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DaySpring's designs feature:
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Would you like to own a CS X51 for Free? Of course you would!
We've got one unit to give away on Facebook and Twitter.
All you have to do on Facebook is Like this page and share and comment on the Competition image pinned at the top of the page.
On Twitter you just need to Follow Us: and post this Tweet: I'd Love a Machinewerks CS X51, Built in SoYo™. http://store.machinewerks.co.uk/ #machinewerks #CSX51
It's as simple as that, we'll select one winner on August 29th 2014.
Good Luck.

subset: commoncrawl


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Dreams Quotes
No one should negotiate their dreams. Dreams must be free to fly high. No government, no legislature, has a right to limit your dreams. You should never agree to surrender your dreams.
Jesse Jackson
Oh, I was never a businessman. I was a visionary, a dreamer.
Jim Bakker
The most pitiful among men is he who turns his dreams into silver and gold.
Khalil Gibran
I have always been amazed at the way an ordinary observer lends so much more credence and attaches so much more importance to waking events than to those occurring in dreams… Man… is above all the plaything of his memory.
Andre Breton
I stand for freedom of expression, doing what you believe in, and going after your dreams.
Madonna Ciccone


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About This File
Nothing special, just a level thats meant to be fun. Not describing the level's layout, play the wad to see for yourself. This is the fifth of the kaiser_*.wad series, expect more of these to pop up in the future, and these will also be some of my final wads that I will ever make for Doom.


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© Andrew Vertiz
When you say The Grasshopper Lies Heavy to people it means a lot of different things. You're talking about a band that's been releasing material for the better part of a decade at this point, and material that really runs the gambit of genres I might add. From the early programmed drum beginnings of GUN to the luscious soundscapes and space rock of this year's All Sadness, Grinning Into Flow. While there's a thread that connects it all, it might only be visible to the keenest of eyes; nearly imperceptible to al but a select few. Spanning eight releases and as many years, The Grasshopper Lies Heavy may have produced their greatest work yet. The amalgamation of sounds found on the above mentioned All Sadness, Grinning Into Glow encapsulates nearly all of the aspects that have at one point or another defined The Grasshopper Lies Heavy's sound, but has also taken the palette of sound to an entirely new level, not only elevating the sound but the listener along with it. The building ebb and flow of All Sadness draws the listener in from minute one and doesn't let loose until the album's done. Quiet reserved guitars that build and flutter before retreating back into their hiding places melt with the steady thud of the bass and throbbing heartbeat of the drums, sonic ephemera floating in the back like gossamer chains rattling in the wind, before building into a concrete wall of riff worshipping, amp destroying beauty in a cacophonous rage of sound. All Sadness, Grinning Into Flow is the beautiful soundtrack to a film that was once in the mind's of the artists responsible for creating the album, but will inevitably be playing on a loop in your mind ever after. All Sadness might be their opus, but I'm not inclined to believe that. This is a band that's been around for so long they have gone round the bend and come back again, they're past the breaking point and they're not going anywhere anytime soon. I'm inclined to believe they're just going to keep learning and getting better and better. In fact, I shudder to even think what these guys are going to be up to five years from now. I don't know what it will sound like, I don't know what you will call it, but I know it'll be good, I can tell you that, ha-ha! Enough of my inane pondering and pandering though, there's a link below for you to sample the goods yourself, and make sure you do so as you won't be disappointed! Every current member of The Grasshopper Lies Heavy took part in this comprehensive interview to provide you with an all-you-need-to-know guide to the band and their releases in this writer's humble opinion. It should offer tidbits of new information to even the more veteran of fans, as well as effectively operate as a beginner's guide to the kaleidoscope of sound that is The Grasshopper Lies Heavy, so with out further ado, bon appétit!
Listen while you read: http://thegrasshopperliesheavy.bandcamp.com/
I just recently got into you guys and I only know enough to get me in trouble at this point really. What's the current lineup in The Grasshopper Lies heavy at this point? Is this the original lineup or have there been some changes since you all started?
James Woodard – Guitar, Synth,
Noise Mario Trejo – Bass, Guitar,
Noise Eric Sandoval – Drums
Jared Flores – Guitar, Bass, Synth
James: The lineup has changed quite a bit through the years, actually. Eric is our sixth drummer, but he's been around for a while now. Mario started in 2007 or '08. Jared is the newest guy; he started on our tour in December.
Are any of you in any other bands at this point or do you have any active side projects? Have you release any music with anyone in the past? If so, can you tell us a bit about that?
James: I'm in another project called Blacknail, which is a scary impov modular synth/synth triggered drums/broken guitar trio. It's pretty fun. Mario and I used to be in The Islands and the Sea, which has a posthumous cassette out on Crowquill Records. Eric and I were also in a Mega Man cover band called MEGA MAN. There's some other stuff too, but I'll stop now.
Jared: Yeah, I'm in a couple others bands that are in the early stages. The Beers, Selfies, Life Decay and another band with some of the same people from those other bands that doesn't have a name yet.
Mario: As James said, I was in Islands and The Sea with him a couple of years back. Every couple of years I'll reunite with my old band mates in Reader.
Eric: I'm in Ants.
How old are you and where are you originally from?
James: I'm thirty. I've lived a few places, but San Antonio is my home.
Jared: I'm twenty four. With the exception of the brief stint In Chicago I did a couple years back, I've lived in San Antonio my whole life.
Mario: I'm thirty five, lived in Fat City, Texas my whole life.
What was the local music scene like where you grew up? Did you see a lot of shows or were you very involved in that scene? Do you feel like it's played a large or important role in shaping your musical tastes or in the way that you perform at this point?
James: The local scene in San Antonio is pretty good. There's a lot of talent here. People love to shit on it, but there's some good stuff going on. It has its ups and downs. We kind of get overshadowed by Austin because of its proximity. People usually get recognized after they move.
Jared: Over the past year I've found that it's a pretty cool scene.
Mario: Being the elder in the band, I've seen the San Antonio and Austin scenes grow, change, and get boring. Right now in San Antonio, there's a lot going on, with lots of genres. We do always get overlooked by our more vegan/liberal friends in Austin, but I'm used to it. Austin can keep its' weirdness, San Antonio will keep its' tacos.
What about your home when you were growing up? Were any of your parents or any of your close relatives musicians or maybe just extremely interested/involved in music when you were a kid?
James: My mom was pretty supportive growing up when it came to me picking up a guitar. I think she just didn't want me to blow up the school, so a guitar was a good alternative.
Jared: There really wasn't really any interest in other music for my parents than Kiss, old some R&B and oldies type stuff.
Mario: My father plays guitar and taught me when I was teenager. He taught me church music at first, and eventually I expanded to other music. I played with my father for about ten years at church or for family functions. The last time I played with him, we did Beatles covers for his sixtieth birthday in front of all our family. It was killer.
What do you consider to be your first real exposure to music to be?
James: My mom always had music on growing up, and my older brothers exposed me to stuff too. One of my older brothers would take acid and smoke weed, and make me listen to Pink Floyd and Miami bass music.
Jared: I'd have to say it was the mix of constantly blaring of Al Green and Kiss around the house; didn't care much for the latter, other than the distorted guitars.
Mario: My parents used to play classical music to me when I was a child on a record player. Eventually my parents showed me The Beatles, The Doors, and Chicago. My cousins got me into the Miami Bass movement kinda how James's brothers did. Funny, how for me, it's still about how much air can be pushed through multiple speakers
If you were to pick a moment that seemed to open your eyes up to the infinite possibilities of music and changed everything for you, what would it be?
James: Probably listening to Floyd when I was a kid and finally "getting it". "Shine On You Crazy Diamond" comes to mind. Also, seeing Fu Manchu when I was eighteen was pretty important. Amps so loud you felt them. Won't ever forget how that felt for the first time.
Jared: It would more than likely be the moment I heard the songs "The Sound" and "Helpless Child" from the Swans album Soundtracks For The Blind.
Mario: Watching Pink Floyd Live in Pompeii on VHS was a game changer for me, listening to Jimi Hendrix Live at the Monterey Pop Festival. Just listening to a guitar destroying three full Marshall stacks and realizing it was the late 60's blew my mind. Seeing Sonic Youth in '97 and a majority of the set list was stuff from the 80's was amazing. The crazy Branca tunings messed with my head.
When did you decide that you wanted to start writing and performing your own music? What brought that decision about for you?
James: I think it was just a natural progression from learning to play guitar.
Mario: The moment I was asked to start a band with one of my best friends. Eventually it became part of me.
What was your first instrument? When and how did you get it?
James: An Epiphone Flying V. Got it when I was fifteen.
Jared: It was some off-brand Strat copy.
Mario: Acoustic Yamaha guitar.
How did you all meet and when would that have been?
James: I met Mario thought the music scene. He was in some pretty prolific bands around town, most notably Reader and Jupiter Mission. Met Eric through his old band. We met Jared through Facebookspace.
Jared: Yeah, I saw that these dudes needed a bass fill-in, so I just went for it and asked.
Mario: I met James at shows, hung out with him at record stores. We played shows together before we were in the same band.
When did The Grasshopper Lies Heavy form and what exactly led to that?
James: I started the band in '05 or '06; did the first few releases with a drum machine. I was just writing songs in my room during my early years in college, before I really knew any other good musicians.
Is there any sort of creed, code, ideal or mantra that the band shares or lives by?
Eric: Don't suck.
James: Ha-ha-ha-ha, yeah.
Let's take two seconds to talk a little bit about the name. I like it, but I get the sneaking suspicion that I'm missing out on something. Like, either it's a reference to something I'm not catching or some sort of inside thing. What does the name mean or refer to? Who came up with it and how did you all go about choosing it? Can you recall any close seconds that you almost went with?
James: The name is a reference to the Philip K. Dick book The Man in the High Castle. Check it out!
Now, where is The Grasshopper Lies Heavy located at this point?
The Grasshopper Lies Heavy: San Antonio, Texas.
Do you feel like you're very involved in the local scene? Do you book or attend a lot of local shows or anything?
James: I book shows every once in a while, and host bands that come through occasionally, too.
Jared: Didn't use to, but now I go to a couple shows here and there.
Mario: I have been going to shows on and off since I was seventeen in the late 90's. I'm not as involved now, but for a while there I was at a show every night.
Are you involved in recording or releasing any music other than your own? If so, can you tell us about that briefly here?
Jared: While in Chicago I was part of a co-op type of label and we released some pretty cool drone/psych/dream pop stuff, but the defacto "leader" and I had a falling out when he wouldn't send me some stuff that I had mistakenly shipped there after my move back to Texas.
In your opinion, has the local scene played an integral role in the formation, sound, history or evolution of The Grasshopper Lies Heavy? Or, do you feel like you could be doing what you're doing and loud like you do regardless of where you were at or what you were surrounded by and stuff?
James: Regardless of geographical location, I'd be doing what I am doing. Now, is the psychosphere of South Texas influential on the music we make? Maybe. Probably. But I don't think it has to do directly with local music itself. It's great to have a local scene to cultivate, with killer local bands and venues. But it doesn't reflect on our songwriting process.
Mario: I would be doing this regardless of where I was. I think being in San Antonio makes you humble. If you can tough it out for five years in San Antonio, you can make it anywhere.
Okay, so whenever I do these interviews I inevitably have to describe how a band sounds to our readers who may never have heard them before, and sometime more so than others, it's really hard to do it right. It's quickly becoming this kind of neurosis for me, seriously. Sometimes it keeps me up late at night, wondering if I've mucked something up and put too many of my own thoughts and perceptions into the music. Rather than giving me an ulcer, how would you describe The Grasshopper Lies Heavy's sound to our readers who may never have heard you all before in your own words?
James: Yeah, this is hard for me too. The band kind of has two sides to it. The first side is a heavy, chunky, mosh pit inducing, sludgy, doomy, metal thing. And the second side is a more heavy, psychedelic, synthy, soundtracky thing.
Speaking of describing sounds, you all have any extraordinarily interesting combination of influences that seems to be rather eclectic and all encompassing in a lot of ways. I'm really curious, who are some of your major musical influences? What about influences on the bands as a whole rather than just individually?
James: A lot of horror and sci-fi synth soundtracks, John Carpenter, Vangelis, Goblin, Morricone, stuff like that. Also the guitarist Steven R. Smith and the kraut band Popol Vuh is pretty important; Floyd too.
Jared: I agree with James on the importance of Popol Vuh; been really obsessed with Steven R. Smith again lately, too. I don't think that'll ever be a bad thing.
Mario: Floyd, Sabbath, Zombi, Goblin, yeah I think we're all on the same page here. Ha-ha.
Eric: Nobuo Uematsu, amongst many other video game composers.
What's the songwriting process like for The Grasshopper Lies Heavy? Is there someone who usually comes to the rest of the band with a riff or more finished idea to work out and compose with the rest of you all, or do you all get together and just kind of kick ideas back and forth and jam until you distill and polish something that you want to work on further from the exchange between members?
James: I usually bring riffs to practice and we play with 'em and turn 'em into songs.
What about recording? It think that most musicians at least, can appreciate all the time and work that goes into recording an album when they're holding that finished product in their hands. But actually getting to that point getting everything recorded and sounding right, and especially doing that as a band, can be extremely difficult to say the least. What's it like recording for The Grasshopper Lies Heavy?
James: Yeah, recording is a challenging process for us. Not so much in the tracking, but in the mixing department. I was very particular on the new album especially. We finished principal tracking in two or three days, mixing took much longer.
Mario: I used to loathe recording, but after this last record I've started enjoying it a lot more.
Do you all spend a lot of time working out the structures of songs before you lay them down and record them? Or, is it more of a case where you get a good skeletal idea of what a song's going to sound like and then allow it some room to change and evolved where necessary during the recording process?
James: We pretty much know exactly what we want to do when we hit the studio, except guitar solos and stuff like that.
Do you all utilize any psychoactive or hallucinogenic drugs in the songwriting, recording or performance aspects of The Grasshopper Lies Heavy? A lot of people like to use the altered states that drugs create to make their art in a different or slightly skewed way and I'm always curious about it.
James: I always perform sober. I like to keep my wits about me. Some of the dudes toke in their free time though. No names. We're grownups.
Jared: I'm of the mind that people tend to make some of the best music when they're sober. Then again, I'm always sober.
Mario: I don't drink at our shows 'til after we play, and even at that I'm tired and I just want water and tacos. I also tend to play really sloppy when drunk.
In 2006 you all self-released the self-titled The Grasshopper Lies Heavy CD limited to only 1,000 copies. Can you talk a little bit about the recording of the material for that first release? Was it a fun, pleasurable experience for you all? When and where was that recorded? Who recorded it? What kind of equipment was used?
James: Oh gosh, I never even think about this record anymore. Someone in Conway, Arizona requested one of the songs on this record on our last tour, and that was kinda crazy to me, because I can't even tell you how that song goes! The first EP was basically songs I wrote messing around with a laptop. I didn't really know many other people, so it was just me and a bass player, and the laptop did the drums.
You all followed up the Self-Titled CD with the completely bonkers GUN EP on the Forgotten Empire records label which has an interesting story to it, at least in my opinion. The CD has like fifty-four tracks on it and the six songs on it are all placed in between these beeps and weird sounds and stuff, all of which are named after parts of a revolver handgun which is all laid out in the artwork for the digipak. Can you tell us a little bit about how GUN came to be? What was the initial idea behind the album? Was the recording of the material for GUN very different than your earlier Self-Titled release? Who recorded that material and where was that at? When would that have been? What kind of equipment was used?
James: GUN was more of the guitar, bass, laptop duo era, so the songwriting and recording were very similar. Yeah, the beeps thing. I don't know what I was thinking with that, other than CDs being boring. We recorded this one, along with the self-titled and Soft Noise albums, at a little studio called Electro with our friend Justin Morris. Morris is an incredibly talented cat, and since running Electro, he's relocated to Austin and founded Western Dynamo, a pro audio gear company which sells his beautiful compressor he designed from the ground up. He also records in much nicer studios now. We might record our next album with him, straight to 2" tape.
In 2008 you released your third EP in three years, Soft Noise again for Forgotten Empire records. Now I don't know if I heard this correctly but from what I've heard all of that material was written and recorded in one day? How did that all come about and what led to the release of that material, or had that kind of been the initial idea all along? When was that material recorded? Where was that at and when would that have been? What kind of equipment was used that time around?
James: I think it was in '06 or '07. I bought a Hammond Organ from the Salvation Army and decided to bring it to Electro to experiment with. Morris and I miced it up a few ways and experimented with it for a few hours. After recording, we boiled it down to a fifteen minute edit. It was a fun day. The label at the time wanted to put it out, so it happened. It's super out of print, along with the other Forgotten Empire era stuff. I'm not even sure if I have a physical copy anymore.
2013 saw the birth of two new tracks, "Sucker" and "Dead Songs for Dead Bands" which were released on the In Love split single with God Townes on the Texas Is Funny label and limited to only 300 copies. Were "Sucker" or "Dead Songs for Dead Bands" written or recorded specifically for this single or had they been around for a while looking for a place to call home? If they were recorded for the single, can you tell us about the recording of them? You probably know the drill by now, ha-ha, but who, what, where, when and how?
James: We had "Sucker" already written, and "Dead Songs for Dead Bands" was a heavily modified version of an Islands and the Sea song; one of James and Mario previous bands. They came together pretty quick. We recorded these songs, along with another song, over a single day during Christmas vacation. We recorded the songs with longtime friend Bob Catlin, who has been around the world with bands like Pigface and Psychic TV. He also recorded the 2011 album, Every Man For Himself and God Against All and our new album, All Sadness, Grinning into Flow.
You recently released the All Sadness, Grinning Into Flow 12" for Learning Curve Records. Was the recording of the material for All Sadness very different than the sessions for your earlier material? Can you tell me a little bit about the recording of that material? Where was it recorded and who recorded it? When would that have been? What kind of equipment was used? Is the LP limited at all? If so, do you know how many copies it's limited to?
James: Principal tracking was finished really fast; Eric finished the drums on the first day, then Mario finished bass on the next day. We also had an arrangement for strings and horns recorded by a pal, Marcus Rubio, for us at Cal Arts, so we had to mix those tracks in as well. Then the overdubbing, mostly dual guitars and synths. As previously mentioned, the mixing took the longest. I was pretty particular about it. We recorded it at our friend Bob Catlin's house, who recorded, engineered, and mixed it. The LP is limited to 300 copies, 100 in each color. Some of the color variations are really close to selling out.
Does The Grasshopper Lies Heavy have any music we haven't talked about yet, maybe a song on a compilation, single or a demo that I might not know about?
James: We did a split with Hawks from Atlanta called Fluffer, and we had an album in 2011 called Every Man for Himself and God Against All, which was out of print for a few years until Crowquill Records wanted to reissue it on vinyl. The reissue just came out, and it's gorgeous.
Where's the best place for our US readers to pick up copies of your stuff?
James: At shows, or directly through our record labels' websites.
With the completely insane international shipping rates that just seem to keep going up and up, I try and provide our readers with as many possible options for picking up imports as I can. Where's the best place for our international and overseas readers to score your stuff?
James: I think our label Learning Curve has Euro distro. Poke around!
And where would the best place for our interested readers to keep up with the latest news from The Grasshopper Lies Heavy like upcoming shows and album releases at?
James: Facebooktwitterinstagram is a great place!
Are there any major plans or goals that you're looking to accomplish in the rest of 2014 or 2015?
James: We've been on the road a bunch this year. This fall I want to write a new album and record it live to tape. That'd kick ass.
Jared: Really looking forward to recording with these dudes.
Mario: I'm stoked on recording again. Gonna be great with all four of us there.
Do you all spend a lot of time out on the road touring and stuff? Do you enjoy being out on the road? What's life like on tour for The Grasshopper Lies Heavy?
James: We've spent about a month on the road this year; two weeks over Christmas and New Years, and two and a half weeks this summer. Touring's fun, but it definitely has its ups and downs. Meeting people and playing with amazing bands makes up for all the bullshit you have to deal with though. Best times.
Jared: I love it.
Mario: I wish I could tour more. Working on it!
What, if anything, do you all have planned as far as touring goes for the rest of 2014? I know as I write this you all are out on the road actually but I don't know if you all have anything else planned for the rest of the year.
James: We're going to do some weekend warrior stuff here and there, but I want to concentrate on writing and recording some new music for the rest of the year.
Who are some of your personal favorite bands that you've had a chance to share a bill with over the past few years?
James: Torche and Coliseum come to mind. More recently, we've played with a bunch of killer bands on tour, such as Gay Witch Abortion, Wymyns Prysyn, Pretty Please, Lechuguillas, Glassing… Gosh, there are too many to remember.
Jared: I haven't been in the band long, but sharing stages with Gay Witch Abortion, Wymyns Prysyn and Ghost Police have been highlights for me.
Mario: Torche, Hawks, Wymyns Prysn, Glassing, and so many I can't remember either...
In your dreams, who are you on tour with?
James: The Torche guys are super nice dudes. They'd probably be a blast to share the road with. Melvins. Boris. Goblin. Zombi. Nine Inch Nails.
Jared: What James said.
Do you have any funny or interesting stories from live shows or performances that you'd like to share here with our readers?
James: There are so many. On this last tour, in Conway, Arizona, this guy opening for us had been on tour about six weeks, and had really bad strep throat. He drives up after staying in the hospital all day high as fuck on codeine. He wears a blue onesie onstage, berates the crowd in between songs, and sings songs about how smoking cigarettes is cool. He was high as fuck, telling kids "Who the fuck are you people? What kind of people live in this town? I drove up to this building and just knew this show would suck. This is hell!". It was incredible. I almost died laughing.
Jared: That dude in Conway, Arizona was hilarious! On our last tour, we managed to land a show on New Years Eve in Clarksville, Tennessee. Us and the dudes in Ghost Police ended up playing to a bunch of college kids high on acid and dressed in their spirit animal attire. They just kind of sat at the tables and were probably wondering what was going on.
Mario: That one band with the "Cesspool" song was a trip in Houston.
Do you all give a lot of thought to the visual aspects that represent the band to a large extent, stuff like flyers, posters, shirt designs, logos and covers? Is there any kind of meaning or message that you're trying to convey with your art? Do you have anyone that you usually turn to in your times of need when it comes to that kind of thing? If so, who is that and how did you get hooked up with them?
James: In terms of merch, I design most of it. I screen print everything myself, or with my girlfriend. For album covers, we always use local artists whose work I admire. We've used artists such as Meghan Fest, Michael Velliquette, Nicholas Hay, Linda Arredondo, and Underbelly Printing for our artwork. As an artist and art teacher, artwork is really important in the band, especially album art. In terms of messages in the artwork, I think the new album has a kind of dark, southern Occult mysticism to it, which I think goes hand in hand with the music.
With all of the various methods of release that are available to musicians today I'm always curious why they choose and prefer the various mediums that they do. Do you have a preferred medium of release for your own music? What about when you're listening to and or purchasing music? If you do have a preference, can you talk a little bit about why?
James: I prefer vinyl over anything else. I'm also big on cassettes. I've got a pretty sweet record and tape collection. I recently got a CD player from Goodwill, so I've been playing some older CDs too. I rarely buy CDs though; I try to keep it analog when I can.
Jared: I prefer vinyl and cassettes.
Mario: I'm getting back into vinyl and cassettes. I'm not a huge collector though.
Do you have a music collection at all? If you do, can you tell us a little bit about it?
James: I've got a fairly large vinyl collection. Mostly modern stuff, and a lot of movie soundtracks.
I grew up around a pretty big collection of music and my dad was constantly picking me up anything that I thought sounded cool from the local shops when I was a kid. I would kick back with a set of headphones, read the liner notes, stare at the cover and just let the whole thing carry me off on this trip, man! There was something magical about having a physical object to hold an experience along with the music that always made for a more complete listening experience, at least for me. Do you have any such connection with physically released music?
James: Yeah, my mom has a pretty cool record collection. I remember when I was a kid I copied her Sabbath I album to a cassette and listened to it on my boombox a lot. She also had Dark Side Of The Moon on vinyl, and that was pretty important. I remember the feeling of being awestruck looking at gatefold album covers by Yes and Floyd, along with the triple-fold Woodstock record and all that shit. I've always loved albums.
Digital music is here, and it's here in a big way. Digital music is just the tip of the iceberg, though. When you combine it with the internet that's when things get really crazy. Together they've exposed people to the literal world of music that they're surrounded by, allowed an unparalleled level of communication and eradicated a lot of bands that are related to geography that would have crippled a band even a few years ago. On the other hand though, while people maybe exposed to more music than ever they're not necessarily interested in paying for it and illegal piracy is running rampant right now. As an artist during the reign of the digital era, what's your opinion on digital music and distribution?
James: It's a blessing and a curse. It's good because anyone can hear you. We get Swedish kids liking us on Facebook. A negative is that anyone can put their music up, and there sure is a lot of mediocre shit out there, so the market is kinda oversaturated right now. Labels are still viable because they wade through the shite and curate a roster. It's like throwing an art show. If you like one band on a label, there's a good chance that you'll like a few more too.
I try to keep up with as many good bands as I possibly can. Is there anyone from your local scene or area that I should be listening to I might not have heard of before?
James: There's a bunch of great shit in South Texas. Since this is a psych based mag, you should definitely check out the band Sungod, and their member Michael Sharp's solo stuff; super cool.
Mario: Check out Mike Sharp's stuff for sure. Last two albums are on constant rotation at my place.
What about nationally and internationally?
James: I can recommend you some great horror films.
Thanks for taking the time to talk to me, it was awesome learning so much about the band and I hope you all at least had some fun looking back on everything you've done and managed to accomplish as a band. I swear I'm done with my question, but before we call it a day I'd like to open the floor up to you for a moment. Is there anything that I could have possibly missed or that you'd just like to take this opportunity to talk to me or the readers about?
James: Yeah, thanks for reading. Definitely check out our new album on Learning Curve Records and get that shit on vinyl. Also, Crowquill Records just reissued our album from 2011 on vinyl, so get that too. We're really proud of these vinyl releases, they're both beautiful and these labels deserve your hard-earned chump change. And find us on the internet. And come to a show! Free hugs!
Jared: Many thanks for reading!
Mario: I have said this before, but the support for this band is overwhelming at times. I'm thankful for that and to play with such talented guys. Thanks!
(2006) The Grasshopper Lies Heavy - The Grasshopper Lies Heavy EP – CD – Self-Released (Limited to 1,000 copies with hand silkscreened covers by ThumbPrint Press)
(2007) The Grasshopper Lies Heavy – Gun EP – CD – Forgotten Empire records
(2008) The Grasshopper Lies Heavy – Soft Noise EP – CD – Forgotten Empire records
(2010) The Grasshopper Lies Heavy – Every Man For Himself and God Against All – Digital, CD, 12" – Self-Released/Crowquill Records (Crowquill 12" 1st pressing limited to 300 Black and Pink Vinyl copies)
(2010) The Grasshopper Lies Heavy/Sohns – Werewolf: The Grasshopper Lies Heavy & Sohns – Digital, Cassette Tape – Self-Released?
(2010) The Grasshopper Lies Heavy/Hawks – Fluffer – Digital, Cassette Tape – Self-Released?
(2013) The Grasshopper Lies Heavy/God Townes – In Love – Digital, 7" – Texas Is Funny Records [The Grasshopper Lies Heavy contributes the track "Sucker"] (Limited to 200 Pink Vinyl copies, 200 Gold Vinyl copies and 100 Blue Vinyl copies)
(2014) The Grasshopper Lies Heavy – All Sadness, Grinning Into Flow – Digital, 12" – Learning Curve Records
© Andrew Vertiz
Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014


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It's a question we've been asked many times since the announcement of the new next-gen consoles – will I be able to transfer my FIFA 14 Ultimate Team from Xbox 360 > Xbox One and PS3 > PS4? The answer is yes! Users will have the option for a ONE-TIME transfer of FIFA Points, aspects of the game that are shared between respective consoles are as follows:
- Club Items
- Players
- Seasons Division
- FUT Trophies
- Coins
For LIVE FUT 14 Updates:
Follow @UltimateTeamUK
Changes made in your FIFA 14 Ultimate Team(s) will be reflected across both consoles and fans will be able to compete with their squads across console generations. Transfer markets will be shared between the Xbox 360 and Xbox One and also between the PS3 and PS4.
Let us know you think about this next-gen carryover in the comments section below and our new forum. You can discuss this in real-time with other online FUTers on our FUT Chat feature.


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Scientists have increased their estimate of the number of humpback whales in the North Pacific Ocean, according to a report published in the journal Marine Mammal Science.
The revised estimate follows analysis of data compiled in 2008 as part of the largest survey ever undertaken to assess humpback whale populations in the North Pacific.
Photographic survey
The original study, known as the 'Structure of Populations, Levels of Abundance and Status of Humpbacks' (SPLASH), was a three-year project involving scientists from a number of different countries. The project used photographs to determine whale numbers, relying on the unique fluke patterns of the whales to identify individuals.
By matching photos from the species' northern feeding grounds around the Pacific Rim with photographs of the same individuals in the warm tropical waters of their southern feeding grounds, the scientists were able to produce an estimate of the overall humpback whale population.
The 2008 study originally estimated humpback whale numbers in the North Pacific at just under 20,000 individuals, based on a preliminary examination of the data. However, the new report indicates the population to be over 21,000, or possibly even higher.
According to Dr Jay Barlow, a researcher at the NOAA Southwest Fisheries Science Center in La Jolla, California, "These improved numbers are encouraging… We feel the numbers may even be larger since there have been across-the-board increases in known population areas and unknown areas have probably seen the same increases."
Humpback whale recovery
One of the major targets of the whaling industry, the humpback whale population was decimated by commercial whaling during the 20th century. However, the new population estimate shows a significant improvement on the 1,400 individuals recorded at the end of commercial whaling in 1966.
Although the humpback whale is still vulnerable to a range of threats, including marine pollution and climate change, these figures give encouraging evidence that the species is recovering from overexploitation.
"This latest revision to the study provides an accurate estimate for humpback whales in an entire ocean that could not have been possible without researchers working together to pool data," said John Calambokidis, one of the founders of Cascadia Research.
"While populations of some other whale species remain very low, this shows that humpback whales are among those that have recovered strongly from whaling."
View the original Marine Mammal Science article.
Read more on this story at Eurekalert – New, higher estimates of endangered humpback whales in the North Pacific.
View photos and videos of the humpback whale on ARKive.
Liz Shaw, ARKive Species Text Author


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Janet Jackson Announces She's Pregnant, Delays Tour
Janet Jackson has come out and announced she is pregnant.
Without actually coming out and directly announcing she's pregnant.
The 49-year old shared a video message with fans on Twitter today that explains why she needs to postpone the second leg of her ongoing tour.
It's because she and husband Wissam Al Mana are "planning our family."
"We're in the second leg of the tour, and there actually has been a sudden change," Jackson says in the clip below.
"I thought it was important that you be the first to know. My husband and I are planning our family. So I'm going to have to delay the tour."
A sudden change that involves family planning?
What else could Jackson be referring to aside from a pregnancy?
"Please, if you can try and understand it's important that I do this now," Jackson added. "I have to rest up, doctor's orders. I have not forgotten about you. I will continue the tour as soon as I possibly can."
Rest up? Doctor's orders?!? Sheesh, just say you're pregnant, Janet!
Earlier this year, Jackson had to come out and shoot down talk that she has cancer.
Watch her speak:
A message from Janet…https://t.co/KrzYZ4eyvD
— Janet Jackson (@JanetJackson) April 6, 2016


text: Event DetailsEvent Dates: Tuesday, July 23, 2013 - 4:00pmSeminar Location: JILA AuditoriumSpeaker Name(s): Florian SchreckSpeaker Affiliation(s): IQOQI, Innsbruck Seminar Type/SubjectEvent Details & Abstract: The alkaline-earth element strontium has a rich electronic structure comprising metastable states, broad and narrow linewidth transitions, and a ground state free of electronic magnetic moment. We exploit these properties to create a Bose-Einstein condensate by using laser cooling as the only cooling mechanism. Variations of our technique might in the future enable the construction of a truly continuous atom laser. Furthermore I will present the creation of quantum degenerate Rb-Sr mixtures, for which sympathetic cooling of Rb by laser cooled Sr plays a crucial role. We intend to create RbSr ground-state molecules, which are open-shell polar molecules, providing a large control parameter space for ultracold chemistry and the study of many-body physics.


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Monday, November 24, 2008
I heartily apologize for leaving you hanging as to the results of the 2008 ASIFA-EAST Used Animation Art Auction and Underwear Expo, but as always, I've been inundated with the usual madcap after-effects of a major auctioneering event.
I can't say I blame them, but big auction houses like Sotherbys and Christies, when they smell blood in the water... they're gonna start snapping their jaws. So between having to fend off the high powered auctioneer job offers, lucrative animation art consulting gigs and interviews with major trade mags (Big Shot Auctioneer Monthly, The Gavel, The Going Going Gone Gazette, amongst others) I've had zero time to hit the blog.
And I can't say I blame any of these organizations for wanting to talk to me. It's not every day that an auction, let alone a used animation art auction brings in over three thousand dollars.
You heard me correctly.
Actually, $3380.00 to be kinda exact.
Hard to believe, right? But it's my job to wring the bucks out of the fine folks who come to bid and come hell or high water, I'm gonna do it. And all in the name of ASIFA-EAST.
But there's no way I could do it without the unbelievable generosity of all those who donated their used animation art to the event. My eternal gratitude is theirs forever and I look forward to not bugging them for another couple years before the next auction comes along.
I also gotta thank ASIFA-EAST President for Life David Levy for helping me herd cats...er... i mean, assisting me in gathering up artwork from these fine people. Also, Lee Eaton at Curious Pictures for helping me put together the video part of the event. And of course, the talented ASIFA-EAST Secretary Linda Beck, who put Vanna White to shame as my FABULOUS assistant.
So perhaps you'd like a couple highlights of the Auction?
Biggest Seller - Samurai Jack ink wash painting by Genndy Tartakovsky
Second Biggest Sellers - Pixar's Lou Romano Mini Abstracts
I could go on... but why when other folks have already done the work for me? Check out this unbiased report (complete with lots of pictures) of the event on the ASIFA-EAST website written by the aforementioned (fabulous) Linda Beck:
Unbiased Auction Report!
All in all... it was a great time and I thank all those who made it out. And for those of you who DIDN'T... just keep staring at your barren empty walls, devoid of fabulous used animation art and ask yourself 'WHY... WHY DIDN'T I GO?!?!'.
Posted by MR. WARBURTON at 6:21 AM
4 comments:
Wow! So cool! But whatever will you do with your free time now that the auction is over?
- November 24, 2008 at 1:46 PM
- melody-gr said...
Well, I had forgoten the ASIFA for a while and I had forgoten all the cool stuff I missed... But NOOOOOOOOOOOO you had to remind me them!
- November 25, 2008 at 5:58 AM
- kndfan12 said...
Why,why didn't I go??*cry,cry*I missed out on soooo much!!
- November 26, 2008 at 1:40 PM
- Alison said...
It was an excellent time!
- December 5, 2008 at 12:41 PM
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This year we are once again holding our Decorated Egg Competition where children can decorate an egg at home in any way they like. Eggs will be judged by class with prizes going to the best 'Child's Own Work' entry and the best 'Family Contribution' entry. Please mark all entries with your child's name and which entry category. All entries must be in no later than 3.00pm on Monday 3rd April 2017 to be in with a chance of winning. Get cracking!
Decorated Egg Competition
Mar 24, 2017 | Events and Outings, News, Nursery, Reception, Year 1, Year 2, Year 3, Year 4, Year 5, Year 6 | 0 comments


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So here is my first attempt to capture, on film, what I do. This is Kelvin's place that I just finished working with my design-buddy Paul Pagano.
I shot video on my iphone, not the best quality, I know...but starting with what I have.
My purpose here was to: 1) learn how to create composition with the camera, 2)see how lighting affected the views and 3) see how I could get my subjects (people) to respond.
Thanks Kelvin and Katherine for helping out!
I didn't have to talk them into it which surprised me. It shouldn't have. Kelvin is experienced in PR, so he gets it. Katherine loves to talk and is so personable. I should know that many friends will want to join in.
Katherine asked that I not focus on her face because she didn't have her makeup on.
I get that.
So I artfully (at least I think it is artful...thoughts?) shot her from the back and side in silhouette form. You see her camera in the film and get the idea she is examining the space for the shoot, which is why we were there in the first place. Katherine Bish shoots most of my portfolio shots.
OK, so how do I shoot windows without it making my view all dark. I know that you aren't suppose to shoot into windows but how can I show the window treatments then?
Really, I was tickled at how I could manipulate the shots to capture what I want. Film is like playing with clay. Never occurred to me before. I really like this medium of expression. I think I am catching the bug... a little excited, for a moment...but I feel so amateur and limited, scared again.
It's a beginning, right?
Kelvin is a doll, a great client (all my clients are wonderful in different ways). Kelvin is a great communicator and set the design objective early in our first meeting. His goal was to redesign his masculine bachelor pad to be more inviting for his female friends. He talks about some of the things that made a difference.
I wish I could string these videos together, put in music, cool graphics, my commentary...etc. I will learn. I am determined to master technology I find totally scary.
Let me know what you think of the videos...any tips are welcome.
Feb 21, 2010
Kelvin's place -- my first ever vlog
Posted by dana's design studio at 2:37 PM 1 comment:
Labels: vlog
Giving birth to my vlog and beyond
I am thinking -- actually "committed", but that is too scary to put down in words -- of starting a video blog (vlog). It will likely move from this blog to another to chronicle my journey in the making of film including all the spills, chills, thrills,triumphs and defeats. What can I say, I've been watching the Olympics.
I am totally frustrated that photos don't tell the whole story -- my story and others. So this may be a new venture for me. At least my husband and Whitney have dared me to try.
I think Dan -- my husband -- is tired of my wondering when/if HGTV will call. I am not obsessed, though I think he believes I am.
Dan woke me up one morning -- a morning I was trying to sleep in. "I think you need to start a vlog."
Me: "I have a blog"
Dan: "No, a vvvvvvvvvlog, video, post video of what you do."
What? He wants me to have another project? Is he crazy? He knows what a commitment that will be for him, let alone me.
To be honest, I have never given this serious thought. But his waking me up out of a deep sleep prompted my taking this idea very seriously. And opening my mouth to Whitney made me commit.
I am my own worst enemy.
Dan just wants me to move on, keep going...
I do think a lot about what should happen next.
You see, HGTV's Design Star has not called. I sent my application in about a month ago. They might still call, but I am not one to wait around. And if reality TV is not the path to share my voice, then I need to keep forging ahead until I find the right way.
Maybe, hmmmmm....: I start my own production company (The forest); post videos on the web via the various outlets (the trees); produce my own webivision show (lots of trees); create my vlog (planting the trees); gain a working knowledge of film making (pruning the trees); ...or help others to edit their vlogs (multiple trees and forests).
Or maybe it's all that.
Where to begin? The dream, the forest...that is where I always start, the end goal in mind, which is to have a media platform to share my voice and my friends' voices in the creative ways we approach lifestyle subjects (people and topics).
Think "Oprah".
I am dreaming of the Forest, then, but I need to start and grow where I am planted, which for the moment means I need to cut down some trees.
I am money-challenged (husband is unemployed -- four months, but who is counting?) and time-challenged (I am over-employed). I can't do much about limitations I can't control.
I am tired and over-weight. I can control that. Sleep more and eat less.
I am highly technologically challenged. I can do something about that. I learned how to blog afterall.
I hate, really hate, learning technology, but I will try to learn and to geekify myself if needs be.
That is how determined I am. And scared.
So I start here, with my iphone -- the only technological device I am in love with -- that is my only video camera, a supportive husband and tons of supportive friends. These are my resources...this is where I start.
Not sure where this is going...but I am sure it is going, which is a relief (read "whew"!!!) to me because I just don't stand still.
Stillness makes me crazy.
And maybe that is why I am drawn to video/film.
It moves. Can move with me.
In truth, I probably move faster.
Upward and onward and beyoooooooond!
Back to earth...What will I share?
Anything and everything related to topics I love: family, home, design, raising children, gardens (only marginally interested in gardens, but I have lots of friends who are and do cool stuff where things grow.), cooking (I am only interested in 30 SECOND meals for my grab-and-go lifestyle)...etc.
It won't star me alone. THAT would be nauseating, watching and editing myself, yuk, cough, gag...yuk. But it will include my friends...and friends of friends...etc.
First friend: Paul Pagano, designer friend also seeking a media platform.
I'll focus on where I live -- wonderful St. Louis, my home of 11 years -- and on what I know, some home and family topics of relevance to the world.
Yep, I can handle that.
My journey will be supported by my family, friends, media-mentor friends, PR professional friends...and anyone interested in this journey. Yes, I saw Julie and Julia .
Please, please come along for the ride!
Tell me what you like, what you don't...help me and others develop our video skills.
Send me your videos, send examples of videos...on the lifestyle topics I/we love.
Whitney told me to give myself a homework assignment each day. So tomorrow I will start, just start. I will post videos and muse about what I learned...and want to learn.
How's that for starters?
Posted by dana's design studio at 11:10 AM 3 comments:
Labels: Collaborative Design, Educational Video, vlog
Feb 6, 2010
Angela Adams
I am a sucker for amazing area rugs...I think they can make a room and be a great starting point. How about these Angela Adam rugs.
Posted by dana's design studio at 10:19 PM 1 comment:
Labels: area rugs
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Derek Loosvelt
March 31, 2009
1. Firm web site -- The first thing I do when I visit a firm's website is to look at their staff bios. This is the premier consideration in evaluating a firm. If the staff is good, you will likely have, at minimum, a reasonable experience there. If the staff is weak or poor, you will likely have a sub-par experience there.
How to evaluate staff bios: The two things I look at are the staff's experience and education. At minimum, for me, all principals should have significant experience at top, recognizable buyside or sellside operations. Also, at least most of the principals should have degrees (both undergraduate and graduate) from top universities. If some of the principals have non-buyside experience, it should be at a recognized company or institution. Most of the firm's analysts should have similar backgrounds as well (though, obviously, less experience in terms of years and positions held). Big warning signs for me include: 1. None (or few) of the principals has significant experience at a top firm. 2. None (or few) of the principals has a graduate degree from a top university. 3. Analysts have weak academic and/or work backgrounds. No full analyst should have less than three years of experience. 4. Any signs of nepotism. 5. Lists of degrees from unrecognizable universities and/or work experience at unrecognizable firms. 6. Missing periods in bios.
2. Money under management -- If the firm's website does not tell you how much money the firm manages, this information should be obtainable in either the Nelson's Directory of Investment Managers or Pensions & Investments websites. If the firm is not in either resource, this is also a warning sign. For a hedge fund, I will not talk with firms with less than $200 million under management. I prefer hedge funds with over $300 million. For regular buyside firms, I will not talk with a firm with significantly less than $500 million. Allow me to explain: the IM business is one where you derive your profits from the size of the money you manage. Hedge funds also gain a portion of the profits they achieve. Any good manager with significant experience at a top firm can walk out the door with commitments of, at minimum, $100 million. Some have walked out with commitments of $500 million to $1 billion. Therefore, a firm that cannot break the 200 million figure just does not have the right staff needed to be able to compete.
3. Whose money do they manage? -- You want to join the smartest firm you can. How can you tell whether X firm is smart and will be able to grow? My biggest criterion is to evaluate the firm's clientele. The smartest clients in the business are the university endowments, large foundations, certain smart corporate pension plans, the sharper state pension plans (especially CalPERS, Ohio State Board of Investments, Wisconsin, and Virginia), and some fund of funds (a mutual fund that invests in other mutual funds). Not only do these institutions have fine internal staffs with large budgets to investigate potential managers, but they are advised by numerous consulting firms that also research money managers. Not only will these institutions generally select top-rate managers but, if these managers perform, these institutions have much larger amounts to give them. It is a serious negative if the firm has not been able to attract any of these investors. It means either a) the staff does not have the level of experience and education to gain these institutions' trust or b) their product and/or investment strategies are unappealing, ill-formed or incomprehensible.
The remaining potential client-bases are: retail and high-net-worth (HNW) investors. I generally prefer a firm with a retail investment clientele (i.e., they run mutual funds) over one that caters to HNW individuals (i.e., individual accounts).
How do you find out about the firm's clientele? Ask them, then check their answers against both Nelson's and Pensions & Investments and search the Internet for manager announcements (when a public pension plan puts money with a new manager, this information is published).
Actuarial Exams
March 31, 2009
A Day in the Life: An Investment Bank Recruiting Team Membe
March 31, 2009
Careers in Real Estate I-Banking
March 31, 2009
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2018 Voting Rules
Thank you for your interest in The Pop-Up and support of the Arts! Please review of voting rules below:
1. ELIGIBILITY: Anyone is allowed to vote. We have two forms of voting: Online on our website, as well as paper ballots in person at each participating Venue. All votes counted [online & paper ballots] will be to used to help us award our 'Popular Vote' Prize to one talented artist!
2. SPECIFIC RULES FOR VOTERS: The following rules apply to Voting on a Pop-Up Entry in the Pop-Up; Valparaiso Art Experience.
- Votes must be cast online at http://popupvalpo.com or by paper ballots in the venue directly.
- Registration is not required
- Each Voter can vote for their favorite artworks one time per day.
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text:
Banana Yogurt Pancakes
By sexyswamprat
2 cup Flour, all purpose, unbleached, enriched , sifted
1 stevia packet (other sugar substitutes can be used)
1 tbsp baking soda
8 oz plain nonfat yogurt
1 large bananas , mashed
1/2 cup fat free milk
1/2 tbsp canola oil
1 tsp vanilla extract
4 egg whites , beaten to soft peaks
1 Oil, cooking spray, canola, with butter flavor, 0.33 second
Mix the flour, sugar substitute, and baking soda in a large bowl. Stir to combine.
Add in the yogurt, banana, milk, oil, and vanilla. Stir until just moistened.
Gently fold in the beaten egg whites to complete the batter.
Lightly coat a non-stick skillet with cooking spray. Working in batches and using a ladle, make 4 inch pancakes. Cook until the bottom is browned and bubbles come to the top of the cakes. Flip and continue to cook until browned.
Keep warm or serve while you cook the rest of the pancakes.
Nutritional Facts
- Servings
- 1
- Calories 67.3
- Total Carbs 13.1g
- Dietary Fiber 0.4g
- Sugars 2.5g
- Total Fat 0.4g
- Saturated Fat 0g
- Unsaturated Fat 0.4g
- Potassium 0mg
- Protein 3g
- Sodium 233.3mg
- Dietary Exchanges
- 1/2 Starch


text:
New Site Coming Soon
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URock Photography is a famly owned and opperated photography studio in downtown Memphis, TN. Becky, Parker, Noah and I love the MidSouth and despite what you hear on the news, we meet families every day that live in the city or surounding areas and they ROCK!
We would love to add you to our friends list! Hope to meet you soon.
The Importance of Photography
How often do you hear stories about loved ones who have died and what comfort the photos bring to the family. Sadder still when they pass on and all they have is "I'd been talking with someone about getting a shot of the family for some time but never got around to it."
It's not just the passing of loved ones that may trigger this emotional connection to our art. Moms might sit on the side of the bed holding a photo of a son or daughter who's left home for college or a job in a distant place. My mother brought up some old photos of me when I was a baby, I can't believe how much my son looks like me and how much I enjoyed having the photos.
Photos are a great way to live in the moment. To look at a photo and be taken back in time to a moment of your life is a great experience. Now that I have a son of my own, to me the journey of life has become so much more important to capture.
There's a reason why we hear about people dragging the family photos out of a burning or flooding home - sometimes even risking their lives. I can't picture someone racing back into a burning house to rescue many of the other thing we spend so much money on.
This may sound maudlin or sappy or even self-serving, but as important as any of our other possessions may be, I just don't see the other things making as much impact over time as those images and albums.
That's why we should all celebrate life today. So capture it in art by J & B or pick up the camera yourself for tomorrow, today will be gone!
John Childress


text:
1 Year Unlimited, 1 Horse Power Lifetime Floating License
This License gives you 1 year of unlimited Horse Power.
It was made espeacially for hobby-level Tormach 770, Tormach 440 and Tiag CNC Users.
You can install and run HSMAdvisor and as many computers as you want!
Install a seat at home, at your desk, in your shop even at your work.
As long as you are the only one using the seat - its fine. Multiple seat option is also available.
This licence offers free updates and support forever.
After your Subscription runs out you will still be able to use Floating License in Lite mode. Where your machine power will be limited by the total number of years of your subscriptions with us!


text:
There is an info meme gaining increasing clarity, and it has three threads: rich people behaving badly, oblivious to their context; poor people getting angry and more vocal about it by the day; and media egging them on.
Looking at the motivations, we can tease out what each group is doing.
Rich people want to keep their money and continue to enjoy it, but they are aware, to varying degrees, that too much flaunting will get them in trouble. They fight redistributive schemes, but the less contextually aware among them still do silly things like buy up oceanfront property and build a castle that blocks the view that everyone else had been enjoying up until then.
Poor people, well, it's hard not to see why they're angry and growing angrier. They've been good Joes, paid their taxes, put in their time, and their gruel is getting thinner with each passing day. And their information sources keep telling them how the rich are living, which creates a truly unpleasant dissonance.
The media is the one that's more difficult to figure. Start with the idea that they're in the business of selling newspapers. With instant feedback mechanisms these days, it's easy to see what people want to read, watch, or listen to. And apparently, they want to know about the lifestyles of the rich and famous, even if it makes them angry.
I have a neighbor who recently acquired two young dogs. These pooches came to my notice one summer dawn when one of them started yodeling at 4:30 a.m. I asked the man of the house about it, and he gave me a whole song and dance about how his hands were tied. "I'm working seven days a week," he pointed out in his heavy Irish brogue, "and gone by 5 a.m. They have to run sometime."
While I was sympathetic to his plight, I was trying to elicit some sympathy for mine. He then launched into a long pull about his job. He's a foreman on construction jobs for the very rich. The reason he was working around the clock is that he had a job that started as an $800,000 renovation bid and quickly turned into a $4.6 million project. To accommodate this increase in scope, the schedule had been extended from late October to Christmas. "We have to have it back to them by then," he noted, almost apologetically.
He went on to say that he had 60 people working on the job, that he has to get there first to open it up, and stay last to close it down, and that not a single piece of furniture, sculpture, or painting could take so much as a smudge. "It's as if I were a guest in their house."
He described a larger project, recently completed for Red Sox owner John Henry, which had employed 600 people for 18 months. "We were putting food on the table for 600 families," he said, I thought a bit defensively. "We're glad to have the work. Everyone else just wants the cheapest possible, but not these guys. They want the best there is. And we give 'em that."
Never mind that in a hundred years that chateau will be subdivided into multifamily units, just like the ones built earlier for the colonial rich. Good thing each of the 15 bedrooms has its own bathroom. It will make the reconfiguration easier. Just add hotplates to each.
As our conversation ended without much of a resolution, I wondered aloud whether we create these impossible demands by the rich by allowing them to make them. Money may be fiction, but it is powerful magic, and feeding 600 families may require something akin to slavery in these times.
And speaking of slavery, here's how things are on the latest Ben Stiller vehicle. This is a guy who truly behaves badly. He has no fewer than 12 assistants, all pretty girls. "Maybe he's hoping some of it will rub off on him," someone aware of the situation suggested.
No one, except "the beauties," as the rest of the staff call them, can look at him. That's right. "No eyeballing," came down the word from management. Eyeballing people are fired immediately. A woman in production was caught in Stiller's headlights, and she peeped, "Hi" at him. Gone from the set within the hour.
His last film cost $70 million and brought in $170 million. So, he can do what he wants.
It's worth listing a few from my own industry, technology.
Steve Jobs never wrote down the rule, but no eyeballing was the law of the land at Apple during his day. Americans, and Californians in particular, have an independent streak. Caught in the elevator with Jobs, and the natural instinct would be to look him in the eye and say, "Hi, Steve." But your natural instinct would be wrong, and he would respond with something like, "What did you do when you worked here?"
Then, there is Mark Hurd, a guy who dealt himself a few extra cards with every hand, all while keeping others on the straight and narrow.
And Hurd's friend Larry Ellison. Well, his poor manners are legendary, from exercising his droit du seigneur on the hired help, to flaunting his wealth, to trash-talking pretty much everyone.
And I almost forgot to add one important name: Rupert Murdoch, a man who straddles the very top skootch of 1% AND the media, whose sins go well beyond the self indulgence of many of the others, who manipulates sovereign governments, including our own, with his wealth. May the shadow of his empire pass from over us soon.
So, we have the rich behaving badly. But can we take a closer look at the media's role? They are the ones who keep covering the peccadilloes of the wealthy ad nauseum. The press appears to be fomenting revolution, but perhaps it's just that people continue to want to read about what they don't have.
In an excruciatingly detailed discussion, Jad Mouawad tells us of the growing disparity between first class and coach sections on commercial aircraft. He makes the economics pretty clear, but what's the point? Anyone who flies is well aware of how it is.
On any given day, one of the major publications is shoving our noses in the difference between our lonely shacks and the multiple houses of the rich and famous, endless virtual real estate "tours" posing as news items.
Then, there's the fawning coverage of how Larry Page and Sergey Brin outfitted their 767.
In your face.
So, now we get down to the little people. The 99%.
An engine can't run with some of its bolts and washers banging around in its oil pan, and a society can't run while some — even many — people are near desperation while others are complaining that their fois gras hasn't been prepared properly.
In America, we have a bedrock ethos that allows this situation to get out of hand: the belief in the potential of getting rich. The fact that I might get rich, even if the chances are slim to none, holds me back, and lets me excuse you for actually being rich, and perhaps flaunting it in my face. The flaunting did go into hiding a bit during the beginning of the recession, but if anything, it's gotten worse lately as the gap between the rich and the rest of us grows wider.
Years ago, I saw the entire class layer cake standing outside Fauchon, a high-end gourmet food boutique on the Place de la Madeleine in Paris. It was lunchtime.
Milling about the large plate-glass windows was the middle class, released for an hour from its drudgery, ooohing and ahhhing over the unbelievable displays of food-as-art: glazed chicken with fruits and nuts embedded like mosaic in the glaze, cross-sections of Pâté en Croûte with 15 impossible colors presenting themselves on the surface, pastry constructions that would make Lego envious. The French have an expression, "lèche-vitrine," which translates as "window shopping," but literally means "lick the shop window" with its implication of fawning. These people were licking the windows because that's the closest they were going to get to licking the actual food. Thrills for the cheap seats, but at least they could afford the seats.
In the sun, slumped against the stone of the lower wall was a beggar, his cup mostly empty. He probably figured that folks shopping in that area would have money. In principle, he was right, but people were ignoring him anyway.
Inside the shop, behind the window displays, stepping mincingly across the black and white tiled floor, were just a few real shoppers, dressed in their understated designer clothing. You couldn't hear anything, but you could see the "specialists" at each station bobbing and nodding obsequiously as the shoppers asked questions about their fare. Behind a discreet pane of half-height glass, the smoked salmon slicer stood over his charge, fine blade ready to carve off translucent slivers for laying in artful rows on wax paper. With their quick hands, the confectionary servers turned boxes of chocolates, chosen individually, into lovely presents tied up with golden bows.
The French, they know something about class, class warfare, and revolution. A revolution is a pretty messy, inefficient way to redistribute wealth, but one that people finally turn to when they see no alternative. The history of the French Revolution tells of men who tried to reform, but were rebuffed, stymied, and outmaneuvered by the entrenched nobility. It tells of misspending on foreign wars, a wavering king, and a broken tax system that allowed the very richest to push the burden back onto the rest of society.
A good example of this very sort of tax dodging was covered at sickening length just this past weekend by the New York Times, which told us how the Estée Lauder heirs manage to keep their dough out of other people's hands.
Some figures from Wikipedia: the top 1% in the United States earned an average of about $1 million in 2009. Rounding the population to 300 million would give us 3 million people in the top 1%. Let's group them into households of three and say their income would be about $1 trillion. Not bad, but not enough to make much of a dent in the $13 trillion debt. On the other hand, their net assets, about one-third of the total $55 trillion in the United States, or $18 trillion, would go a long way toward putting things to right.
© 2011 Endpoint Technologies Associates, Inc. All rights reserved.
Twitter: RogerKay


text:
Red Beans with Orzo
A takeoff on Southern-style red beans and rice, this skillet main dish substitutes rice-shape orzo pasta for the rice.
Rate This!
Red Beans with Orzo
- In a medium saucepan, combine chicken broth and the water; bring to boiling. Stir in uncooked orzo, onion, and herbes de Provence. Return to boiling; reduce heat. Simmer, uncovered, for 12 to 15 minutes or just until orzo is tender and most of the liquid is absorbed, stirring often.
- Stir in drained beans, prosciutto or ham, and parsley; heat through. Top individual servings with Parmesan cheese. Makes 4 servings.
Nutrition Facts (Red Beans with Orzo)
- Per serving:
- 350 kcal ,
- 4 g fat
- (1 g sat. fat ,
- 11 mg chol. ,
- 1118 mg sodium ,
- 61 g carb. ,
- 7 g fiber ,
- 18 g pro.


text:
Death of a Gentle lady / M.C. Beaton.
Electronic resources
Series InformationHamish Macbeth mysteries ; 23
View other formats and editions
Record details
- ISBN: 9780446511407 (electronic bk. : Adobe Digital Editions)
- ISBN: 0446511404 (electronic bk. : Adobe Digital Editions)
- Edition: 1st eBook ed.
- Publisher: New York : Grand Central Pub., 2008.
Content descriptions
|General Note:
Book 23 of the Hamish Macbeth Mysteries (series numeration from NoveList).
Title from eBook information screen.
|Summary, etc.:
Gentle by name, gentle by nature. Everyone in the sleepy Scottish town of Lochdubh adores elderly Mrs. Gentle -- everyone but Hamish Macbeth, that is. Hamish thinks the gentle lady is quite sly and vicious, and the citizens of Lochdubh think he is overly cranky. Perhaps it's time for him to get married, they say. But who has time for marriage when there's a murder to be solved? When Mrs. Gentle dies under mysterious circumstances, the town is shocked and outraged. Chief Detective Inspector Blair suspects members of her family, but Hamish Macbeth thinks there's more to the story, and begins investigating the truth behind this lady's gentle exterior.
|System Details Note:
Requires Adobe Digital Editions (file size: 5 KB).
Search for related items by subject
|Macbeth, Hamish (Fictitious character) > Fiction.
Police > Scotland > Highlands > Fiction.
Murder > Scotland > Highlands > Investigation > Fiction.
City and town life > Scotland > Highlands > Fiction.
Deception > Fiction.
Highlands (Scotland) > Fiction.
|Electronic books.
Mystery fiction.


text:
"A perfectly slurpable film"
Legendary Chef and, "Ramen King" Osamu Tomita opens his kitchen along with five other prestige ramen shops to share recipes and trade secrets. The directorial debut of Koki Shigeno, RAMEN HEADS is a beautiful, simple and stylized homage to none other than noodle and broth... or all the philosophy and flavour that comes along with the soupy calling.
see the film
5-23 | Alamo Drafthouse Mainstreet | KANSAS CITY, MO | TICKETS
5-24 | Circle Cinema | TULSA, OK | Tickets Coming Soon
*Featuring an intro from JINYA Ramen
5-30 | Dairy Arts Center | BOULDER, CO | TICKETS
5-28 | Cinema Le Clap | QUEBEC CITY, QC | TICKETS
6/1 | Nippon Connection Film Festival | FRANKFURT | TICKETS


text:
Naruto 559: Incoming Danger
Naruto 559 : Confirmed Spoilers Naruto 559 : Predictions
Title: Incoming Danger
Muu stands as the dust clears revealing an ancient large ancient sarcophogus with runes all over it. Muu eyes widen as he looks closer at it. Kabuto smiles and pushes up his glasses.
Kabuto: "Ahh. At long last the final piece to the puzzle, the coffin of dark ressurrection. The second hokage fought all his life to keep it safe but now it is in my hands at last. Time to make a sacrifice."
Muu steps slides the lid to the left opening it wide as he stares at the claw marks made by someone who must have been trapped inside.
Muu: "I wish I had never learned of this vile thing."
Muu steps inside and lays down as the coffin closes on his body. Kabuto smiles as he does a hand sign and the coffin vanishes beneath the sand. Seconds later the coffin appears next to kabuto. He pushes open the lid revealing a skeleton remains of what was once Muu.
Kabuto: "All I need is the final ingredients."
Kabuto balls up his fist as it starts to turn black. His eyes slowly return to normal as his fist and arm continue to turn black.
Kabuto: "Now for my sacrifice."
Kabuto removes a kunai and screams in agony as he chops off the infected arm at the elbow. He slowly drops the kunai and places his former arm now turned completely pitch black into the coffin.
Kabuto: "I guess you are the final ingredient now my dear."
Kabuto drags over the limp body of Anko who is still bound and gagged. As Anko is placed in the coffin her gag slowly falls away from her mouth.
Anko: "What is going on? Why am I still alive?"
Kabuto: "You are to serve a far greater purpose."
Anko looks at the insides of the coffin and sees the scratch marks of people who were forcibly placed inside the coffin.
Anko: "What is this thing?"
A flash back shows of the senju and uchiha at the death bed of the first sage.
Kabuto: "It is a relic of a forgotten era. After the death of the first sage, there were some who thought that he should be reborn immortal forever. To do this they created this coffin which is fashioned from the remains of the juubi."
A battle is shown and the coffin is shown being placed in a chamber with guards standing in front of a door.
Kabuto: "Their plan failed and since then this coffin has passed through many hands as others sought this device in the search for immortality."
The second hokage is shown looking over the coffin with a nervous look on his face has he writes down the runes on a scroll.
Kabuto: "Even your second hokage at one time possessed this coffin hence how he learned to create edo tensei however that jutsu is still vastly inferior to the capabilities of this device. Thanks to muu I now have the final things I need to bring him back."
Anko: "Why dont you just kill me and get it over with?"
Kabuto: "I cant do that. The coffin requires a proper sacrifice of a young healthy person in order for another person to be brought back to life to live once again as they were prior to their death. The only other thing needed was a part of the original person to help with the transfer."
Anko looks down at the arm and gasps in shock.
Kabuto: "Time for you to play your part my dear. Good bye."
Anko: "NNNOOO!!"
The coffin lid closes shut as the runes begin to glow red. Ankos screams can be heard from outside the coffin as the runes begin to blink red and black as smoke begins to seep from the sides of the coffin. One final scream louder than all the others occurs before the runes finally go black. The coffin slowly opens as Kabuto watches from a distance. A hand slowly reaches out of the coffin as snakes slowly crawl their way out. An familiar laugh echoes the figure slowly rises from the coffin. Kabuto is surprised as he sees the face of his old master, orochimaru.
Orochimaru: "Well done kabuto."
Kabuto: "Welcome back Lord Orochimaru."
Orochimaru laughs and his laugh echoes through the forest as a crow not too far away looks down at them. Not too far away Itachi clenches his fist in anger as he heads through the forest towards Kabuto and orochimaru.
Next Week: A battle of Immortals: Itachi vs Orochimaru


text:
Arizona Golfers Ricky Barnes and Chris Nallen Tied for 19th at Western Refining All-America Golf Classic
Nov. 25, 2002
EL PASO, Texas - Arizona senior Ricky Barnes and junior Chris Nallen stand tied for 19th place at 11-over-par 153 after the opening two rounds of the Western Refining College All-America Golf Classic.
Barnes, a senior from Stockton, Calif., opened the tournament by shooting 10-over-par 81 in the morning round, but rebounded to post an afternoon score of 1-over 72 to close the day at 11 strokes over par. Nallen, a junior from Blairstown, N.J., posted rounds of 76 and 77 to position himself at 11-over-par with 18 holes to go.
The tournament, being held at the El Paso Country Club, features 24 of the nation's top individual golfers and does not include a team scoring component.
Adam Rubinson of Texas Christian leads the tournament as he shot 71-68-139 (-2) Monday. Three golfers, Brendon De Jonge of Virginia Tech, Dustin Bray of North Carolina and John Holmes of Kentucky, all share second place at even-par 142.
The tournament concludes Tuesday with the final 18-hole round. Tee times begin at 7:30 a.m. on holes No. 1 and 10. Barnes and Nallen will play together in the final round, starting at 7:40 a.m. on the 10th hole.
The Arizona men's golf team recently concluded its fall season at the Collegiate Match Play Championship on Nov. 10, where it took third place. The spring season opens Feb. 3 when Arizona plays host to the PING-Arizona Intercollegiate.
Basketball Pre-Game ShowTODAY | 6:30pm PTLive
TODAY | 7:00pm PTLive
Basketball Post GameTODAY | 9:00pm PTLive


text:
Repeat after me: There is nothing wrong with having hot sims in your game.
Now, when you start dreaming about them, you might want to consider going out into the world and meeting some new people. Not that that has ever happened to me. Really. Promise. WHAT?!
Gabriel Emerson by Misanthrope just might be dream worthy. If I were to have a dream about a sim. Not that I would.
Download Gabriel Emerson by Misanthrope for Sims 3 from Mod the Sims.


text:
Hi friends!
Today I'm sharing a layout that I created using the beautiful Felicity Jane March 'Jane' kit!
The gorgeous florals in this kit reminded me of my late mother-in-law's beautiful tea cup, and I thought it would be the perfect opportunity to document her love of this tea cup. Sadly she's been gone for 8 1/2 years, and I still miss her so much, but I actually quite enjoyed creating this page, because it brought back such happy memories of times spent enjoying cups of tea with her.
I started my layout off by mounting the black & white dot patterned paper onto the black & white burst paper, leaving a small border around the outside. I then added a 4x12 inch strip of the pink geometric patterned paper across the middle of the page.
I created some layers behind my photo using one of the solid colour paper from the kit, and a 3x4 journal card. I then added a flair button and a wood veneer heart to the right of the photo. The wood veneer heart was part of the piece that had a row of hearts, but I cut them off to use individually. Above the photo you can also see that I stamped the word 'Lovely' three times using a stamp from the kit.
The wood shapes in this kit are stunning! I used the word 'beautiful' as part of my title, and then added the words 'tea cup' using FJ tiny dot alphabet stickers. You can also see here that I tucked the little doily from the kit under the bottom edge of the pink patterned paper.
Look at those beautiful roses!! I love them!! I added some foam tape underneath to give them extra dimension. To the left of the roses I added a sticker from the cut apart sheet that says 'pretty'.
I finished the layout off by adding my typed journaling which I cut into strips.
I'm so glad that I finally got around to scrapping a photo of my mother-in-law's tea cup. I think it's so important to document little things like this to remember those we've lost.
Thanks so much for stopping by and taking a look at my layout!
Mandy x
Supplies Used: March Jane Kit | Jane Stamp Set | Jane Solid Color Paper Add-On | Jane Paper Add-On | Tiny Dot Alphabet Stickers


text:
Photo Tour - Independent living in Rockwall
Liberty Heights offers a welcoming atmosphere and the comforts of home with our accommodating services and amenities. Residents enjoy the convenience of three delicious chef prepared meals daily as well as an all-day coffee and snack bar. Our luxurious campus includes a grand theatre, craft and cards rooms, as well as a barber and beauty shop to accommodate independence within our Rockwall senior community. We encourage our residents to keep entertained and active with our scheduled bus service, billiards and exercise rooms and library, and residents can entertain and socialize with family and friends in our spacious guest room.
Take comfort in one of our studio, one bedroom, or two bedrooms senior apartments offering kitchenettes, bathrooms with optional handicap accessibility, vaulted ceilings and wonderful views. With our worry-free maintenance services and weekly housekeeping, and professional care staff residents can enjoy days in relaxation or full of our life enriching activities without interruption or hassle.
We welcome you to explore photos of Liberty Heights in Rockwall through our gallery below to see all that retirement living was meant to be.


text:
Mitch fired up the sawmill just down the driveway a bit and sawed some logs. A very nice leisure activity to have taken up, resulting in many fine boards & a pleasing scent in the air.
Johnathan, Lilly & Beau broke out the 3D sidewalk chalk & paint Lilly got for her birthday from Granny & Gramps, and peacefully indulged their inner artists.Apple Trees on concrete, by Lilly
Meanwhile, Mason & Eric played some friendly b-ball just a few yards away.
In matching articles of clothing, no less!
That is a rarity.
And me, I watched on from the sidelines taking pictures & strolled around, checking the status of the garden, the hostas, & lilacs.
There you have it, quiet Sunday evening at our house.


text:
This paper addresses some of the core claims that advocates of realism about migration tend to make when reflecting on the conflicts that the movement of people across borders poses for contemporary liberal democracies. I argue that migration poses serious questions of justice but that such questions ought to be examined in the context of a larger analysis of capitalist injustice, the historical context of its production and the agents responsible for and affected by it. If we isolate the discussion of migration-related problems and ground it on an abstract analysis of human rights to freedom of movement, morality of border controls or humanitarian compassion towards vulnerable people, we end up depriving ourselves of the most effective tools for identifying a remedy to them.
Lea Ypi is Associate Professor in Political Theory in the Government Department, London School of Economics, and Adjunct Associate Professor in Philosophy at the Research School of Social Sciences, Australian National University. Before joining the LSE, she was a Post-doctoral Prize Research Fellow at Nuffield College (Oxford) and a researcher at the European University Institute where she obtained her PhD.
She has degrees in Philosophy and Literature from the University of Rome, La Sapienza, and has held visiting and research positions at Sciences Po, the University of Frankfurt, the Wissenschaftszentrum Berlin, the Australian National University and the Italian Institute for Historical Studies.


text:
The Monster of Highgate Ponds full film on the web is readily available for acquire or see movie internet streaming on the web free in High def quality. The film run for 59 minutes however it doesn't feel like way because the movie is action-packed and there are more than adequate subplots to keep you love the film.
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Storyline The Monster of Highgate Ponds :
A group of children befriend a monster.
Movie Images
The Monster of Highgate Ponds details :
The Monster of Highgate Ponds Clips :
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