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Other Music's eBay auctions are back! Right now we have a couple of rare Afro funk LPs by Jay Mitchell and Jambalasie up for grabs, as well as a few scarce soul and Latin titles, old school hip-hop 12"s by Schoolly D and K-Solo, two minimal synth rarities, and a sealed psych monster. Click here to check out the full listing.
Michio Kurihara (mp3 available)
Boris & Michio Kurihara (domestic)
Dead C (mp3 available)
Barbara & Ernie
Gudrun Gut (mp3 available)
Voxtrot (mp3 available)
Dorothy Ashby
Burial (vinyl pressing)
Soundboy Punishments (various)
Meg Baird
Melvin Jackson
Wareika Hill Sounds
Paulo Diniz
From Brussels with Love (various)
Stars (remix album)
James Chance (mp3 available)
Kirsten Ketsjer the Rock Band
FEATURED MP3 DOWNLOADS
Need for a Crossing (various)
The Kay-Gees
SC100 (various)
Dan Deacon (first two albums)
UPCOMING OTHER MUSIC IN-STORE PERFORMANCES
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OTHER MUSIC PARTY FEATURING PANTHA DU PRINCE
We've been waiting for this one! Other Music is very excited to mark the return of Pantha Du Prince! The Hamburg DJ/producer will be making an exclusive NYC appearance at APT on Friday, June 8 in support of his new album, This Bliss, on Dial. $10 tickets are available at Other Music.
APT: 413 W. 13 Street NYC
MICHIO KURIHARA
Sunset Notes
"Twilight Mystery of a Russian Cowboy"
"Wind Waltzes"
Although this is the first release bearing his name on the cover, Michio Kurihara's playing should be well known to anyone with an ear to the Japanese psychedelic scene of the last 20 years. The stunning guitarist first came to prominence in the mid-'80s groundbreaking group White Heaven, who were at the forefront of the burgeoning Japanese psych revival. Since the mid-'90s he has been recording and touring as the lead guitarist of the psych-folk powerhouse Ghost, whose deal with Drag City and US tours with Damon & Naomi and others brought their sublime sounds to the attention of many Westerners. Kurihara has also toured extensively as part of Damon & Naomi's own band, and the duo's 20/20/20 imprint is responsible for this reissue of Sunset Notes, his lone solo release originally out in Japan in 2005 on Pedal Records.
Anyone expecting a simple stripped-down rehashing of Ghost or White Heaven's epic, acid-drenched sounds will be a bit surprised by the nine tracks included on this excellent and varied album, despite production by White Heaven leader You Ishihara and engineering by Soichiro Nakamura, who has worked with artists such as Boris and Nagisa Ni Te. Indeed Kurihara's fretwork is intrinsically mind-bending, and tracks like the set closer "A Boat of Courage" have a swirling and soaring quality that fans of Kurihara's best-known work will recognize. But the mostly instrumental album explores a myriad of directions, with crisp production and a clear and focused guitar sound presenting Kurihara's own take on progressive, surf, spaghetti-western, blues and more. With such diverse moods and subtly nuanced performances, in some ways Sunset Notes comes across more like a film soundtrack than a rock album, and as a result, it is a cinematic, emotional journey. The guitarist casually echoes such diverse six-string icons such as Thurston Moore, Dick Dale and Loren Mazzacane Connors without ever sacrificing his own taste and individualism. [JM]
BORIS / MICHIO KURIHARA
(Drag City)
Finally a domestic version of this Boris album, previously only available as a Japanese import. Rainbow is a collaboration with Ghost guitar hero Michio Kurihara, and it's Boris at their most varied; some shoegaze moments, heavy psych, crushing metal, experimental passages, sick guitar gymnastics by Kurihara, and, the biggest surprise of all, a poppy track with lush vocals by Wata! Just when we thought we had this band figured out, they drop this bomb. Another classic.
(Warp)
"Atlas"
"Ddiamondd"
Brooklyn's Battles have the type of collective CV for which most bands would gladly give a few eyeballs. Featuring former Helmet and current Tomahawk drummer John Stanier, ex-Don Caballero and Storm&Stress guitarist Ian Williams, Lynx bassist Dave Konopka, and noted oddball solo guitarist and vocalist Tyondai Braxton, these four have dropped a couple of EPs and a single's worth of avant rock strangeness, blending Stanier's powerhouse percussion with a veritable arsenal of shattered, looped riffs and twisting keyboard lines. A couple of years in the making, Mirrored at long last finds this quartet stretching out their oft-ferocious instrumental prowess over the course of a debut long-player.
Not recorded so much as chiseled out of almost every spare part to be found at your local Guitar Center, the eleven songs gathered herein race along frantic drum thwaps, terra-forming finely nuanced vistas that the group's previous work only hinted at. Williams' familiar note-bursts are in place as they were in later Don Cab, lending a playful edge to Stanier's manic beat on "Snare Hanger." And all throughout, Konopka anchors each track with taut low-end, grounding the strings as they parry and thrust amongst themselves. But more than anything, Mirrored belongs to Stanier and Braxton. Track in and track out, the former provides an almost metronomic precision to each and every piece, tying "Atlas" to fierce poly-rhythms, while stopping and starting "Race: In" on a series of well-placed dimes. Braxton, furthermore, bends and pitch-shifts his voice into an array of mechanized alien tones, twisting his tongue throughout the crazed "Ddiamondd," while eerily crooning his way through the lurch that is "Leyendecker." Ultimately playing prog moves as forceful as a jackhammer that's been laced with an indefatigable sense of playfulness, Mirrored is a fully realized and confidently propulsive album. [MC]
(Beggars Banquet)
"Brainy"
"Apartment Story"
The National's fourth album was recently referred to as a "grower" by Seattle radio station KEXP, and that's exactly right. It's stealth in its intent, creeping along the edges of every party, street, and lovers' quarrel. But Boxer is very, very good at hitting its target. As a young Greg Dulli once said, "It's locked its jaws, and now it's swallowing." Piano-plunked intro "Fake Empire" is lush in imagery, its narrator stumbling over apple pie, diamond slippers, and spiked lemonade. Matt Berninger traffics in the same brand of vampiric, stilted storytelling that Nick Cave, Stuart Staples, and The The's Matt Johnson love to scare all the kids with, but he's onto something special this time: he's got buoyancy, a coy endgame under all that sincerity. You could almost see him (were the National a huge enough band, and if talent had anything to do with fame, they would be) parodied on SNL by Andy Samberg as a doom-and-gloom troubadour, a maudlin talisman. But horns, flute, and strings march in assuredly just as Berninger's tale of woe gets close to a precipice -- the whole song exploding into a nervy festival of light and love, like Lambchop has been invited into the studio.
The wine-soaked, bad-boy intrigue of the Brooklyn band's stellar last effort, Alligator, returns in Boxer, particularly on mid-tempo rockers like "Apartment Story" and "Squalor Victoria," their pebbly drums, serene notes, and nighttime confessions skimming the surface of the deep water below. This time there's an unapologetic prettiness. Sexual energy hums out of Berninger's predatory purr. To contrast it, the brothers Dessner and Devendorf have built up a scenic byway for their boxing debut; everything fits, everything triumphs. And often, friends (like Sufjan Stevens) step into the fold, marbling tracks with piano or a dollop of French horn, deepening the deafening crash of bloodless, warring hearts adrift on this unpredictable ship's prow. This is a grower, but it's not done with you yet. [KO]
DEAD C
Future Artists
"The Magicians"
"Garage"
The first new Dead C. album since 2003's The Damned, Future Artists really sounds like their first album-length effort since 2001's New Electric Music, in terms of how little it wishes to revisit the past. There's one pop song on here -- "The Magicians," pop, at least, by their decimating standards -- and a whole load of electronic- and guitar-based drone, fractured by digitalis interruptus ("Macoute," one of the group's most perplexing tracks to date), braced by macho tarpit blues howl ("Eternity"), and aerated into noise-folk pickings that grow vicious in the heat of performance ("Garage"). From cathartic noise to a nascent electronic period, from torrid, grotty hardcore sessions to serene waves of sonic drift, this New Zealand trio has been leading a charge for sentimental experimental music for two decades and change, wringing out the ears of those who choose to follow with the most innovative charges this side of Jandek. There is not now, nor ever there was another band like this, one which could so effectively flense rock music down to the particle level. Highly recommended, as with all of their other works. [DM]
BARBARA AND ERNIE
Prelude to...
"Listen to Your Heart"
"Play with Fire"
Short, sweet, and sophisticated, this early '70s, May-December musical collaboration is long overdue for serious reconsideration. Soul singer Barbara Massey, a backup torch out on her own, was paired with jazz guitarist Ernie Calabria, who'd played with everyone from Bob Dylan to Harry Belafonte, and assisted ably by Keith Jarrett, Grady Tate, Chuck Rainey, Joe Beck, and orchestrations conducted by Eumir Deodato. The vibes present are immeasurably deep and rich, crossing the streams of lounge exotica, sit-down jazz, and somnambulant psychedelia in ways that would make the modern reissue junkie sweat this one but hard. Aside from a cover of Jefferson Airplane's "Somebody to Love," the duo performs all original material in a session sounding like nothing before or since, a unique and unadulterated classic of lost, big-budget studio sessions rescued from deep within the Atlantic vaults. [DM]
GUDRUN GUT
I Put a Record On
(Monika)
"The Wheel"
"Rock Bottom Riser"
How many record company heads can put out a record that ranks as one of the best of their label's output? Maybe if your name is Gudrun Gut -- responsible for legendary Neue Deutsche Welle tracks back in the day (i.e. "Domina," sampled by Carl Craig) and a DJ for the awesome Ocean Club radio show -- it would be possible. In true label head fashion, she's decided to release an album of songs inspired by other acts/bands/loved ones/places. Included in the list: Buenos Aires, ESG, New Order and "the blues." It's not all tribute-y though; there is a consistent creative quality throughout. Dreamy vocal tracks lend an overall vibe of a nice, hazy breeze blowing through. Cool lyrics like "I fall to pieces, like a Patsy Cline song" (from the killer "Move Me" single, originally from a 7"-only release) are delivered in a less deadpan, Nico way, not to mention that there's a great cover of Smog's "Rock Bottom Riser." The closest comparison I can make to these tracks is K. Kalk's Donna Regina. All the sweet and interesting elements are there: good songs, creative production, and charm. The only difference is that Gudrun Gut has more variety and a bit more edge. Recommended! [SM]
(Play Louder)
"Kid Gloves"
"Blood Red Blood"
Voxtrot are no strangers to the art of the tease. Over the past year, the Texas five-piece has released three promising EPs of solid indie rock, creating a lingering buzz to live up to. Ergo, it's a sweet relief to say that the success of their sunny, Britpop-inspired sound is not a product of the forgiving EP format.
The band's self-titled debut full-length is culled from a mash of elements featured on previous work -- a fitting combination of frontman Ramesh Srivastava's silky vocals and fine songwriting, backed by the band's incredibly catchy yet simultaneously vintage-toned instrumentals. At last, Voxtrot showcases their ability to compose a complete album, transitioning smoothly from track to track, spreading out their pomps of zippy guitar-pop with more emotionally introspective slow burners -- check the move from the exploratory "Steven" to the aptly-titled, "Firecracker." And, most importantly, even after the five-song mark, the refreshing and, at times, boisterous tunes haven't lost their luster.
The verdict: just in time for summer, Voxtrot has (finally) made something you can spend a little time with. [PG]
Rubaiyat of Dorothy Ashby
(Dusty Groove)
"Heaven & Hell"
"Wine"
The queen of jazz harp, Dorothy Ashby made three records for the Cadet Concept label in the late '60s; Rubaiyat was the last of them, and rivals her oft-sampled classic Afro-Harping in terms of its scope and sense of adventure. Based on the writings of Omar Khayyam, Rubaiyat positively shines, injecting these majestic tracks with serious bump in its orchestral and torch song tendencies, and with exotic gracefulness in others (Ashby doubles up on koto here, infusing the session with an Eastern flair), and balances those out with some overdue funk redemption on closer "The Moving Finger." This full and gorgeous-sounding reissue comes from Chicago soul specialty store Dusty Groove's new reissue imprint, of which we can hope for more legitimate editions of long-unavailable jazz, funk, and soul classics. [DM]
(Hyperdub)
"U Hurt Me"
"Broken Home"
During the waning days of 2006, a little record made a big impression on the electronic music scene. Straight out of Bristol, Burial snuck in and topped dozens of year end charts around the world. We never gave it a proper review because we could never keep enough of the album in stock! Now that it's available on vinyl, let's take a look at what all the fuzz was about...
With the self-titled debut, Burial moved in on Rhythm & Sound, Pole and Vladislav Delay, just to name a few, taking electronic dub back to its dirty, digital roots. Not that it's a throwback or even lo-fi; this is forward thinking music at its best. Riding the rails of dubstep, digidub, and deep ambient textures, here lies the full-length introduction to the next phase (with Skream, Kode 9, Benga, and Vex'd right alongside). There's a sub-aquatic feeling throughout, as a quiet storm of deep bass waves overtakes you. The atmosphere is almost womb-like, but it's far from a sleeper experience; Burial would rock any dance floor that calls dub home. Picture Eno's ambient works, Basic Channel minimalism, and Mad Professor's bass bins all filtered through Bristol's dub history (from On-U Sound to Massive Attack). A magical debut that still continues to inspire and expand with every listen. [DG]
Soundboy Punishments - Skull Disco
(Skull Disco)
"Hamas Rule" Shackleton
"Gold and Silver" Appleblim
The surprise of the week comes from another dubstep debut. Following several excellent 12" releases, the Skull Disco label brings us this excellent compilation, Soundboy Punishments. Culled primarily from the work of Shackleton, as well as a few selections from Appleblim and Gatekeeper, this is a mysterious yet engaging collection of deep, dark and danceable dub. The style of Skull Disco could best be described as a mix of Muslimgauze, DJ Rupture (without the shredding effects), Badawi, or even Basic Channel. Earthy sounds like finger cymbals, dumbek and hand percussion form the skeletal framework for the lean yet bubbling rhythms and adds a fresh, Middle Eastern spin on melodies that are usually associated with digital music. As the title suggests, this is punishment for any sound boy expecting the same ol' thing. Yeah, you might think, "Oh, yet another dubstep comp..." but this one is worth the money. (Check out the 18-minute Ricardo Villalobos remix of a Shackelton's "Blood On My Hands" -- who says dubstep and minimal techno can't be friends?!) If you thought Tectonic Plates was a banger, this one is its organic cousin. Recommended! [DG]
Dear Companion
"Dear Companion"
"Willie O'Winsbury"
OM readers will no doubt remember Meg Baird's work in Philly's finest psych-folk purveyors Espers and their heavy and black masterwork from last year, II. What will come as a surprise is that while Baird was laying down the heavyosity there, she had also commenced tracking her solo debut. And as the sun-dappled cover attests, this is a much "lighter" affair in every regard, though still moving. Baird evokes British folk singers of yore (not a bad feat for a Jersey girl) and her finger-style picking is subtle and assured. She covers Jimmy Webb and New Riders of the Purple Sage, in addition to offering up her own songs. Fans of Sandy Denny (and SD-era Fairport Convention) in particular will dig this. [AB]
(Rune Grammofon)
"Son of King"
"The Beginner"
Over the course of their 10-year existence, Norwegian duo Alog have created a series of albums that basked in a delicate and tenuous balance between the quaintly unadorned and the relentlessly processed. Running live instruments and field recordings through a whole host of software and equipment, Dag-Are Haugan and Espen Sommer Eide's strangely beguiling tracks speak of well-played juxtapositions, dealing in blocks of sound that trace routes from familiar tones to destinations in wholly new applications. For Amateur, the pair's fourth full-length for the Rune Grammofon label, Alog took a slightly different approach, this time sourcing instruments the two had little familiarity with, as well as creating brand new toys with which to play during a coastal trip around their native land.
While the title and approach here seem to imply an obvious sense of dilettantism, there's little performative naivete at work. Though Haugen and Eide might have been admittedly unfamiliar with most of the pieces of equipment with which they worked, their keen skills as sound processors and manipulators soft-pedals any embarrassing instrumental gaffes in favor of near-seamlessly stitched pieces that are somehow still among the most organic things these guys have ever attempted. The clattering percussion of "A Throne for the Common Man" builds into a steady racket, underpinned by urgent string strums that exude a quiet desperation. Elsewhere, the steady march of "The Future of Norwegian Wood" neatly blends with punctuating voices and carefully distant keys, while the gorgeously epic "Bedlam Emblem" softly transitions from winnowing static to gauzy descendent melodies and backgrounded percussion with barely a seam showing. But like any truly great piece of electro-acoustic composition, Alog's Amateur earns the most marks in the subtle and indescribable grace it wields while transforming familiar sounds into the otherworldly, building endlessly listenable pieces out of carefully prescribed processes and the grand sense of discovery that comes from picking up a new instrument for the first time. [MC]
Funky Skull
"Funky Skull Parts 1 & 2"
"Silver Cycles"
This writer once rocked a Beastie Boys shirt that had that cheesy 70s guitar filter box "The Maestro" on it and sorta dug their homage to the effect. So imagine his skull-popping surprise upon discovering said device attached to the upright of bassist Melvin Jackson on his solo album. Originally released on the avant-garde Limelight imprint, we were familiar with some of their other titles, mostly from the likes of Iannis Xenakis, Pierre Henry, and Luc Ferrari, but were wholly unprepared for this classic slab of electric space funk. Seriously, with an album title like Funky Skull, you really should know what you're in for, but those who don't know, Jackson backed another explorer of electronic jazz, the underrated saxophonist Eddie Harris in the mid-late '60s before making this album with fellow Chicago alums like Lester Bowie, Roscoe Mitchell, Leo Smith, Pete Cosey, and Phil Upchurch. The electric effects on the bass lead to some intergalactic duck calls, but such malleability leads the group to touch upon Chicago blues, Mayfield funk, electro-gospel, as well as the outer reaches of Ra jazz, while remaining wholly un-definable. An original. [AB]
DJ Kicks
(K7)
"Short Road" Wax Stag
"The Man's Got Me Beat" Pete Um
England's most chilled-out lads surface with their installment of this popular DJ mix series, and from desperate, Stephanie Mills-esque go-for-broke disco soul to Baltimore club breaks, they cover an immense amount of ground. Hot Chip's sensibilities are all over the map, and this mix follows that logic, but stays remarkably cohesive throughout. Features selections by This Heat, Tom Ze, Grauzone, Lanark, and Audion, and held together by popular staples (New Order's "Bizarre Love Triangle," Positive K's "I Got a Man," and the classic "Steppin' Out" by Joe Jackson), this collection provides a revealing and highly enjoyable look at the sounds that influenced the group, and a suitable "after party" vibe that really sells the whole package. [DM]
$14.99 DVD w/CD
Retina Riddim
(Social Registry)
"Retina Riddim"
The latest chapter in the book of GGD is an audio-visual combo pack in the form of a DVD and a CD. The main feature here is a kaleidoscopic and sometimes dizzying 33-minute film by Gang Gang Dance's Brian DeGraw, that combines an array of found images, tour footage, and visual psychedelics. The imagery skips along in rhythm to the soundtrack, which showcases the band's current direction -- an abstract mix of ethereal melodies, noise, and grime/dubstep flirtations. As with the soundtrack, the accompanying CD is made up of rehearsal material, live recordings, and leftovers from the God's Money sessions which were edited into a 25-minute track. It's obviously much more fragmented than the band's "proper" albums but no less masterfully executed. It's a lot to take in at once, as Retina Reddim demands absolute attention from both eye and ear, but thoroughly rewarding in the end. [BC]
(Honest Jon's)
"Coconut Head Special"
"Jamaica Is Reggae Land"
Roaming the same hillside as Count Ossie & the Mystic Revelation of Rastafari, Light of Saba trombonist Calvin Cameron is one of the lasting members of the Groundation musicians, a group known for creating hedonistic trance jams by combining niyabinghi drumming, reggae and jazz. Wareika Hill Sounds is a new recording featuring various members of the aforementioned collectives. Here, Cameron is joined by players who also were around during Lee Perry's formative Black Ark era, original Saba drummers, and special guest Tony Allen. This is a bassy, thumping, and funky reggae party with sharp, flowing horn arrangements, with Cameron effortlessly floating on top of the heavy percussion rhythms. If you've been following Honest Jon's output, from Mali Music to Lagos Chop Up and the great London Is the Place For Me series, then you know this is quality roots music not to be missed. Jah's light continues to shine bright and deep...recommended for your enlightenment. [DG]
Quero Voltar Pra' Bahia
(EMI Brazil)
"Piri Piri"
"Felicidade"
This is the second release by Pernambuco-based singer and songwriter Paulo Diniz, whose combination of gruff, soulful vocal, pop-psych smarts and roots in Northeastern Brazilian musical styles resulted in a string of modest hits in the early '70s. This album is broadly appealing and has indelible songs, such as the title track, which has its chorus sung in English ("I don't want to stay here/I wanna go back to Bahia") and is about Caetano Veloso, then freezing his 'nads off in his English exile. The arrangements are at once folky and psych-savvy with a definite soul undercurrent making itself felt. Hopefully EMI will see fit to reissue his subsequent handful of incredible albums, which build decisively on the raw potential shown here. [GC]
From Brussels with Love
"A Walk Through" Michael Nyman
"Meine Freunde" Der Plan
Originally a poly-bagged, cassette-only debut release from Les Disques Du Crepuscule, From Brussels with Love still shines 27 years later. Nineteen tracks of post-punk/art-pop enigmas like Durutti Column, Names Repetition, Der Plan, John Foxx and Martin Hannett (!) and post-punk/new agers Micheal Nyman and Harold Budd (not to mention interviews with Jeanne Moreau and Brian Eno) are all woven together to form a "piece." Not just another retrospective compilation, From Brussels was and still is both a manifesto and a gauntlet thrown down for the cause of what Paul Morley once described as "pop as poetry."' You won't find a compilation as deliciously precious and pretentious as this one. [SM]
Do You Trust Your Friends?
(Arts and Crafts)
"Your Ex-Lover Is Dead" Final Fantasy
"Calendar Girl" Young Galaxy
Rather taut for a remix outing, this Canadian-lovefest-as-sequel to Stars' Set Yourself on Fire features 13 tracks, but only one clocks in over five minutes. In some cases, the originals are even whittled down, as on Montag's (a/k/a Antoine Bedard) recasting of "Set Yourself on Fire," which loses over two minutes. It all feels efficient, whirring at a nice clip and stopping only to spotlight the meat of each song. "The Big Fight" (Minotaur Shock) is picked up by the shoulders and shaken like a rag doll until it gives up its sticky-sweet core -- the final minute is a post-blowup apology, Amy Millan's gelato vocals offering an olive branch. The Junior Boys' filmy '80s motif on "Sleep Tonight" pairs nicely with Apostle of Hustle's stoner version of "One More Night," waking up the whole shebang with a frisky muscle-car undertone (Hey, is Sloan in the house?). The effort is strongest when it's a complete retooling (cover), as Jason Collett does when lending his own voice to "Reunion" like a self-assured young Tom Petty fronting the Jayhawks, or Final Fantasy's moody cabaret shift on "Your Ex-Lover Is Dead." During the latter, two former lovers meet anew with a gently rollicking piano and cobwebby declarations that carry new sorrow: "I'm not sorry there's nothing to say." [KO]
JAMES CHANCE AND THE CONTORTIONS
Soul Exorcism Redux
(ROIR)
"Don't Stop 'Til You Get Enough"
"Contort Yourself"
Originally released on cassette in 1990, and issued on CD a few years later, ROIR reissues this classic, 1980 concert recording from James Chance and the Contortions, and tacks on a couple of bonus tracks from the vaults. Chance himself writes in the liner-notes, "Although this performance was recorded at a concert in Rotterdam, this soul and essence is an expression of New York City in the late seventies and early eighties." And sure enough, the raw recording captures him and his band in their prime. Their cover of Michael Jackson's "Don't Stop 'Til You Get Enough" is even more frenzied than the version heard on 1980 Live Aux Bains Douches, Chance exchanging all of the future King of Pop's disco glitz for howling and growling theatrics that come across like James Brown on a speedball. (Later in the set, the Godfather of Soul's "King Heroin" proves to be perfect slow-chill fodder for Chance's free-jazz skronks of his sax, which play off of Patrick Geoffrois' eerie slide guitar work.) Other highlights include "I Danced with a Zombie" and "The Devil Made Me Do It," whose later studio recordings would certainly lack much of the controlled-chaos that the Contortions deliver at this concert, as well as a completely unhinged performance of "Contort Yourself." The bonus cuts aren't bad either, three demo songs ("Disposable You #2", "I Don't Want Nobody to Give Me Nothing," and "Truth or Consequence") taken from a four track session circa 1987. Sure, the fire from seven years earlier isn't the same but there's still more spark in these recordings than we hear coming from most of today's post-punk-funksters. [GH]
Dealin' with Signal and Noise
(Onitor)
"Just Like Honey"
"Live at Hotel Palestine"
In his continuous exploration of the guitar and the sounds it makes (his previous albums range from a My Bloody Valentine tribute to a country and bluegrass experiment), Michael Lueckner has created his psychedelic record. Washes of heavy guitar and subtle female vocals combine to make something beautiful that sits right in-between pop songs and soundscapes.
ffffoo k tsscch
(yoyooyoy)
"The Bridge"
"How Is Your Sleep"
We just received the vinyl version of the Kirsten Ketsjer album we gushed about a few weeks ago. The packaging is superb, with handcut, screenprinted sleeves and a bonus 7-inch. Better act fast though, we only have about 20 of these.
Need For A Crossing: A New New Zealand Vol. I
(Table of the Elements)
Table of the Elements chronicle the always bustling New Zealand underground with Need For a Crossing. Legendary noise-monger Birchville Cat Motel burst the skies open with heavy, pummeling sonics, Greg Malcolm reinvents guitar playing by playing three at the same time, Peter Wright explores otherworldly stratas with his drones, and Blowfly Saint (Leighton Craig and Stefan Neville) conjure a unique kind of warped blues. There's much more truly inventive music from the land on the other side here, why don't you see for yourself.
Master Plan: The Complete Recordings 1974-78
(Castle Music)
Led by Kevin Bell, the younger brother of Kool & the Gang's Ronald and Robert, the Kay-Gees were an explosive, horn-fueled funk band from New Jersey who perfected a certain strain of percussive, mainly instrumental party music. All 33 tracks on this great compilation are dynamic, propuslive floor-burners, including their best-known tune, "Master Plan," which has gained a second life as a seminal hip-hop break.
Secretly Canadian's 100th Release - SC100
Secretly Canadian celebrates the century mark with a covers album. There's a slight twist to the concept though, as all the contributors on SC 100 perform songs by other artists on, you guessed it, the SC label! Highlights include Jens Lekman's reinterpretation of a Scout Niblett song, Songs:Ohio covering Nikki Sudden, and the Early Day Miners' beautiful take on Suzanne Langille & Loren Connors' "The Escape."
SHIRLEY COLLINS & THE ALBION COUNTRY BAND
No Roses
Recorded in 1971, No Roses by the golden-throated Shirley Collins is one of the milestones of the British folk revival. Accompanied by the Albion Country Band (which featured more than two dozen of the UK's premier musicians, including her husband Ashley Hutchings, Richard Thompson, Lol Coxhill, Nic Jones, and many others), they perform brilliant electric versions of nine folk standards such as "Banks of the Bann" and "The White Hare."
Silly Hat vs. Egale Hat
(Carpark Records)
Meetle Mice
Originally released in 2003, Carpark is now supplying these out-of-print Dan Deacon gems digitally. Slightly less rave-tastic than his live show and some of Spiderman of the Rings, Silly Hat vs. Egale Hat and Meetle Mice still deliver on all absurdist accounts. You get weird collages, mutant cartoon techno, meticulously crafted compositions, and pure pop moments. All aspects of Dan Deacon then. What goes on in this man's mind we'll never fully understand (sample a few song titles: "The House I Was Isn't My Girlfriend's Porsche", "4400440044040 with Dufus and the Beatles") but his mix of Plunderphonics, warehouse techno and ritalin-infused pop music is truly ingenious.
[AB] Adrian Burkholder
[BC] Baxter Cardona
[GC] Greg Caz
[DM] Doug Mosurock


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Turquoise Coal
Unearthed treasure from the north Wales underground
Skinflick - Six Stone Junkie EP
OK... here's something that's not at all archive - in fact it's so up to date that it's only released today! Bangor's industrial rock terrorists are celebrating more than 20 years of making punishing mechanical misanthropic grind-o-throb. We first encountered Skinflick playing in the back room of a Bangor High Street pub back at the very dawn of the 1990s and they stood out as sounding refreshingly like nothing else in the area at the time... and guess what? - they still do!
Their brand new EP 'Six Stone Junkie' is out today as a free download, and we here at Turquoise Coal reckon it's their best yet. No need for us to upload it though - just go to the group's Soundcloud page and grab it for nothing - it's the best bargain you'll get all year!
We hope to dig out some archive goodies from the group in the near future, but in the meantime, where better to start than right here and now?
Posted by the archivist at 13:37 2 comments:
We hope to unearth lost, forgotten or obscure music from the north Wales music scene of the past few decades and make it available again, or in many cases, for the first time.
Much of the music here has never seen an official release, and the stuff that has is all currently out of print as far as we know. Wherever possible, at least one member of the respective band has given permission for their music to be uploaded, but if anyone else has a claim to the copyright of anything here that they object to being shared, please get in touch with us and we will remove it.
All downloads are encoded as 320 kbs mp3s, providing as reasonably good quality sound as can be expected in the circumstances.

redpajama_set_name: RedPajamaCommonCrawl


text:
HomeCartoons
NICKELODEON CALLS OUT NIGERIAN KIDS FOR FIRST-EVER SPONGEBOB SQUAREPANTS "SQUARESHORTS " GLOBAL FILM COMPETITION.
9jaupdates Thursday, June 06, 2013 0 Comments
Nickelodeon (DStv Channel 305), one of the world's leading recognized entertainment brands for kids and families, has announced the first-ever global SpongeBob SquarePants-inspired short film competition, SpongeBob SquareShorts: Original Fan Tributes. SpongeBob fans and filmmakers of all ages in Nigeria and other parts of the world will create original, SpongeBob-inspired short films for a chance to win a cash prize and trip for four people to a screening event in Hollywood, California. The call for entries will run until Friday 28 June. Entries can be submitted in two categories (under 18 years of age, and 18 and over) to www.SpongeBobSquareShorts.com.
"SpongeBob is a global icon and beloved by people of all ages," said Pam Kaufman, Chief Marketing Officer, Nickelodeon Group. "We're excited to launch a competition that lets fans around the world create compelling short films that showcase the positivity and optimism that SpongeBob brings to audiences everywhere."
Films submitted to the SpongeBob SquareShorts: Original Fan Tributes competition should be themed around SpongeBob, his world and/or his friends, while celebrating his endearing attributes: humour, overflowing happiness and persistent positivity. The short films can be live-action, animation, stop-motion, etc. and should run no longer than three (3) minutes. Videos will be judged on originality & creativity, incorporation of SpongeBob's attributes, and overall appeal.
Following the entry period, a panel of judges will select finalists and the top 10 in each of the two categories will be announced on Thursday 18 July as finalists. From 18 July until 2 August, fans will have the chance to vote for their favourite of the finalists at www.SpongeBobSquareShorts.com. The winner from each category will be announced in August 2013. For additional details on the submission process and official rules, please visit www.SpongeBobSquareShorts.com.
To view the official SpongeBob Squarepants Shorts competition promo, please click here
Tags Cartoons Nickelodeon Spongebob Squarebants


This fall, the Housing For All Coalition set out to secure a commitment from our elected officials to massively step up the production of new housing affordable to people and families with the lowest incomes. We are on the road to victory.
On Monday, November 20, shortly after approving the 2018 budget, the City Council unanimously passed a Resolution 31782, establishing their intent to tax large businesses to fund housing and homeless services by the end of March 2018.
While the tax didn't pass this fall, as we'd hoped, we now have an opportunity to push for additional progressive revenue and a much larger package than the $25M originally proposed. New sustainable revenue at this scale is the kind of game-changer that has been so lacking in the two years since Seattle declared a Homelessness State of Emergency. Without the work of the Housing For All Coalition, the City Council would not have the courage to stand up to relentless opposition from business groups like the Chamber of Commerce and commit to raising real revenue to address the crisis.
Thank you so much to everyone who has contributed to this effort so far. TRU and the Housing For All Coalition will be there every step of the way as this legislation is crafted over the next several months. Let's bring it home in the new year!
This fall we also set out to reform the City's policies on removal of unauthorized encampments, a.k.a. sweeps. We called for outreach and services to be provided without threat of removal, unless an encampment site is irremediably unsafe or in conflict with other public uses of the site. Without housing to offer, the City is merely shuffling people around and doing more harm than good.
Although we weren't able to achieve this policy shift during the budget process, the City's 2018 budget includes measures that will add new transparency and accountability to removals of unauthorized encampments. Henceforth the City Council will receive weekly reports of all sweeps planned for the following week, with reasons for their prioritization. The City's ability to put up fences, such as those erected beneath the Spokane St. Viaduct earlier this month, will be restricted. And next year, responsibility for encampment removals will be shifted from the Finance and Administrative Services to the Human Services Department.
While these measures fall short of "stopping the sweeps", new layers of oversight are likely to significantly improve the situation on the ground for our homeless brothers and sisters. With continued monitoring by the Office of Civil Rights, the Housing for All Coalition, and other allies, we are setting the stage for further-reaching reform next year.
$450,000 to support authorized encampments. This funding will provide more adequate support to existing authorized encampments and tiny house villages, and make possible the establishment of two new sites.
$500,000 for a Homeless Youth and/or Young Adults Opportunity Center and Housing Project at Broadway & Pine on Capitol Hill.
$150,000 to fund exploration of community ownership housing models.
Passage of a tax on short-term rentals such as AirBnB, with at least $5M per year going to fund the Equitable Development Initiative to support community-driven projects.
$750,000 to expand the Law Enforcement Assisted Diversion program to north Seattle.
$1.3 million for Seattle's first safe consumption site.


text:
Standard Active Last Updated: Jul 01, 2022
Standard Test Method for Extractable Matter in Wool and Other Animal Fibers
5.1 Test Method D1574 is considered satisfactory for acceptance testing since the method has been used extensively in the trade for acceptance testing.
5.1.1 In case of a dispute arising from differences in reported test results when using Test Method D1574 for acceptance testing of commercial shipments, the purchaser and the supplier should conduct comparative tests to determine if there is a statistical bias between their laboratories. Competent statistical assistance is recommended for the investigation of bias. As a minimum, the two parties should take a group of test specimens that are as homogeneous as possible and that are from a lot of material of the type in question. The test specimens should then be randomly assigned in equal numbers to each laboratory for testing. The average results from the two laboratories should be compared using Student's t-test for unpaired data and an acceptable probability level chosen by the two parties before the testing is begun. If a bias is found, either its cause must be found and corrected or the purchaser and the supplier must agree to interpret future test results in the light of the known bias.
5.2 This test method may be used to estimate the quantity of oil, grease, and waxy materials remaining on or in wool fibers after scouring, or the quantity of lubricant added before carding or remaining after carding, or the quantity of such materials added or removed in subsequent processing operations.
5.3 The residues obtained in this test may be subjected to chemical analysis for identification and assay of the component materials, if desired.
5.4 The specified solvent in this test method does not remove some materials, such as soaps, that may be present in wool and hence in some cases may reflect more closely the added content of some extractables in wool such as oils. When such materials are present and an estimate of their quantity is desired, some other solvent or combination of solvents should be used as specified in a material specification or by agreement. The information in the Annex of this test method may be useful for this purpose. Various solvents have been used in the past, and are still used to some extent. Many of these solvents are undesirable, however, because of flammability, toxic or anesthetic effects, or unpleasant odors. Trichlorotrifluoroethane is nonflammable, has a very low level of toxicity, and a high degree of stability and is a good solvent for most fatty or mineral oils, greases, and waxes. The specified solvent, under conditions of the test, was found in interlaboratory test not to extract wool protein.
Note 2: Since the specified solvent is primarily a solvent for oils rather than soap, the extractable matter obtained in this procedure may be considered a measure of commercial oil content.
Note 3: Due to the hazardous nature of some of the solvents listed in Table A1.1, the user should refer to the manufacturer's recommendations for use before using under the conditions of this test method.
1.1 This test method covers the determination of the amount of extractable matter in samples of all forms of wool, except grease wool, that is extractable with a non-flammable vapor degreasing and cleaning solvent.
1.2 This test method does not cover the determination of the amounts of different components in the extracted matter nor their identification.
1.3 This test method is suitable for use with other animal fibers.
Note 1: The determination of extractable matter in yarns and in felts is covered in Test Methods D2257 and D461. For the determination of alcohol-extractable matter in oven-dry scoured wool, refer to Test Methods D584 and D1334.
1.4 The values stated in SI units are to be regarded as standard. The values given in parentheses after SI units are provided for information only and are not considered standard.
1.5 This standard does not purport to address all of the safety concerns, if any, associated with its use. It is the responsibility of the user of this standard to establish appropriate safety, health, and environmental practices and determine the applicability of regulatory limitations prior to use. See 5.4 and Note 3.
D1574-22 Active
D1574-04R13 D1574-04R08 D1574-04 D1574-87R95


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text:
Is Hitchens right?
I would like all my visitors to answer this question:
In his video, Hitchens says that "For most men, if they can't make women laugh, they're out of the evolutionary contest. They'll never going to get laid… If you can't make them laugh, you'll never have a chance."
Is he right?
Leave an anwer in the comments, and bee-have. I'll be back later in the day.
Sense of humor: Essential
The Uglies
Amused Cynic
Filed Under: humor, men and women, relationships
Yup, gotta show me you don't take yourself to seriously.
I don't know about having to make a woman laugh, but there is nothing better than sharing a sense of humor. When you both crack up at something no one else in the room gets, it's definitely a good sign.
SC&A says
Hitchens is right, for many reasons.
On one level, humor allows the joke teller to be center stage. For a man, that is kind of an 'equalizer' of sorts, as it allows men to 'shine' without taking anything away from a woman.
That's one reason why men like their women to laugh at their jokes.
As a rule, a relationships is a lot like dancing- the woman the canvas, the male is the frame.
Smart women understand that a good frame can really make the painting shine. If all that takes is a bit of laughter, well, that's' not so hard to do.
A guy will bend over backwards to make a woman happy if he believes he's appreciated- even for his humor.
I'd say he's right, overall. A shared laugh is a mild aphrodisiac.
Shane says
I think Hitchens is right, humor opens the door to a deeper connection. When people share the same sense of what makes life funny, you can feel the puzzle pieces starting to come together. When it comes to courting women, every man has to know that more often than not, it's the words you use rather than the bulging quadriceps you have that will gain her favor. A wordsmith who can inspire pleasure is like a dope dealer dealing in endorphins – so it follows that humor is the gateway drug that tempts us into the harder stuff!
It's a rare man who seduces a woman without uttering a word. There's another difference between the sexes!
Laurie Kendrick says
I also agree with Hitchins, though a male having a sense or humor or not isn't always a deal breaker for me.
It helps, but it hasn't always been a defining factor, though that was this. My opinion has changed as I've matured. Now, his having a sense of humor is mandatory.
I'm also inclined to agree–to a degree–with Hitchins about the between funny women..if such beasts exist.
I was inspired to post about it today Fausta and thought I'd link to it here.
Hope you don't mind, Hermanita!
http://lauriekendrick.wordpress.com/2008/03/13/funny-women/
Conservative Belle says
I agree with him. I'm more inclined to be impressed with and aroused by a man's mind and wit than his biceps and income.
This may not be true for all, but I can definitely say the ability to make me smile, laugh and carry on an intellectually stimulating conversation is tops for me.
Happy Catholic says
Of course, for my husband it was a deal breaker too.
Perhaps those who are comically inclined just look for each other? 🙂
Pat Patterson says
Doesn't this really depend on what the woman finds amusing about the man? She might not neccessarily be laughing at the thrust of the the joke but rather at the thruster.
Depends on if she's laughing before or after he takes his pants off.
Mamacita (Mamacita) says
He's right. The brain is the strongest erogenous zone, and laughter is so absolutely necessary but only if it's triggered by wit.
Guys who think farts, belches, tripping people, tickling,and beer, etc. are hilarious are not witty, humor-filled men. They are untouchables.
I'm not sure what they are, actually. I try to stay as far away from that sort as I can.
But a man who makes me genuinely laugh? Oh baby.
ElMondoHummus says
Well, if all she does is laugh at you, you still got a problem.
Whaaat?? No, I'm not saying this is based on personal experience! Hey, back off, maybe she thought I was funny! Yeah, all the time!! 😛
;^}
Ziva says
I'd say that a man has to at least put a big smile on your face. Humor is essential.
Attila says
I know maybe a dozen truly funny people, and I'd say about 40% of them are women. What Hitchens is getting at is that humor is an aggressive act, and therefore it's a sandbox that men have preferred to play in.
But it's silly to argue as he does that most funny women are "masculine" in some way. After all, most female astronauts are "masculine" by some measure. So are most female hunters. And female race car drivers. Even female doctors. We're not made of sugar water.
Is there a "feminine" sense of humor that women have abandoned for the more "masculine" variety practiced by Sarah Silverman, Amy Sedaris, et al.? Well, maybe: Lucille Ball and Carol Burnett come to mind–there's a gentler form of humor that women engaged in in the 20th Century.
One can go back a few hundred years to Jane Austen, however, and see that chicks have been funny for a long time.
But whether one does it gently, a la Austen, sardonically, a la Virginia Woof, or brutally, a la Sarah Silverman, to make a joke is to poke someone in the ribs. It may not come from genuine "animus," in the sense of it emerging from a real grudge–but it certainly doesn't come from anima.
The answer is, so what? Hitchens is trying to be provocative. But I'd like to see him try to get me to laugh . . . It isn't that easy.
Intelligence, one can get anywhere. Humor is a special thing, and I doubt Hitchens has what it takes.
Francis W. Porretto says
If I were unable to make women laugh, I'd never even have gotten a polite word from one. If you remember my self-description, you'll understand why that was the case.
Big, good-looking guys can sometimes get away with flexing their biceps. The rest of us have humor, or nothing at all.
Fausta says
After I posted this I went to the gym, and took an informal survey.
Jennie-my-personal-trainer (who's probably 20, if that old) agreed with Hitchens. Being a very pretty girl, she said that women don't have to work to get noticed.
Jerry, another personal trainer, who must be in his late 20s-early 30s and is very handsome, explained, "Women don't need to work to get a man to have sex with them. All they have to do is ask. But with men, it doesn't matter how good-looking or smart he is, women want to be with a guy who's at ease and can get them to relax, too." Then he illustrated, "Imagine a guy who comes over to you and says "Hi" (a very dull "hi"), and another guy who has a witty line who makes you smile. Who wins?"
Jerry's right, of course.
The other personal trainer in the area (another guy whose name I don't remember) upon hearing Jerry, said, "Elliot Spitzer!"
He made me laugh!
(Francis – when I first read your post I thought you were selling yourself short.)
Melissa Clouthier says
Hitchens is right. A shared laugh means sharing thoughts, ideas and "letting go" of inhibitions.
Ken Adams says
Hitchens is sort of right, and with a minor edit I'd agree.
"For most men,if they cannot find the woman who will laugh with them, they're out of the evolutionary contest."
I'll provide my own life as a case study:
— hopeless loner until age 30
— scared to death to even talk to a pretty girl, much less ask one out
Fortunately, I found the right woman, and we now have four lovely, smart kids.
Old Sourdough says
Yep, I think he's right. One of the first things I look for in a man is his ability to laugh at himself. If I have to do it, so does he.
chuck says
I disagree with Hitchens. I've know at least three men who held an almost uncanny attraction for woman, and none of them was particularly funny. And when I say uncanny, I mean the sort of guys who go for interviews and are propositioned by the interviewer, go for breakfast and get passed notes by the waitress, sit in their office and woman come to visit and practically undress on the spot.
The attraction was clearly sexual, but still varied. One guy was so stunningly handsome that it had a physical impact, women would literally start shaking when he passed by. Guys nick named him beautiful Bob. The second was virile, broad shouldered, ex SOF, good talker, very intelligent, and with a sort of smoldering presence. And yes, a sense of humor, but it wasn't his most noticeable trait. The third I didn't know so well, but Gideon in All That Jazz reminded me of him. Cute and interesting, but that doesn't do him justice.
All three men showed a interest in women, and that was basic, but the interest wasn't of the "let's be friends" sort, it was of the "I would like to screw you" sort. Did they succeed in the family sweepstakes? About one, I know he left several children scattered about the country. About the other two I don't know.
Jim - PRS says
I think it works both ways.
I think you're right Jim, especially if that dude was the one bringing on the laughter
driver says
Bottom line: Humor is an extremely attractive characteristic, in man or woman—PARTICULARLY the ability to see humor in real life, in real-time, on an ongoing basis—but Hitchens's interesting assertion that humor is also an important form of male plumage holds water, I think. It takes an appreciative, interactive audience to make it mutually satisfying, though. In her Vanity Fair rebuttal, Allesandra Stanley quotes Joan Rivers:
"Men find funny women threatening. They ask me, 'Are you going to be funny in bed?' "
A man with a true sense of humor would be hoping for that; only a not-so-funny guy would find that prospect threatening.
They ask me, 'Are you going to be funny in bed?' "
I should hope so. 🙂
In my experience just about all women say they want a man with a sense of humor.
I have been married 4 times so I must qualify but what does it say about women that their ideal man is a clown?
Laughter is a way that women show openess to men. When my wife and I are not getting along, she will scoff at my jokes. When we are getting along she's an easy audience.
I observed this at a marraige encounter weekend. The couples who seemed to get the most out of the weekend, were in full class-clown mode by day two.
their ideal man is a clown?
Not a clown, but a guy who brings a real emotion to the surface with ease which, as Siggy said above, shares the spotlight on both; but, as Ken also said, both laugh together.
A win-win situation!
Yes, as Fausta and others said, both laugh in the ideal situation. You don't want a clown, or even a stand-up comic, but someone who sees all the funny stuff around you all the time, and brings it to your attention.


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– (3) Perfect Potfuls Assorted Gourmet Coffees by Coffee Masters – 1.5 oz.
Italian roasted espresso beans that are sealed inside smooth chocolate shells.
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pillow cookies that wrap around centers of creamy chocolate.
Thanks again to GourmetGiftBasket for offering this fantastic prize.
I like the Baked Goods Sampler Gift Basket. It gives me a chance to try several products with one basket.
Everything looks amazing! I would love to try the Belgian Chocolate Dipped Cookie Tower!
I'd love the The Flame Enthusiast – BBQ Gift Basket for my dad for Fathers Day! Perfect!
I like the Nostalgic Candy Gift Crate. Yummy. Brings back good memories.
Orchard's Abundance – Fruit Gift Basket something for everyone.
I like the Mother's day sweets & treats basket!
I like the Mother's Day Berries.
I love the mothers day chocolate gift basket. This mama could use some chocolate.
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I like the Mother's Day Berries and anything that is healthy and possibly Gluten Free!
I want to win this lovely prize!
AS A FIRST RESPONDER AND A MOM, WOULD LOVE TO WIN!
I love the Classic Red Wine Gift Basket, it's perfect for a relaxing weekend with hubby……..
I would love to win this for my mother ,she would really enjoy this.
My mother has Ms but continues to work and not let the disease define her she Is My Shero.
Definitely the Mendocino County Gift Crate. It has my FAVORITES-cashews, almonds, etc.
I like the Bountiful harvest gift basket!
I like the Classic Red Wine Gift Basket.
I like the mothers day berries basket.


text:
Q: Capturing data from a Fluke 1620a via netcat I am trying to pull temperature and humidity data from Fluke DewK 1620a thermo-hygrometers and write the temp/humidity readings to a log. I can connect to the device via netcat with a simple 'nc 1.2.3.4 10001', run some basic commands and receive output. Now I'd like to construct a command line, I can put in a script that will send a command and write the output to a file.
If I run the following from the command line
$ echo "read?" | nc -v -i 1 1.2.3.4 10001

I receive:
Connection to 1.2.3.4 10001 port [tcp/scp-config] succeeded!
76.55,44.4,72.06,48.0

After the -i interval has elapsed, the connection closes and my prompt overwrites the temperature and humidity data.
I then tried the following:
echo "read?" | nc -v -i 1 1.2.3.4 10001 >> test.out 2>&1

The command executes and the 'test.out' file only contains the following for each execution.
Connection to 1.2.3.4 10001 port [tcp/scp-config] succeeded!

The temperature and humidity readings are not included in the file. Increasing the verbosity does not seem to help.
I know I'm probably missing something obvious, but I simply cannot see it. Any help would be greatly appreciated.

A: I don't see anything wrong which makes me wonder if your Fluke is actually responding.
These two netcat scripts show that there is nothing wrong with your syntax
server:
# server
while true; do date; sleep 1; done | nc -l 10001

client:
# client
echo "hello?" | nc -v -i1 localhost 10001 >> test.out 2>&1

test.out
[sri@tidevel netlink]$ cat test.out
Ncat: Version 6.45 ( http://nmap.org/ncat )
Ncat: Connected to 127.0.0.1:10001.
Wed Nov  5 13:54:06 EST 2014
Wed Nov  5 13:54:07 EST 2014
Ncat: Idle timeout expired (1000 ms).

So, since all that works verify that your are actually getting responses from the Fluke.  Maybe there is another netcat or other application that is consuming the Fluke data?
Maybe the command needs to be terminated by \r \n or something like like.  I seem to remember that being the case for Thermotrons but it's been a long time.  You can use printf to do that:
printf "hello?\r\n" | nc -v -i1 localhost 10001 >> test.out 2>&1

A: I'm not sure I'd call it an "answer" per se, but I was able to approximate what I was looking to do in a completely different way. Instead of nc, I've managed to get further along using a file descriptor on /dev/tcp.
exec 3<>/dev/tcp/${host}/${port}
echo -e "read?" >&3
cat <&3 | tee -a ${log}
exec 3<&-
exec 3>&-

There are still some issues I need to work out with this approach, but I am able to pull the data I need and get it into a log file. I'll try another post later if I can't figure out my niggling issues with this method myself.

redpajama_set_name: RedPajamaStackExchange


For the first twenty one years of my career I built companies as an entrepreneur learning many lessons along the way. For the last thirteen I've been helping entrepreneurs build their own startups. Today I'm lucky to work with an incredible group of founders and executives who I learn from every day.
Like a lot of entrepreneurs, I first fell in love with technology as a teenager when I taught myself programming and started building and selling applications before I went to University. That passion for solving problems through technology evolved in to a passion for business as I realized that innovations don't get adopted without talented organizations behind them and a differentiated way to go the market with a business model that builds value.
Putting technology, people, and business strategy together became the foundation for the rest of my career. As an entrepreneur I founded / co-founded and worked with great teams to build a variety of different companies that spanned CAD/CAM, document management, workflow, imaging and collaboration, security, and analytics.
To learn the discipline of investing, I became a VC and turned my focus to helping entrepreneurs build their own businesses. For me, investing is a continuation of what I've always loved: bringing together groundbreaking technology, amazing people, innovative market making and game-changing business models. After over a dozen years of investing I saw an enormous amount of change and went on a listening tour to meet with hundreds of entrepreneurs and investors in the ecosystem. I learned a ton. We're now building a new kind of partnership, Underscore.VC, based on what we heard entrepreneurs want and need for the future.
I'm still focused on backing great entrepreneurs around market changing technologies such as Cloud Computing, and disruptive business models such as, Open Source. In these areas I'm currently focused on SaaS Applications in areas like eCommerce, new platforms such as IoT and the resulting Big Data/Analytics/Machine Learning need. And I'm always building new investment theses based on trends like the shift from offline to online Marketing. But I'm the first to admit that if a great entrepreneur had an idea outside any of these areas, I'd be focused on their vision and potential above and beyond all else.
That conviction has given me the opportunity to work with a group of incredible entrepreneurs and executives at companies like Acquia, Apperian, Cazena, Demandware (NYSE:DWRE – acq by Salesforce), Salsify, Unidesk and others like Actifio and REVOlution Analytics (acq by Microsoft) where I am passionate about the team or space.
My main hobby is Photography and so I try to use my own photography wherever I can. All the background images for the site are personal images. You can see more of my photography on instagram @mjskok.


text:
EDPB Recommendations explained to ensure compliance after Schrems II
Nov 20, 2020 9:22:39 AM / by PrivacyPerfect
16 July 2020, the Court of Justice of the European Union invalidated the EU-US Privacy Shield in the Schrems II case, making most EU-US data transfers illegal overnight. The Court has also provided clarification on some extensive hurdles for using its most obvious alternative, Standard Contractual Clauses (SCC). Organizations have to:
'verify, on a case-by-case basis and, where appropriate, in collaboration with the recipient of the data, whether the law of the third country of destination ensures adequate protection, under EU law, of personal data transferred pursuant to standard data protection clauses, by providing, where necessary, additional safeguards to those offered by those clauses.'
With 88% of organisations sharing data outside the EU relying on model contracts to ensure safe processing. The EDPB further highlighted that the Schrems II judgment applies to other transfer mechanisms as well, making the load on organisations even heavier.
In response to the case, on 11 November 2020 The European Data Protection Board (EDPB) announced that it had adopted two recommendations. One with a step-by-step plan and measures that supplement transfer tools such as SCC to ensure compliance with the EU level of protection of personal data. The other on European Essential Guarantees (EEGs) - standards to ensure that national surveillance measures would not inappropriately impede upon the rights to privacy during international data transfers. The recommendations are available for public consultation until 30 November 2020.
PrivacyPerfect aims to clarify the recommendations and give you practical insight on how to keep your data transfers compliant.
6-step roadmap for compliant data transfers
1. Know your transfers
Utilize your art 30 GDPR register of processing activities.
Take into account onwards transfer of personal data to third parties, such as storage outside the EEA or cloud hosting.
Take into account that access to personal data such as by employees working from home outside the EEA, or a help desk outside the EEA counts as a transfer.
Verify that the data you transfer is adequate, relevant and limited to what is necessary in relation to the purposes for which it is transferred to and processed in the third country (data minimisation).
2. Identify the transfer mechanism you are relying on
Adequacy decisions
Binding Corporate Rules (BCR)
Certification mechanisms
Ad hoc contractual clauses.
Article 49 derogations for processing activities that are occasional and non-repetitive
3. When relying on an Article 46 GDPR mechanism, assess whether it is effective in light of all circumstances of the transfer
Consider the circumstances, for instance
Actors, such as processors or sub-processors, involved in the transfer
Purposes for which the data are transferred
Types of entities involved in the processing (public/private, controller/processor)
Sector in which the transfer occurs (health, financial, etc.)
The categories of personal data transferred
Storage in the third country or if there is only remote access
Format of the data to be transferred (pseudonymised, encrypted, etc.)
Possibility of onward transfers
Assess laws (particularly those regulating actions of public authorities) and practice of the third country. Among others:
Article 45(2) GDPR
The EDPB's EEG Recommendation for justifiable access to data by public authorities
Guarantee A - Processing based on clear, precise and accessible rules
Guarantee B - Necessity and proportionality with regard to the legitimate objectives pursued need to be demonstrated
Guarantee C - An independent oversight mechanism
Guarantee D - Effective remedies need to be available to the individual
Sources you may use for your assessment
Cooperation with the data importer
Case-law of the CJEU and of the European Court of Human Rights (ECHR);
Adequacy decisions in the country of destination if the transfer relies on a different legal basis;
Resolutions and reports from intergovernmental organisations, such as the Council of Europe, other regional bodies, and UN bodies and agencies (e.g. UN Human Rights Council, Human Rights Committee);
National case-law or decisions taken by independent judicial or administrative authorities competent on data privacy and data protection of third countries; and
Reports from academic institutions, and civil society organisations (e.g. NGOs and trade associations).
Assessment outcomes
Where you find that essentially equivalent protection may not be provided it is the responsibility of the data exporter to either utilise the supplementary measures of step 5 or to not transfer personal data.
Where you find that essentially equivalent protection is provided, re-evaluations and monitoring should take place as described in step 6.
4. Adopt supplementary measures
Consider on a case-by-case basis
the format of the data
the nature of the data
the length and complexity of data processing workflow (actors and their relationships)
the possibility that the data may be subject to onward transfers
May include a combination of technical, organisational, or contractual measures
Organisational and contractual measures alone might not be sufficient
Must be checked against the findings from steps one to three
The EDPB gives example measures and conditions for their effectiveness in annex 2 of its Recommendations, for instance
Technical: state-of-the-art encryption, appropriate handling of cryptographic keys, pseudonymisation, separating information, and thorough preparation against cryptanalysis
Organisational and contractual: contractual obligations for technical measures /transparency/specific actions/data subject rights, internal governance policies, especially within enterprise groups, accountability measures such as transparency reports, data minimisation, adoption of standards and best practices, regular reviews, and data importer commitments.
Where measures are not effective, you should contact the competent supervisory authority.
5. Procedural steps if you have identified effective supplementary measures
Where the SCC are to be modified, or where supplementary measures directly or indirectly contradict the SCCs, authorisation must be sought from the competent supervisory authority.
BCR & Ad hoc contractual clauses
The precise impact of the Schrems II judgment is still under discussion. The EDPB will provide more details as soon as possible
6. Re-evaluate on ongoing basis at appropriate intervals
Suspend transfer if
the importer has breached commitments
supplementary measures are no longer effective
Topics: International Data Transfer, SchremsII
Written by PrivacyPerfect


Ask the Doctor – Depression – Bachmann Brokerage Inc.
Give the diagnosis, if known.
4. Date of first symptoms?
5. When did you last see the doctor for this condition?
6. Have you been hospitalized?
7. Are you taking any medication?
9. Have mental conditions interfered with your work?


text:
IDB Approves Grant for Caribbean Countries Receiving Migrants
Caribbean360 May 8, 2019
Since 2015, 3.5 million migrants from Venezuela have crossed to other countries in the region, and the UN projects that by the end of 2019 there will be 5.4 million Venezuelans living in other countries in Latin America and the Caribbean. (Photo credit: UNHCR/Fabio Cuttica)
WASHINGTON, United States, Wednesday May 8, 2019 – The Inter-American Development Bank (IDB) has approved a multi-million-dollar special grant facility to support operations that help countries in Latin America and the Caribbean integrate migrants into local communities and contribute to their development.
It said the initiative is in response to "unprecedented and sudden intraregional migration flows" impacting countries in the region.
The IDB said it will use the grant facility in combination with economic and social development loan operations to help receiving countries provide better access to health, education, housing, security, and other services in communities struggling to integrate new arrivals.
Under the initiative which was approved by the Board of Governors yesterday, the IDB said it will provide US$100 million from its facility, with additional resources expected to be provided by the donor community. Those grant funds will be combined with regular IDB loan operations of US$800 million.
Antoni Estevadeordal, the Special Advisor at the IDB who coordinates the initiative, said it will help local and national governments implement comprehensive development programmes that facilitate the social integration of migrants into communities, so that they can actively contribute to their overall well-being.
"In a nutshell, the Bank wants to help turn this challenge into an inclusive development opportunity for our region," he said.
"Latin America has welcomed migrants throughout its history, and indeed many communities have shown great generosity and solidarity in receiving families who often arrive in desperate conditions.
"Over time, migrants can help make communities more dynamic and prosperous. However, if not adequately managed the short term, these inflows can strain public services and fiscal budgets, impact labour markets, and generate political tensions," Estevadeordal added.
Since 2015, 3.5 million migrants from Venezuela have crossed to other countries in the region, and the UN projects that by the end of 2019 there will be 5.4 million Venezuelans living in another country in Latin America and the Caribbean. Initially, neighbouring countries received the bulk of the migration, but limited opportunities have forced Venezuelan migrants into other countries. Additionally, migration flows from Haiti, Nicaragua and the Northern Triangle countries of Central America are also accelerating, posing a challenge to public service delivery and underscoring the need for an regional response to the migration crisis.
The IDB's grant facility was created in 2007 for dealing with special circumstances arising in specific countries or projects. It has supported investments in Haiti so far and now has been expanded to include support for countries dealing with sudden and massive migration inflows.
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Our Culinary Blends are handcrafted in small batches according to recipes that were developed and tested over the years. We do not use stabilizers, anti-caking agents, fillers, or artificial ingredients of any kind and several of our blends are salt free.
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ParlInfo - Dominican Republic energy report [electronic resource]. : Global energy market research.
Dominican Republic energy report [electronic resource].
Energy policy -- Dominican Republic -- Periodicals.
Energy consumption -- Dominican Republic -- Forecasting -- Periodicals.
Renewable energy sources -- Dominican Republic -- Forecasting -- Periodicals.
Energy development -- Dominican Republic -- Forecasting -- Periodicals.