text:
// Licensed to the Apache Software Foundation (ASF) under one
// or more contributor license agreements.  See the NOTICE file
// distributed with this work for additional information
// regarding copyright ownership.  The ASF licenses this file
// to you under the Apache License, Version 2.0 (the
// "License"); you may not use this file except in compliance
// with the License.  You may obtain a copy of the License at
//
//   http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing,
// software distributed under the License is distributed on an
// "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY
// KIND, either express or implied.  See the License for the
// specific language governing permissions and limitations
// under the License.

import { FixedWidthBuilder } from '../builder';
import { Float, Float16, Float32, Float64 } from '../type';

/** @ignore */
export class FloatBuilder<T extends Float = Float, TNull = any> extends FixedWidthBuilder<T, TNull> {}

/** @ignore */
export class Float16Builder<TNull = any> extends FloatBuilder<Float16, TNull> {}

/** @ignore */
export class Float32Builder<TNull = any> extends FloatBuilder<Float32, TNull> {
    public setValue(index: number, value: number) {
        this._values.set(index, value);
    }
}

/** @ignore */
export class Float64Builder<TNull = any> extends FloatBuilder<Float64, TNull> {
    public setValue(index: number, value: number) {
        this._values.set(index, value);
    }
}

redpajama_set_name: RedPajamaGithub


A pregnant woman was stranded in the Kerala flood and had developed complications with a ruptured amniotic sac. Both the mother and the baby remained in danger till help came out from the rescue team.
Sajita Jabil, 25, was stuck on the rooftop of her house in Aluva a submerged region of Kerala's Ernakulam district when she heard the rattling of chopper blades. It was an Indian Navy chopper that had flown specially to rescue and end her nightmare.
"A pregnant lady with water bag leaking (was) airlifted and evacuated to Sanjivani. Operation successful," Indian Navy spokesperson Captain D.K. Sharma tweeted.
"The baby and the mother are both stable at the naval hospital," the spokesperson said in a statement.
The death toll has risen to 41 in disaster caused by storms and floods in southern and central states of the United States.
While Bangladesh is among the top five countries at risk of disaster, India ranks 77th on the World Risk Index.


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Urban Forestry The directory of good design Where are all the trees? Where should all the trees go?
Smart WaterMark is Australia's water conservation label identifying and certifying water efficiency.
We want to see industry use water as best they can to help communities enjoy a sustainable future, and green spaces play an important part of this vision.
Technologies certified by Smart WaterMark include gardening and irrigation products, rainwater harvesting and greywater systems.
Smart WaterMark approved services include NGIA's Ecohort, NIASA and Waterworks programs, and waterwise plant selector programs for Sydney Water and WA's Water Corporation.
By showcasing the importance of sustainable green spaces, we will help develop healthier livable cities for generations to come.
This in turn will help make the most of the worlds most valuable resource - water.


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Viklede sig desvære ind i noget hegn og måtte aflives efteråret 2013.
Han var en stor og dejlig Vallak. Rolig og omgængelig. Rødskimmel med stjerne.


text:
Ann Boehm spent 26 years as a government attorney, focusing primarily on employment and labor law. She spent more than half of her career working in federal law enforcement agencies. She worked at the Drug Enforcement Administration for six years, litigating Equal Employment Opportunity Commission and Merit Systems Protection Board cases for the agency and advising management on employment law issues. She spent a short time with Immigration and Customs Enforcement, handling immigration law.
At the U.S. Marshals Service's Office of General Counsel, Ms. Boehm litigated personnel cases for several years. She spent six years in supervisory roles, first as Chief of Communications and then Chief of Discipline Management in the Office of Professional Responsibility. As Chief of Discipline Management, Ms. Boehm oversaw the disciplinary process for hundreds of USMS employees. Early in her career, Ms. Boehm worked in the Office of the Solicitor, Federal Labor Relations Authority where she defended the FLRA in the U.S. Courts of Appeals and won a case before the U.S. Supreme Court. Throughout her federal service, she provided employment and labor training to agency employees.
Ms. Boehm is admitted to practice law in the District of Columbia, Georgia (inactive), the U.S. Supreme Court, and U.S. Courts of Appeals for the District of Columbia, Seventh, Ninth, and Tenth Circuits.
Ms. Boehm earned a Bachelor of Arts, with distinction, from the University of North Carolina at Chapel Hill. She received her Juris Doctor from the University of Virginia. She started her Federal career clerking for the Honorable Harlington Wood, Jr., Circuit Judge, U.S. Court of Appeals for the Seventh Circuit.

redpajama_set_name: RedPajamaCommonCrawl


PINEHURST – FirstHealth Moore Regional Hospital has earned Quality Respiratory Care Recognition (QRCR) under a national program aimed at helping patients and families make informed decisions about the quality of the respiratory care services available in hospitals.
About 700 (or 15 percent) of the hospitals in the United States applied for and received this award. Moore Regional's recognition focuses on services provided by the hospital's Respiratory Services program during 2010. The hospital earned the same recognition for services provided in 2009.
The American Association for Respiratory Care (AARC) started the QRCR program in 2003 to help consumers identify facilities that use qualified respiratory therapists to provide respiratory care. Hospitals earning the QRCR designation ensure patient safety by agreeing to adhere to a strict set of criteria governing their respiratory care services.
The AARC's QRCR program grew out of growing concerns among health care leaders and the general public regarding the safety and quality of health care services provided to patients. Hospitals meeting the QRCR requirements provide a level of respiratory care consistent with national standards and guidelines.
The AARC is a membership organization that represents more than 50,000 health professionals involved in respiratory care nationwide.
Respiratory therapists are specially trained health care professionals who work under physician's orders to provide a wide range of breathing treatments and other services to people with asthma, chronic obstructive pulmonary disease, cystic fibrosis, lung cancer, AIDS, and other lung or lung-related conditions. They also care for premature infants and are key members of lifesaving response teams charged with handling medical emergencies.


text:
Highly anticipated immunisation to start on time
Wednesday, February 17th, 2021 at News
The National Covid-19 Immunisation Programme will begin from Feb 26, where PM and frontliners will receive the vaccine on the 1st day
by AFIQ AZIZ / pic by BLOOMBERG
MALAYSIA will begin its national vaccination programme five days after getting the first batch of the Pfizer Inc-BioNTech SE Covid-19 vaccine on Feb 21, said Prime Minister (PM) Tan Sri Muhyiddin Yassin.
Muhyiddin said the National Covid-19 Immunisation Programme will begin in phases from Feb 26, where he will receive the vaccine on the first day, together with the frontliners.
"This comprehensive programme is aimed at ensuring herd immunity in the community, so that we can stop the spread of Covid-19 infections and bring an end to the pandemic," Muhyiddin said during the launch of the vaccination programme's handbook yesterday.
The first phase of the immunisation programme from Feb 26 until April will involve the frontliners, followed by the second phase in April until August, for the highrisk groups.
Muhyiddin said for the third phase, which is from May this year until February next year, is for those aged 18 and above.
The government sets to reach 70% of the 32 million of the country's population to be vaccinated, which will allow the economy to fully restart as a result of herd immunity in the whole community.
Science, Technology and Innovation Minister Khairy Jamaluddin Abu Bakar said the first shipment of Pfizer vaccines, to be transported by the national flag carrier's cargo arm, MASkargo, will bring 312,390 doses of the vaccine to the Kuala Lumpur International Airport (KLIA) before it can be sorted and sent to various vaccine storage sites around the country.
Muhyiddin reminded the importance of the National Covid-19 Immunisation Programme to protect all people in the country, in line with its handbook theme — "Protect Oneself, Protect Everyone". The handbook provides information on the immunisation programme's policy.
"The vaccination is very important for us to protect not only ourselves but also our loved ones, namely family members, co-workers, neighbours and the whole community," said Muhyiddin.
He added that when everybody is protected and the vaccination programme is successfully implemented, it will have a positive impact, including enabling the economic and tourism sectors to reopen.
Muhyiddin also advised the people to not delay the registration for the vaccination and to adhere to the allocated doses.
The PM said those receiving the Covid-19 vaccine will be screened first to determine their suitability — including the checks on their medical history and allergies before receiving the jab.
This, he said, is to ensure that individuals who are not suited to receive the vaccine will not be injected.
"After a recipient has been given the vaccine, monitoring will take place for 15 to 30 minutes at the vaccination centre, before the recipient is allowed to return home.
"This is to ensure that there are no serious allergic reactions after they have received the vaccine, " he said, as reported by a local daily.
The PM said the Covid-19 vaccines may cause mild side effects, such as swelling or soreness at the injection site, but recipients should be able to recover.
The government has allocated RM3 billion for the procurement of Covid-19 vaccine for up to 70% of the country's population or 22.4 million people.
Read our previous report here
First batch of Covid-19 vaccine to arrive this Sunday
COVID-19 : 632 new cases in Singapore, total surpasses 19,000
Gyms open for business today
Develop Penang Hill bungalows for eco-tourism - NGO
Air ticket price to Sabah, Sarawak will return to normal - Deputy Minister
ACCA: Business continuity plans ineffective against Covid-19
COVID-19: 150 new cases, one more fatality – Health DG


My name is Sergey Nurk and I live in Saint-Petersburg, Russia.
This page is no longer maintained (after the transfer of the lab to a different university).
Up to date personal page can be found here.
"SPArcle: Identifying Microbial Genome Variations with Colored de Bruijn Graphs".
"What is the difference between the breakpoint graph and the de Bruijn graph? ".
S6 BMC Genomics Volume 15 Supplement 6, 2014: Proceedings of the Twelfth Annual Research in Computational Molecular Biology (RECOMB) Satellite Workshop on Comparative Genomics.
"Model-driven discovery of underground metabolic functions in Escherichia coli".
"ExSPAnder: a universal repeat resolver for DNA fragment assembly".
"Assembling Single-Cell Genomes and Mini-Metagenomes From Chimeric MDA Products".
"Assembling Genomes and Mini-metagenomes from Highly Chimeric Reads".
Proceedings of the 17th Annual International Conference on Research in Computational Molecular Biology, Lecture Notes in Computer Science 7821 (2013).
"Genome of the pathogen Porphyromonas gingivalis recovered from a biofilm in a hospital sink using a high-throughput single cell genomic platform".
"SPAdes: a New Genome Assembler and its Applications to Single Cell Sequencing".
"An Upper Bound for Circuit SAT".


We investigated whether social relations buffer the effect of neighborhood deprivation on mental and physical health-related quality of life. Baseline data from the LifeLines Cohort Study (N=68,111) and a neighborhood deprivation index were used to perform mixed effect linear regression analyses. Results showed that fewer personal contacts (b, 95%CI: -0.88(-1.08;-0.67)) and lower social need fulfillment (-4.52(-4.67;-4.36)) are associated with lower mental health-related quality of life. Higher neighborhood deprivation was also associated with lower mental health related quality of life (-0.18(-0.24;-0.11)), but only for those with few personal contacts or low social need fulfillment. Our results suggest that social relations buffer the effect of neighborhood deprivation on mental health-related quality of life.


text:
Q: Garbage Collection in Java application I've searched a lot on how to configure the garbage collector in a Java application, but found answers on GC tuning and using some -XX arguments.
There is also no information on where to use these -XX arguments in Java app.
How do I configure this?

A: The simple answer is that if you don't need to tune your GC's performance, you don't need to specify any GC options at all.
The Java JVM is capable of adjusting the GC's behavior reasonably well to meet the  runtime needs of typical Java applications.  If it is doing a good job, you don't need any GC options at all.  If not, then1 you tune the GC
Indeed, I would say that (with the possible exception of -Xmx) all GC related JVM options are GC tuning options.  So the (Oracle or Android or ... pick your vendor) documentation on Java GC tuning is precisely where you should start looking for advice on GC options.

1 - And not before!

redpajama_set_name: RedPajamaStackExchange


text:
Castellina Marittima è un comune italiano di  abitanti della provincia di Pisa in Toscana, nell'alta Maremma o Maremma settentrionale, storicamente conosciuta come Maremma Pisana. Dal 2011 fa parte dell'unione di comuni Unione dei comuni Colli Marittimi Pisani.

Geografia fisica

Clima
 Classificazione climatica: zona D, 2054 GR/G
 Diffusività atmosferica: media, Ibimet CNR 2002
Dati:https://www.sir.toscana.it/

Territorio

Storia
Forse villaggio di origini etrusche come documentano alcuni reperti archeologici, Castellina fu castello signorile, documentato dal 1276, facente parte della pieve di San Giovanni di Camajano (Castelnuovo della Misericordia).

Il castello fu venduto alla Repubblica di Pisa da Ildebrandono di Sovana. Nel 1406 si sottomise a Firenze con il resto della campagna pisana.  Il marchesato della Castellina fu eretto il 17 marzo 1628 a favore del senatore Lorenzo di Raffaello de' Medici, membro di un ramo collaterale dei granduchi, già governatore di Livorno. Estintasi nel 1715 la linea diretta con Antonio, l'infeudazione fu rinnovata nel 1738 a favore del discendente Francesco Maria (-1741). La potestà feudale era esercitata tramite un commissario che esercitò giurisdizione baronale fino alla legge sull'abolizione dei feudi.
Dal 1730 con Francesco Giuseppe, sesto marchese, la famiglia aggiunse il cognome dei Tornaquinci (Medici Tornaquinci della Castellina). Gli successero Vincenzo (1736-51), e il cav. Francesco Aldobrando (-1824) che nel 1768 prestò giuramento a Pietro Leopoldo. L'estensione del feudo andava dal fiume Fine fino a Monte Vaso con il centro di Pomaia con la tenuta del Terriccio e la Val di Perga. Il feudo comprendeva anche la tenuta del Terriccio, allivellata ai Gaetani di Pisa. Fu feudo fino al 1770.

Nel 1860, dopo il plebiscito indetto da Bettino Ricasoli in tutta la Toscana, venne annesso al Regno di Sardegna che, nel 1861, diventerà Regno d'Italia. Storicamente ebbe attività eminentemente agricole con la produzione soprattutto di cereali, impoverendo gran parte del suo territorio ricco di foreste di cerri e boschi. All'inizio del XIX secolo fu aperta una cava di alabastro (:ed oro fuso :).

Il 2 maggio 1918 il dirigibile U-5 che stava facendo ritorno all'Aeroscalo di Pontedera dopo un pattugliamento marittimo tra Punta Troia (oggi Punta Ala), l'Isola d'Elba e la Corsica, precipitò a terra in località Valdiperga. Nell'incidente morirono tutti e cinque i membri dell'equipaggio: il comandante tenente Federico Fenu, i sottotenenti Enrico Magistris e Luigi Carta Satta appartenenti al Regio Esercito, il sottocapo telegrafista Michele Rosato e il sottocapo motorista Tommaso Perrone, entrambi della Regia Marina. Esiste ancora oggi un cippo funerario a ricordo dei caduti nel luogo del disastro aereo ed una lapide sul palazzo municipale.

Monumenti e luoghi d'interesse
 Oratorio di San Giovanni Battista
 Pieve di San Giovanni Decollato
 Abbazia di San Quirico a Moxi
 Abbazia di San Salvatore a Moxi

Società

Evoluzione demografica

Cultura

Musei
 Ecomuseo dell'alabastro

Eventi
 Musica W: rassegna musicale di gruppi indipendenti

Geografia antropica

Frazioni
 Le Badie (18 m s.l.m., 144 abitanti)
 Malandrone (54 m s.l.m., 41 abitanti)
 Terriccio (150 m s.l.m., 7 abitanti)

Altre località del territorio
Il territorio comunale di Castellina Marittima è popolato da varie piccole località minori. Tra le quali: Badione, Ceppo Nero, Farsiche, Fornaci, Lame, Le Conche, Papacqua, Poggio Al Sasso, San Girolamo, Spicciano.

Economia
Il paese di Castellina Marittima è stato famoso, fino alla prima parte del secolo scorso, per l'escavazione dell'alabastro, usato dagli artigiani locali e della vicina città di Volterra, per la produzione di splendide opere d'arte.

L'economia locale è basata sull'agricoltura, il turismo e alcune attività produttive.

Amministrazione

Di seguito è presentata una tabella relativa alle amministrazioni che si sono succedute in questo comune.

Note

Bibliografia

Voci correlate
Val di Cecina
Medici Tornaquinci
Ferrovia Pisa-Vada

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
RENAULT SPORT RACING
Formula Renault Eurocup
#Compete
Founded in 1971 and coordinated by Renault Sport Racing, Formula Renault has revealed the greatest drivers of modern F1 such as Prost, Räikkönen, and Hamilton.
This 20-race championship requires significant human, operational and logistical support. A full season includes sporting challenges and communication issues that require a true motorsport expertise in order to ensure that the championship shines on the international scene.
Allocating a dedicated team and setting up specific logistics to guarantee great flexibility and responsiveness throughout the season. Full-time availability and proven expertise in the motorsport world allow to make suggestions, encouraging the championship to evolve year after year.
PHEV training


A highly-enriched, oriental medicine-based cream developed from reigning beauties' make-up regimens, offering the efficacy of oriental medicine for skincare and promoting luminescent, glowing skin.
Its seosiogyongdan and gukhwaeum ingredients work together to generate effective results. The refined and concentrated seosiogyongdan ingredients restore the yin-yang balance of skin whose balance has been upset by stress, pollution and aging. It helps skin appear fair and transluscent by improving circulation within imbalanced skin.
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text:
Lisa Ryan's striking collages deserve a close-up
In Lisa Ryan's "Island Issue" and "Won't Obey," magazine cuttings of color, texture and shape form thought-provoking images. Courtesy of the artist
12/13/17 at 6:00 AM
"I see like an artist and think like a designer," says Lisa Ryan about her stylish collages, on view in "Please Don't Ask It Can't Be Explained" at Studio IX. Unlike most collage artists, Ryan focuses on formal considerations, rather than narrative. Her work is fresh with an almost total lack of the whimsy that is present in so much of the oeuvre.
"I do find a lot of mainstream collage with that super surrealism just a little too easy and overdone," Ryan says. "I want my work to be formally pleasing and able to hold up to a good painting."
"Please Don't Ask It Can't Be Explained"
Studio IX
Through January 28
With collage you get two levels of perception. There's the finished image and then there are the individual parts that compose it. Ryan plays with this adeptly, producing interesting juxtapositions of color, texture and shape. In "Tilda," she used different body parts—arms and legs—to compose the cheek. From a distance, it reads as uniform flesh; it's only when you get up close that you discover it is a composite.
Sourcing her clippings from vintage and modern magazines, all but five of the 23 works on exhibit use the former. The colors and images in these have a distinctive antique appearance, although the works themselves are unquestionably contemporary.
Ryan maintains an archive of paper cuttings carefully organized by category in plastic sleeves within an architect's flat file. She laughingly admits that her relationship to these is akin to a hoarder's but says possessing the collection makes her feel safe in that she knows she has a ready supply of images to draw from—yet she rarely does. Instead Ryan cuts fresh pieces for each collage. "It's as if I've fallen in love with the pieces and don't want to lose them," she says. Her archive functions as an inspirational resource; she knows what she has and will look for new cuttings that are similar.
Ryan begins her working process by flipping through magazines. Figuring out what catches her attention is a mental and visual exercise. Her approach is much more granular than a typical magazine consumer's as she zeroes in on details like a shadow on a face, a hue or a texture—in sourcing her raw materials, she repeatedly uses the word "hunt," and it's clearly a major part of the process. "I might have a slight idea of what I want, but the minute I start hunting, every magazine page I flip through is a potential option," says Ryan. "I'll hunt around and then I'll decide, okay, I want something green. Do I want greenery—like a leaf? Do I want it to be recognizable, or is it just a swath of green. What color green? Do I want a bright green, or a dull green? That's where the formal considerations come in. That's the fun part for me—when I have an idea of where I'm going, but there's still enough room for play." Building up her collages piecemeal is a process of discovery. Each new addition of color, form and image is a response to what was put down before.
"Form and Shadow" looks like a watercolor or stain painting, and it's not until you get really close to it that you see its petal-like shapes are composed of a series of magazine clippings of women's cleavages. Using something as loaded as women's breasts carries with it the frisson of sex and it might have skewed it too far in that direction, had it not been done so subtly, and with such strong composition.
Across the room, "Won't Obey" features a blocky U shape and showcases Ryan's interest in making collages that look like structures or that have a kinetic potential. She cut the shape from an image of fur and this imparts a wonderful textural quality to the work. "Island Issue," one of a handful of Ryan's works that contain a word, has a Precisionist vibe with its reductive composition and smoke stack-like element. In "Not a Shadow, but a Threat" Ryan uses a neutral palette of grays and browns that's striking and sophisticated with a vintage feel. The folds and arms give the piece a graceful, gestural quality. There's something ominous about the shrouded figure that is underscored by the title.
Ryan began her creative career as a poet and refers to her collages as visual poetry. "I have loved poetry and written poetry all my life," she says. But when she "stumbled into collage," it was "something that felt natural and seemed to flow out of me effortlessly, and has been so gratifying."
Thanks to her presence on Instagram, Ryan's work has been discovered. She has produced collages for Esquire, The Mockingbird and Paste Quarterly, and was featured in Collage Collective Co.'s 2016 publication, Green. In 2015, she was commissioned by YouTube to produce portraits of 15 of the site's most popular stars for an in-house publication, and the project was an education of sorts. "One thing I've learned is that when a client selects you, they do so because they like your style," Ryan says. "You need to give them what they want, but you also need be true to yourself."
Tags: collage, Lisa Ryan, Studio Ix
ARTS Pick: Let There Be Light
John Waters showcases the odd humor in Christmas


text:
the little nordics
DESIGN & STYLING
DESIGNER CRUSH
SCANDINAVIAN LIFESTYLE
Minimalist & Sustainable Scandinavian Lifestyle
What is the Slow Food Movement?
The slow food movement can be traced to 1980s Italy where, after a demonstration on the intended site of a McDonald's at the Spanish Steps in Rome, Carlo Petrini made it his mission to defend regional traditions, a slow pace of life and good food. Since then the movement has become much broader.
But the slow food movement isn't just about the ingredients though – it's also about slowing down the cooking process and even how we eat. According to its philosophy, the food we eat should be grown and bought locally, prepared with care and eaten with appreciation. Taking the time to really enjoy the meals we make and eating mindfully is a brilliant way to slow down at dinner time.
Slow Food envisions a world in which all people can access and enjoy food that is good for them, good for those who grow it and good for the planet. The Slow Food movement's approach is based on a concept of food that is defined by three interconnected principles: good, clean and fair.
GOOD: quality, flavorsome and healthy food
CLEAN: production that does not harm the environment
FAIR: accessible prices for consumers and fair conditions and pay for producers
The food production and consumption systems most common today are harmful to the earth, to its ecosystems and to the peoples that inhabit it. Taste, biodiversity, the health of humans and animals, well-being and nature are coming under continuous attack. This jeopardizes the very urge to eat and produce food as gastronomes and exercise the right to pleasure without harming the existence of others or the environmental equilibria of the planet we live on.
If, as the farmer poet Wendell Berry says, "eating is an agricultural act", it follows that producing food must be considered a "gastronomic act".
The consumer orients the market and production with his or her choices and, growing aware of these processes, he or she assumes a new role. Consumption becomes part of the productive act and the consumer thus becomes a co-producer.
The producer plays a key role in this process, working to achieve quality, making his or her experience available and welcoming the knowledge and knowhow of others.
The effort must be a common one and must be made in the same aware, shared and interdisciplinary spirit as the science of gastronomy.
The Slow Food movement champions local ingredients and produce, with many of its supporters working to reduce food miles (the distance produce travels from the fields to our tables). In the UK, the organisation is also promoting bio-diversity and working to save plants that are at risk of extinction.
As you eat, notice the colours, flavours, textures and aromas of every element on your plate. Rid yourself of the usual distractions – keep your phone away from the table and switch Netflix off – and focus on the dish you have prepared.
Source : The Slow Food movement & The Slow Food Manifesto for quality
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Hello, friends! I hope your new year is going great so far. I personally am vowing to stay more focused this year. I recently shared my focused goals for 2014 here.
Over the weekend, my focus was doing some organization in our bedroom, specifically my jewelry. I seem to have an addiction to the inexpensive variety. But, a girl has to have a little bling, right? Right. And I get my jewelry from Target, Kohl's, Belk, TJ Maxx, etc., so it's ok to have lots of it. Sorry to disappoint any potential theives, but mine wouldn't be worth stealing.
If you've read this blog before, then you know that I love to repurpose vintage items whenever possible. And I really like to think outside of the box when my mind allows it!
For this jewelry organizing project, I used several vintage items for something other than their intended use. I think you might like it! For the record, I already had all of the items used for this project on hand, just waiting to be used or repurposed.
I found these little tart tins at a yard sale last spring and snatched them up. They were made in France, so that made them that much better. :) There were about 30 of them, and I knew that they would come in handy either for organization or something crafty. Since I'm not very crafty, they worked out perfectly for this organizing project.
Other than yard sales, they're also pretty cheap here. As in, 35 cents each.
The milk glass dental trays came from our local Goodwill store. I had seen something online where someone had used some of them for jewelry storage and knew that I could use them for that. And I already have an addiction to milk glass anyway. So they came home with me.
For this jewelry organizing project, I also used some mini muffin pans that came from Goodwill. I have 2 more of these in my desk drawers at work, holding paper clips, thumbtacks, and other small office supplies. They're so handy! Even if they aren't as pretty as the shiny little tins.
For my longer necklaces, which is my true addiction, I used an old frame that I picked up at the Nashville flea market years ago. When I bought it, it was beat up, dirty, and a couple of the corners looked like they had been chewed on by a dog. My husband thought I was crazy for actually paying for it. But after some wood filler and paint, it was ready to become a bulletin board.
I found the little candy/nut dish at the thrift store a couple of months ago for $1 and it's perfect for my watch and other things that I wear almost daily. It's crackled old ironstone and I adore it.
I originally painted the frame black and didn't cover the board with fabric, but part of this current project involved repainting the frame off white with leftover paint from our bathroom renovation, and also covering the board with a scrap of fabric I've had forever. Can someone say "hoarder"? Seriously, though, I buy things that I really like knowing that I will find a use for them....eventually. And I usually do.
I'll post the how-to for the frame soon. In the meantime, here's a post of a similar one I made for our oldest daughter. It's the same concept. And it's one of my very first posts, so try not to judge too much!
I hung my new hat on the corner of the bulletin board just for fun. I bought it a couple of weeks ago and I just love it, even though my girls tell me I look like a newspaper boy when I wear it with my hair tucked into it. It's great for bad hair days.
The tray came from an estate sale. It's lightweight and is perfect for my bangle bracelets.
I've got more ideas for jewelry organization, as well as orgainization for the entire house on my pinterest board titled "Let's get organized". Check it out for some great ideas.
I'm sure there are many other creative ways to store and display your jewelry. What are some ways that you store yours? I'd love to hear your ideas.
Great jewelry organizing ideas, Angie. I love those little tart pans, and hanging your necklaces sure beats trying to untangle them when they're heaped together in a drawer.
Oh, I like all your jewelry organizers. I love jewelry and it is sometimes hard to keep all straight and accessible. I will be on the lookout for those tart tins - I love that.
A friend uses a pegboard on which to hang her necklaces in her closet. Sounds like a great idea to me, if not pretty!


We know you should never judge an audiobook by its cover, but sometimes it just can't be helped—especially when they're too adorable not to share. We rounded up some of our favorite audiobooks with a lot of heart (both on their covers and in their contents) for your swooning pleasure.
She's got it all figured out. Or does she? When it comes to relationships, Remy's got a whole set of rules. Never get too serious. Never let him break your heart. And never, ever date a musician. But then Remy meets Dexter, and the rules don't seem to apply anymore. Could it be that she's starting to understand what all those love songs are about?
The Schuylers are proud to be one of their fledgling country's founding families, and even prouder still of their three daughters—Angelica, Peggy, and Eliza, whose beauty and charm rival those of both her sisters, though she'd rather be aiding the colonists' cause than dressing up for some silly ball. Still, Eliza can barely contain her excitement when she hears of the arrival of one Alexander Hamilton, a mysterious, rakish young colonel. When Alex and Eliza meet one fateful night, so begins an epic love story that would forever change the course of American history.
Princess Amelia Mignonette Grimaldi Thermopolis Renaldo may seem like she's the luckiest girl ever. She's a princess, for starters. And while she's no supermodel, mirrors do not crack at her reflection. The truth is, however, that Mia is spending all her time preparing for her nerve-wracking entree into Genovian society and avoiding further smooches from her hapless boyfriend Kenny. All she wants is a little peace and quiet…and a certain someone else to be her boyfriend. Narrated by the film adaptation's Anne Hathaway, Mia's mishaps in love on audio are not to be missed.
Everything about Jessie is wrong. At least, that's what it feels like during her first week as a junior at her new ultra-intimidating prep school in Los Angeles. Just when she's thinking about hightailing it back to Chicago, she gets an email from a person calling themselves Somebody/Nobody (SN for short), offering to help her navigate the wilds of Wood Valley High School. In a leap of faith—or an act of complete desperation—Jessie begins to rely on SN, and SN quickly becomes her lifeline and closest ally. Jessie can't help wanting to meet SN in person. But are some mysteries better left unsolved?
Once upon a time, Hudson knew exactly what her future looked like. Then a betrayal changed her life and knocked her dreams to the ground. So when things start looking up and she has another shot, Hudson is equal parts hopeful and terrified. Of course, this is also the moment a cute, sweet guy walks into her life–and starts serving up some seriously mixed signals. She's got a lot on her plate, and for a girl who's been burned before, risking it all is easier said than done.
Best friends. BFFs. Soul twinsies. Whatever you want to call it, Harper and Lily were born to be besties. Not even the threat of different high schools could throw this BFF-ship off-course. Even if Lily begs her parents not to send her to the "dreaded Pathways," a special school for creative types, while effortlessly-popular Harper attends Beverly High with the rest of their class. Can BFF-ship survive the tidal wave of HS drama, or does growing up mean leaving some friends behind?
16-year-old Lily has left a red notebook full of challenges on her favorite bookstore shelf, waiting for just the right guy to come along and accept its dares. Dash, in a bad mood during the holidays, happens to be the first guy to pick up the notebook and rise to its challenges. What follows is a whirlwind romance as Dash and Lily trade dares, dreams, and desires in the notebook they pass back and forth at locations all across New York City.


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HPBOSE 12th Result 2020 (घोषित) +2 Result Name Roll No. Wise www.hpbose.org Sarkari Result
HPBOSE 12th Result 2020 Date +2 Result: After waiting for a long while now finally the Himachal Pradesh Board of School Education has released the date for the declaration of hp 12th Board result 2020. According to the official of the Himachal Pradesh Board 12th board Result has been released on 18th June 2020 and it has been uploaded on the official website. The student who wants to check their marks needs to visit the official website and fill the details which have been asked there. The date for the HPBOSE 12th Result 2020 announcement was 18th June 2020.
About the Himachal Pradesh Board of School Education
To provide the best education for the students of Himachal Pradesh so that they don't need to go outside of the state the government of state decided to establish the Himachal Pradesh Board of Education in the year 1969 with its headquarter at Shimla. The real agenda behind establishment of the boat is to provide high quality education to the candidate. Every year the number of student participating and 10th and 12th examination is increasing and lack of students pass the examination. The board conduct fair examination and result also error-free within time.
1 Highlights of the HPBOSE 12th Result 2020
1.1 Dharamshala Board 2019 plus two class Result
2 How to check Himachal Pradesh 12th Board Result 2020 hp boss org?
2.1 How to obtain original mark sheet of Himachal Pradesh 12 board examination result 2020
2.2 Career option after Himachal Pradesh 12th board result 2020
2.3 Apply for compartment examination HPBOSE 12th Result
2.4 How to fill the form of revaluation of 12th board result Himachal Pradesh 2020
Highlights of the HPBOSE 12th Result 2020
12th board result of Himachal Pradesh 2020 date has been released and it will be uploaded official website. The Himachal Pradesh Board of School Education has conducted the 12th board examination from the 2nd of March to the 20th of March. After the completion of the examination the copies were sent to the Universities and offices for checking.
Dharamshala Board 2019 plus two class Result
But as in between the Lockdown came into existence the complete process copy checking has been paused and this postponed of copy check leads to delay in the HPBOSE 12th Result 2020 Sarkari Result. However, according to officials the procedure of copy check has been and soon it will be over the copy checking process is over. The Hp Boss +2class result will be uploaded on the official website the expected date for the release of HP +2 Result 2020 was 18th June 2020.
How to check Himachal Pradesh 12th Board Result 2020 hp boss org?
12th board result conducted by Himachal Pradesh 2020 is going to release by second week of June. Those candidate need to visit the official website to see their marks. The procedure to check the HPBOSE 12th Result is given below. Follow the steps:-
Firstly open the web portal of Himachal Pradesh that is official website which is https://www.hpbose.org/
In the notification section new link will be provided with the name of 12th board result 2020 click over the link
A new page will be redirected where it is required to fill details which has been asked
Fill all the details and submit it
The student will be able to see there will be displayed on the screen take a printout for future reference.
Click Here to Download HPBOSE 12th Result 2020
हिमाचल प्रदेश 2020 की 12 वीं बोर्ड का परिणाम जारी कर दिया गया है और इसे आधिकारिक वेबसाइट पर अपलोड किया गया है। हिमाचल प्रदेश माध्यमिक शिक्षा बोर्ड 12 वीं बोर्ड परीक्षा 2 मार्च से 20 मार्च तक आयोजित की जाती है। परीक्षा की समाप्ति के बाद प्रतियाँ जाँच के लिए विश्वविद्यालयों और कार्यालयों को भेज दी गईं। लेकिन जैसा कि लॉक डाउन के बीच अस्तित्व में आया था, पूरी प्रक्रिया की कॉपी जांच रोक दी गई है और कॉपी चेक के स्थगित होने से 12 वीं बोर्ड हिमाचल प्रदेश 2020 के परिणाम में देरी हो रही है। हालांकि अधिकारियों के अनुसार कॉपी जांच की प्रक्रिया जल्द ही हो गई है यह कॉपी चेकिंग की प्रक्रिया खत्म हो जाएगी। परिणाम आधिकारिक वेबसाइट पर अपलोड किया जाएगा 12 वीं बोर्ड परिणाम जारी करने की अपेक्षित तिथि जून के दूसरे सप्ताह में है।
How to obtain original mark sheet of Himachal Pradesh 12 board examination result 2020
Himachal Pradesh 12th board result original mark sheet and all the documents will be given to the candidate from the institution from where they have taken the education. All the documents will be sent by the board to the institution. Students needs to visit institution with their original admit card of 12th board examination to collect all the documents. The set of original documents includes passing certificate, mark sheet, character certificate, migration certificate etc.
Career option after Himachal Pradesh 12th board result 2020
It will open the doors of graduation for the students as after the declaration of 12th Board results the candidate who want to have higher education can go for it. For the candidate who wants to join some firm may be private or government can join it.
Apply for compartment examination HPBOSE 12th Result
There are some students who are unable to qualify the examination in the current year and failed in some subject. For those students a separate compartment examination will be taken. For this a separate link will be provided on the official website to fill the compartment examination form. Fill the forms and details of the subject in which compartment examination is desired and pay the nominal fee per subject. A new date sheet will be provided to the candidate and examination will be taken. The expected date for the compartment examination of 12th Board Himachal Pradesh is in the month of July and result will be declared by August.
How to fill the form of revaluation of 12th board result Himachal Pradesh 2020
HPBOSE 12th Result 2020 revaluation can also be done. For this the candidate need to visit the official website and fill the form of revaluation. The copies of the candidate will be rechecked after filling of form and paying the fee. The copy will be checked for re-evaluation and marks which has not been awarded to the candidate at that time will be awarded this time and after the recheck a new mark sheet will be provided to the candidate.
Q. What is the expected date for the 12th board result Himachal Pradesh 2020?
Ans. 18th June 2020 at 11:20 AM.
Q. From where to download the Himachal Pradesh Board result 2020?
Ans. 12 board result by Himachal Pradesh 2020 will be uploaded on the official website. The candidate needs to visit the website and follow the steps to view the marks.
Q. How to fill the revaluation form of Himachal Pradesh 12th board?
Ans. To claim the recheck of the copies a separate link will be provided after the declaration of result on the official website. Fill the form and pay the nominal fee per subject for the revaluation of copies.
Q. What is the date for the compartment examination of 12th Board Himachal Pradesh 2020?
Ans. Himachal Pradesh 12th board compartment examination will be conducted in the month of July and by August result will also be declared.
Q. Who is the topper of 12th Board Himachal Pradesh 2020?
Ans. The details of the 12th topper of Himachal Pradesh 2020 uploaded here after the declaration of result.
Q. Why there is delay in the declaration of 12th board result of Himachal Pradesh Board?
Ans. The delay in Himachal Pradesh class board result is due to the lock down because of covid-19 cases the procedure of copies check has been postponed. It was resume and result has been prepared from June 12th board result will be uploaded on the official website.


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You are at:Home » News & Features » 'John sting' in Anaheim nets 11 arrests as officers target demand side of human sex trafficking
Anaheim police use a van to transport suspects who were arrested on suspicion of soliciting a prostitute to the downtown jail for processing. Steven Georges/Behind the Badge
'John sting' in Anaheim nets 11 arrests as officers target demand side of human sex trafficking
By Greg Hardesty and Rebecca D'Auria on January 20, 2020 News & Features
The man in the Audi wanted oral sex.
Cruising down Beach Boulevard last month, in broad daylight just five days before Christmas, he spotted a woman who appeared to be a street prostitute.
In fact, she was an undercover officer with the Anaheim PD.
Clueless about her real identity, the man in the Audi made her an offer in exchange for the sex act:
Twenty dollars and a bag of Flamin' Hot Cheetos.
Deal, the undercover officer told him.
Minutes later, when the two entered a room, the man was arrested.
An undercover Anaheim PD officer is solicited by a driver along Beach Boulevard in Anaheim during a Dec. 20, 2019 "John sting."
Steven Georges/Behind the Badge
A total of 17 APD officers, including three female officers posing as prostitutes, as well as members of the APD's VICE detail, the Orange County Human Trafficking Task Force, and Community Policing members, participated in the Dec. 20, 2019 operation, which because it targeted the demand side of prostitution was called a "John sting."
As the nation marks Human Trafficking Awareness Month throughout January, the APD's John sting underscored the pervasive nature of the demand side of prostitution – one prong of the pernicious problem of human sex trafficking.
Men in cars solicited the undercover officers for sex within minutes of them taking turns walking from the motel, past a bus stop and to a corner strip mall.
One arrestee admitted to officers that he had dropped his wife off at a nearby salon to get her nails done and "this is how he killed time," Sgt. Chris Cooper said.
By the end of the operation, the APD had arrested 11 men (the crime they are accused of is a misdemeanor).
Suspects who were arrested on suspicion of soliciting a prostitute await transportation to Anaheim's downtown jail.
The APD is a lead agency involved in the Orange County Human Trafficking Task Force, which was formed in 2004.
Since then, the OCHTTF has become a model nationally and internationally in the fight against human trafficking. The task force takes a victim-centered and trauma-informed approach – a stark contrast to how those working in the sex trade were perceived in the past: as criminals.
APD Sgt. Juan Revelas, who has run the law enforcement component of OCHTTF since 2014, participated in the John sting, keeping his eyes on the female undercover officers as they strolled down the street and effortlessly attracted potential clients.
Just before 3 p.m., when the Dec. 20 operation got underway, the first fake prostitute attracted a client in less than three minutes.
"She has a date," Reveles communicated over the radio to his APD sting partners who were hiding in plain sight in unmarked cars.
Cooper, who manages four sworn investigators and one non-sworn investigator on the APD's VICE detail, ran the John sting.
"This is a great example of several details within the department collaborating together to address an important issue," said Cooper, who said such stings are held whenever the need arises.
Street prostitution is one piece of the sex trafficking pie, Cooper explained. Some Johns prefer to hook up with prostitutes over the Internet and meet in high-end hotels. Others prefer to visit illicit massage parlors. Others are out-of-town convention-goers looking for sex.
Although Johns hitting up street prostitutes make up only a small percentage of the demand side, the problem impacts residents and businesses, Cooper said. No one wants to see sex negotiations taking place on the street in front of their home or business, he said.
Prior to the John sting, Cooper's VICE detail had been keeping busy shutting down illegal medical marijuana dispensaries throughout Anaheim.
Last summer, on a weekday afternoon, the team raided a nondescript building with a red roof on East Lincoln Avenue.
The smell of marijuana filled the air as the VICE officers raided the business, which had a counter filled with varieties of herb, ranging from Island Glue and Harambe Hash to Kool-Aid Cookies.
The building thumped with loud music and its shop was finished with a dab room, bath salts, and syringes.
APD's VICE detail has seen it all.
In-addition to narcotics and prostitution, the undercover unit also investigates crimes related to gambling and alcohol.
An undercover Anaheim PD officer is solicited for prostitution by a driver along Beach Boulevard in Anaheim.
"With a four-man unit, we have to really depend on each other and work together," said an undercover VICE investigator who asked to remain anonymous.
The unit executes important stakeouts and surveillance projects aimed at building a case. It requires monitoring criminal organizations and its enterprises and going undercover.
"We are able to see people act naturally, and it's fascinating to see how people act when they think no one is watching," said an undercover VICE sergeant.
VICE detail officers handle dangerous criminals and often work in high-risk situations.
As one VICE investigator described it:
"If you want to arrest the devil, you have to go to hell for witnesses."
On Dec. 20, 2019, the "devil" totaled 11 men all looking to pay for sex.
"If nobody's buying, there's no reason for the girls to come out," Cooper said. "If we can curb it to where the buyers don't want to come out here, that's what we're addressing today
The undercover officers posing as prostitutes wore wires to record the transactions.
The safety of those officers and the other officers participating in the John sting is paramount, said Cooper, who had run the APD's VICE unit for seven months.
Surprisingly, a lot of street prostitution happens in the morning, between 6 a.m. and 8 a.m., Cooper said.
"We were out here on a Friday night recently and it was dead," he said.
Johns also look for sex during their lunch breaks or while driving home from work, he said.
"In my world, you never want to see my guys," Cooper said. "That means everything is going well. This is a very dangerous operation. Some sex purchasers can be violent. Also, some are pimps looking to hire girls. My No. 1 goal is to do this safely. We never sacrifice the safety of the team.
"At the end of the day," Cooper added, "what I want is for anyone who drives down Beach Boulevard to be thinking in the back of their mind, 'I might be picking up a prostitute, but I also might be picking up a cop.'
"And if at the end of the day that's what we accomplish, then we're doing our job."
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Q: Why there is a "static" keywoard in static pointer return function? I am getting difficult time understand why there is a keyworad "static" in header only (I understand what that code does and how to use it in API
//Header
class A
{
    static A * create();
    bool init();

};

A* A::create()
{
    A * ob = new (std::nothrow) A();
    if(A && a->init()){
        A->autorealease();
        return A;
    }
    SAFE_DELETE(A);
    return nullptr;
}

Used like this A* testobj = A::create(); (Which will go out of scope if it's not saved in some (vector) array, thus it will be cleaned by the engine).
Thank you.

A:
I am askign the reason of using static pointer instead of just returning pointer

The member function is static, but the pointer it returns is not. The object the function creates is allocated dynamically, and should be deleted in the same way that you delete other objects.
The reason the member function is marked static is to let you run it without creating an instance of the object, i.e.
A* myObj = A::create();

as opposed to
A obj;
A* objPtr = obj.create();

which defeats the purpose of defining a factory function in the first place.
Keyword static is not repeated at the point the member function is defined in accordance with C++ syntax: the compiler already knows from the declaration that A::create is static, so there is no need to repeat this information.


I saw this Crochet Camera friend online and I thought it would be so cute to make for my daughter when I take her picture. So I create this camera pal. She is pretty good about me taking her picture, but I thought this camera pal would make her smile even bigger. It's so cute to see her try to figure out whats on the camera, but it really does get her attention when I take her picture.
Start with the pony tail holder, you may not need as many sc around depending on how big your pony tail holder and how big your lens is. I used a Nikon Camera lens.
work 2sc in each stitch around, sl st. -10sc, fasten off. Then sew one button on top of the eye circle, and sew one button next to the circle about 1 inch apart, seen above in the picture.
Rnd 5. ch 1, hdc in the next two stitches, -2hdc, Fasten off.
Sew the ear on next to the eyes on both sides. see above in the picture.
When you are done, place the Camera pal around the lens of your camera and you are done!


to do with them on the Instructor side of things is copy and paste them into Excel.
If you have access to Analytics Beta, you can download some information from there - How do I view average course grade analytics in a data table in Analytics Beta?
Yet, if you have a Canvas Admin who is tech savvy and super nice, they might get be willing to dig into the Canvas API or Canvas Data for you.


Forests have long served as a critical carbon sink, consuming about a quarter of the carbon dioxide pollution produced by humans worldwide. But decades of fire suppression, warming temperatures and drought have increased wildfire risks — turning California's forests from carbon sinks to carbon sources.
A study from the University of California, Davis, found that grasslands and rangelands are more resilient carbon sinks than forests in 21st century California. As such, the study indicates they should be given opportunities in the state's cap-and-and trade market, which is designed to reduce California's greenhouse gas emissions to 40 percent below 1990 levels by 2030.
The findings, published in the journal Environmental Research Letters, could inform similar carbon offset efforts around the globe, particularly those in semi-arid environments, which cover about 40 percent of the planet.
Unlike forests, grasslands sequester most of their carbon underground, while forests store it mostly in woody biomass and leaves. When wildfires cause trees to go up in flames, the burned carbon they formerly stored is released back to the atmosphere. When fire burns grasslands, however, the carbon fixed underground tends to stay in the roots and soil, making them more adaptive to climate change.
Megadrought, which can last for a century or longer.
The only scenario where California's trees were more reliable carbon sinks than grasslands was the first one, which requires even more aggressive global greenhouse gas reductions than the Paris Climate Agreement. The current path of global carbon emissions reveals grasslands as the only viable net carbon dioxide sink through 2101. And grasslands continue to store some carbon even during extreme drought simulations.
The model results can help guide "climate-smart" options for maintaining carbon sinks in natural and working lands in California. Ranchers are beginning to use innovative management approaches to improve carbon storage, which can further boost the ability of grasslands to store carbon in the future.
The study does not suggest that grasslands should replace forests on the landscape or diminish the many other benefits of trees. Rather, it indicates that, from a cap-and-trade, carbon-offset perspective, conserving grasslands and promoting rangeland practices that promote reliable rates of carbon sequestration could help more readily meet the state's emission-reduction goals.
As long as trees are part of the cap-and-trade portfolio, protecting that investment through strategies that would reduce severe wildfire and encourage drought-resistant trees, such as prescribed burns, strategic thinning and replanting, would likely reduce carbon losses, the authors note. But the study itself did not consider in its models forest management strategies that reduce wildfire threats.
Since 2010, about 130 million trees have died in California forests due to high tree densities combined with climate change, drought and bark beetle infestation, the U.S. Forest Service reports. Eight of the state's 20 most destructive fires have occurred in the past four years, with the five largest fire seasons all occurring since 2006.


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Tag: roger waters
Solace and Inspiration From One of the World's Greatest Musical Visionaries
Fear, fear drives the mills of modern man
Fear keeps us all in line
Fear of all those foreigners
Fear of all their crimes
It surely must be so
For this is a democracy and what we all say goes
In times of crisis, we turn to visionaries, because they see more clearly than we do. When Roger Waters put out his album Is This the Life We Really Want in 2017, he sure didn't do it for the money. He did it because he had something important for us. While he doesn't reference pandemics anywhere on the record, there's never been a more appropriate time to to take an hour or so and absorb what he has to say than there is right now. It's still streaming at youtube – with far fewer interruptions where you need to hit the mute button to kill the ads than there were when it first came out.
That cynical quote is from the title track. Once again, Waters – always a big-picture guy – gets it. We see all the President's men in their surgical masks and we assume we have to be wearing them too – after all, those guys are all oligarchs, or wannabe oligarchs, and they look just like us! Or, they look like how they want us to look.
Beyond Waters' own simple acoustic chords, there isn't a lot of guitar on this album. That track, with its bell-like sonics and litany of people and faces – which bring 1983's Every Stranger's Eyes full circle – is the exception. Otherwise, it's mostly strings and the former Pink Floyd bassist's marvelously spacious, picturesque, gospel-inspired piano.
The album is symphonic to the nth degree, with several themes and variations. A ticking clock (or a bomb) that references Dark Side of the Moon is one of them. The melodies of a couple of iconic Floyd numbers from The Wall also figure into the equation. Lyrically, it's as shattering, and insightful, and genuinely foundational as anything Waters ever wrote. In the years since, he has gone on to other equally important things – like advocating for Palestinian and Bolivian freedom fighters – but musically he's as relevant as he's ever been.
On one hand, Waters' catalog reads like a doomsday book. Withering cynicism notwithstanding (and there's A LOT of that here), his hope for a future based on compassion rather than greed remains unshakeable after all these years. At the end of the record, love conquers all: this apocalyptic news junkie gets off the screen.
But he reminds us never to forget past and present atrocities. Refugees on the run and and drone murders are recurrent themes: the bravery of being out of range tragically remains as much of a meme as it was when Waters put out his equally visionary Amused to Death album in 1992. Or for that matter, since long before Dark Side: "'Forward!' He cried, from the rear, and the front rank died."
Broken Bones, with its stately piano and grim strings, is one of the keys to this:
Though the slate was never wiped clean
We could have picked over them broken bones
We could have been free
But we chose to adhere to abundance
We chose the American Dream
And oh Mistress Liberty
How we abandoned thee
…Little babies mean us no harm
They have to be taught to despise us
To bulldoze our homes to the ground
To believe their fight is for liberty
To believe their God will keep them safe and sound
We cannot turn back the clock
Cannot go back in time
But we can say "fuck you,"
We will not listen to
Your bullshit and lies
Smell the Roses, another key track, sounds like Floyd's Have a Cigar with good lyrics, calling bullshit on the military-industrial complex with characteristic down-to-earth elegance:
Wake up and smell the roses
Close your eyes and pray this wind won't change
There's nothing but screams in the field of dreams
Nothing but hope at the end of the road
Nothing but gold in the chimney smoke
…This is the room where they make the explosives
Where they put your name on the bomb
Here's where they bury the buts and the ifs
And scratch out words like right and wrong
And there are a lot of really funny moments here. Trump gets snuffed out – or at least cut off mid-sentence, which for him is the same thing. Waters turns the "classic rock" radio staple Run Like Hell into a love song, which doesn't come across quite as optimistically as that transformation might imply. And the reference to Floyd's Wish You Were Here album is particularly spot-on. In a year where all the old paradigms are dying faster than the abandoned patients in your average nursing home, this challenges us to reinvent ourselves. The alternative is in Waters' narratives here, and in many grim songs from throughout his career. Is that the life we really want?
Psychedelic Rock Icon With Inspired Band Picks Up Gloriously Where He Left Off
What can a person do at night in a place that suddenly became the City That Always Sleeps?
You could pick up your instrument, or sit down at it, and write something.
If you gravitate toward big, ornate sounds, you could tune in to the New York Philharmonic's live webcast.
Or you could watch James Tonkin's new concert film Nick Mason's Saucerful of Secrets: Live at the Roadhouse. It hasn't hit VOD yet, but the audio is streaming at Spotify. This isn't just your ordinary Pink Floyd cover band: "There's so many thousands, all playing the same four albums," guitarist Gary Kemp smirks. "The first thing that will be really telling will be to see how they change their setlists as a result of us doing this!"
What differentiates these guys from the wannabes is that they play exclusively pre-Dark Side material from the Syd Barrett and early David Gilmour eras. They also managed to convince Floyd's iconic drummer to join them. After a few well-received shows, they had this frequently glorious concert immortalized, at a venue where the Barrett edition of the band were the first group to play.
To open the show, Telecaster player Kemp picks hard on his low E string, second Tele player Lee Harris launches into the evil, chromatic descending riff of the instrumental Interstellar Overdrive, then bassist Guy Pratt – playing a snappy Rickenbacker – joins the song along with organist Dom Beken and the bandleader…and they're off. In general, throughout the concert, the music has a tighter, somewhat lighter-fingered pulse than the reckless abandon of the Syd Barrett era. The songs also tend to be more ornate, but in a lot of ways the additional layers raise the psychedelic factor. Who wants to hear a band play something exactly as it was recorded, anyway?
Jim Parsons' classic rock-doc production is purist: lots of fretboard close-ups, panning the stage and then back. The sound mix is tastefully oldschool as well. To his infinite credit, the bandleader is toward the back, just as he was throughout Pink Floyd's tenure: he's always been a guy to let the sound out of his kit instead of trying to bang something into it. And what a big kit it is. One of his bandmates remarks that even in his seventies, Mason's vigor is "terrifying." Maybe his subtlety has something to do with that.
Tellingly, it takes two guitarists to replicate what both Barrett and Gilmour did, with plenty of noise and echo, closer to the former's style than the latter's anguished, Hendrix-inspired existential screams. Likewise, Beken has a Rick Wright-sized array of textures at his disposal, orchestrating the music with more of an overtly trippy ripple and twinkle than just the vast deep-space textures the late, great Pink Floyd keyboardist constructed so expertly.
The group segue into Astronomy Domine after the night's opening jagged surrealism: this song is a little more bluesy than the original, but practically just as crazed in places, the bass obviously higher than that instrument typically was recorded in 1967 when Roger Waters played it. Lucifer Sam and Arnold Layne seem a little fast. and rotely digital; yet that same approach improves Fearless, underscoring that otherwise gentle pastoral pop tune's druggy narrative.
The woozy instrumentals Obscured by Clouds and When You're In seem odd choices, little more than a platform for Kemp's simple slide work. As does Vegetable Man, considering what happened to Barrett. In that context, the "why can't we reach the sun" refrain in Remember a Day has special poignancy, a cautionary tale to the extreme.
While Kemp stays on key more than Waters did singing If, the gloomily sunbaked madness anthem, Waters' acid-damaged vocals are stil missed. As are the horns and orchestra of Atom Heart Mother – at least we get about seven minutes of the majestic main theme, emphasis on the macabre.
The proto-metal of The Nile Song holds up well (and foreshadows a famous Johnny Rotten lyric). The alien-encounter anthem Let There Be More Light has an almost gleefully grim intensity; likewise, the bulked-up version of the rarely played Gilmour narrative Childhood's End is more richly dark.
The show's centerpiece, the menacingly raga-influenced Set the Controls For the Heart of the Sun, has a literally breathtaking vastness, Mason having a wryly good time with his huge gongs and then his mallets on the toms. The band pick up the pace with the hauntingly bittersweet See Emily Play, romp through Barrett's mid 60s Carnaby Street pop tune Bike, then hammer their way through One of These Days, Waters' strobe-lit repeaterbox instrumental from the Meddle album.
Fueled by Beken's funereal chromatics and enveloping, smoky echoes, the band go way down the rabbit hole with A Saucerful of Secrets and end the show triumphantly with Point Me At the Sky. The film also contains a few snippets of live footage from the Barrett years plus a bit of context from individual band members. Who would have thought that in 2020, anyone would attempt, let alone succeed in revisiting these classic sounds?
A Gorgeously Bittersweet Farewell to Manhattan from Art-Rock Maven Spottiswoode
The Manhattan that Jonathan Spottiswoode came up in back in the 1990s was far from perfect. The seeds of the city's death by real estate speculation had already been sown. But there were a lot more places where an often witheringly lyrical, lavishly orchestrated rock band could play then than there are now. Spottiswoode & His Enemies may have sold out the release show for their latest magnum opus, Lost in the City, at Joe's Pub on the 30th, but twenty-one years ago they could have done the same at a much bigger venue. So it's fitting that the album – streaming at Bandcamp – is an elegaic salute to a vanished, urbane metropolis, and that Spottiswoode has since relocated to his London birthplace. At least we'll always have the memories – and this epic.
While Spottiswoode is no stranger to largescale creations, this is arguably his most lavish release. He's always had a knack for latin sounds, and he dives more deeply into the Spanish Caribbean here than ever before. The opening track is Hoboken. It's dead ringer for a brooding Pink Floyd ballad: Spottiswoode's voice has weathered to resemble Roger Waters more and more over the yearas, and Tony Lauria's gospel-tinged piano completes the picture. The migthy Springsteenian bridge is spot-on, right down to Laura's Roy Bittan impersonation. "I tried it like all the rest, not what I dreamed I guess, but I did ok," Spottiswoode muses.
With its bluesy minor-key swing spiced with horn harmonies from saxophonist Candace DeBartolo and trumpeter Kevin Cordt, the title track could also be peak-era Springsteen. With Lauria's erudite, Fever-ish solo at the center, it's a long-lost cousin to 10th Avenue Freeze-Out. The nimble pulse of bassist John Young and drummer Tim Vaill propel the funny, filthy, syncopated latin soul anthem Love Saxophone, a look back to a period ten years further back, and several Manhattan blocks north and east.
Antoine Silverman's acerbic, Romany-flavored violin kicks off The Walk of Shame, a hauntingly orchestrated vignette of the dark side of the bright lights: "The night was so delicoius/Now a puddle is a mirror for Narcissus." Then Cordt and trombonist Sara Jacovino work a punchy conversation in Because I Made You, a return to swinging oldschool soul.
The way Spottiswoode sets up the narrative in the distantly ominous, wistful clave-soul elegy Goodbye Jim McBride is too good to give away. The starkly bluesy, doomed, reverberating ambience of It's on Me wouldn't be out of place on Dylan's Time Out of Mind album. Next, the band hit a slow, Lynchian swing groove with Batman & Robin, a disconsolate picture of a divorced dad out with his kids on the weekend.
Riley McMahon's hailstone reverb guitar mingles with Lauria's stern salsa piano and organ in Now Didn't I? McMahon and the bandleader bulid spaghetti western menace over a 5/4 beat in Tears of Joy: as Lauria's electric piano twinkles eerily overhead, it could be Botanica. Then the band hit a blazing soul-blues sway with Dirty Spoon.
A mashup of late 60s folk-rock Kinks and Springsteen E Street shuffle, Still Small Voice Inside could be the album's most poignant, relevant number:
Hello, good evening
Did you accomplish what you planned?
Don't you know the feeling
Too much supply no demand
Yeah it's a drag, at least you tried
Now listen to the still small voice inside
Young's big bass bends anchor McMahon's lingering guitar and blues harp in Cry Baby. Wistful strings and Lauria's elegant piano mingle in Sunset, a vivid, Ray Davies-esque vignette, followed by the wryly Waitsian swing blues Going Home for Christmas.
The album's musical high point could be the swaying 6/8 noir soul instrumental East Village Melody, Cordt and then DeBartolo channeling wee-hours melancholy over the band's glistening, distantly ominous backdrop. Spottiswoode's gritty vocals soar in You'll See, an unexpectedly optimistic Weimar waltz. The album winds up with I Don't Regret, its lush strings and Leonard Cohen inflections: it's an old rake's colorful, defiant defense of a "sordid life." The sounds on this album are old but timeless: it will age well, just like the guy who wrote it.
Barclay James Harvest at Lincoln Center!?!
It was great to finally get to see Barclay James Harvest at Lincoln Center Out of Doors this past evening. Now THAT'S one for the bucket list.
Barclay James Harvest got their start in the 70s as an uptight, tunefully deficient jamband, sort of a prototype for My Morning Jacket. Then they morphed into a competent artsy pop band best known for recycling other peoples' ideas. The music media at the time called them on it; their snarky response was the song Poor Man's Moody Blues, whose title perfectly captures their appeal. Their cult classic is Suicide, an actually very poignant ballad with a surprise ending. The rest of their material was not up to that level. Random song title: Galadriel. Genuine hobbit-rock!
OK, it wasn't Barclay James Harvest who headlined last night. It was Jonathan Wilson. He's a superstar lead guitarist, the best player to hold down that chair in Roger Waters' band since Jeff Beck's brief tenure in the group. He also writes artsy pop songs that recycle other peoples' ideas. His influences are unimpeachable. The Beatles, and John Lennon especially…Pink Floyd, of course…Elliott Smith, all over the place…the Grateful Dead…Hendrix…Crowded House! Big Star! The Move! The Jayhawks, Marty Willson-Piper and Matt Keating, maybe. And also Neil Young and the Allman Brothers.
Wilson is a competent, unpretentious singer, doubles on piano and writes the occasional withering, cynical turn of phrase. His latest album threatens to descend to the level of James Blunt but doesn't sink quite that far. Onstage, Wilson was a completely different animal, even though he tantalized the crowd by treating them to a grand total of four guitar solos. Each was scintillating; his long, achingly intense, Gilmouresque interlude midway through the set, over the changes to Pink Floyd's Breathe, was the high point of the night.
His Telecaster player was just as good when he got the chance to cut loose, with a slide or with some stinging Chicago blues (props to Wilson for having the confidence to include a guy with similarly sizzling, eclectic chops in his band). The bassist doubled strangely on synth bass (why not just use a volume pedal?). The keyboardist used seemingly every patch ever invented, from squiggly vintage 70s Moog sounds, to vast washes of string synth, majestic organ and austere electric piano.
They opened with the fuzztone Carnaby Street psych-pop tune Trafalgar Square, elevated above Oasis level with an unexpected, spacy interlude. Over the Midnight came across as the Verve played by good musicians. Likewise, There's a Light was a more glam Elliott Smith (or Oasis with a better singer covering Elliott Smith). They ended the show auspiciously with a long, vamping art-rock epic featuring one of two cameos by special guest Laaraji on zither and backing vocals.
One song they didn't play was a sneering waltz from the new album, with its most relevant lyric:
We'll be sucking, we'll be fucking
While the other ones are posting
These kids will never rock again
The opening act drew a few gaggles of awkward New Jersey high school girls, a few of whom had brought along their similarly unsure-looking pretend boyfriends. Years ago, there was a big market for indifferent, vaguely melancholy upper middle class white women who set their diary entries to music. In the years since, the corporate record labels, by their own admission, have lost 90% of their influence. Back in the day, Natalie Merchant used to play Madison Square Garden. The best this girl can do is open a show at Bowery Ballroom. Is that more a function of the death of the record industry, or the decline of the middle class?
Lincoln Center Out of Doors continues out back in Damrosch Park on Aug 2 at 7:30 PM with a high-voltage set by the Nigerian "Queen of Afrobeat" Yemi Alade. Get there early if you want a seat.
Iranian Rock Rules at Lincoln Center
Lincoln Center Out of Doors was packed this past evening. The message was clear: New Yorkers, or at least a large subset of us, love Iranian music. On a triplebill that began with a tantalizingly short set by all-female hometown crew Habibi and ended with crooner Faramarz Aslani and his band, rock band Kiosk played one of the best sets of any group in this city this year.
Frontman Arash Sobhani entertained the crowd with his sardonic sense of humor, edgy, mythologically influenced Farsi lyrics and slashingly individualistic Stratocaster chops. His fellow axeman Mohammad Talani wailed and slunk, a nonchalantly powerful presence on a big hollowbody Gibson while bassist Ali Kamali bubbled over the steady, funk-influenced beats of drummer Yahya Alkhansa.
The early part of the set was an update on the psychedelic "Farsi funk" that was all the rage in Iran prior to the 1979 Khomeini takeover, and brutally suppressed thereafter (Kiosk take their name from the kind of venues available for confrontational rock in their Teheran hometown). Hits like Love For Speed (a sarcastic parable about Teheran traffic), the cautionary tales Everybody's Asleep and Bulldozer each had a minor-key psych-funk feel grounded by a heavier than usual drumbeat for that style, Sobhani evoking peak-era Leonard Cohen with both his vocals and his chord changes. On guitar, he fired off purist, icepick Chicago blues leads but also slithery volleys of chromatics that were a dead giveaway for the group's origins.
Talani hung back with his rhythm early on but once he got a chance to cut loose, he took a couple of the darker anthems to angst-fueled peaks with his screaming, anguished leads, like a Middle Eastern David Gilmour. Meanwhile, Sobhani led the group through an eclectic mix that included a pensively crescendoing contemplation of exile, then a rapidfire, punkish romp through a melody that he said was originally Iranian but eventually became a klezmer melody (it sounded Russian).
A couple of shuffling numbers after that could have been American ghoulabilly save for the linguistic difference. After a detour into what could have been dub reggae but wasn't, and a tune that brought to mind Gogol Bordello, they did a silly faux Chuck Berry tune about a legendary Iranian bootlegger who got jail time for pirating AC/DC records. This group is huge in the Iranian diaspora but should be vastly better known beyond that world.
Habibi deserved more than fifteen minutes onstage. What they lack in tightness they make up for in originality. Lead guitarist Lenaya "Lenny" Lynch fired off needling tremolo-picked riffs over the tense surf-ish rhythm sectdion of bassist Erin Campbell and drummer Karen Isabel as rhythm guitarist Leah Beth Fishman added rainy-day chords that sometimes edged toward Lush dreampop, frontwoman Rahill Jamalifard singing coolly and matter-of-factly, mostly in Farsi. From their brief, Arabic-tinged instrumental intro through a mix of Breeders jangle, Ventures stomp and Farsi funk, they're developing an intriguing, distinctive sound. Give the rhythm section a year to get their chops up to speed, and this band could be dangerous.
Backed by six-piece band including flamenco guitarist and musical director Babak Amini, Aslani got the crowd singing and dancing along to his allusively biting lyrics set to pleasant, flute-fueled Mediterranean and Brazilian-inflected acoustic ballads that often brought to mind the Gipsy Kings. An icon of Iranian music since the 70s, he's a wordsmith and connoisseur of classical Persian poetry first and foremost.
Lincoln Center Out of Doors continues tomorrow night, July 29 with art-rock guitarist Jonathan Wilson – of Roger Waters' band – doing his own material. Getting into the show this particular evening was easy, but you might want to show up before 7:30 PM showtime if you want a seat.
You Mean That Really Wasn't Pink Floyd at B.B King's Last Night?
If B.B. King's wasn't sold out last night, it was close to capacity. The crowd was multi-generational: there were at least two tables with grandparents, parents and grandchildren. Dads with college-age daughters were everywhere, and there was a lot of Spanish being spoken: south of the US-Mexico border, art-rock never went into eclipse. Many of those concertgoers spent part of the set with their eyes closed, which made sense. Without watching the band onstage, it was as if Pink Floyd was up there. That good.
Since the 80s, the Machine have made a living on the road playing the complete Pink Floyd catalog. They are revered among musicians. Many of their peers had come out on one of the few truly cold nights of this young "winter" for inspiration and to be swept away by a chillingly spot-on recreation of the towering angst, epic grandeur and improvisational flair of the world's most iconic art-rock band. The Machine opened with the complete Shine On You Crazy Diamond, Pt. 1. More than three hours later, they ended with the complete second part, plus a long jam midway through where the individual members got to color the music with their own erudite personalities and irrepressible deadpan humor. Like everything else they did, it was in keeping with the spirit of Pink Floyd, subtle and distinctively British. All this from a bunch of native New Yorkers.
Forget having the perfect, unmistakeable collection of vintage keyboard patches and guitar effects: to effectively recreate Pink Floyd takes fearsome chops., which this band has coming out their pores. In deference to the brilliance of David Gilmour, the Machine had two guitarists – frontman Joe Pascarell, and Ryan Ball, who doubled on pedal steel – taking turns with the lead and rhythm parts, channeling sepulchral vibrato, lightning blues and trippy intensity. It was good to hear bassist Adam Minkoff up in the mix, playing Roger Waters' terse, purposeful lines with a little more treble than Waters typically used, and usually with a pick, as Waters typically did. Drummer Tahrah Cohen perfectly captured Nick Mason's stately grace, subtle swing and playful counterintuitivity with the occasional well-placed cymbal splash or funereal tom-tom flurry on an elaborate, oversize kit. Scott Chasolen negotatiated Richard Wright's lavish keyboard orchestration with split-second precision and made it look easy. Surprisingly, the band relied on him as the prime mover during the jams, as much or even more than the guitars. His animated, good-naturedly spiraling phrases brought to mind Genesis' Tony Banks more than they did Wright.
After the richly lingering opening number, Pascarell tackled the evening's lone "deep album cut," Fat Old Sun – from the Atomheart Mother record – running his Strat through an acoustic patch, Ball on pedal steel, Chasolen channeling Richard Wright at his most austerely spiritual with spacious gospel piano licks. They followed with album-precise versions of Breathe and Time, establishing that the band had the essential organ and guitar tones, Ball using the steel to recreate Gilmour's anguished slide guitar riffage. What was clear by now was how much this band plays up Pink Floyd's psychedelic side – and notwithstanding how many hundreds of times they've played these songs onstage, how much fun this band has after all this years. "It's good to smoke a bone beside the fire," Pascarell intoned at the end of Time, resulting in a wave of raised joints, one-hitters and vape thingys down front.
Early in a matter-of-fact, aptly brooding, low-key take of Mother, Pascarell turned the mic over to the audience. "Mother do you think they're going to break?…" got the appropriately ballsy response, nobody missing a beat. Later during the second set, he and the rest of the band teased the crowd with a succession of riffs: what was it going to be, Careful With That Axe, Eugene, or Astronomy Domine? It turned out to be a searing yet comfortably relaxed Lucifer Sam.
As hard-driven as much of the material was – a snarling Not Now John, complete with "Fuck all that" chorus, and blistering takes of Comfortably Numb and Run Like Hell – the high point was a hypnotically pulsing, enveloping, potently crescendoing full-length version of Dogs. Otherwise, this was the classic rock radio set. Chasolen's warpy synth solo on Money was a vast improvement on the awful sax solo on the original, and his washes of white noise on Hey You just as unexpectedly welcome. The band's choice of riding a slow build through most of side one of The Wall up to big radio hit – where they reveled in the song's inner funk – was a revelation. There was also a take of Wish You Were Here with a long twelve-string acoustic intro and audience singalong. Pink Floyd may be history, but that doesn't stop a new generation of alienated kids from discovering them, and being transformed by them, every year. It's a good thing that we have the Machine to keep that vast body of work alive onstage. And they have a similarly vast archive.org page, where you can treat yourself to enough concert material to keep you in more-or-less new Floyd for literally weeks.
Some Possible Context for the New Pink Floyd Album
Imagine that you didn't know who David Gilmour and Richard Wright are – and if you don't, you will soon. The former, an icon of improvised music; the latter devoted to meticulously composed soundscapes. An unlikely pair of collaborators considering their backgrounds, wouldn't you say?
Sometime in the early 90s, the two find themselves together in the studio and jam out a series of themes. Sounds pretty avant garde, doesn't it? Twenty years go by: meanwhile, the session sits, unedited, in a vault at a once-dominant record label, whose global sales fall to about one-fifth of what they were when the session was recorded.
In 2006, Gilmour releases a rare solo album, On an Island, a magically crepuscular, foreboding suite of sorts. Two years later, Wright dies at 65. Another six years go by; Gilmour plays a successful world tour of midsize venues, reunites his old 70s band for a cameo at a one-off tv concert, then pretty much retreats from view.
Was it the desire for filthy lucre that set loose The Endless River, the latest album released under the Pink Floyd name? Or was it more of a genuine need for same, considering that Gilmour isn't making any money touring these days, and that the entire Pink Floyd discography can be downloaded in seconds flat if your connection is fast enough? And is there anything to this release by the post-Roger Waters version of the band, more than the uneven and aptly titled Momentary Lapse of Reason or the ponderous and tunefully deficient Division Bell, which sounds like a collection of Dire Straits outtakes?
Best to take this "new" album out of context and forget Gilmour and Wright's glorious art-rock past for a minute. As a series of simple, mostly one or two chord vamps, all of them instrumentals except for a single track, it showcases each musician's strengths and signature tropes. Throughout these seventeen brief, often barely two-minute excerpts, obviously a series of carefully chosen edits, Gilmour unleashes his usual mournful wails, anguished screams and ominous swells, building the expected, majestic wall of reverb. Wright, true to form, is more judicious, even careful, peppering the mix with pensive, sometimes gingerly placed neoromantic chords and piano riffs and the occasional blues or gospel-tinged phrase. Every so often, there'll be a hint of a big ballad or a sweeping, cinematic theme, the last of them a particularly triumphant one. Drummer Nick Mason, one of the art-rock era's most underrated and richly musical players, anchors these miniatures with his reliable combination of elegant color and mighty thud.
Gilmour distinguishes himself the most when he uses a slide, much as he did on Dark Side of the Moon. The sample of Wright reputedly playing the organ at the Royal Albert Hall in 1969 is insignificant and is over before you know it. And the single song with vocals is a throwaway that tarnishes the band's legacy. Even so, every year, a new generation of alienated kids discovers this band, just as they do Sartre, and Margaret Atwood, and Frida Kahlo. They'll make their way through the catalog to this one eventually, and will find it as musically intriguing as the band's iconic 70s work. The elephant in the room, or, rather, lingering just outside the door, is Roger Waters: one can only imagine what these tantalizing fragments could have become as vehicles for his visionary lyricism.
Towering, Haunting Lynchian Intensity from Alec K. Redfearn
On Sister Death, their first album since 2007's The Blind Spot, accordionist Alec K. Redfearn and the Eyesores deliver a lushly orchestrated, epically sweeping, Lynchian mix of creepy cinematic themes and towering gypsy-infused art-rock. Redfearn's rich, often funereal tones blend with the even more macabre swirls and torrents from Orion Rigel Dommisse 's Acetone Top-5 organ: she plays the Lynch Girl on this album, and often steals the show. The core of this shapeshifting Providence, Rhode Island band includes Matt McLaren on drums, Chris Sadlers on bass, Clint Heidorn on guitar and the father-daughter team of Jimmy and Hannah Divine on violins along with a mammoth supporting cast. Redfearn has an enormous talent base to draw from, and in concert has been known to bring anything from a stripped-down quartet to a mighty fifteen-piece chamber orchestra.
The album opens with Fire Shuffle, a brisk, murderously chromatic epic, the casualness of the guy/girl vocals downplaying the darkness of the music: "Burn with me awhile, leave the wreckage far behind," Redfearn and Dommisse intone. Chris Turner contributes a ferociously intense, feedback-charged chromatic harp solo to fan the flames.. The second track, Unawake, reaches for the same kind of orchestral sweep even though it's over in just over two minutes. The Seven and Six, a slowly menacing 6/8 ballad, has the accordion rising through the mix with an increasingly distorted, gritty texture beneath Redfearn's mythologically-inspired wordplay.
Terse tremolo guitar and creepy bells gently propel Longreach, a totally Lynchian instrumental, followed by the trickily rhythmic Amplifier Hum, its faux Bulgarian folk vocals (in English!) a throwback to the band's earlier days working a more avant-garde vein. Black Ice begins with a solo accordion taqsim and builds to a massive Balkan dance, funeral organ mingling with the accordion and intricately multitracked guitar from Domenick Panzarella. A creepy waltz, Exhumed is sort of a gypsy take on Julee Cruise Twin Peaks noir pop, Redfearn's baritone uke mimicking a Spanish guitar, Dommisse playing femme fatale once again over an echoey dead-girl choir.
With a more straight-ahead beat, Scratch would be horror surf instead of Balkan rock – Redfearn's long, searing, minimalist accordion solo out is adrenalizing to say the least. They follow that with Hashishin, a matter-of-factly swaying, trippily macabre Middle Eastern instrumental jam, the baritone uke running through a Big Muff pedal for extra menace. By contrast, Redfearn's cover of St. James Infirmary gets a skeletal steampunk treatment, ending with a murderous, digeridoo-like drone from the bass pedals on a Hammond organ. The most inscrutable – and least menacing – number here is Wings of the Magpie, with its surreal 70s space-rock vibe. The album closes with a dire, In the Morning, Roger Waters meets the Walkabouts.
Redfearn is a cool guy: much of his fascinatingly eclectic back catalog is available as free downloads at the Free Music Archive. A punk/metal kid back in the 80s, he taught himself accordion in retaliation against the onslaught of grunge. This might be his best album: nice to see, for someone who's been making music since the 90s and remains one of the most underrated songwriters in rock, or whatever you call what he does. The album is due out in a couple of days from Cuneiform; he and the band play a hometown album release show on Oct 4 at the Empire Black Box Theatre in Providence.


Originally published by A.M. Robertson of San Francisco in 1924, this is an unumbered copy of 275 bound by Kovach from the original sheets. The Central Pacific and the Union Pacific and the building of the first transcontinental railroad. 109 pages with photographs. Fold out map. Two tiny tears to two of the preliminary pages, esle fine in fine dust jacket. A very attractive copy.