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Thursday, June 2, 2005
© Copyright 2015 Clayton News Daily
With a change of lenses, the rings of Saturn became crystal clear to me."Oh, wow, yeah, there they are!" I shouted with pure astonishment. We were sitting on a pair of Harold's dining room chairs in his back yard, glued to that three-foot metal tube that was our window to the universe. When I was 13, I owned a small, very weak telescope, through which I still managed to see the colors of Venus and the ice cap of Mars (at least, I think I saw the polar ice cap). But, since that time, I had been afforded few chances to see the sights that almost got Galileo burned at the stake. Jupiter, king of the planets, and his moons were the clearest sight we had that evening. Under the stronger lens I could see the atmospheric bands clearly, with three smaller dots of light nearby being the moons in their orbits. Another moon stood at a greater distance to the right of my perspective. "Everything's in motion, man," Harold muttered reverently. Indeed, they don't call it a dance for nothing. After about a minute, a planet that seems to be in the center of the eyepiece moves out of view. Keeping the scope on target is a fine art I've yet to master. I was disappointed at one point, however, when Harold pointed the scope toward what he said was a galaxy, but when I looked in the tiny peephole, I couldn't make out anything, though I stared until my head ached. My glasses kept getting in the way. There's something reassuring about seeing the planets first-hand. Pictures and video can be faked, but you can't deny the condensed light that comes through the telescope's lens array. You look and say, "Ah, they are really there." Also, stargazing is a hobby that also can give you the opportunity to save the planet, literally. There are an awful lot of big rocks flying around in the solar system, and the professionals need help locating all of them. One such program is the Near Earth Object observation program sponsored by the Minor Planet Center in the Smithsonian Astrophysical Observatory. Try finding them at http://cfa-www.harvard.edu/cfa/ps/mpc.html. As for me, my old buddy Harold has hooked me on a new addiction. Looks like I'll be selling the house, putting the kid to work early instead of high school and doing whatever else I need to do to build my own observatory. At least it beats smoking crack. Ed Brock covers public safety and municipalities for the News Daily. He can be reached at (770) 478-5753 ext. 254 or at firstname.lastname@example.com .
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Additional Information
|Long Description
|Many consider Close To The Edge to be not only the greatest album in Yes' discography, but the best album of the progressive rock genre. This DVD critically assesses the music to discover the essence of the Yes sound and the reasons for the phenomenal success of this groundbreaking album. Drawing on rare footage of Yes in performance, this powerful and penetrating film features the impartial and forthright views of a leading team of critics and working musicians, and includes in-depth interviews with Steve Howe and cover artist Roger Dean.
|Category Info
|Enjoy Your Favorite Bands With A Crisp Sharp Picture And Unbelievable Sound.
|Novelty Type
|Novelty Style

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Kalamazoo Film Society
|Paolo Sorrentino
|Toni Servillo, Carlo Verdone, Sabrina Ferilli
|Run Time
|Age Policy
17 and up; Children 5 and up will be allowed only with a parent or guardian. No children under the age of 5 will be allowed.
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GOLDEN GLOBE WINNER: Best Foreign Language Film
ACADEMY AWARD WINNER: Best Foreign Language Film
Jep Gambardella has seduced his way through the lavish nightlife of Rome for decades, but after his 65th birthday and a shock from the past, Jep looks past the nightclubs and parties to find a timeless landscape of absurd, exquisite beauty.
This title is part of Film Club's THE LOST WEEKEND. Click HERE to find out more about Film Club and THE LOST WEEKEND festival.
**Academy Award® Winner: Best Foreign Language Film**
Jep Gambardella, an aging socialite who once wrote a famous novel in his twenties, retired into a comfortable life writing cultural columns and throwing parties in Rome.
After his 65th birthday party, where he is feted at his plush apartment overlooking the Coliseum, he walks through the ruins and city streets, encountering the various characters, reflecting on his life, his first love, and sense of unfulfillment.
"Throughout the film, Sorrentino delivers gorgeous images, crazy images, startling and sexy and serene images; it's a visual bath of sorts — the great beauty is everywhere, Jep (and we) just have to be open to it. There is tragedy, yes, and life is something of an act at which we fail. But the great beauty is there. And this film is certainly part of it." -- Tom Long, Detroit News
"Director and co-writer Paolo Sorrentino... has given us a LA DOLCE VITA for a new century, and a different, swirling collection (in widescreen color this time, as opposed to Fellini's black and white) of artists, actors, poseurs, striptease artists, performance artists, the rich, the famous, the sacred, the profane." -- Michael Phillips, Chicago Tribune


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London Pass BlogBack to Blog
London attractions: Explore the seven seas with London Maritime Museum
Published: Tuesday 16th of April 2013
If you have an interest in exploring tales of the seven seas, then the National Maritime Museum should definitely be top of your list of London attractions to visit.
Here you can learn about some of the world's most famous explorers and the history of Britain's seafaring.
Guests of this museum will get a chance to delve into the artwork relating to maritime travel, calligraphy and ships.
The attraction is based in Greenwich and it also incorporates other national treasures such as the Queen's House, Royal Observatory and Cutty Sark.
It is probably one of the largest museums of its kind in the world and also features many interactive activities, events and shows that visitors can get their teeth into.
You can also browse the Caird library at the museum which is thought to hold the world's largest maritime historical reference section which literally includes hundreds of thousands of books, manuscripts and pamphlets.
Get free entry to over 55 top London attractions with a London Pass.
Posted by Kevin Smith
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Learn about Charles I's execution at the Banqueting House for things to do in London
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London attractions: Enjoy a fun filled day at Queens Ice and Bowl
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Visit the Household Cavalry Museum for things to do in London
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Katie Holmes
Dressing like the new Jackie
The actress -- photographed here in this beige and black outfit
on Broadway in Manhattan in the company of her hubby Tom Cruise --
has starred in several new films, including the comedy The
Romantics by Galt Niederhoffer (2010) and The Extra
Man by Shari Springer Berman and Robert Pulcini (2010), with
Kevin Kline.
She'll also portray Jacqueline Kennedy in the TV mini-series The Kennedys by Joel Surnow (2011), scheduled to air next year on the History Channel, appear in the horror flick Don't Be Afraid of the Dark, written by Matthew Robbins and Guillermo del Toro and directed by Troy Nixey (2011) and in Jack and Jill by Dennis Dugan (2011), with Adam Sandler and Al Pacino playing himself.
To recreate Katie's look, you can opt for Rochas's refined cream-colored top or Paul Smith's jersey in biscuit. An alternative to Katie's sequins: Marni's camel outfit with geometric motifs.
Recommended pants: Bally's flared iron gray trousers. Other possibilities: a pair of black pants by Prada, Stefanel, or Michael Kors.
Accessories in theme: Céline's bag with thin golden chain or Fendi's shoulder bag. For footwear: Moschino Cheap & Chic's laced booties in satin and patent leather with glittery details and double platform, Les Copains's engraved leather booties, Giuseppe Zanotti Design's suede booties, or boots from Philosophy by Alberta Ferretti.
Our choice:
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#SuzyPFW: Jewels for a new generation - Gaia Repossi and Delfina Delettrez
#SuzyPFW: Roger Vivier and Charlotte Olympia - Fun With Accessories
Vivier reworks Flower Power while Charlotte Olympia goes jungle hopping
Pink Pony 2015
Pink Pony celebrated the 15th Anniversary of Pink Pony and the brand's continued partnership with The Royal Marsden
Dior and Glamour party
The french maison and the Condé Nast monthly celebrate the launch of the new Dior Addict Lipstick


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1904: Gustav Mahler - Kindertotenlieder
There is plenty of mournful music out there, and a lot of it gets mocked. But I can't imagine anyone making fun of Kindertotenlieder, one of the bleakest pieces of music ever conceived.
Inspired by poems written by Friedrick Rückert after the death of two of his children from scarlet fever, Mahler took five of Rückert's 428 poems and set them to music that matched the intense grief found in his words. The piece — whose title translates to "Songs on the Death of Children" — is divided into five "songs" intended to be played in order, starting with mournful melodies executed by an orchestra and a vocalist. The music goes through passages of solace and frustrated rage, but eventually culminates in a sort of splendor of major keys that reflect hope and acceptance.
The subject matter is one of true sorrow and agony. Even doom metal doesn't compare to this; however, it's worth noting that KTL — the band Stephen O'Malley (the guitarist not only in Sunn O))) but also in one of the bleakest groups of all time, Khanate) formed with Peter "Pita" Rehberg — takes its name from this piece. In theory Kindertotenlieder is what doom and other devastating musical styles attempt to capture, but it touches on something very difficult to write about and embodies it with melodies of equal emotional impact.
The best thing about this piece is how Mahler wrote it in subtle tones, keeping it very close to the chest to make it sound almost like a personal dirge. The listener isn't led by the hand to know what to feel; instead, the music slowly reveals itself, blossoming on the ear canal of anyone who encounters it, a composition that encloses order to the chaotic nature of one of the most distressful and agonizing situations one can experience in life.
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.


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Richard Bair
Richard is a longtime speaker and member of the Swing Team at Sun Microsystems. He has his roots as an application developer turned toolkit developer and is the lead of the component toolkit API for JavaFX. He is a frequent presenter and teams up frequently with other UI luminaries to produce demos for JavaOne and other conferences. As an application developer he had a specific penchant for databases and multi-tier design,
You application needs content from a web page or web service, so that rules out writing a rich application and forces you to write a web app, right? Not so fast. The emerging trend of smashups--Swing mashups--combine rich Swing GUIs with data fetched from the Web. Richard Bair shows you how to...


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Interactive Seating Charts
Unfortunately, we do not currently have
a seating chart for Gasometer.
GasometerGuglgasse 8
Vienna, Austria
Upcoming Events
Oct 16
Fri 7:00 PM
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Sat TBD
Oct 18
Sun 8:30 PM
Oct 21
Wed 8:00 PM
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Sat 8:00 PM
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We scour the web's major ticket sites and aggregate inventory into one place. Our Deal Score helps you identify the best ticket deals available for each event.Learn more about SeatGeek


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COLLEGE PARK, Md. It took nearly a decade before University of Maryland researchers were allowed to talk about their work identifying the anthrax strain used in the 2001 deadly letter attacks. But now, they and the other key members of the high-powered science team have published the first account of the pioneering work, which launched the new field of "microbial forensics" and gave bioterrorism investigators a way to "fingerprint" bacteria.
The current online Early Edition of the Proceedings of National Academy of Sciences (PNAS) <http://www.pnas.org/content/early/2011/03/01/1016657108.abstract> details the multi-institutional research that the FBI ultimately used to track anthrax-laden letters back to test tube number RMR-1029 at a lab in Fort Detrick, Maryland. University of Maryland bioinformatics experts co-authored the article and conducted the computational analysis that detected four genetic mutations that together comprised a unique signature of a particular colony of anthrax bacteria. The FBI subsequently determined this colony was found only in that Ft. Detrick test tube.
The Maryland researchers have since developed their work into a genetic 'fingerprinting' tool that is available online to law enforcement seeking to track down other microbial suspects.
"We found unique bio-markers to help investigators track down the source of the anthrax," said Steven Salzberg, director of the University of Maryland Center for Bioinformatics and Computational Biology (CBCB). "At first the tiny mutations were elusive. We thought we'd pieced together the 'jigsaw puzzle' of data very neatly, until we ended up with a few oddball bits left over. When we looked more closely, we found an extra copy of a critical gene."
"Fortunately, anthrax bacteria mutate relatively slowly, so the material in this colony developed these small distinctive mutations th
|Contact: Neil Tickner
University of Maryland


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I am rarely touched but often held. If you have wit You'll use me well. What am i?
The answer to that riddle is tongue!
What am I riddles are riddles in which you must recognize what is being described by the riddle. These fun riddles frequently use puns and a play on words to try to trick you. Play "What Am I Riddles" (with answers) at Riddlers.org.
Writing riddles and trying them out on your friends can be really fun! Read some tips and tricks on how to create riddles at Chitrasoundar.com and learn how to solve hard and tricky riddles at Howtodothings.com .
Related Questions
What is the answer to this riddle. I'm rarely touched but often held. If you have wit you'll use me well
The second riddle i m rarely touched, but often held if you hav wit, you ll use me what am i
What is the answer to this riddle: I am rarley touched but often held. If you have wit you will use me well. What am I?
I have many feathers to help me fly, however I am not alive. You can hold me in your hand, but I am rarely thrown. What am i?
I am mother and father but never birth or nursed. I am rarely stull bit i never wander, what am i?
What line is this from soulja boy "this ain't the major league but I am the orical but do u want to get with me the question is rhetorical
If I'm 20 years old now, but I know someone who touched me when I was younger and underage. Can I do anything about it in the state of Texas?
Am i in love?-Myria in love wit me
Am i gonna have a daughter of my oWn wit kristy or another
How do you say in spanish " and I am 15 years old. I live wit my grandma and I am a only child."


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CHICAGO, August 3, 2011 –InterCall, the world's largest conferencing and collaboration services provider, today announced that the new Pay Per Minute and license pricing models for Adobe Connect in North America are now available through channel partners. This offering is the result of collaboration between Adobe and InterCall to develop a new product and pricing option for the growing Adobe Connect and InterCall channel customer base.
Adobe Connect will be sold by InterCall agents and resellers to three key target markets: Commercial, Education & Non-Profit. Based on Adobe Flash® technology, this full-featured web conferencing platform is ideal for these markets because it provides high-quality video, custom branded meeting rooms, and integrated Reservationless-Plus® audio conferencing.
"The addition of Adobe Connect to our channel offering will greatly strengthen our channel partners' product portfolio by adding a competitively priced and industry-recognized web conferencing platform," said Brad Dupee, vice president of channel sales for InterCall.
The Adobe Connect offering is currently available with Adobe Connect 8 Service Pack 1 in North America.
Contact an InterCall channel manager for more details about this new offering. If you are interested in becoming an InterCall partner, please visit:
For more information on InterCall's web, audio, video and streaming solutions, please visit www.intercall.com or follow InterCall on Twitter at @InterCall.
InterCall, a subsidiary of West Corporation, is the largest conference and collaborations service provider in the world, and a leading provider of global cloud-based unified communications services. Founded in 1991, InterCall offers telephony, messaging, conferencing and collaboration tools for businesses of all sizes, from large global enterprises to small or regional companies. With a global footprint and broad service capabilities, InterCall's flexible models for hosted, managed and on-premises communication services help companies get the most out of their business processes.
InterCall's strong U.S. presence, including four call centers and 26 sales offices, is bolstered by operations in Canada, Mexico, Latin America, the Caribbean, the United Kingdom, Ireland, France, Germany, Australia, New Zealand, China, India, Hong Kong, Singapore and Japan. For more information, please visit www.intercall.com.
West Corporation is a leading provider of technology-driven, voice-oriented solutions. West offers its clients a broad range of communications and infrastructure management solutions that help them manage or support critical communications. West's customer contact solutions and conferencing services are designed to improve its clients' cost structure and provide reliable, high-quality services. West also provides mission-critical services, such as public safety and emergency communications.
Founded in 1986 and headquartered in Omaha, Nebraska, West serves Fortune 1000 companies and other clients in a variety of industries, including telecommunications, banking, retail, financial, technology and healthcare. West has sales and operations in the United States, Canada, Europe, the Middle East, Asia Pacific and Latin America. For more information on West Corporation, please call 1-800-841-9000 or visit www.west.com.


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In the Piedmont Region of Georgia,
Stephens County was formed in 1905 from
Franklin and Habersham
Counties. Its county seat,
Toccoa, is on
US-123 about 100 miles northeast of Atlanta. Stephens is bordered by the
Georgia counties of
Banks and
and by the South Carolina counties of Pendleton
(extinct) and Oconee.
Newspaper: The Toccoa Record,
Toccoa, GA
Any names
below in red have not been matched
with a person in the Culpepper family tree. If you can identify any of
please let us know.
No Culpeppers
found in any Stephens County censuses prior to 1940.
Transcribed by
Diane Whitaker and posted to the USGenWeb Archives
Culpepper and Clara Oksztynejtys on 28 Jun 1946 in Stephens Co., GA,
Book W-3, page
413 (#51193)√
Eugenia Culpepper (19) and William Osborn Goodson (23) on 17 Jun 1951
in Stephens Co., GA, Book 4, page 227 (#3178)√
Ancestry.com Online database, 2001.
Original Source:
State of Georgia. Indexes of
Vital Records for Georgia: Deaths, 1919-98. Georgia: Georgia Health
Department, Office of Vital Records, 1998.
A. D. Culpepper,
d. 26 Aug 1960 at 25 years in Stephens Co., GA; Res. in Stephens Co., GA
Lina B.
Culpepper, d. 15 May 1998 at 87 years in Stephens Co., GA; Res. in
Stephens Co., GA (#3184)√
All records of deaths on or before 30 Sep 2004 in which
the final benefit was paid in this county.
Blanche A. Culpepper,
15 Jun 1910 - 15 May 1998, Toccoa, Stephens Co., GA, SSN 259-02-1153
issued in Georgia in 1971 (#3184)√
No records of Culpepper
graves have been
Last Revised:
02 Jan 2015


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Working for the present and looking to the future.
The coastal resources of Newfoundland
and Labrador are being challenged by ever increasing and competing
demands. This has produced the need for a management regime to
allocate benefits among all the user groups.
Stakeholders include:
The Red Ochre Regional Development
Board and the Nordic Economic Development Corporation have formed a
partnership, the Integrated Coastal Zone Management - ICZM
to foster the integration of economic, social and environmental
objectives in a framework of protection and conservation while
enduring sustainable development of coastal resources. ICZM
has adopted the inclusive and proactive approach to ocean/coastal
management and development of national and international ICZM
The Marine Weather Forecast
Tides Information
Great Northern Peninsula
ICZM – An initiative of RED Ochre Regional Board Inc.
and the NORDIC Economic Development Corporation
Funding and Technical
support provided by Department of Fisheries and Oceans (DFO)
& the Department of Fisheries and Aquaculture (DFA)
Home |
About ICZM |
Work plan |
Role & Responsibility |
Meeting Notes |
Pilot Projects |
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Contact Us |
Copyright © ICZM - Great Northern Peninsula
of Newfoundland & Labrador


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"Let me be represented as one who trusts his senses, who thinks he knows the things he sees and feels, and entertains no doubts of their existence." -- Bishop Berkeley
Saturday, June 18, 2005
DC Smoking Ban
Gene Healy smokes the fascists again.
1 comment:
It is very considerate of total strangers going out of their way to find things to ban to help extend and preserve human lives. I'm not sure why they haven't banned the use of automobiles. I hear many lives are lost every year from automobiles. As for the anti tobacco people in San Fran, I haven't heard any groups of helpful citizens looking to ban smoking marijuana, except government employees of course.ReplyDelete
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Police Blotter: Vehicle registration, battery removed from company vehicle
•Police were called to the 3300 block of South Sunset Avenue, Sunday, after a subject gained access to a vehicle owned by Strong Construction Company of Carlsbad and removed the vehicle registration and the battery.
•Police received a walk-in report of a burglary, Sunday, where subjects entered a vehicle and removed a Xerox box containing two money bags and an undisclosed amount of cash.
•Police were dispatched to the 700 block of South Heights Drive, Saturday, after subjects broke though the back door. The victim reported more than $1,000 worth of items missing, including a Nintendo Wii with Login to read more
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Popsicle Party Printables + DIY
Hi friends! Last year I painted some watercolor popsicles with grand DIY plans in mind for them. Unfortunately the Summer just breezed by and in the end I only managed to arrange them into a couple free Desktop Wallpapers (which you are still welcome to download and enjoy of course). Fortunately popsicles never go out of style and now I've finally gotten around to using them as I intended to all those months ago! Are you ready for a popsicle party (now yesterday's popsicle recipe roundup will come in handy)! Woohoo!
This DIY post was sponsored and made possible by Method…"Clean Happy."
Are you a sweet clementine or are you feisty like sea salt + lime? Take a dishy personality test on Method's Facebook page to find out your signature fragrance, and enter a sweepstakes to win a year's supply of Method dish soap at the same time. Residents in the US and Canada (excluding Quebec, désolé!) are eligible to enter once through the Sweepstakes app on Method's Facebook page. Contest is open until August 6th.
Popsicle Mini Tote Favor Bags:
Supplies needed:
- Iron-on transfer paper | Available at office and craft supply stores
- Iron
- Mini cotton tote bags | I purchased these at Michael's Craft Store (they're about $1 a piece)
- Sharp scissors
- Favors (optional) | the items in my bags here are from Michael's and Party City
Get started by printing out your popsicle iron-ons (click on the download button below). If you'll be using a dark colored material behind the design, be sure to purchase transfer paper that is specially designed for dark fabrics.
DOWNLOAD: Popsicle Iron-on Transfers
Cut out your popsicle shapes as close to the colored design as you are able.
Position your iron-on face down on your fabric unless your transfer paper manufacturer directions state otherwise. Iron according to directions — for mine I used the highest cotton setting (no steam) and ironed with pressure on a hard surface (protected with a cotton cloth) for a couple minutes. Make sure your design fully adheres to the fabric on all edges.
Once the design has cooled to the touch, carefully peel away the paper backing.
Fill your bags with treats and other favors! Now it's time to wrap up the gifts and decorate…
DOWNLOAD: Printable Popsicle Tags & Garland
Popsicle Tag Supplies:
- Popsicle tag printable file (download found above)
- Cardstock
- Wooden popsicle sticks | Available at craft supply stores
- Glue stick | I prefer Uhu® Stic
- Scrap paper
- Scissors
- Small hole punch | Found at craft supply stores
- Twine or ribbon
A simple trick to make cutting your popsicle shapes easier is to begin by cutting along one straight edge as well as the top of each paper popsicle. You'll see that the popsicle designs are mirror opposites, so that when two of the same color from the printable are placed back to back, they line up properly with a pretty popsicle design on each side.
Once you have prepped two popsicles of the same color, place them back-to-back, lining up the cut edges.
Hold them firmly together so they don't slip and finish cutting out the final sides of the popsicle design – cutting through both pieces of paper until the full popsicle has been cut out.
Place your two matching popsicle pieces colored-side down on a piece of scrap paper and use a glue stick to apply a liberal amount of glue. Pay careful attention to the edges.
Apply a small amount of glue to the top half of a popsicle stick and place it into the center of one of your popsicles leaving about half of the stick laying outside the bottom of the design.
Place the two glued pieces on top of one another and seal together with the stick inside. Make sure to carefully seal around all outside edges as well as the center.
Trim any portions that don't line up properly.
Use a small hole punch to create a hole at the top edge or center of your popsicle tag.
Attach your tag to your gift by threading it onto twine or ribbon. Address to the lucky gift recipient using a pen (optional).
Printable Popsicle Party Garland:Follow steps above for the Popsicle Gift Tags (using the same supplies as well). Create as many popsicles as you'd like to hang on your garland. Once all your popsicles are ready you can simply string them onto twine one at a time, tying them in place with a simple knot as you go. Once your garland is the length you'd like, hang it up and get ready to party!
Other ways you can use your printables or iron-ons:
- Use the popsicle tags as invites for your party. Hand-write a short invite message on your printed sheet of tags (or get handy with the text tool in photoshop if you feel so inclined), then glue the popsicle stick in place. Place in an envelope and mail!
- Use your iron-on transfers to dress up t-shirts or other cotton material (such as a pillowcase or tea towel). Just be sure to use transfer paper designed for the color you'll be ironing onto (they make transfers for light and dark materials).
- Popsicle tags can serve as placecards. Just write your guests names on each popsicle and arrange them around your table.
- Tags can also serve as a fun cake topper. Try arranging several on the top of a cake (you can write a message on them first if you'd like) or place one in the center of a cupcake. Cute!
Full disclosure: This DIY post was sponsored and made possible by Method. The project and any opinions expressed are my own.


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Capital Markets
Company Overview of The Dyson-Kissner-Moran Corporation
Executive Profile
Robert R. Dyson
Chairman and Chief Executive Officer, The Dyson-Kissner-Moran Corporation
|Total Calculated Compensation
|This person is connected to 5 Board Members in 5 different organizations across 4 different industries.
See Board Relationships
Mr. Robert R. Dyson, also known as Rob, served as Secretary of Health Quest, Inc. Mr. Dyson has been the Chairman and Chief Executive Officer at The Dyson-Kissner-Moran Corporation since November 1992. He serves as the President of The Dyson Foundation. He served as Chairman of Health Quest Systems, Inc until 2015. He serves as Chairman of Kearney-National, Inc. He has served as the Chairman of the Board of Trustees of Marist College. He serves as Director of Hudson ...
Corporate Headquarters
2515 South RoadPhone: 845-790-9550
Poughkeepsie, New York 12601-9971
United States
Fax: 212-885-1654
Board Members Memberships
Chairman and Chief Executive Officer
Chairman Of The Board
President and Director
EducationThere is no Education data available.
Other Affiliations
Annual CompensationThere is no Annual Compensation data available.
Stocks OptionsThere is no Stock Options data available.
Total CompensationThere is no Total Compensation data available.
|There is no Competitor Compensation data available.
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I am thrilled to be part of the first Long Island Small Farm Summit which will take place this coming Friday, April 15.
My parents moved from NY City when I was 4 weeks old to a new housing development in adjacent Nassau County. Our brand new home was across the street from the remainder of Wenck's Farm which had been subdivided with parcels sold off to build housing for the rapidly growing post WWII baby boomers. As I grew up I watched as more and more farmland was buried under asphalt and concrete. Although Long Island is geographically and geologically a great place for farming, being a short commute from Manhattan makes it also a great place to build suburban bedroom communities. Suburbia won that tug of war, big time.
Fast forward more than half a century. The aging population have heard the call to retain what it can of the green space that remains, and the message that locally grown food has manifold benefits, has been received.
But I have to admit I was not expecting to see a Long Island Small Farm initiative in my lifetime. When I met Joel Salatin on a visit to his farm several years ago, I could not have possibly imagined that he would ever be welcomed to Long Island to share the wisdom of his Polyface Farm in Virginia's Shenandoah Valley.
It's good to celebrate where you can.


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Everyone knows that cow's milk is a good source of calcium and Vitamin D. We've been taught since elementary school to consume 3 servings per day to build strong teeth and bones. So what's up with all of the alternatives that are beginning to line the grocery store shelves and dairy aisle? Today's "In Your Cart" explores your options.
Cow's Milk
This is the most economical choice at $0.17 per serving. Americans have a nutrient gap in 11 key areas: potassium, calcium, Vitamin D, Vitamin A, B-6, B-12, folate, magnesium, iron, zinc and fiber. Cow's milk helps close the gap on 9 of these areas, naturally.
Unpasteurized Cow's Milk
This is the highest calorie, total fat, saturated fat and cholesterol option. Make sure you know your farmers and that they use safe food handling practices. Raw milk does not contain a significant source of Vitamin D, which has been added to the organic, flax, almond and soy options. Vitamin D helps calcium get absorbed and used by the body. The Food and Drug Administration, National Institute of Health and many health care practitioners strongly recommend against consuming raw milk, especially for the very young, old or those with compromised immune systems. Raw milk is more apt to contain bacteria such as E. coli, salmonella and listeria.
Organic Milk
This is our highest cost choice at $1.04 per serving. It mirrors the nutritional profile of pasteurized milk and like cow's milk has no added sugar. Organic milk comes from cows that are not given antibiotics and are fed a natural, pesticide free diet.
Flax Milk
This is our lowest calorie and lowest sodium option. Many people are surprised by its smooth taste and liken it to watered-down milk. It contains the same amount of antioxidants and bone strengthening vitamins and minerals as cow's milk. The key difference is that it is a rich source of heart healthy omega 3 derived from ground up flax seed. Flax seed is also being studied for its potential protection against several forms of cancer including breast, prostate and colon cancer. Flax milk contains no protein. Shake well before pouring.
Almond Milk
Almond milk, like organic milk tops the chart in terms of cost. The benefits of almond milk are that it is a rich source of antioxidants Vitamin A and E, contains the bone strengthening vitamins and minerals of cow's milk and meet 50% of your daily value for B-12. It is important to note that almond milk, like flax milk is low in protein, containing just one gram per serving. Protein helps keep you fuller longer and helps stabilize blood sugar.
Silk Milk
The most important benefit of soy milk is its ability to improve your lipid profile. The Food and Drug Administration has approved the Health Claim that "25 grams of soy protein a day, as part of a diet low in saturated fat and cholesterol, may reduce your risk of heart disease". Soy milk also has the highest calcium content at 45% DV. It is important to note that cane sugar is the second added ingredient in flax, almond and soy milk.
Sheryl Lozicki is a Registered Dietitian at Saint Mary's Health Care, a member of the new Mercy Health and the Director of Nutrition and Wellness.


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Sep 12, 2011
Good afternoon readers,
I spent a nice chunk of the weekend finishing up the sample code files I'll be presenting along with my talk on "Delivering Best Video Experiences with Flash", which I will be giving at Adobe MAX on October 5th, and LA Flash on September 21st.
This talk covers a lot of ground, from video compression optimization to WMODE settings — but mostly centers around the StageVideo enhancements in the recent versions of the Adobe Flash Player.
For those who don't know, StageVideo is a new way of rendering video in the Flash Player, that takes even more advantage of Graphics Processing Units (or GPUs, which are generally faster at working with video than CPUs).
With regular hardware accelerated video, the GPU decodes the video, but the CPU then still renders the video in the Flash Player.
With StageVideo hardware acceleration, the GPU decodes the video, and also renders the video, directly to the screen, underneath the Flash Player (and all the rest of your Flash content).
I've included the following graphics on one of my slides to help illustrate this point (click on the image for the full size):
I'll explain more about how this all works in the talk.
When it comes to using StageVideo, fortunately, it's pretty easy.
First off, if you use OSMF (the Open Source Media Framework for coding media experiences in Flash from Adobe), or Strobe Media Playback (Adobe's open-source media player built on OSMF), StageVideo just works for you (OSMF v1.6 and later). Really, it's that simple.
If you are using OSMF, and want to disable StageVideo, all you need to write is:
OSMFSettings.enableStageVideo = false;
In AS3, there is a new API for StageVideo. The new StageVideo class essentially replaces the Video class in functionality (though you still need to use the Video class in your code, as fall-back in case your viewers do not support StageVideo). This means that all the rest of your video playback code (including the NetStream and NetConnection) work the same way. All you need to do is call attachNetStream() on the StageVideo object, instead of the Video object, like so:
myVideo.attachNetStream ( ns ) ;
myStageVideo.attachNetStream ( ns ) ;
Now, the StageVideo class does work differently than the Video class. First, you do not create StageVideo instances — the Flash Player will create them for you if it can, and store references to them in a vector on the stage called stageVideos.
There are more differences than that, but if you just want to get started learning and using the AS3 StageVideo API, I'm posting one of the sample files from the talk. This is the 'simple' sample file, which demonstrates the basic code to get StageVideo playing, and little else. I've also prepared a more complex demo, including the RENDER_STATE event, the colorSpaces property, and pan and zoom functionality, which I'll be distributing to those who come to my talk (again, that will be at Adobe MAX on October 5th, and LA Flash on September 21st).
I've included the sample code, below, in this post. You can also download it as a zip file.
Again, this code is for the simple StageVideo demo. Just set this as your document class in Flash Professional CS5.5, and of course, update the _videoURL constant to point to your own video:
/* AS3 Copyright 2011 R Blank */ package { /** * This class illustrates a simple StageVideo implementation. * * @langversion ActionScript 3.0 * @playerversion Flash 10.2 * * @author R Blank * @since 09.09.2011 */ //import the MovieClip, because this class is a MovieClip import flash.display.MovieClip ; //import the Rectangle, so that we can size and position the StageVideo instance import flash.geom.Rectangle ; //import StageVideoAvailabilityEvent so we can hear //when StageVideo availability changes import flash.events.StageVideoAvailabilityEvent; //import StageVideo so we can use StageVideo import flash.media.StageVideo; //import StageVideoAvailability to get the values for the //StageVideoAvailabilityEvent.available property import flash.media.StageVideoAvailability; //import Video as a backup for when StageVideo is not available import flash.media.Video; //import the NetConnection and NetStream to play our video file import flash.net.NetConnection; import flash.net.NetStream; //import the TextField so we can log values visibly import flash.text.TextField ; public class StageVideoPlayerExample extends MovieClip { //-------------------------------------- // CLASS CONSTANTS //-------------------------------------- //the location of our video file private const _videoURL : String = "../_media/bunny.mov" ; //-------------------------------------- // CONSTRUCTOR //-------------------------------------- public function StageVideoPlayerExample ( ) { //call the _init function to startup _init () ; } //-------------------------------------- // PRIVATE VARIABLES //-------------------------------------- //the Video object to play video when StageVideo is not available private var _video : Video ; //the StageVideo object to play fully accelerated video private var _stageVideo : StageVideo ; //the NetStream and NetConnection objects to play video private var _ns : NetStream ; private var _nc : NetConnection ; //the TextField object to log informationvisibly in the browser private var _tf : TextField ; //-------------------------------------- // PRIVATE & PROTECTED INSTANCE METHODS //-------------------------------------- //called by the constructor to startup the player private function _init ( ) : void { //the NetConnection object over which video is delivered _nc = new NetConnection ( ) ; //connect _nc to null because we are playing video progressively _nc.connect ( null ) ; //create the NetStream to deliver video over the NetConnection _ns = new NetStream ( _nc ) ; //define the NetStream client as 'this' //where _ns will look for the onMetaData and onCuePoint methods _ns.client = this ; //tell the NetStream to play our video file _ns.play ( _videoURL ) ; //create the video object as back up, in case StageVideo is not available _video = new Video ( ) ; //listen for the StageVideoAvailabilityEvent //which is fired as soon as this listener is added //and when StageVideo becomes available or unavailable //throughout SWF playback stage.addEventListener(StageVideoAvailabilityEvent.STAGE_VIDEO_AVAILABILITY, _onStageVideoAvailability); //create the TextField for logging _tf = new TextField ( ); _tf.height = stage.stageHeight ; _tf.width = stage.stageWidth ; _tf.mouseWheelEnabled = true ; _tf.multiline = true ; _tf.wordWrap = true ; //add the TextField to the display list addChild ( _tf ) ; } //called when we wish to start StageVideo playback private function _enableStageVideo() : void { //if we do not have a StageVideo object reference //already stored in _stageVideo if ( _stageVideo == null ) { //set _stageVideo to reference the first of our //available StageVideo objects (up to 8 available on desktops) _stageVideo = stage.stageVideos [ 0 ] ; //size and position our _stageVideo with a new Rectangle _stageVideo.viewPort = new Rectangle ( 0 , 0 , 320 , 240 ) ; } //if the _video object is in the display list if ( _video.parent ) //remove _video from the display list removeChild ( _video ) ; //attach our NetStream instance to our StageVideo instance _stageVideo.attachNetStream ( _ns ) ; } //called when StageVideo becomes unavailable //and we need to use a Video object as back-up private function _disableStageVideo() : void { //attach our NetStream to our Video object _video.attachNetStream ( _ns ) ; //add the Video object to the display list //(so that it can be seen) addChild ( _video ) ; //add the _tf TextField back to the display list //so that it is on top of the _video object addChild ( _tf ) ; } //-------------------------------------- // StageVideo Event Handlers //-------------------------------------- //our callback function for the //StageVideoAvailabilityEvent.STAGE_VIDEO_AVAILABILITY event private function _onStageVideoAvailability ( evt : StageVideoAvailabilityEvent ) : void { //log the availability of StageVideo _tf.text = "Stage Video: " + evt.availability ; //if StageVideo is available if ( evt.availability ) //call _enableStageVideo _enableStageVideo ( ) ; else //otherwise call _disableStageVideo _disableStageVideo ( ) ; } //-------------------------------------- // NetStream Event Handlers //-------------------------------------- //the NetStream will look for these two methods //on whatever object is identified as the NetStream's client //if they do not exist, you will receive a run time error //when the NetStream encounters metadata or cuepoints in the video public function onMetaData( info:Object ) : void { } public function onCuePoint( info:Object ) : void { } } }
Share and enjoy!
Would love to see this working but I get an error
Error #2095: flash.net.NetStream was unable to invoke callback onXMPData.
something I guess to do with lack of meta data in my particular video clip. Shouldn't this be handled by the two last functions in your sample?
Thanks for sharing this.
Thanks for replying on that. You were absolutely right I was missing the onMetaData method. That certainly resolved that first error. Now it compiles fine but oddly with the sample video I am using I just get audio no video. I am using a clips from http://support.apple.com/kb/HT1425. So far I tried three of the clips – the m4v, mov and mp4 but they all behave the same. Am I missing something dumb here (won't be the first time).
Thanks Martin
ps Enjoy MAX – I attended MAX Europe a couple of times before they stopped running it over here. It was a fantastic event
Resolved it! Was to do with me not published my SWF from Flash Professional to Hardware acceleration 'direct' mode and also needed to amend my HTML wrapper to 'direct' mode too. Thanks for your swift response.
Hey, I get a "Cannot access a property or method of a null object reference." When I try to implement your code. The error occurs on line 92: stage.addEventListern…..
Anyways, the only changes I've made to the code are the _videoUrl constant and the constructor. I made the videoUrl constant into a normal variable which gets populated in the constructor. I'm using this class for an iPhone application. In one of my views I create an instance of this class that you created. Anyways, when I instantiate the class, I get the error. It would be really great if I get some help on this problem. Thank-you very much for your help
thank you very much!
any tips for getting this to work in Flash Builder 4.5.1 as a AS3 mobile project exporting to ios?
doesn't work on desktop emulation or ont he device. the StageVideoAvailabilityEvent never fires
I'm having a similar problem as Brian and Martin had. Running your code in a project targeted for iOS, I get audio, but no video. Translating this code to my own document class, I have an issue with the 'stage.stageVideos[0]' call, which gives me the error 'The index 0 is out of range 0'. Even with that error, I do still get audio, but no video. I'm not sure what the 'direct' mode is and how I set that, if that's the solution to any of this. Thanks.
I just can't make it work! I've created a new AS3 project, created a blank fla file, attached the main class from Zip file. Placed a h264 video and changed the video source in code. Targeted flash player 10.3 and published with windows mode – direct.
As the result – when I open html file, I get StageVideo : available sign, but it does not play.
Thanks for the code!
Some discoveries, I found that StageVideo video playback ( I attached a webcam to it), the image quality is smoother, but the video colors are washed out.
Video, on the other hand, appears to be bit more pixelated, but with much better black and more vivid color.
Just wondering do you or anyone else here experience the same?


text:
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text:
UltraTrim Review
What You Should Know
Click Here To See Our Highest Rated Review
Unique International is a company that offers the weight loss supplement UltraTrim. Regular exercise and healthy eating are not specified to be included with this diet drug. Therefore, like some other weight reduction pills, the supplement itself is supposed to do all of the work. UltraTrim is apparently sold through select dealers, but not via an official website. Actually, there doesn't appear to be an official website at all. Customer testimonials are not currently posted for UltraTrim pills.
There appear to be at least five major ingredients offered in UltraTrim supplements. These are Folic Acid, Acetyl-l-Carnitine, CoQ10, Cobalamin and Pyridoxine (a form of Vitamin B-6). Unfortunately there doesn't seem to be known components found in UltraTrim that suppress appetite or burn away unwanted fat. There is no official price listed for UltraTrim diet pills, which means that it may vary from dealer to dealer. Again, the specific retailer will also determine whether or not UltraTrim is offered with any kind of guarantee or refund option. It's actually quite common for there not to be one. UltraTrim is stated to be free of harmful ingredients like Ephedrine and Ephedra. It's not clear if this weight loss supplement must be taken at certain times or prior to major meals.
List of Ingredients
Not available through an official website.
Product Features
UltraTrim is one of many diet supplements that are promised to assist with weight loss or fat reduction. This product incorporates ingredients like Folic Acid, Acetyl-l-Carnitine, CoQ10, Cobalamin and Pyridoxine. Since no clinical research or trials are discussed for UltraTrim, it's hard to tell how exactly that this diet pill aids in the weight loss process. On the surface, there are no real active ingredients found in UltraTrim that directly help with weight reduction. No warnings are posted on an official website for this diet pill.
- UltraTrim contains a form of Vitamin B-6, which is commonly beneficial to anyone.
- UltraTrim is sold in a simple and convenient pill form.
- There isn't any significant background information offered on the company that manufactures UltraTrim supplements.
- Directions for taking this product are not specified online.
- UltraTrim may contain ingredients that are harmful to some users.
- UltraTrim cannot be conveniently purchased through an official website.
- There is no official retail price listed for this diet drug.
- No clinical data or customer reviews are posted to support UltraTrim as a weight loss product.
When it comes down to it, there isn't much of a reason for dieters to choose UltraTrim supplements over the numerous other weight loss products available. Not only does this diet drug lack an official website and evidence to support its effectiveness, but there's not even a price posted for UltraTrim. This diet drug would likely get more attention if there was some background information offered on the company, an explanation of the key ingredients and a money-back guarantee offered to support the product's claims.


text:
Galt Insurance Group's Kimberly Vargas earns 2-15 license
Galt Insurance Group is excited to announce that Kimberly Vargas has earned her 2-15, Florida life, health and variable annuities license. Kimberly is thrilled to be able expand her repertoire to her current client base and any new, prospective clients who are in the market for life, disability and / or health insurance. Kimberly is also 220 licensed.
Kimberly was born in Costa Rica & has lived in Naples Fl for over 25 years. She has been in the insurance business for the past 11 years & is also a Florida Licensed Notary. Before coming to Galt Insurance Group she was the manager of a branch office in Marco Island. When Kimberly is not helping her clients, she enjoys traveling, bowling, shopping and family events with her two children. She also loves donating her time to cancer events such as Relay for Life, Save a Life, and Candle Lighters. Kimberly is here to help and can be reached at firstname.lastname@example.com or on her direct line 239.676.6623
This story is contributed by a member of the community and is neither endorsed nor affiliated with Naples Daily News.
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text:
German chancellor Angela Merkel is spending this weekend the way she spent the last two—struggling through an election. This weekend, her Christian Democrats will get drubbed in Berlin, as last week they lost 4 points off their previous tally in Lower Saxony and the week before they failed in Mecklenburg. Her Free Democrat coalition partners are doing even worse—leader Philipp Rösler lives in Lower Saxony himself, yet the party fell below the hurdle required to qualify for parliamentary seats. In Mecklenburg, the FDP got fewer votes than the neo-Nazis.
Merkel's problem is that her country is trapped sharing a currency—the euro—with a lot of nations that have overborrowed: Portugal, Ireland, Italy, Greece, and Spain. Not all of the so-called PIIGS countries are corrupt, and not all of them are profligate, although Greece is both. What they all have in common is that they had no business borrowing for the past decade at the low interest rates appropriate to a sluggish German economy that was simultaneously rebuilding East Germany's Communist wreckage and reforming West Germany's leviathan welfare state. Now all of these countries are flat broke or near it. Greece's three-year bonds carry a yield of 172 percent. And the solution that they and the leaders of the European Union in Brussels are suggesting is that all of them should be dealt out a piece of Germany's massive current-account surplus, its sterling savings rate, and its triple-A credit rating, preferably through the creation of a common "Euro-Bond."
Merkel cannot say no. She leads the country whose arrogant un-neighborliness the European Union was set up to abolish. But she cannot say yes without violating the law and colluding in the looting of the people who voted her into office. So she and her government are in the position of a man who yearns to get divorced but has religious scruples against it. The Germans are saying things they hope will provoke their European "spouse" to file for divorce herself. The country's European commissioner, Günther Oettinger, suggested that the flags of the continent's Schuldensündern (or "debt-sinners") be flown at half-mast. Rösler has called on Germans to prepare for Greece's "orderly default." Finance minister Wolfgang Schäuble has urged austerity on Germany's neighbors and suggested that European integration continue only "as long as this process is legitimized by a strong democratic mandate." (In other words, he wants it to continue in theory but not in practice.) Horst Seehofer, the head of Merkel's Bavarian coalition partner, the Christian Social Union, probably spoke for most Germans when he pronounced himself opposed to more integration of any kind. Maybe that'll push the old lady over the edge, and I'll be a free man again.
Of Eurobondage
Over the summer, things have gone from bad to worse in the eurozone. The two austerity programs imposed on Greece in the last year and a half are failing. Greece collects 37 percent of its gross domestic product in taxes and shells out 53 percent in benefits, leaving its government 16 percent in the hole. Only one other government in the West has been so reckless over the past three years, and that other government happens to control the Federal Reserve and can print the world's reserve currency.
Greece has been able to borrow money from its European brethren in two massive, hundred-billion-dollar tranches, but the austerity programs insisted on as a condition for that aid have been less popular. The bevy of new taxes suggested—like the property tax dreamed up suddenly last week—aren't working because they are driving growth down way below projections. The savings agreed on—such as the firing of 7,500 state workers and the selloff of $70 billion in state assets—won't work because the Greeks are too divided to carry them out. And wary AAA-rated Northern European creditors have made their participation in this bailout contingent on the Greeks' obeying these conditions to the letter. The Finns have demanded collateral out of privatized assets. The Austrian parliament has put off until later this fall its vote on whether to pay up the country's share of last summer's rescue package. Greek workers, having borrowed and spent with abandon ever since their admission to the eurozone, now march against privatization plans with the defiant boast that their country is "not for sale." A different society—one that was capable of, say, forgoing vacations for two years—might be able to right its fiscal ship. But Greece is going broke, and there ain't no two ways about it.
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But, the most important thing is that by installing this system you can prevent injuries to adults or worse children.
These statistics confirm the increase of these types of accidents.
According to the Department of Transportation, 27% of all accidents occur in reverse. Further research showed that 70% of these accidents could have been prevented with the use of a collision avoidance system as AutoSonar.


text:
Lobsters have fascinated Americans ever since the first settlers watched Indians spearing them in the shallows of New England. But it took a while for the creature to show up on the dinner tables of respectable people. William Bradford was embarrassed to note that in the "lean times" he had to serve lobster in lieu of more decent fare. In the 1800s, to call someone a lobster was to describe a fool.
From those days, the crustacean has moved from being the food of poor servants, prisoners, and farm animals to the top of the Epicurean seafood chain. Today, no visit to a coastal resort area is complete without grabbing a pair of nutcrackers and sitting down to attack the shell of a baked, boiled, or broiled lobster, dipping the delicate meat into a cup of butter. Sans the butter, lobster meat is more healthy than hamburger, with fewer calories and less cholesterol than beef or chicken. You can tell your spouse that you must order lobster to stave off a heart attack!
Trevor Corson, in his book, The Secret Life of Lobsters, reveals many such interesting facts and much of what he tells us about Homarus gamarrus will surprise readers. For instance, we often think of lobsters as being claw-ripping fighters but in fact they tend to be cowards, preferring to posture rather than to stand and fight it out with most rivals. If they do mix it up and win, they tend to be ungracious victors. When a male has vanquished a foe, he continuously reminds the loser of his humbled status by frequent visits and contemptuous manners until the loser lowers his antennae and moves on.
Lobsters' sexual mores probably shouldn't be the stuff of close inquiry but Corson shines a tabloid-style light on the subject anyway. The female lobster is promiscuous, calling wantonly at the entrances of the males' shelters and aggressively pursuing the dominant male of her choice. It is the girl lobster that sets the atmosphere for mating by the time of her molt, which she can control. Only in the immediate period just after molting can she accept a suitor.
A dominant male will beat up the females in his vicinity and then strut around waiting for one to call at his place. When a female does come by, the male will put a body lock on her and actually taste a bit of her shell before beginning copulation with his two penises! Lobster foreplay consists of males and females pissing at each other to put themselves in the mood. That's probably enough on this subject for a family newspaper.
Corson, a Boston-based writer with connections from Maine to Woods Hole, splits his narrative between following the efforts of marine biologists to unravel the secrets of the lobster, and featuring the tight-knit lobstering community of Little Cranberry Island, Maine and the way of life experienced there by generations of fishermen. The Secret Life of Lobsters is his first book.
Much of the story revolves around the connections between researchers and the lobstermen over the last 30 years. From what started as a suspicious dance by both sides, the scientific community and the lobstermen have worked out a mutually beneficial arrangement where the study of the creature has helped all to better understand and manage a sustainable and valuable resource.
The Secret Life of Lobsters details how a few marine biologists, using sometimes unorthodox and often hit-or-miss research techniques in the 1970s and 1980s, solved many of the riddles surrounding the popular arthropods. Along the way, the reader is introduced to such terms as "V" notching, "superlobsters," "honey holes," RoboLobsters, and a research vessel named the "Vomit Comet." There is even an attempt to draw some conclusions as to whether a lobster feels pain when it is plunged into a pot of hot water at cooking time.
Lending credence to the narrative is the author's two years working as a sternman aboard a Maine lobster boat. Corson's book features first-hand observations about the men and women who have chosen a hard and challenging life harvesting the valuable crustaceans. Secret Life can be compared to Mark Kurlansky's Cod as it examines a specific commercial ocean resource. And as much as it fits nicely into the genre of nature writing, it is also a social history of the rugged individuals from Maine to Long Island who depend on the lobster for their livelihood.
There is a Cape Cod connection. While a good deal of the focus is on the Maine lobster industry, much of the lobster research was done in Jelle Atema's laboratory at the Marine Biological Laboratory at Woods Hole.
The book should interest those who enjoy environmental writing as well as those who just want to know a bit more about what they are going to eat when the relatives suggest going out for dinner
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