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Nathan Brown on May 23, 2017
Lynn and Liz were wonderful to work with. I needed the item within a tight deadline. They anticipated my needs, going so far as to recommend special customization to match my outfit. They kept me informed every step of the way. In the end, I received the product on time, it was packaged well, and of excellent quality. I would highly recommend this shop to anyone interested in their products.
Nathan Brown on May 23, 2017
Lynn and Liz were wonderful to work with. I needed the item within a tight deadline. They anticipated my needs, going so far as to recommend special customization to match my outfit. They kept me informed every step of the way. In the end, I received the product on time, it was packaged well, and of excellent quality. I would highly recommend this shop to anyone interested in their products.
Renia Blair on Apr 12, 2017
Everything about this mask is perfect. Well-crafted, fits wonderfully, and the clock hand actually moves!
Josh Somedude on Apr 3, 2017
Squirrel Creek Creations: We're nuts about masks!
We're a family of creative people and artists who work together to make Leather masks, wearable art and more! From masquerade masks to cell phone cases, large dragon masks to small keychains, single pieces of armor to complete sets, we can make almost anything!
We love custom orders so send us a message to get your commission started today! We want to share our love of leather working with everyone by keeping our prices affordable!
Each mask is hand made by one of the artists from our shop. We take pride in bringing you great designs and a huge variety of one of a kind masks. Because of our unique team of artists and crafters, we are able to fulfill custom orders for just about any type of project. We've all developed our own favorite techniques and styles, and collaborate on projects as well.
Our masks start with vegetable tanned leather, and are hand cut with shears or a craft knife. Each mask is slightly different due to variations in the leather, and because it's hand cut and not stamped or laser cut. We wet and form the mask, carve it by hand if necessary, then heat it to 'set' the leather. We then use acrylic paint or leather dyes to add color. Once everything is dry, we use a top coat to protect the mask and seal the leather. We add ribbon and a cord lock to make it easy to wear and adjust. You can even use it to display your mask on the wall!
Do you wear glasses? Check out this tutorial on how to modify your mask to work with your glasses! http://squirrelcreek.blogspot.com/2015/02/glasses-modification-tutorial-wear.html
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Owner, Maker, Designer, Curator
Maker, Designer, Curator, Masks, Leather Work, Designer
Shop policies
Custom orders of masks are available, just send us a message and we'll get back to you within 1 business day. To help us give you the best answer for a custom order question, please include the following in your conversation:
1. Date you would like to have your order by.
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3. Budget for your project. We can work within your limits. If you let us know we can give you quotes in different price ranges.
We want to deliver the best for our customers and hope that you are never anything but 100% satisfied with your purchases through us. We have a lot of fun making our products and take great care with every single one.
We believe that life is too short to not follow your passions and that within everyone there is an artist. Whether it's painting or singing, sewing or dancing, wood working, or engineering, we all express our inner artist in unique and beautiful ways. To stifle that is to crush who we are. So let out that inner artist today! Be creative! Be unique! Be you!
Thanks for stopping by our store. Many blessings to all your creative endeavors!
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- Accepts Etsy gift cards
We do not accept money orders or personal checks.
Custom orders - payment in full is required before we begin custom orders. Once we agree on the details of your order and receive payment, work will begin. We have an excellent history of very satisfied custom order clients, and you can see a large variety of our work in the store. Each custom order request will be matched to the artist best suited for your request.
Partial refunds are available until we start working with the physical materials of your project (this typically means once we cut the leather, but may vary depending on project.)
Wisconsin residents will automatically be charged sales tax by Etsy at checkout.
Smaller items such as charms or unformed masks shipped flat may be in a bubble mailer instead of a box.
We ship via USPS. We buy UPIC insurance against loss and damage. A tracking number will be provided for every US purchase. Tracking on First Class International shipping only works until the item leaves the US. Orders are typically shipped in 1 to 3 business days. Please see individual listings for variations on shipping times. Custom orders will include an estimated shipping date, pending final approval. Once we turn your package over to USPS, first class shipping typically takes 2-5 business days, but may take up to 2 weeks. Priority Mail typically takes 1-3 business days, but is not guaranteed.
Your item(s) will be shipped to the address you provided at checkout. No exceptions. Please make sure your address is correct at checkout. We are not responsible for shipments to incorrect addresses provided by buyer. If you need to change the address after purchase, we will need to cancel your order and have you re-purchase.
We have an excellent track record with packages safely making it to their destinations safely and on time. However, sometimes things go wrong with shipping and cause a delay. We will do our best in these situations to quickly resolve the issue and get your order to you.
---------------------------------------- Express Shipping --------------------------------------------------
Priority Express has next day guaranteed delivery to most US locations, but some places are 2 days. If your package does not arrive in the guaranteed time set by the USPS, then we will attempt to get you a refund on your shipping. If the claim is denied, your shipping will not be refunded. Please message us for the most accurate Priority Express information. Priority Express will have signature confirmation. If you wish to waive signature confirmation so it can just be dropped off in case you're not able to be home, let us know.
--------------------------------------- International Orders ------------------------------------------------
International Shipping usually takes 6-10 business days, but can take as long as 4 weeks. Sometimes an item will get caught up in customs and be delayed. If your package is delayed, please check with your local post office to see if they have it and are waiting on payment of import taxes or fees.
It is up to YOU to know your country's customs policies on imported goods, and to know whether there will be an additional fee once it arrives. We WILL NOT falsify customs forms to have a lower value or represent your purchase as a gift.
You can look up duty and import fees here:
We CANNOT ship our leather goods to Italy as they have a ban on imported leather products. If you order a mask and live in Italy, we will cancel your order and issue a full refund.
Once the package leaves the US, tracking will stop until delivery. If you do order internationally, we'd appreciate you letting us know when the package arrives. This will help us give better shipping time estimates for future customers.
Regarding Express International: If you need your product ASAP, we do provide Express shipping internationally on request. On average, Express International costs between $40-$60 and will have a guaranteed arrive by date and a tracking code. If your product doesn't arrive by the guaranteed date, then you'll be refunded the extra money you spent on express shipping pending an investigation by the postal service.
IMPORTANT: If your package does not arrive by the guaranteed date due to the package being caught up in customs (24 hours or more), then the guarantee is considered void by the USPS and we cannot refund your shipping.
If you want express shipping, please send us a message and we'll respond within 1 business day. Send us your country, city, and postal code so we we can provide you an accurate quote on arrival date and cost. We'll then create a private listing for you with your item and the express shipping charges.
======================= Damaged Items ===========================
If your item arrives damaged, let us know immediately. A claim will need to be submitted with the postal authorities and photographic proof will be required for damaged items. The damaged item will need to be mailed back to us in the original packing material.
Our shipping rates include handling and materials along with postage costs.
As always, if you have questions, please ask!
------------------------------------------- Late Arrivals ------------------------------------------------------
We do our best to provide accurate shipping time estimates. We do not make any guarantee or promise that your item will arrive by a certain date. If you need something for a certain occasion, make sure to order in advance so any delays in shipping will not cause you problems. First Class and Priority Mail have no guarantee arrival date. Priority Express has a guaranteed delivery date, so if it arrives late we can issue you a refund on your postage costs pending a successful claim with the USPS. Refunds may take up to 30 days for USPS to process. Refunds are not available on shipments that are delayed due to not being signed, or on orders that did not have an accurate address.
Refunds and Exchanges
Ours masks are specially designed to fit a wide variety of faces and we do our best to provide measurements. That said, we do offer full refunds on masks that don't fit. You are responsible for return shipping.
Returns will be to your original payment method. No refunds will be issued until we have received your item. Tracking and insurance is recommended when sending back returns.
Additional policies and FAQs
- We do our best to photograph all our items so the colors are displayed accurately! However, due to variations in monitors and settings there may be a slight difference between what you see and how it actually looks. Please let us know in advance if color matching is critical and we will work with you to get color samples for an exact match.
+ I have allergies, is your home smoke free/ pet free?
- The items in our shop are created by several different artists. We are all smoke-free. One of the artists shares their home with a dog. Please let us know if you have concerns about allergens.
+ I have sensitive skin. Are your masks safe for me?
- We use a variety of materials in our items. We use a non toxic top coat to seal our items and protect them. While this has not caused sensitive skin issues in the past, please contact us for more information if you have specific concerns.
+ Do you make masks for children?
- Many of our products contain small parts and may not be suitable for young children. Most of our items can be modified to be more child friendly.


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Caryn Rose is a Brooklyn-based music writer, novelist and photographer who documents rock-and-roll, baseball and urban life. She is the author of Raise Your Hand: Adventures of an American Springsteen Fan in Europe and the novels A Whole New Ballgame and B-Sides and Broken Hearts. email
25 years ago, I was the label manager for Warner Bros. in Tel Aviv. I've written about this a little bit before; it was a gig I fell into because I was in the right place at the right time, spoke English and had been working at the outer edges of the U.S. music business for a couple of years. There was a lot of music I was continually told would not ever be popular in Israel, and R.E.M. was one of those bands.
Except that it wasn't true. We broke them in the territory during Out of Time and sold so many records (relatively) and I campaigned hard to get the band to do a promo tour of the country for Automatic For The People, back when it was hard for bands to play the country, much less come over to do promo. I was one of the many indie kids who came of age when R.E.M. were college radio darlings (I published the first R.E.M. fanzine, radio free europe and some day I will digitize the fucking things), and then later moved up in the business, and we were all busy opening the door as wide as we could for the music that we loved…which in this case, now happened to be beyond enormous.
I wish I could dig out the photographs (and I wish I had more of them) but the one pertinent story I will offer was later retold by Mike Mills at the 40 Watt Club in Athens in 1992, when the band played a benefit for Greenpeace. I came into work the next morning and found a fax from one of my BFF's/old-time R.E.M. road compatriot, with the setlist in full, and "STORY ABOUT CARYN" written next to "Losing My Religion." I then had to wait interminable months until I got a tape of the show.
Anyway, you should buy the anniversary release because it has amazing liner notes from the great Annie Zaleski and you should check out this fantastic BBC Radio documentary. And I can't believe it's been 25 years.
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Late last year, an editor I was working with at Vulture asked me if I was interested in taking on the assignment of ranking and rating all of Bruce Springsteen's songs, similar to other major ranking projects they have on their site. I immediately said "yes." I like hard assignments that take me out of my comfort zone and give me a chance to go deep.
We deliberated a bit on what made the list — no covers, only officially released songs — and I went to work.
This isn't a list of my favorite Bruce Springsteen songs. If you've read anything on this site you know that. Personal lists are also ever-changing, and that's how it should be. I wanted to create a strong list based on objective criteria and then I had the job of backing that up in writing, on a song-by-song basis. You can't just say "This song sucks."
The criteria always has to be the lyrics and the music. It can't be anything else for this kind of list. I allowed for the song's live performance to provide a bump or a bonus when I wasn't sure, but it couldn't be the governing factor — but equally, it couldn't be ignored, either.
Even with the parameters, I still went back and forth on 'No covers.' How can I write this list without "Trapped"? What about "Jersey Girl"? But it soon became clear that they didn't fit the notion of the exercise, especially once I established criteria for ranking. He hasn't written the lyrics for the cover, and not every cover has been rearranged, so then you're ranking an opinion of an interpretation and that's a different exercise. The covers were out. (This also eliminated Seeger Sessions, which could be its own project.)
There is no website that has all of the songs. I had to get this from a friend who keeps these kind of lists. (Thank you.) To formulate the initial ranking, I wrote every song on an index card, and then I went to a hotel for a long weekend so I could spread everything out. I took some initial photos of this process:
This is because I am An Old, and I'm still tactile. I needed to see the songs in order to sort them.
Once I had an initial order I was happy with, I re-ordered the master Google sheet I had with all of the songs. The Google sheet would then let me sort by range, so I could sort each album within the ranking: "Is this really the best song on 'Born To Run'?" The ranking had to make sense that way, for sure, and I definitely moved some things around based on the results of that exercise. That presented a challenge when it came to Tracks, as it's not constructed as an album, but with Tracks, you have to remember that some songs didn't make the records for very good reasons.
I had every song on a portable hard drive–I don't have everything on my phone, I like too much other music–so there was obviously a lot of listening. Even when I was sure I knew what I was talking about, I went back and re-checked it. I listened with headphones, I listened with speakers. There were songs I remembered as better than they actually were. There were songs that had great personal meaning to me, but once I spent time with the lyrics and the music, realized they did not actually rank that highly as per the criteria.
The songs that were the hardest were the ones that ranked lower down. It took me almost an entire day to research "American Land" sufficiently in order to be able to adequately express why I do not believe this to be a good song.
I had a few trusted friends look at the list, sworn to secrecy. I picked people whose Springsteen opinions I respect, but that do not mirror mine exactly–I am interested in how they think about him but did not expect them to agree. I wanted to hear what they thought was missing, what they thought was wrong, what they didn't agree with but thought "Bold choice, I could respect that there." They did not read the descriptions, just looked at the raw list. They asked some good questions and basically confirmed that I was on the right track, and I did get some indirect encouragement to move some songs I had been uncertain about further up and down the list. (I'm being deliberately vague.)
The writing went on for some time. This is a piece that's going to hang around for a while so I wanted to make sure it was tight. It was fact-checked by my own personal fact-checker, who also fact-checks Backstreets. (My favorite correction: "It was the Whole Foods in Middletown, not Red Bank" – this about "Queen of the Supermarket".) I edited the heck out of this piece, writing and rewriting and checking and rechecking, before finally filing back in April (the original deadline, based on the fact that the tour was supposed to end in April back when I got the assignment).
I didn't expect this to be 20,000 words but I write large easily–concision is what stymies me most. I love large projects that let me dig deep into history and allow me to do tons of research. I love large projects that are out of my comfort zone. I love the excuse to reflect and think and challenge my own preconceived thoughts and notions. This assignment did all of those things, and I'm thrilled to have my byline on it.
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I was happily off the clock last weekend at the Springsteen show in Brooklyn, until Bruce opened with "Purple Rain." By the time the show hit "Backstreets" I had an idea of what I thought I wanted to say, and woke up Sunday morning and basically let the piece write itself. My debut for NPR Music.
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It would have been good if I'd remembered to post about this sooner, but suddenly it's Episode 7. Over at Salon I've been recapping "Vinyl" each week from a music fact checking perspective. If you know me, this is basically the equivalent of "sitting next to Caryn while she's watching a music documentary." If you don't, you get to have this delightful experience in writing form. Best way to follow along is my author page over at Salon; posts go up every Monday morning.
(This is not a debate about whether or not the show is good. I'm not addressing that, I'm just critiquing the music history and what they get right or wrong.)
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This was my fourth show on this 2016 outing for Bruce Springsteen and the E Street Band. (As a matter of principle I am not going to call it "The River Tour" because that already happened.) This was the reschedule for the snowed-out show back in January. I was curious how the show would play this far into the tour and if there would be a special treat since it was a makeup gig. I was hard side stage behind Charlie, picked up on the original drop for this show and acquired from someone who could not make the rescheduled date.
Bruce was in an excellent, jovial mood. He played to the back often and even acknowledged the fans up on the Chase Bridge seats in the rafters. The crowd also was engaged and energetic and the overall crowd energy was a million times better than the first Garden gig. They were loud. They sang in all the right places. The joint bounced from "Meet Me In The City." You remember why you love seeing Springsteen at the Garden on nights like this.
But surprisingly and disappointingly, I can't say the same about the E Street Band Monday night. The performance was loose in a casual way, not in a relaxed way. They were wound tight as a spring at the beginning of the tour, and with good reason, this was a hard performance to pull off. But there was none of that precision this evening. There were many missed notes, as well as far too much feedback in the goddamned PA for an organization of this caliber. (More on this later.)
Things didn't pull together until "Point Blank," probably because they couldn't have executed the piece otherwise, it demands attention. But that said, it was excellent. Bruce stood facing Max, eyes closed, until Roy reached that last crescendo and then Bruce's hand came halfway up his chest, he opened his eyes, and conducted the band into the song. It was magnificent. (I had several friends at the show tonight who had never seen Bruce before, and I texted them when the song was done to say, "And that's my favorite part.")
I was hoping that the strength of the performance would get things back on track but it did not. There's always a problem around "I'm A Rocker" for reasons that escape me; I kind of get the beer run during "Fade Away" (I mean I don't, but I do). Speaking of "Fade Away," both it and "Stolen Car" (of all things) felt rushed, of all things. There was just no groove, you know? E Street has a groove and they could not find it tonight.
Regarding the sound, I know I wasn't out front but my ticket cost exactly the same as those that were and the sound was not good tonight. I always figure it'll get better if it's rough at the start but it just got worse throughout the night. By the time we were at "I'm A Rocker" I could hear Charlie but only very faint Bruce vocals. Bruce made a joke during "Ramrod" that I could not hear because of the sound. At the start of the tour I was willing to say, "Well, Bruce pulled this together so fast, they didn't have time to get it together, etc. etc. etc." But at this point, and at these prices, there is literally zero excuse for poor sound at a venue they have played at countless times.
I am happy to report that after many informed reports from the West Coast of Bruce's voice not being at its best, it seemed fine tonight, but I did note that there were parts of "Point Blank" that he chose to speak-sing rather than just sing. He had some scarf-like contraption wrapped around his neck and tucked under his shirt but I can't tell you for sure if that was for his throat or just his often questionable sense of fashion.
There were good things tonight: "Point Blank." "I Wanna Marry You." Bruce and Patti shooting each other little smiles all night. "Brilliant Disguise." "Ramrod," where he saw his mother dancing in the seats–Adele Springsteen has more energy than I do on a weeknight–and he went over to dance with her, and do the butt shake together. I was a crabby curmudgeon about the people waving their phones during "Drive All Night" but by the second sax solo it became something magical, one of those spontaneous moments that elevated the crowd and the band and the performance.
But the real magic tonight was when Bruce announced, "This is something special for New York" and we heard the chords for "Meeting Across The River." In that moment something shifted and there was that amazing feeling you get in that particular room, that space where so much history has happened before. Everyone was excited; everyone was at attention. And in that moment I was a 14 year old kid again, listening to that record through my headphones, imagining that some day I'd get to see it happen, and wondering what that would be like. I imagined it for what seemed like so long before I got to see it happen, and when it happened, it just didn't seem possible that I was witnessing something that I'd dreamed and imagined, something so wonderful, even more wonderful than I had imagined it to be.
And "Jungleland." "Meeting" finishes and we all know what's coming next, but the fact that we all know makes that instant of anticipation before the first note that much more intense. Bruce asks, "As we take our stand," and we answer–we shout–we affirm: "DOWN IN JUNGLELAND." You pump your fist. You play air piano (no? just me?), you root for Barefoot Girl, you shout about the poets, it becomes a form of incantation, of remembrance, of offering, of prayer.
And at the end, you stand there, fist aloft in tribute matching Bruce holding the guitar in salute, and wonder how you got to be so lucky.
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I reviewed this show for Backstreets (look for February 12). These are some additional thoughts (not a review).
There was so much to like about Philly. That said, I thought it lacked the intensity of Pittsburgh or the focus of MSG, and it definitely took a while for the band to get momentum going during the album segment. But it is so great to be in a room with the people of Philadelphia watching Bruce Springsteen. There were a lot of moments tonight where it felt like the Spectrum (without the lack of women's bathrooms). There were vibes. Philly showed up and was loud and proud. It was nine million trillion (yes, this is a precise measurement) times better than the crowd at the Garden.
I find it curious that there has been no attempt to swap out "Meet Me In The City" as the intro song, as though "Roulette" would be some kind of poor crowd pleaser or would somehow diminish the energy. Or "Loose Ends." Or "Be True." I will raise the issue of the lack of outtakes once again, given the recent interview in Rolling Stone with Mr. Van Zandt where he discusses all the outtakes and how he's looking forward to playing them. (Then again, SVZ also talks about the 'residency at the Stone Pony' which is simply a thing that never happened.)
Steve makes the point, however, that The River got lost between Born To Run and Born In The USA and while there is part of me that cannot wrap my mind around that, I think he has a point. After tonight, I have reached the opinion that the people who go to this show are going to see Bruce Springsteen, who just happens to be performing The River in its entirety. Bruce, and others, assume that people are coming to see the album being performed. They are not.
This is why the crowd's energy dissipates right around "I'm A Rocker." That is the end of the material that they are vaguely familiar enough with. So once again, there was Bruce out on the center platform in the middle of the show, trying to raise the energy, telling the crowd to jump at the end. I know there were some Europeans in the front pit tonight because I could see them pogoing at the requisite moments, but otherwise Philly started hard and went flat in the middle, before perking up again after "Wreck On The Highway.")
(How on earth does he think he's going to go to Europe and deal with this in the largest of the European football stadiums, or a muddy field in the Hague? I know the press release hedged on this point particularly–"The River Tour 2016" can end up being whatever he says it is–but I shudder to think about what that will be like. Don't tell me that the Europeans don't talk or they're better–yes in the front pit I won't have 50 year old men busy reading their email during "The Price You Pay" like tonight but past the pit and in the stands it will be the exact same thing.)
There were so many lovely moments this evening–listening to him talk about "Independence Day" with Bruce's mother and sister present; the ease and playfulness during the "I Wanna Marry You" introduction (my favorite part was "It's not the real thing—but I've got these maracas, I don't need the real thing," at which Patti, sitting on the piano riser, smiled knowingly and raised her eyebrows and shot him that "How did I end up with him again?" look.). Also moving were the various moments of him interacting with his mother, coming over during "Sherry" and then again during "Thunder Road," to acknowledge the family. Even Steve came over to say hello to that section later in the show. I was hoping Adele would be the lucky lady chosen for "Dancing In The Dark" but she is in her 90's, not that it stopped her from standing and dancing from time to time, and the smile on her face was a delight to observe.
And once again, that end of side 3/side 4 was quite simply outstanding. "Stolen Car" was heartbreaking and breathtaking; I was in tears, riveted in the moment. I was not ready for "Ramrod" afterwards, I just wanted to be able to drink it in some more. "I Wanna Marry You" was gorgeous–"Here She Comes Now" is one of the great gifts of this tour, "The Price You Pay" transcendent, and "Point Blank" continues to amaze in its depth and majesty. Max and Roy on the intro are phenomenal. I mean, we already know that Roy Bittan is the best musician in the band, but during "Point Blank" I am so so glad he took this gig. These are performances I will carry with me as some of the greatest musical performances by the E Street Band, and it is these moments that define the purpose of this tour.
The back half was also a pleasant surprise. At least Bruce is changing it up; at least there is some variety. "Atlantic City" was appropriate, and wistful, the city fading back into where it was when this song was written. "My Love Will Not Let You Down" confounded the audience (who thought it was "Dancing In The Dark" somehow?) but also very very very appropriate for a Philadelphia audience.
"Human Touch" was very adult, for lack of a better word. It felt very Tunnel of Love–yes, I understand that can't be possible since that record came beforehand. But if you saw Tunnel you know what I mean. It was unabashed, it was very much about Bruce and Patti's relationship on that stage in front of 18,000 people. Next to "Stolen Car," and watching Bruce sing "Thunder Road" to his family, it was my favorite part of the night.
I welcomed the appearance of "Jungleland." It is always good to hear "Jungleland" in Philadelphia. It felt like a reward and an acknowledgement, and it felt like you were standing in the old Spectrum for a second or two, Bruce holding the guitar aloft in tribute, the way he used to hold it up as though he was going into battle. It got a little performative towards the end–I don't think we need to Brooooce in the middle of "Jungleland"–but it didn't bother me that much, because the crowd's energy was very present in the song, it was very much the old timers remembering and the middle generation being glad they have a memory of it, something to compare it to, and the new generation losing their shit that they got to see "Jungleland."
The epidemic of "Dancing In The Dark" signs is at a point at which all signs need to be banned from the pit. (I wrote about this more here.) I could not see the stage for many moments last night. And "Shout" remains as lightweight an end to the show as ever. It is really just beneath the abilities of the E Street Band. The Medley can't come out in Philly, of all places?
P.S. Bruce Springsteen Is Not Your Babysitter, aka Egregious Offenses in Brucebait Part II
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I reviewed this show for the Village Voice. This is the inside baseball edition.
Pure and simple, it was a barnburner tonight. Somehow the band were even tighter than Pittsburgh, for the entire night. It was absolutely insane, in the best way possible.
Two shows have showed them how they need to run this thing, and there is zero lost energy between songs. There is just none. You think that it doesn't matter, but to me it was such a marked difference. It doesn't feel rushed and if you aren't someone who obsessively watches production details you probably won't even notice. But it kept things moving, kept the energy up, kept the momentum going. Even the difference of a minute can lose the crowd in this song sequence. It was most noticeable in places like "Jackson Cage" into "Two Hearts," or Bruce starting "Independence Day" before offering the introduction, or going into "Out In The Street" immediately after "Hungry Heart." There wasn't the even the tiniest fraction of a second break.
Even with all that, people around me all shifted into reading their email during "Crush On You." He's really having fun with that one now, and the crowd down front does too, so I don't get why that was the moment that everyone stopped trying, screens all white around me.
"Fade Away" was the number where people just gave up, and there was a steady exodus out of GA, and up the stairs in the side sections. But it was a curious crowd tonight; there was almost no reaction during "Meet Me In The City," I don't get it, because even if you haven't heard the song, the chorus is easy to catch onto and the hooks are killer, but it just kind of fell flat. Maybe the problem is the house lights still being up; I don't know. But this would be a repeated problem during the album set. Bruce kept trying to get people to jump up and down, that foray to the back platform during "I'm A Rocker" because it was just dead, flat out in GA. Then again, when hedge fund dudes are buying 4 GA tickets at $1200 a pop (this is a thing that actually happened; I know someone who knows a hedge fund dude), what do you think the floor is going to be like? I know there are ways of getting around this and you can't do paperless tickets in New York; at least make the front of floor will call only or enter immediately or something. I am reminded again by the very dude audience last night how much I miss the diversity of the audience in Europe.
I said after Pittsburgh that I had no idea how this show was going to play in the stands. Well, now I know. I was in section 117, row 8, so close to the stage and the floor. The people around me had some connection to acquire their tickets; most had E Street Lounge passes or bitched that they didn't get them. (If you have never been in the E Street Lounge, it's not 'backstage' but rather a room with a cash bar, and the only advantage really sometimes is that there's a private bathroom, and sometimes free water.) I offer this caveat as a base line between sitting in a section with fans who had to work for their tickets, and sitting with people who have some kind of connection. Still, they were chatty but I could still focus, but I attribute the latter to what was going on on that stage.
I do not understand why people were not moved by "Stolen Car" or "I Wanna Marry You" or "Fade Away" or "Point Blank" — I was going on about "Side Four" but it really is "the end of side three into side four". I thought it was amazing in Pittsburgh, it was absolutely STUNNING tonight. It almost feels like Bruce is perversely relishing the challenge of delivering these songs to a chatty crowd, his old bar band instincts kicking in. That is a great thing to witness, but I wonder about it wearing him down round about show #10, or #20, or even after that. Like, I get that he's Bruce Springsteen, but having 16000 of 18000 people yakking it up through songs you have gone out of your way to indicate are important to you has to get to you after a while. Even if you are Bruce Springsteen, it is hard to perform those songs. It is hard to run that part of the show. There is a real physical and emotional effort that's even more than a normal show.
And the talking people are crazy-making. At least during "Crush On You" they weren't talking, or I couldn't hear them talking. These tickets were so hard to get, and cost so much money, and the performances were so magnificent, but yet it was like being in the loudest bar you could think of on a weekend.
Jim Rotolo did a live remote for E Street Radio before the show, and I was hanging out in that vicinity because Chris Phillips got shanghaied into going on the air. During his appearance Rotolo mentioned that people are calling and writing the station and saying that gosh, they really weren't familiar with the River album before the tour, but now they're "getting into it." And you would think that can't possibly be true, but yet, compare the audience's reaction to the record to the audience's reaction to "She's The One" and "Candy's Room" and it is like night and day. But if you were old enough to be around for '78 or '75 then you were old enough to be around when The River came out, so none of this makes any sense to me.
Also in the "does not make sense to me" is the reaction to "Wrecking Ball." I realize I have never really been in the camp of liking or understanding why Bruce let this song have a life beyond that last night at Giants Stadium, and I know people are just reacting to melody, but seriously, people who were filing their nails during "Crush On You" or reading email during "Stolen Car" (and making fun of me for being excited during the album performance) were executing choreographed dance moves to "Wrecking Ball."
The band fucked up a couple of times tonight, minor mishaps I record here but cut out of the review as being less important than the rest of it: two missed cues during the intro to "I Wanna Marry You," one they missed–"Even the tightest band in the world fucks it up," Bruce observed, before then missing the cue himself. But he made up for it in spades, that lovely Roy Orbison moment, that "Oh darling," was heart-stopping. Then, Steve hit a repeated series of wrong chords during the intro to "The River." There was also something else going on during "She's The One," where poor Nils spent a great deal of time running around and looking meaningfully at people, especially Steve. I think the rhythm was just wrong, and he was trying to sync himself with Max before bringing it around the rest of the stage.
I hesitate to ever mention Jake Clemons because the pro-Jake faction gets so defensive if anyone ever criticizes him in the slightest, but I really appreciated Jake's performance in Pittsburgh and tonight he really brought it home. That "Drive All Night" solo was phenomenal. I think he has really found a good place for himself in the band and in the show and his energy is not as obtrusive to me personally (please note emphasis) as it was on previous tours. I realize he has a thankless job.
On the note of thankless jobs, we come to Charlie Giordano. (I really like Charlie and am happy he got this gig; he played keyboards for one of my favorite local bands in the 80s.) But I mention this because the sound is much improved in my opinion, apparently there is some new sound system, and the separation is fantastic; I can actually hear the organ. I realize he was not hired to offer his interpretations of the material, but rather to play the material as written. I think I just notice the gaping hole left by Danny Federici more when it comes to playing a set of River material. That lightness, that delicate touch, the way he could make a melody just swing. I am missing it, hard.
And while we're in this neighborhood, there was a moment last night during "Thunder Road" that felt like it was right out of "No Nukes". I had to cut the line from the review because it was too inside-baseball-ish and would have taken too many words (I had 800, with an option to go to 1,000) but while "Thunder Road" is one of the greatest gifts in the history of rock and roll, it is different now than it was back then; last night it felt like it did back then, and I missed Clarence SO HARD.
I am surprised there was no Bowie tribute offered tonight, to be honest. On the other hand, I do not feel that this needed to be a thing for the entire tour, and maybe Bruce felt that if he did one he had to do the other and then it becomes a thing for the entire tour.
Tonight, all the dead are here, indeed.
I was thinking about going out to Newark if I could find a ticket, but now I have a ticket available to me at the rescheduled MSG show and still have a ticket for Philly, and now of course there is the second leg. I am still curious what this show is going to be like after, say, 12 performances, and then 20 performances, and whether the back half changes.
I am focusing on the back half because after tonight I feel safe in saying, if we didn't get outtakes at the hometown gig beyond "Meet Me In The City," we are not ever going to get outtakes, so say goodbye to your hopes of "Stray Bullet" or "Chain Lightning."
We are also stuck with "Shout" as the last number and that is the one thing in the set that is going to drive me literally insane. Why not bring out the "Detroit Medley"? Why not any number of other actual Springsteen compositions that people will love just as much. It just feels like a cheap way to end the show because people love "Animal House" and are going to act like idiots. This set deserves so much better than that.
It is honestly a great show, and as a fan it is great to hear the songs that dropped out of the set, and it is great to watch the band execute the River material. But that only has legs for so long. For me, the thing about a Springsteen show is the unknown, the unexpected, and of course, the new material, and the way all of it gets juxtaposed together. When this tour was first announced, all I could think of was all of the possibilities of being able to sequence the material from The River with everything that came after it. And if Bruce wants to take it easy by not having to craft an intense setlist, he gets to do that. But that means that this is not the kind of tour that is going to breathe or grow much beyond what we have right now. We will have to get used to that.
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Rounding up my work following the man's passing:
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Also see my tour previews in Salon and the Village Voice (link coming)
I went on record on Twitter during the show stating that Saturday night in Pittsburgh was one of the strongest tour openers in years, and an overall fantastic performance, especially of The River. I stand by that now, even later. I literally do not have enough superlatives to apply to what was a first-night-of-the-tour performance, or in fact any performance. When great bands rehearse, it only helps them, and this was so clearly visible on Saturday. It also takes pressure off of Bruce, because he's less worried about leading the band, and that lets him apply his energies towards the performance.
I remain utterly blown away at "Point Blank." If Bruce had said in any pre-tour interviews that they had created some enhancements to the arrangements of some songs, I would have likely blown a gasket. Instead, they just showed up and played it and it was phenomenal. I am conscious of spoilers for those waiting to see shows but these small touches, which are not any different to how things transformed as they were performed over the course of time back in 1980, are valid and will not damage anyone's memories or expectations. "Stolen Car" was masterful. "Crush On You" was an absolute delight. I even enjoyed "You Can Look" which is honestly not one of my favorite songs on the record. I was thrilled to see something like 'Here She Comes Now' added to "I Wanna Marry You" (which was another standout performance)–this is the kind of thing the people who have followed Bruce for a long time will especially appreciate, along the lines of the revival of "Prove It '78". NOW GIVE ME 'ONCE UPON THE TIME IN THE WEST' BEFORE 'THE RIVER,' PLEASE. Or even "No Money Down" before "Cadillac Ranch." I don't need all of them in the show (but WHY NOT?), but I hope they are rotated in and out.
I am utterly defeated at the lack of outtakes after we were promised outtakes. And I am not looking for a full band "Mr. Outside" (although it would be HILARIOUS), but "Roulette"? "Where The Bands Are"? "Restless Nights?" "Be True?" I realize the Bowie tribute took one slot but we couldn't have traded DITD for one of those? One outtake to open the show (and it is a barnburner of a moment) does not "the best of our outtakes" make.
I was personally glad to see the album performed again without morons talking nonstop through the performance as they did at MSG in 2009. There were still some egregious offenses, even down on the floor a couple of rows from the second barricade. Let me please shame them publicly:
INDEPENDENCE DAY. Dude #1, loudly: "I NEVER THOUGHT MUCH OF THIS SONG." Dude #2: "YEAH, ME EITHER." Thank you, oh great men, for sharing your weighty opinion with everyone standing near you, some of whom may never have seen the song played live. We are so privileged to hear your thoughts. (I didn't say it, but I thought it later.)
STOLEN CAR. Props to the guy behind me who yelled, "Play the Tracks version." Of course, as my associate Mr. Radecki pointed out, the very introduction to the song on Saturday explained why he'll never play the Tracks version. This song was a definite chat trigger, but at least standing amongst people who cared enough to queue in the cold for hours ensured that a pointed look regained silence.
THE RIVER. Woman behind me screams the lyrics, which usually I give a free pass to–it's a concert–except that she did not know the words, and kept getting them wrong. It's "I got a union card and a wedding coat," not "wedding ring." This would be forgivable except that she then announced that "Point Blank" was her favorite song of all time. She also did not know the words to that, and had begun a Garth & Kat-like yelled mumble, but was thankfully defeated after the first line.
I don't know what this will be like in the stands. Pittsburgh, to their credit, really hung in there with Bruce, and there were not endless exoduses up the aisle for beer and similar until "Wreck On The Highway," by which point it was hard to take much issue. But those of us who were at the Garden in '09 had a much different experience (and I wasn't all that far from the stage). It will be interesting to see how Bruce manages crowds that are less interested in paying attention, because he can't just call an audible and switch to something else.
On that note, I was most struck by how strongly Bruce was able to be emotionally present at the most difficult transitions. There was an emotional modulation in his voice during "Stolen Car" that was utterly breathtaking. But this is, again, where the idea of playing a record back to back is a much different experience than sequencing a show with a majority of the songs alongside existing material. While I felt that he was struggling with finding an emotional center during the first half of "Drive All Night" (it's why I stopped the Periscope–I wasn't sure if what I felt missing was me or the performance), he did find it later.
There was a proposal next to me in the pit during "I Wanna Marry You." I congratulated the happy couple (who stayed for the whole show, more props to them) instead of asking them why they didn't just pick "The One I Love." To be fair, the gentleman's sign asked for Bruce's help with the proposal, and when they lost the lottery, he obviously had to scramble for a Plan B. (The lottery was a debacle and a half, which was already covered by my associate.)
As for the rest of the set, it's so hard to take issue with the back half of the show when everyone around you is losing their minds and acting like this is the best concert ever in the history of the world. I generally get a lot of enjoyment watching the audience during the encores, finding those people who are hearing these songs for the first time in their lives and going bonkers. But the lack of a theme or narrative arc was more disorienting than I had anticipated (because I didn't really anticipate there not being one, to be fair).
"Sunny Day" has finally left the set, and no children were brought onstage for any reason. The endless reprises and other unnecessary extensions of songs are nowhere to be found. And to the people complaining that no specific mention was made of Danny and Clarence, it's in every god-dammed note, and when he started those moments, people complained that they went on "too long." I remain flabbergasted.
I was personally selfishly happy to see the Bowie dedication (although the crowd seemed a little meh on it) but keenly felt the absence of any type of commentary on current events, either specific remarks or the thing Springsteen does best, which is communicate a message through the way he sequences the setlist. I've been studying the 1980 tour for another project, and those setlists were stunning–not just for their length, which is not what I'm looking for, but in the way he put points across. "Racing In The Street" into "The River" into "Badlands," or "The Promised Land" into "This Land Is Your Land" into "The River" into "Badlands." Don't try to say, "It was a different time" –have you been watching the news at all? It's an election year, and Bruce Springsteen is on tour with nothing to say about it. Even in 2009, he made the very specific point at the Garden when he introduced the record:
"It was a record made during a recession, hard times in the States, title song is a song I wrote for my brother and sister, my brother was in the construction industry, lost his job and had to struggle very hard back in the late 70s, like so many people are doing today."
Of course, he could have absolutely zero desire to address any of the current political landscape publicly, and that is his right. But if he thinks he's unable to do it because of the constraints of the tour, it will make me profoundly sad. The longer he's focused on older material, the longer we have to wait for new material. I think he knows this–he specifically made a comment on Saturday that I believe was obliquely referencing Bowie's passing:
A friend of mine was sitting around last night; he said, 'Time catches up to us all.' You've got a limited amount of time to do your work, to take care of your family, and try to do something good.
My essential objection to the tour remains thus: The longer this goes on, the further out we push a new record, and selfishly I want as much new Bruce Springsteen as I can before we no longer have that option available to us. This past week, which for me personally has felt like sitting shiva, has made that point paramountly clear.
It's a fun show, and it's absolutely fine for me to sit this one out. But I fervently hope this wraps up in Los Angeles.
Postscript: I apologize for the delay in publishing a piece, but knew the opener would be amply covered, I had other paid assignments that had to be written and filed and didn't want to jeopardize them before writing a personal piece. I was also in town with friends and so didn't want to have to pull my usual stunt of running back to the hotel as quickly as possible in order to write something as quickly as possible.
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A photo posted by Caryn Rose (@caryn_rose) on Jan 14, 2016 at 8:25pm PST
I had been assigned to review this for a website, but since I didn't get the record until 12:01am Friday morning, didn't get to file it over the weekend as I had planned. I told my editor that I would get it to her on Monday during the day. But once I woke up on Monday, I had to write a whole new set of pieces, and this got set aside.
I actually did look at it on Tuesday, after I had posted an excerpt on Facebook, noting that it was going to be killed, given the circumstances. A couple of writers urged me to post it anyway. Plans to publish it at its original home fell through, and at this point it makes no sense — but I did want to commemorate it here.
David Bowie has mastered the modern music business landscape as well as (or even better than) anyone. The Next Day dropped without any clue whatsoever; his PR firm's warning that a record was going to drop in the overnight and that the newsroom might want to be prepared had the editors guessing every other artist except Bowie. One song added to a greatest hits anthology rated detailed reviews of the one song in media outlets around the world. And the lead up to Blackstar was marked, measured and controlled to the nth degree, all of this for a 40-minute seven-track jazz-flavored collaboration that leans on a saxophone as the core instrument.
"Blackstar" as the opening track might seem like a misguided idea; it's almost 10 minutes long, and when you listen to it in the context of the record, it will initially feel like it's two separate songs, and you might think it would work better as the last track of the record. That will shift with repeated listenings, and the track will find its place and you'll get more comfortable with it. It's uncanny how catchy the song is, how its myriad sections will get stuck in your brain on a loop, as though it was the lightest, simplest pop song.
"'Tis A Pity She Was A Whore" is sad and angry and gruff; listen to it on headphones to catch the heavy breathing at the song's start, rough and louche in the best way.
"Sue (Or In a Season of Crime)" was the bonus track on 2014's anthology Nothing Has Changed, but it's welcome here in this collection. It's also the most successful jazz execution that also still sounds 100% like a David Bowie song. "Girl Loves Me" has a gigantic "EXPLICIT" attached to the title, and you wonder what could possibly rate that, and then the "Where the fuck did Monday go?" refrain kicks in along with the backbeat. "Who the fuck's gonna mess with me?" It will repeat in your head for days.
"Lazarus" is one of a handful of songs written for the Bowie musical of the same name currently playing Off Broadway that survived the cut. Lazarus the musical has its issues but the song is not one of them. It's a great song in the production and it's still a great song here on the record; it's also the only straight-ahead rock song in the batch. But it's haunting and huge and you could dismiss it as classic Bowie, the kind of thing he could write in his sleep–but why on earth is that a bad thing? It's unmistakable but it's also not just flatly derivative. (And Michael S. Hall does an admirable job with the performance.)
Saxophone dominates the record in a surprising fashion, given that it's not a straight ahead rock and roll record and isn't a straight ahead jazz record, either. But it's no wonder that Bowie would come back to the instrument here and now; it was his first instrument, and he never stopped loving it and never managed to master it. But he employed it, early and often, to memorable effect, and he's not stopping now. This can be good, and it can also be unfortunate; the sax on "Dollar Days" sounds like it's off a bad Billy Joel outtake that got lost somewhere on Baker Street.
Where Blackstar falls down is as a cohesive statement. It feels like a random collection of songs because that's what it is, and that's unfortunate coming on the heels of The Next Day, which absolutely felt like an album. (Hindsight is now 20-20; this review was largely complete before Bowie's untimely demise late Sunday night. Now some things make more sense.)
When does a trend-setter get to stop setting trends, and just be allowed to create? The expectations of anything that has the name "Bowie" attached to it are always sky high, and that hasn't tapered in almost 50 years of the man producing art. We've decided–he's trained us to expect– that whatever he does has to break the mold, it has to be haute, it has to be the nth of whatever the particular art is. If we can let Sting put out a record about the shipbuilding culture in Newcastle and take it seriously, we can let fucking David Bowie put out a free range jazz collaboration, especially when the latter is strong and challenging and in several cases, actually fucking great.
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Athletic stadium and track; entrance from W. Main St.
The Game
The Stadium
McDaniel Cheerleaders
It was a fun day. :3
This was the first game I got to go to this season. My husband and I had a great time and really enjoyed the game. A specail thanks to Pat O'Toole for his "grilling skills".


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Help Us Honor The Coast Guard and All Support Personnel
What: Special Sunday Breakfast and Commemoration Ceremony for the US Coast Guard. Open to the public.
When: Sunday, May 7, 2017 | 9am and 11am seatings
Where: Cape May Ferry Terminal
Why?: Cape May County has been designated by the U.S. Government as an official Coast Guard Community, one of only two counties in the U.S. to be so honored. A celebratory festival starts Friday, May 6 - Sunday, May 8.
$28 each adult
$18 per child (age 13 or under).
FREE - Children under age 2
To Reserve Breakfast Seating: Call Guest Services at 1-800-643-3779.
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To Attend from DE: Take the 8:45 am from Lewes to join us for for the event. Take the 2:30 boat back for a great day trip. Call 1-800-643-3779 to book in advance and use code CGFest to get our special festival foot passenger day rate!
For full festival details including Friday and Saturday events go to: coastguardcommunity.org


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Midline nevus flammeus
From Wikipedia, the free encyclopedia
Midline nevus flammeus (also known as "angel's kiss,") is a vascular birthmark which may be found on the glabellar region or on one upper eyelid, and presents in approximately 15% of newborns.[1][2]
See also[edit]
- ^ James, William; Berger, Timothy; Elston, Dirk (2005). Andrews' Diseases of the Skin: Clinical Dermatology. (10th ed.). Saunders. Page 582. ISBN 0-7216-2921-0.
- ^ "salmon patch" at Dorland's Medical Dictionary
|This Dermal and subcutaneous growths article is a stub. You can help Wikipedia by expanding it.


text:
Sir Brenzen Limerick
I am obsessed with a D&D podcast called Critical Hit, brought to the interwebs by the Major Spoilers Crew. Being somewhat creative, I enjoy writing short poems about the people and characters involved. Don't hate, I'm a nerd.
There once was a man from Moonhold
Whose name was Sir Brenzen the Bold
Though cool like a biker
Criss-crossed with Will Riker,
Rodrigo made his skull unfold.


text:
The FDA union, which represents senior public servants, claimed there had been several allegations of sexual harassment against MPs, but said efforts to persuade parliamentary authorities to adopt a proper system for dealing with such incidents and other bullying had progressed at a "glacial pace".
Jonathan Baume, general secretary of the FDA, said: "There has been a long-standing problem of a minority of MPs bullying and harassing staff. We have been pressing for several years for an effective anti-bullying policy."
He said there had been a small number of cases of alleged sexual harassment, but that most complaints were about rudeness and intimidation. Staff had to suffer in silence, he claimed. "The culture is, you keep your mouth shut because you are dealing with MPs, you just have to live with it."
The Standard revealed yesterday that some MPs had hurled foul-mouthed abuse at Independent Parliamentary Standards Authority workers who were dealing with their expenses. The workers were called "f***ing idiots" and "monkeys". The new expenses system was called a "f***ing abortion".
Such abuse should not be tolerated by the standards authority or in the Commons, Mr Baume stressed. "We have had a long-standing culture in the Commons that if MPs behave badly, they get away with it," he said. "If MPs continue to behave in this way, they should be named." Senior backbenchers have branded the standards authority "chaotic" and called for it to be axed or reformed. Many MPs have been left fuming after struggling to get expenses claims paid swiftly. Some have resorted to sleeping at the Commons following changes to the housing allowance.
The FDA has been working with other unions representing Commons workers to get the parliamentary authorities to agree a policy on MPs' misconduct towards staff, including possible disciplinary measures. It is hopeful that Speaker John Bercow will be more willing to order progress than his predecessor, Lord Martin, who was criticised for his role in the expenses scandal including the failure to swiftly push for greater transparency over claims.
The Commons Commission, chaired by the Speaker and made up of senior MPs, oversees the running of the Commons. There is already an anti-bullying policy for the behaviour of staff towards other staff. Commons authorities said they introduced a "procedure" this year for dealing with complaints against MPs. But the FDA wants a formal policy.
A spokeswoman for the authorities said: "The House will not tolerate bullying of staff. Members have been told that complaints will undergo a full investigation."
- More about:
- Bullying
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text: NASHVILLE, Tenn., Nov. 13, 2012 /PRNewswire/ -- Emdeon Inc., a leading provider of healthcare revenue and payment cycle management and clinical information exchange solutions, today announced plans to present short, impactful educational sessions relating to its recently launched Emdeon EDGE ™ payment integrity solution suite at Emdeon's in-booth theater (booth 101) during the National Health Care Anti-Fraud Association (NHCAA) conference, which will be held in Anaheim, California from November 13-16, 2012. The presentations will examine the evolution of fraud, waste and abuse protection from a solely "pay-and-chase" model to a comprehensive pre-pay through post-pay solution. Emdeon also will highlight how Emdeon EDGE leverages multi-payer data and analytics to effectively fight against healthcare fraud, waste and abuse. Healthcare fraud, waste and abuse in the United States continues to be an increasing problem with industry estimates placing the cost upwards of $200 billion a year. In fact, a joint letter from the secretary of Health and Human Services and the U.S. attorney general issued in September 2012 emphasized to healthcare trade organizations the need to ensure accurate and proper healthcare claims, and stated that attempts to "game the system" will not be tolerated. Emdeon has built a leading payment integrity and cost containment solution by acquiring three market leaders – The Sentinel Group, EquiClaim and TC 3 Health – and integrating them with Emdeon's vast healthcare network. By combining the best of these companies' recognized leadership in fraud, waste and abuse technology, investigation expertise, cost management services and comprehensive audit and recovery services, Emdeon is able to offer healthcare payers one complete solution to help ensure accurate claim payments throughout the adjudication lifecycle. "In a time where healthcare payers are under immense pressure to control costs, Emdeon's payment integrity solutions can offer the healthcare payer community immediate benefits with minimal investment," said Terry Cameron, senior vice president of payment integrity for Emdeon. "Emdeon EDGE combines analytics from its multi-payer data with knowledge and expertise to create more efficient payment integrity processes and more savings opportunities." Emdeon will exhibit Emdeon EDGE and present educational sessions at booth 101 at the NHCAA conference. For more information on Emdeon at NHCAA, please visit www.emdeon.com/nhcaa2012. Gaining an Edge on More than Just "Fraudsters" Tuesday, November 13 th, 6 pm PT Thursday, November 15 th, 12:45 pm PTPresented by Kelli Garvanian, Payment Integrity Solutions Consultant, Emdeon The term "Payment Integrity" has many definitions within healthcare, mostly associated with fraud. But it addresses much more than just fraud – payment integrity includes identifying incorrect coding, payment errors, misrouted claims and really just about any improper payment. Learn how to gain an edge by applying industry best practices to achieve a holistic, highly-effective payment integrity approach.


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WELCOME!Welcome to the website of pulp writer Abner Senires, writer/creator of the cyberpunk pulp web serial KAT AND MOUSE, GUNS FOR HIRE.
Abner writes sci-fi pulp adventure stories. Escapist fiction. Often with lots of explosions and running gun battles. Check out his books here.
Abner is also a voice actor. Check out his demo reel here.


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ignore it by not setting it up and not using your thumb to move all the way to the left of the screen where BlinkFeed lives.
But let's say you want to use BlinkFeed. The idea of all of these feeds coming in with the latest news and tweets and status updates energizes you. How do you set it up? When you first look at BlinkFeed, it gives you some suggestions on laying it out. Tap on one of the blue boxes and you are ready to select your feeds. Currently, you have to go with the pre-selected choices, but news junkies should feel covered with choices including AP, Huffington Post and Reuters. Stories open from inside BlinkFeed itself and you can share them through the usual means. Stories can also be opened in the browser.
When it comes to your social networks, BlinkFeed is designed to connect you to them quickly. For example, let's say that something from Facebook catches your eye. You can tap on the screen and the app will pop up. Or, if you're the lazy type, you can post a status update straight from the BlinkFeed home page. The social networks that are included with the feature are Facebook, Flickr, LinkedIn and Twitter.
Setting up BlinkFeed is an easy process. Open it, select the feeds you want, and that's basically it. How HTC One users respond to the feature will probably determine whether we see a version of this on Android phones from other manufacturers.
source: AndroidCentral


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If you own a fiberglass boat you have a million and one waxes, polishes, and protectants to choose from, but what sort of protectant are you supposed to use on your aluminum boat? Whether yo... Read more
Last week, we took a peek at a red-hot high-performance pontoon boat that hits 60 MPH. But what about us anglers? While a lightning-fast pontoon is nifty, it doesn't exactly fulfill ou... Read more
If you're one of those guys who still makes fun of pontoon boats, believe me, I understand the temptation. For a long, long time I thought these things were a joke among "real... Read more
Pontoon boats don't exactly strike most of us as hard-core fishing machines; they can't handle rough seas, they can't probe the shallows, and many ... Read more


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|Divine Contemplation
Have you met your daemon? If so, are they settled? What form? What's his/her name? Tell us everything about your daemon, and more! :D My daemon, Minai (Min) hasn't settled yet, and I'm not sure what form he'll settle in. Right now he's perched on my shoulder as a ferret/rat/thing. I just met him really recently, so I don't know much about him... But he doesn't really like flying, because it's really disorienting to be off the ground. He likes swimming, but he couldn't stand to be in the water forever. He likes being small so he can stay pretty much hidden and warm in my hood or wherever he happens to be. What about you and your daemon?12/22/2007 #1
i have known my daemon for some years now but i still don't know a lot... i know that he's extremely unpredictable and will go from being calm and collected to furious in a second, and that he's very independent but still likes to be pampered when he feels like it. He also really likes night time. I know he's a cat of some kind and that he's settled, but i don't know his name yet nor do i know what kind of cat he is.1/5/2008 #2
I've known my daemon for as long as I can remember - the earliest I can think of being when I was around 7. His name is Siff, and hei's settled as an Americna marten. You guys should come check out the Daemon Page. <- Neat little site for those who know their daemons, and a friendly forum if you wanna chat. =32/10/2008 . Edited 2/10/2008 #3
Well, I learned who my daemon was just recently (from the test on the movie site). It was very interesting because a friend of mine had asked, "If you had a daemon what would you want it to settle as?". I said I wanted a leopard, but then I realized I'd wanted it to be small enough to hold, so I said a cat...but I got very frustrated because I thought I'd like it be a cat I can hold, but I love leopard spots... What was really interesting was that the settled form of my daemon was an Ocelot, which is like a miniature leopard! How interesting, huh? It's like they almost know. His name is Callum, and I love him dearly.2/17/2008 #4
|Moiranne Rose
i know that daemons are supposed to be of different gender but i dont care! i have a FEMALE lynx (blackish red/like a fire) and she's called Moira Rose
she's really nice and helpful,but she likes screaming at me when i do things wrongly. She's a real perfectionist...sigh
well they say you daemon must complement you so she does!!!
moiranne rose4/18/2008 #5
Sequilaer. Settled velociraptor mongoliensis. Bawhaw.4/20/2008 #6
|Aislin Zerlina Alma
My daemons name is Koen and he settled in the form of a grey and black striped cat ( he is about the size of a beagle). I have only known him for around half a year, but I already know that he is solitary, blunt, easily agitated and likes to point out my faults. But he is also encouraging, kind, gentle and smart at the same time.5/6/2008 #7
i have meet my deamon and his name is Jhonathin(Jhon) and is kinda like a ferriet/ermin/rat thing but is really cute and i meet him when i started high school and he said he has and will always be there 4 me weither i know it or not ( =7/9/2008 #8
I met my daemon recently,his name is Pelloneus,he is a Snow Leopard.He can get cross when he does'nt get what he want's but he is often quite calm,he completley understand's me as a person.7/18/2008 . Edited 7/20/2008 #9
I'm still looking for mine. I think he must have settled since I'm 17, but then it's not like I've fallen in love or know what to do with my life yet. I think mine is probably some kind of bird. Hopefully a bird of prey. I like those. But not a too big one. My second choice would be something cat-like and cuddly.11/22/2008 #10
|Mikel Midnight
Mine's a black lion, rather unimaginatively named ... BlackLion (though sometimes he goes by Joshua). He's completely different from me actually ... very macho, wants to go out and get into bar fights, etc. He thinks my hobbies are silly and that I talk too much.1/22/2009 #11
|Jen and Kytalaimon
Hi! Here is all about my Daemon!
His Name: Kytalaimon
His Nicknames: Ky
His Settled Form: American pine marten
His Personality:Kytalaimon is a fairly serious daemon. Unlike a lot of souls I've seen, his is one of patience and stern disapproval. He's not a risk taker; instead, he's usually the one begging me to refrain from anything too outrageous. He's the one frightened of being caught, whereas I'm the one so curious I tend not to listen when I should. Ky is who reminds me that rules exist, because he has the capacity to remember and think of such things. Ky doesn't like to push the limits of things unless he feels that to follow along would be foolish. He doesn't like pointless or unfair rules, and if anyone's trying to suppress me, he's all for going full steam ahead. He just draws the line sooner than I would, which can often enough lead to confrontation and argument between us. He'll reluctantly go along, but he'll badger me about it every step of the way.
Ky is simply much more aware of the way the world works than I am. He's got the intuition I lack and shows more caution when going over a situation. He's my inner grownup, as opposed to my inner child. While he doesn't have experience on his side, he thinks more than I and will always remind me bitterly when I've gone and blabbed something I shouldn't have. He sees consequences and mistakes, which he doesn't hesitate to remind me of when I'm thinking about doing something that defies authority. Neither of us likes authority, but I'm much more direct than Ky. He's clever and usually tries to think of sneaky ways to do things, whereas I'm all about making some noise and causing disruption to prove a point. Above all, he's always trying to get me to exercise being cautious, though usually I don't stop to think that he's right until too late.
As far as humor goes, Kytalaimon doesn't really have a big sense of it. At most jokes, he'll roll his eyes and shake his head. He can be sarcastic, but that's a rarity in and of itself. He's very blunt and direct about things, when it comes to proving a point. His dry nature makes me a hard critic of comedy; while I'll laugh at most bathroom jokes, it usually takes a lot to stir anything out of me. If Ky doesn't think the joke is funny, it's just not funny. He's definitely a hard customer...I don't think I've ever heard him laugh. He does love to play, in contrast. Not all out play, but the little things. Rolling in the grass, bounding ahead and looking back to watch me catch up, those are his versions of play. When I'm immersed in my imagination, he likes to watch. We also share a great love for movies, which he always finds fascinating. He doesn't like music so much. That's more something I share a love for than he does. He's the nature buff, always loving it when we go for walks or when I'm out looking at birds and things. He loves the warmth of the sun in his fur, casting his body into glittering red-gold and vivid sunny black.
So yeah. And even though he has settled I still imagine him changing shape. I love my Ky!4/13/2009 #12
|Jen and Kytalaimon
|Jen and Kytalaimon
Hi! Jen and her Daemon Kytalaimon again. Ya know whats weird? The American Pine Marten started feeling not right. I also noticed that multiple members of the mustade family(Ferret,Marten,mink etc.) fit me. So my Daemon has settled as a hybrid of a European Mink,a polecat and a ferret. Here is the link to a picture of Ky: . If the link doesn't work copy and paste it into your web browser. I have known my Daemon for about 2 years now but I still don't know a lot. I know that he can be very stubborn sometimes and will stand up for what he believes in. I also know how he loves me unconditionally and irrevocably. I also know how he can get scared easily and how he finds little things amusing. And how he is quite sarcastic. Well yeah.
~Jen and Kytalaimon
4/16/2009 #14
|Jen and Kytalaimon
Hi! Jen and her Daemon Kytalaimon again. Ya know whats weird? The American Pine Marten started feeling not right. I also noticed that multiple members of the mustade family(Ferret,Marten,mink etc.) fit me. So my Daemon has settled as a hybrid of a European Mink,a polecat and a ferret. Here is the link to a picture of Ky: . If the link doesn't work copy and paste it into your web browser. I have known my Daemon for about 2 years now but I still don't know a lot. I know that he can be very stubborn sometimes and will stand up for what he believes in. I also know how he loves me unconditionally and irrevocably. I also know how he can get scared easily and how he finds little things amusing. And how he is quite sarcastic. Well yeah.
~Jen and Kytalaimon
4/16/2009 #15
Man, I've known Ardian for three years. He's an ocelot. He's so different than me: he's out-going, vain, a coward. XD He'll always look in the mirrior to groom himself6/29/2009 #16
My daemon Lamarian hasn't settled yet. I don't know and I frankly don't care what he settles into. He can turn into tons of animals, but his favorite form is Lion. He is everything I am. I have known him, really known him, for two years. He always comforts me when I am upset in SOME way. He is my life and I would die for him. He has brown eyes, like me. He is also quite fun loving and serious too. He never yells at me when I do things wrong. He'll turn into a dragon when he is RRREEAALLYY mad, which is rare. He goes EVERYWHERE, and I do mean EVERYWHERE with me.8/5/2009 . Edited 11/25/2009 #17
He is now sitting up as Lion, watching as I type this. We are home alone.8/5/2009 #18
|Tessa and Callum
I'm Tessa, the daemon's Kaylum. Yes, the username is wayway outdated, but that's alright, it doesn't really matter. Kaylum's unsettled, after around a year of false settledom as a lynx. He enjoys being a panther, redtailed hawk and other cats and such. Just on here for awhile since TDF is down :(10/21/2009 #19
oh.10/21/2009 #20
I did a quiz on the internet, not the one on the site and apparently mine would be a Arctic Fox. How cute, and his name would be Fallo because I like that name12/15/2009 #21
I've really no idea what my dæmon would be... maybe a cat... I do think I'm a lot like Will...12/19/2009 #22
|Jen and Kytalaimon
Hi again! I just want to let you all know Ky is back to being unsettled. Hei loves it though,and I must admit,it's a lot more fun then being settled. And know I know a lot more about Ky XD But...I have this HUGE epic post that has Ky's personality(not the one I already posted) and yeah. But I won't post it here. Ky is loving,caring,protective,encouraging,a little sarcastic,comforting, truthful,serious and can be funny. Also hei likes movies, music, the color red, snow, faith, God, Christmas and Christmas Holidays. Well that's all folks!
3 Jen and Ky 312/21/2009 #23
|Jen and Kytalaimon
Hey,aren't you TwilightAdict247 on Youtube? Ky goes everywhere with me,too =) I am glad you love your Lamarian so much. And Ky turns into a fox when hei's mad and paces around with his teeth bared and tail pointing up-right. Ky has black eyes =)
-Jen and Ky12/21/2009 #24
Yes, that's me. I love him dearly. Laamrian turns into a dragon when hei's mad. A huge pitch black dragon with blood red eyes.12/21/2009 #25
|Jen and Kytalaimon
Wow. Cool. Larmarian sounds fierce in his dragon form.12/21/2009 #26
Oh, hei is! If I weasn't P'ed off when hei's in that form, i'd be terrified of him. Right now hei's on my shoulder as a red-eyed green tree frog. And it's LA-Marian, not LAR-marian.12/21/2009 . Edited 12/21/2009 #27
|Jen and Kytalaimon
Lauren: I am Jen's friend and my Daemon is Blacky and he is a black cat. :] =) ;] :] :)
Jen: Yeah :) She is my pal and her name is Lauren. I just let her type her Daemon's name and form :) ;] :] =)12/21/2009 #28
|Mikel Midnight
Hah, he's not a daemon but I do have an inner child / kitten named blackity.12/21/2009 #29
|Jen and Kytalaimon
Just because it has the name Blacky and it's a black cat doesn't mean it's not a Daemon. Daemons come in all shapes and sizes,you know.12/22/2009 #30
|Forum Moderators: Divine Contemplation
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Obviously, you bought your Daytona because you knew that you wanted great performance and great value both impeccably combined into one vehicle. While it may not be difficult to buy replacement parts for Dodge vehicles, these days only the absolute best are required to repair your car or truck. When your Dodge Daytona rolled off the assembly line, it was destined for a person with discerning taste who wants versatility in their automobile. Dodge vehicle drivers have come to expect a certain level of dependability when driving their Daytona around town.
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|Stephen Colebourne <scolebou...@btopenworld.com>
|[all] Rebooting commons projects
|Tue, 12 May 2009 23:12:46 GMT
Henri Yandell wrote: > +1 to Stephen on backwards compat (which is probably surprising given > how much I argue with him on that subject). > > I agree with it - but it frustrates me immensely due to the sheer > damage I think it does to a project. I'm of the opinion nowadays that > in a project there are two memes at war. Maintenance and Innovation. > Often it ends up with a fork, or the original author vanishes while > newer committers maintain ad infinitum (log4j being an example). It's > critical that a project/community find a way to blend both Maintenance > (Stability) and Innovation (Value), otherwise you end up where > Collections currently is. A dead end project heading nowhere. Every so often, projects need to "reboot". Its healthy and useful, as most developers want innovate rather than maintain. Up until now, we've tried to do this within the existing project. Its failed miserably. So, lets just accept that some projects need a clean slate, with fresh ideas, people and energy. And no restrictions. So, the concepts of [lang], [collections] and [beanutils] live on, but in new implementations. The new stuff might re-use old code. or it might not. It will definitely have a new package name. And the new stuff should be a new parallel project in commons. And yes, logically, they should start in the sandbox. Lets also say that the new project name cannot be numerically based, so no [lang2] or [lang5] projects, thats way too confusing. But [lang-ng] would be ok. Obviously then, the trunk of [lang], [collections] and similar then remain based on the stable codebase. Bug fixes only. No backwards incompatible changes. And once project [xyz-ng] is released, then [xyz] can have its website updated to indicate that there is a potential replacement. This is a simple approach, and I think it will work if we buy into it. Are we willing to try it? Starting with [lang] and [collections]? Stephen --------------------------------------------------------------------- To unsubscribe, e-mail: firstname.lastname@example.com For additional commands, e-mail: email@example.com
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Get the Town newsletter
21:52 13th April 2010
The Terriers finally overcame ten man Walsall in a remarkable game of football at the Galpharm Stadium to seal an important three points towards their promotion push.
Goals from strikers Theo Robinson and Jordan Rhodes gave Town a 2-0 half-time lead after Saddlers skipper Mark Hughes had been issued with a red card but Troy Deeney changed the game with a brace before Alex Nicholls put the visitors ahead.
However, the Terriers managed to pull the game back in the final minutes through dramatic late goals from Antony Kay and substitute Lee Novak.
Town started the game determinedly, pressurising the Walsall players all over the pitch, despite this the first five minutes of the game passed with neither side threatening the opposition's goal.
In the 8th minute a poor pass from Neal Trotman resulted in Tom Clarke having to concede the first corner of the game. The in swinger corner from the right was well attacked by Walsall, their centre half Mannie Smith rose highest to produce a good save from Alex Smithies. Despite Smithies first-class reactions he could only push the ball towards Darren Byfield who put away the rebound and thought he had opened the scoring. However, the striker had put the ball in the net illegally using his arm to force the ball over the line. His offence was spotted by referee Webb who chalked off the goal.
BOOKING - As a result of Byfield's hand ball the striker was awarded the first yellow card of the game in the 9th minute - to the pleasure of the Town faithful.
Town had their first real effort on goal in the 11th minute. A good one-two between Gary Roberts and Theo Robinson offered the latter a shot at goal. Unluckily for Town, Theo sent his snap-shot narrowly wide.
Following Robinson's effort Town got a grip on the game and went about applying pressure on the Walsall back four. Numerous chances followed and Walsall 'keeper Rene Gilmartin had to be on hand to stop Robinson when he burst through the Saddlers defence in the 14th minute.
As the game entered the 19th minute Town continued to apply the pressure and won their first corner of the game thanks to good interplay between Robinson and Pilkington down the Saddlers left. Unfortunately for Town, the resulting corner was well defended by Walsall who cleared the danger well.
SENDING OFF - Poor defending resulted in the dismissal of Walsall's centre half and captain Mark Hughes in the 20th minute. A good long ball by Trotman found Hughes wanting with Rhodes in behind him and through on goal. Hughes knew he could not catch Rhodes and was forced to pull him to the ground a few yards inside Walsall's penalty box. Referee Webb showed no hesitation in sending off Walsall's skipper and awarding Town a penalty.
GOAL - Town opened the scoring moments later when Robinson shouldered the responsibility and coolly slotted the ball past a diving Gilmartin.
SUB - As a result of been down to ten men, the Saddlers manager Chris Hutchings changed formation replacing winger Steve Jones for Clayton MacDonald.
In the 26th minute Town were back on the attack again through the skilful Roberts. The winger craftily managed to make a yard of room up against the touchline and swung in a delightful looking cross. Jordan Rhodes attacked the ball excellently and got in front of Mannie Smith to meet the ball with his head, unluckily for Rhodes his bullet header was straight at 'keeper Gilmartin.
Jordan Rhodes went close again only minutes later. More good pressure from Town resulted in them winning their second corner in a matter of minutes. Anthony Pilkington stood over the ball and played in a fantastic looking cross which was once again attacked brilliantly by Rhodes. He timed his run perfectly and connected solidly with ball, the only thing missing from the effort was accuracy as the ball skimmed narrowly past Walsall's near post.
The best move of the game greeted Town fans in the 39th minute. A delicious, diagonal ball from Danny Drinkwater landed perfectly at the feet of Roberts. The winger's first touch was inch perfect knocking the ball inside of Walsall's right back Darryl Westlake. Robert's exquisite touch opened up a shooting opportunity which he duly accepted forcing Gilmartin into another excellent save.
GOAL - Jordan Rhodes bagged his 22nd goal of an excellent season in first half injury time, calmly sliding the ball past Walsall 'keeper Gilmartin. Walsall were hanging on for their lives as the first half drew to a close, and were unable to prevent a brilliant Town break away mastered through the creativity of Drinkwater. Walsall left themselves two on one at the back and Rhodes made them pay when he latched on to a brilliant through ball delivered by Drinkwater. Rhodes showed maturity way beyond his age, taking time over the finish and deservedly doubling Town's advantage.
SUB - Walsall made their second change of the night at the start of the second half, striker Darren Byfield was replaced by Alex Nicholls, leaving Troy Deeney to battle it alone up front.
Town started the second half where they left off the first in the defensive third of Walsall's half. However, despite their man advantage Town were finding it hard to break through the Walsall defensive line. Hutchings had set his side up with two banks of four, and Town were finding it tough going trying to break those barrier lines down.
Town went close in the 55th minute through a combination of Anthony Kay, Drinkwater and goalscorer Rhodes. The latter received the ball from Drinkwater on the edge of Walsall's box and immediately skipped past his marker opening up a few yards of room. Having already notched one goal tonight Rhodes took aim and narrowly curled the ball past Gilmartin's post.
Moments later Rhodes was once again the receiver of an excellent cross from the left. Rhodes rose highest against Clayton McDonald but could only manage to head his effort over the top of the Walsall goal.
GOAL - Town conceded a disappointing goal in the 64th minute giving Walsall a life line in a game they looked dead and buried in. Confusion between Smithies and Clarke at the edge of Town's box allowed Troy Deeney to skip in-between them both and knock the ball into an empty net. The goal was a sickener for Town who had looked comfortable throughout the game and would now need to score again to re-open their two goal cushion.
GOAL - Town were left shell shocked in the 68th minute when Deeney again stole in to double his and Walsall's total. Walsall charged down a defensive clearance from Town which landed kindly at the feet of the striker. His good first touch opened up a shooting opportunity and he made no mistake in hammering the ball home from 12 yards.
BOOKING - Antony Kay received the first Town booking of the game in the 72nd minute of the game. The caution was a deserving one as the midfielder slid through Richard Taundry and got nowhere near the ball.
Walsall were again on the attack in the 74th minute and were awarded a dubious free-kick 25 yards out from Smithies goal. Taundry stood over the ball and hit a fierce shot towards Town's goal. Luckily for Smithies the shot was straight at him and he was able to parry the ball over the bar, if the shot had been either side of him he may have struggled to keep it out.
SUB - Town's second goalscorer on the night Jordan Rhodes was replaced by the returning Lee Novak in the 76th minute.
BOOKING - Immediately after coming on, Novak was summoned by referee Webb for a foul on Dwayne Mattis. The striker was cautioned
SUB - Walsall's central midfielder Dwayne Mattis was replaced by Mark Bradley as Hutchings made his final substitution of the game in the 81st minute.
GOAL - Town's night turned into a nightmare when Walsall made Town pay for some slack defending at the back. Town failed to clear a Walsall corner, and as the ball bobbled about in the penalty area Alex Nicholls was first to react firing the ball past a hapless Smithies.
GOAL - Antony Kay delivered the response the Town fans were craving for, heading the ball home from a Pilkington corner. Good pressure from Town had forced the Walsall backline to drop further and further back towards their goal. After winning a corner, Pilkington played a brilliantly ball into Gilmartin's six yard begging to be attacked. Both Clarke and Kay duly obliged and it was the latter who headed the ball home in the 90th minute.
GOAL - The comeback was complete in the 3rd minute of extra time when Lee Novak scored a stunning volley from 12 yards. Good play from the make shift striker Peter Clarke offered Novak the chance to shoot. The captain chested down a ball from the right to the waiting Novak, the returning striker smashed the knock down into the back of net sending everyone but the Walsall fans into raptures.
Town Team (4-4-2):
Alex Smithies; Dean Heffernan, Peter Clarke (c), Neal Trotman, Tom Clarke; Gary Roberts, Antony Kay, Danny Drinkwater, Anthony Pilkington; Theo Robinson, Jordan Rhodes (Lee Novak - 77)
Unused Subs: Simon Eastwood, Nathan Clarke, Robbie Williams, James Berrett, Krystian Pearce, Nathan Eccleston
Gate - 14396
Away - 123