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Newlywed Game, The
A friend of mine told me that once when he and his wife needed new furniture, they rehearsed a little routine in which they embarrassed each other by revealing "secrets" which they made up for the occasion. Like, they decided to blurt out that the husband liked to dress in the wife's clothing, and that her cooking gave him diarrhea at least once a week. Then they went and auditioned for The Newlywed Game, quarrelling the entire time and letting such things "slip." They were instantly booked as contestants.
Once in front of the cameras, they dropped the act and behaved like dignified human beings, despite the fact that the questions they were asked seemed calculated to evoke the humiliating stories from the audition. They left with their self-esteem relatively intact, plus a new bedroom set. They also received a tongue-lashing from the show's Contestant Coordinator who realized they'd been "had," and warned them that they would never get on another Chuck Barris game show as long as they lived. So far, it hasn't bothered them too much. (The top ticket, by the way, seems to be from 1969.)
Queen for a Day
Queen For A Day was an offensive, voyeuristic show that capitalized on the misery of its contestants, and I'm surprised no one has tried reviving it lately. Basically, a number of women were paraded on camera each episode to tell why they should be named "Queen For A Day" and awarded a big prize package. Ostensibly, that honor was to go to someone who'd done something to deserve it, but the show usually devolved into the ladies telling about how awful their lives were; how their husbands had left them or died and how their mother was ill and how the roof on their home was collapsing, etc. Somehow, went the premise, some of this would be put right and their lives set on a happier course if the show's studio audience would vote them "Queen For A Day" which meant they'd get crowned with a tiara and sent home with a box of small appliances. There were a lot of tears, and I guess America's homemakers liked to watch and cry along, and think, "Thank God that woman has it worse than me," or something of the sort. An awful spectacle, especially when you considered all the women who cried and poured their hearts out on network TV and didn't even win the Waring Blender and the case of Noxzema that the winner got.
The show moved around to various studios in Hollywood, broadcasting for a time from (as above) the Hawaii Theatre , which was another of Sid Grauman's "international" film palaces. The Chinese and The Egyptian were, and still are, further west on Hollywood. The Hawaiian is now a Salvation Army church. I'm guessing the above ticket is from 1953, when the show was seen only on television in Los Angeles. It went network in 1956 on NBC, moved to ABC in 1960 and finally went off in 1964.
Posted in Hard to Classify
Entertainers, The
The Entertainers probably sounded like a good idea –a variety show starring not one but three stars: Bob Newhart, Carol Burnett and Caterina Valente. Each week, one, two or all three of them would perform songs and sketches, working with a crew of rotating special guest stars that included Ruth Buzzi, John Davidson, Dom DeLuise, Don Crichton, and newspaper columnist Art Buchwald. At times, it was difficult to tell the stars from the guest stars, and the lack of focus seemed to keep audiences at bay. Eventually, Newhart departed and a concerted attempt was made to feature Burnett and Valente as co-hosts — but they had little chemistry and by then, it was too late. The show was cancelled after seven months and the only one who profited from the experience was Carol Burnett. CBS signed her to a long-term contract for specials and guest appearances, and this eventually led to The Carol Burnett Show. Newhart, of course, came back later to great success — but among the many biographies and specials that have recounted the careers of Burnett and Newhart, there is almost no mention of The Entertainers. (This ticket was donated to this site by Brian Gari, for which we thank him kindly.)
Krofft Superstar Hour
I was actually one of the writers for this one, which was produced for NBC's 1978 Saturday morning line-up by Sid and Marty Krofft. That season, the whole schedule was pretty much a disaster so after a few weeks, they switched some shows around, dumped others and the Krofft Superstar Hour was chopped down to a half-hour called The Bay City Rollers Show. In its shortened form, it stayed on the NBC Saturday morning schedule for a couple years of the same thirteen episodes being rerun over and over and over again. (I don't think half of the last two hours we produced ever even aired.)
The show featured The Bay City Rollers and an all-star roster of characters from past Krofft shows: H.R. Pufnstuf, Witchiepoo, Seymour the Spider, Stupid Bat, Hoodoo (the villain from Lidsville, played on our show not by Charles Nelson Reilly but by a gent named Paul Gale, who did a darn good impression of him) and others. Jay Robinson, who'd portrayed Dr. Shrinker on the series of the same name, and Billy Barty, who played his assistant, played identical characters under different names. Also in the cast were Louise DuArt, Sharon Baird, Mickey McMeel, Patty Maloney, Van Snowden and voice actors Lennie Weinrib and Walker Edmiston. This show should not be confused with The Krofft Super-Show, which was on ABC a season or two earlier, but quite a few books on TV history don't seem to know the difference.
When I signed on to work on the show, it was to have been hosted by ABBA — or so said a powerful agent who swore he represented that group and would deliver them. ABBA was at a low point it its/their career and reportedly eager/willing to do a kids' show for American TV…but negotiations broke down and we instead got The Bay City Rollers, who were on a similar downturn. Our show was, in fact, the "last hurrah" of the group as composed primarily of the original Rollers. Their Scottish accents and awkwardness delivering intros and comedy material had a certain charm, even if it rendered much of what we wrote unintelligible. Still, I got along great with the guys even though they weren't getting along so well with one another. At the time, one of them was suing the others, so a certain tension hung over the set.
We had an interesting technical problem on the show, in part because the membership of the Rollers had changed from time to time. Almost all the musical performances consisted of the Rollers lip-syncing to records they'd made a few years earlier…and in one or two cases, guys who were currently in the group were performing to recordings that hadn't involved them, and they were mouthing the words to someone else's voices. That made their lip-sync work less convincing than it otherwise might have been. Even when a musician performs to his own track, it is not uncommon for them to be a fraction of a second behind the audio so when you can, you go in and slip the picture a few frames later to compensate. Our editors found that they couldn't do this easily with the Rollers. All five of the guys were moving their lips a quarter of a second late but the drummer, Derek, was right on the beat. Director Jack Regas, who'd done hundreds of hours of musical numbers for TV, said he'd never seen anything quite like it. Even Derek was a tiny bit behind with his singing but his sticks hit the drum in absolute precision…so if we'd moved the vocal tracks to put the lip movements in sync, the visual of him drumming would have been off. The post-production people had to go in and slide the picture only on angles where you couldn't see Derek…and on shots of him playing and singing, they had to decide which of the two to let be out of sync. They usually opted to keep the drums in time.
The moment tickets like the above were made available, they were immediately gobbled up by a squadron of teenage girls who staked out the studio every day, and occasionally found their way to a house up in Laurel Canyon where one faction of the Rollers was staying. The writers took turns doing the audience warm-ups for the tapings — the easiest job ever in show business. You just had to walk out and say the name of one of the Rollers and the girls in the bleachers, many of whom were clearly under the minimum age listed on the tickets, would scream themselves into a frenzy. (By the way: Industry legend, which is so often wrong, said that Stage 6 at KTLA was where Al Jolson filmed The Jazz Singer in 1929. Longtime TV producer Joel Tator notes that Stage 6 wasn't even built at the time, and theorizes that Mr. Jolson actually performed on what is now Stage 9. Either way, when I worked there, everyone told us it was "Where Jolson made The Jazz Singer" and one got the feeling the place hadn't been cleaned much since then.)
Posted in Kids' Shows
Our Miss Brooks (TV)
In 1951, I Love Lucy went on TV, not only becoming a smash hit but inventing the way most situation comedies would be filmed thereafter — in front of a live audience with multiple cameras. The show was produced by Desilu, a company owned by Desi Arnaz and Lucille Ball, and they were quickly asked if their studio and methods could be employed for other shows. The first new one they took on was the TV adaptation of the radio show, Our Miss Brooks,. which was filmed on the same stage used for I Love Lucy on other days. The TV version of Our Miss Brooks went on the air October 3, 1952 so the above ticket is probably for one of the very first filmings, maybe even the first.
It was a period when many popular radio shows were being transferred to television but Our Miss Brooks was different from most. For one thing, it employed pretty much the same cast. Most programs recast because the radio actors didn't always look the way they sounded…but Eve Arden, Gale Gordon, Richard Rockwell, Richard Crenna and all the rest were suitable for their roles. (Buying Crenna as a teenager was a bit of a stretch — he was 26 at the time — but they got away with it.) Also unusual was that the same producers and cast continued to do the show for radio every week for many years.
The TV show was a modest hit for its first three years. Audience enjoyed watching high school English teacher Connie Brooks (Arden) battle with the school's principal, Osgood Conklin (Gordon) while she lusted after the handsome Biology teacher, Mr. Boynton (Rockwell). But when ratings dipped in 1955, the show underwent a revamp. Miss Brooks and Mr. Conklin moved from Madison High to a private elementary school where they were surrounded by a new supporting cast. The change failed to boost tune-in and that was the last season. The show went off in 1956, the same year a feature film of Our Miss Brooks was released. It was set back in the high school and ended with Miss Brooks and Mr. Boynton finally getting married, thereby ending the series, once and for all.
Our Miss Brooks (Radio)
For years, Eve Arden made a pretty good living playing sarcastic, wise-cracking second leads in movies. She even got an Oscar nomination in 1945 for her role in Mildred Pierce. But around that time, she decided it was time to broaden her appeal and try to get some lead roles and parts that were less abrasive. She managed both with the hit radio show Our Miss Brooks, which went on the air in 1948. It cast her as Connie Brooks, an English teacher at Madison High School who struggled with wayward students and red-tape bureaucracy. Connie was a bit nicer than most of the characters she'd played before, which is to say she only skewered people now and then.
Sharing the mike with her were veteran comic actor Gale Gordon (as the school principal, Osgood Conklin), Robert Rockwell (as Biology teacher Philip Boynton), Richard Crenna (as gawky student Walter Denton) and a wide array of good character actors as pupils and faculty. Wilbur Hatch, whose name is familiar to everyone from the I Love Lucy credits, conducted the orchestra.
Our Miss Brooks aired on Sunday nights. The first ticket above from 3/8/53 is for a live broadcast done from the CBS studio on Vine Street. The other two tickets are from 1954, by which time the show was being recorded Friday evenings at the CBS facility on Sunset for transmission the following Sunday evening. It lasted on the air until 1956, by which time it had already made a successful transition to television with pretty much the same cast.
Posted in Radio Shows, Sitcoms
Match Game, The (1973-1982)
Not long after The Match Game went off NBC, Goodson-Todman Productions was developing a new version for CBS. Hollywood Squares, with its nine celebrities giving funny answers to questions, was then the big hit in daytime TV and the show to copy. The new format Match Game used six but as with Squares, two contestants would compete to evaluate the stars' responses. The questions also became more likely to lead to funny, slightly naughty answers. Instead of asking people to name their favorite cheese, as he had on the old version, Rayburn would read the straight line to a joke and the celebs would have to supply the punch line.
Match Game '73 went on the air July 2, 1973. The first panel consisted of Michael Landon, Vicki Lawrence, Jack Klugman, Jo Ann Pflug, Richard Dawson and Anita Gillette. Dawson was a regular from the start…until mid-'78 when he became too busy with Family Feud — a show that seems to have been inspired by the "audience match" bonus round on Match Game. Charles Nelson Reilly and Brett Somers Klugman (ex-spouse of Jack) first appeared on the panel in the show's third week and soon after came back as regulars.
For a long time, the daytime version changed names every year — to Match Game '74, then Match Game '75 and so on. A once-a-week syndicated version for evenings was called Match Game PM and ran from 1975 to 1981. In 1979, CBS cancelled the daytime version and Goodson-Todman immediately offered a syndicated five-a-week version called simply Match Game, with no identifying date since shows were run and rerun at different times. (The tickets above that lack the CBS eye were from tapings for syndicated shows. CBS policy was to only put their logo on tickets for shows that aired on CBS.)
Episodes were taped in long blocks to accomodate Gene Rayburn, who commuted from a home on the East Coast. Sometimes, they'd tape six days a week, five shows a day, for two or three weeks at a stretch. That sometimes made it difficult to secure enough of an audience to fill all the seats. As you can see, the tickets promised prizes to those who came to watch. And on almost every tape day, people dispensing free tickets could be found over at Farmer's Market, the tourist attraction located next to CBS Television City. Sometimes, they'd "sell" the evening tapings by pointing out that the celebrity panelists often got a bit tipsy over the dinner break from wine and other spirits. This is why the Thursday and Friday shows, which taped after supper, were usually funnier and full of bleeps.
Even after the syndicated version ended, Match Game did not stay off the air for long. By October of '83, it was back on network as one half of The Match Game-Hollywood Squares Hour, thereby partnering with the show it tried to emulate in the first place. Another version ran from 1990 to 1991 and yet another from 1998 to 1999.
[Thanks to Curt Alliaume for correcting an error that was in this page as originally posted.]
Here's the first version of The Match Game, which was a simpler show, less prone to dirty answers and drunken celebrities than the revival that followed. In this one, there were two competing teams, each with a celebrity and two civilians. Host Gene Rayburn would ask a question which could have multiple answers like, "Name a great magician" or "Besides pepperoni, what's a great topping for pizza?" All six people would write down, then unveil their answers. On each team, if two of them matched, they earned $25. If all three matched, they got $50. The first team to reach $100 won the game and a hundred dollars and the right to play the Audience Match for additional cash. The show went on the air the last day of 1962 and lasted until September of '69. Less than four years later, the revised version went on the air as Match Game '73.
Jeopardy! (1964-1975)
A popular staple of late night comedy shows was always the bit where they give the answer and then the question. Steve Allen did it as The Question Man, and Johnny Carson did the exact same thing as Karnak the Magnificent. ("The answer is…Sis Boom Bah. The question is: Describe the sound of a sheep exploding.") Under the contract of The Merv Griffin Show, his failed NBC afternoon talk show, Merv was owed a couple of commitments for game shows. He originally tried to assemble a comedy quiz program based on the answer-before-the-question premise but it didn't come together. At the suggestion of his then-wife, he made it a non-comedy show and defied the notion that daytime TV viewers wanted fluff, not hard questions. In no time at all, Jeopardy! became one of the greatest success stories in the history of television. It debuted in March of 1964 and lasted on NBC until January of 1975, so the third ticket above would have been to one of the last tapings. Eleven years is a hefty run but Griffin was still angry at the time, feeling his "baby" could have run much longer.
A lady named Lin Bolen had taken over in the programming division of the network and she had definite ideas about how to reinvent the stodgy old game show. One was to jettison the "old men" who hosted many of them and bring in "young studs" as hosts. Her theory — and it made sense — was that housewives would rather look at Geoff Edwards and Alex Trebek (who were among her finds) than at Art Fleming and Dennis James. She had other theories as well, and she put them to the test when she developed a new game show called Jackpot! She put her new show in the coveted Jeopardy! time slot, moving that show to a later, less desirable hour. Both shows failed. NBC cancelled Jeopardy!…but under the terms of their contract with Griffin's company, Merv was owed another year of some show, so he came up with Wheel of Fortune. It debuted the Monday following the last Jeopardy! with one of Bolen's "young stud" discoveries, Chuck Woolery, as the host. In 1978, after Bolen was no longer at NBC, the network tried bringing Jeopardy! back in a slightly-glitzier format — at Griffin's insistence, with Art Fleming — but it only lasted five months. Then in 1983, with Wheel of Fortune still doing well on NBC daytime, Griffin launched a syndicated nighttime version. It was a smash so Merv immediately revived Jeopardy!, hired Alex Trebek (one of Lin Bolen's "young studs," now considerably older) and sold the two shows as a package. He made a gazillion dollars.
After The Merv Griffin Show left the NBC daytime schedule, Merv returned with a new game show from his own production company. Word for Word involved showing contestants a word and then seeing how many other words they could make using its letters. It lasted a little more than a year before going off but Merv probably didn't care much. In the meantime, he'd sold NBC a game show called Jeopardy! and soon after, he made a deal to do his own talk show for syndication, so he did just fine. (Ticket courtesy of Brian Gari.)


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Justia Patents Patents Assigned to Alfa-Laval Agriculture International AB
Patents Assigned to Alfa-Laval Agriculture International AB
Method and an apparatus for measuring the output voltage on an electric fence and for producing electric pulses in said fence
Abstract: An electric fence energizing apparatus is described in which a chargeable capacitor is connected to the primary winding of a transformer. The secondary winding of the fence is connected to receive pulses at the discharge of the capacitor, the discharge time serving as a measure of the voltage of the corresponding output pulse on the fence. The primary winding of the transformer is divided into two oppositely connected windings. The capacitor is arranged to be discharged through a first one of the primary windings. A voltage determined by the discharge of the capacitor is produced over the second of the primary windings during the discharge process. A measuring unit measure the time of the duration of this voltage over the second winding determined by the discharge of the capacitor.
Assignee: Alfa Laval Agriculture International AB
Inventor: Lars-Arne Eriksson
Device for automatic removal of milking apparatus from an animal's teats
Abstract: A device for automatic removal of a milking apparatus (6) comprises an operating unit (2) having a cord drum with a cord (13), and a driving motor for turning the cord drum for winding the cord on the latter. The free end of the cord is connected to the milking apparatus, whereby the cord pulls the milking apparatus off the teats of the animal as the cord drum is turned by the driving motor. According to the invention, the driving motor comprises a pneumatically operated motor. The advantage is that the operating unit can be made compact and with a low weight, and that the milker can unwind the cord without any substantial resistance from the motor when the motor is inactivated.
Assignee: Alfa-Laval Agriculture International AB
Inventors: Rutger Nilsson, Hans Olofsson
Animal identification device with outer carrier molded around internal capsule
Abstract: In an identification device, which is arranged to be fastened on an animal, a signal device operative for identification purposes is placed in a cavity of a hard capsule which in turn is surrounded by a soft carrier material. By the soft carrier material the identification device is flexible in an area between the capsule, and the part of the identification device which is to be fastened to the animal. The soft carrier material is molded around the capsule, which is formed in one piece around the cavity and has an opening for the introduction of the signal device into the cavity.
Inventor: Klaus Schulte
Milking pulsator
Abstract: A milking pulsator comprises a housing, forming a chamber, in which a vacuum passage opens via a first opening. A pulsation channel to be connected to at least one teat cup communicates with the chamber and with atmosphere via a second opening. Valve means are arranged to close and open said first and second openings. Each valve means comprises a membrane, and a pivoted member, the membrane being attached between the pivoted member and the housing. The pivoted members are journalled in the housing for pivotal motion back and forth between closing positions, at which said openings are covered by the membranes of the valve means, and opening positions, at which said openings are uncovered. In addition, adjustment means are adapted to adjust the pivoted members of the valve means such that the first opening is closed when the second opening is uncovered and vice versa.
Inventor: Olofsson H. Kristoffer
Teat cup liner
Abstract: A teat cup liner (12) conventionally has a rotationally symmetrical tubular thick walled shaft portion (15), which has an outer annular groove (16) for receiving an annular end of a shape permanent rotationally symmetrical tubular teat cup 6), on which the teat cup liner is to be mounted, so that the teat cup liner is stretched by the teat cup. According to the invention the tubular shaft portion (15) is provided with an inner annular groove (17) situated close to the outer groove (16) of the shaft portion, but axially displaced relative to the outer groove in direction toward the free end of the shaft portion. The inner groove (17) counteracts the formation of an inner bulging of the shaft portion in front of the outer groove (16), when the teat cup liner is mounted on the teat cup (6).
Date of Patent: June 1, 1993
Inventors: Torbjorn Petterson, Hans Flodin
Milking machine and a method of milking by means of the same
Abstract: A milking apparatus comprises a teat cup (2) with a liner (3), means (6-8, 9-11, 13-15) for subjecting the interior of the liner to a pressure which is lower than atmospheric pressure, and for subjecting the pulsation chamber (5) formed between the teat cup and the liner to a pulsating pressure varying between a low pressure and a high pressure, which high pressure is higher than the pressure in the interior of the liner. Means are provided (12, 16, 18) for controlling the respective pressures in the liner and the pulsation chamber. A flow sensing member (17) senses the flow of the milk which during milking increases to a main flow, then amounts to the main flow, and diminishes from the main flow in a terminating phase of milking.
Inventors: Torbjorn Pettersson, Benny rnerfors
Teat cup claw
Abstract: A teat cup claw comprises a housing (1) forming a chamber (5), at least an inlet for supplying milk to the chamber, an outlet (7) for milk from the chamber for connection to a vacuum source, and a tube (8), which is arranged in the chamber with one of its ends connected to said milk outlet and with its other end situated in the vicinity of but spaced from the bottom of the chamber, the opening of the tube at said other end facing the botttom of the chamber. According to the invention, the part (10) of the tube (8), which during operation is passed by flow of milk from the chamber (5) into the tube (8) in the area of the opening of the tube at said other end, is formed of curved surface portions, having radii of curvature which are greater than 1.5 millimeters.
Inventor: Guido Tonelli
Method of milking an animal
Abstract: In a method of milking an animal, the conditions of the milking operation are substantially stable during a main milking phase and are unintentionally changed during a terminating milking phase. According to the invention, at least one unintentional change in the milking operation conditions during at least one initial milking operation is sensed, at least one milking parameter is registered in response to said sensed unintentional change, and each said registered parameter is utilized to change the milking conditions of one or more following milking operations for the same animal before each said sensed unintentional change is expected to occur.
Inventors: Hartmut Grimm, Karl Rabold
Animal waterer
Patent number: D324116
Inventor: Hans Skillius
Teat cup
Inventor: Lars Lallerstedt
Package for teat cups
Inventor: Lennart Stenstrom
Animal identification tag
Inventor: Kari Kerola

redpajama_set_name: RedPajamaCommonCrawl


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September 09, 2010 Music | Soundboard
The List: September 9-15, 2010
Critics' Choices and other notable shows: No Age, Sleep, Oval, Ben Frost, High Places, Joshua Abrams, Thee Oh Sees, and more
By Jessica Hopper @jesshopp, Monica Kendrick, Peter Margasak @pmarg, Bill Meyer, Kevin Warwick @kevinwarwick and Miles Raymer @milesraymer
No Age
Thursday9
Marina & the Diamonds
Friday10
Sam Amidon
Lesley Flanigan
Rangda, Buke & Gass
Ratatat
Saturday11
Tuesday14
Wednesday15
Joshua Abrams
MARINA & THE DIAMONDS On "Oh No!"—the fourth single from her debut, The Family Jewels (Chop Shop)—Welsh/Greek singer-songwriter Marina Diamandis takes the postmodern anxiety pop of Lily Allen's "The Fear" and ups the ante by detailing the desperation fostered by consumer culture and the internal war she has to fight to keep it at bay. Diamandis, who goes by the stage name Marina & the Diamonds, balances "I know exactly what I want and who I want to be" with "TV taught me how to feel / Now real life has no appeal." The Family Jewels is a rare treat: anticapitalist pop with an Abba-perfect candy coating. Young the Giant opens. 9 PM, Lincoln Hall, 2424 N. Lincoln, 773-525-2501, $15, 18+. —Jessica Hopper
SLEEP There are probably a few second-string doom-metal and stoner-metal bands who know in their heart of hearts that there's simply no way they'll ever be anywhere near as heavy and trippy and revelatory as Sleep or make a record as seminal as 1992's Holy Mountain. But they soldier on anyway, in the shadow of the masters, perhaps reassuring themselves that people will settle for them because Sleep's been split up since the late 90s. So when word went out that in May 2009 guitarist Matt Pike (High on Fire), bassist Al Cisneros (Om, Shrinebuilder), and drummer Chris Hakius (formerly of Om) would be anointing the All Tomorrow's Parties festival in Minehead, England, with a live rendition of Holy Mountain, a lot of those B-listers must've had painful moments of reckoning with their bathroom mirrors. This fall Sleep are repeating that feat again and again, with Neurosis drummer Jason Roeder replacing Hakius. In addition to the entirety of Holy Mountain, they'll play what their PR refers to as "selections from" their swan song, Dopesmoker (whatever "selections" means in the context of a single 63-minute track)—and the muddy, boomy acoustics of the Logan Square Auditorium might actually complement the sound for a change. Your nose will probably tell you that someone's breaking more than just the smoking ban somewhere in the crowd, but that might simply be Sleep inducing synesthesia—their metal sounds like sticky bud smells. This show is part of the Adventures in Modern Music festival. Lichens and Ga'an open. 7 PM, Logan Square Auditorium, 2539 N. Kedzie, 866-468-3401, sold out. —Monica Kendrick
SAM AMIDON Sam Amidon inherited his love of folk music from his parents, a couple of traditional singers and folklorists from Brattleboro, Vermont, but in his own work he's nothing like a purist. His excellent new I See the Sign (Bedroom Community), like 2008's All Is Well, consists primarily of trad tunes that he's inventively tweaked or totally reworked—his intimacy with the songs, and his understanding of their malleability and universality, allow him to transform the material. Playing guitar and banjo and joined by an excellent supporting cast that includes pianist Nico Muhly, singer Beth Orton, multi-instrumentalist Shahzad Ismaily, producer-bassist Valgeir Sigurdsson, and on some tunes a full complement of strings and winds, Amidon interprets children's songs from the Georgia Sea Islands, a wide swath of old-timey and Appalachian folk numbers, and even R. Kelly's "Relief." He sings with a casual understatement that's neither detached nor overwrought; on "You Better Mind" he and Orton redirect the gospel fervor of Bessie Jones's version into insistently pulsing acoustic pop, as Ismaily (who's primarily a bassist) drives the bus with some appealingly ramshackle drumming. The album concludes with the sole original, "Red," which pushes an old-fashioned sound into something totally contemporary—Amidon chants "Found my lost sheep" as spiky string arpeggios drift into a dissonant drone. Here Ismaily will accompany Amidon on drums, bass, and vocal harmony. Via Tania opens. 8 PM, Old Town School of Folk Music, 4544 N. Lincoln, 773-728-6000, $12-$16. —Peter Margasak
LESLEY FLANIGAN On her lovely, self-released Amplifications New York sound artist Lesley Flanigan employs minimal tools—her voice and speaker feedback—to create something deceptively rich and fully realized. The speakers she uses, which she designed and built, double as sculptural objects; they're equipped with external piezo microphones that are connected to the speakers with amplifying circuits and can be variously positioned to create different tones and rhythms in the feedback. While the opening piece, "Retrobuild," uses layers of pretty, wordless vocals to create a dreamy piece of prerock pop that suggests Liz Fraser dabbling in exotica, most of her music treats her voice and the feedback as equal partners. "Sleepy" opens with her hushed soprano unfolding organically into swells of raspy low-end and droning midrange, and eventually additional layers of vocal melody open the piece up. Though her works are usually adapted to the specifics of each space where she performs, Flanigan always has deft control of the feedback, taming it as an instrument in service of her elegant compositional logic. This performance is part of Sonar Chicago. 5 PM, Preston Bradley Hall, Chicago Cultural Center, 78 E. Washington, 312-744-6630. —Peter Margasak
OVAL For his first releases in nine years as Oval, the new double album O (Thrill Jockey) and its complementary EP, Oh, Germany's Markus Popp has abandoned the music-making software he created in the early 90s—software that transformed digital errors into gently sputtering ambient music, allowing anybody who knew how to use it to sound like Oval. He's switched to off-the-shelf programs and started shaping his tracks more actively himself, and though the new material shares the amorphous, gently drifting melodies of the old, it's otherwise very different—it relies much less heavily on loops and repetition, instead building multipartite vignettes that sometimes continue to mutate and develop for their entire length, as though they're through-composed. His palette has changed as well, and now includes sparingly used samples of recognizable instruments like drums and guitar, synthesized tones that often sound like strummed or hammered piano strings, and choppy, prickly, off-kilter rhythms. "Ah!" is one of the most songlike tracks on O, layering ambient drones, sampled drumming, rhythmic synth patterns, and morphing melody lines; the majority are much more austere, though, using fewer elements and never employing familiar structures or tidy resolutions. The 50 tracks on O's second disc are all short studies that say their bit and get out of the way, and Popp packs plenty of sonic business into each one, whether it's jarring or serene. This concert is part of Sonar Chicago. 7 PM, Preston Bradley Hall, Chicago Cultural Center, 78 E. Washington, 312-744-6630. —Peter Margasak
RANGDA, BUKE & GASS The free-rock trio RANGDA makes music that swings between ferocity and serenity—and not at all by coincidence, their namesake is a mythological figure who, depending on where in Bali you reside, represents either vengeful evil or benevolent protection. On "Fist Family," from their debut LP, False Flag (Drag City), Sir Richard Bishop (Sun City Girls) and Ben Chasny (Six Organs of Admittance, Comets on Fire) wield their guitars like blades, creating feedback that scythes away everything in its path and clears the way for a crushing avalanche of percussion from Chris Corsano (Paul Flaherty, Bjork). But the way the guitars dip and wheel over processional beats on the winding, Eastern-tinged epic "Plain of Jars" is every bit as beatific as Verlaine and Lloyd's peaks in "Marquee Moon." —Bill Meyer
Though their name makes them sound like an Austrian law firm, BUKE & GASS are a musical duo—a real fine one—born from the ashes of Hominid, seemingly the only great band from Brooklyn's early-aughts hot streak that didn't blow up beyond the 'burg. B&G pick up where Hominid left off, whirling, lurching, and stomp-stomp-stomping, with rhythms that recall the Ex. Front woman Arone Dyer has a high, fluttery, pop-perfect voice that's both girly and forceful—she sounds like Karen O might if she could sing-sing—and plays a modified six-string baritone ukulele (or "buke"), while Aron Sanchez plays the "gass" (a guitar/bass hybrid of his own devising) and works the kick drum. They're busy and big like a full-size band, so it takes a while to realize there are only two of them—they claim not to use any looping pedals to thicken their sound—and that nobody's playing a drum kit. They'll play songs from their brand-new debut album, Riposte (Brassland). —Jessica Hopper
This show is part of the Adventures in Modern Music festival. Rangda headlines; Efterklang, Michael Zerang & Jim Baker, and Buke & Gass open. 9 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $15.
RATATAT Brooklyn-based instrumental duo Ratatat, aka Mike Stroud and Evan Mast, have been fighting an uphill battle since their sophomore album, 2006's Classics. It fused the raw, funky electro-rock of the group's self-titled debut with drugged-out, ethereal grooves, and it was clearly their record to beat. But 2008's LP3 was a lateral move at best, coming off like a forced effort to push further into atmospheric territory—its soundscapes downplayed the guitars and lost a lot of the band's old excitement. Stroud has admitted that much of the recent LP4 (XL) was recorded during the same sessions as its predecessor, but it doesn't feel similarly contrived. It shifts moods with confidence and panache, from the tense, eerie quasi-orchestral synths in the opening track, "Bilar," to the eccentric exuberance of "Neckbrace," a loopy frolic loaded with froggy croaks and gurgles, vaguely oriental stings on what might be an Autoharp, and processed vocal samples that sound like Appalachian scat singing. LP4 isn't on par with Ratatat's electrifying early releases, but it's solid and engaging, worthy of a head bob or two. Dom and Bobby Birdman open. 7:30 PM, Riviera Theatre, 4746 N. Racine, 773-275-6800 or 866-448-7849, $25, $22.50 in advance, 18+. —Kevin Warwick
BEN FROST I've listened to it a bunch now, but Ben Frost's dense, shape-shifting By the Throat (Bedroom Community)—a cinematic, radically dynamic suite of 11 pieces by the Iceland-based Australian guitarist and composer—pulls me along for a nail-biting ride every time. As Throat swings from disemboweling sub-bass to ethereal strings, Frost weaves in prepared piano passages, elegiac brass, a ghostly children's choir, acid-abrasive electric guitar, samples of howling wolves and groaning whales, and crawling double-bass scrapes that seem to portend apocalypse. Frost, whom Brian Eno recently selected for a Rolex-sponsored yearlong mentorship, has clearly been touched by the likes of Arvo Part, Swans, Trent Reznor, and Sunn 0))), but he assembles his pieces so elegantly and with such gut-punching power they transcend their influences. He's worked extensively with choreographers, and there's a deep sense of movement in his writing. Though a handful of idiosyncratic musicians contributed to the album—from pianist Nico Muhly to the string quartet Amiina—in his live performances Frost goes it alone, playing guitar while manipulating prerecorded elements on a computer, the sound made massive by a pair of guitar amps and two gigantic bass amps. His local debut is part of the Sonar Chicago festival. 6 PM, Claudia Cassidy Theater, Chicago Cultural Center, 78 E. Washington, 312-744-6630. —Peter Margasak
HIGH PLACES When a band figures out how to connect on a broader level, it doesn't always mean better music. Talking Heads may have gotten blasted out of a lot of frat-house windows after they stopped making sense, but they also stopped making great records; when R.E.M. started to make sense, they stopped writing great songs. High Places, on the other hand, are better for shedding some of their quirks and getting to the point. Their early tunes were made out of singsong vocals and whirring loops of found sounds that sparkled like cute new toys and had about as much staying power. But on their new album, High Places vs. Mankind (Thrill Jockey), Mary Pearson and Robert Barber bring things into sharper focus without totally forsaking their penchant for sonic experimentation. The beats bump instead of rattling, while the electric guitars and Pearson's singing cut stark lines through the dubby echo rather than spin around inside it. This show is part of the Adventures in Modern Music festival. Wooden Shjips, Julian Lynch, and Ahleuchatistas open. 9 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $12. —Bill Meyer
NO AGE When people talk about how great SoCal duo No Age is, they rarely talk about the songs themselves. It's usually about the energy that Dean Spunt and Randy Randall fill a room with, the excess of PMA-inspiring thumbs-upness they exude from the stage, or their apparent drive to ensure that every performance is the most fun somebody's ever had at a rock show. It's this ability to make any venue seem like the coolest punk club in the world—even the cavernous, impersonal Aragon—that turned me into a huge fan of the band, even though I could only put together melodies and titles for a handful of their cuts without consulting iTunes. Their upcoming full-length, Everything In Between (Sub Pop), suggests that Spunt and Randall are looking to get a little more love for their songwriting. They're still using the same general formula—hazy post-post-Sonic Youth psychedelia punctuated with bursts of manic punk—but the textures are deeper, the structures more refined, and the hooks are stronger, so that I've already figured out that my favorite jams on the new record are called "Depletion" and "Valley Hump Crash." Pavement headlines. 7 PM, Pritzker Pavilion, Millennium Park, Michigan and Randolph, 312-742-1168, $15-$40. —Miles Raymer
CORRIDORS New York sound artist Byron Westbrook has worked with Rhys Chatham and Phill Niblock—composers who've devoted significant energy to exploring sound as a physical force—and while his solo project Corridors isn't quite as vigorous or immense as their output, it's driven by the same basic idea. His new, self-titled album on Sedimental is a wonderful document of his live performances, though it can't help but fall a little short of them. Westbrook typically moves between four to eight channels of (per his own description) "preprocessed (or unprocessed) 'static texture tracks,'" made from recordings of trumpet, organ, viola, and his own guitar feedback, among other sources, working them over beyond recognition. The sounds are stored on a few iPods in chunks of ten to 30 seconds, and before they're disseminated to the various speakers delay is added, decaying at various controlled rates. While the CD already suggests an immersive, shifting ambience, hearing those sounds spread around in the intimate Enemy space should greatly heighten their physical effect. Cleared, Brett Naucke, and Duplicates open. 9 PM, Enemy, 1550 N. Milwaukee, third floor, enemysound.com, donation requested. —Peter Margasak
JOSHUA ABRAMS Since moving to Chicago in the mid-90s bassist Joshua Abrams has anchored myriad working bands and an even greater number of ad hoc groups. Jazz forms the bedrock of his style, but he's always had catholic tastes—he's played live hip-hop as the original bassist in the Roots, back-porch minimalism with Town and Country, and idiosyncratic folk rock with Bonnie "Prince" Billy. His previous solo recordings have mostly been one-man jobs, combining field recordings with a variety of overdubbed instruments—on 2004's After he uses guitar, piano, turntable, music box, and more—but for his absorbing new album, Natural Information (Eremite), he worked with other musicians, including guitarist Emmett Kelly, vibraphonist Jason Adasiewicz, and drummer Frank Rosaly. The solo opener "Mysterious Delirious Fluke of the Beyond," where Abrams sticks to processed or multitracked hammered dulcimer, sets the tone with its mesmerizing permutations of brief phrases, all circling within a single chord—he favors the kind of indefinite harmonic suspension that occurs in ritual trance music all over the world. He only plays bass on two of the album's six tracks, on most of the others substituting guimbri (a three-string North African lute favored by Gnawa musicians) or donso ngoni (a six-string West African harp), which not only have respectable lower registers but traditionally use unfretted drone strings. On "Abide in Sunset" Abrams's focused wanderings dig deep into Kelly's slowly morphing guitar patterns and Rosaly's expansive quasi-tribal percussion, while elsewhere Adasiewicz blankets the music in shimmering, hypnotizing sound, a radical departure from his typically frenetic melodic improvisation. Abrams constantly elaborates on the bass parts that form the kernels of his tunes, altering their shape and metabolism so that even 15 minutes without a key change never feels like too long—but he never thrusts himself into the spotlight, preferring an ensemble approach that jives with the selflessness he's displayed throughout his career. For this release party he's joined by Kelly, Adasiewicz, and Rosaly. My Silence opens; Jeff Parker spins. 10 PM, Hideout, 1354 W. Wabansia, 773-227-4433, $8. —Peter Margasak
THEE OH SEES Former Coachwhips spazztermind John Dwyer and his band of bruisers Thee Oh Sees put out records with an almost alarming frequency, as if they feel a compulsion to remind people every couple of months that they're not only one of the best garage-rock bands going but maybe the best rock 'n' roll band hands down. Help—one of two full-lengths they released last year, not including a singles collection—might be the group's high point in terms of songwriting, especially the hypnotic, sugary-sweet earworm "Enemy Destruct." The title track from the recent Warm Slime (In the Red) might be their technical peak, employing some kind of sonic sleight of hand to make 13 and a half minutes seem like a perfectly reasonable length for a song with just one part. Then again, it's always possible that Dwyer and company will have put out something that tops either or both by the time I finish writing this paragraph. Hot Machines and Paul Cary open. 9 PM, Lincoln Hall, 2424 N. Lincoln, 773-525-2501, $14, $12 in advance. —Miles Raymer
Tags: Soundboard, Marina Diamandis, Marina & the Diamonds, Sleep, Sam Amidon, Lesley Flanigan, Oval, Sonar Chicago, Rangda, Buke & Gass, Ratatat, Ben Frost, High Places, No Age, Pavement, Corridors, Joshua Abrams, Thee Oh Sees, Lincoln Hall, Logan Square Auditorium, Old Town School of Folk Music, Preston Bradley Hall, Chicago Cultural Center, Preston Bradley Hall, Chicago Cultural Center, Empty Bottle, Riviera Theatre, Claudia Cassidy Theater, Chicago Cultural Center, Empty Bottle, Pritzker Pavilion, Millennium Park, Enemy, Hideout, Lincoln Hall, Old Town School of Folk Music, Maurer Hall, Maurer Hall, Old Town School of Folk Music
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Chicago Cultural Center, Claudia Cassidy Theater
78 E. Washington St., Chicago Loop IL 60602
chicagoculturalcenter.org
1550 N. Milwaukee Ave. , third floor , Chicago Wicker Park/Bucktown IL 60622
enemysound.com
(based on 1 user review)
1354 W. Wabansia Ave., Chicago West Town/Noble Square IL 60622
hideoutchicago.com
2424 N. Lincoln Ave., Chicago Lincoln Park IL 60614
lh-st.com
Logan Square Auditorium
2539 N. Kedzie Blvd., Chicago Logan Square IL 60647
lsachicago.com
(based on 7 user reviews)
Maurer Hall, Old Town School of Folk Music
4544 N. Lincoln Ave., Chicago Ravenswood IL 60625
oldtownschool.org
Preston Bradley Hall, Chicago Cultural Center
Pritzker Pavilion, Millennium Park
Michigan and Randolph, Chicago Loop IL 60601
millenniumpark.org…
Riviera Theatre
4746 N. Racine Ave., Chicago Uptown IL 60640
rivieratheatre.com
Adventures in Modern Music
by Kevin Warwick | Sep 2, 2010
Sonar Festival Comes to Chicago
by Peter Margasak | Jun 15, 2010
. . . And I Am Not Afraid
Plus: Cinchel drops an ambient cassette that doubles as an art object, and Bob Nanna's mid-90s band Orwell releases an odds-and-sods compilation.


Ep. 63 – Do I Have a Leaky Gut?
The term "leaky gut" has become a popular buzzword phrase, but what most people don't realize is that poor gut health may very well be underlying their mysterious health issues.
Scientifically speaking, a "leaky gut" is known as "intestinal permeability." This means that our intestines are permeable and allow things through that they normally would keep out (like food or toxins).
Simply put, your "gut" (a.k.a. intestinal tract) is a tube that makes up part of your digestive system. It's not as simple as a hose or pipe; it's an amazing tube made of live cells tightly bound together. Your gut helps your body absorb fluids and nutrients, digests your food, and houses billions of friendly gut microbes.
It's also selective to what it allows past its barrier. Your intestinal tract purposefully keeps some things from being absorbed, so they pass right on through to the other end to be eliminated as waste. You don't want to absorb many harmful microbes or toxins into your body, right?
It's important to realize that up to 80 percent of the immune system is located within the gut wall, and the immune system's first and foremost job is to produce inflammation in response to anything foreign that passes through the gut wall (like undigested food particles, toxins, bacteria, etc.).
Absorption of fluids and nutrients happens when they're allowed through this cellular tube into the circulation. And this is great… as long as what's being absorbed are fluids and nutrients. The blood and lymph then carry the nutrients to your liver, and then around to the rest of your body; this is so that all your cells, all the way to your toenails, get the nutrition they need to be healthy and grow.
The gut can become leaky if the cells get damaged, or if the bonds that hold the cells together get damaged. Leaky gut can be caused or worsened by a number of diet and lifestyle factors. Dietary factors like too much sugar or alcohol or even eating things that you're intolerant to can all contribute to leaky gut. Lifestyle factors like stress, lack of sleep, infections, and some medications can also be culprits in this area. Sometimes, if the balance of gut microbes inside the gut is thrown off, this can also contribute to a leaky gut.
Any contributing factors that alter the balance in your gut may cause our gut to become "permeable" or leak. At this point, incompletely digested nutrients, microbes (infectious or friendly), toxins, or waste products can more easily get into our bodies.
As you can imagine, this is not a good thing.
Because so much of your immune system is around your gut, the immune cells quickly recognize a "foreign invader" and start their response. This is normal and good if the gut is working properly and not allowing too many things to "leak" in.
But when that happens too much, and the immune system starts responding, the notorious inflammation starts. Once the immune system starts responding it can look like allergies, food intolerances, and even autoimmune diseases.
Because the first place affected is the gut, there are a number of symptoms right there. Things such as abdominal pain, bloating, gas, nausea, vomiting, heartburn, constipation, or diarrhea. Not to mention that if foods, even healthy foods, aren't properly digested, their nutrients aren't properly absorbed. Poor absorption can lead to lack of essential vitamins and minerals for the optimal health of every cell in your body.
Some of the symptoms can also occur on the skin. Acne, dry skin, itchiness, rashes, eczema, and hives can all be symptoms related to leaky gut. Even rosacea and psoriasis can be linked here due to their autoimmune component.
It's possible that even some neurological symptoms are linked with leaky gut. For example, brain fog, fatigue, headaches, inability to sleep, and general moodiness can also be related.
Finally, a number of chronic inflammatory diseases are thought to be linked with a leaky gut. Things like Crohn's, colitis, celiac disease, IBS, and MS.
What do you eat if you have a leaky gut?
The general recommendation is to stop eating inflammatory foods and eat more gut-soothing foods. Incorporating a gut-soothing diet means cutting out grains, legumes, and dairy – and I'd suggest adding food additives, alcohol, and refined sugars to that list.
In their place, add in more green leafy and cruciferous veggies. These are full of nutrients and contain fiber to help feed your friendly gut microbes. You also want to add more sources of vitamin D which can come from fish and egg yolks, and also the from the sun. Eat more probiotic foods like sauerkraut, dairy-free yogurt, and kombucha (fermented tea). Make sure you're getting enough essential omega-3 fats found in seafood and seaweed. Finally, make sure you're getting some coconut oil and bone broth. Coconut oil has special fats called MCTs (medium-chain triglycerides), and bone broth has essential amino acids.
Do you want more to empower yourself through healthy living? Is your busy lifestyle an obstacle to your health? Join The Rebel Health Coach community for the support and knowledge you need for better performance, better business and a better you!
Click here to join The Rebel Health Coach community now.
Disclaimer: The activities and research discussed in these podcasts are suggestions only and are only advised to be undertaken following prior consultation with a health or medical professional. Fitness training, nutrition, and other physical pursuits should be tailored to the individual based upon an assessment of their personal needs.


Gold price Forecast: Gold's Final Warning of Impending . . .
Where are the Stops? Thursday, June 30, Gold and Silver . . .
Credit Suisse Raises Gold, Silver Price Targets To $1,500 . . .
Gold Bear Turns Bullish; Ups Year-End Forecast by $150 . . .
Price of Silver Weekly Recap: December 26 – December 30 . . .


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Download Asphalt 9: Legends APK Android
Last Updated on: October 8, 2020 by Ankit Bhardwaj
Download Asphalt 9: Legends APK Android. Gameloft is about to release the next Asphalt 9: Legends title for the Android and iOS platforms, the only news we know is that it will be released this summer. However, if you have an iPhone and have an App Store account (Filipine), you can already play what appears to be a beta version of the game.
Download Asphalt 9: Legends APK Android | Register
Although Asphalt 9: Legends is not yet available on Android, beta or otherwise, platform fans can now pre-register on the Google Play Store (link below) to be notified when the game will be released. And not only that, since Gameloft offers free pre-registration bonuses for Android players, which will be unlocked every week until the game is released.
Unfortunately, these bonuses have not yet been revealed, so you'll need to check out the official game site every week. It is worth noting that the graphics on the Asphalt 9: Legends website show that there will be four free bonuses offered to Android users over four weeks, which means that the game will be released in early August.
Free bonuses will be unlocked when enough people pre-register for the game, so you should spread the word to earn extra prizes at launch. Also, it seems that the first week bonus includes tens of thousands of credits that you will use to upgrade your cars, but has not yet been fully unlocked (currently at 85%).
source: Asphalt 9: Legends, Google Play Store
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Understanding the challenges marketers face in the competitive landscape of the healthcare industry, we have developed a Pulmonologist doctors list that caters to the data needs of healthcare business for targeting potential customers with campaigns both online and offline.Our data on pulmonologists from clinics, hospitals, ICUs, medical colleges, etc. assist you in reaching the right your right prospects located anywhere in the US, EMEA, APAC, Asia, Middle East, and other geographic locations.
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Great Island Cabin Camp is located on South Core Banks within beautiful Cape Lookout National Seashore just off the mainland of North Carolina. The camp has been a favorite of fisherman and beach goers for many years. The camp can only be reached by boat, adding an element of adventure. Visitors can travel by personal boats or reserve a spot on ferry, which cruises across scenic Core Sound to the Great Island Cabin Camp on South Core Banks. Great Island Cabin Camp offers 25 rustic, beachfront cabins for individuals and families or small groups of up to 12 people and are rented on a per-night basis. Cabin 2 is handicapped accessible. Reservations for the cabins can be made online 24 hours a day or by telephone at (877) 444-6777 from 10:00 AM to midnight EST.
Each cabin includes bunk beds and mattresses, a private bath with sink and shower stall, a hot water heater, a table, and chairs. Small kitchens are equipped with cabinets and a propane oven/stove. A grill is just outside each cabin. Bathroom facilities are also centrally located within the camp. There are generator hookups at each cabin. Campers must provide their own linens, bedding, cookware, food and food storage, coolers, first-aid supplies and anything else needed for their stay. Most campers also bring flashlights or gas lanterns. Ice and gas are available at the camp office. The National Park Service currently operates these cabins. Transportation to and from the island is available from two independent ferry services authorized by the National Park Service. Davis Ferry Service can be reached at (252)729-3474 or (252) 729-8411 (fax), and Cape Lookout Cabins and Camps Ferry Service can be reached at (252) 729-9751.
Fill out the form below to send your comment or question to Great Island Cabins - South Core Banks!


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CCLemon99
The Megaranger Secret Message Challenge...Decoded!
Two years ago I posted a secret message to Youtube over the course of two videos. I pretty much forgot about it until I got a note from Youtube that one of the videos has gotten a substantial bump in views recently. When I first posted those videos, I made a blog post about what I was doing and why I was doing it. I recommend reading it since it would save us all some time.
Now...I will reveal the secret message...
If you watched the videos in order, the super sleuth would have noticed that the CC Lemon card at the end features Megaranger Eyecatch B on the Cyberslider video, which was the first to be uploaded. I made it clear that the secret message was in two parts and to throw a curve ball I put the second half of the message up first, in the Cyberslider video. The numbers are as follows...
| 9-0-1-8-0 |
| 0-0-1-2-2 | 5-5-1-8-0 | 0-2-1-9-5 |1-8-5-0-0 | 2-2-5-4-7 | 0-5-0-1-9 | 2-5-3-5-4 | 3-9-4-9-0 | 7-1-3-5-0 | 5-2-5-8-0 |
The next week my video of the Popynica Degitank was uploaded, which contained the first half of the message after the review and Eyecatch A played. The numbers from that video are...
| 0-0-0-1-1 | 2-1-2-1-0 | 0-0-0-1-0 | 0-1-0-0-0 | 0-1-1-1-0 | 2-1-0-2-1 | 1-0-1-1-1 | 2-0-1-1-0 | 0-0-1-0-0 | 1-2-0-1-0 |
Combine the two messages and it will look something like this...
| 19-20-01-18-20 |
| 00-00-01-12-12 | 25-15-21-18-00| 00-02-01-19-05 | 01-18-05-00-00 | 02-12-15-14-07 | 20-15-00-21-19 | 12-05-13-15-14 | 23-09-14-19-00 |07-01-13-05-00 | 15-22-05-18-00 |
If you give each letter from the alphabet a number based on their order (01 = A, 02 = B, etc.) and put them in order, you'll be able to decode my message.
S-T-A-R-T
| _-_-A-L-L | Y-O-U-R-_ | _-B-A-S-E | A-R-E-_-_ | B-L-O-N-G | T-O-_-U-S | L-E-M-O-N | W-I-N-S-_ | G-A-M-E-_ | O-V-E-R-_ |
That's right! The message is...
ALL YOUR BASE ARE BELONG TO US. LEMON WINS. GAME OVER.
It's a pretty stupid joke, yes, but I think numbers stations are endlessly fascinating and something about the Degitaizer with it's creepy robot voice inspired me to be a little creative even though I was only really entertaining myself. I did cheat a tiny bit, however, since the Megaranger theme song comes from the Keitaizer and not the Degitaizer.
So did anyone solve the code? After many, many hints this guy did.
Thousands of views later and all but one realize how dire the situation is...
You have no chance to survive make your time.
-CC
you received this self-destructing message from CCLemon99 At 20:56 2 comments:
The CD Collection -- Superhero Chronicle Tokusatsu Hero 1970s & 1980s
Welcome to the latest installment of my ongoing series of blogs about my absurdly large Tokusatsu CD collection. This time I will be talking about, for the first time I believe, some CDs from the Superhero Chronicle series of CDs. In short, Columbia released all of the songs they could find from Sentai, Ultraman, Kamen Rider, and Metal Hero 3-discs at a time. Those ones didn't really interest me since I have all of those songs from various other CDs. These 70s and 80s Hero sets that they put out, however, had some genuine gems.
Since there are NINE CDs to talk about covering several shows...I might as well get into this as quickly as possible. Just remember, each show is represented by the full sized theme songs as well as any insert/image songs that were created.
Let's Go!!
COCX-32788-90 Superhero Chronicle Tokusatsu Hero Shudaika Sonyuuka Daizenshuu I 1970s
Uchuenjin Gori [1~2] We kick things off with one of the most lyrically barebones opening themes ever. It really sets the framework for future theme songs from Godman and Greenman. Heh. Atleast the ending song is a little more absurd and memorable.
Spectreman [3~4] The Spectreman theme song proper is better than the opening from Uchuenjin Gori. The ending song also contains a fair bit of sound effects and weirdness, but kinda feels like the first of many ripoffs of the Ultraman theme song.
Suki! Suki! Majo Sensei [5~6] I'm all about the theme song to this show. It's incredbly sweet and done by a very young Mitsuko Horie in her first of many Tokusatsu theme song appearances. She also sings the ending song...which is a bit sleepy to be honest.
Mirrorman [7~10] Here comes the Ultraman sound alikes. Not entirely surprising, though, since Tsuburaya also produced Mirrorman. The SGM song is shockingly similar to many Ultraman songs. Yeah...kinda worn out here since this show is from 1971...and Ultraman and his music had been around for five years at this point.
Kaiketsu Lionmaru [11~16] This show has the first solid song collection on this set. The theme songs are very tight with some excellent instrumentals. In addition to Mitsuko Horie singing a song, Masato Shimon makes his first of many appearances in this collection.
Chojin Barom 1 [17~19] Ichiro Mizuki's first appearance in this collection and one of his finest. When it comes to classic 70s Tokusatsu themes this one is way up there. The ending song is almost as good, but a little more on the generic side with some similarities with the Kamen Rider V3 theme of all things (Barom 1 was first, BTW). Oh yeah, there is also a Christmas song. Why not?
Redman [20~21] The opening theme is a little dull. The ending theme is a lot dull. Have I ever mentioned that I'm not much of a fan of Masato Shimon?
Henshin Ninja Arashi [22~23] Another excellent and memorable theme song by Ichiro Mizuki. The ending song is a bit more generic.
Triple Fighter [1~3] Disc two begins with three very bland songs headed up by a bland theme song by the bland Masato Shimon.
Kinkyu Shirei 10-4 10-10 [4~5] These songs are pretty good. There isn't much to say about them outside of them being a little bit on the generic side. Atleast they're kinda upbeat-mellow.
Jinzoningen Kikaider [6~19] Not a fan. I don't really like Kikaider or the songs from it...and there are a lot of them. Now, because I DO have a soul...I have to admit that Hakaider's theme is pretty awesome.
Ike! Godman [20~21] As I mentioned before on the theme song from Uchuenjin Gori, this theme song is incredibly repetative. It is 85% "Oi! Godman!" and "S.O.S.!". Seriously...it's woefully bad. Atleast Ichiro Mizuki sings these themes. He does his best to save both of them, but they're both pretty bad. How did Toho let this happen?
Totsugeki Hyuman [22~23] I've always been a fan of the theme song. The ending song is pretty weak, though.
Iron King [1~2] The themes are pretty decent. Masato Shimon sings both.
Fireman [3~6] Now we're talking. The opening theme is definitely one of my favorites from the 70s. The horns are amazing and Masato Shimon does a great job. The rest of the songs are kinda forgettable...but the opening theme built up enough goodwill for the series.
Majin Hunter Mitsurugi [7~8] I dig these songs, but they're more on the forgettable side.
Jumborg Ace [9~12] Another Tsuburaya show with more rejected Ultraman songs. They were really getting desperate with the PAT theme.
Ryusei Ningen Zone [13~16] Or as it is more commonly known...Zone Fighter. Zone Fighter is Toho throwing their hat into the ring in this whole Henshin Hero business. In order to ensure it would be memorable they threw Godzilla into the mix. Anyway...the songs. They're pretty good. Toho definitely put some money into the production of these songs. They could have gotten some better singers, though.
Shirojishi Kamen [17~18] Not even Ichiro Mizuki could save the opening. The ending song is borderline irritating.
Robot Keiji [19~22] Again, not even Ichiro Mizuki could save the songs from this series. They aren't bad or anything, just bland.
SET SUMMARY: Well, there are quite a few memorable songs from some big name series on this set. When half of the content can be called "forgettable", that can be a problem. One could argue that everything sounds the same on this set, and I wouldn't hold it against them. Believe it or not but all of the shows represented on these three CDs aired between 1971 and 1973. All of these in two years. Should you give it a listen? Yes. It is essential listening if you think you'll enjoy travelling through the formative decade of Tokusatsu on television.
COCX-32854-56 Superhero Chronicle Tokusatsu Hero Shudaika Sonyuuka Daizenshuu II 1970s
Fuun Lionmaru [1~4] More like Feeh Lionmaru. The Kaiketsu Lionmaru songs are much better. That said, there is a decent IN song by Mitsuko Horie and the ending song is pretty catchy.
Kikaider 01 [5~6] Again, not a fan of Kikaider or it's sequel...or reboot...(I liked the anime series from 2000 though. Being animated really lent to the story IMO). Yeah, two lame theme songs by Masato Shimon is all we got this time instead of the 823 songs the original series had.
Super Robot Red Baron [7~12] I've always liked the Red Baron theme which, unfortunitely, ended up completely overshadowed by the theme from it's sequel. More on that later. Anyway, the rest of the songs are pretty good and upbeat.
Inazuman [13~14] Masato Shimon sings the opening theme. As I mentioned on the previous set, I'm not really a fan of him...though he did put out a good song every once in awhile. This isn't one of them. For having such an cool suit AND name, you should have a killer theme song too. The ending song by Ichiro Mizuki is decent atleast.
Tetsujin Tiger Seven [15~16] Boring...and similar.
Ike! Greenman [17~19] On the last set I mentioned that there were some songs with some alarming repetativeness. This is the pinnacle. "Green Green Green Green Green Green Green Green Greenman! (Yeah!)". Actual lyrics. There are two other songs...but who cares about them when you have a so-bad-its-good opening theme song like that.
Denjin Zaborger [20~21] A rather generic set of theme songs by Masato Shimon.
Inazuman Flash [1~11] The sequel to Inazuman certainly got a much more memorable theme song than the original. The rest of the songs are pretty much done by Ichiro Mizuki and Koorogi '73. It's a pretty decent song collection which I would say has a similar sound to the Goranger song collection. Also worth noting that this is probably the closest release to '73 as Koorogi '73 got as these songs were done in early/mid 1974.
Inazuman [12] Another version of the original Inazuman theme song. This version is definitely better.
Saru no Gundan [13~14] I like the opening because it manages to be groovy and creepy. The ending is just sleepy, though.
Super Robot Mach Baron [15~16] The Mach Baron theme is up there as one of my all time favorite Tokusatsu theme songs. The guitar is nonstop and the beat is just catchy as hell. Even the ending song is great in all it's mellowness.
Ike! Ushiwaka Kotaro [17~18] Not bad. I prefer the groovy ending song, though.
Bouken Rockbat [19~20] Ehhh, these songs are a mix of goofy and bland.
Seigi no Symbol Condorman [21~22] Great way to end this disc. The Condorman theme song is excellent and incredibly catchy while managing to stand out quite well for it's time. The ending song is just...weird, though.
Shonen Tanteidan [1~4] These songs don't really leave much of an impression on my ears. They're all by Ichiro Mizuki.
Akumaizer 3 [5~11] You've probably heard the opening song to this one so I'll skip the part where I talk about how great it is. This is a short song collection featuring mostly songs by Ichiro Mizuki. It fits in well with the mid 70s.
Uchuu Tetsujin Kyodain [12~18] Finally...Finally! At long last we have Isao Sasaki on this collection! He sings all but two of the songs in this short song collection. Mitsuko Horie also sings a song here. All of the songs are pretty good.
The Kagestar [19~22] Three songs by Ichiro Mizuki. The opening theme, ending theme and first IN song are pretty upbeat while the second IN song is nice and mellow.
SET SUMMARY: I would say that this set is where things get a little better for Tokusatsu songs. There are less shows and more mini song collections. There are also a lot more memorable themes and songs in general. The timespan for these series goes from 1973-1976 and there is noticeable growth throughout the set.
COCX-32887-89 Superhero Chronicle Tokusatsu Hero Shudaika Sonyuuka Daizenshuu III 1970s & 1980s
-Ninja Captor [1~6] I hate Ninja Captor. It is not the forgotten Sentai. It never was a Sentai series. It never will be a Sentai series. Just stop. I hate the OP. I don't like any of the other songs. I didn't care for the two episodes I saw. Let it go.
-Chojin Bibyun [7~8] Pretty solid theme songs. Isao Sasaki has the rare distinction of never really phoning it in.
-Kyoryu Tankentai Born Free [9~10] Nothing much to say about these. If you like name-checking dinosaurs, you might like these. *shrug*
-Enban Senso Bankid [11~16] Now we're talking! I love the songs from this series. The OP is pretty awesome. I would say that the songs from this show match the costumes pretty accurately.
-ProWrestle Hoshi Astekaiser [17~18] Don't let the.....awesome name fool you, these songs are pretty average compared to a lot of upbeat theme songs of the era. Actually, I take that back. Masato Shimon wasn't really the right choice for this one. It would've been alright in pretty much anyone else's hands. I do like that the theme song is called "C'mon! Astekaiser".
-Battle Hawk [19~20] Alright I guess. Meh. More average. I will say that the folksy-vibed ending song is definitely the better of the two.
-Kaiketsu Zubat [21~23] Just when you think this disc was going to end without any memorable shows...bam! Zubat! I love the Zubat theme songs. I can kinda do without the IN song, but I know this is a favorite of a lot of people. I've never been a huge fan of Hiroshi Miyauchi's singing...oh well. Atleast we got that rockin' Zubat theme one more time! Really, I would even say that the Zubat OP song is a strong contender for the best Tokusatsu theme song of the 70s. Future Top 7...?
-Kyoryu Daisenso Aizenborg [1~2] More Dinosaurs. More dinosaur name-checking...this time a little more obvious. Eh, nothing great here.
-Daitetsujin 17 [3~12] Remember how I said the Zubat theme was a strong contender for the top 70s theme song? Daitetsujin 17 is another strong contender. Right from the beginning, this song wins. The rest of the songs are pretty decent, it has a structure similar to Sentai and Rider song collections from the 70s. It's entirely Ichiro Mizuki and Koorogi '73 back when '73 wasn't that long ago.
Expect more on Daitetsujin 17 later when I review the 2-Disc Music Collection.
-Star Wolf [13~14] I looooove the Star Wolf OP. It's like a bigger sounding versions of "Let's Go!! Rider Kick!". The Ending song is also pretty damn cool, but the OP is where it's at.
-UFO Daisenso Tatakae! Red Tiger [15~17] I have to say, once this CD got over those damn Dinosaur songs that it started off with, it really got rolling. These songs are done by Isao Sasaki, so ofcourse they're tight.
-Spider-Man [18~19] I reaaaaaally don't like the theme song from this show. In terms of memorable theme songs from the 70s, this one IS, but for all the wrong reasons. It's as sloppy as the awful Ninja Captor OP, but has the stink of being the theme for your friendly neighborhood Spider-Man. Why couldn't they give Spider-Man the Zubat theme and let Hiroshi Miyauchi just belt out a V3 soundalike? Maybe it wouldn't scare off the average nerd who is curious about the one time the hottest Marvel property landed in Toei's lap. Oh well. I know some people actually like the songs from this adaptation, so I better can it.
Like with Daitetsujin 17 I have the seperate Music CD for Spider-man...so expect me to talk about this some more.
-Kyoryu Sentai Koseidon [20~21] Koseidon! Koseidon! Densetsu no senshi-tachi yo! Alright alright, that didn't happen... Despite these two songs being by Ichiro Mizuki, they aren't all that great. The ending is average and the OP is decent.
-Uchuu kara no Message [1~2] Ah yes, the glorious Ishinomori Star Wars ripoff. These songs are alright. Isao Sasaki on the first, so it isn't much of a surprise. The instrumental song is a nice groove.
-Gunbaron [3~4] "Gunbaron '77" is one of the funkiest theme songs ever. I love it. It was a very brave choice going with it when a lot of the other songs were all kinda similar. The ending is a bit more down to Earth, but makes good use of the "Gunbaron!" chants.
-Megaloman [5~6] Again, another friggin awesome opening song here with Megaloman. It starts off like it's going to be a knockoff of the Spider-Man OP, but it's so much more. That crazy guitar, the frantic bass...I love this OP. The ending song is a bit of a funk ballad, but not bad. Ichiro Mizuki on both songs.
-Bokura Yakyuu Tanteidan [7~8] Of the two songs the ending song, "I'm DANDY", is a little bit stronger but they're both pretty damn awesome. They're both pretty catchy. If you walk around saying "I am DANDY!" with the same conviction as the singer of Novela...you might find yourself under a giant net being dragged away by two guys dressed in white.
-Seiun Kamen Machineman [9~17] I've long been a fan of MoJo and the Machineman songs...and it was a long time in the making for us to finally get them all in good quality. In fact, this is the first CD release of ALL of the Machineman songs. A handful of them were released on a 4-Disc Compilation (more on that later), but for several years all we had was vinyl. Oh yes, there is even a song from Machiko Soga as Ballboy on here. I like the actress, but her songs tend to be...ugh. I almost prefer these songs over the Bioman songs. They're just a tad more slick...think of this really as the second Dynaman song collection.
One of the big reasons I decided to write this blog as my first blog of February is that, well, my pleading has finally been acknowledged! After years of wondering aloud why Columbia skipped Machineman in their ANIMEX1200 series of digitally remastered reissues, they did us one better. We are getting a 2-Disc Song & Music Collection for Machineman! They even got MoJo back to record a new version of the OP! I preordered it immediately. Expect a review soon!
-Kyodai Ken Bycrosser [18~21] Similar to the Machineman songs, the Bycrosser songs are truly forgotten gems of the 80s. I love all four songs, but the theme songs are definitely the more memorable of the four. My pleading for a CD of Machineman music usually included a plea for Bycrosser...hopefully that's next on the list after the Machineman set comes out.
SET SUMMARY: Of the three sets...hands down this is my favorite. It has the most variety. It has a longer timeframe with shows from 1976-1985. It has the widest range of musical styles. Most importantly it has the most amount of memorable songs. You have Ninja Captor, Bankid, Zubat, Spider-man, Daitetsujin 17, Megaloman, Machineman, and Bycrosser all on one set. This is when Tokusatsu songs started ditching those lousy march anthem songs and legit started getting good.
My only complaint about this set is that it is kinda missing some stuff. A year before this set came out, there was a four disc set of songs from various Tokusatsu shows. That set was a little more liberal in it's content since it didn't stick with just the 70s and 80s and didn't limit itself to Henshin/Giant Heroes as the sets I've reviewed here have. The previous set included songs from shows such as X Bomber, Tanzer 5, and the Japanese dub of Terrahawks. Those shows haven't had their themes released on CD since and this set was very limited. Not only that...all of those songs are excellent (I especially like the Terrahawks themes)! It sucks that they didn't fit the guidelines for the Superhero Chronicle sets, but atleast a friend of mine was able to supply these songs to me since there was no way I was tracking down that set. Yes, I have limits.
Well, there you have it. Nine CDs...reviewed. I plan on doing a review of the Heroine & Fantasy Superhero Chronicle along with the Robot Comedy set in the near future (took pictures already, so I guess it's next-ish if I don't review that Machineman set). Be sure to check out my CD/Music Page for more reading on other CDs that I've written about.
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Apologies for grammar, it's late and it's been a LONG day.
So, this week, we've survived swine flu and the LONGEST 24-hour sickness bug in the world (started Tuesday night, today is the first day I've kept anything down). Today is the first day that David and I have been well enough to do anything, so we decided to come back in style, with a trip to Birmingham.
We started with a visit to Birmingham Sea Life Centre. The tickets are ridiculously overpriced if you just go once, so we took the plunge (forgive the pun) and forked out for the annual pass. It was worth every penny. David responds so well to fish: they calm him down, and stimulate him at the same time. I've never seen him respond in the same way to anything else.
We combined the trip to the aquarium with an attempt at Christmas shopping in the big shopping centre, the Bullring. I happened to have my camera out when I saw a couple of security guards have words with a couple of teenage girls. Here are the (accidentally) long-exposure shots. (I'd left my camera on the settings from the trip to the aquarium.) I'm really rather pleased with the effects.
I didn't have the heart to take pictures of Christmas things. There'll be plenty of time for that before Christmas. It's the 19th November, for Heaven's sake!
And with that, I sign off for the night. To go and do this.


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On Thursday 6th May 2021 you will be asked to vote in up to three local elections
You will be asked to choose 3 councillors to represent you on the new North Northamptonshire Council.
You will also be asked to choose a Police, Fire & Crime Commissioner.
Some villages and towns will also be asked to choose councillors to represent them on their Town or Parish Council.
Everyone chooses
There are two local elections that everyone in Kettering Borough will participate in:
- The North Northamptonshire Council election.
- The election for the Northamptonshire Police, Fire & Crime Commissioner.
Councillors for North Northamptonshire Council
Each area of the Borough will be asked to choose 3 candidates to represent them on the new North Northamptonshire council.
Your CANDIDATES
The Police, Fire & Crime Commissioner
Clare Pavitt is your Labour and Co-Operative candidate to be the North Northamptonshire Police, Fire & Crime Commissioner
Clare's Website
Town & Parish elections
Some town and parish councils in the borough are holding elections. Parish councils generally aren't contested on party lines, but town councils are.
If you live in an area of the borough that is holding a town or parish election, you will be asked to choose councillors to represent you..
Kettering Town Council
This is a new council that has been created to represent residents more locally due to the creation of North Northamptonshire Council and residents will be asked to choose councillors to represent them.
Desborough Town Council
The Desborough St Giles ward is being contested and residents will be asked to choose three councillors to represent them. Desborough Loatland is not being contested.
Read MOre @ Desborough Labour Website
Burton Latimer Town Council
Residents will be asked to choose 12 councillors to represent them. Your Labour Party Candidate for this election is Maggie Don.
Residents of Brampton Ash, Geddington and Weston-By-Welland will be asked to choose parish councillors to represent them.
Those registered for postal votes will receive a ballot with instructions on how to vote by post.
Everyone else registered to vote will receive a poll card with details of their polling station.
Electoral Imprint:
The Labour Party Candidates for the North Northamptonshire Council are promoted by: Agent, Ian Cameron, Suite 23 Corby Business Centre, Eismann Way, Corby, Northants, NN17 5ZB.
The Labour Party Candidates for Kettering Town Council are promoted by: Agent, Andy Byatt, 12b Market Street, Kettering, NN16 0AH.


text:
L. Song Richardson
A message from L. Song Richardson, Dean and Professor of Law
Welcome to the University of California, Irvine School of Law, where we pride ourselves on an innovative and comprehensive curriculum, a commitment to public service, a culture of excellence, and a vibrant community of extraordinary students, world-renowned faculty, engaged alumni, and dynamic administrators.
We're proud of our holistic approach to legal education, which produces students who are confident, creative, and ready for the practice of law in a wide variety of settings. The National Jurist ranked us No. 4 in its list of Best Law Schools for Practical Training. Our robust clinical program, featuring more than a dozen clinics, is ranked No. 7 in the latest edition of the U.S. News & World Report ranking of Best Law Schools. We are the only ABA-accredited law school in the nation that both requires and offers an in-house clinical opportunity to every student, which helps prepare them for employment at law firms, public interest and government agencies, major corporations, and federal and state judicial clerkships.
We strongly encourage our students to engage in pro bono work. Since opening our doors in 2009, more than 90 percent of our students have contributed more than 90,000 hours of pro bono work, and we rank No. 3 in the country among all law schools in community service hours per student.
Our faculty have been lauded for their scholarly impact, ranking No. 12 in the nation in a recent study. They are integral to the thriving intellectual community at UCI Law and are accessible and committed to students' growth and success. Our 5.8:1 student to faculty ratio is among the lowest in the nation.
We want our students to flourish and to enjoy their experience in law school. According to the 2016 Law School Survey of Student Engagement, UCI Law students far outpaced the national average in overall satisfaction in law school. Thanks to our students' strong relationships with their peers; a welcoming and supportive faculty, administrative team, legal community and alumni base; and an unparalleled location in the heart of Orange County (ten minutes to the beach!), our students have ample opportunities to thrive.
I'm deeply honored to serve as dean and to work alongside such wonderful students and colleagues. I encourage you to peruse our website and to pay us a visit to further understand what makes UCI Law an exciting, special, and preeminent law school. We hope to see you soon!
Dean and Chancellor's Professor of Law
University of California, Irvine School of Law
We Are UCI Law


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assam elections
guwahati News
Bitter over lost love, Assam youth plotted 'jihadi' attacks for revenge
TNN / Nov 27, 2019, 07:23 IST
Asom Gana Parishad is with us on CAB: BJP MLA
IS module busted, 3 'jihadis' arrested
The group was also active over "jihadi chat channels" on Telegram
NEW DELHI: One of the three terror suspects arrested in Assam's Goalpara on Monday for plotting to carry out lone-wolf attacks in the state and elsewhere, including a blast in Delhi, has told interrogators that he was driven by his thirst for "revenge" after being allegedly forced to end his relationship with a Hindu girl.
Delhi Police's special cell, which had sent a team to Assam after receiving a tip-off about an "IS-inspired module" planning to trigger a blast in the city, said 24-year-old Luit Zameel Zaman had projected himself as a love-struck youth wronged by the local community. An officer said Luit, who worked as a supervisor in an Aadhaar enrolment centre in the town, had fallen in love with the Hindu girl after seeing her walking home with her friends.
"He approached her through a common friend and proposed. The girl reciprocated a week before Valentine's Day this year, after which they became the talk of the neighbourhood," the officer quoted him as saying.
While the girl's family pressured her to sever all ties with Luit, their story became social media fodder. A community meeting was soon convened to "punish" him, the youth claimed. The local police station was kept in the loop when some people allegedly threatened Luit not to go anywhere near the girl.
According to the police officer, Luit's transition to a terror suspect started when he was added to a Telegram and WhatsApp group of "like-minded men". The group allegedly made plans for terror strikes and scanned the internet for do-it-yourself videos showing how to make improvised explosive devices (IEDs).
The group was also active over "jihadi chat channels" on Telegram, the police said.
Luit and his arrested accomplices - Mukadir Islam, 22, and Ranjeet Islam, 24 - bought explosives through a contact who is absconding. Using pipes, nails and ball bearings, they assembled an ED by the first week of November and decided to detonate it at the Raas Mela in Dudhnoi, which thousands of people visit every year.
Delhi Police got wind of the plan while tracking their WhatsApp and Telegram chats. On learning that the terror plot was close to execution, a team led by ACP Lalit Mohan Negi and inspector Sunil Kumar reached Assam to liaise with the police there.
Luit, Mukadir and Ranjeet were arrested when the trio was headed for the Raas Mela venue with weapons to do a recce. They might have triggered a blast during a concert at the venue at night, an Assam Police officer said.
Appropriate age for motherhood is 22 to 30 years, says Assam CM Himanta Biswa Sarma
Assam govt to make documentary on Patharughat peasant uprising: CM
AR & NSCN-IM faceoff in Nagaland
Ramcharitmanas row: Ayodhya seer announces Rs 500 bounty on Swami Prasad Maurya
Goddess pacified? Decade on, Char Dham 'guardian' reinstated
English tutorial fined Rs 15,000 for sub-standard classes in Mumbai
Mumbai: Despite warnings, TISS students watch BBC film


Shout Out to Amazing Parents!
Welcome FBC Warner Parents! It's been a great start to 2018 with God moving mightily within our church and student ministry.
We've held our first of two mission trip meetings already; our second and final mandatory meeting for all participants going with us to Des Moines, Iowa, will be Sunday, March 4th, at 5:00pm inside the Eagle's Nest. A $50 non-refundable deposit is due this Sunday, February 18th. If you have any questions regarding payment or the trip itself we'd be more than happy to answer those questions!
This weekend, February 16th-17th, is our annual student conference "The Lift Tour." We're taking a solid group of students this year to Tulsa. The plan is to leave around 3:15-3:30pm on Friday. The cost is $65 not counting Saturday's spending money. $30 is due on or before we leave Friday. The second half of the fee can be paid later after we return.
We've been in an amazing preaching series with our students on Wednesday nights called "Jesus Changes Everything." We've spent all month long in January talking about how Jesus changes us, our very self, by diving deep into the salvation process. This month it's all about how Jesus changes our relationships!
For more information on upcoming events in the life of our students, be sure to click the "Upcoming Events" page!
This week's new tool for you to put in your parenting toolbox comes once again from the website www.thecourage.com. Be sure to click the link below to read this insanely cool article.
In the article, author Jay Younts prays specifically over you mom, dad, grandparent, and it's a prayer that we all need during this time of year. The tool of prayer is so powerful, and I believe the most powerful prayers aren't necessarily the ones we offer, but rather the ones we receive from others. So take just a few moments and read over this prayer that's tailored just for you! Take a look at all of these amazing articles if you haven't done so.
We all want security and protection for our children, right?! It's want we want for our precious Shiloh! So the promise here is that when we as parents fear the Lord–walk with him, following him in reverence, submit to his will–it means we have found a secure fortress! But that's not even the best news…our kiddos see that relationship we have with the Lord, they see our respect and reverence we have for God, and they will follow in our foot steps! Let's lead our children to the refuge of the Redeemer by choosing to follow God and letting Him be supreme Lord for our children to see!
You are the number one spiritual voice, influence, and role model in your child's life! Keep feeding their soul with godly affirmations, and may God give you everything you need for the journey!


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This entry was posted in Uncategorized on November 26, 2014 by CHARLES HOWE.


We are currently looking for talented individuals who share our DIY ethic and love of nerdy music, art and literature. If you, or someone you love, would like to try out to be the next Giant Gila Monster, please contact Erin.
This is just the beginning. The first Giant Gila Monster album is being recorded now, and we have also begun work on the animated film to accompany it.


text:
Whitehall: Assault earns teen summer ban from city schools
Whitehall police charged a 17-year-old girl May 31 in connection with an assault at Beechwood Elementary School, 455 Beechwood Road.
Officers met the victim in the lobby of the Whitehall Police Department the previous day, where the victim recounted an assault that occurred at the school May 29.
The victim, a 16-year-old girl, told police she and an 18-year-old woman went to the school about 8 p.m. May 29 to "hang out."
The victim told police when she saw the suspect, she attempted to leave, but another juvenile blocked her, after which the female suspect taunted her, then punched her in the head and grabbed her hair.
After the victim fell to the ground, the suspect continued to punch her in the head, police said.
Another juvenile eventually pulled the suspect away and the victim walked to a residence, reports said.
Witnesses corroborated the victim's account and police also had access to a video of the incident that confirms statements that the female suspect was the aggressor, police said.
In addition to charges of assault, a first-degree misdemeanor, the girl was issued a no-trespassing order that prohibits her from being on all Whitehall school property until Aug. 20, according to reports.
In other recent Whitehall police reports:
* Thefts were reported at 8:45 a.m. May 30 in the 1000 block of Irongate Lane; at 8:35 p.m. May 30 in the 3800 block of Elbern Avenue; at 11:45 a.m. May 31 in the 4400 block of East Broad Street; and at 12:45 p.m. May 31 in the 800 block of Lizzie Lane.
* A vehicle was reported stolen at 9:45 a.m. June 1 in the 4500 block of East Main Street.
* Property destruction was reported at 6:20 p.m. May 30 in the 3900 block of Etna Street; and at 9:35 a.m. May 31 in the 4300 block of East Main Street.
* Police responded to reports of shots fired at 11:25 p.m. May 30 in the 300 block of South Hamilton Road; and at 10:35 p.m. May 31 in the 4000 block of East Main Street.