text:
Researchers from the University of Western Ontario published a paper in the journal Scientific Reports with some new information on how cannabis interacts with animal neurotransmitters on a lond term basis, as well as an effective way to treat a...
Canada is ushering in what it projects to be a $1.3 billion medical marijuana free market this week, as it replaces small and homegrown pot production with quality-controlled marijuana produced by large farms. The market could eventually serve up to ...
(Reuters) - Toronto Mayor Rob Ford, who denied allegations earlier this year that he was caught smoking crack cocaine on camera, casually admitted on Wednesday that he has smoked "a lot of" marijuana. The offhand comment by the leader ...
CANNABIS CULTURE - The 2012 Global Marijuana March is May 5! Join the world's largest simultaneous pot protest in 153 confirmed cities around the world, or add your city to the list. Every year, on the first Saturday in May – j...
Best deal ever on death bubba at $120 a zip! Smooth clean smoke and definitely gets you high AF! I recommend 420sixty.com to anyone looking for a reliable / affordable source for quality buds online.
Fast xpress Delivery within Canada
My buddy recommended this site, I was skeptical at first and have never ordered bud online before, to be honest I wouldn't have tried if he hadn't sworn by this site. Ordered an ounce of Death Bubba with a promotional free gram of shatter for 120$+20$ rush shipping, which kind of seemed too good to be true. The order took longer than I expected but the driver apologized and said his car broke down. Whatever, happens to everyone. The bud itself arrived in nice clean sealed packaging, was fresh and properly cured, no shake or trim in bag just proper buds. Great aroma, great flavor, and produced 21% returns on my rosin press. Definitely check them out if you haven't.
420sixty.com is the best of the best when it comes to online weed in canada. I have ordered from herbal dispatch, phat nug and a few others and hands down the 420sixty guys blow the competition out of the water. The $100 ounce of seaweed was 1000% better than what I have been paying upwards of $260 an ounce for elsewhere. 420sixty.com is legit!!!
I have cancer and lost my appetite 18 months ago. The understanding staff are true gentle people. Honest, helpful to the max, and glad to see you!
love the vape pens, give great hauls and not a bad price. delivery was smooth and quick as well.
good shatter, solid prices, bud i ordered was fresh and potent
they have some great strains for anxiety, stress and relaxing
This place closed over a year ago
The phone listed says it is incorrect when I call.
I like this shop
My favourite place when I lived in Toronto
all good except one guy has big time BO
Do i need a lisence
I have 1 but can i come with someone who doesn't have their lisence??
Getting fucked in the ass with out a kiss afterwards, burning money, steeling, fraud, disrespect all things dealing with dho medicinal 2017 they have gone corrupt and must of developed nasty coke habits, because stoners stick togethwe and like to help there customers but dho is full of greedy little theifs.
Delta nine is the best at what they do. From the first day i walked in there a few mnths ago, i have consistantly gotten over a 1.2 or more and im thereb on a daily basis getting some of the best herbhash and edibalkes this city has to offet
Poor product, black market pricing.
Great staff & GREAT BUDS!!!!
Well for starters.legal as they say on this page?? no its not legal.Short review is over priced for quality you receive,and there is no quality assurance,not even for impurities in the medicines.I recommend you do your research check out facebook and all reviews.If you go at right time they have variety,that being said there have also been times when they are out of stock as shipments were seized.(legal?).If you find something you like don't expect it to be available the next time you visit.It changes all the time,I presume they buy whatever they can and not from large growers.If you decide to buy do not expect and more then you would from a buy off the street other then perhaps variety.You pay your money(more then street prices) and take your chances.Again recommend research,and as reviews reflect if you have a issue with product/services do not expect any more resolution.And for those in wheelchairs and mobility issues,forget it there are 2 steps at Bank st locale.
Worse place ever felt with
best medical society in the west end of toronto!
Ordered at noon, received my meds at 1. Very very happy with quality of my flowers and my little jar is awesome. Thank you!


text:
Runaway Pengy is a highly addictive game with a gluttonous penguin. Control this cute penguin to jump, slide and fly through a variety of obstacles while running at an increasingly fast speed. Collect as many fishes as you can along the way to increase your score. Let's dash!
Full Version Features:
- support for Game Center and Retina Display
- addictive and fast-paced game play
- endless game play on never ending snow ground and desert
- cute graphics and smooth animation
- catchy music and sound effects
- submit score to Facebook and Twitter
- challenge friends through e-mail
- various obstacle: snowman, rabbit, igloo, polar bear...etc
- perfect for pick-up 'n play
- hours of fun!
Follw Meridian on Twitter: http://twitter.com/MeridianDE
Become a Meridian fan on Facebook: http://tinyurl.com/meridian-facebook
Meridian Channel on YouTube: http://www.youtube.com/user/meridianchannel

subset: commoncrawl


text:
Overview of Glycosylated Hemoglobin
What is Glycosylated Hemoglobin?
Sample Type
Preparation for Glycosylated Hemoglobin
- No special preparation required
Why Get Tested for Glycosylated Hemoglobin?
The Glycosylated Hemoglobin test is performed to:
Monitor Diabetes treatment efficacy by measuring glycosylated hemoglobin regularly
Screen for Diabetes as part of regular health checkup, as well as in patients with high risk of developing diabetes
Diagnose and confirm diabetes in combination with other tests if blood sugar levels are high over a long period of time
Understand more about Glycosylated Hemoglobin
Hemoglobin is the protein found in Red Blood Cells and is responsible for transporting oxygen. Of the different types of hemoglobin, Hemoglobin A is predominant. With elevation of blood sugar levels, some glucose binds spontaneously to Hemoglobin A (this binding is called Glycosylation or Glycation) and remains bound for the complete lifetime of the RBC, which is 120 days normally. Higher the level of glucose in the blood, greater is the amount of it binding to Hemoglobin A. Hemoglobin A1c is the dominant form of Glycated Hemoglobin. As RBCs die and are replaced, Hemoglobin A1c is cleared and slowly replaced with non-glycosylated hemoglobin. Measurement of HbA1c level over a period of time gives an indication of the level of glucose in the blood over the specified period of time. This helps in the diagnosis of Diabetes and is useful for monitoring the effectiveness of measures taken to reduce blood sugar levels.
What Results of Glycosylated Hemoglobin mean?
Normal: Below 5.7% (39 mmol/mol approx.)
Prediabetic: 5.7% - 6.4% (39 to 46 mmol/mol approx.)
Diabetic: Above 6.5% (above 48 mmol/mol approx.)
Less than 5.7% Glycated Hemoglobin indicates normal levels of blood sugar. Increased risk of developing Diabetes is found in Prediabetic patients with blood sugar level between 5.7% and 6.4%. Patients with a HbA1c level greater than 6.5% are usually diagnosed with Diabetes.
Patient Concerns about Glycosylated Hemoglobin
Frequently Asked Questions about Glycosylated Hemoglobin
Provided By


text:
Ted Siefer's City Hall: Alderman candidate Fischer says rival's pitch misses markBy TED SIEFER
New Hampshire Union Leader
September 02. 2012 12:57AM
There is more than one Republican in the race for the Ward 11 alderman seat, candidate Eric Fischer wants you to know.
And no, he doesn't get a paycheck or a pension from the city, contrary to the claims of his Republican rival, Emily Sandblade.
Sandblade has circulated a flier in the West Side ward - Fischer was a recipient - that says she is 'the only candidate running for alderman who does NOT collect a paycheck or pension from the city of Manchester' and adds, 'I don't have to choose between my wallet and the taxpayers' wallets.'
Fischer is an electrician for the Manchester Housing and Redevelopment Authority, a state-chartered agency. And he is prohibited from receiving the $5,000 aldermen's salary, nor would he accept any health benefits, he said.
'It's important that people understand that I can make a distinction between my wallet and the taxpayers,' he said.
The other two candidates in the Ward 11 race, Normand Gamache and Armand Forest, are city fire and police department retirees, respectively.
Fischer also sought to dispel the idea that Sandblade was the pick of the Manchester Republican Committee. As reported in this column in July, MRC Chairman Mike Ball, speaking on behalf of the group, said Sandblade would be a 'stellar addition' to the Board of Mayor and Aldermen.
Ball made the statement shortly after the special election for the seat was announced, and he told me last week that he was unaware Fischer was running at the time.
'We wish both of them the best of luck. It's sad that both of them can't win,' Ball said.
Fischer said he's been a Republican 'forever,' but was undeclared until April, when he changed his registration. He insists that 'independent thinking' is more important to him than party loyalty.
Yes, the city elections are technically nonpartisan, although public union support does serve as a de facto dividing line, with Democratic-minded candidates having a stronger alliance with the unions.
Fischer is a member of the American Federation of State, County and Municipal Employees; however, he maintains that his experience has reinforced the need for compromise on both sides of negotiations. He notes that when he was a member of the Board of School Committee in 2009, he opposed the contract extension for the Manchester Education Association.
As for Sandblade, Fischer suggested she shouldn't be one to throw stones. Her relationship with the Free State Project, Fischer said, appears to go beyond an affinity for some of the group's ideas, as Sandblade has indicated.
The group wants to bring 20,000 people to New Hampshire dedicated to the ideals of limited government and personal liberty.
Fischer pointed to a Free State Project event last year. A blog shows photos of Sandblade winning a contest at PorcFest, a summer gathering organized by the FSP, for her tongue-in-cheek composition: '10 Reasons Why It's Better To Be Ruled By The Mafia Than By The Government.' She celebrated her victory by burning a Federal Reserve note.
Sandblade did not return a call in time for her comments to be included here.
We'll be checking in with Gamache and Forest, the other candidates in the race, before the Sept. 11 primary.
- - - - - - - -
On the theme of setting the record straight, a correction is in order.
In this column last week, it was reported that Republicans Roy Shoults, a school committee member, and state Rep. Kathleen Souza would be facing off in the race for the Hillsborough 43rd District state representative seat. It turns out this is one of those new floterial districts created by the 2012 redistricting map. The district includes Manchester Wards 4, 5, 6 and 7, and it will have three representatives.
So Shoults doesn't see Souza as an opponent. On the contrary, better to vote for both of them, rather than give up a seat to a Democrat, he made a point of telling me last week.
Shoults said that many Manchester voters have the misapprehension that they can only vote for one state representative, something he attributed in part to the late Leo Pepino, the veteran Republican legislator who passed away in June.
'Leo said he's got to get the most votes,' he said. 'But it's not just Leo. A lot of Manchester politicians are just looking for bullet votes. That does a disservice to the party.'
- - - - - - - -
Hopefully, the aldermen will have a restful Labor Day weekend because things should be picking up at City Hall starting on Tuesday, when there will be a slew of committee meetings and a full Mayor and Board of Aldermen session.
There's at least one item on the agenda of the Committee on Human Resources that will likely generate some interesting discussion: How did Welfare Commissioner Paul Martineau end up getting 11 merit increases, bringing his salary to more than $113,000, while being evaluated only three times? This informations comes from a review conducted by city Human Resources Director Jane Gile. The analysis was prompted by the inquires of Alderman Joe Kelly Levasseur, who has railed against Martineau's salary and the fact that his agency's payroll exceeds the benefits it pays out to the needy.
Another finding: While the welfare commissioner is the only elected official to enjoy mandated pay increases under the city's Yarger Decker scale, a city ordinance states that the position is not subject to such pay raises.
- - - - - - - -
Earlier this summer, the aldermen were pleasantly surprised to learn that a city department is highly functioning, efficient and lucrative. This was the conclusion of a consultant's report on the Parking Division, an update to an overhaul plan proposed five years ago.
Now city Parking Manager Denise Boutilier wants to press forward with recommendations outlined in the consultant's latest report.
Aldermen on the Committee on Public Safety, Health and Traffic on Tuesday will consider a plan to eliminate the current policy of charging only $1 for event parking on metered streets downtown. Instead, the hours of meter enforcement would be extended from 5:30 p.m. until 8 p.m.
Boutilier said she'll hold off on other recommendations for stepped up permitting and enforcement, including extending meter times throughout the week.
'We are moving forward with tiny pieces,' she said.
- - - - - - - -
Remember that great idea two city employees had earlier this year to send out ads along with vehicle inspection reminders? AutoFair agreed to pay $25,000 to the city, largely underwriting the annual cost of the mailings.
Well, as several readers learned when they opened their mail recently, AutoFair is taking full advantage of the opportunity, with fliers headlined 'State Inspection HQ' and offering discounted oil changes for those who bring their cars in for inspections.
This didn't sit will with the readers.
Carmen Davis called the insert 'extremely inappropriate' in a letter addressed to Mayor Ted Gatsas and copied to the New Hampshire Union Leader.
An official with the Motor Vehicle Registration Department notes that the deal with AutoFair was made only after a Request for Proposals went out and there was no response and that nothing in the agreement with the company prevented it from tailoring the ads to auto inspections.
- - - - - - - -
Ted Siefer may be reached at firstname.lastname@example.com. Follow him on Twitter: @tbsreporter.


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Bitcasa has been getting a lot of attention in my Google Plus circles the past week or so; I suspect this is because it was in the running for TechCrunch's Disrupt prize (but ultimately lost to something called "Shaker", which appears to me to be some sort of virtual bar simulation). Bitcasa claims to offer "infinite" storage on desktop computers for a fixed monthly fee. I've yet to see any solid technical information on how they're doing this, but it seems to me that they're planning to do this by storing your data in the cloud and using the local hard drive as a cache.
There's nothing earthshattering about this; I set up Tivoli Hierarchical Storage Manager to store infrequently used files on lower-priority storage media (either cheap NAS arrays or tape) four years ago with my last employer, and the technology was fairly mature then. Putting the HSM server, data stores, or both in the cloud was possible even then and should be even more so now that cloud services are far more mature than they were then. So while there are obviously issues to sort out, this isn't a big reach technically.
More interesting to me is how they plan to provide "infinite" storage. Given the promise of infinite storage, most users will never delete anything; my experience is that users don't delete files until they run out of space, and if they really do have "infinite" storage that won't ever happen. The rule of thumb I recall from storage planning 101 is that storage requirements double every 18 months. According to Matthew Komorowski, the cost of storage drops by half every 14 months, so their cost to provide that doubled storage should slowly decline over time, but that margin is fairly thin and may not be sufficient to cover the exponentially growing complexity of their storage infrastructure over time. They'll also have to cope with ever-increasing amounts of data transit, but I can't find good information just now on the trend there, in part because transit pricing is still very complicated.
More interesting to me is that Bitcasa appears to be claiming that they will use deduplication to reduce the amount of data transferred from clients to the server. This is, itself, not surprising. The surprising thing is that they also claim that they will be using interclient deduplication; that is, if you have a file that another client has already transferred, they won't actually transfer the file. I think they're overselling the savings from interclient deduplication, though. I may not be typical, but the bulk of the file data on my systems seems to fall into a few categories: camera raws for the photos I've taken; datasets I've compiled for various bulk data analyses (e.g. census data, topographic elevation maps, the FCC licensee database); virtual machine images; and savefiles from various games I play. The camera raw files (over 10,000 photographs at around 10 megs each) are obviously unique to me, and as I rarely share the raws their opportunity to leverage deduplication gain there is essentially nil. As to the datasets, they themselves are duplicative (most of them are downloaded from government sources), of course, but the derived files that I've created from the source datasets are unique to me and are often larger than the source data. So, again, only limited gain opportunity there. Most of my virtual machine images are unique to me, as I've built them from the bottom up myself. And obviously the saved games are unique to me. If I were to sign up my laptop and its 220 GB hard drive (actually larger than that but I haven't gotten around to resizing the main partition from when I reimaged the drive onto a newer, larger drive after a drive crash a couple months ago, so Windows still thinks it's a 220 GB drive) onto Bitcasa, they'd probably end up having to serve me somewhere around 170 to 200 GB of storage, depending mainly on how well it compresses. (Much of the data on my machine is already compressed.)
Even my music (what there is of it; I keep a fairly small collection of about 20 gigabytes) doesn't dedup well. I know, I've tried to dedup my music catalog several times over the past decade plus and my experience is that "identical" songs are often not identical at the bit level; the song might be the same but the metatags differ in some manner that makes them not bit-compatible. Or the songs might be compressed with different bit rates or even different algorithms; I have several albums that I've ripped as many as five times over the years with different rippers. Even if you rip the same song twice from the same disc with the same settings on the same ripper it still might end up with a different bitstream, if the disc has a wobbly bit on it.
If Bitcasa assumes that most of its clients will be "typical" computer users, most of whose data is "stuff downloaded from the Internet", then I suppose they can expect significant deduplication gain, especially for videos, music, and especially for executables and libraries (nearly everyone on a given version of Windows will have the same NTOSKRNL.EXE, for example. although in general OS files cannot be made nonresident anyway without affecting the ability of the computer to boot). The problem I think they're going to run into is that many of their early adopters are not going to be like that. Instead, they're going to be people like us: content creators far more than content consumers, whose computers are all filled to the brim with stuff we've created ourselves out of nothing, unlike anything else out there in the universe.
Then there's the whole issue of getting that 220 GB of data on my machine to their servers. It took my computer nearly 40 days to complete its initial Carbonite image, and that's without backing up any of the executables. I have some large files that I keep around for fairly infrequent use; if Bitcasa decides to offline one of those and I end up needing it, I might be facing a fairly long stall while it fetches the file from their server. Or, if I'm using the computer off the net (something I often do), then I'm hosed, and if I'm on a tether (which is also fairly frequent) then I could be facing a download of a gig file (or larger) over Verizon 3G at about 200 kbps. Good thing Verizon gives me unlimited 3G data!
I also wonder how Bitcasa will interact with applications that do random access to files, such as database apps and virtual machine hosts. I use both of these on a fairly regular basis, and I think it might get ugly if Bitcasa wants to offline one of my VHDs or MDFs (or even my Outlook OST or my Quickbooks company file). If they are planning to use reparse points on Windows the way Tivoli HSM does, files that will need to be accessed randomly, or which need advanced locking semantics, will have to be fully demigrated before they can be used at all.
In addition to all this, the use of cryptographic hashes to detect duplicates is risky. There's always the chance of hash collision. Yes, I know, the odds of that are very small with even a decent sized hash. But an event with even very low odds will happen with some regularity if there are enough chancves for it to occur, which is why we can detect the 21cm ultra-fine hydrogen spin transition at 1420.405752 MHz: this transition occurs with a probability of something like one in a billion, but we can detect it fairly easily because there are billions upon billions of hydrogen atoms in the universe. With enough clients, eventually there's going to be a hash collision, which will ultimately result in replacing one customer's file with some totally different file belonging to some other customer. Worse yet, this event is undetectible to the service provider. (Kudos to the folks at spideroak for pointing this out, along with other security and legal concerns that interclient deduplication presents.)
So while I think the idea is interesting, I think they're going to face some pretty serious issues in both the short term (customer experience not matching customer expectation, especially with respect to broadband speed limitations) and long term (storage costs growing faster than they anticipate). Ought to be interesting to see how it plays out, though. I think it's virtually certain that they'll drop the "infinite" before too very long.
(Disclaimers: Large portions of this post were previously posted by me on Google Plus. I am not affiliated with any of the entities named in this post.)


text:
Thanking the ones who make a difference
He wanted me to go to comma camp. That's how bad it was. He was inventing a grammar camp and he was inviting me to it. And he was telling the whole class.
It was horrible.
I was a junior in high school, a good student. I turned in my first paper with confidence, ready to impress this great teacher I'd heard so much about. His name was Brother James Kelly. He was the president of my high school, but he always taught one section of junior English. He was tough, but good. I was going to wow him.
Maybe he was impressed by just how bad my comma usage was. That was my only chance.
We never had that comma camp, but the message got through anyway. I became obsessed with grammar, I worked hard to become a good writer – a real good writer and not the one I thought I was. By the time that year was over, I was on a writing path that eventually brought me here.
Thanks, Br. Kelly. Your comma camp threat started it all.
I'm writing about Br. Kelly now because he passed away over the weekend after a battle with prostate cancer. I'm writing about him in these pages not because of any sports connection – he wasn't really a fan – but because, as a teacher, he was like so many of the great coaches I see every day.
He cared a lot, and he also demanded a lot.
We read roughly a book a month, and for every book, we turned in a critical essay. We chose a topic, laid out a thesis statement and set out to prove the point. They were the most difficult papers I had ever written, largely because you knew who you were handing them in to.
And we weren't just handing in papers. We handed in blank audio tapes. When the paper came back, so did the tape. Br. Kelly felt he could give better criticism by talking to you on tape.
There were some harrowing moments listening to those. I thought the comma talk was bad; the criticism of my first essay was brutal.
But it worked. It always worked.
I don't know that I had ever really worried about progressing in a class. I usually started at a pretty solid spot and maintained it for the rest of the school year.
But in Br. Kelly's class, I got better, significantly better, every step of the way. Br. Kelly didn't give A-pluses but my last paper was an A with shades of A-plus. It was like winning a championship.
I didn't realize how important it would be at the time, but the man had taught me how to write. I'd always been pretty good at it, but I had never been challenged. I knew grammar but I didn't put it into practice. I made my points but I didn't try too hard to get it just right. I didn't even recognize what good writing was.
But Br. Kelly flipped a switch. He's the reason I'm a writer.
It was sad to hear the news that he had passed away – he was too young and he had a lot more students to scare straight – but I immediately thought of the connection to coaches.
I never had that great coach. My athletic career ended in Little League. But when it came to the teaching and the life lessons that often happen on a field or a court, Br. Kelly had me covered. It all stuck.
I see the same lessons being passed along now, as I watch games and swing by practices. Coaches, especially the great ones, can make such a difference. They never quite know the impact they have. If you haven't thanked your coach lately, do it. They challenge and they expect a lot, but they care. And everyone is better for it.
So thanks to the coaches, and thanks, Br. Kelly.
I hope all my commas are in the right place.
William Geoghegan is the sports editor at the Warwick Beacon. He can be reached at 732-3100 and email@example.com.


text: Bob maybe for walking around the city, and there are lots of bumpy stone streets in Prauge you may want to look at a good quality monopod. easier to carry and set up, don't have as big a foot print in congested areas, can move around pretty well with camera on it and be ready to go. Manfrotto makes one that is free standing with retractable legs in the base. This is therory from my research as I haven't bought one yet.


text:
Retired Tampa Bay Buccaneers DB Derrick Brooks isn't done with professional football yet. Brooks was named President of the AFL's Tampa Bay Storm.
The Tampa Bay Storm are currently 1-3 and will play the Orlando Predators May 6 at the Amway Center.
"I look forward to the opportunity of working with Jeff Vinik and Tod Leiweke as we begin to shape the future of the Tampa Bay Storm," Derrick Brooks said via press release. "Football is clearly a passion, and although I am not playing anymore, I look forward to leading from the front office. This is a great challenge and I'd like to thank Jeff Gooch for joining with me as Vice President of Football Operations. He will do a terrific job for us."
Brooks, 37, graduated from Florida State with a degree in Business Communications.
Derrick Brooks is one of the classiest players to come through the NFL and that's great news for him and the AFL.


text:
New Accordance user here. I must say it is GREAT compared to the software I was previously using. One question: I'm using user notes to hold my working translations as I go through. It was working fine for a bit, but I've run upon an odd behavior. When I update the note, it automatically takes me back to the first verse I've made a note on. I would think it would remain at the same verse. Anybody able to offer help on this one?
User Notes Help
Started by kupkins , Oct 01 2012 07:56 AM
1 reply to this topic
Posted 01 October 2012 - 07:56 AM
Posted 02 October 2012 - 07:32 AM
Its is difficult to know quite what the issue is but just a suggestion - have you put your notes under just one verse heading. In Accordance each verse has its own note which is shown by a blue heading therefore the notes for a particular verse should appear under that heading.
Steve King Running Accordance 220.127.116.11 on:
Mac 10.13.3 (High Sierra), late 2017 15 inch Macbook Pro, 16Gb RAM
iPad2 IOS 9
iPhone 6 IOS 11
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text:
Arthur Adams' wraparound cover for "Avengers World" No. 1. (Marvel)Link
"Avengers World" No. 1 cover art by John Cassaday. (Marvel)Link
"Avengers A.I." No. 8 cover art by David Marquez. (Marvel)Link
"Avengers Undercover" No. 1 cover art by Francesco Mattina. (Marvel)Link
"Black Widow" No. 1 cover art by Phil Noto. (Marvel)Link
"Loki: Agent of Asgard" No. 1 variant cover by Frank Cho. (Marvel)Link
"Secret Avengers" No. 1 variant cover art by Declan Shalvey. (Marvel)Link
"Captain America" No. 16 cover art by Nic Klein. (Marvel)Link
All-New Marvel Now announcements will continue through the weekend at New York Comic Con. Check back at Hero Complex for more. (Marvel)Link
"New Avengers" No. 11, by writer Jonathan Hickman and artist Mike Deodato, comes out Wednesday. (Marvel)Link
"Captain America" No. 14, by writer Rick Remender and artist Carlos Pacheco, comes out Dec. 11. (Marvel)Link
"Mighty Avengers" No. 2, by writer Al Ewing and artist Greg Land, came out earlier this month. (Marvel)Link
"Avengers Arena" No. 16, by writer Dennis Hopeless and artist Karl Moline, came out Wednesday. Cover art by Francesco Francavilla. (Marvel)Link
"Secret Avengers" No. 9, by writer Nick Spencer and artist Butch Guice, came out last month. Cover art by Alex Maleev. (Marvel)Link
[Updated 7 a.m. PDT Oct. 12 with images from All-New Marvel Now announcements.]
In continuing Marvel's weekend of All-New Marvel Now reveals, executive editor Tom Brevoort wasted no time during the "Avengers" comics panel Friday at New York Comic Con.
Cheerily breezing through what's going on in existing books and announcing upcoming titles and events — with brief comments from writers and editors — in just about 17 minutes (by contrast, the House of Ideas' earlier big panel Friday, for X-Men books, took about 45 minutes for a similarly robust slate), Brevoort, saying the panels belong to the readers, turned things over to audience questions for the rest of the hour.
So, in the same spirit, here are the big reveals:
— The title from writer Rick Remender and artists Pascal Alixe and Nic Klein that had been code-named "Mindbubble" in recent teases is "Captain America" No. 16.NOW / No. 1 (yes, the numbering is, as Brevoort acknowledged, confusing). It features Dr. Mindbubble, a product of the Weapon Minus program designed to eliminate super soldiers like Cap, Brevoort said, calling him "a benevolent assassin who will kill you with kindness." And, the editor mentioned during the audience Q&A, Red Skull will appear in that first issue.
PHOTO GALLERY: Avengers 50th anniversary — 50 moments that shaped them
— Code name "Extinction" from writer Sam Humphries and artist Andre Araujo is "Avengers A.I." No. 8.NOW / No. 1. Editor Lauren Sankovitch said, "You can just lay back, relax, and the robots will take over for you. Hang on, enjoy, and you'll be dead soon, so it won't matter."
— Code name "Frenemies" from writer Ales Kot and artist Michael Walsh is "Secret Avengers" No. 1, which Kot said is "pretty close to what [Matt Fraction and David Aja's] 'Hawkeye' feels like in places." Spider-Woman, Black Widow and Hawkeye are all on the team.
— Code name "Global" from co-writers Jonathan Hickman and Nick Spencer and artist Stefano Caselli is "Avengers World" No. 1. It's about the Avengers coming back to Earth post-"Infinity" and finding a very changed world, Spencer said, later adding that it will pay some attention to newer additions including Smasher, Hyperion and Manifold.
— Code name "Descent" from writer Dennis Hopeless and artist Kev Walker is "Avengers Undercover" No. 1. Hopeless said it follows his "Avengers Arena," and some of the kids from Murderworld come back and "go undercover in the Masters of Evil as an attempt to bring it down from the inside, but they all have pretty bad PTSD from what went on in the arena, and they find that they might actually fit in a little better with the villains."
— Code name "Trust" from writer Al Ewing and artist Lee Garbett is "Loki: Agent of Asgard" No. 1. Ewing joked, "There are two things you need to know about this: First thing, Issue 1, Page 1, Loki kills Thor…. He wins! And the second thing you need to know is that we are always, always, always going to lie to you. We are going to trick you every issue, because that's what Loki does."
— Code name "Atonement" from writer Nathan Edmondson and artist Phil Noto, is "Black Widow" No. 1. The approach? Brevoort pointed to the tag line on the cover – "Agent. Avenger. Assassin."
Here's what's up in books the crowd already knew about:
— As announced last month, "Avengers" No. 24 is now the more complexly numbered "Avengers" No. 24.NOW / No. 1. The early January release by writer Jonathan Hickman and artist Esad Ribic ("Thor: God of Thunder") kicks off "Rogue Planet," in which another world is hurtling toward Earth. Prompted by Brevoort for quick detail, Hickman said he was hoping to get it written soon.
— "New Avengers" is not only Hickman's favorite book of the many Marvel titles he's working on, but Brevoort says it is "the most important book we're publishing right now."
— As for the next few "Mighty Avengers" releases, Ewing said, "Issue 3 is going to make your head explode, and Issues 4 and 5 are going to sweep up the pieces into a little box and then blow that up as well."
— Over in "Avengers Arena," with the No. 18 cover showing the "Graduating Class of 2013" with red X's over their faces displayed on screens in the room, Hopeless said, "Everybody dies," to audience laughter, "and then the book is over."
— "Captain America" Nos. 13-15, by Remender with artists Carlos Pacheco and Klein, has the super soldier Nuke testing a "devastated" Cap, Brevoort said.
— "Secret Avengers" Nos. 12-14, co-written by Spencer and Kot, feels "like a super-pulpy updated Steranko," the latter said, citing the artwork by Butch Guice and Luke Ross.
— "Thor: God of Thunder" Nos. 15-17, by writer Jason Aaron and artist Ron Garney, has the hammer-wielding Asgardian chasing Malekith the Accursed across the Nine Realms.
And it seems fitting to end with a reader comment from the audience Q&A.
Before posing his question, a teenage male fan told the assembled "Avengers" talent, "I want to thank you guys for writing comic books, period. Because now I have something to do during class."
New York Comic Con, with an expected crowd of 130,000, is the East Coast's largest pop-culture expo. The four-day event continues at the Jacob K. Javits Center in Manhattan through Sunday.
— Blake Hennon | @BlakeHennon | @LATHeroComplex
Avengers at 50: How Stan Lee, Jack Kirby took on the Justice League
NYCC: 'The Walking Dead,' 'Agents of S.H.I.E.L.D.' top TV-centric lineup
'Dark World' trailer: Thor meets 'Game of Thrones'
'Captain America' sequel to get 2014 release
Adewale Akinnuoye-Agbaje talks 'Thor' sequel
Chris Hemsworth talks vulnerability
'Thor 2': Christopher Eccleston is villain Malekith
Tom Hiddleston hopes for redemption in Loki
James Spader cast as villain Ultron in 'Avengers 2′
'Guardians of the Galaxy': Vin Diesel talks Groot


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HIV Infection and Tobacco Use Among Injection Drug Users in Baltimore, Maryland: A Pilot Study of Biomarkers
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT00491335
Recruitment Status : Completed
First Posted : June 26, 2007
Last Update Posted : July 2, 2017
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
The incidence of lung cancer is quite high among people with the human immunodeficiency (HIV) virus. Frequent smoking may explain that cancer increase, given that 50% to 70% of HIV-infected people are current smokers.
Recent research suggests that other factors may be involved as well. Smoking habits, such as smoking earlier in life or smoking more cigarettes a day than others do, may have a role. Also, HIV-infected smokers seem to have a greater risk of chronic obstructive pulmonary disease (COPD). The association of HIV and COPD is important, because COPD itself is linked to an increased risk of lung cancer.
About 1,600 subjects from the study known as ALIVE (AIDS Linked to the Intra-Venous Experience), which began in 1988 in Baltimore, Maryland, will be given a detailed questionnaire on smoking behaviors and lung cancer risk factors. They will also have spirometry testing, to evaluate lung function.
To better characterize smoking habits and compare tobacco use among HIV-infected and uninfected drug users.
To compare serum cotinine levels and spirometry results, as a marker of tobacco use and a marker of damage to lung function, respectively.
Patients 18 years of age and older who are in the ALIVE cohort.
Patients undergo the following procedures:
- Completing a questionnaire on smoking history. Questions include age when smoking began, periods of quitting smoking, average number of cigarettes per day for specific periods, amount of each cigarette smoked, depth of inhalation, type of cigarette, nicotine dependence, use of other smoked [Note: I would not mention that these drugs are illegal] drugs, exposure to environmental tobacco smoke, past medical history, and recent respiratory symptoms.
- Spirometry testing. Patients are asked to breathe as deeply as possible and then rapidly exhale into a tube. The forced expiration volume in 1 second reflects the average flow rate during the first second, and it can be used to determine the degree of pulmonary obstruction.
- Blood samples. Tests measure levels of cotinine, a chemical made by the body from nicotine. African American males, who constitute the majority of the ALIVE cohort, participate in this test. Results would show how much tobacco smoke has recently entered the body. For this test, researchers plan to evaluate 240 current tobacco smokers and 100 participants who report no recent cigarette use.
|Condition or disease
|HIV Infections AIDS Lung Cancer Tobacco Addiction Drug Addiction
|Study Type :
|Time Perspective:
|Official Title:
|HIV Infection and Tobacco Use Among Injection Drug Users in Baltimore, MD: A Pilot Study of Biomarkers
|Study Start Date :
|June 18, 2007
|Study Completion Date :
|February 16, 2010
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|17 Years and older (Child, Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Must be a participant in the ALIVE Study
Not a participant in the ALIVE Study
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT00491335
|United States, Maryland
|Johns Hopkins University
|Baltimore, Maryland, United States, 21205
|ClinicalTrials.gov Identifier:
|NCT00491335 History of Changes
|Other Study ID Numbers:
|First Posted:
|June 26, 2007 Key Record Dates
|Last Update Posted:
|July 2, 2017
|Last Verified:
|February 16, 2010
Keywords provided by National Institutes of Health Clinical Center (CC):
Lung Cancer
HIV Infection
Additional relevant MeSH terms:
Communicable Diseases
HIV Infections
Acquired Immunodeficiency Syndrome
Behavior, Addictive
Substance-Related Disorders
Lentivirus Infections
Retroviridae Infections
RNA Virus Infections
Virus Diseases
Sexually Transmitted Diseases, Viral
Sexually Transmitted Diseases
Immunologic Deficiency Syndromes
Immune System Diseases
Slow Virus Diseases
Compulsive Behavior
Impulsive Behavior
Chemically-Induced Disorders
Mental Disorders


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I had planned to share a whole sappy thing about how I'm still finding things to be thankful for despite the high crap factor in my life right now. (I know, woe is me!)
But right now, at 10:49 p.m., approximately 18 hours into a day that comprised waking up in a pee-soaked bed, at least 13 tantrums (one mine), incessant -- and I mean INCESSANT -- whining, and a fight with my mother, I'm thankful for simply breathing.
And for the very large glass of pinot noir that sits at my right.


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College of Engineering Timeline...
The University of Akron's College of Engineering has a history of academic excellence dating back to 1913. This timeline highlights key events in the college's development.
Buchtel College is founded. During cornerstone-laying ceremonies, Horace Greeley, editor of the New York Tribune and ceremony speaker, said one day he hoped to see the college "graduate a great and glorious body of young and earnest men in engineering, science, and a hundred different pursuits where knowledge is of great benefit to humankind."


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Notre aide en situation de crise
Nous venons en aide aux personnes touchées par des catastrophes et conflits. A tout moment, nos équipes interviennent sur près de 30 opérations d'urgences à travers le monde.
Jump to navigation
"Women who are the victims of abuse have to raise our voices. If we all raise our voices together, we will make so much noise that that we will have to be heard in Colombia and all over the world."
Jineth Bedoya is a staunch defender of the rights of women who are victims of abuse within the context of the Colombian conflict.
She combines her activism with her profession as a journalist, which she began when she was just 23 years old and which led to her investigation of the dirty war in her country. Specifically because she tackled sensitive subjects, in 2000, she was kidnapped and raped. "At that time, I believed my life was over, I was contemplating suicide, but my work inspired me to carry on, to think about other women, like me, who had been victims of sexual abuse."
Since then her life has been under threat. She travels in an armored car and is permanently accompanied by five bodyguards. "I sacrificed my personal life, I do not have a husband or children, but I have met thousands of women who have filled this space."
In 2009, she decided to talk publicly of what had happened to her. She was the first woman known to have done this, to take this brave step in order to draw attention to a problem that affects thousands of women in Colombia and that, in 90 per cent of cases, goes unpunished.
She has set up the campaign No es hora de callar (Now is the time to speak up, in English) that at the present time aims to raise awareness amongst men. "it is the men who cause 98 per cent of the problem, she says.
Ms. Bedoya has succeeded in persuading top-level footballers to make a video and to have her slogan displayed in the main soccer stadiums in Colombia. She is also a spokesperson for the campaign Violaciones y otras violencias, saquen mi cuerpo la guerra (Rape and other violence: leave my body out of war) promoted by more than 10 Colombian women's organizations and supported by Oxfam.
Jineth Bedoya is one of the "avanzadoras" women with whom Oxfam Intermón (Oxfam in Spain) is working. She is just one of the many examples of women who change their own lives and, at the same time, transform the lives of their communities, and who together build a fairer society.
In 2012, she was awarded the International Women of Courage Award. Jineth's attackers have still not been sentenced, despite the fact that their case was declared to be a crime against humanity.


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Dartmouth-Lake Sunapee Region ForestsApril 27. 2011 12:19AM
Hay Forest
Newbury, NH
Acreage: 712 acres
Directions: Abutting the 163-acre John Hay National Wildlife Refuge
Hikers will find more than four miles of hiking trails, winding through pine and oak forests grown back on abandoned fields, pastures and orchards. The Old County Road is flanked by stonewalls. Faint interior roads, scored by ancient wheel ruts, lead to the hidden cellars of forgotten farms with stone-lined wells. Sunset Hill offers sweeping views of Lake Sunapee, Mount Sunapee, Kearsarge, and distant peaks of the White Mountains.
Cockermouth Forest
Groton, NH
Acreage: 1002 acres
Directions: Take Exit 26 off I-93. Go West on Route 25 to a traffic circle. Go South on Route 3A about 5 miles. Watch for North Shore Rd. on the right. Travel West on North Shore Rd. Continue straight by Hebron Store about 1.75 miles. Turn right to North Groton Rd. by library. Continue about 2 miles to gate on right.
Haffenreffer Forest
Enfield, NH
Acreage: 199 acres
Directions: From I-89, take exit 17. Follow Route 4 for 9.4 miles to Potato Rd. on right (at Enfield Granite sign) and turn right. Continue 2.6 miles uphill to stop sign. Turn left on Lockehaven Rd. and continue 0.5 miles to field on right overlooking Spectacle Pond.
Philip Haseltine & Irene Williamson Blodgett Forest
Grafton, NH
Acreage: 100 acres
Directions: From Canaan, take Route 4 South about 3 miles. Go West about 1.7 miles to on Height of Land Rd. Park on side of the road and walk South on an unmaintained road about 1 mile. Property is on the West side of road.
Royal C. Nemiah Forest
Lyme, NH
Acreage: 105 acres
Directions: From Hanover, head North for approximately 7.5 miles from Hanover Country Club. At junction of Shoestrop and Preston Hill Rds., turn right. Travel 0.4 miles on Preston Hill Rd. Take woods road on right and go 0.5 miles. The Forest begins of the right side.
Sudrabin Forest
Orange, NH
Acreage: 60 acres
Directions: Take Route 4 to East Grafton. Travel North on Tenney Rd. to end of maintained road. Property is located about 1 mile East. It is not accessible by a vehicle.
Hope Forest
South Danbury, NH
Acreage: 373 acres
Directions: Take Route 4 North in Andover toward Danbury. Just beyond the South Danbury church take a left onto Walker Brook Rd. Go 0.5 miles and make a right onto Roy Ford Rd. Go another 0.5 miles to gate on left. Walk down woods road to get to the trail.
Jelleme Forest
Warner, NH
Acreage: 48 acres
Directions: Jelleme Forest is located off Route 103 in Warner
Jelleme Forest is managed as a bird and wildlife refuge.
Langenau Forest
Wilmot, NH
Acreage: 168 acres
Directions: From junction of Routes 11 & 4A, travel North on Route 4A. After Wilmot, turn left at the town sheds onto Pedrick Rd. Follow Pedrick Rd. to a "T" intersection and turn left. Continue to a "Y" intersection and bear right onto Granite Hill Rd. to the end.
Langenau Forest offers a wildlife pond and scenic views of Pleasant Lake and Mt. Kearsarge.
Eastman Forest
Grantham, NH
Acreage: 40 acres
Directions: From I-89 N, take Exit 13 and turn right. Or, from I-89 South, turn left at Exit 13. In just a few hundred feet, turn right onto Eastman Rd. Eastman Forest runs along the left side of the road.
Journey's End, Bell-Cofield Forest
Washington, NH
Acreage: 202 acres
Directions: From Route 31 in Washington, turn on East Washington Rd. Continue about 1.5 miles to Washington Dr. Go left and follow road to the end. Property entrance is located at the end of road.
Michael M. & Claudia Yatsevitch Forest
Cornish, NH
Acreage: 800 acres
Directions: Take I-89 N to Exit 20 for Route 12A to Plainfield. Turn left at lights on exit ramp. Continue South on 12A for about 6 miles. Take left turn onto Stage Rd. Go 2 miles; road will curve sharply to the left. Turn right on Hell Hollow Rd. You will cross over a brook. Continue on Hell Hollow Rd. approximately 1 mile to "Y" intersection. Bear left, then travel about 1 mile to junction. Park in field straight ahead, just to right.
Donas J. and Margaret Reney Memorial Forest
Grantham, NH
Acreage: 428 acres
Directions: From a Forest Society kiosk and parking area off Route10 on the south end of Grantham village, a bisect cuts across the heart of these 428 acres. The forested trail - segments of an old logging road that connect to an old Class VI road - rises to a head of land and plateaus before heading down the eastern slope to Route 114. A more extensive trail system is in the works.
The Donas J. and Margaret Reney Memorial Forest is a green, hilly backdrop to historic Grantham village - and a great place to take a walk. The 428-acre reservation, protected in 2003, is a permanent antidote to development pressures in the Upper Valley.
The Reney Memorial Forest is a scenic place for hiking and walking. There are also snowmobile trails on the property.


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As the Titanic was sinking and women and children climbed into lifeboats, the cellist and violinist from the ship's band stood and played. They died when the ship went down. Men stood on the deck and smoked cigars. They died, too.
This behavior is puzzling to economists, who like to believe that people tend to act in their own self interest.
"There was no pushing and shoving," says David Savage, an economist at Queensland University in Australia who has studied testimony from the survivors. It was "very, very orderly behavior."
Savage has compared the behavior of the passengers on the Titanic with those on the Lusitania, another ship that also sunk at about the same time.
But when the Lusitania went down, the passengers panicked.
There were a lot of similarities between these two events. This ships were both luxury liners, they had a similar number of passengers and a similar number of survivors.
The biggest difference, Savage concludes, was time. The Lusitania sank in less than 20 minutes. The Titanic took two-and-a-half hours.
"If you've got an event that lasts two-and-a-half hours, social order will take over and everybody will behave in a social manner," Savage says. "If you're going down in under 17 minutes, basically it's instinctual."
On the Titanic, social order ruled, and it was women and children first.
On the Lusitania, instinct won out. The survivors were largely the people who could swim and get into the lifeboats.
Yes, we're self-interested, Savage says. But we're also part of a society. Given time, societal conventions can trump our natural self-interest. A hundred years ago, women and children always went first. Men were stoic. On the Titanic, there was enough time for these norms to assert themselves.
Savage tells the story of one man who survived the wreck of the Titanic. He waited for women and children to get into the lifeboats. As the ship was about to sink, there was a lifeboat nearby with an empty seat. The people on the lifeboat boat told him to get in. Reluctantly, he got in.
When he got home, Savage says, "he was viewed as being a coward and he was derided by the press and everybody in the country for the rest of his life."
See more Titanic stories from NPR.
Let's turn now to one of history's most famous tragedies: the sinking of the Titanic in 1912. One hundred years later, we're still talking about it. Among the most compelling aspects of the story is the behavior of the passengers. People lined up in an orderly way for the lifeboats. Men smoked cigars calmly on deck - men who would soon be dead.
That kind of behavior has been studied by biologists, psychologists, even economists, as NPR's Zoe Chace and Caitlin Kenney from our Planet Money team explain.
CAITLIN KENNEY, BYLINE: In the 1997 movie, there's this amazing moment. As people get into the lifeboats, the ship's band, the cellist and the violinist, they pick up their bows and play.
UNIDENTIFIED MAN #1: (as character) All right, boys. Like the captain said, nice and cheery, so there's no panic, "Wedding Dance."
ZOE CHACE, BYLINE: This isn't just Hollywood. This actually happened. According to survivor accounts, the band played as the ship went down. And the band members died.
KENNEY: This is weird for economists, because economists like to believe that people tend to act in their own self interest.
DAVID SAVAGE: No pushing and shoving - very, very orderly behavior. So the panic never actually kicked in.
CHACE: David Savage is a researcher with Queensland University in Australia. He studied testimony from the surviving passengers and crew.
KENNEY: He wanted to figure out why the people on the Titanic behaved the way they did when the ship sank. Another big ship went down around the same time. The people on that ship acted very differently. A movie was made about that, too.
UNIDENTIFIED MAN #2: (as character) (unintelligible) Fire.
CHACE: The Lusitania was hit by a German U-boat. Its passengers totally panicked.
KENNEY: The two events had a lot of similarities: luxury liners, same time period, same amount of passengers, same amount of survivors. The biggest difference, Savage concludes: time. The Lusitania sank in less than 20 minutes. The Titanic took about two-and-a-half hours.
SAVAGE: If you've got an event that lasts two-and-a-half hours, social order will take over, and everybody will behave in a social manner. If you're going down in under 17 minutes, well, basically, it's instinctual.
CHACE: On the Titanic, social order ruled. Just like in the movie, it was women and children first.
UNIDENTIFIED MAN #3: (as character) Step aboard.
UNIDENTIFIED WOMAN: (as character) Come on, sister. You heard the man. Into the boat.
UNIDENTIFIED MAN #4: (as character) Any room for a gentleman, gentlemen?
UNIDENTIFIED MAN #3: Only women at this time, sir.
KENNEY: On the Lusitania, instinct won out. The survivors were basically the people who could swim and get into the lifeboats.
CHACE: Savage says, yes, we're self-interested. But we're also part of a society. Given enough time, societal conventions can trump our natural self-interest. At the time, women and children always went first and men were stoic. On the Titanic, there was enough time for this to play out.
KENNEY: If you didn't let others go ahead, what would people think of you? Savage tells the story of one of the passengers who survived, a guy at the back of the line who was convinced to get in a lifeboat.
SAVAGE: There was a spot left, and they said look, mate. There's a spot here. Take the spot. And he's like oh, no. I can't. I can't. I can't. I can't. So they convinced him. It's like, you're going to drown. Get on the boat. So he got on the boat. Well, he got back to Japan, and he was viewed as being a coward, and he was derided by the press and everybody in the country for the rest of his life.
CHACE: Social pressure has a massive amount of power over people's behavior.
SAVAGE: People are very friendly and helpful to each other, given enough time to actually instigate their social behavior.
KENNEY: More than 1,500 people went down with the Titanic. Some of them chose to. I'm Zoe Chace.
I'm Caitlin Kenney, NPR News. Transcript provided by NPR, Copyright NPR.


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File this one under: Tricks that everyone knows but me.
Whenever I work against a fence on my drill press, I constantly huff and sweep the table clear of shavings. Why? If even one errant shaving gets between the fence and your work, you can spoil your hole.
I've had enough spoiled holes in my lifetime.
A few years ago, Kelly Mehler showed me the following dirt-simple trick and I was reminded of it when I taught a workbench class at his school a week or so ago.
Kelly clamps two fences to his drill press table: One fence is thin and sits near the back of the table. The other fence guides the work. The little space under the fence prevents the shavings from getting between your work and the fence.
It works brilliantly, even when boring out massive amounts of wood, such as when we were making mortises in the legs.
I like tricks like these – no micrometers or gerbil-powered feed rollers.
— Christopher Schwarz


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Grateful Dead
On Sound Safari with Mickey Hart and the Global Drum Project
By Blair Jackson
Global Drum Project (L-R): Giovanni Hidalgo,
Zakir Hussain, Mickey Hart and Sikiru Adepoju.
Photo: John Werner © 2006
You can always count on Mickey Hart to come up with something deliciously strange and fascinating. His latest CD (and group) is called Global Drum Project, and if the lineup looks suspiciously like the one that just a year ago was called Planet Drum, well, you're not hallucinating—or maybe you are, but not about that! After a brief legal skirmish with an organization that claimed the Planet Drum moniker for itself, and wanted to be paid handsomely to allow Mickey to use it, he settled on the new, equally descriptive name. No matter what you call it, Global Drum Project (on the Shout!Factory label) offers up a serious dose of percussion voodoo from four drum magicians: Mickey, Zakir Hussain, Giovanni Hidalgo and Sikiru Adepoju. If you've followed Mickey's solo career at all, you've seen these folks turn up often on his albums and appearing on stage with him; Zakir for 35 years on and off. Individually and collectively their work has graced such amazing works as the Diga Rhythm Band's ground-breaking album (1975), Mickey's At the Edge (1990), Mystery Box (1996) and Spirit Into Sound (1999), the remarkable album by Kodo called Mondo Head (2001), and two previous albums from Planet Drum—the Grammy-winning Planet Drum (1991) and the extraordinary Supralingua (1998). Mickey and Zakir produced Global Drum Project and are credited with writing the CD's eight pieces, each an exploration of a different percussion space.
Like most of the projects Mickey has been involved with, Global Drum Project represents a joyful and spiritual union of the primal and the modern—percussion and technology. At its heart are rhythms pounded, banged, shaken and tapped on an incredible array of instruments that live in the giant main room of Mickey's Studio X in rural Sonoma County, Calif. But beyond the pure rhythms—both primitive and sophisticated—the sounds were often treated in subtle and extreme ways, with Mickey and Zakir adding assorted reverbs, delays and layers of electronic processing in real time as the pieces were performed in the studio. This is a path Mickey has been following since his days in the Grateful Dead, of course, culminating a few years back with the development of his complex RAMU system, which allows him to manipulate his percussion work in unprecedented ways as he plays.
There's a marvelous sense of dimensionality to the music on Global Drum Project; at the same time it feels very intimate. As you might expect, there are influences from many cultures here—African, Indian, Middle Eastern, South Pacific, etc.—all blended into a wondrous fusion that has its own personality. There are parts of tracks that have a sort of modern trance vibe to them; others feel ancient-hypnotic. There's electronically altered sitar that sounds like electric guitar; bits of radio broadcasts sneaking in and out deep in the mix on a couple of pieces; voices from the New Guinea rainforest; tars joined in a rapid heartbeat; even a bubbling vocal from the late, great Babtunde Olatunji on the leadoff tune. In short, it's just another voyage into the cool beyond with Mickey and friends.
On September 16, I drove up to Studio X to interview Mickey and Zakir about Global Drum Project (and whatever else came up). Mickey's spread includes the sprawling ranch house he shares with his wife (and manager) Caryl, the state-of-the-art studio (which is in its own building), a Japanese garden, a small lake…it's quite a slice of paradise, and considerably more uptown than his famous Novato ranch of yesteryear. When I arrived at the studio, Zakir was working with the group's live sound engineer on some preparations for the Global Drum Project tour, which began September 20 at the University of Arizona and goes through late October. (For a complete listing of tour dates, click here). So Mickey and I adjourned to his office above the studio's control room, and started the interview without Zakir; he joined us after a few minutes. Outside, in some fields behind the studio, I could see llamas munching on dry grass, while hawks made circles in the clear blue skies above a nearby grove of trees…
Giovanni, Mickey, Zakir and Sikiru in action. Photo: John Werner © 2006
When you're going out on tour to promote an album like this, it's not quite the same as when you're promoting an album of "songs." How fully formed do they feel in the sense of being "performable"?
They're all performable. That was part of the challenge and part of the adventure: Taking all these sophisticated and extreme [electronic] processes and being able to dance with them on the road and actually create a percussion orchestra—or gamelan—and have fun with it and not let the machines tear you apart. So we're triggering all our loops and doing sound-on-sound and things like that. Instead of overdubs like in the studio, we can do it live and be facile with it. With something like Baba's vocal [on "Baba"], it would be very difficult to bring him back for a return engagement, and of course the beautiful voices from the Papua New Guinea rain forest—that would be difficult as well, since Stephen Feld recorded them so beautifully. So we licensed them. We take care of the people who made it and honor them, give money back to them. And then musically we're able to go around the world to the rainforest and other places we normally couldn't go to.
When I was up here about a year ago interviewing you for my Grateful Dead Gear book you were showing me a new thing you had within your setup where you were randomly turning into radio stations and then altering the signal as it came through.
Yeah, that's on the CD. I've actually got it working now! That's really great, and it's all about randomness. I turn on the radio and tune it into whatever I want to—in the case of this CD it was 740, the local AM news station. You don't know what's coming up so it's random. Obviously you could tune it into a Chinese station or a political talk show or anything. Then you put it through a delay, some reverb, or you can tap in delay factors in at whatever tempo you want.
I knew it was on the recording but didn't know whether what's on there was random or placed there.
No, it was random and then I flew it in. I mean, I chose that over some others, but I didn't choose it because it was so meaningful or something. I wasn't going for the literal translation.
Is there a typical way that the sessions for this album occurred? Would you arrive at the beginning of an afternoon or evening and say "Here's the kind of space we're going to try to investigate this time"?
Usually it comes from a dream, so I'll have some kind of notion: "I want to do something on The Beam." So I dial up something that is pleasing or interesting, or I find a space Zak and I want to go to and Zakir will respond to that. Or he'll do the same thing: He'll come in with a rhythm and then I will respond to the rhythm and we'll build it from there. Or there's a Giovanni track or a Sikiru thing. In the case of "Baba," it was the Giovanni vocal and the Baba track that started it. Or I'll have a loop.
Where did the Olatunji vocal come from?
They came from some sessions we did in the early '90s, after the first Planet Drum. He came by from time to time—[smiling] in fact he still visits—and I'm always rolling tape, as you know, so this is one I put away for a rainy day, so to speak. It was so charming. It's basically just him speaking gibberish and laughing, but it has so much of his spirit in it. I used to call it our secret language.
Right, it was in the Supralingua. That's sort of the idea of the supralingua: Beyond words, beyond language.
So it started with that tape and then you built around it?
Right. Giovanni came in with that dum-de-doo-d-dum-do-do-do-do, then I drop the octave and put a subharmonic thing on it so it sounds like bass…
How edited are these performances? They're pretty compact. One would sense that at the time maybe they were all a lot longer.
Oh, they go on for hours! [Laughs] They're all performances, and what we do is take a piece of the performance; you take a chunk of it, six or eight minutes, and refine that and work with it a little more. These guys [the musicians] are so good; they're better than machines because they live, they breathe. That's why they don't sound like robots. Of course it's edited because once we start we go for hours and you slip in and out of different places.
You know who used to do this kind of thing? The band War. They used to play and play and work on these grooves and then at some point they'd go back and chop a section out and it would become a song.
Miles Davis, too—the way [producer] Teo Macero would go into the tapes and chop out hunks.
Sure. Lots of people do that. The Grateful Dead used to do it. You play and play and play and there's a sweet spot you come to in the middle or the end or wherever and you say, "OK, here's ten or 15 good minutes," and then you find the sweet spot in that and you bring it down.
Do you keep track of all this in your mind?
Yes. I have a memory for that. I concentrate and focus on this every day. I go into the studio every day and do something.
Do you ever note it and deal with it right after it's occurred?
Not usually. There's a playing time and there's an editing time, and they're not typically in the same moment. Because I like to sit with it a little. I'll make a rough mix later and then play it in different environments. I'll play it in the car or in my house. I'll broadcast it on a little FM frequency so I can hear it on a transistor radio around the property.
When you're recording at all times, how do you determine when a body of work is worthy of starting an album? Because I know you have people up here all the time and in different configurations; people come up and jam…
Well, first of all, I put it all away. I never erase anything. That's the first thing you should know: This is a recording studio, not an erasing studio. It's all on hard drives and backed up. Some things I recorded in 1995, say, really didn't make it into my consciousness or my repertoire; maybe they didn't feel like urgent musicological statements at the time. But I make CDs out all of them and put them away. I have a whole building with walls lined with CDs and DATs and multitracks. I always burn CDs at the end of the day. On my desk each morning is the previous day's work. A lot of times I listen to them; sometimes I don't. Sometimes something will pop out and I'll go, "Wow, let's either use this or go back and do this right." I call them "sound safaris."
There's my headline: "On Sound Safari with Mickey Hart"
The sound safaris started when I used to go out to Tower Records or Virgin or wherever and sample the world's music by buying a few hundred bucks of random world music that I'd never heard. Those were sound safaris. Then it became my personal sound safaris that I recorded or collected, and I code them and number them, and I have a big database so they're all accessible to me. There was a point where I felt like I was just overrun with stuff—"Oh my God, how can I keep track of all this?" Because if you don't know what it is and where it is, you're just collecting stuff for no reason and you can't reference it. So we developed a library data base to keep track of it all and it's worked out great. Now I can easily go back to that '95 material and see if something in there means more to me now.
There are great periods of your music that have not been represented on commercial CDs, like Bembe Orisha, which I thought was a great band…
It was, but it was really best as a performance band. It was definitely time very well spent, but it never quite reached that place where I wanted to put my stamp on it in the commercial world and say, "This is what I sound like and this is where I want to go." Playing it was a joy but it never made it to the next level.
[Zakir arrives from the studio downstairs.]
So, getting back to the new CD, you gave a call to Zakir and said, "It's time!"?
It's time to drum! But we know each other so well and we're in touch all the time. The thing, he's on a different continent every weekend. The hardest thing is not playing and composing with him. The hard part is getting all of us together at the same time because they're all over the map. Yeah, it was time. We haven't had a real serious work together in many years.
Like Spirit into Sound?
No, no. That was just an addendum to the book, a few little loose things.
I don't know what you consider "serious." I thought it was pretty cool.
It was cool, but it wasn't serious. Jimmy Buffett told me he gets massaged to it every day. I love it! [Laughs]
Zakir: He gets a massage every day? I don't think I'm getting enough massages. I haven't had one in about a year. [Laughs]
How about Superlingua? That was serious.
M: That was a serious work. But it wasn't really a co-composition.
Z: Most of what emerges or finally arrives to be recorded is a thought; it's an idea or a vision or it's a sonic dream that comes, and it usually emerges from the crazy mind of Mickey Hart.
M: The great and evil mind of Mickey Hart.
Z: And you get a call: "I have this thought…" "Oh yeah? OK." And then you arrive here and there's one little thing that Mickey has discovered. It might just be a bell being hit. Just a bell being hit, but suddenly you are inside the bell; suddenly you're seeing every little groove that the carver had made into it and you can see it all vibrate and you can see all the harmonics that bell is putting out, even though it's one tone. And suddenly it's not just a point, it's a line and that leads somewhere. That's what my experience with Mickey has been—to get inside each instrument and discover that world.
Do you remember what the point was on this album?
Z: It was in fact in that room downstairs that Mickey called me in and said, "Listen to this," and it was a metal bell—ding-ding-da-ding—and then it went from that to being something else altogether. It was a mutant X-Men bell. [Laughs] An X-Bell, and it morphed into a different tonal texture and went somewhere else and it became rhythmic and a pulse appeared in it and all from that one little stroke. And that was the beginning of this crazy idea.
M: That was the literal place this album started, but the overall vision was: We've done acoustic records slightly processed, but now with the smart machines, the thought was to take it out and process it very sophisticated, with Echo Boy and different technologies. Now you can play into the process and perform the processes, instead of doing it in post [-production]. So we thought that would be a worthy thing to go after, instead of just putting reverb on it and echo and delay and all that, but actually come up with some sort of soundscape that we would go inside of and develop, with all the filigree and arabesques that you can create in that kind of sonic architecture. And do it in real time. So that was the overview.
I would think that being able to do it all in real time would change how you think about playing.
Z: Absolutely.
M: You're not thinking about fixing it in the mix. The way it is, is the way you played it.
Z: It's like playing against a wall, or playing the Taj Mahal. [In the Taj Mahal] you hit a note and it goes on for 16 seconds, so when that happens you play accordingly. You react to what has happened and you move the sound in different ways. So that's basically what was going on here.
When you hit a drum and you're over there, you hear a boom. But when you put your ear to it there's a whole different world of sound that appears. You hear it in layers and you hear it in its multidimensional harmonics. Just imagine all the different harmonics of each instrument and they're all traveling together. Sometimes you hit it and you hear the top tone and the tone that ends it, and you work with those. But here you've got all these different frequencies and they are all running simultaneously in different ways—curves, braids, and all that's happening live. If I'm playing a madal, it can become a chorus of madals and then in my playing I'm reacting to that delays and the reverbs and how it moves and you can see it bouncing of all sides and it appears to you in many different shapes and sizes. So that's fun and it allows us to compose on the stage as we play.
It's certainly an extension of the types of things you used to do with the Dead and with the RAMU setup in your post-Dead world.
M: Definitely. This setup we've got now, though, works the best of all. All those years were experimentation that's led up to this. If we didn't have all those small successes and failures through the years, we wouldn't be where we are.
Z: They're all stepping stones.
M: My God, remember Bob Bralove back there on a 60-channel board and turning knobs [during GD drum solos]? We've been through every imaginable permutation. But that was in the analog world. Now we have these very power sound droids—'bots!
So, Zakir, is this now something you do, too? Working with your own electronics setup?
Z: I have been corrupted by Mr. Hart; it's true.
M: Absolutely! And he's very good at it.
How about Giovanni and Sikiru?
M: No, they're just playing. They're focusing on their performance. But we also have an operator, Jonah Sharp, who helps us a lot in getting all this together.
Z: It's not all electronic. We're also going into the organic world. You will see Mickey and me sitting in the front playing the balafon on a regular microphone. Or shakers…
M: Or tar. Or drums. So that which began the journey is still with us.
Let me ask you about a couple of pieces on the CD. What going on in "Dances With Wood"?
M: It actually comes from tree stumps. We actually performed on the stumps and then put it through the same sonic experience so it became a whole orchestra unto itself. One of those stumps is something like 250 pounds. We have an old-growth grape chardonnay vine that was in the ground during the Civil War, and it's extraordinarily resonant. And so was the redwood stump we used.
I really like the altered sitar on "Under the Groove" and "Kululi Groove." At first I thought it was an electric guitar, but then on "Kaluli Groove" you can hear the unmistakable sitar twang coming out of the sustained notes.
Z: Isn't that wonderful? That's Niladari Kumar, who's a young man I work with when I travel and perform. In fact he'll be with me next year when I play the Palace of Fine Arts [in SF.]. We tried a few different things with him, but a lot of what's on there is just processing. Now, when we go out on tour, I'm going to play that—but not on a sitar. I'll have a trigger device that will make that happen. It can be a box with pads on it or an instrument with triggers. These are things we're working with, experimenting on, learning from, to see where it goes. The original idea of doing this has been achieved somewhat, but it's still a learning process.
M: That's right. We can say that we've achieved some of the vision, but not all of it. It will develop as we play it live, too, and that will be a challenge. Because it's one thing to do this in the studio when you're inspired; it's another to be able to take it out on the road and play with it every night and see how it develops and where it leads. But then the next one will be beyond this, absolutely.
Z: Sometimes I leave here with a CD and I play it the next day and it sounds completely different to me and I come back and say to Mickey [he whispers], "I was up early and I did some things to it…what do you think?"
M: And it kind of builds that way. On this project we were in no particular hurry, because we didn't have any touring plans originally. So we worked at the pace that felt right. It was getting together and exploring at a fairly leisurely pace, and then at a certain point it became clear: "Hey, we could have some fun playing this," and then we started to view it a little differently. We went out played a few dates on the West Coast and that was successful. We came back and developed the music more and finished the CD, and now we have real soundscapes to play into.
You guys are always so busy. When you get together after not having together played in while, do you share with each other what you've learned in the interim?
Z: That goes on even when we're not together: "Did you hear this? Did you read this? Did you watch that?" Sometimes I'll get a crazy mail from RAMU. [Laughs]
M: A RAMU-o-gram!
This just in: "BWOONNNNNNG!"
Z: [Laughs] Exactly! There's always that connection. It's 30-some-odd years now. I never feel like when I come back I have to restart again. It's just starts again from where we left off.
Is it hard for you when you go to India and play many concerts in a traditional style to then come back to this?
Z: No, because it's been going on simultaneously with me for almost my entire life. Even when I was in India as a teenager, I was playing in Bollywood recording studios, and that put 60 or 70 musicians of all varieties in a room playing together—you'd have piano and sitar and sarangi and cello and bassists and guitarists. I grew up doing that, and at the same time my dad [legendary tabla master Alla Rahka] brought me Grateful Dead records and Jefferson Airplane and Quicksilver and Ellington. So I was listening to all that.
M: Our first collaboration was on my first record, Rolling Thunder [1972]. Then, of course, the seminal album was Diga [1976]—that launched a thousand ships and really started this journey in way.
I hear there are plans to rerelease that. How does that sound to you today?
M: Actually, I haven't listened to it in a long time, but I've always loved it.
Z: It was recording experiment, with baffles being built, rooms being built within Mickey's studio [the barn in Novato, Calif.] for us to crawl into. We literally had crawl in and sit down so the tabla players could be blocked off.
M: There were translucent Plexiglas baffles, so we had some isolation but still could see each other. Most of the people in the group were Zakir's students.
What a great band: Jim Loveless, Ray Speigel, Tor Dietrichson...
M: …Vince Delgado. They were all great players. They'd never been in the studio and they had to learn how to play with headphones [on]. The compositions were very complex, some of them based on traditional classical pieces, at 10¼, 205 beats [as in the song "Tal Mala"]. We did nines…
Z: The 205 wasn't my fault; that was you! [Laughs]
M: That's right! I fingerpicked something on a guitar and then Zak put it into a rhythm…
Z: And it turned out to be 102½ beats, one cycle, but the half-beat was difficult so we did two cycles and made it 205 beats.
M: It was 10¼, ten times. You don't do that in America. In fact Zakir told me they don't do it in India either! [Laughs] I thought maybe people were playing in 10¼ on the street corners. But Alla Rakha composed it with us, so it was worthy thing.
Z: Diga was a recording nightmare for an engineer, too, to get any kind of separation. Plus Mickey was having tubes built that would go out of the studio out into the field, with microphones on one end of them, trying to get some sound.
He must be stopped!
M: We were getting real delay. I had two tubes in the barn that were 30 feet, and two out in the forest, and we had a Lionel railroad track and we had a locomotive at one end with a little RE-15 [microphone] and we had a speaker on the other end, and we had a little transformer. And the locomotive, as it went closer to the speaker, for each foot you got one millisecond of delay. But we lost that because of some raccoons. [Laughs]
The important thing to know about that recording is you had the quietest percussion instruments of the world trying to communicate with the loudest—like a trap [drum] set. I was in my own isolation booth. Then you had various duggies, and these folk drum instruments that were sort of in the middle, and you had congas and marimbas and a vibraphone and everything in between.
I would guess that there's hours of stuff that no one's ever heard from those sessions.
M: Sure. There's a whole bunch of stuff. There was a day when Jerry came over and jammed with us.
You mean for "Razooli" and "Happiness Is Drumming"?
Z: No that was different. This is just a great jam. We call it the "Diga Jam."
Put it out, man!
M: Yeah, in all my spare time. One day it will see the light of day…
Look, they're always searching for bonus material for these re-releases—there's you're ticket right there. The fans would go nuts…
M: That's a good idea. I never thought of that..
Z: I remember he was playing that white guitar.
The Travis Bean.
M: Right, he'd just gotten it. It sounded great.
Z: It think that was around the time we did a three- or four-day jam session.
M: One time we went for four days and nights with the groove going. That was an experience. People would sleep here and there, but we always kept the groove going. When you went to the bathroom, you had to keep the groove going on the tambourine or something, or clapping. It was outrageous.
Seems like a lot of your favorite instruments are still working for you—the tar, the balafon.
M: They're like the pet instruments.
Z: They make some of the most beautiful organic tones in the world. You have to go to the source to be able to have that inspiration to be able to take it another step. The balafon is such a beautiful instrument.
M: And now they're like Rolls Royces. The are some amazing ones being built. The tar was the soft side for me.
Z: What did you call it? "The romancing of the ear."
M: I also could take it everywhere. In those days you wouldn't get arrested for playing a tar in an airport; I'm not so sure now. Also, you could clean your pot in it. [Laughs] There was a period there—it might've been about five years—that I had it with me every day. I'd take it on the road. My mom made me a tar case. It became my constant companion. So when you have a relationship with a drum like that, it never leaves you.
And then there was Hamza [El Din], who introduced me to that tradition: The desert. I had never been to the desert, but this drum would take me there. It became a very powerful sound symbol for me.
Zakir, you're obviously most closely associated with the tabla, but on Mickey's sessions through the years you've played a wide variety of percussion instruments. What are some of the other instruments you feel like you've really gotten inside of?
Z: The madal is a set of tuned Indian folk instruments that I've gotten into and inside of. I've been playing some Indian folk drums from the western coast like the dolac and the nal. These are things I was not playing before.
The madal has a sort of bell-like tone, doesn't it?
Z: Yes, it's bell-like and very resonant; a very melodic instrument. It's been one of our source sounds for this album. So those things…and playing the tar with maestro here. I've also been getting into playing with sticks…
What's that like for you?
Z: It's great. It's fun to do, but it's also strange, because I'm thinking about fingers…
You have ten sticks!
Z: Right! And when you play with sticks your missing a bunch of them.
M: It's a totally different sensibility, because the way he uses his fingers is very sophisticated—the way he gets all these different tones, a different feeling when he's leaning back or laying into the beat…
Z: I have to be very thankful because the association with Mickey and this journey has really revealed a whole different world of information and tradition and different genres and styles of drumming to me, which has actually helped me a lot in every aspect of my drumming. I have to say that be it Latin percussion, Nubian, jazz, rock, whatever—a big concoction of that has seeped into my tabla playing. My tabla playing has gotten richer because of this union.
I don't think Mickey gets enough credit for really revealing this world of rhythm to the world.
What's the technical term for when your "speaking" beats—"taka-taka-ta-ta-ta.."?
Z: They are known as boles or paran.
Is that you singing on "Heartspace"?
Z: Yes it is. That's another thing he's twisted my arm to do.
I think you sound good on that.
Z: But I don't sing.
M: We call him "Achmed." Zakir doesn't sing, but Achmed can sing! "Achmed, go out there and sing!" [Laughs]
Z: Which reminds me, I have to go back down and work on "Heartspace" right now, getting it ready for the road. See you later! [He departs.]
Mickey, let me ask you one question about Tom Flye, who's recorded most of your albums and mixed this CD. If so much of the music was being done live during the tracking sessions, does that mean he didn't have as much as usual to do at the mix stage?
No, he was still very involved! He's got the ear and he has the sensibility. He's my reference point. My ears are not what they once were. I can hear detail and my recordings still sound fine, but a lot of it has to do with Tom. I'll say, "Tom, am I pushing too much at 8000?" Or, "Am I laying on this too hard?" And he gives me the absolute truth. He'll say, "Oh, Mickey, that gated reverb there is too severe." I like that about Tom. He also has the kind of telepathy where he won't even have to say anything—he'll just look at me and he'll want to see if I blink. So he'll suggest something and we'll change it a little. He's such a wonderful guy, and he has no ego. He's only interested in excellence.
Would the songs arrive to him already edited, in terms of the lengths of pieces?
No, he would come by and check every now and then. I have him come in and make sure I haven't gone off the deep end, if all the processing is in phase; something I might've missed. It's like he makes house calls. [Laughs] So he's familiar with the material before he starts mixing, but then he also comes in with a fresh ear and he finishes it off.
How did you know when the CD was done?
You know when it's done. Actually Zakir plays a big important part in that because I can go on forever. And he'll say, "Enough!"
I was going to ask you what the nature of your co-production with Zakir is.
He just knows so much about music. He's got a degree in music. He understands when something is out of tune more than I would. He's got perfect pitch. He has an extraordinary memory, as you might imagine, being able to remember and recite all those boles. It's, it's…disgusting! [Laughs] He's about as good as it gets in a human being when it comes to perfect recall. He never forgets anything.
He is the sane one. I am the man of chaos, he is the man or order. And we love each other's eccentricities. He can veer to the world of being too perfect, and I can go to the world of chaos. We meet somewhere in the middle and it comes out great. It's just like in the Grateful Dead: You can't explain the alchemy of it, the chemistry of it. I'm just fortunate that I can play with Zakir…and Giovanni and Sikiru. Any day playing with them I feel is paradise on earth.
What do Sikiru and Giovanni bring to it?
They're the spine. They're brothers. They can play with anybody. Giovanni is Zakir's counterpart in the Latin world. They're deities. They're special. They live in a place that no one else lives. They have the incredible skill, but they also have the knowledge of western music and all these different traditions. I am so lucky to have encountered all these guys, and so many others, too—Baba, Airto…it's a long list. I know how fortunate I've been.
Click here to purchase the new Global Drum Project CD from the Dead.net
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AnotherSellout -
if you can record and play the streams from this site to your iPod, why are you still raging at the machine? I agree that the quality of the streams is lower, however lots of the material here is sourced from analog anyway and if the objective of the site is to provide some rarer material for listening (as opposed to remote distribution of archival material), who cares if the tape artifacts are sampled at 192kbps or 96kbps. If as you say, you are playing them on an iPod then the difference is not so profound as to warrant high blood pressure every Monday morning. Why not enjoy the gift as it is kindly offered?
By the way - I tried nettransport and couldnt get it to work. Perhaps you can post your method for snagging the streams to Tapers/Technical forum.
i'm surprised by the quality of the '84 material. good job, lemieux! but the amount of music seems a bit paltry by normal standards.
Well said SPACEBROTHER!
All the argument over streaming/MP3s is a distraction from the real issues. The facts:
- The rate of official releases of new material has ground to a virtual standstill.
- Initiatives to repackage old material (Starbucks, games) are fine, but not for longstanding deadheads
-Making new/rare material available in 'broadcast' formats to minority audiences (Sirius, streaming TS and GDH) is fine too, but not as a substitute for 'mainstream' CD releases/high quality downloads.
- There has been no feedback or even thanks for the excellent suggestions in the relevant forums
I ( and I suspect many others) have run out of ways to ask for regular high quality official issues of good/rare shows from the Vault. People who complain about bad service should not be dismissed as whiners. They have made plenty of eloquent, well argued posts; pointed, but good natured posts; straightforward polite requests. There has been absolutely no constructive response to this from the 'owners', so it should be no surprise that some people go over the top.
I sympathise greatly with the mods; being obliged to police us, appease us, endlessly call for patience is no fun I'm sure, but the root problem will not be solved by their valiant efforts or by those who encourage 'whiners' to shut up and take what they are given.
Let us not forget that Warner/Rhino are the 'owners' of this site and custodians of the vault. They have a responsibility and an accountability. It is absolutely wrong to personally victimise 'front of house' people for the behaviour of their employers, but it is not wrong to ask them to pass on reasonable grievances and to solicit feedback on behalf of the customer.
May I therefore respectfully ask all the 'Front of House' people who use/administer this site (meaning those employed/contracted one way or another by Rhino/Warner/GDP) to kindly let us know that they have passed on a polite request to Rhino to make clear their plans for Vault releases, to do their best to solicit a helpful response and to share that response with us. I hope you feel able to help with this.
In the meantime a constructive suggestion. Perhaps the mods could create a new forum called 'Managing the Vault' for people who want to discuss these issues. It probably won't make a bit of difference, but it may help separate interesting discussions on Tapers Section material from concerns and frustrations about Vault management. That way we can keep everyone happy/unhappy as they wish!
How about it
Good wishes to all!
It seems a shame that theres so much music in the vaults that will never get released. The year is almost over and the only offerings were a release meant before last New Years but was delayed until January and a release intended to be released last decade and delayed until July this year. Rhino began their tenure with the Dead full of promise with the initial releases but seems to have come to a complete standstill.
Whats the point of having wishlist topics when there appears to be nothing new being released and no communication about upcoming prospects.
I hate to complain each Monday but having a minimum of 4 new releases featuring unreleased sessions/shows each year would make everyone here happy and not rehashing previously released music either.
Even downloads would be fine. Theres very little overhead in offering paid downloads. I would gladly pay each Monday for downloads I can listen to anywhere other than sitting on a computer all day.
Man, I just love how good old Grateful Dead tunes just refuse to get old or boring. Excellent selections, I always love Terrapin Station.
I am /still/ blown away by the Drums>Slip>Frank>TMNS>Stella>Round&Round from Sept 24 1976 that you posted a few weeks back. I listen to it while I'm cleaning, when I'm in the shower, whenever! A real gem.
There is one combo I'd love to hear, from one of my fav. periods--late 78--it's called "Missisippi Half Step > Franklin's Tower." Do you think you could hit us with one of those in the next few weeks?
Thanks as always Dave!
P.S. to the whiners: We get the point already. And moreover, it's called "Taper's Section" for a reason.
= = = = = = = = = = = = = = = = = =
God is good.
Right on Dave
Killer CD>TS>NFA
as well as HPW>CB>LLR>HG
Keep 'em coming!!!!
Another slurp of tunes that I'll never hear thanks to corporate. C'mon David, be true to yourself, c'mon over to the dark side, tell the man to go stick it.
I write from italy, and I have a blog on windows live spaces; I used some of the taper's section music as a soundtrack to this blog...it was a way to enjoy the music of the dead with my friends and, anyway, it could be useful to play this music to the ones who really knew a little, if nothing at all (ehi, they weren't so popular here!) about 'em..I lately bought "Three from the vault", "Live from the cow" etc..but I'm a fan !
What difference does it makes to you if some of this wonderful music is downloaded?
This is the real spirit of the Dead...the ones who downloaded this music are the same who buys the cd or downloads the music by PAYING it...the fans, as I told you before..
It seems to me that this is a kind of being so hungry for the money that you don't care for the ones that really love this music.
There are two types of people in the world. Those who make generalisations about other people and those who...errr.......
give me some of whatever you're smoking ...


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AZiO Levetron GH808 USB Gaming Headset Review
AZiO Levetron GH808 USB Gaming Headset Introduction:
What really brings a game to life? Is it the graphics fidelity? Is it the realistic sound? Is it the incredible physics engine that tricks your mind? I would argue that the whole experience is what takes a game and transforms it into something that captures your imagination and your attention. When any one part lacks to a serious degree you end up feeling like something is missing even if you can't pinpoint exactly what it is.
One oft-overlooked part of a serious gaming setup is the audio; more often than not the onboard motherboard audio is used with a cheap set of speakers or headphones. This doesn't exactly lend to total immersion when things like HDD access interference and overall bad sound quality interrupt your gaming trance with real-world annoyances. AZiO intends to solve that conundrum with its Levetron GH808 USB Gaming Headset. With its 40mm audio drivers and 30mm "Vibration Drivers," it intends to replace that stale boring audio experience with something that sucks you into whatever game you happen to be playing.
AZiO Levetron GH808 USB Gaming Headset Closer Look:
There's no question about it: if you're looking at this package you know what you're getting. With a very prominent and full-color image on the front of the box you cannot possibly see this GH808 headset on the shelf without knowing exactly what they are. AZiO has very clearly marked this packaging with the Levetron gaming series branding as well as all of the basic features that come along with that top-end Levetron brand. The GH808 headset boasts USB connectivity, circumaural ear-cups, "enhanced bass", and a digital volume knob. The back of the package spouts off a few more in-depth specifications that you can read more about on the Specifications & Features page.
The AZiO GH808 Gaming Headset can be clearly seen through the convenient window built into the front of the box. Behind the plastic you can see just how attractive the GH808 headset actually is: with its muted red accents and black body it's quite easy on the eyes. Sliding the carrier out of the packaging reveals the GH808 in its true beauty – but can the sound back up the looks of this assembly of plastic, steel, and iron? Keep reading to find out if it's an alchemical nightmare or an amazing transformation from lead to gold!


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Join the weekly Classic Castle set review discussion. Please post your opinions on the set play ability, piece selection, design, etc. Which sets stand up to our catapult of critique and which ones crumble in shame!
This week's set is 2540 Fright Knight's Catapult.
Fright Knight's Catapult was released in 1998. The Bat Lord pushes this small cart which fires flaming shot.


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Events for October 14, 2017 › Young Couples
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Mission Trip South Africa
South Africa Missions Trip October 6 - October 16, 2017 Cape Town, South Africa Why we are going? We are partnering with Living Hope Community Center just outside of Cape Town. Their ministry is to "seek to reach people for Christ, bringing hope and breaking the despair of poverty and disease." Living Hope seeks […]Find out more »