What is a VNC (Virtual Network Connection)?
Why is a VNC Useful for GBT Remote Observing?
How Do I Get the Necessary Software?
How Do I Set Up VNC?
How Do I Provide a VNC Password?
How Do I Set Up a Window Manager?
How Do I Start a VNC Session?
How Do I Start a VNC Viewer on My Local Machine?
What Special Features Does the VNC Viewer Window Have?
How Do I Close My VNC Session?
Only those observers who have used the GBT before and have demonstrated that they are fully able to set up and observe on the GBT without staff assistance may observe remotely. All observers must come to Green Bank at least once before they can be approved for remote observing. Also, observers may be required to come to Green Bank to be re-qualified for remote observing if the observations are significantly different than previous observations or if the observer has not used the GBT recently.
Consult with the staff support astronomer at least two weeks prior to observing time.
Provide the staff support astronomer with your telephone contact numbers (work, home, and cell) and agree in advance your location during the observations.
Contact the telescope operator 30 minutes before the start of your setup time. The number to call is 304-456-2346 or the Operator's direct line at 304-456-2341. 304-456-2346 connects to a speaker phone and is the preferred number to use. Provide the operator with all the appropriate contact information in case they need to contact you during the run. This is especially important if you lose your internet connection, as we will not know what has happened to you unless we can make contact with you.
We strongly recommend VNC network displays of observing applications. Suggested VNC setup procedures are provided below.
(or another data reduction program).
When your observing time starts and the operator gives you permission, you should use Astrid to load your configuration and start observing.
VNC allows remote connections from a client computer to a server, creating a virtual desktop (desktop image) of the server screen on the client computer screen. The user of the client computer can work almost as if he or she were sitting in front of the screen of the remote computer. VNC continuously compresses and transfers screen shots from the server to the client, which makes for a much faster experience than normal X-forwarding.
VNC allows the remote GBT observer to connect to a computer in the GBT control room (e.g. titania, ariel, naiad) from the observer's home/work machine in order to observe. Once the VNC session is set up, the remote observer can open astrid, cleo, gbtidl, etc. and perform other functions, just as if they were actually in the GBT control room sitting in front of one of the GBT computers.
Please do not use stargate.gb.nrao.edu for GBT data reduction while you are running a VNC session. For lightweight GBT data reduction while observing, you can use titania.gb.nrao.edu, as you should be the only person using this machine.
For more intensive GBT data reduction, please SSH into bratac.gb.nrao.edu or volans.gb.nrao.edu (you do not need to use VNC for this, especially if only working from the command line). See Data Reduction Machines for more information on the availability of our more powerful data reduction computers.
The example below uses the computer titania.gbt.nrao.edu for the VNC server. titania.gbt.nrao.edu is currently the computer usually available to host VNC sessions. As our computer infrastructure changes, this might not always be the case. You should always check with the operator the name of the computer that you should use, and if it is different substitute that computer's name for titania.gbt.nrao.edu in the instructions below.
VNC comes with most Linux distributions and is easily set up. Mac and Windows users should download and install a VNC Viewer.
Windows VNC for Windows is available from TightVNC (www.tightvnc.com) or from RealVNC (www.realvnc.com). Several commercial versions of VNC are available, but the free edition is suitable for remote GBT observations. For purposes of remote GBT observations, only the VNC viewer need be installed on your computer. The VNC server has already been installed on the GBT control room computers and other appropriate machines in Green Bank.
You will also need an SSH client. An SSH client allows you to make a secure SSH connection from your work/home machine to the Linux machines in the GBT control room. That is, with SSH client software running on your computer, you can open a terminal window to the remote Linux computer. For Windows users, PuTTY is a freeware SSH client. It is available from www.chiark.greenend.org.uk/~sgtatham/putty/download.html. Although other SSH client software exists (e.g. SSH Secure Shell, Secure CRT), our instructions assume you are using PuTTY.
Download and install VNC unless it is already installed. You need only install the VNC viewer.
Download and install PuTTY unless it is already installed on your machine.
Mac OS X For Mac users, Chicken of the VNC is a good VNC client and is available from sourceforge.net/projects/cotvnc.
Download the Chicken of the VNC disk image file (dmg) and then double-click it to mount it on your desktop. Then drag the Chicken of the VNC icon to your Mac's Applications folder.
Mac OS X includes an SSH client. You can open a terminal by launching either Terminal or X11, both of which are in your Mac's Applications > Utilities folder.
Note: You only need to do this once.
If this is your first session ever with VNC, you need to setup a VNC server password and specify which window manager you would like to use.
Choose a VNC password that is different from your NRAO Linux account password as you may later wish to share your VNC password with others who can then observe your VNC session. For example, if you are having difficulties during a remote observing session, you might wish to share your VNC password with a Green Bank staff member who can access your virtual desktop and suggest solutions to your problems.
Start up PuTTY on your Windows machine. A PuTTY Configuration window will appear.
In the PuTTY terminal window to stargate.gb.nrao.edu, log in to your NRAO Linux account if you are not using an SSH agent.
If you are not using an SSH agent, you will be asked to enter your NRAO Linux account username and password.
Enter your chosen VNC server password. Remember, this password should be different from your NRAO Linux account password as it will be shared with support staff when you require assistance.
If you have already used VNC in the past, this step is not necessary and you will get a message stating that the 'file' already exists. This is normal.
Each time you observe remotely with the GBT, you will need to follow these instructions.
IMPORTANT! Please do not start more than one VNC session at a time!
There is only a limited total number of sessions and ports available at any time. Likewise, don't forget to end your VNC server session when you have finished observing. For instructions on ending your VNC server session, please read "How Do I Close My VNC Session".
In the PuTTY terminal window to stargate.gb.nrao.edu, log in to your NRAO Linux account.
These options allow you to specify an alternate screen geometry or color depth. The first number for the geometry is the screen width, which we advise should be 2x wider than the size of your local monitor. Choose a screen height that is 1024 or larger, so as to accommodate the typical observing applications. If you have a monitor that is more than 1024 pixels high, choose a screen height that is slightly smaller than the native height of your local monitor.
Choose 8-bit color to speed up the transfer of displays in the VNC session. Sometimes, it isn't necessary to start vncserver with the -depth option, since your viewer may assume defaults that might actually work better without specifying a color depth. Note that you will have to specify -pixelformat BGR233 along with -depth 8 for astrid to run properly.
If this is your first session in Green Bank, you will be asked which password should protect your future sessions. As noted above, choose a VNC password that is different from your Linux account password as you may later wish to share this password with others who can then observe your VNC session. For example, if you are having difficulties during a remote observing session, you might wish to share your VNC password with a Green Bank staff member who can access your virtual desktop and suggest solutions to your problems.
Once you have typed vncserver, the system will reply (e.g.) New 'titania:2 (USERNAME)' desktop is titania:2. In this example the VNC session number is 2. Remember this number since you will need it later. In the instructions below, the VNC session number is designated as n.
Leave this connection to the server open, as it will be used later to kill processes on titania associated with the VNC session.
Start another instance of PuTTY and bring up another PuTTY Configuration window.
In this second PuTTYwindow, enter the following information under each Category (listed in the left panel of the window). This information can be saved for future use.
Connection > Data - Enter your Green Bank Linux account login name as the Auto-loginusername.
Connection > SSH - Select Enable compression.
Connection > SSH > Tunnels - Remove any previously used ports with the Remove button. For Source port enter 590n, where n is the VNC session number reported in the first PuTTY window (the VNC server). For Destination, enter titania.gbt.nrao.edu:590n Then choose Add, then Open.
A terminal screen will open to stargate.gb.nrao.edu. If you are not using an SSH agent, you will be prompted for your NRAO Linux account password.
You need type nothing else in this window except exit at the end of the VNC session. The existence of this window serves only to provide the tunnel from your Windows machine to the Green Bank system.
Start the VNC viewer on your Windows machine. If using TightVNC, please select the viewer having the "best compression."
A popup window will appear, VNC Viewer: Connection Details.
Click on Options. Search for and select the option for sharing the connection and then click OK.
For Server enter localhost:n, where nis the VNC session number, as before.
Next a VNC Viewer: Authentication window will pop up. Enter your vncserverpassword (not your NRAO Linux password).
The VNC Viewer window to titania will now appear on the screen of your Windows machine. In this window you can start astrid and cleo, open xterm, etc, almost as if you were sitting in front of a titaniascreen.
Replace n with the desktop number from the previous step and YOURLOGIN with the name of your NRAO Linux account.
The -Shared option allows support staff to "snoop" on your session when assisting you.
If you are not using an SSH agent, you will be prompted for your NRAO Linux account password.
You will next be prompted for your VNC password, which should be different from your NRAO Linux account password and sharable with support staff. You will be asked for this password regardless of whether or not you have an SSH agent running.
The VNC Viewer window to titania will now appear. In this window you can start astrid and cleo, open xterm, etc, almost as if you were sitting in front of a titania screen.
A VNC Loginwindow will appear on your Mac's desktop.
Set Host to localhost, set Display to n, enter your VNC password, check Remember Password, and check Allow other clients to connect.
Depressing the left mouse button inside the main VNC Viewer window brings up a menu, allowing you, for example, to open another xterm.
Minimizing a window - Click on the upper left part of a window.
Resizing a window – Use the icon at the upper right of a window.
To configure your VNC Viewer, press F8 and a menu should appear.
If you stop using your VNC viewer but don't kill the vncserver, your session stays alive. If you run your VNC viewer a few hours later or from a different computer, you can continue where you left off. However, there is a limited number of sessions and ports available at any one time. Unless you know you will be using the session again within a few hours, please do not leave vncserver running. If you do, the GBT operator is likely to kill your vncserver session within 24 hours.
Also, please do not start more than one VNC server at a time.
To stop your VNC session, first close your VNC viewer, then kill your VNC server. You'll need a terminal window that is logged into an NRAO computer.
where n is the VNC session number.
Disconnect from titania.gb.nrao.edu by typing exit.
Disconnect from stargate.gb.nrao.edu by typing exit.
will list all used ports (they may be a delay of a few seconds before this list appears).
In these cases, the tunnel has to be changed to 590m:stargate.gb.nrao.edu:590n where 590m is some unused port numbered somewhere above 5900. And wherever localhost:n occurs in the above instructions, substitute localhost:m.
A short guide to VNC for Window's users is available here.
We would like to thank Joeri van Leeuwen (UBC), Tom Troland (U. Kentucky), and Jeff Mangum (NRAO CV) who kindly provided the entire content of these instructions. We appreciate the time they took to make VNC easier for all remote observers.
Visit and Tour Green Bank!


The days of coil suspension only appearing on the bikes of Enduro World Series pros, like Curtis Keene and Jared Graves, are over. Now, you too can experience the exceptional pedaling efficiency and downhill-crushing damping that comes with a coil shock. Starting at the carbon layup, it features our highest-end FACT 11m for an ultra-lightweight, strong, and stiff construction. The carbon molding process also allowed us to revolutionize how you carry your trail essentials with the all-new SWAT Door found at the down tube. This compartment will fit a tube, a tool, and pump without rattling or compromising the structural integrity of the frame. You'll also find an aggressive, trail-eating geometry to complement the 29-inch wheels that features ridiculously short chainstays, a roomy top tube, a low bottom bracket, and a slacked out front end. Handling suspension duties out back is the revolutionary Öhlins twin tube coil shock, making for the perfect combination of pedaling efficiency and downhill-smashing damping that will have you going faster both up and down the trail. And to make things even better, the Stumpy's design also allows you the opportunity to toggle between 29-inch wheels and 6Fattie wheels (not included), allowing the ultimate in configuration options for the trail at hand. For the Stumpjumper Coil, we outfitted it with SRAM's simple GX one-by shifting, SRAM Guide R brakes, Öhlins front and rear suspension, and hand-built Roval Traverse carbon wheels. - FACT 11m carbon fiber Trail Chassis with Stumpjumper FSR full carbon rear end blends stiffness with light weight to form the pinnacle of efficiency, while fully enclosed cable routing and an integrated SWAT™ Door create exceptional handling and zero-hassle storage. - Featuring a three-chamber air spring, the Öhlins RXF 36 fork stays smooth and high in the travel without compromising bump absorption, traction, or stability. It also features low-speed and rebound adjustments, and sports 150mm of plush travel. - SRAM's 11-speed GX groupset features a wide gear range that delivers climbing and descending efficiency in spades. On top of this, the one-by setup is notorious for being next to impossible to drop a chain with, plus it provides a significant weight savings in comparison to a standard two-by setup.
The design goal for the new Stumpjumper was simple—build the ultimate trail bike, one that feels telepathic. And it turns out that this feeling all comes down to stiffness. Think of it this way: when the frame's telling your hands one thing and your feet another, your brain gets confused with the imbalance and the bike feels unstable. In order to fix this, we had to get to work on dialing-in the materials, shapes, and the layout. We started by creating our own mountain-specific stiffness test, and then we looked at the layout with Finite Element Analysis (FEA) to see where we could get the biggest stiffness improvements. This led to a big discovery: The Large and X-Large frames needed more front-end stiffness while the Smalls and Mediums were just fine. We were able to create a frame design that was 20% more efficient. And in the end, this proved to be one of the lightest trail frames on the market, today. When designing the frame with the stiffness targets being a main goal, we developed a radical new sidearm design. The front-end and rear-end are connected at three points, and the sidearm helps keep all these points super stiff and connected, all while taking about 100 grams out of the rear-end. More explicitly, this minimizes frame flex when the rear suspension is active. We continued down the suspension path with a custom Rx Trail Tune on both the fork and rear shock. Suspension performance is highly dependent on frame, wheel, and rider size, so we use our Rx Tune to get each bike to land in the middle of the adjustment spectrum, and this gives you the biggest possible range to fine-tune your ride. Another focal point of the tune was matching the suspension characteristics between wheel sizes—we developed a specific Rx Tune for each platform. So, no matter what wheel size you prefer, you'll get perfectly linear suspension. Steps were also taken to make this bike easy to live with. Threaded bottom brackets make a triumphant return, and we made room for up to a 3.0" tire. You're also free to run whatever aftermarket rear shock you want, since we're using standard metric shocks. We revamped the SWAT™ box, too, making it sleeker, lighter, and with more volume. And customization is furthered with a Flip Chip that lets you to dial-in your Stumpy to your riding style. Switch it from High to Low and it drops your bottom bracket 6mm and slackens the head tube by half-a-degree. Little details also jump out to surprise you, like a newly designed ribbed chainstay protector that makes chain slap a thing of the past and nearly silences the drivetrain. Lastly, we seriously couldn't make cable routing any easier on carbon models. Full tubes can be found throughout the carbon frame, so all you have to do is push the cable and it'll come out the other end. No more lazy loop, hidden stashes of magnets, pokey spokes, or pillows to cry in. For the build, you get a components package that's the perfect blend of performance and affordability—a full SRAM GX Eagle drivetrain, SRAM Guide RS disc brakes, FOX Factory front and rear suspension (150/140mm of travel respectively), and Roval Traverse Carbon 29 wheels.
With the ideal blend of weight, suspension, and geometry, Specialized's S-Works Camber 29 delivers all the trail bike characteristics you want with the XC climbing prowess that you desire. This full-carbon machine slays trails with 120mm of front and rear travel, controlled by a Fox Float rear shock and Fox Factory fork. The geometry is quick, playful, and—at the same time—confident. A tapered head tube, wide PF30 bottom bracket, and stiff thru-axles come standard, of course. The specs are top shelf, with 12-speed SRAM XX1 Eagle and carbon cranks powering 29-inch carbon Roval wheels wrapped with genre-defining Specialized Purgatory and Ground Control tires. The high-end, trail-focused action continues. You also get carbon bars, Shimano XTR hydraulic disc brakes and a titanium-railed Henge Expert saddle. Plus, to keep you prepared and the looks clean, a mini tool and chain tool are stealthily integrated into the bike and the remote-activated dropper post uses internal cable routing.
Specialized's S-Works Enduro 29 6Fattie is possibly the most fun you'll ever have on a mountain bike. A slack front end, a long top tube, short chainstays, and a lower bottom bracket all come together to make this bike truly feel glued to the ground, and the platform is more responsive and capable then ever. They threw in integrated storage with a SWAT Door in the down tube, and made "old" new again by making a triumphant return to a threaded bottom bracket. To keep the weight down, the frame is constructed from their top-tier FACT IS-X 11m carbon fiber. And to ensure top-level performance on the descents, this material choice is greeted by 160mm of plush travel at front and 165mm in the rear. And handling suspension duties out back is the revolutionary Öhlins single tube rear shock. For the build, this Enduro spares no expense at hitting the pinnacle of performance, with a full SRAM XX1 Eagle 12-speed groupset, powerful Guide RS carbon brakes, hand-built 29-inch carbon Roval wheels, and a slick Command Post IRcc dropper post. Go ahead, make the mountain bend to you.


Hotel Du Lac Agios Nikolaos – Crete – Greece.
Hotel Du Lac is a 4-minute walk from the beach. Located in Agios Nikolaos, 32.2 km from Hersonissos, Du Lac features air-conditioned rooms with free WiFi throughout the property. Guests can enjoy the on-site bar.
Du Lac Hotel is located in the city centre of Agios Nikolaos on one of the main shopping streets, you will love the city buzz while sipping a drink at the terrace in front of the hotel.
The rooms are fitted with a TV. Some units have a sitting area to relax in after a busy day. Rooms at the backside of the hotel include views of the lake, reserve this rooms if you come for the Easter ceremony or the midsummer clive diving event. Every room comes with a private bathroom. Extras include free toiletries and a hairdryer.
Malia is 25.7 km from Du Lac, and Elounda is 8 km away. The nearest airport is Sitia Public Airport, 35.4 km from Du Lac, but we recommend Heraklion airport as it has more and better flights year around.
This property also has one of the top-rated locations in Ágios Nikólaos! Guests are happier about it compared to other properties in the area.
Solo travellers in particular like the location – they rated it 9.3 for a one-person stay.
Du Lac is a city hotel open year around so also the ideal location for a stay during the winter outside the tourist season. Outside the tourist season, Aghios Nikolaos is still buzzing and very attractive for a holiday during the winter.


South Dakota Codified Law (SDCL) Title 60 pertains to wage and hour regulations in South Dakota.
Administrative Rule of South Dakota (ARSD) 47:04 also pertains to wage and hour regulations in South Dakota.
Many additional wage and hour issues in South Dakota are regulated by federal law.


text:
Q: Underscore makes text go past end of line into margins In my LaTeX document, I have a few special terms that contain underscores, such as AAA_BBB_CCC. In one case, such a token is placed at the end of the line, and for some reason it reaches into the margin.
I like the fact that it the token is not divided into subtokens, but ideally, if it doesn't fit on the line, I'd like the whole term to go to the next line or in any case keep the right margin intact.
I'm currently writing the terms in the source like so:
bla bla bla My\_underscored\_term bla bla bla

Is there an alternative that will keep the margin intact?

A: You can simply include the following line in your code:-
\usepackage{underscore}

I think it will resolve the problem.

A: You can redefine \_:
\renewcommand\_{\textunderscore\linebreak[1]}

or
\renewcommand\_{\textunderscore\allowbreak}

A: I think this doesn't have much to do with the underscore, but more about having a long(ish) word, with no clear indication of how to hyphenate, near the end of a line. (La)TeX did what it did because it thought there wasn't really any good point where to break the line: keeping the word in the line makes it go into the margin, moving the word to the next line would require rather large spaces between the words in order to fill the line.
This is probably not the answer that you hoped for, but the most sensible solution is trying to reword a bit your paragraph (add or remove a few words here and there) so that this long non-hyphenated words do not end up near the end of a line.
You could also force LaTeX to choose the other suboptimal alternative (i.e. moving the whole word to the next line and fill the current line with long spaces) by explicitly adding a \linebreak, e.g.
... bla bla bla\linebreak My\_underscored\_term bla bla bla

The other alternative, as Leo Liu pointed out, is to redefine \_ so that it allows to break the long word at the underscores. This may or may not be acceptable to you.

redpajama_set_name: RedPajamaStackExchange


text:
Q: document.body.setAttribute not working in IE-7 I have added "test.js"  file in my .aspx page (in head section) .
In test.js  i added a script "document.body.setAttribute("onload", "testload()");"
which is working well in IE-8-9 ,Mozilla ,Chrome   and  loading testLoad() function .
But it is not working in IE-7 .
How can i set attribute  of  "body" from test.js file  in IE-7.

A: Why not
window.onload = testload;

or
window.onload = function()
{
    //Some codes
}

Note that body.onload and window.onload are different. If you want to execute your event handler after all resources have been loaded, use window.onload.

A: IE7 doesn't support obj.setAttribute('onload', doSomething);. You can handle IE with timer.
var myiFrame = document.createElement("iframe");
myiFrame.setAttribute("id", "myiFrame");
myiFrame.setAttribute("src", "something.aspx");
myiFrame.setAttribute("class", "myclass");
myiFrame.setAttribute("frameBorder", "0"); //For IE
myiFrame.setAttribute("hspace", "0");
//For all:
myiFrame.setAttribute("onload", "testload();");
document.getElementById("myDiv").appendChild(myiFrame);
//For IE:
if (isIE = /*@cc_on!@*/false) {
    setTimeout(function () { testload() }, 500);
}

That is it. If you also want to attach event listener on load, again IE needs its fix:
function testload() {
//Add event listener for click so that
//resize myiFrame in case any changes occur in size of content when user clicks
    var content = document.getElementById("myiFrame").contentWindow.document.body;
    if (content.addEventListener) { //For all
        content.addEventListener('click', function () {
            //find the height of the internal page
            var the_height = content.scrollHeight;

            //change the height of the iframe
            document.getElementById("myiFrame").height = the_height + 10;
        }, false);
    }
    else if (content.attachEvent) { //For IE
        cerceveIci.attachEvent('onclick', function () {
            //find the height of the internal page
            var the_height = cerceveIci.scrollHeight;

            //change the height of the iframe
            document.getElementById("kk-iframe").height = the_height + 10;
        });
    }
}


Mysuru: Guru Purnima and Chaturmasya Vrata Deeksha programmes by Sri Datta Vijayananda Teertha Swamiji, Junior Pontiff of Avadhoota Datta Peetha, have been organised at Sri Ganapathy Sachchidananda Ashrama in city from July 9 to Sept. 6.
On July 9, as part of Guru Purnima, Maha Ganapathy Homa and Pavamana Homa begins at 6 am; Chaturmasya Vrata Deeksha by Sri Datta Vijayananda Teertha Swamiji, Chaitanyarchana, Guru Parampara Puja, Vyasa Puja and benedictions at 9 am; Felicitation to Dr. V.A. Kumaraswamy, Vedanta Shastra Pandit, Hyderabad, with the title 'Sri Ganapathy Sachchidananda Prasashasti' at 12.30 pm; Sri Chakra Puja, Chorus chanting of Sri Guru Gita by devotees at 6.30 pm; Kakada Arati to Lord Dattatreya at 8 pm.
As part of Chaturmasya Vrata Deeksha, from July 10 to Sept. 6, Discourse on Yoga Vashista by Sri Swamiji at 7.30 am; Srichakra Puja, Maha Ganapathy Homa etc. at 8.30 am.
For details, contact PRO Siddhartha on Mob: 94483-90946.
Also, free medical camps will be held on all Sundays at S.G.S. Hospital [Contact Ph: 0821-2488888].
Sri Prasanna Ganapathy and Sri Shiradi Sai Shakti Sannidhi, Ramakrishnanagar: Guru Purnima will be celebrated on July 9 with special pujas and abhishekas which will begin with Kakadarati at 6.30 am and concludes with Shejarati at 10.30 pm.
Sri Vijaya Mahaganapathy Temple, Vijayanagar 3rd Stage: Guru Purnima will be celebrated for the first time at the newly-built Sri Shiradi Sai Baba Temple in the Sri Vijaya Mahaganapathy Temple premises on July 9. Following various abhishekas, Sri Sai Datta Homa will be performed at 9 am.
Sri Shiradi Sai Baba Temple, Udayagiri: Guru Purnima celebrations will be held at the temple under the aegis of Vinayaka Temple Trust on July 9. Abhishekas and homas will be performed in the morning and Anna Santarpane will be held at 12.30 pm.
Sri Shiradi Sai Sevashrama Trust, Hebbal 2nd Stage: As part of Guru Purnima celebrations, various pujas and homas will be performed at Baba Mandira, #2938, 6th Cross, CITB Choultry, 2nd Stage, Hebbal, on July 8 and 9 between 4 pm and 9 pm.
Sri Shivananda Jnanalaya, Lakshmipuram: Guru Paduka Puja, Abhisheka, Bhajans and Pathana will be held tomorrow (July 9) as part of Guru Purnima celebrations.
Sri Narayanananda Vishwa Yoga Ashrama, Hinkal: Guru Purnima will be celebrated as Vyasa Purnima at the Ashrama premises tomorrow. Meditation, Bhajans, video screening, puja and arati will be held from 10.30 am to 12 noon as part of the celebrations.


SUPERIOR TOWNSHIP, Mich. — Normally, firefighters have to rush out to crash scenes, but on Thursday, Nov. 15, the scene came to them.
Three Superior Township firefighters were in their station at 7999 Ford Road when shortly after 1:30 p.m., they heard a crash outside, said Fire Chief Victor Chevrette.
A two-vehicle collision in the area of Ford and Prospect roads left a septic truck on their front lawn, Chevrette said.
In the intersection, a woman was trapped in her van, seriously injured.
"It was a little hectic," Chevrette said. "... they triaged and started calling for mutual aid."
With firefighters talking to her all the while, crews tore into the top of the van and removed the ceiling in order to reach and rescue the woman, freeing her from the vehicle within 37 minutes, Chevrette said.
And though she was reported to be in critical condition, Chevrette said the quick response -- right outside their door -- likely aided in getting the woman to the hospital within the "golden hour," believed to reduce the outcomes of injuries.
The driver of the other vehicle was hospitalized in stable condition, said Matt Rose, spokesman for Huron Valley Ambulance.
Chevrette credited the Washtenaw County Sheriff's Office, Huron Valley Ambulance and mutual aid from Ann Arbor Township in the response.
"They did an excellent job," Chevrette said of his team.
(c)2018 The Ann Arbor News, Mich.


text:
Chris Wallace left Fox News Viewers Red With Rage Over This Attack on Tucker Carlson
President Trump and many of his supporters point to "Fox News Sunday" host Chris Wallace as the source of criticism that the network is drifting to the left.
Wallace is doing nothing to quiet that criticism.
And Chris Wallace left Fox News viewers red with rage over this attack on Tucker Carlson.
If Joe Biden takes over as President, Jen Psaki will serve as his press secretary.
Psaki appeared on the latest episode of "Fox News Sunday" for her first interview since being named to the post of potential press secretary.
Instead of asking Psaki tough questions about the myriad of subjects Biden avoided during the General Election Wallace was more than happy to show he would be part of the team.
Wallace launched into a diatribe about conservatives – including unnamed hosts on Fox – for attacking potential First Lady Jill Biden over her fake title of "Doctor."
Chris Wallace falsely claimed that no one took issue with men using a fake title of doctor like Henry Kissinger and Martin Luther King, Jr.
"There has been some criticism recently from conservatives, including some conservatives on Fox News, about the fact that First Lady-to-be Jill Biden goes by the title 'Dr.' I wonder, what is the Bidens' reaction to that, especially given the fact that so many people over the years — I think of Dr. Henry Kissinger, the Reverend Dr. Martin Luther King — have gone by the title doctor even though they're not medical doctors and nobody seems to have made a fuss about that," Wallace exclaimed.
The most prominent unnamed conservative Wallace was referring to was Tucker Carlson who brutally mocked "Doctor" Jill Biden's sloppy and error-filled dissertation that earned her a doctorate in education.
Psaki was thrilled that Wallace gave a wide berth to attack critics of Jill Biden's phony doctorate as sexist troglodytes.
"That's exactly right, Chris," Psaki declared. "It's a bit perplexing to me and I'm sure to millions of Americans, that with thousands of people dying every day of covid, millions out of work, that anyone would wake up in the morning and decide that the focus they need to have, the way they contribute to society that day is to question whether or not Dr. Jill Biden — someone who's still teaching, who has a PhD in education — to be called a doctor or not. Of course she should."
Ever since the election, Fox News has seen viewers flee for competitors like Newsmax and One America News.
Many Trump supporters think Fox's corporate executives never liked Trump much to begin with and looked for the first opportunity to jump ship.
And Chris Wallace quickly became the poster child for this new mindset over at Fox.
If you want Conservative Revival to keep you up to date on any new developments in this ongoing story and the rest of the breaking news in politics please bookmark our site, consider making us your homepage and forward our content with your friends on social media and email.
Tags Chris Wallace Fox News Jill Biden Tucker Carlson
Tucker Carlson Reveals The Real Theft Of The Election
Tucker Carlson Demands The Truth From This One Person
Tucker Carlson Slams Democrats Over This One Massive Failure
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Home » Panic Attack: Playing Politics with Science in the Fight Against COVID-19 (Hardcover)
Panic Attack: Playing Politics with Science in the Fight Against COVID-19 (Hardcover)
By Nicole Saphier, M.D.
"Follow the science" is what they said. "Follow our politics" is what they meant.
In Panic Attack, nationally bestselling author and physician Nicole Saphier uncovers the hypocrisy and hysteria which has characterized so much of the American pandemic response. While journalists trumpeted the importance of following science to "flatten the curve," they praised Governors Andrew Cuomo and Phil Murphy, who sanctioned ill-equipped nursing homes to take COVID-positive patients, leading to an enormous death spike for New York and New Jersey. Plus, the old guard medical establishment captured by Dr. Fauci proved to be far too rigid during a health care emergency.
While some state legislators are still concealing accurate records of nursing home deaths, many others have made anti-science decisions regarding re-opening plans; all of which fuel distrust and civil unrest. Democrat mayors like Bill de Blasio openly admitted that their decisions to keep schools closed were fueled by a "social contract" with teachers (that is: teachers' unions), despite hard science saying this would be harmful.
When anti-science measures are continuously implemented, the long-term consequences of such actions will likely stay with us for years to come. The pandemic has resulted in a failure of government, much of which is unavoidable in a unique disaster scenario. However, the rampant politicization of science, from the origin of the virus to the simple concept of wearing facemasks, has hopelessly muddied the water, divided the country, and knee-jerk anti-Trumpism made it all worse.
A nationally known medical contributor and regular guest anchor for the Fox News Channel, Nicole Saphier is a full-time practicing, board-certified radiologist at Memorial Sloan Kettering Cancer Center in New York City.
"In covering COVID-19, I was appalled by the number of top, reputable scientists who told me they questioned public health guidance and media reporting but didn't speak out for fear of being smeared and destroyed. It's a chilling moment for science and journalism. Into this dynamic comes one of the most reasonable and informed voices on the topic, Dr. Nicole Saphier, to finally show you the full scope of the debates they didn't want you to hear."
— Sharyl Attkisson, investigative reporter, New York Times bestselling author of Slanted
"Effective communication is one of the most powerful tools in public health. Dr. Saphier is a master of it, breaking down the information in a way that is honest and true to the science."
— Marty Makary, M.D., M.P.H., professor at the Johns Hopkins Bloomberg School of Public Health and New York Times bestselling author of The Price We Pay
"In Panic Attack, Dr. Nicole Saphier follows the science, not fear; takes out the politics; and brings some reality to this once-in-a-lifetime pandemic. It's a must-read for people who want to lead their life smartly but boldly."
— Brian Kilmeade, Fox anchor and five-time New York Times bestselling author
Publisher: Broadside Books
Political Science / Public Policy / Social Policy
Medical / Health Policy
Medical / Public Health
Kobo eBook (May 25th, 2021): $14.99


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Features, Interviews, Music December 10, 2021 December 10, 2021
On Love, Songwriting, Spirituality & 'Churches': An Interview with LP
Churches - LP
Love is beautiful, and 'Churches' is LP's cinematic surrender: In our interview around their sixth studio album, the acclaimed artist speaks at length on love, spirituality, songwriting, and the journey that brought them to this moment in time.
Stream: "Conversation" – LP
I wanted to explain that I don't believe in organized religion, but I believe in love being the connector… I think it's traumatic, but I think it gets the point across, and it's done with passion and with love.
Love is beautiful, and Churches is LP's cinematic surrender: An epic tribute to that highest of high powers that sways us more than any government, corporation, or religion ever could. Passion and pain, beauty and wonder all come together in LP's sixth studio album, compelling us to join in journey of sweet celebration, awe, and intimate reckoning.
Churches – LP
You are my one desire
Who knew two waters make a fire sign?
And our worlds, though always in a spiral
Are taking me higher
It's the truth that makes you melt
Path to heaven always goes through hell
I don't like to kiss and tell
But you take me higher
Let's have a conversation
It's hanging in the air, I hang on every line
I know you really care and so do I
If you talk to me and look at me
And say another word to me
Just talk to me and look at me, and say another word to me
– "Conversation," LP
Released December 3 via SOTA Records, Churches presents acclaimed singer/songwriter LP at their finest: Produced by the artist's longtime musical collaborator Mike Del Rio, the record is a catchy and cathartic look at life as it was pre-pandemic, life in a disconnected state, and life as we dream it can someday be.
"This album feels like a friend," the artist, born Laura Pergolizzi, explains. "A friend who took me through one of the most trying times in human history and a fairly trying time in my own personal history. So many real stories and realizations that I feel like I was able to share here."
"Creating with my best friends is a gift I never take for granted and the excitement of meeting new simpatico collaborators is also such a beautiful experience. Like falling in love. I will be forever falling in and out of love. Forgive me but I feel like this is the essence of life and although painful, I wouldn't trade it for anything. I feel like it is my path to convey this emotion among others. I'm so grateful for these songs and the people who made them with me. To be able to bring them to you finally is a dream come true."
LP © Ryan Jay
An expansive fifteen songs dwell in love's multidimensional depths: Love for others, love for oneself, love for the world, and so on. LP's music captures the highs and the lows, the magic and the frustrations of this universal and multi-faceted experience. Yet whether they are wallowing in heartache or reveling in possibility, LP makes Churches a captivating journey throughout thanks to their irresistibly catchy melodies, radiant vocals, and lyrics full of substance.
"Church, for me, is what everybody finds sacred in their life, in their heart," they shared in a recent Billboard feature. "These songs are my way of expressing my love and the depth of my connection to people."
LP spoke at length with Atwood Magazine about love, their new album, spirituality, and human connection. Dive into our Churches interview below, and be sure to give this bold album all the tender, loving care it deserves.
I've been looking for answers
I've been looking for change
I've been looking for dancers in the middle of the rain
Might seem a mile away
It might seem insane
You could be a smile away
You couldn't feel my pain
How do I reach you
What's underneath you
Keeping you safe and sound
Found what I'm chasing
Heart's racing
When you're around it feels like
Angels over me
I've never seen them before
– "Angels," LP
:: stream/purchase Churches here ::
Stream: 'Churches' – LP
A CONVERSATION WITH LP
Atwood Magazine: I've had the chances to listen to Churches quite a bit over the past couple of months, and first of all, I'm in awe. It's so wonderful to hear such a beautiful record with such wonderful sentiments coming out of this time. Can you share a little about the story behind Churches?
LP: Where do I begin? It took the time it should take to make a record. And it's only because of the pandemic. So I think the few songs that came in the tail end, and things during the pandemic kind of brought a lot to the table. And also then… And then the work that we were able to do, the sculpting of it. Writing-wise and production-wise was really cool because of the pandemic 'cause normally and I would have… This record would have been out a year ago, and I would have completed it really by the seat of my pants, on the road. And it would have been a good record I think without that extra year or so, but I think that extra year really kind of… It's the difference between the 2016 version of the wine and the 2010. You're like, "Hmmm this one is just a little bit… It sat in the barrel for a little bit, the cask or whatever. I'm really happy about it.
And "Churches" was kind of the first song written for it, which was interesting. That was pre-pandemic for sure. And I wrote it with Dan Wilson, a producer and musician. And I don't know, it was a… He's an amazing person, and his story's amazing, and I remember being really wanting to do something great with him 'cause he's just done so many great things. And I only had two days, and it was… I remember that the melody of "Churches" just popping out and him going, "Oh." And we were like, "What is that?" I don't know. I felt like I had something special in that song. And I'm not saying it steered the whole record, but there's… You could see there's some sentiments that roll off… "Angels" and "When We Touch." I don't know. It gave me… As a writer, as a songwriter, in general, I'm like, if I have a concept it really steers my ship. This record, I had a direction in a way, and also I feel like it's another level of lyric for me. I feel like my lyrical play on this went to another level for me, personally. I don't know if people would think that, but I feel it, and I feel like I really expressed myself very succinctly.
Are you the kind of person who thrives under pressure when it comes to songwriting?
LP: Yeah, I do. Yeah. And the thing it was though, with Dan, I was sort of sitting at his feet in a way, listening to his story, and just taking it all in 'cause his story's amazing. And I don't relate to him. We're very different, but I do… I have seen, because he's done the thing as an artist and then done the thing as a producer, songwriter, I feel a bit like I wanted to hear his story because I feel I've had sort of two careers in the music business, and it's interesting to me. Just that survivor person or a person that just rolls with where the job is.
And what they want, they definitely go after it, but still you're at the whim of a very erratic, crazy business. So anyone who's made a couple of dances is interesting to me. And he's just a lovely person as well, he's a beautiful spirit and so I was just like, I kind of, I can get lost, I could talk to someone like that four days, I don't even need to write about the song.
I was like, "Stop talking, start doing something." [laughter] But yeah, sometimes it's 15 minutes, and sometimes… This one, like the impetus was explosive and right away, and then we had that whole other day to work it out and I believe we did something else too.
You talked about how you're in your second career, and I know that you were songwriting for others, for such a long time. Is that what you were referring to?
LP: Well, yeah, it was actually a shorter time than you'd think. It seems longer because I didn't know I was songwriting for other people during the three years that I was initially on invisible. Those three years 2006 to 2009 when I was being thought artist myself and I wrote like 140 songs, I didn't realize that that was kicking off my songwriting career.
And then 2009 to mid 2010 or almost 2011, was my songwriting thing, and then, and then at the beginning of 2011, I started to write. I was writing songs again for myself, kind of not for fun, but for fun, really for the love of the game, and then I had new management that wanted to see… That was kinda like "I think you're done with your artist career," so I was kind of inspired a bit, and then when I started writing those songs like the era my songs like "Into the Wild," "Forever for now" stuff, that kicked off my artist career again. And it was just long enough, in the songwriting world.
And here we are now, a decade later and five albums into it. Where does Heart to Mouth and Churches begin for you?
LP: Well, I think that Heart to Mouth was a perfect example of like, I love that record. But it was definitely kind of just run for your life kind of thing. And I always had songs on deck, just like I have a bunch of songs on deck now for the next record, I'm always kind of like… I couldn't fit everything on this record, they're too many, and I also couldn't finish things, so I think that, I guess that it kind of again, begins with the song "Churches." I knew I was kind of onto something new in a way, and I think… And "Churches" is kind of like the first, 'cause definitely Heart to Mouth was all relationship, all love and stuff, and then "Churches" is… I wouldn't call it a political song, but for me it is… And I don't know, I think I wrote this song about my relationship for sure, about other people too, and just about… More on that, spiritually and emotionally.
I love that song and I love the finale that you put in between that one and then your literally epic "Poem."
LP: You like the poem?
I love it! It's such a cathartic way to end this record... I thought you would end with the whisper and you end with a shout.
LP: [laughs] Thank you… I have to say that the poem was the last thing I did. And the last thing I wrote, I had the idea to do something like that, to use every title in a poem that kind of sums something up, emotionally. When I had the idea, I didn't do it, and it's a perfect analogy to my songwriting, I kind of like, I don't… Because I consider myself fairly prolific, and I've worked at it, you know, I don't wanna… I don't stress about fallow periods, I just… 'cause they don't last that long, first of all. And also, I just think that they're necessary, so I had the idea, but then it didn't come, and then literally we were wrapping up the last two songs, like maybe a month ago or less, and that it just fell out and I was like, Oh man, I really, it felt so cathartic and so I feel like it tied the record up in a bow and it felt really good.
You mentioned that the song "Churches" feels like a political statement for you without intending to be political. Can you talk to me a little bit more about how the ways in which that song feels like a statement for you?
LP: It came at a weird time. When I didn't know what was happening in my career. I'd been dropped off by Warner Brothers and in January 2015. I had done… I got this gig towards the end of 2014, I got it. I was… The Blavatnik brothers, and Alex, I was one of his favourite bands on Warner Brothers, which is ironic because I was dropped… You are one of the owner's favorites bands and you get dropped, four months later, but I played at his birthday party in the summer of 2014, and at that show, another wealthy Russian person saw me and I started doing private shows in Russia for big events.
And it was good, it was helping me out, again, I had just gotten dropped by the label, so I was a little kind of like, "What the hell is happening?" And I did about maybe six of them, and during one of them, maybe the fourth or fifth one, I believe we're in either St. Petersburg or something like that. They always used to fly us in, and then we would do the show the next day, and then the next day they would give us a beautiful sightseeing trip of some kind. And then the next day we would leave. And it was always really fun. They were lovely to us.
But there's this one time when everybody wanted to visit the different churches, because their churches are absolutely beautiful, and I kept getting stopped because they wanted me to put something on my head, because I was a woman… Like cover my head. Honestly, for all my swagger and everything, I'm not really that into rocking that boat in particular, because first of all, God is very sacred to me. I believe in God, and I have my own relationship with God, and I don't really want to tell anybody how to do that. But I don't subscribe to the fact that God wants me to cover my head because I'm a woman, I won't deal with that. I just can't do it. And I'm not trying to riot or rock the boat like that, but I'm not not trying to, either…
It's a fine balance. Respecting others while owning your owning your own ideology.
LP: Yeah. It's a matter of respect, and that's very important to me though, respecting other people's beliefs and where they're at in their life or in their evolvement as a soul, whatever it is. But I tried to walk in, and they would think I was a guy at first for a second, and then they'd go, "No, no, no, no, no." And it happened like four times, and then I was like, "You know what? I just don't wanna see!" And I felt bad because the people that were… The people that work with the people that brought us there are a lot of heavy people. You know what I mean? I was like, "Oh man, I hope I'm not fucking up my gig or insulting anyone," but they were very cool that… Because I didn't make a scene, I just walked out. But it's stuck to me because as much as I do make a statement and believe in making a statement, in that regard, in religion and stuff like that, I don't know. I still don't feel like I want to tell people, like we just spoke of.
But it really stuck with me, and that's what Churches is about. I just wanted to try to explain that I don't believe in organized religion, but I believe in love being the connector. I think I said it the way I wanted to say it; I was happy with that. I think it might sound creepy to some people, but I don't know, I'm kind of sensitive to that. I think it's traumatic, but I think it gets the point across, and it's done with passion and with love.
If you told me that this is a record about believing in love and having love as your religion, I would completely believe that. But how do we take this idea, and these experiences that you had, and capture this timeframe? Can you share a little more about your vision for the record as a whole?
LP: Yeah, I'm just trying to figure myself out. I've gone through another break-up in my life, a big one. Another five and a half years, we were engaged. And it was very difficult, and it was a mess in my head. I didn't really… I wasn't home a lot. This relationship happened to kinda go co-pilot with my career, kind of taking off to another level, and it was very difficult to get my bearings when the smog cleared a little bit, especially during the pandemic. And I had to realize some things. And I can see some of the writing is in that kind of… I wouldn't call it a fog, but it in the storm. And there's a lot of… I'm trying to… I had to, of course, mine the field for the information or whatever.
And I think I got it across. My normal thing is I talk about the people around me, what their effect on me, and what I'm seeing, and then I try to talk myself into the next place. Or staying with the love. So there's hopeful and there's sad, in there, as usual.
That's the thing about this record. What I find inspiring about this album is how it packs a punch with intimate content.
LP: And I feel like I got it to… I pounded it into a pop thing, in a way. 'Cause it's like… I don't know, like "Rainbow" is a wild song. That's the most about my relationship, but it was also very interesting because I felt like I was playing in… There was something about… It was about my last relationship, but it was also something like this feeling about my childhood, because I feel like there was something about something in my last relationship that brought up some demons of the anger, and everything in my childhood, and my father. And it's kind of like… I don't know, it was a very difficult song to write. I was choked up the the whole time, it was very, very difficult.
Your lyrics, "Am I so afraid?" It's very heart-wrenching.
LP: Yeah, and I felt like… I also had in mind during the song, about writing a bit about friends of mine or kids that I know that have a really hard time coming out to their parents and just feeling like they're just like… And coming up with themselves like the whole thing of coming out, that's under there too, I felt that. But yeah, that was a while, that was like… We had one of our writing trips right before the pandemic it was in Cabo at the end of 2019. I remember that melody coming out at 3:00 in the morning, and it was like… It was so rife with emotion that I knew I had to really go for it on that one.
It's interesting, it sounds like this album isn't half pandemic and half pre-pandemic, but that it captures both parts of life before 2020, and then in the thick of it?
LP: Oh, totally, and it's like even the last single, "One Last Time" that was written in such a celebratory time. I think it was the summer of 2019, and I had to stay in Europe because I had another gig after tour and Mike Del Rio, who is in a band called POWERS, is my producer and best friend in the world. They were opening for me for this tour, and I had to stay in town with my guitar player to Alex Feder to go do a private show or something like Cypress or something like that, like oh poor me. So I was like, "Hey, let's stay in Greece and write for a week." So we did, and I really wanted to bring Alex Feder into it because he's just a great writer and a great guitar player and a great friend, and so that was the first song we ever wrote together. And I remember we wrote the la da la la la like the big chorus and we loved it, it sounds very like, kind of like, kind of taking a vacation from being an American, to be honest. It was like, "Where does this fit?" this song in my repertoire.
So anyway, we had that part of the song and then I think we worked a little bit on it in Cabo also right before the pandemic, and then after the pandemic here, we got together in our pod after a couple of months, whatever, and I remember like… And it just affected me… It affected me, it affected everybody so deeply, and I just really felt like I was watching all this wild shit like everybody else in shock and all, and I just, like watching people say goodbye to their parents or grandparents over FaceTime. I was like, "Oh, oh my God," and I mean both my parents have passed away. So I know the feeling of like, you've never… And friends of mine too, but and I'm never get to see that person again and it's hard to… If you haven't gone through it, it's hard to wrap your head around it sometimes, even if you're an adult. So I don't know it just was really like… I felt like when I wrote those verses, it felt very of the time. So that was one song that was like a straddle in both periods.
And then I had another pod of writing thing in Palm Springs in the summer of 2020 and that's where "Everybody's Falling In Love" came out and I finished "Rainbow". And then… What was the other one that was really… Oh, "When We Touch" got started 'cause that was a big one… That was the first title that I wrote when the pandemic started 'cause I was… Maybe not when it started, but when I saw that we like, "Oh shit, we're not touring till… " I didn't know when… I was supposed to leave in mid-March, and then it was pushed till May and I couldn't believe that how long we had to wait, and then it was like… And then, of course, it was no longer, I said, "Oh my God." My American tour got moved four times. I'm sure everybody went through it as well, every musician, but I remember like… So my brain started thinking about, "Holy shit. Let me just… What is it gonna be like when we're back?" and so "When We Touch" started in my head, one of the first pandemic titles, but yeah. I don't think I would have written that song if this didn't happen.
Another verse another search for something holy
Another chance to make it right
When it's young and it's fun there's nothing lost nothing won
And no consequence in sight
You know it only feels like darkness
When the light doesn't shine on your side
You were the poet I was the poem but were you mine were you your own
Or were we fighting for our lives
It doesn't matter we survived
But if I could have
One last time with you
I imagine all the things we would do
Love is in the words unspoken
All these moments are golden
Forever is mine with you
Do you feel like the pandemic exacerbated emotions that were already present for you, that were already coming out, or did the pandemic also leave its own mark in special ways on the record?
LP: I think both for me. I was definitely… I was writing this record in a period, I'll be honest with you Mitch, I got everything I wanted and more, like in my career. I was trying to be an Indie artist, the best, like a working Indie artist. The goal was not to work in a bar anymore or whatever, you know? Or ever have to again. And I surpassed that even in the States where people like, "Oh, I hope you get as big in the States as you are… " I'm like, "Dude, I'm fine." You know, like the places I'm playing, I can't believe it, I never thought I'd get there. And so I'm very grateful and very… I hate to use the word "content" because that implies that you don't wanna go any further, and I'm into going as far as I can, I'm not looking to put limits on my shit, but… I definitely went there. And I worked really hard for it, so it's very satisfying and I could really appreciate it in real time.
Man, I just lost my train of thought slightly.
We were talking about the pandemic, whether it was exacerbating feelings and emotions and ideas that were already present in the music.
LP: I think as an artist I was definitely going like, "Hey." I remember being on stage and always being thrilled, you know what I mean? But you can also go when you see people like… When I was on tour and Chris Cornell and stuff happened and Chester, I was just like, "Wow, these guys do that." But I could see the… I wouldn't call them "amazed" maybe, but I could see that you could get in this thing with this like, 'Is that all there is syndrome', if you're not careful. And because once you reach the thing, you're like, "What's the other thing?"
Once your dreams comes true, what happens next?
LP: My thing is that I just really wanna keep going, I just wanna keep writing songs. My goal is to leave a massive body of work behind, as massive as I can amass. But I can see that. It's like this pandemic, for sure, makes people appreciate what we have and what we've had, just like you're saying, you can't shoehorn yourself into a fucking outdoor café right now, it's like impossible… Because it is like… Everybody is thrilled to be out, and rightly so. For God's sakes, man, they tell us… We tell ourselves, "Oh life is short, it's tenuous…" But it fucking is.
LP: And you better… You better let that sink in. So I feel like that's on my career.
Can we talk for a second about legacy? Your debut Heart-Shaped Scar is twenty years old this year. Can you tell me a little bit about the LP who debuted with that record compared to the person I'm speaking with today?
LP: It's a lot different… That was my first record deal, it was substantial, but an ND deal. And I had no… It was rudderless and really difficult… And when I look back at it, not really real at all. But I think it was a cool piece of work. I didn't know, I was still kind of floundering as far as… Not direction, but yes direction, I guess. I'm like the perfect example of like a person who can sing, that people are like, "Wow, you can sing" like, "What do we do?" And I just kind of… I didn't know where to go. I've said this before in interviews, but I was not brought up to be a musician. I know a lot of people weren't, but I really… I really didn't think of, like I was gonna do it, it just kind of like… It was something that felt right.
In light of what happened with my family situation and with me, and in fact, my father was just so overbearing with the whole doctor-lawyer thing it's like… What? My mother died and I was like, "What is the meaning of life?" And I was like, "I'm gonna do that thing that everybody's always told me that people have been the most vocal to me, that I'm good at." Like, "Why not?" I don't know how to do it and know what to do but… So, the 'Heart-Shaped Scar' is the starting point. And I really… It was a journey of… From since then of finding my true… My voice as a writer and as a singer really, but more as a writer, 'cause the songwriting was the real mystery. I knew I could sing, and I could see my effect on people when I sang. When I was younger and stuff like that, I could see it. I was like, "Oh." Because I was trying to be real with myself. Do I have that… Do I have enough of that thing, or am I kidding myself with that part? And I think I was like, "Okay, I'm not crazy, enough people come up to me, and the way they say it makes me believe that I've got a little something on the vocal part." But the songwriting part… What the fuck do I do? How do I do that? How does anyone do it?
I think of songwriting as half storytelling, half self-expression, and another half management.
LP: Well, another half, it's just like, … it sounds lofty and douchey to be like "another part is like God being in the room."
It's the inspiration.
LP: It's a receiving. One of the biggest thrills of songwriting for me is that there's this private knowledge within you that can tell that you're getting better at it. I can't explain it to someone; I could say I learned a lot how to like… And for me, I'm not saying everybody would be like, "Oh you great." I learned how to trim the fat and to move things in a way, and also to receive. I feel like I learned how to open this channel to receive the melodies and the things that I need at the time, and I don't really know sometimes where they come from.
And it's very like… I just let it rip. Even lyrically, I can do it now, 'cause melodically, I think I figured it out a little sooner, but it feels very… And that I also owe to the… I call it "The gun to your head" songwriting that I had to go through to be a writer, because there's no like, "Hey man, you inspired today" or anything. There's like get in the room and write, 'cause we need these songs for this person. It really, it's been like school.
There is no doubt to me that Churches is the tightest LP record that we've yet to hear, and you've talked to me so much about how much you really love the songwriting on this album. Aside from those songs we've discussed, do you have any other favorites that are particularly special for you?
LP: Yeah definitely: "Rainbow," "Angels," and "Everybody's Falling In Love." The whole thing, I gotta say. I hate the word proud, but I'm really happy with it as far as where… Each song, even I who have listen to them thousands of times, I'm like, "Oh cool, yeah, I love that song." There's not one where I'm like, 'cause there's been… I feel like that on every record, but there's sometimes where I'm like, "Ah, could I have done better" on that, but I think "Everybody's Falling In Love," always gets me and I think "Angels" is pretty…
That was, I remember, a pandemic song, and I remember just thinking of that title and it's like generic at best really, if you think about it. But I knew, 'cause sometimes I'm actually fascinated with pedestrian words that then you could build into a complicated concept. You know what I mean. I have a bunch of them, and I just felt like I knew I could wield it into something that was more anthemic.
For me, "When We Touch" is one of those examples. That song opens the record and we're about a minute in and you're belting and my...
LP: [laughs] Yeah, wait until you see the show. I'm gonna have to be nice and warmed up when I do those shows because I think maybe don't put this on the thing, but I think that will probably be an intro song to the actual show. And that's gonna be an ass-clencher for sure.
That's the thing about that song, it's so emphatic, and I don't know how much credence you give to track listings. And to the way you design an album, obviously, there is a balance between songs that are all about a certain topic and a concept record, but there's some meat on the bones when we talk about that track in particular.
LP: And that was pretty much the last song written for the record, so that's interesting. Yeah, it was the very last one. And I don't know. 'cause that was the thing that… That's the quintessential thing about having that extra time to do the record, because then it was like… 'Cause I was always like… Before I thought about doing the poem, I was always like, Let's book in that shit on the record and even in the show with that same music. And then the poem idea came and It felt great, but I really wanted… I don't know. Yeah, I really, I haven't done that, but I always wanted to do that where you put it all together and tie it up like that.
I feel like the other thing, aside from the songwriting that really got down was just the production and the instruments, and I know that Del Rio has a big part there.
LP: Huge part, he's the producer, hands down. I consider myself one as well as far as my input and everything, but he's got… He's very gifted. And he just like… He really went to the map for this one, and it's…
You can tell.
LP: His as much as mine and and we… Our musical relationship and our friendship is so profound and epic for me and for us, I believe. And so I feel like this is also a record of… I say to Mike and Nate Campany all the time, and me, Mike and Nate need to write every song of the record. I feel like we are the heart of this, of all my records, and we are a band, and this is our third record now. And we don't travel together as a band, but when we come together now as writers and creators, I think it feels very tight.
That trio – you, Mike Del Rio, and Nate Campany – defines the LP artistic identity. I get that.
LP: Yeah, I'd like to keep going with it because I think we all would just because I don't really have that need to go… And now I will do a 180, you know what I mean? I like to snowball into more sounds and more things, but I don't need to prove to…
Bruce Springsteen going out into the wilderness and recording Nebraska.
LP: Yeah, exactly. You know what I mean?
I totally get it.
LP: I wanna keep building. Yeah, I just, I'm obsessed with songs. You know what, man, I just… I wanna try to not repeat myself, but I'm also not trying to also reinvent my own wheel, but I'd like to build on and progress, so that's kinda more of my style. Even bands that I love, that go too far, and in a way, I'm like, please, it's like to love them, but Radiohead, please write another The Bends and then I just thought… Then I feel bad because I don't want them to repeat themselves but, I do miss that style of that beautiful, tight songwriting that they have that became so orchestrated.
LP © Darren Craig
One of the things I feel with this record is that it really is built up musically. You were talking about how you had time to finesse these songs, just based on the pandemic and being home like that. Is that the same for the instruments? Is that the same for the feeling? 'Cause these songs are so big, they're so… elegant.
LP: It's nice of you. Do instruments feel like that? Yeah, I feel like we had time to layer and to build up and strip away. Even with "Everybody's Falling in Love," they were like… It sounded a lot different than it does right now, and it's like we put… You can be like, we went back, we went from more electronic shit and more strings to strip back and more guitar, and Mike was like putting these fuckin' dope guitars in it instead of this string stuff. And it brought a lot… It brought something else to the table and… 'cause he's always like, I want it to sound like you. I don't want to sound like… 'cause sometimes that was one of the hardest parts of my career, what you asked me a little while ago, about the difference between 2001 and now, and it's… That's the sound is… I've got a sound you know? And the people that know me and love me know it. And I want to like… And it became my sound 'cause I love it. And it's my stamp.
So Mike has always been the one, he was the first one to really dial it in. Even Lost on You, the way he recorded my vocal was very… It was the first time, and it's not lost on me. Maybe that was why; it was my pinprick in. It was the first time my vocal was recorded properly, so that the emotion got through. 'Cause before that, I think was very often over-produced.
Especially on Forever for Now, and that was the main loss of that whole era. There was some really good songs on that, but I got commandeered by someone… By the system. And it didn't work, 'cause of those songs, in my opinion, and I don't wanna blame anyone, but it was a perfect example of "something's gone awry."
How do you know when the song is done?
LP: Well, I think on a song… I'll tell you what, how about Mike knows more about when a song is done. When I know what song is done is when I know that even if I played acoustically, it affects someone, you know what I mean? I just know as far as the writing of the song is done, really, to be honest, I can tell there's enough parts. Every melody is catching you. Each lyric has all the precise meanings that I want or duality or whatever the fuck it is, and that's when I know. And there's been times… There's been songs before where I like, this song needs another part, if it doesn't have another part on repeated listening's, it's not… It's gonna fade… And so shit like that, that I'm really… I'm like sculpting a lot with songs, and Mike does that on the production, you know. So, we have different versions of what is done.
What do you love most about the music that you make?
LP: There's always a throughput of emotion, but that it's like… It doesn't bog you down. You know what I mean? It's working your emotions while it's… While it's kind of feeding the things that we like in songs that just make us happy or just forget or I don't know… I feel like any good music that I love it, it hits you in a few places, you know? And that's what I look for.
Going back to this record, do you have any favorite lyrics off this album?
LP: I got it. It could be, I'm gonna regret this after, but it's apropos of this time: "When We Touch," I say, "So let me grow wise in my exile. Darker than the nights, longer than the miles." I just take this time to get wiser, 'cause I feel sequestered away, like everybody. I know I have another one, but there's one for you!
What do you hope listeners take away from the songs on Churches?
LP: I hope they can relate and feel and, like all of the music that we put out, bring it to their own lives – it feels healing. I feel like these songs have helped heal me and got me through a bunch of shit. I hope it just feels good.
Similarly, what have you taken away from creating it and now putting it out?
LP: I just feel like I'm expressing myself as always. What more is there? I feel like I want these songs to carry me and my band into the next couple years performance-wise, and so that myself and my audience can come together and work our shit out.
Who are you listening to right now that you would recommend to our readers?
LP: Tamino, Palaye Royale, Angel Olsen, and Aurora
LP, thank you for your time. I hope you and your loved ones are all staying safe and healthy, and congratulations on this record.
LP: Thanks Mitch. I hope to see you out there!
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text:
Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53: Proteomics Clin Appl
Juhura G. Almazi, Swetlana Mactier, O. Giles Best, Ben Crossett, Stephen P. Mulligan, Richard I. Christopherson
PURPOSE: Human Raji cells treated with fludarabine nucleoside (2-FaraA, 3 μM) undergo apoptosis with accumulation of p53 in the nuclei as multiple phosphorylated isoforms and C-terminal truncated derivatives. Changes induced by 2-FaraA in the levels of p53, p63 and p73 in the nuclear, cytosolic and mitochondrial fractions have been determined in four human B-lymphoid cell lines that are TP53-functional (Raji and IM9) and TP53-mutated (MEC1 and U266). EXPERIMENTAL DESIGN: The B-lymphoid cell lines were treated with 2-FaraA (3 μM, 24 h, 48 h) and viability determined. Protein extracts of subcellular fractions from 2-FaraA-treated cells were analysed by 1D and 2D electrophoresis; multiple phosphorylated isoforms and truncated derivatives were identified by Western blots for p53, p63 and p73. RESULTS: p53 and p63 were present in all three fractions, while p73 was only detected in nuclei. After treatment with 2-FaraA, nuclear p53, p63 and p73 accumulated as multiple phosphorylated isoforms and truncated derivatives. The association of p63 with mitochondria in human cells is novel. CONCLUSIONS AND CLINICAL RELEVANCE: Comprehensive information on the subcellular distributions and responses of p53, p63 and p73 to 2-FaraA provides additional insight into mechanisms for induction of apoptosis in the treatment of B-lymphoproliferative disorders with fludarabine.
Proteomics. Clinical applications
https://doi.org/10.1002/prca.201200003
1862-8354 Almazi, Juhura G Mactier, Swetlana Best, O Giles Crossett, Ben Mulligan, Stephen P Christopherson, Richard I Journal Article Research Support, Non-U.S. Gov't Germany Proteomics Clin Appl. 2012 Jun;6(5-6):279-90. doi: 10.1002/prca.201200003.
Antineoplastic Agents/*pharmacology Apoptosis Cell Line, Tumor Cell Nucleus/*metabolism Cytosol/*metabolism DNA-Binding Proteins/*metabolism Humans Membrane Proteins/*metabolism Nuclear Proteins/*metabolism Precursor Cell Lymphoblastic Leukemia-Lymphoma Tumor Protein p73 Tumor Suppressor Protein p53/*metabolism Tumor Suppressor Proteins/*metabolism Vidarabine/*analogs & derivatives/pharmacology
10.1002/prca.201200003Licence: In Copyright
Dive into the research topics of 'Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53: Proteomics Clin Appl'. Together they form a unique fingerprint.
fludarabine Medicine & Life Sciences 100%
Nucleosides Medicine & Life Sciences 81%
Proteomics Medicine & Life Sciences 71%
Protein Isoforms Medicine & Life Sciences 62%
Cell Line Medicine & Life Sciences 45%
Subcellular Fractions Medicine & Life Sciences 33%
Almazi, J. G., Mactier, S., Best, O. G., Crossett, B., Mulligan, S. P., & Christopherson, R. I. (2012). Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53: Proteomics Clin Appl. Proteomics. Clinical applications, 6(5-6), 279-290. https://doi.org/10.1002/prca.201200003
Almazi, Juhura G. ; Mactier, Swetlana ; Best, O. Giles et al. / Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53 : Proteomics Clin Appl. In: Proteomics. Clinical applications. 2012 ; Vol. 6, No. 5-6. pp. 279-290.
@article{58c5bed6bddf464e9c184e65254d5c3a,
title = "Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53: Proteomics Clin Appl",
abstract = "PURPOSE: Human Raji cells treated with fludarabine nucleoside (2-FaraA, 3 μM) undergo apoptosis with accumulation of p53 in the nuclei as multiple phosphorylated isoforms and C-terminal truncated derivatives. Changes induced by 2-FaraA in the levels of p53, p63 and p73 in the nuclear, cytosolic and mitochondrial fractions have been determined in four human B-lymphoid cell lines that are TP53-functional (Raji and IM9) and TP53-mutated (MEC1 and U266). EXPERIMENTAL DESIGN: The B-lymphoid cell lines were treated with 2-FaraA (3 μM, 24 h, 48 h) and viability determined. Protein extracts of subcellular fractions from 2-FaraA-treated cells were analysed by 1D and 2D electrophoresis; multiple phosphorylated isoforms and truncated derivatives were identified by Western blots for p53, p63 and p73. RESULTS: p53 and p63 were present in all three fractions, while p73 was only detected in nuclei. After treatment with 2-FaraA, nuclear p53, p63 and p73 accumulated as multiple phosphorylated isoforms and truncated derivatives. The association of p63 with mitochondria in human cells is novel. CONCLUSIONS AND CLINICAL RELEVANCE: Comprehensive information on the subcellular distributions and responses of p53, p63 and p73 to 2-FaraA provides additional insight into mechanisms for induction of apoptosis in the treatment of B-lymphoproliferative disorders with fludarabine.",
keywords = "Antineoplastic Agents/*pharmacology Apoptosis Cell Line, Tumor Cell Nucleus/*metabolism Cytosol/*metabolism DNA-Binding Proteins/*metabolism Humans Membrane Proteins/*metabolism Nuclear Proteins/*metabolism Precursor Cell Lymphoblastic Leukemia-Lymphoma Tumor Protein p73 Tumor Suppressor Protein p53/*metabolism Tumor Suppressor Proteins/*metabolism Vidarabine/*analogs & derivatives/pharmacology",
author = "Almazi, {Juhura G.} and Swetlana Mactier and Best, {O. Giles} and Ben Crossett and Mulligan, {Stephen P.} and Christopherson, {Richard I.}",
note = "1862-8354 Almazi, Juhura G Mactier, Swetlana Best, O Giles Crossett, Ben Mulligan, Stephen P Christopherson, Richard I Journal Article Research Support, Non-U.S. Gov't Germany Proteomics Clin Appl. 2012 Jun;6(5-6):279-90. doi: 10.1002/prca.201200003.",
doi = "10.1002/prca.201200003",
journal = "Proteomics. Clinical applications",
Almazi, JG, Mactier, S, Best, OG, Crossett, B, Mulligan, SP & Christopherson, RI 2012, 'Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53: Proteomics Clin Appl', Proteomics. Clinical applications, vol. 6, no. 5-6, pp. 279-290. https://doi.org/10.1002/prca.201200003
Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53 : Proteomics Clin Appl. / Almazi, Juhura G.; Mactier, Swetlana; Best, O. Giles et al.
In: Proteomics. Clinical applications, Vol. 6, No. 5-6, 06.2012, p. 279-290.
T1 - Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53
T2 - Proteomics Clin Appl
AU - Almazi, Juhura G.
AU - Mactier, Swetlana
AU - Best, O. Giles
AU - Crossett, Ben
AU - Mulligan, Stephen P.
AU - Christopherson, Richard I.
N1 - 1862-8354 Almazi, Juhura G Mactier, Swetlana Best, O Giles Crossett, Ben Mulligan, Stephen P Christopherson, Richard I Journal Article Research Support, Non-U.S. Gov't Germany Proteomics Clin Appl. 2012 Jun;6(5-6):279-90. doi: 10.1002/prca.201200003.
N2 - PURPOSE: Human Raji cells treated with fludarabine nucleoside (2-FaraA, 3 μM) undergo apoptosis with accumulation of p53 in the nuclei as multiple phosphorylated isoforms and C-terminal truncated derivatives. Changes induced by 2-FaraA in the levels of p53, p63 and p73 in the nuclear, cytosolic and mitochondrial fractions have been determined in four human B-lymphoid cell lines that are TP53-functional (Raji and IM9) and TP53-mutated (MEC1 and U266). EXPERIMENTAL DESIGN: The B-lymphoid cell lines were treated with 2-FaraA (3 μM, 24 h, 48 h) and viability determined. Protein extracts of subcellular fractions from 2-FaraA-treated cells were analysed by 1D and 2D electrophoresis; multiple phosphorylated isoforms and truncated derivatives were identified by Western blots for p53, p63 and p73. RESULTS: p53 and p63 were present in all three fractions, while p73 was only detected in nuclei. After treatment with 2-FaraA, nuclear p53, p63 and p73 accumulated as multiple phosphorylated isoforms and truncated derivatives. The association of p63 with mitochondria in human cells is novel. CONCLUSIONS AND CLINICAL RELEVANCE: Comprehensive information on the subcellular distributions and responses of p53, p63 and p73 to 2-FaraA provides additional insight into mechanisms for induction of apoptosis in the treatment of B-lymphoproliferative disorders with fludarabine.
AB - PURPOSE: Human Raji cells treated with fludarabine nucleoside (2-FaraA, 3 μM) undergo apoptosis with accumulation of p53 in the nuclei as multiple phosphorylated isoforms and C-terminal truncated derivatives. Changes induced by 2-FaraA in the levels of p53, p63 and p73 in the nuclear, cytosolic and mitochondrial fractions have been determined in four human B-lymphoid cell lines that are TP53-functional (Raji and IM9) and TP53-mutated (MEC1 and U266). EXPERIMENTAL DESIGN: The B-lymphoid cell lines were treated with 2-FaraA (3 μM, 24 h, 48 h) and viability determined. Protein extracts of subcellular fractions from 2-FaraA-treated cells were analysed by 1D and 2D electrophoresis; multiple phosphorylated isoforms and truncated derivatives were identified by Western blots for p53, p63 and p73. RESULTS: p53 and p63 were present in all three fractions, while p73 was only detected in nuclei. After treatment with 2-FaraA, nuclear p53, p63 and p73 accumulated as multiple phosphorylated isoforms and truncated derivatives. The association of p63 with mitochondria in human cells is novel. CONCLUSIONS AND CLINICAL RELEVANCE: Comprehensive information on the subcellular distributions and responses of p53, p63 and p73 to 2-FaraA provides additional insight into mechanisms for induction of apoptosis in the treatment of B-lymphoproliferative disorders with fludarabine.
KW - Antineoplastic Agents/pharmacology Apoptosis Cell Line, Tumor Cell Nucleus/metabolism Cytosol/metabolism DNA-Binding Proteins/metabolism Humans Membrane Proteins/metabolism Nuclear Proteins/metabolism Precursor Cell Lymphoblastic Leukemia-Lymphoma Tumor P
U2 - 10.1002/prca.201200003
DO - 10.1002/prca.201200003
JO - Proteomics. Clinical applications
JF - Proteomics. Clinical applications
Almazi JG, Mactier S, Best OG, Crossett B, Mulligan SP, Christopherson RI. Fludarabine nucleoside induces accumulations of p53, p63 and p73 in the nuclei of human B-lymphoid cell lines, with cytosolic and mitochondrial increases in p53: Proteomics Clin Appl. Proteomics. Clinical applications. 2012 Jun;6(5-6):279-290. https://doi.org/10.1002/prca.201200003


text:
Kant and the Reach of Reason
Studies in Kant's Theory of Rational Systematization
Author: Nicholas Rescher, University of Pittsburgh
Date Published: October 1999
These essays are concerned with the overall nature of Kant's philosophical system, and thus with his deepest intentions and basic commitments. The first three essays deal with Kant's approach to things in themselves and with the realm of noumenal causality. The second part considers Kant's approach to the methodology of rational inquiry, and, in particular, his views on cognitive systematization and the limits of philosophizing itself. The third section focuses on the role played by the categorical imperative in both theoretical and practical philosophy. The aim throughout is to show that in an important sense Kant is prepared to assert the primacy of practical over theoretical philosophy.
Rescher is prominent philosopher with several books to his credit
We do well with almost anything on Kant, including collections of essays such as this
"Kant and the Reach of Reason, a collection of nine essays spanning three decades, shows that Rescher is a first-rate Kant scholar...Rescher's reading of the Critical philosophy is original, thought-provoking, and in many ways compelling." The Review of Metaphysics
1. On the status of 'things in themselves' in Kant's critical philosophy
2. Kant on noumenal causality
3. Kant's cognitive anthropocentrism: the 'special constitution' of the human mind in Kantian epistemology
4. Kant on cognitive systematization
5. Kant's teleological theology
6. Kant on the limits and prospects of philosophy
7. On the reach of pure reason in Kant's practical philosophy
8. On the rationale of Kant's categorical imperative
9. On the unity of Kant's categorical imperative
Name index.
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Nicholas Rescher, University of Pittsburgh
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