Baby Einstein Neptune&###x27;s Ocean Discovery Jumper. Dive into discovery with ocean-themed activities in every direction.
Bouncy seat swivels 360 degrees from toy to toy. 4 height positions are easier to adjust. Electronic sea turtle station is removable. Introduces numbers & colors in English,ish, French. Product Dimensions: 32 x 32 x 33.1 inches.
Batteries:: 3 AA batteries required. Maximum weight recommendation: 24.2 Pounds. Style: Neptune&###x27;s Ocean Discovery. Style:Neptune's Ocean Discovery The Baby Einstein Neptunes Ocean Discovery Jumper gives your baby 360 degrees of engaging activities with a splash of underwater wonder. Your mini-marine explorer can embark on a playtime expedition and swivel from toy to toy in the height-adjustable baby bouncer.
There's a crab that spins inside a clear ball, a little starfish that holds a self-discovery mirror, an octopus paddle toy, and flash cards with real underwater imagery to boost vocabulary. The removable sea turtle activity center helps your baby discover numbers and colors in 3 languages (English,ish, and French). With extra link loops, you can also add your babys favorite toys or swap out fresh ones for a new ocean of discovery.
The baby bounce chair allows your little one to jump and dance, which helps strengthen their developing leg muscles. With no doorways required, you can watch your baby safely play and grow wherever you need to be. Thank You For Your Business! The item "Baby Einstein Neptune's Ocean Discovery Jumper" is in sale since Friday, September 7, 2018.
This item is in the category "Baby\Baby Gear\Activity Centers". The seller is "thangeinllc9" and is located in Hebron, Kentucky.


Relaxed Restyled Blocked Stripe Petite Tee is rated 5.0 out of 5 by 1.
Rated 5 out of 5 by Pebblecreeker from Comfort! I bought this in yellow/white first and it was so comfortable and I just had to have the navy/white. You need to buy this one size smaller as the relaxed style runs big.


Say "I do" in a venue that's as special as your intentions.
From the smallest, most intimate affairs, to the largest, most romantic events. Regardless of your vision for your SpurWing wedding, we can customize the ideal setting to flawlessly complement the true beauty of your special day. Our rooms can accommodate weddings and receptions of all sizes. In addition to the gorgeous, wonderfully appointed surroundings, you'll also enjoy the finest cuisine and the highest level of personalized, distinctive service. From the menu to the seating arrangements and beyond — our experienced SpurWing wedding planning team will oversee every setup detail, stopping at nothing to ensure that your special day is perfect, providing you and your guests with memories to last a lifetime.
Curious about saying "I do" to The Club at SpurWing? Call or email us at (208) 887-1800 or jess@spurwing.com.
Scroll to learn more about each SpurWing event space.
The Gold Tee is 2,200 square feet and accommodates up to 100 guests. With its 24' high ceilings, 14' windows overlooking the 18th hole, and a massive 10' stone fireplace to anchor the space, it is the most imposing of the SpurWing dining rooms. When the weather is amenable, the room can open onto a covered, east-facing veranda that seats up to 250 guests between both areas. Reserving both the outdoor and indoor spaces has become the most popular choice for couples tying the knot at SpurWing. The Gold Tee Room has tall double doors that can be closed for privacy, or opened to extend the party into the Lounge. A Clubhouse affair (renting the Gold Tee Dining Room, the East Patio, and The Lounge - simultaneously) places the entire Clubhouse at the blissful couple's disposal. Capacity for the clubhouse increases to 350 guests when reserving all three areas.
SpurWing's wrap-around outdoor patio can accommodate up to 280 guests for a ceremony and/or 150 seated guests for the reception. The East Patio is adjacent to the 18th green and well positioned to take in the scenery of the golf course and Idaho's rugged mountains. Couples often express their vows on the patio for their ceremony followed by much needed alone time in the bridal sweet while our staff flips the patio into a reception area.
The patio is closed in with two walls and is fully covered to keep you shaded and out of the direct weather for added security of the unforeseen. The East Patio and Gold Tee Room combined can hold up to 250 guests seated.
Designed for luxury and comfort, The Lounge can accommodate up to 150 guests in the 3,500 square foot space. Its expansive windows let in waves of light, as well as the best views in the clubhouse. Old-world architecture, a 22-foot African oak bar, and plush chairs huddled near cozy round tables make for an intimate and memorable experience sure to impress. The Lounge patio features four perfectly positioned fire pits to take in the beautiful Idaho sunsets where friends and family can order drinks, sip cocktails, and enjoy an evening celebrating your perfect union. Five flat screen high definition TVs are spread throughout the room capable of running slideshows, videos, or the BSU game you didn't realize was scheduled the same night as your wedding. The Lounge opens up to the Gold Tee Room for a combined space holding up to 250 guests indoors and 350 guests with the East Patio.
Newly constructed and ready to open in April of 2018, the Sunset Room is situated on the second story of our beautiful new facility overlooking the course below, uniquely positioned to take in the scenery and landscape of the surrounding valley. Seating accommodates up to 130 guests when combining the indoor/outdoor space for a total of 2,400 square feet. With a giant 4k TV situated at the head of the room capable of slideshows and more, a built-in wireless microphone system, and heaters blasting onto the covered patio area, the Sunset Room is fully equipped to handle your wedding party. The space requires outside catering for food only, but the bar service and staff are complimentary with the price of the room.
A private area for the bride and her girls to get ready is provided as part of your room fee. The long antechamber sits at the heart of the Clubhouse with easy access to all areas while remaining conveniently private from the outside. Tall windows offer a glimpse of arriving guests, insulating the bride and her entourage from having to be spotted before the ceremony. Here, a complimentary bottle of champagne is provided for the girls to help ease any pre-wedding jitters.
With dual access to both The Lounge and the Gold Tee Room, brides will be in the center of the action without being the center of attention before the big reveal. The Bride's room can also be utilized to store decorations, centerpieces, dresses, makeup, and gifts.
Take a scotch neat in The Groom's Room provided as part of your room fee. Play on two full-size poker tables, watch two massive flat-screen televisions, kick-back in seven leather recliners, and make a pop-up bar materialize at your command. Shake off the nerves and let the anticipation build as your groomsmen try out toasts and jokes in this old-school gentlemen's den.
The Groom's Room is located on the West side of the Clubhouse, adjacent to The Lounge.
Our event spaces start from $700 during off-peak season and $1,000 during peak season. Prices will include setup, breakdown, tables, chairs, linens, dance floor, cake cutting, bride and groom rooms, areas for pictures, and more.
The Club considers our peak season to be May through September and the first three weeks of December.


text:
Electrocardiographic left ventricular hypertrophy and effects of antihypertensive drug therapy in hypertensive participants in the multiple risk factor intervention trial
MacMahon S., Collins G., Rautaharju P., Cutler J., Neaton J., Prineas R., Crow R., Stamler J.
Data are reported on electrocardiographic left ventricular hypertrophy (ECG LVH) among 8,012 men classified as hypertensive at baseline in the Multiple Risk Factor Intervention Trial. Compared with those allocated to the usual care (UC) control group, men allocated to the special intervention (SI) group experienced a mean reduction of 4 mm Hg in diastolic blood pressure and 7 mm Hg in systolic blood pressure, over 6 years of follow-up. There were 378 new cases of ECG LVH during follow-up; the incidence in the SI group was about 23% less than that in the UC group (4.2 vs 5.4% 2P < 0.01). Among the 189 men with ECG LVH at baseline, those in the SI group experienced about 24% more annual follow-up visits at which they were free of ECG LVH (4.6 vs 3.7 visits; 2P < 0.01). This reduced incidence and increased reversal of ECG LVH in the SI group compared with that in the UC group was consistent with significant overall reductions (2P < 0.001) among SI men in mean wave amplitude in those leads in which voltage is correlated with left ventricular mass (T wave in V1, R wave in aVL and S wave in V3). In SI and UC groups combined, the presence of ECG LVH either at baseline or at follow-up was associated with several-fold increases in death from cardiovascular diseases in general, and death from coronary artery disease in particular. While mortality from cardiovascular disease, including coronary artery disease, was not significantly different in SI and UC groups during follow-up, moderate though still potentially worthwhile benefits that might accompany the observed ECG changes cannot be excluded. © 1989.
The American Journal of Cardiology

redpajama_set_name: RedPajamaCommonCrawl


Looking for experienced pool technician with a minimum of 5 years experience.
Must be professional, reliable, able to complete service calls in a timely manner.
Salaries will be based on experience with an opportunity for growth within our company.
Must have a valid NYS drivers license and able to provide references upon request.
Also looking for helpers/laborers. Experience is a plus but we will train.


and enter to win prizes on every blog!
that kids (and adults) will love!
Books make the best gifts! A thoughtfully selected book will hold a child's interest long after the new toys have been tossed aside, and books are also very budget-friendly. National Geographic Kids Books is featuring SIX new titles that are perfect for gift giving. They are big, bold, and beautiful hardcovers! They cater to book enthusiasts and reluctant readers alike! They are also fun, inspiring, AND educational (but don't tell your kids that last part!).
(ages 8-12, $19.99) - Did you know that one-third of the earth is a desert, that beets are sometimes used to give red velvet cake its color, or that there are more caribou than people in Alaska? Well, that's only the beginning...5,000 Awesome Facts (About Everything!) 3 features gross facts about toilets and edible insects, gravity-defying facts about things that fly, awesome new dino-discoveries, facts about newborn octopi, and how many oranges it takes to make one glass of OJ - just to name just a few! This book is the ultimate boredom buster and is perfect for curious kids who love to learn about the weird, wild and wacky!
(ages 7-10, $24.99) - Perfect for the ocean-obsessed, this book is the most complete ocean reference ever! Ultimate Oceanpedia is overflowing with amazing facts, photos, art, and diagrams that take the reader on a journey through the ocean. Whales, dolphins, porpoises, turtles, sharks, fish, crustaceans, sponges - from the weird to the wonderful - they are all featured in breathtaking photographs with easy to read captions. Wild weather, underwater exploration, and tips and pointers on how to help keep our oceans thriving round out this thick, keepsake volume.
by Donna Jo Napoli - (ages 8-12, $24.99) - Do you have a child who loves magical stories about far away places? Classic stories and dazzling illustrations of princesses, kings, sailors, and genies come to life in a stunning retelling of the Arabian folk tales from One Thousand and One Nights and other collections, including those of Aladin, Sinbad the Sailor, and Ali Baba and the Forty Thieves. In this beautiful, gift-worthy book, beloved author Donna Jo Napoli not only brings timeless tales of royalty, adventure, and love to life, but also includes sidebars that connect the stories to history, culture, and geography. A perfect storytime selection for bedtime or anytime. "A brilliant tapestry woven not of yarn but of stories, both fresh and faithful to its historical routes" - starred review, Kirkus.
(ages 8-12, $14.99) - In The Book of Heroines it's all about Girl Power! Looking for a leading lady? How about more than 100 of them? True stories of superstars, war heroes, world leaders, ladies in lab coats, and everyday people who all have two things in common - they were girls and they changed the world. From Michelle Obama, Jane Goodall, and Wonder Woman to Susan B. Anthony, Gloria Steinem, and Katie Ledecky, The Book of Heroines not only highlights how girls are just as tough as boys, but also challenges the reader to be a heroine herself and provides tips on how to unleash her inner heroine.
(ages 8-12, $14.99) - The Book of Heroes highlights 100 guys who had the boldness, bravery, and brains to meet the challenges of their day. Featuring a very diverse array of amazing minds, heroes from history, sports stars and even action heroes - like Abraham Lincoln, Mark Zuckerberg, Stephen Hawking, and Steve Irwin - boys will be sure to find more than just a few role models in the pages of this book and also perhaps inspire them that they, too, are capable of extraordinary things.
(ages 7-10, $19.99) - Discover the secrets and science behind bounce houses, hovercraft, robotics, and everything in between in this book that provides both the quick answers AND complete explanations for all things high tech, low tech, and no tech (how DOES glue work?). Detailed diagrams, revealing photos, hands-on activities, and fascinating facts all help to demystify many common items - like how a microwave works, how an eraser makes pencil marks disappear, and how an iPad or tablet can do so much - and also delves into the more futuristic, but very real inventions like bionics, invisible cloaks, and tractor beams. "Tales from the Lab" and profiles of talented engineers, inventors, and scientists provide plenty of inspiration. How Things Work is perfect for the kid who thinks "just because" isn't a REAL answer.
Enter to win ALL 6 National Geographic Books!
One lucky winner will received these big, bold, beautiful books from National Geographic. To enter, just fill in the giveaway form below. Giveaway is open to US residents, ages 18 and up. Giveaway ends on 12/14/2016. Good luck!
I think she will like the Ocean one the best. I'm looking forward to reading them myself, though.
I think he would love the one about facts, 5,000 Awesome Facts (About Everything!) 3. I would love reading it with him.
My girl would love to read them all! But I think she'd pick up the 5,000 Awesome Facts book first.
Love the Heroine book. Looks great!
My son would love How Things Work.
My daughter would love the 5,000 Awesome Facts (About Everything!) 3 book, and my son would love the Ultimate Oceanpedia book! :) This is definitely an awesome collection, I love National Geographic!
I think mine would enjoy How Things Work.
I would want to read the book about Peace Hero's the most, sounds like a good read.
My daughter would love the 5000 awesome facts book.
I like their How Things Work book!
My daughter would like the 5,000 Awesome Facts (About Everything!) 3 book the most.
I think the Ultimate Ocean-pedia would be a favorite.
I think they would read the 5,000 Awesome Facts. This sounds interesting to me also!
My son would love How Things Work!
They'd probably want to read all of them, but for my daughter, 5000 facts about everything!
My son would be thrilled with the How Things Work Book.
They would love the Tales from the Arabian Nights: They love to read!
I think he would enjoy the Oceanpedia!! He enjoys reading about water and how it reacts.
I think my son would most like to read the 5,000 Awesome Facts (About Everything!) 3.
My granddaughter would love them all, but I think she'd really like the Heroines.
My daughter would love the Ultimate Oceanpedia book!
My son would like ultimate oceanpedia book.
She will love the 5,000 facts book. She love learning about different info.
I think my girls would most enjoy the 5,000 Awesome Facts the most!
I think the Tales from the Arabian Nights just sounds so adventurous to read to kiddos!
Tales From the Arabian Nights would be especially appealing, but they all look great!
My granddaughter would love the 5000 Awesome facts book.
My family would like How Things Work!
I would love to read Arabian Nights to my sons!
My kids would like the 5,000 Awesome Facts. They like interesting tidbits.
my daughter would love the book of heroines. she is very into real girl power!
I think he would like 5,000 Awesome Facts (About Everything!) 3. He is always asking so many questions and I don't know the answers.
All of these are great, but I think How Things Work is the favorite.
My grandson would love the How Things Work book.
Our family would enjoy reading the 5,000 Awesome Facts book the most.
I think my daughter would really love The Book of Heroines.
I think she'd most like The Book of Heroines. Thanks.
My daughter would love How Things Work.
The How things work book!!!
My son LOVES the water and sea creatures!
The Ultimate Ocean-Pedia would be LOVED in this house! My youngest is a shark fanatic, my middle son loves all sea adventure stories, and my daughter plans on being an oceanic robotic designer.
I think my daughter would go for the 5,000 facts book first! So many different things in there!


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Q: If the input expression contains a symbolic variable, use the VPA function instead? Im tring to substract the diagonal values with eigval and store the new value in the matrix Diagonal:
   CovarianceMatrix=[8 -3 1;2 1 0;3 4 5];
   Col=3;
   Row=3;
   store=1;
    syms eigval;

   for loop1= Col:-1:1
    Rw=1;
    syms eigval;
    for loop2= 1:Row
        if Rw==loop1
            Diagonal= (CovarianceMatrix(Rw,loop1)-eigval);
             Fix_Diagonal_2(loop2,store)=sym(Diagonal);
        else
            Diagonal= CovarianceMatrix(Rw,loop1);
            Fix_Diagonal_2(loop2,store)=Diagonal;
        end

        Rw=Rw+1;
        loop1=loop1-1;

        if loop1==0
             loop1=3;
        end

    end
    store=store+1;

end

But because I'm using a symbolic variable it gives an error:
      The following error occurred converting from sym to double:
      Error using mupadmex
      Error in MuPAD command: DOUBLE cannot convert the input expression into a double
      array.

      If the input expression contains a symbolic variable, use the VPA function
      instead.

How can I solve this? I would like to copy the new substracted value into the diagonal matrix.

A: Here's a simple bit of code that exhibits your same error so maybe it will help clarify the issue:
syms x;       % Create symbolic variable
a1 = rand(2); % Floating point array 1
a2 = rand(2); % Floating point array 2
d = a1(1)-x;  % This is now a symbolic expression
a2(1) = d;    % Error: you can't store a symbolic expression in a double array

which in R2013b (and R2015b) returns
The following error occurred converting from sym to double:
Error using mupadmex
Error in MuPAD command: DOUBLE cannot convert the input expression into a double
array.
If the input expression contains a symbolic variable, use the VPA function
instead.

vpa can't be used here because x is a symbolic variable that hasn't been defined rather than a symbolic value (vpa(d) has an inconsequential effect).
For your code, the error likely occurs on this line:
Fix_Diagonal_2(loop2,store)=Diagonal;

You can't use vpa because eigval is a symbolic variable with no value. You can possibly solve your problem by casting Fix_Diagonal_2 to sym:
Fix_Diagonal_2 = sym(Fix_Diagonal_2);

You'll probably want to do that outside of the for loops. I also don't see why you're redefining eigval on every iteration of the outer loop.

redpajama_set_name: RedPajamaStackExchange


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Just because someone served in the military doesn't automatically make them a hero or above reproach. Remember, Tim McVeigh was a decorated combat veteran.
I cannot fathom how any career military person can be part of the Democrat Party; especially Rep. Murtha, a Vietnam Vet, who witnessed first hand how the Democrats treated those men returning from Vietnam When Clinton took over the White House it was said at his initial inauguration his people didn't want military jets flying overhead. They didn't want military guards in uniform at the White House.
Hi Bob yesss I rememeber that about the Clintons, I had forgotten that part. I remember that he hated saluting when he got on and off the plane too.


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The Prodigy's New Album Was The Best News of 2014. Here's Why.
Posted on January 8, 2015 by Terry Gotham
(This is a repost of my EDMTunes feature article about The Prodigy. Show them some love for giving me the platform to write about talent that either no one's heard of yet, or no one cares about anymore. Here's to hoping I'm right and The Prodigy remind everyone in 2015 why they're the best at what they do. The Wolverine of the Main Stage as it were.)
We're at the precipice of another major shift in EDM. No, it's not big room finally dying, or progressive house returning to center stage. It's a little more base, a little more primal than that. The Prodigy are releasing a new album, and with it, an entire industry will pivot, as they say it will "wipe the floor with dance djs." It's easy to forget how crucial The Prodigy is to American EDM. Whether they're headlining Lollapalooza (1997), Coachella (back in 2002) or being one of the biggest acts to play Ultra Music Festival twice (2006 & 2009), all the way back when it was only a 1 Day/weekend festival, most DJs you hear today draw inspiration in one way or another to The Prodigy.
In case you need a refresher, The Prodigy was formed by Liam Howlett in 1990. Maxim & Keith Flint are two of the more visible faces of the group (the two guys yelling and having crazy body modification in every video). This group was one of the ones there, pretty much at the beginning. To note, MDMA had been illegal for less than 15 years when this group showed up on the burgeoning UK open air & warehouse rave scene. They pioneered a sound called "big beat" which is the genre you're thinking of when you think of The Prodigy, Fatboy Slim, Chemical Brothers & even The Crystal Method. This hard-hitting, aggressive & at times, terrifying (especially if you lived in the UK/US suburbs) sound was essentially the brostep of the 90's. This sound, roughly approximating the halfway point between a rave and a soccer riot, took the UK by storm. This early work didn't make it over the pond, but as they got bigger, they moved decidedly toward the soccer riot end of the music spectrum.
Music For The Jilted Generation meant quite a bit to a lot of people across the Western world. Voodoo People, One Love, Speedway & Poison signaled a potent shift to the "lock up your daughters, fuck your conventions" end of the dance music spectrum, and their fans, loved them for it. The music was unnerving, while dope, and the videos were unsettling at their lightest.
If you saw the movie Hackers, you know what I'm talking about. The album captured this ephemeral "don't fit in" feeling that so many of us felt. While Gen X had that experience with punk, some of the younger ones, eventually called older millenials, were rocking out to this. 1994 & 1997 saw the release of two albums that were foundational to a lot of people's listening habits & sense of what electronic dance music should sound like. One was Music for The Jilted Generation, mentioned above, and the other is The Fat Of The Land.
The Fat Of The Land, released just as they performed at Glastonbury (that other gigantic festival across the pond), got into a lot of trouble, which, in our eyes, made The Prodigy ours forever. The video above was restricted to after 1 AM play because of the explicit drugs & violence. NOW yelled and screamed about "Smack My Bitch Up" being inherently misogynist & inappropriate, while others howled that it was telling children to do heroin. Obviously, it did none of these things, and in fact the vocal is actually lifted from a hip hop track by Ultramagnetic MC's called Give The Drummer Some (27sec in, crazy right?). And yes, watch the video all the way to the end, because there's a HUGE TWIST. (or what was considered a twist then)
The album was one you could listen to front-to-back, and I still dream that an action movie will come out using just tracks from the album as the soundtrack. The album was recently re-released as an expanded edition with remixes from The Glitch Mob, Major Lazer, Baauer, Noisia, Zeds Dead & Alvin Risk. These remixes are dope, and my two favorite are below.
The album was pulled off the shelves at Wal-Mart & Kmart, and as we all know, if you're a teen and some band gets pulled off the shelves, they must be the raddest shit ever. It took all the way until 2004 to get some new material from these guys, with Always Outnumbered, Never Outgunned. This album had a bunch of new electronic elements and one of the craziest marketing schemes for the pre-release I've ever seen. From the wiki:
5,000 digital copies of "Memphis Bells" were sold over the Internet. Each copy was a combination of customer-chosen instrumental, rhythmic, and melodic options, of which 39,600 choices were available. Five mixes were sold in three file formats, WAV, two audio mixes in MP3, and a 5.1 DTS surround sound mix, and all were free of digital rights management.
Can you imagine getting to build your own remix then buy it? Why the hell doesn't ever DJ freaking do this? They're sitting on the stems and apparently, a gold mine. The live shows done in this era were second to none. I should know, I was at 4 of them. The two shows at Ultra Music Fest, the show at the now-shuttered Roseland Ballroom & now-shuttered Nation in DC. These parties made hardstyle shows look tame. There were no Stereosonic swole bro's, there was a legit moshpit. No pressure to go into it, but it was there if you wanted it. Much respect, massive dancing and a whole lot of what "big room" sounded like in 2009. (Apologies for the borked quality of the video below, this was before live-streaming or video capture was really an option at parties)
The track being mixed into in that video is Invaders Must Die. Released on The Prodigy's new label Take Me To The Hospital (best label name ever), the album straddled hard dance, alt rock and "I can't believe it's not thrash" (that's a genre right?). Warrior's Dance, Omen & Take Me To The Hospital are all massive tracks.
But here's my point with all of this. Each time The Prodigy came out with an album, there were dozens of remixes by DJs across the world. David Guetta, DJ Deekline, Pendulum (you know, that drum & bass act Knife Party used to be) and so many others. While my 3 favorite mixes are below, now I hope it's clear why I believe The Prodigy releasing a new album early in 2015 is the best Christmas present EDM fans can hope for.
The "violent" sound that The Prodigy is going to bring to the fore will give us so many dope remixes. But more importantly, it's going to help dance music pivot away from its current reliance on pop & overly corporate music. There's a certain bit of counterculture to dance music & underground parties that a lot of people feel is missing. Who knows, maybe this will help remind people. At the very least these tracks, off the album tentatively called How To Steal A Jetfighter, will inspire a bit more of a raw, emotional & authentic big room vibe than Animals. I know this seems like a stretch, but if we have remix material from sources other than Ed Sheeran & John Legend, that edge might show back up in a lot of these live sets. I leave you with what Noisia did with The Prodigy's last album. This is the kind of music you "rage" to, not brolectro or Michael Baystep. Imagine this on a mainstage and you'll get what I'm talking about.
This entry was posted in Of and tagged Coachella, Fat Of The Land, Glastonbury Festival, Hackers, Liam Howlett, Lollapalooza, Music For The Jilted Generation, The Prodigy, Ultra Music Festival, Voodoo People. Bookmark the permalink.
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2 thoughts on "The Prodigy's New Album Was The Best News of 2014. Here's Why."
The Festival Lawyer (@FestivalLawyer) says:
I love this article so much. Thanks Terry!
Pingback: The Prodigy's Announcement Is The Best Music News For 2014, especially for EDM. Here's why. – Prodigy News


text:
VIDEO: Country and jazz onstage at Crofton this weekend
Jun. 6, 2018 8:00 p.m.
Susannah Adams
Me and Mae hit the stage on Saturday. These country favourites are a treat for the ears. (Submitted)
Two totally different acts liven the soundscape of Crofton's Osborne Bay Pub this weekend.
First up, on June 9, are the country talents of Sunfest favourite Me and Mae.
This hot young country band has made quite the name for themselves as exceptional live entertainers, winning the Country Music Ray McAuley Horizon Award in 2014.
Me and Mae has been part of the Canadian Country Music Festival scene for the last several years with performances at a variety of events.
With solid four-part vocal harmonies, Me and Mae is a great choice for everyone who loves the likes of Zac Brown, Little Big Town and the Eagles. In other words, tunes served piping hot with plenty of sauce.
Then, on Sunday, June 10, there's sultry jazz on the menu.
Fresh from a triumphant, sold-out CD release party at the iconic Hermann's Jazz Club, Victoria jazz vocalist Susannah Adams brings her Island tour to Pat's House of Jazz at Crofton's Osborne Bay Pub on Sunday, June 10.
Celebrating the release of her debut album, As the Morning Light, Adams has already developed a loyal fan base in the Cowichan Valley. With her daring scats, vivacious stage presence and inspired improvisations, she is ready to soar.
"I have watched Susannah grow as a jazz vocalist at an astonishing pace," says Pat's House of Jazz publicist Gloria Collins, who remembers seeing Diana Krall and Holly Cole early in their careers. "Like they were then, I think she is on the verge of a great career."
With this debut CD, Adams brings her signature spontaneous live sound into the studio.
As the Morning Light is a stunning portrayal of this fiery young performer.
Named after one of her own compositions, this remarkable CD establishes Adams as an original lyricist, composer and arranger as well as an interpreter of jazz standards.
This live session was recorded over just three days at Joby Baker's state-of-the-art studio in Victoria. The result is a fully vibrant world-class album in which one can practically taste the inspiration.
The five musicians Adams chose to accompany her on the album are superb. But at this performance in Crofton, keyboardist Karel Roessingh (also a crowd favourite at the pub) will lead a quartet that also includes trumpeter Olivier Clements, bassist Rick Kilburn and drummer Kelbry MacNayr.
Adams will demonstrate her trademark versatility by slipping seamlessly from daring be-bop scat solos 'Calypso Be' into smooth bossa beats 'You'd Be So Nice' and lush ballads 'Save Your Love for Me'.
All this, topped with a gentle dose of humour. This is hip. This is cool. This is vocal jazz at its best.
The show is one of a Sunday afternoon jazz series presented by Chemainus Valley Cultural Arts Society. It runs every Sunday from 2 p.m. in the Osborne Bay Pub, 1534 Joan Ave. in Crofton, a stone's throw from the Salt Spring Island ferry terminal. Admission is $15.
Reservations are recommended. Tables will be held until 1:30 p.m. Phone 250-324-2245 or visit osbornebaypub.com.
Back to the 90's: Vanilla Ice, Young MC coming to Vancouver Island
VIDEO/ GALLERY: Celtic Rhythms, Summit celebrate 'Time, Tempo & Rhythm'


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Dance historian Nancy Reynolds to be recognized with Bessie Award
Dance · Ideas & Opinionbalanchine foundation bessie awards bessies melissa barak nancy reynolds the prodigal son yvonne mounsey
It is with great personal delight that I share the wonderful announcement that the New York Dance and Performance Awards (The Bessies) will honor dance historian Nancy Reynolds with the 2013 Bessie Award for Outstanding Service to the Field of Dance.The ceremony will take place on Monday, October 7, at the Apollo Theater in New York City. I attended the Bessies three years ago at Symphony Space. It's a party.
Nancy Reynolds, a friend and colleague over recent years, blends a no-nonsense approach with warmth and intellectual rigor. No dance writer could have a more solid foundation in the art form; Nancy was a member of the corps of York City Ballet for five years before starting her second career as editor/author. Her books include Repertory in Review: Forty Years of the New York City Ballet, The Dance Catalog, In Performance, and Choreography by George Balanchine: a Catalogue of Works, for which she was research director. She was also research director for Balanchine, a two-part documentary for PBS and was an editor of the multi-volume International Encyclopedia of Dance (New York and Oxford: Oxford University Press, 1998). Her book No Fixed Points: Dance in the Twentieth Century, a comprehensive history (co-authored with Malcolm McCormick), was published by Yale University Press in 2003.
Since becoming director of research for The George Balanchine Foundation in 1994, Ms. Reynolds has directed multiple documentation and preservation projects for the George Balanchine Foundation Video Archives. It was in this context that I met and interviewed Nancy, while sitting in on her filming of our wonderful Los Angeles ballet instructor, Yvonne Mounsey (subsequently passed away), as she coached dancer Melissa Barak in the role of the Siren in Balanchine's "The Prodigal Son."
My Los Angeles Times story here.
The Bessies are named after the beloved dance educator Bessie Schonberg, who taught and mentored generations of dancers for over six decades.
Congratulations, Nancy Reynolds, and thank you BESSIE awards for recognizing the critical role of writers, thinkers and archivists as we process dance's great century, the twentieth.
Dance scholars recognized with awards in New York
Death of a dancer: Karin von Aroldingen (1941-2018)
'Apollo' off course. Wrong. Nyet.
Review: ballerina Wendy Whelan in new documentary
olderGeorge Chakiris, choreographer's assistant for Judy Garland's 1956 Vegas revue
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You are here: Home / Issuances / DepEd Memoranda / DepEd to Prioritize the Development of the Last Mile Schools in 2020-2021
DepEd to Prioritize the Development of the Last Mile Schools in 2020-2021
By Mark Anthony Llego · 1 Comment
The Department of Education (DepEd) is sustaining the substantial gains in access to education through the provision of adequate education facilities, teaching and non-teaching personnel, and learning resources. However, gaps in resources and facilities still remain in schools that have not met the allocation criteria for various education inputs, particularly in Geographically Isolated and Disadvantaged Areas (GIDA). To address this, DepEd is strengthening its efforts to reach out to these Last Mile Schools.
PRIORITIZING THE DEVELOPMENT OF THE LAST MILE SCHOOLS IN 2020-2021: REACHING OUT AND CLOSING THE GAP
Among the indicators used in identifying a school as among the Last Mile Schools are as follows:
a. Having less than four classrooms;
b. With makeshift or nonstandard rooms;
c. Absence of electricity;
d. Have not been allocated funds for repairs or new construction projects in the last four years;
e. With travel distance of more than one hour from town center, or with difficulty of terrain;
f. Having multigrade classes/rooms;
g. With less than five teachers;
h. Having a student population of less than 100 learners; and
i. With more than 75% Indigenous People (IP) learners.
The Information and Communications Technology Service (ICTS), Planning Service (PS), and the Administrative Service-Education Facilities Division (AS-EFD) are directed to identify the schools that will fall under the final list of Last Mile Schools using all available data, such as from the Enhanced Basic Education Information System (EBEIS), reports from the field, the ongoing Nationwide Baseline Survey, and other applicable data and information. The list will also be validated by EFD Engineers and Architects, and Disaster Risk and Reduction (DRRM) coordinators. The validated list will then be presented to the Executive Committee (ExeCom) for approval.
DepEd, through its bureaus, services, schools divisions, and offices, shall jointly plan and implement programs, projects, and activities that address the needs of the Last Mile Schools, such as:
a. Building of classrooms to address the minimum of four instructional rooms as standard for every school;
b. Replacement of makeshift and nonstandard classrooms into standard ones;
c. Construction of a two-story Administration and Climate Change Emergency Storage and Shelter (ACCESS) building for every school to provide rooms for Library, Faculty Room, Principal's Office, Clinic and Guidance Room, and/or Computer/Technology-Vocational-Livelihood (TVL)/Science Laboratory, and as Emergency Storage for school equipment, tools, supplies and materials in case of calamities;
d. Provision of needed standard school furniture;
e. Installation of solar panels to energize the unenergized schools;
f. Processing of land ownership papers and documents;
g. Delivery and installation of DepEd Computerization Program (DCP) packages;
h. Connection of the school to the DepEd Network and Internet;
i. Deployment of learning and administrative systems;
j. Feeding of all learners under the School-Based Feeding Program (SBFP);
k. Provision of Oplan Kalusugan sa DepEd (OK sa DepEd) services;
l. Provision of potable water through deep wells, rump pumps, filtration equipment, among other facilities;
m. Provision of funds for Gulayan sa Paaralan (GPP) program;
n. Provision of funds for School Inside a Garden (SIGA) program;
o. Training of student-leaders and teacher-advisers;
p. Provision of teaching and learning materials;
q. Provision of TVL, Science and Mathematics equipment;
r. Provision of additional teachers and training of existing teachers;
s. Provision of nonteaching personnel for administrative and financial transactions;
t. Provision of the necessary, appropriate, and timely capacity-building for the personnel in the discharge of tasks and functions related to records management, asset management, cash management, and general services;
u. Determination and recommendation of the appropriate budgetary requirements to support the operations of the schools;
v. Engagement of external partners for goods/services that DepEd cannot provide, such as construction/rehabilitation/painting of fence, school gate, stage, multipurpose hall, among others;
w. Study the applicability of alternative procurement processes and alternative building materials to conform with the terrain and remoteness of the Last Mile Schools; and,
x. Work for partnerships with the different agencies of government, including Local Government Units (LGUs).
DepEd, in all governance levels, shall exert efforts to facilitate convergence initiatives with the Department of Public Works and Highways (DPWH), Department of Health (DOH), Department of Social Welfare and Development (DSWD), and other government agencies, including LGUs, to address the broader needs in the areas that could not be addressed by DepEd, including access roads, health concerns of the community, expansion of coverage of School-Based Feeding Program beyond wasted and severely wasted learners, among others.
The Office of the Undersecretaiy for Administration, in cooperation with the Planning Service, shall consolidate the plans under one comprehensive program of implementation.
Download DepEd Memorandum No. 59, s. 2019 – Last Mile Schools
Download DepEd DM No. 59, s. 2019
Samuel L. Fullido says
Here in the Division of Bohol many of our far and island schools have so many makeshift classroom but until now not in the List of Recipients CY 2020 SBP and in the Last Miles schools but instead the less priority schools were on the list.


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NETBible KJV GRK-HEB XRef Arts Hymns
10:2 The wicked arrogantly chase the oppressed; 1
the oppressed are trapped 2 by the schemes the wicked have dreamed up. 3
10:14 You have taken notice, 4
for 5 you always see 6 one who inflicts pain and suffering. 7
The unfortunate victim entrusts his cause to you; 8
you deliver 9 the fatherless. 10
1 tn Heb "because of the pride of [the] wicked he burns [i.e. hotly pursues] [the] oppressed." The singular forms רָשָׁע (rasha', "wicked") and עָנִי ('aniy, "oppressed") are collective and representative, as indicated in the next line, which uses plural verb forms to describe the actions of both.
2 tn The two imperfect verbal forms in v. 2 describe either what typically happens (from the psalmist's perspective) or what the psalmist was experiencing at the time he offered this prayer.
3 tn Heb "they are trapped in the schemes which they have thought up." The referents of the two pronominal suffixes on the verbs have been specified in the translation for clarity. The referent of the first suffix ("they") is taken as the oppressed, while the referent of the second ("they") is taken to be the wicked (cf. NIV, which renders "wicked" in the previous line as a collective singular). Others take the referent of both occurrences of "they" in the line to be the wicked (cf. NRSV, "let them be caught in the schemes they have devised").
4 tn Heb "you see." One could translate the perfect as generalizing, "you do take notice."
5 tn If the preceding perfect is taken as generalizing, then one might understand כִּי (ki) as asseverative: "indeed, certainly."
6 tn Here the imperfect emphasizes God's typical behavior.
7 tn Heb "destruction and suffering," which here refers metonymically to the wicked, who dish out pain and suffering to their victims.
8 tn Heb "to give into your hand, upon you, he abandons, [the] unfortunate [one]." The syntax is awkward and the meaning unclear. It is uncertain who or what is being given into God's hand. Elsewhere the idiom "give into the hand" means to deliver into one's possession. If "to give" goes with what precedes (as the accentuation of the Hebrew text suggests), then this may refer to the wicked man being delivered over to God for judgment. The present translation assumes that "to give" goes with what follows (cf. NEB, NIV, NRSV). The verb יַעֲזֹב (ya'azov) here has the nuance "entrust" (see Gen 39:6; Job 39:11); the direct object ("[his] cause") is implied.
9 tn Or "help."
10 tn Heb "[for] one who is fatherless, you are a deliverer." The noun יָתוֹם (yatom) refers to one who has lost his father (not necessarily his mother, see Ps 109:9).
sn The fatherless. Because they were so vulnerable and were frequently exploited, fatherless children are often mentioned as epitomizing the oppressed (see Pss 68:5; 82:3; 94:6; 146:9; as well as Job 6:27; 22:9; 24:3, 9; 29:12; 31:17, 21).
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Scott Ezell: from Journey to the End of the Empire: On the Road in Eastern Tibet, with accompanying author's note
Camphor Press, 2022
https://www.camphorpress.com/books/journey-to-the-end-of-the-empire/
In Dali, in the southwest corner of the empire, I watched a man butcher a pig carcass on the street. Thick dead skin opened pink and gray to bones and flesh, a cubism of meat splayed out on an old army tarp. The man paused to light a cigarette, and blood stained the paper where he held it between his lips. It was September — autumn light slanted in thin and golden, like mineral oil infused with streaming photons. Water flowed down a square gutter cut in the marble flagstones on its way to Lake Erhai on the valley floor. Green mountains rose in all directions, just-spawned dinosaurs glistening in the sun. To the north, rivers and ravines spilled down like apron strings from the Tibetan Plateau. The man slit the pig open from the groin to the dead gray snout. He pulled out the viscera muck and threw it in the channel of water, washed the shit from the intestines, and rolled them up to pack away. He cut off the legs and carved out slabs of meat, stuffed them into baskets panniered to a dented motorcycle, then hacked off the head and strapped it to the back fender. The man washed off his tarp and lashed it to a basket, lit a new cigarette, and drove away in a cloud of blue exhaust.
"Sucks to be a pig," someone next to me said in Mandarin. I turned and saw Liu, a skinny youth with a wispy goatee and an intelligent, skeptical look in his eyes whom I'd met a couple of days before. He was one of the local bohemians who had drifted to Dali from a more hectic urban reality elsewhere in the empire, and now spent his days drifting up and down the stone streets between cafés and cheap noodle shops and groups of friends.
"Interesting place to do your butchering," I said.
"Hey, man," Liu said, "it's just blood and violence — nothing new. It's better to have it out here where we can see it, instead of hidden away in some slaughterhouse or politburo meeting."
I had no argument for that. As I traveled higher and further north along the edge of Tibet it became harder to separate a plate of meat from the animal it came from. Kiss the bloody lips of the abyss, say a prayer of thanks it's not your turn for the knife, and continue on. Liu took a puff of the spliff that slanted perpetually from the corner of his mouth and handed it to me.
"Don't the cops give you any grief over smoking?" I asked.
"Nah, they don't care, how could they? Ganja grows wild all around here. They smoke it themselves if they know what's good for them."
"What about Mao?"
"Chairman fucking Mao? Gimme a break, man. He wouldn't have known a good weed crop if it bit him on his red communist pecker."
I sucked in the burning glow. The smoke scratched my lungs and emerged in gray-white clouds that drifted up into the blue. The machines were humming and groaning somewhere, but for now they were far from me.
Liu took his spliff back and grinned as the motorcycle exhaust dispersed into the cool clear air. "Don't worry, man, the blood will wash away," he said.
The annals of the former pig were already fading from where they were written across the flagstones. We left them behind and walked down Renmin Lu, People's Street, the central artery of town. An old tractor came puttering down the road, farting out black exhaust, so primitive it didn't even have a hood over the engine — just a noisy bristle of gears and cogs and belts set on the chassis. We strolled along behind it. The blue-veined marble of the streets and buildings was cracked and crooked, translucent in sunlight yawning from the sky. Grasses and flowers grew in the seams of tile roofs. Women from the Yi tribe, wearing sequined green jumpsuits, sat on curbs, offering baskets of strawberries and walnuts from their mountain villages, speaking their own language, squinting at passersby like we were usurpers. A man missing a front tooth and wearing an indigo Mao jacket sold bananas from a cart as he smoked a pipe, his hair dyed black with shoe polish. I had bought a bunch from him the day before. He held out a couple singles to me and said, "Free!" Liu and I ate them as we passed dreadlocked musicians strutting up and down the street in leather jackets and aviator shades. Renmin Lu had a mythic quality of timelessness, like La Rambla in Barcelona, which Lorca said he wished would continue on forever. Life was luminous and ramshackle here in this town left to its own devices at the edge of the empire, not yet improved, slicked up, and modernized to death.
We passed a police precinct, a whitewashed concrete pillbox with a uniformed officer sitting in front and sipping tea from a glass tumbler. But on the side of the building, another cop was overseeing a half-dozen men scrubbing spray-painted graffiti from the wall with wire brushes. The men were ragged and gaunt, chained with shackles on their legs, their jaws speckled with whiskers. The graffiti was abraded and half-erased, but I could still make out some of the words. Qingxie, xiejiao, ni: "canted, beveled, you." I knew the meanings, but it was a strange juxtaposition, especially on a police station wall.
"What's wrong, what are you looking at?" Liu asked.
"Those words, who wrote them here?"
"I don't know, but they've been showing up here and there around town. Someone keeps writing them, and the police keep erasing them. Qingxie ni, xiejiao ni. You see the cop out front there? That's what they do: just sit in the sun half-asleep, drinking their tea. Things are loose enough that someone can slip in and paint a few words on the wall during the night. But as soon as they discover it, they send a crew out to remove them."
I turned the words around in my mind. Cant you, bevel you. They're going to cant and bevel you. They're going to cant and bevel you. I stared at the characters as they were scoured away, the men rasping dully with their brushes. Fuck the Police or Free Tibet I could understand; they were slogans of blunt dissent, their message was compact and unambiguous. But They're going to cant and bevel you? It was subversive at a whole different level. The phrase was abstruse and oblique but had a mysterious resonance. I turned it over in my mind. Cant you, bevel you. Shave you down, file you into angles, cut at your sense of self until you fit with the machinery, the levers and gears of the system.
The work crew scraped at the wall, dipping their brushes in buckets of kerosene. Soon the spray-painted pigments would be washed away, to drain with the blood of the butchered pig on down to Lake Erhai, which reclined like liquefied shale on the floor of the valley in the distance.
Liu elbowed me in the ribs. "Come on, man, don't stare at the cops. That's just asking for trouble. Let's head over to my place."
"Who are those guys in leg irons? They look pretty grim," I asked as we continued walking.
"Political prisoners. They make them do all the shit work, to show the people what happens to an enemy of the state. Usually they're Tibetans or Uyghurs. Or poets."
A young woman walking toward us called out hello to Liu. She had a salamander look to her eyes and lips, as if she might wriggle away any moment, flicker her tongue or camouflage herself against a tree. She wore short cutoff jeans, flip-flops, and a sky blue blouse. The lines of her body were smooth and silken against the pale marble and slanting light, and her black hair was pulled into a topknot with a chopstick stuck through to hold it together. I forgot about the graffiti and cursed myself for not being able to think of a single charming thing to say to a pretty girl — but she turned to me and said, "Hey, what's your name?" Ah. I'd forgotten how simple the dance could be. Her name was Su.
She was holding a Mandarin edition of Tropic of Cancer, her finger marking a page as if she'd just looked up mid-sentence.
"How's the book?" I asked her.
She smiled as if the answer were self-evident. "They've translated all of Henry Miller's books," she said. "I've read every one."
Thank god the Cultural Revolution was over and the sexual revolution had begun.
We walked up the street to Liu's place. We stepped through a doorway with Café hand-painted on the door. It was a tiny space crowded with half-broken chairs and banged-up lacquer tables flecked with gold, shabby and radiant like everything here seemed to be. Liu's girlfriend, An, stood at a counter, boiling water on a hotplate. She had round features like a Russian doll that holds concentric versions of itself.
"Where'd you get all this antique furniture?" I asked.
"We get it off the street," An said. "People don't want this old stuff anymore. They just throw it away, but we like it. Otherwise, what are we going to do, go to Ikea?" She laughed again, and a shelf of sun fell across her eyes and lips as she poured out a cup of coffee for me. These underground youths were part of an alternative culture that didn't identify with the status quo, so just stepped aside to let the machinery lumber by without them. They played folk music and cooked communal meals and didn't worry about what tomorrow held, as if the future had been preempted by power structures and ideologies, old men far away who were mummified with allegiances and loyalties and viewed the world through cracked prisms.
"Come on outside. Lao Chen is here," Liu said. We ducked out the back door to a walled courtyard. A couple of banana trees lifted ragged fronds to the sky; red and orange flowers cascaded next to an iron gate. Beneath a lychee tree a few young men and women sat talking around a table while a shag-headed kid played a guitar.
"Hey, this is Lao Chen," Liu said. "He's always out with the hill tribes playing music. He records their songs and comes back with crazy instruments."
Lao Chen wore heavy boots, a stained white T-shirt, and had a thick beard, an anomaly among Chinese men, who usually have smooth cheeks and at most a wispy chin beard. His eyes crinkled into a smile even before there was anything to laugh at.
"Yeah, I'm always up in the mountains," Lao Chen said. "Each village has its own instruments and songs — every mountain is its own world. They've never heard of Michael Jackson, that's for sure, and they don't know how to sing happy fuckin' birthday." He leaned back and let loose a bellow of laughter, as if not knowing how to sing "Happy Birthday" was the greatest boon one could hope for in this life.
The guitar player grinned and handed me the instrument. It was an old beater missing the G-string, perfect to bang away at here among the marble walls and pretty girls and banana flowers. My fingertips had gone soft, the wire strings bit into my skin. An brought out a porcelain flask and poured plum wine into tea cups. I took a sip, the sour sweetness spread from my tongue all through my mind. Lao Chen took a bamboo Jew's harp from an embroidered sheath hanging around his neck and twanged along with me as I strummed. I looked up past the old tile roofs to the mountain peak way up at thirteen thousand feet. We were halfway in elevation between the mountaintop and the sea. I felt like I had just been popped out of a Jell-O mold, glistening and quivering in the sun. I crooned out a folk song I'd written in Tiananmen Square a few years before:
Gray flowers in the morning
gray flowers beneath the wheels of city streets
gray flowers raining from the sky
gray flowers filling up my mind
What vehicles drive here
what fuel does their locomotion burn
we dig the earth for combustion engine dreams but only find
gray flowers our buried blood and bones
Busy days along the boulevard
dollars stab like knives of ideology
concrete carousels of riches fertilized by
gray flowers of human poverty
Tanks machine guns steel footsteps
beat popcorn smiles onto the world of TV
where have all our children gone
they're gray flowers, petals fallen from the sun
Gray flowers in the evening
gray flowers beneath the wheels of spinning stars
gray flowers straining towards the sky
gray flowers are all that's left inside my mind
"What song was that?" Su asked when I finished.
"Something I wrote in the capital a while ago."
"But what's it about?" she asked, "I don't understand English."
"Well, buried bones lifting back up to the sun, I guess." I didn't know what to say.
I had taken my guitar to Tiananmen Square one autumn day and stood there on the concrete acreage where I remembered watching footage of tanks driving on the streets in the wake of protests on June 4, 1989. Fifteen years after the massacre, I started strumming my guitar and the song emerged of its own accord, as if the ghost of Woody Guthrie was whispering in my ear. Platoons of Liberation Army soldiers marched past me, uniforms crisp and creased, assault rifles held at identical angles at their hips, movements mechanical and precise, all the joints articulated in synchronicity. But local people wandered around looking harrowed and crumpled, as if their insides had been replaced with old straw. A pair of plainclothes police stopped and asked what I was doing. "Just playing my guitar," I said. Just trying to drive a stake in the heart of the vampire. I guess I seemed harmless enough, at least more harmless than the hassle of arresting an American, and they left me alone. When I was in the United States a few months after that, amid endless news of perpetual war, "Gray Flowers" didn't seem any less relevant than it had on the grand pacified stage of Tiananmen.
Lao Chen clapped his hands and said, "Tell you what, man, let's get together tonight and have a jam. We can meet up at A-lian's bar, Sun Eyeland. It's just up the street on Renmin Lu. You're not busy, are you?"
"I'm free for the rest of my life, man."
"We'll get some friends together, have a coupla beers, get a groove going. I'll bring my mouth organ."
"What do you mean, a harmonica?"
"No, it's a hill tribe instrument made of bamboo and beeswax."
"They call it a khaen. Come on down, we'll see if we can wake up a few stones."
I was flushed from sun and mountains and wine, from making new friends and from memories of old ones. I drained my glass and said that sounded good to me. But some stones are better off left sleeping.
Sun Eyeland occupied a listing building of wood and stone. The interior was decorated with batik and tie-dye, green and blue lights hung down and swayed from the ceiling. Guitars leaned in corners like broke friends. Dreadlocked hipsters sat around clanking bottles. A few people brought food, which they put on a table for everyone to share. A-lian was a calm youth with long hair tied back with a paisley bandana. He plugged a big bass guitar into an amp that crackled when he adjusted the knobs. Lao Chen got up on the stage and played his mouth organ into a mic, making an eerie polyphonic wail. The khaen was a crown of bamboo tubes rising between his hands.
Su was there when I arrived. Her body had a smooth curl and flow to it. She seemed to be molded from warm wax. Her eyes crinkled with affection as if we'd known each other in a previous lifetime. We put our hands together and swayed to the music, breathing on each other's necks.
Lao Chen waved me over to the stage. "What do you want to play?" he asked me.
"I don't know, whatever, anything." I plugged in the house guitar, and we got a rusty, creaky groove going. I was ready to strip off my clothes, peel off my skin, return to meat and nerves, to become a naked animal of sensation. I tweaked the amp so it verged in and out of feedback like a siren. More people arrived, the room became crowded and hot. Someone sat on the edge of the stage and played a hand drum. Two women in denim skirts danced body to body, the space filled with pheromones and sweat. It was a jumble of rhythm and wine, a gelatin of desire.
"Sing something!" Lao Chen shouted above the fray.
I squeezed the guitar and closed my eyes. The music swelled like a calliope song. I tried to recall a folk song, a love song, some happy jig, but all I could think of was the phrase of graffiti from the police station wall. I began chanting it, interspersed with whatever words came into my head:
They're going to cant and bevel you
into a useable interface they're going to cant and bevel you
into machine assimilation, they're going to cant and bevel you
till you can't find yourself in your face
with an adze and a plane they're going to shave you down
mold you like clay into an image of themselves
till you start to think something might be wrong
I opened my eyes and looked around. The lights swung in wide arcs like tetherballs, blue and green swirled across the walls. Someone kicked a chair over, a bottle clattered to the floor. Liu handed a beer up to me, I glugged it down as the wail of the khaen encircled me and the rhythm surged on. Su had wrapped a shawl around her head. When I jumped down from the stage, she opened the shawl and encircled us both. "You're a colored balloon," I said.
"I thought you were going to pass out up there," she said. "You looked like Jesus Christ trying to cut open god's belly and climb inside." She leaned forward and nuzzled my collarbone. She didn't care about anything and neither did I. But Lao Chen shouted for me to come back and play.
I jumped up to the stage and grabbed the guitar. The sound of the khaen was swelling and filling the space. But then everything shifted, like a stylus jumping the groove of a record. Red light came swerving through the room and megaphone distortion blasted in as a police van pulled up outside. Uniformed men muscled in the door, plexiglass face shields hiding their features with gleam. The crowd had no way to get out, and the cops didn't know what to do once they'd breeched the entrance: shoot everyone or arrest everyone or let them run away. A guitar fell over with a crash, someone punched out a window. The green and blue bulbs revolved in larger and larger circles. Two tides of people pushed against each other, the police coming in and the counter-culture youth trying to get out. The loudspeaker from the police van blared electrified commands that didn't sound like human language, and from down the street other sounds came mixing in, someone singing karaoke with exaggerated vibrato, and the looped recording of a junkman calling out his obbligato for scrap metal as he pushed his cart through the night. Su was there at the seam between the cops and the crowd. A soldier grabbed her arm; her chopstick fell to the ground and her hair released into a tangled cascade. I tried to push through to her, but someone was pulling me the other direction. It was Lao Chen, shouting something I couldn't understand. The red light swept across the room, red blending with the blue and green in a kaleidoscope mash. The cops turned on a strobe light for some reason, creating a weird stop-motion effect, as if time were being cut into thin slices. A squad of police stood outside, each holding a breaching tool. Apparently someone thought we would be barricaded in here like an insurgent army, or maybe they just wanted to practice mobilizing the gear. The shining enameled cylinders said in English, Blackhawk Twin Turbo Battering Ram, Dynamic Entry. Everything was clotted in sweat and confusion, nobody understood their role or function. Sparks exploded from the fuse box near the door, the interior lights went dead. All that remained was the red light and the strobe so that everything seemed to be bleeding to death in slow motion. The megaphone blared its android noise, and somewhere beneath it was the sound of water flowing through the channels cut in the stone streets of this town that had stood still for centuries, abiding in a slow senescence, but which was now beginning to swirl and crack along with everything else.
AUTHOR'S NOTE. [In the great tradition of historically/poetically-conscious travel writing, Scott Ezell begins his account with the following]:
In September 2004 I set out on a journey along the edge of Tibet. Starting from the foothills of the Himalayas in southwest China, I traveled north into further, higher landscapes by local bus, hitchhiking, and a motorcycle I bought along the way. I speak Mandarin, which allowed me to communicate all down the road with villagers, Buddhist lamas, nomads with chunks of bone braided in their hair, and police at security checkpoints. After six weeks and 1,200 miles, I reached Kekexili, a wilderness reserve 17,000 feet above sea level. From there I crossed the Kunlun Mountains and descended to Golmud, a city at the crossroads of Tibet, China proper, and Xinjiang. That journey is the basis for the following narrative.
Over the next fifteen years I returned a dozen times to Tibet and southwest China. I witnessed transformations so shocking that I felt I was taking blows to my own bones. Massive dam systems killed rivers and displaced communities, mountains were raked apart to provide gravel for construction projects, and the region was increasingly militarized and surveilled as China tilted toward its grim police state superpower status.
Having observed these trends, it was not enough to write about Tibet merely as a fascinating landscape and culture. I began to combine the changes I witnessed with the structure of my original travels, making it a journey through time as well as through physical geographies. What follows, then, is a narrative that evokes the majesty of Tibetan landscapes, the unique dignity of the Tibetan people, and the sensory extremity of navigating almost pre-industrial communities at the edge of the map, while also encompassing the erosion of cultures and ecosystems.
Today China holds one million Uyghurs in concentration camps in Xinjiang, democratic freedoms have been smashed in Hong Kong, human rights lawyers are held in black jails, and the government openly surveils its population. But the systematic oppressions of "empire" are not unique to China. The seizure of land and genocide against indigenous peoples in the United States and elsewhere, the legacy of slavery and the present-day wage-slavery of the global economy, and the colonization of Tibet as a means of territorial expansion and resource extraction — these are all variations of centralized authority exerting power over minority, marginalized, and disenfranchised peoples.
This narrative journey "to the end of the empire" serves as a microcosm in which the terms of contemporary life stand in stark relief against the vast, raw landscapes of Tibet. Perhaps by better understanding the dynamics between centers and margins, and between authority and autonomy, we can begin to reconceive a sustainable, peaceful, and egalitarian residence on earth.
July 2021 Chiapas, Mexico


text:
Q: Asyncio loop with several servers I have the following snippet of code that should run a websockets server + a NATS server.
Each time a new message gets to NATS, the websocket server should send the messages to all connected websockets. I see a strange behavior, as the websocket connections do not remain active.
I guess I have mixed things up in the asyncio loop. Any idea what I'm missing here ?
import asyncio
import os
import logging
import json
import websockets
from nats.aio.client import Client as NATS

async def main():
    #
    # websocket related stuff
    #
    clients = set()

    # Register each new client
    async def register(websocket, path):
        clients.add(websocket)
    await websockets.serve(register, "localhost", 8765)

    # NATS related stuff
    # Send message to all connected websockets
    async def message_handler(msg):
        data = msg.data.decode()
        logging.debug('handling new message: {}'.format(data))
        for ws in clients:
            await ws.send("test")

    # Connection to NATS message queue
    nats_url = os.getenv('NATS_URL', 'nats://nats:4222')
    nc = NATS()
    await nc.connect([nats_url])

    # Subscription to all data related messages
    await nc.subscribe("data.*", cb=message_handler)

    await asyncio.Event().wait()

if __name__ == '__main__':
    logging.basicConfig(level=logging.DEBUG)

    asyncio.run(main())

Each time a new websocket client connects, the connection closes after the registration:
DEBUG:websockets.protocol:server - state = CONNECTING
DEBUG:websockets.protocol:server - event = connection_made(<_SelectorSocketTransport fd=6 read=idle write=<idle, bufsize=0>>)
DEBUG:websockets.protocol:server - event = data_received(<535 bytes>)
DEBUG:websockets.server:server < GET /?token=234RZRZER HTTP/1.1
DEBUG:websockets.server:server < Headers([('Host', '127.0.0.1:8765'), ('Connection', 'Upgrade'), ('Pragma', 'no-cache'), ('Cache-Control', 'no-cache'), ('Upgrade', 'websocket'), ('Origin', 'file://'), ('Sec-WebSocket-Version', '13'), ('User-Agent', 'Mozilla/5.0 (Macintosh; Intel Mac OS X 11_4_0) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/88.0.4324.192 Safari/537.36'), ('Accept-Encoding', 'gzip, deflate, br'), ('Accept-Language', 'fr-FR,fr;q=0.9,en-US;q=0.8,en;q=0.7'), ('Sec-GPC', '1'), ('Sec-WebSocket-Key', 'KL0hFYOjOc25n/XwcON/9A=='), ('Sec-WebSocket-Extensions', 'permessage-deflate; client_max_window_bits')])
DEBUG:websockets.server:server > HTTP/1.1 101 Switching Protocols
DEBUG:websockets.server:server > Headers([('Upgrade', 'websocket'), ('Connection', 'Upgrade'), ('Sec-WebSocket-Accept', 'JpQAUwE+IzhPyNdqQuLeyROFhGo='), ('Sec-WebSocket-Extensions', 'permessage-deflate'), ('Date', 'Wed, 04 Aug 2021 13:21:40 GMT'), ('Server', 'Python/3.8 websockets/9.1')])
DEBUG:websockets.protocol:server - state = OPEN
DEBUG:websockets.protocol:server - state = CLOSING
DEBUG:websockets.protocol:server > Frame(fin=True, opcode=<Opcode.CLOSE: 8>, data=b'\x03\xe8', rsv1=False, rsv2=False, rsv3=False)
DEBUG:websockets.protocol:server - event = data_received(<8 bytes>)
DEBUG:websockets.protocol:server < Frame(fin=True, opcode=<Opcode.CLOSE: 8>, data=b'\x03\xe8', rsv1=False, rsv2=False, rsv3=False)
DEBUG:websockets.protocol:server x half-closing TCP connection
DEBUG:websockets.protocol:server - event = eof_received()
DEBUG:websockets.protocol:server - event = connection_lost(None)
DEBUG:websockets.protocol:server - state = CLOSED
DEBUG:websockets.protocol:server x code = 1000, reason = [no reason]

A: You might want something like this – two tasks, one to serve websockets, the other to listen to messages, and a queue to bridge the two.
There may be some silly errors in this, since I don't have a NATS/websocket setup I could test things with.
import asyncio
import os
import logging
import websockets
from nats.aio.client import Client as NATS

async def boot_server(
    stop_signal: asyncio.Event, message_queue: asyncio.Queue
):
    clients = set()

    async def register(websocket, path):
        # Register client
        clients.add(websocket)
        try:
            # Wait forever for messages
            async for message in websocket:
                print(websocket, message)
        finally:
            try:
                clients.remove(websocket)
            except Exception:
                pass

    async with websockets.serve(register, "localhost", 8765):
        while not stop_signal.is_set():
            # TODO: there's a small bug here in that the stop signal is only checked
            #       after a message has been processed
            msg = await message_queue.get()
            for client in clients:
                # TODO: should probably add error tolerance in this loop
                #       (i.e. if one send fails, others are still sent)
                await client.send(msg)

async def listen_nats(message_queue: asyncio.Queue):
    # Connection to NATS message queue
    nats_url = os.getenv("NATS_URL", "nats://nats:4222")
    nc = NATS()
    await nc.connect([nats_url])

    async def message_handler(msg):
        data = msg.data.decode()
        logging.debug("handling new message: {}".format(data))
        await message_queue.put(data)

    # Subscription to all data related messages
    await nc.subscribe("data.*", cb=message_handler)

    # TODO: figure out how to close the NATS connection?

async def main():
    stop_signal = asyncio.Event()
    message_queue = asyncio.Queue()
    ws_server_task = asyncio.create_task(
        boot_server(stop_signal, message_queue)
    )
    nats_task = asyncio.create_task(listen_nats(message_queue))

    try:
        while True:
            await asyncio.sleep(1)
    except KeyboardInterrupt:
        stop_signal.set()
    await ws_server_task

if __name__ == "__main__":
    logging.basicConfig(level=logging.DEBUG)

    asyncio.run(main())