under the tongue from the health shop. And this helped. Because you are medications, some of these can cause dry tongue and can also cause Thrush in the mouth.
Read More
Previous to the sore throat, I had been experiencing
that were red and
, and the skin on my
peels off. Also the area below my gums, the crevice between the gum and cheek, in the 4 areas below my molars the skin is very irritated with sores and the skin over top of the sores is white and peels away. I also have sores on the side of my tongue, where it attaches to the back of my throat is red, irritated and white skin forms over it, but it peels away easily (like the crevices).
Read More
Hi, welcome to the forum, white patchy coated tongue is seen in many conditions. (
), bacterial, viral or fungal infections arise in the gums and teeth, producing acids and toxins that usually erode and cause inflammation of the gums (gingivitis) and white tongue also. The inflammation makes gums swollen, and also affects tongue by white coating. If the tongue is covered by a coating, it may indicate the presence of toxins in the stomach, small intestine or large intestine.
Read More
dry mouth and poor wound healing.
. This can also cause GI bleeding
. This can cause GI effects that include anorexia, nausea, vomiting, weight loss, abdominal discomfort, jaundice and depression. Folic Acid deficiency. Associated symptoms are fatigue, weakness, difficulty breathing, palpitations, nausea, anorexia irritable, forgetful, headaches and fainting spells. I'm assuming your platelets were good????
Read More
No known allergies, oh and I didn't bite my lip, and there's no sore anywhere, just redness around my
and painful
bottom lip (I put the hydrocortisone on the left only.
Read More
I had the gastric bypass surgery and then 8 months ago I broke out in canker sores in my mouth on my tongue, under my tongue, on my
, and on my soft pallet of the roof of my mouth and back of my throat. The pain was so bad I coudn't move my tongue to speak, eat, or drink for a couple days, they lasted six weeks. Then as I was starting to get my life back I had another breakout, same intensity as the first but it didn't last quite as long.
Read More
Cheilitis is associated with many conditions from
, iron
anemia - as in your case, be a symptom of allergies.can also be caused by taking the (retinoid) drug Isotretinoin (brand name Roaccutane). Applying protective paraffin-based ointment (such as Vaseline) or lip balms to the lips is normally very effective. Also take Vitamin B supplements. If nothing works you can have a biopsy done to find out the cause. ref:http://en.wikipedia.
Read More
From your labs, iron
anaemia (low MCH),
(your reference range is far too low*). Vitamin B12 is essential to maintain the myelin shealth around the nerves. Platelet count can rise due to inflammation (high ESR). Higher calcium is suspect especially since your labs are fluctuating.
Read More
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Dry bags date all the way back to the Vietnam War—at the time, the United States government issued rubber-coated bags that were cemented at the seams. But Plastech, later acquired by Cascade Designs and called SealLine, was the first to weld its closure straps, which never pulled out and which provided a drier seal; to weld fail-free round bottoms in dry bags, which made the bags easier to load in a kayak hatch; and to eliminate square corners, which tended to become abraded and leak.
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FalconStor Software Hosts First Quarter 2013 Financial Teleconference And Presentation
MELVILLE, N.Y., April 12, 2013 (GLOBE NEWSWIRE) -- After the close of market on Thursday, April 25, 2013, FalconStor Software, Inc. (Nasdaq:FALC), will announce financial results for the first quarter 2013, which ended March 31, 2013. FalconStor will host a conference call at 4:30 PM EDT to discuss the results. In conjunction with the conference call, FalconStor will also host a presentation on the Internet.
|James P. McNiel, President and CEO, FalconStor
|Louis J. Petrucelly, Executive Vice President and Chief Financial Officer, FalconStor
|Thursday, April 25, 2013
|To view the presentation, please copy and paste the following link into your browser and register for this meeting. Once you have registered for the meeting, you will receive an email message confirming your registration.
|Meeting: FalconStor Q1 2013 Earnings
|Meeting password: q1numbers
|Meeting Number: 832 216 009
|Conference Call:
|To participate in the conference call, please dial:
|Toll Free: 1-800-762-8779
|International: +1--480-629-9819
|If you are unable to register via the Internet, please contact Joanne Ferrara, Investor Relations at 631-773-5813 or firstname.lastname@example.com
|A conference call replay will be available beginning April 25 at 6:30 PM EDT through 11:59 PM EDT on May 1. To listen to the replay of the call, dial:
|Toll Free: 1-800-406-7325
|International: 1-303-590-3030
|Passcode: 4614280
|or visit our website at www.falconstor.com/investors
About FalconStor
FalconStor Software, Inc. (Nasdaq:FALC) is a market leader in disk-based data protection. The company's mission is to transform traditional backup and disaster recovery into next-generation service-oriented data protection. Built upon an award-winning platform, FalconStor solutions deliver disk-based backup, continuous data protection, WAN-optimized replication and disaster recovery automation. FalconStor solutions are available through a worldwide network of partners, including solution providers, top-tier strategic partners and major OEMs. Thousands of customers worldwide, from small businesses to Fortune 100 enterprises, entrust their data to FalconStor solutions. FalconStor maintains headquarters in Melville, N.Y., and offices throughout Europe and the Asia Pacific region. For more information, visit www.falconstor.com or call 1-866-NOW-FALC (866-669-3252).FalconStor and FalconStor Software are registered trademarks of FalconStor Software, Inc., in the U.S. and other countries. All other company and product names contained herein may be trademarks of their respective holders.
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Saturday, December 20, 2014
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GREENE COUNTY, N.Y. -- Imagine what this weather is like for people who have to work in it! We caught up with some people who work at Hunter Mountain in the cold and windy weather. They say the key to staying warm is to layer up, but some also say they actually enjoy being outside.
"Plenty of thermals, proper socks, good boots, hand warmers, hat, scarf, you name it. I layer up for sure," said Kerrie Hocks, Hunter Mountain Lift Operator.
"It's the best time of the year to be out. I feel sorry for people that will be watching the weather man and they say it's chilly, the wind chill factor. It's great to be out to ski. I said the other day it's delightful. When it's this cold, we're making snow, it bounces off you and you're skiing on the best snow you could probably have," Hunter Mountain Manager David Slutsky said.
Well, definitely good news for skiers and snow boarders, eager to hit the slopes.
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Essex Dj's
Welcome to Essex Event Management and SXDJ. We are a professional DJ and Event Management company in Essex that can cater to all of your needs from 18th Birthday parties to a full managed event for your company staff night out or presentation evening.
We have over 20 years in the entertainment
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Please contact Us on 01376 779799 or email email@example.com for any information on our services.
Disco's & Roadshows
We can cater for Weddings, Birthday's, Anniversary's, Engagement Parties for all ages.More
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We can plan your complete event for your company and take away the headache of organisation.More
Resident Club & Radio
Our DJ list include resident club DJs from Eclipse Brentwood, Chicago Rock Cafe and Radio DJs from Chelmsford Radio.More


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Hoover 4010100Y Type Y 3 Pack Allergen Filter Bag WindtunnelHoover Y vacuum bags fits all windtunnel upright Hoover vacuums using the type Y vacuum cleaner bag. The Hoover 4010100Y Y bags are allergy filtered. Learn More
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Carl's Jr. CEO's Problems Will Be Solved With iPads
Also, more outlets in Siberia.
Skip to content, or skip to search.
Skip to content, or skip to search.
Also, more outlets in Siberia.
Look out for it early next year.
The chain packed up and left at the end of the last century.
Plus: stolen sheep (statues), condiment thieves, and more, all in this week's roundup of weird restaurant news.
Plus: Asian fast food is now a trend, fears of food-supply contamination in Japan, and more, in our morning news roundup.
Plus: L'Ecole adds spring menu items, and Graydon Carter & Co. to take over Fedora, in our daily roundup of neighborhood food news.
Plus: low-fat items packed with sodium, and biodegradable Japanese dishes, all in our morning news roundup.
The fast-food chain uses a gross-out technique in a new ad.
First there was Tom Coke-licchio. Now, Padma shilling for Hardee's.
Plus: Strip House plans to expand, Au Bon Pain gives away free iced coffee today, and more, in our morning news digest.


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Price: $12.99
Category: Productivity
Updated: Nov 14, 2011
Version: 2.01
Size: 13.2 MB
Languages: English, Dutch, French, German, Italian, Spanish
Seller: Web Information Solutions, Inc.
2001-2010 Web Information Solutions, Inc.
Rated 4+
Requirements: Compatible with iPhone, iPod touch, and iPad. Requires iOS 4.2 or later.
[download link="http://www.mediafire.com/?w011cyay5gnpf81" smalltext="Last Updated: 12.06.11"]Download Now![/download]
Pocket Informant is a fully integrated Calendar and Task solution for your iPhone/iPod Touch that lets you focus on everything you do in a day – not just your Tasks list. With this highly customizable tool, you have the power to change virtually every feature to suit your preferences. The addition of a full-featured Notes tab, and complete Contact management eliminate the need to ever look elsewhere for your organizational purposes. Download today, and experience complete mobile organization; the way it should be!
•Choose from highly customizable views, including: Month, Week, Day, List and Today!
•Event Location mapping at the tap of a button!
•Swipe between Months, Days, and Weeks!
•Calendar Filtering per view!
•Templates for Events!
•Alarms and icons!
•NEW! Supports multiple Google calendars!
•NEW! Swipe to Action lets you choose to share, edit, make a template, or delete your Events!
•NEW! Scrolling tab bar to easily swipe between feature tabs!
•NEW! Photo and Contact linking!
•Choose between Toodledo, GTD, or Franklin Covey Task modes; or create your own system!
•Task Grouping!
•Pre-made filters to quickly find Active, In Progress, Due, Undated, Overdue, Completed, and Completed Today Tasks!
•Location-based Alerts for Tasks! Receive an audible alert when in the vicinity of your context-based Task, and choose to complete or save for later!
•Alarms and Icons!
•NEW! Smart Groups allow you to create your own groups for more precise filtering!
•NEW! Photo and Contact linking!
•NEW! Swipe to Action allows you to choose to star, share via email, edit star/end dates, delete, or make a template from your Task!
NEW! Notes:
Notes is a comprehensive, stand-alone feature that allows you to record written or voice Notes.
•Photo and Contact linking!
•When creating a Note you may choose the following labels (or none at all): Folder, Tags, Calendar or Icon!
•Swipe to Action allows you to star, share via email, or delete your Note!
•Pre-made filters for easy search!
With complete Contacts integration, you can fully edit your Contacts without leaving the app!
•Customizable, scrolling Contacts photos in landscape mode!
•NEW! Make phone calls directly from the app!
•NEW! Swipe to Action allows you to create Events/Tasks connected to Contacts!
Sync your information for seamless access on the go! Auto-sync will sync your changes immediately up to the server, and new items from the server sync down every 45 minutes (while PI is running, or next time it runs).
Google Calendar Sync:
•NEW! Supports Multiple Google calendars!
•Syncs Google Alarms!
•Syncs shared calendars!
•Supports meeting Requests!
Toodledo Sync:
•Does not require Pro memberships!
•Syncs Toodledo alarms! (Must be a Pro user to sync different alarm times)
•Syncs Tasks, Folders, Contexts and Notes!
•Supports Sub-Tasks!
Google Task Sync:
•NEW! Syncs with Google Tasks for more complete integration!
Native iOS Calendar Access:
•Requires iOS 4.0 and above
•Calendar Events only – No Tasks
With highly customizable views and features, there's no need to ever leave the app for your organizational needs. With the swipe of a finger, or the touch of a button, you can add, edit, share or delete your information.
For years, these and numerous other features have made Pocket Informant a must-have application for school teachers, soccer moms, salesmen and executives alike.
Localizations: English, German, Italian, and French. New Languages will be added in future releases.
Check us out on Twitter: @webis_mobile
GTD® and Getting Things Done® are registered trademarks of the David Allen Company. Pocket Informant and WebIS are not affiliated with or endorsed by the David Allen Company.
the best apps for iPhone download iPod apps for free free games for iPod
What's New in Version 2.01
Thanks to the feedback of our many customers via support and our forum we have prepared this update to take care of most of the issues reported. These improvements include, but are not limited to the following:
-Fixed issue creating alarms that fire > 1 day prior to calendar item
-Fixed issue with using Date Picker on All Day events
-Fixed issue with selecting the last day of some months in Date Picker
-Improvements to Contacts Handling
-Fixed issue creating 0 duration iOS events
-Fixes to the handling of recurring subtasks
-Fixed issue with editors using TextExpander
-Sync improvements
-Improvements to data migration process from 1.x to 2.x
-Localization improvements
-Several stability & memory use improvements
Original 2.0 Upgrade Notes:
2.0 is a major upgrade over version 1.68 with a different database and sync engine. We strongly recommend you backup your database first before upgrading.
Here are just a few of the changes:
➜ Complete new database engine
➜ Contacts View
➜ Notes View
➜ Audio Notes
➜ Simplified Editors for Events and Tasks
➜ Scrolling, Configurable Tab Bar
➜ Swipe to Action
➜ Attachments for Events and Tasks
➜ Day View now supports Tasks
➜ Expandable/Collapsible Sub-Tasks
➜ Per view Calendar Filters
➜ Smart Groups for Tasks
➜ New Date Picker
➜ Password protection available
➜ Google Task Sync
➜ Toodledo Sync is now encrypted for Pro users
➜ Sync meta data with Google and Toodledo
➜ Many other minor improvements throughout.
Upgrade Notes:
• WDS users must get WDS 2.0 (free upgrade) from our website before upgrading. PI 2.0 will upgrade your local WDS-synched events/tasks into a read-only format until you can sync with WDS 2.0.
• Any known issues will be posted here: http://kb.webis.net/questions/220/2.0+Known+Issues
Download latest version of Pocket Informant (Calendar, Tasks, Notes, Contacts)


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Recent Issues
On Mexico
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Regional News
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Baja California stays competitive in attracting investments Tijuana Baja California.- Baja California keeps and enhances its leadership in receiving private investment, both domestic and foreign, thanks to an intense retention and attraction policy implemented by the State Government, where fiscal incentives, support for technological development and innovation, as well as promotion decentralization to local business organizations stand out, according to Paulo Alfonso Carrillo Regino, Deputy Secretary, Economic Promotion with the Ministry of Economic Development. Last year, Baja California received a significant amount of private investment, namely US$2.362 billion, higher than the US$2.335 billion reached in 2010 and the US$2.057 billion from 2007. This is proof that, in spite of adverse economic conditions in the last few years, which add to other factors such as lack of safety, Baja California remains as an attraction pole for new investments and growth of companies already established here.
Siglo 21
Date: 26/03/2012
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