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Bootsy Collins Shares Gratitude For Loyal Fans bootsy-collins-shares-gratitude-loyal-fans-grammy-salute-music-legends
Bootsy Collins Shares Gratitude For Loyal Fans | GRAMMY Salute To Music Legends
Fan loyalty made his 2001 GRAMMY win even better, the funk singer said after his GRAMMY Salute performance
Jennifer Velez
Oct 16, 2019 - 3:19 pm
Bootsy Collins' warm energy was as great as his shiny purple outfit at the 2019 GRAMMY Salute To Music Legends. After his star-studded medley with George Clinton, Sativa, Eddie M, Sheila E., and Snoop Dogg in honor of George Clinton & Parliament-Funkadelic, Collins shared the amazing feeling and validation of winning a golden gramophone.
Bootsy Collins Shares Gratitude For Loyal Fans
"You would think at some point you'd get past that feeling of certain things happening and you just feel incredible," he said, "but it just seems to kinda keep mounting and mounting and this is one that, you just feel amazing."
The "Bootzilla" singer said winning makes you thankful, especially to fans: "Everybody that was screaming for you while you were going through those growing pains, it's a good feeling."
Watch Collins talk about how grateful he was to fans after his 2001 GRAMMY win, and catch GRAMMY Salute To Music Legends on Oct. 18 on PBS (check your local listings).
George Clinton: "The Funk Is Just Beginning" | GRAMMY Salute To Music Legends
Photo: Esteban Calderon
GRAMMY.com's Favorite Stories Of 2020 bootsy-collins-carla-morrison-rico-nasty-more-grammycoms-favorite-conversations-2020
Bootsy Collins, Carla Morrison, Rico Nasty & More: GRAMMY.com's Favorite Conversations Of 2020
Far-reaching interviews with ARASHI, New Found Glory, Nathy Peluso, Grimes, Busta Rhymes, Aluna and others captured the defining music and moments of 2020
Dec 28, 2020 - 4:00 pm
While 2020 was an incredibly difficult year, it was also filled with poignant dialogue and tons of great new music. To close out the year, GRAMMY.com is looking back on our favorite interviews and stories, which collectively captured the defining music and moments of 2020. It's impossible to choose all our favorites from the plethora of engaging and informative conversations we've had with artists this year. Instead, we're highlighting some of the standouts for you.
Here are some of our favorite conversations and stories from 2020, hand-picked by the GRAMMY.com editorial team.
Rico Nasty | Photo: Jason Carman
Senior Editor John Ochoa's Picks
Welcome To Rico Nasty's Nightmare Vacation
The Maryland-born rapper spoke to GRAMMY.com about her debut album, Nightmare Vacation, the evolution of her sound, the cultural connection between her music and fashion and the new era of women-led rap music.
"I feel like life is dated by what a person thinks they should be. They find themselves in a 'nightmare vacation.' They find themselves surrounded by a bunch of the stuff that they thought they would love once they got it, but they realized that that wasn't what they wanted—it was what somebody else wanted ...
"A woman's voice, it is what it is. Whether it's rap or whatever it is, the confidence that women give other women, it's unmatched ... I feel like the world needs women's music to heal as well. The early 2000s had so much women's music and girls were so powerful, and the world just felt better. I'm praying for that." —Rico Nasty
Selena Forever: Remembering The Latin Pop Icon 25 Years Later
On the 25th anniversary of her passing, GRAMMY.com honored Selena in an industry round-table tribute featuring the artists, creatives and journalists she inspired through her music and art.
"While Selena's music traveled internationally, her real influence lies in her impact within the United States. Because she was a homegrown star, she was widely recognized both by Latin and non-Latin fans. Selena was an anomaly: Bilingual and bicultural, she not only looked like her fans, she was like them. That relatability was transformative for Latin pop culture.
"Thanks to Selena, for the first time, perhaps ever, U.S.-born Latinas had a role model they could aspire to be. Two generations later, Selena's impact is tangible. Dozens of prominent figures—from Becky G to Jennifer Lopez to Leslie Grace to Selena Gomez—point to Selena as their direct influence. Selena's legacy has been fundamental in creating a new movement of U.S.-born Latin artists who today, 25 years after her death, are collectively reaping success and still naming her as the precursor of their achievements" —Leila Cobo, VP Latin Industry Lead at Billboard
EXCLUSIVE: Wale Pens Personal Letter About His Powerful "Sue Me" Video: "There Are Two Different Americas"
To highlight the urgency and underlying message of change within the timely visual, the GRAMMY-nominated rapper called out the "two different Americas" and explained why he continues "rooting for my people" in his own words.
"It's not that we predicted this racist world with [the] 'Sue Me' [video], because it's been happening for years. We just highlighted it before the sh*t really hit the fan a couple of months ago. Right now, it seems like, as Black people, we are learning to love ourselves a little bit more. I'm reminding myself that I'm good enough. It's been crazy for so long. We lost a lot of hope and too many people. At the same time, a lot of human beings are finally coming together now. That's one thing I am grateful for.
I'm still rooting for us." —Wale
J-Pop Legends ARASHI Talk New Single "Whenever You Call," Working With Bruno Mars And The Exploding Asian Entertainment Industry
ARASHI's Jun Matsumoto told GRAMMY.com about the group's expansion into the U.S. and Western markets and the "mini-reinventions" that have evolved the band for more than 20 years.
"The song ["Whenever You Call"] actually really speaks well to people who are stuck in those [quarantine] situations that, no matter what, there is a way to transcend those barriers, transcend physical distance, transcend racial divides and all of the things that are troubling people around the world. The spirit of togetherness and the spirit of being willing to actually come together is something that is universal," —Jun Matsumoto
How 1995 Became A Blockbuster Year For Movie Soundtracks by Jack Tregoning
From Clueless to Dangerous Minds, soundtracks were big business in 1995, but the year's hits offered no clear formula for success.
Batman Forever (1995) epitomized the big-budget, mass-appeal mid-'90s soundtrack. Spanning PJ Harvey to Method Man, the 14-track set employed some tried-and-true tactics. First, only five songs on the track list appear in the movie itself, ushering in a rash of "Music From And Inspired By" soundtracks …
As 1995 taught us time and time again, nothing traps a year in amber quite like a movie soundtrack.
(L-R): Johnny Ventura, Lido Pimienta & Jean Dawson
Staff Writer Jennifer Velez's Picks
Amid Black Lives Matter Conversations, Black Latinx Artists Urge Non-Black Latinx To Do Better
Jean Dawson, Lido Pimienta, Johnny Ventura and others talked anti-Blackness in the Latinx community and how music can be one of the greatest catalysts for change.
"Whatever is closest or with more proximity to whiteness in sound, in look, in aesthetic. That's the person that we want, and that's the person that's going to get the platform," Lido Pimienta says of the media and entertainment mindset in Colombia, where roughly 10 percent of the population is Black, and traces of the country's only Black president, Juan José Nieto Gil, have been erased from history, including in books and portraits.
The cover of her recently released album, Miss Colombia, dismantles these notions of white supremacy, targeting beauty pageants (which are highly regarded in the country), where only two Black women from the country have won a Miss Universe title. Pimienta protests that reality when she, a Black, indigenous Colombian, stands front and center wearing a crown.
23 Years After Forming, Pop-Punk Patriarchs New Found Glory Look Back On All 10 Of Their Albums
In honor of the band's decade-long anniversary, GRAMMY.com spoke to guitarist Chad Gilbert and vocalist Jordan Pundik, who said they're feeling closer than ever.
"[Neal Avron is] a massive producer now, but we were his first punk band. We were his first band. Then when Fall Out Boy worked with him, they wanted it to sound like the records we did with him. Then they're a massive arena band, so it's pretty crazy. So that was working with Neal, it was our first time working with a real producer. So that was interesting and we learned a lot from him. I was still in high school … I remember making [New Found Glory] and all my high school friends were still in high school and I was going into the recording studio. It was awesome." —New Found Glory guitarist Chad Gilbert
Carla Morrison Talks 'Renacimineto,' Her Comeback, Performing At The 2020 Latin GRAMMYs & More
The "Te Regalo" singer/songwriter detailed her journey inward and discussed how she hopes her new project is a mirror for people.
"I've always felt like if my music has a purpose, that's the only way it can exist. I love it when my music can give something to people. Ever since day one, when I decided to make music, it was always to give voice to the voiceless. It was always for people to feel like, 'Oh, my God. She just said what I've been wanting to say and I didn't know how to articulate'—kind of like that. And so Renacimiento comes from that and also from telling the story of how, when I went through a very dark time, I still came out in a better way." —Carla Morrison
Nathy Peluso Talks 'Calambre' & 2020 Latin GRAMMYs Debut
The Argentine singer talked to GRAMMY.com about her eclectic album, Calambre, her sound and her Latin GRAMMY debut.
"Being an immigrant, I linked up with many [other] immigrants who brought me closer to salsa, for example, Colombians. Many Colombian friends taught me to dance salsa. I had the opportunity to be in a Cuban choir for many years, learning from Cubans. Then my schooling was at Alicia Alonso's high school, who was a well-known Cuban dancer, and all my teachers were Cuban, too.
"It gave me the rare opportunity, because I was in Spain, to connect with a deeply rooted Latin world because the people who had left their [countries had] roots and had to promote them elsewhere. I learned a lot about the Latin culture and it made me look for a great friend, a great partner in music. Perhaps for a girl emigrating, it is something a bit difficult. Having music always accompanying me [was] like having a faithful friend who never left me." —Nathy Peluso
20 Years After White Pony, Deftones' Chino Moreno Is At His Most Vulnerable On Ohms
The renowned rock frontman talked to GRAMMY.com about opening up on Deftones' ninth studio album, how isolation is treating him, 20 years of White Pony and more.
"I was dealing with a lot of feelings of isolation and working through all that stuff … I'd spent about five or six years living out in the country, away from all my friends and all the people that I've made music with. Before that, I was living in Los Angeles. I was always around music or my friends who make music and I was constantly always filling that creative void.
When I went on my own, I was like, 'OK, well, I'm just going to sit here and I'm going to make a bunch of music,' and I didn't make any music. I literally just—I'd go out to the mountains by myself and I'd hang out, and I liked it at first. But there was no balance there. At some point, I started to long for connection and conversations and just being a part of society again. And so a lot of that stuff made its way into the lyrical content of the record." —Chino Moreno
Bootsy Collins | Photo: Michael Weintrob
Staff Writer Ana Monroy Yglesias' Picks
Bootsy Collins: "I'm Hoping The World Comes Together Like We Did On This Album"
On his new album, The Power Of The One, released Oct. 23 on his own Bootzilla Records, the 69-year-old funk legend thrives in his musical playground.
"It's like everybody's around that one wall and everybody gets that certain frequency all at the same time and that wall will come down. That's the Power of the One. We just have to realize that that's what we got to do, everybody's got to be in sync with each other. Once we began to be in sync with each other, all of this mess that we're going through falls down. I want to get people to realize that we do have that power within ourselves.
"It's really about us getting along and getting together while we're here. This is the opportunity for us. It's just like this album. This album was the opportunity to put all these beautiful people together that are not necessarily supposed to be together on a record. I'm just crazy enough to believe that if we can do it on an album, we can certainly do this in a world like we have today." —Bootsy Collins
Busta Rhymes On Being In A "Beautiful Space" & Bringing Together Generations Of Hip-Hop Artists On Extinction Level Event 2
With Extinction Level Event 2: The Wrath Of God, Busta Rhymes' first album in 11 years, the world has finally begun to process what his music has been telling us all along.
"I think for the first time in this career of mine, I've gotten to a place of comfort where I've been able to feel good enough about sharing things on a personal level and in a vulnerable way that I've never had prior to this album. It took years for me to get to that place and once you find that it's a very fulfilling thing to be able to share. You help remind people that they're not alone in these realities that a lot of us are never and will never be exempt from going through. It also reminds people that it's OK to talk about it. I think a lot of the times, especially as Black men, we don't get the opportunity to really be allowed to share when we're hurting or when we are afraid or when we are in need of help.
"I think even more so now than ever, with everything that everybody is going through, we need to make a conscious effort to show people it's OK to say, 'I need somebody to help what I'm going through right now.' Or 'I just need some support. I'm a little insecure about something. I just need someone to listen.' I wanted to share a lot of that. I think that comes with maturity, with growth, with being a man, and understanding what it is to be a man as opposed to thinking you're one." —Busta Rhymes
Aluna On New Album Renaissance & Making Dance Music Inclusive Again
"If it's good enough to be appropriated, then it's good enough to be listened to in its original form and by the original creators," Aluna told GRAMMY.com in a powerful interview.
"I would like every platform and organization that categorizes music to reanalyze what they consider to be dance music. When they're considering that, they need to look at globally and culturally, what do people dance to? The answer is dancehall, Afrobeat, reggaetón, house music and the subgenre of those as well. I think that'll go a long way in bringing people who make dance music around the world together, because at the moment it's really segregated. Really what it comes down to is the listener is being made to jump and go down the back alleys of these platforms.
"This music should be put in the position where they're able to get access to the mainstream ear, because it is mainstream music. The evidence is in the pop songs that use those types of music as their complete fundamental foundation. The evidence is also in white producers using those beats to freshen the sound of dance music at the moment. If it's good enough to be appropriated, then it's good enough to be listened to in its original form and by the original creators." —Aluna
Dua Saleh & Psymun Talk Minneapolis Community Building, ROSETTA & Music For Social Change
The Sudan-born, Twin-Cities-based artist Dua Saleh released their second EP, ROSETTA, executive-produced by Psymun, on June 12.
"I feel like people needed a reminder to recenter, and a reminder to sit with art and to let that flow through their body … There's just been so much death and turmoil that I think people needed a source of healing. Sister Rosetta Tharpe is a huge source of healing for me personally—the person that music historians credit as the inventor of rock 'n' roll is a Black queer woman. Finding her music was a huge source of my personal healing in my journey towards lifting the burdens of life off of my own shoulders. And I wanted to use the narrative of her legacy to entrench into this project [ROSETTA]," —Dua Saleh
Grimes' Non-Violent Utopia
Seven months after releasing the far-reaching Miss Anthropocene, the pop experimentalist talked to GRAMMY.com about her 2020 experience, the frustrating paradoxes of pregnancy and motherhood, humane technology and more.
"I was trying to be provocative at the time I made the album. Because I made it a lot more in 2018, 2019. When I started making it, I was still like, 'Why don't we care about the environment?' And in [the] time since I made it and released it, the world totally changed.
"I still actually like it. When I think about the anthropomorphic goddess of climate change and the anthropomorphic goddess of addiction, those things are compelling to me. I even kind of get anxiety talking about it. To myself, I feel like I made something effective, but I get why people found it to be kind of cruel now. But that's art. It goes back and forth." —Grimes
2020 In Review: How The Music Community Rose Up Amid A Pandemic
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Photo: Michael Weintrob
Bootsy Collins On 'The Power Of The One' bootsy-collins-im-hoping-world-comes-together-we-did-album
On his new album, 'The Power of the One,' released Oct. 23 on his own Bootzilla Records, we witness the almost-69-year-old (his birthday is Oct. 26) thriving in his musical playground
Ana Monroy Yglesias
GRAMMY winner and 2019 Lifetime Achievement Award recipient Bootsy Collins has been embodying the funk and sharing his grooviness for decades, ever since he joined James Brown's band in 1969. It was then, from the Godfather of Soul himself, he first learned the Power of the One, or the importance of synching on the one-beat.
With George Clinton and Parliament-Funkadelic, Bootsy's Rubber Band, his solo records and endless collaborations, he's harnessed that funky power and grown it into a philosophy, a way of life. Through it all he's always bringing the funk into new spaces and to new ears, whether directly—Fatboy Slim's GRAMMY-winning 2000 dance anthem "Weapon Of Choice" wouldn't soar without Collin's voice—or through those he's influenced like Childish Gambino on his infectiously groovy GRAMMY-winner "Redbone." He is the true definition of a living legend, yet he's incredibly humble and always interested in learning more and working with other artists.
On his new album, The Power of the One, released today (Oct. 23) on his own Bootzilla Records, we witness the almost-69-year-old (his birthday is Oct. 26) thriving in his musical playground. It's playful, funky, joyous and filled with talented collaborators from across the musical spectrum, including Snoop Dogg, Dr. Cornel West, Branford Marsalis, Ellis Hall and up-and-comers Brandon "Taz" Niederauer and Emmaline. While he had to adapt to virtual collaboration when they pandemic hit—the album was about half done at this point—he is undeniably thrilled with the result and rightly so.
"To be around these people, they made the record become what it is because to have the older people with the younger people and everyone in-between, all this going on on the record. And just making music together. It's like making love, it's like making friends. In a time like we're in now, to do that, what else could you ask for? It's just a great feeling. I can tell you, I know they had the same kind of feeling," Collins told us recently over the phone.
We caught up with the master himself to learn more about finishing the album during quarantine, bringing together the talented collaborators, mentoring younger artists over the years and, of course, the Power of the One.
Thanks for taking the time to chat with me. I hope your day is good so far.
Yeah. Just gearing up, getting myself together to go out there and do it one more time, you know? We got the record off. That was the good part for me, was to at least get through it because it is a very deep time that kind of hit us out of the blue. Getting through it was a beautiful thing. It actually helped keep me sane.
Read: "Use Your Mentality, Wake Up To Reality": How 'Red Hot + Blue' Reimagined Classic Pop Songs To Enact Social Change
I bet, having something to work on. And my first question is about your new album, The Power Of The One, which is coming out pretty soon. What do you hope this album offers to the world and to its listeners?
I'm hoping the world comes together like we did on this album. All the musicians, everybody that really put their time and energy in it—and they really, really wanted to do it. It wasn't like somebody forced them to do it or paid them on such a big scale that they just had to do it. Everybody joined me and did it because it was fun.
It reminded everybody that, even in a difficult time, each and every one of us can get some kind of joy out of it and at the same time, help somebody else share some good vibes. If we didn't get nothing else but some good vibes, that was really good enough because everybody needs some of that right now.
I think on this record, that's what it's really all about. Good vibes, being in the kitchen cooking up something a little different here and there, using a different recipe. Even a recipe that's not traditional. On this album, that's what I wanted to show—it doesn't have to be a certain traditional record. It could be everybody together just having a good time because, to me, that was the main thing. Stop stressing yourself. Have a good time doing it and doing it with somebody you want to do it with. That's key. I think everybody felt that and it comes off of the record like that, from what people are telling me.
You're right, I think we all need some good vibes right now.
Yeah, yeah, yeah. That to me is what the Power of the One is, the power of all of the people coming together and just doing what we have to do to get through it, to get over the hump. Putting all of our differences all by the wayside because we all realize we're just human and we need each other. We're coming up in a time where people don't really feel like they need each other because the technology we have is saying you don't need nobody. You can take your office with you. You got it right there in your hand, your iPhone, and you really don't need people.
Once you get used to that, it turns on you. It's like a Frankenstein monster. The monster is cool and everything, but one day he wakes up and realizes he's a monster and turns on you. I think that's what happened in the world. We got to take the power within all of us where we're standing. I think this music will help in our healing, help in our focus, and help us to have a little joy and a little fun along with all the deepness that is going on. That's what I wanted to do with this record, really just to put some joy and fun in everybody's lives.
More Inspiration: Brandon Lucas Talks Staying Hopeful, Working With Dr. Cornel West & Empowering Dance Producers Of Color
Can you explain the Power of the One a little more, both like musical technique and the philosophy?
Well, actually The Power of the One grew out of when I worked with James Brown, he was always saying to the band, "You got to put it on the one. Give me that one and you can play everything else, but just hit it on the one." On every measure you count, the emphasis is on that down beat. To this day, even on a computer, when you have a four by four [beat], you got that one. You'll hear that click louder on the emphasis on that one beat. That brings everybody's focus to it.
This is where we all meet up, right here on the one. I, out of that training with James Brown, I took that over to Parliament-Funkadelic and George Clinton made a whole concept out of everything's on the one. He even made a record called "Everything Is On The One." I guess with all of that growing and experiencing the one, it grew to me as even bigger than just being a musical term. Now for me, it's more everybody is part of the Power of the One.
It's like everybody's around that one wall and everybody gets that certain frequency all at the same time and that wall will come down. That's the Power of the One. We just have to realize that that's what we got to do, everybody's got to be in sync with each other. Once we began to be in sync with each other, all of this mess that we're going through falls down. I want to get people to realize that we do have that power within ourselves.
We got to get focused and quit running from each other. We've got to all come together on the one and that's when you get the Power of the One. I'm just trying to redirect people to come together. It doesn't matter who your father is—I just have to respect your father and you have to respect mine. That's the Power of the One, when you realize that none of that stuff really matters.
We're all on this spaceship mother earth and we're traveling through time and space on earth. This is our mothership. Nobody's throwing us out. We're on it together and the sooner we realize that, the better. Because you can't be here and be better than somebody else. I'm not better than nobody else. Out here, I'm just like you.
It's really about us getting along and getting together while we're here. This is the opportunity for us. It's just like this album. This album was the opportunity to put all these beautiful people together that are not necessarily supposed to be together on a record. I'm just crazy enough to believe that if we can do it on an album, we can certainly can do this in a world like we have today.
That's mainly the reason I wanted to do something like this, to show that it's bigger than all of us. It's much bigger than what I think it should be or what you think it should be. It's much bigger than that and that's the Power of the One that's within all of us. No one's got it more, no one's got it less. Everybody has their power, you just have to develop it.
"It's really about us getting along and getting together while we're here. This is the opportunity for us. It's just like this album. This album was the opportunity to put all these beautiful people together that are not necessarily supposed to be together on a record. I'm just crazy enough to believe that if we can do it on an album, we can certainly can do this in a world like we have today."
That's some philosophy right there.
[Laughs.] I hope you got it down. I'd like to read that book myself. [Laughs.] Oh, man. That's the top layer at least. I'll have to keep digging and we'll get more of it coming up. For now, that's where I'm at. I just want people to respect and believe in each other, and dig in on each other. We got to get back to having some kind of fun. I think that's got a lot to do with why this has happened. These kinds of tragedies, it's like man, if you can't wake up after this, you're already dead. I know we're not dead now.
We're being hard headed. We are thinking we're something that we're not. We're all human. We haven't transformed yet into that other frequency. Until then, we got to deal with each other. We got to start learning how to because we've been learning the complete opposite. Now, the One has introduced us, now you have to know and love and trust each other. There's no other alternative now. We are past that point. It's either that or the other craziness.
Read: I Met Her in Philly: D'Angelo's 'Brown Sugar' Turns 25
I feel that. There are a lot of really great collabs on the album, but I wanted to talk specifically about the creative process behind "Jam On" with Snoop Dogg and Brandon Taz. How did that one happen?
Oh, man. That was a track that Snoop and I had done and hadn't really finished. We did it for another album. It was like, man, that track would show a lot of fun and that you can mix different things and come up with something that is not new in a sense, but I guess fresh for today. It brings the old with the new, the guitar playing from Taz, his new energy that he's got, with Snoop's raps and my own peace vibe going on. I thought that would be a beautiful, what you would call, a sandwich or a dinner. Sure enough, it was so easy to put together. I talked to Taz, then I went to see him at a concert. This was all before the pandemic hit.
We got to vibing and I was like, "Man, we should go in the studio." And sure enough, we went to Sweetwater and recorded all of his stuff. And Snoop and myself, we did our parts here at the Bootcave [his home studio]. We got lucky on that song, because got about 60 percent done with the album [before the pandemic] and the rest of it we had to start sending out on WeTransfer, that kind of stuff.
We send them to artists and they send you back what they did and then you get on the phone and talk about what needs to change, what key to go to and this, that and the other. That was a much harder way of recording than being in the studio with the actual person. That's when it's really fun. I got a 50/50 deal on recording this album—recording half live and then the other 50 percent we had to record basically on the internet.
That was something I had to get used to, but at the same time, I don't think I'll ever get used to that. But I learned how to do it, enough to get it done. We started adding horns, all kinds of different stuff, but I had to send the actual file to the person. That particular song, "Jam On," we got that pretty much done in the studio, so that was a blessing because we had fun doing it.
No Hope if we Don't Vote! Never thought I would be Saying That as the Co-Captain of the Mothership & Long Head Sucka of this Universe! I have Time Traveled for many year's & I can tell u we will Git Ova the Hump! Bootsy baby!!!
A post shared by William "Bootsy" Collins (@bootsy_collins) on Oct 18, 2020 at 1:50pm PDT
I'm sure so much of creating funk music is being in the studio together riffing off each other and going with the flow. That must have been different to not have that tangible element of it for part of the album.
Yeah, yeah. It's totally different. It's just like you and the guy you're talking to, it's different when you're together than when you talk on the phone. The phone is the next best thing, but being together, there is nothing like that. That's the start of the difference right there. It's like when you can actually touch the guitar, when you actually see what the bass player is playing, you can actually hear what the singer or rapper is singing or rapping. You can actually see them. It's like, wow. This is so cool.
You lose all of that part, so I think it's cool for people that are growing up doing it that way. But if you're not used to doing it like that, it's a different ball game. It is something you have to learn on the job. Like I say, it's good to know the new way of recording and stuff. I think I'll continue to learn, but nothing is going to take the place of actually being in the bed together. It's like, "How are you doing?" "Oh, I'm okay. I'm laying in the bed by myself." I'm like, "Yeah, I wish I was there." [Laughs.]
Related: George Benson Talks Tribute Album To Chuck Berry & Fats Domino: "The Songs are Still Ripe"
What is your favorite part of collaborating and how was it adapting that, like you were saying, during quarantine?
Well, it was really cool for me with the collaborating part because I got a chance to collaborate with people that I hadn't before. Like Branford Marsalis, who's just the greatest. His genre is jazz and he's just an incredible saxophonist and I never got a chance to record with him [before]. We talked about it, we've been to each other's shows and stuff, but we never actually did anything together.
That was a highlight for me to play with him and to play with Christian McBride, who plays the upright bass. He is just incredible and to have him in the studio and watch him play it. That was my first instrument that I was supposed to learn how to play on, but I found out I just couldn't play that big, old upright bass. It was too much work, man. I had to carry it home from school. The girls would look and laugh at me. It was like, "Ah man. I got to get me a new instrument." So, for him to bring that big, old bass to the Bootcave and hook it up and start playing it, it was just a great experience.
And then to have George Benson? Come on, you can't get no bigger than that. He's played with all the jazz greats. To have him want to get on the album—I had no idea that he really wanted to play on the record until I talked to him. We always have done festivals together in passing, but we never got a chance to work together.
I got a chance to work with some of the best, the people that I looked up to, and I got a chance to work with the young ones, like Kingfish, that are the new musicians. Speaking of Taz, he's 17 years old. And Kingfish is 19 now. These guys are just blowing the roof off with the guitar playing. To have this kind of energy around, for me, is the cream of the crop. It don't come no better. Then on "Lips Turn Blue" there's Emmaline. She's like a young, fresh Ella Fitzgerald. The way she sings, her voice takes you back to that time. But she's just out of college. She's just so sharp and professional.
To be around these people, they made the record become what it is because to have the older people with the younger people and everyone in-between, all this going on on the record and just making music together. It's like making love, it's like making friends. In a time like we're in now to do that, what else could you ask for? It's just a great feeling. I can tell you, I know they had the same kind of feeling.
It was just a great way to express yourself in a time where you're supposed to be locked up and locked down. Everybody's got a chance to release that feeling and we got a chance to put it on a record to share it with the world. I wasn't looking at the big picture, I was just looking at whatever song we were doing, putting our whole heart and soul into it. I didn't have to tell nobody to do that because everybody was ready. You didn't have to tell anyone, "Man, I want you to love this song." They just loved it. You could tell they loved it.
I think it's more amazing because of the time that we're living in right now. It affects us much more now because I think before we have taken music and people for granted. We've taken everything for granted. We thought it was always going to be great, we were going to be working all the time. All of a sudden, they pull the gigs away from us. No more festivals, no more club dates, no more Colosseum dates.
All of that stuff, it didn't just happen to the music world. Everybody had to push the reset button, like "Wait a minute, what the heck is going on?" We are still going through that and we have to figure out ways to do things differently. I'm hoping this album, The Power of the One, helps reset people to know that, "Hey, we got to deal with each other. Ain't nobody going nowhere. We're all in this together."
Listen: Unearthing A Lost Ella Fitzgerald Recording, 60 Years Later
You've also worked with a lot of younger musicians over the years on their projects, like Snoop and many others. What does mentorship mean to you and why is it important?
Oh, man. I would say because it gives you what you really need. It's like the energy that you've shared all your life, it comes back to you through the young musicians and artists. When I got with James Brown, I didn't understand about the energy and how it excited him. He was excited by the energy that we brought. I didn't really understand that until I got older and I started realizing, "Okay, this is what he was talking about and this is what he was feeling." Once you get older, you start feeling it, especially when you start having grandkids. Oh my God, those guys have got energy up the wazoo. I never knew that I was like that at one time.
At some point, I was as crazy as they were. That crazy energy can be turned into something and when it is, it can be magical. Some of these kids are able to turn it into something and you'd really be surprised. You just have to be in the mix and that's why I make sure I'm always in the mix, that I'm always learning from the younger people. And hopefully they're learning something from me, but I'm not in it for me.
I'm in it to learn something that I didn't know how to do. Coming from them, that's a beautiful thing. I look forward to that. A lot of older people look at kids like, "Oh, they can't teach me nothing." But I don't agree with that. I would like to continue to learn from them and be around them because they make me younger, they make me feel young. It's a great energy and hopefully I'm as good to them as they are to me.
How Buddy Guy Finally Broke Into The US Top 50 More Than 50 Years Into His Career
Charlie Wilson On Success, Verzuz Battles & More charlie-wilson-success-one-i-got-who-he-would-face-verzuz-battle
Charlie Wilson On Success Of "One I Got" & Who He Would Face Off In A Verzuz Battle
The GRAMMY-nominated icon talks to GRAMMY.com about his career longevity, celebrating women through song, who he would Verzuz battle against, and more
Sep 24, 2020 - 4:16 pm
Charlie Wilson remains the king of the Billboard Adult R&B Songs chart this week with his latest single "One I Got," taking us back with a sample of The Four Tops' 1972 classic "Ain't No Woman (Like The One I've Got)." Chart success is not new to the iconic singer and former member of The Gap Band, so what's he after next? A golden gramophone, he says. Wilson is currently working on a forthcoming album and says he's feeling his best yet.
"I am so honored with 13 nominations but I'm coming for the win! Honestly, I'm in the best space musically that I have been in my whole career. Mainly I'm just having fun. I've been recording a lot and I'm working on my next single," he said in an email conversation with GRAMMY.com last week.
Wilson continues to connect with new audiences not only with his music but in song features alongside big-league rappers like Nas and Tyler, the Creator.
"Rap music continues to evolve and I have been fortunate to participate and contribute to the genre for so many years," he says.
But it hasn't always been a smooth ride for the artist, who has battled addiction and homelessness (Wilson's been sober for a few decades now). his resilient spirit is intact, especially now as the world deals with an ongoing pandemic, not to mention renewed racial tensions and a fight against police brutality. (He tweeted a message to Breonna Taylor a day after a grand jury did not charge the police officers who shot and killed her.)
The charismatic singer spoke to GRAMMY.com about his career longevity and success, the inspiration behind his latest hit, who he would want to face off with in a Verzuz battle, how he stays positive through this tough time and more.
Congratulations on claiming another No. 1 track on Billboard's Adult R&B Songs airplay chart with "One I Got." What inspired this song?
Thank you! Yes, I'm so happy to have another #1 single back-to-back already from my upcoming album. In my music, I always like to celebrate women. I've also been a longtime fan of the Four Tops and their song, "Ain't No Woman." My inspiration is the "One I Got," my wife, she has been standing by my side for 25 years.
You're also a collaborator on Nas' recently released King's Disease. How was it working with him on "Car #85"?
It was great to be in the room with Nas and Hit-Boy, who produced the album. Nas explained to me the story behind "Car #85," which is a personal story he wanted to share. I'm so proud of Nas that he's still doing his thing and happy to contribute to his vision. We had a lot of fun, as making music should be and I look forward to doing more with them.
You've collabed with rappers a lot in the past. Why do you think rappers from all generations continue to reach out to collaborate with you?
They call because they know that Uncle Charlie got that special sauce, LOL. But honestly, I think it's because I bring authenticity and soul to their songs or maybe they just want to impress their mamas (or grand mamas) that they have Charlie Wilson on their song. LOL. Rap music continues to evolve and I have been fortunate to participate and contribute to the genre for so many years starting with my nephew Snoop Dogg all the way to present performing our song "Earfquake" with Tyler, the Creator at the GRAMMY Awards this year.
We've watched iconic figures go head to head on VERZUZ battles. A lot of people on social media would love to see you be a part of it. Are you open to doing one?
Yes, of course. I love that it has brought so much attention to Black artists and highlights all the good feelings and power of Black music for our fans to rally around. It's a win for our culture and music community on many levels. When they're ready for me they know where to find me!
https://twitter.com/CharlieWilson/status/1308466353024630786
I'm not backing down 'cause I'm In It To Win It 🏆 pic.twitter.com/pHLsdmeGjq
— Charlie Wilson (@CharlieWilson) September 22, 2020
Who would you personally like to head off with?
Stevie Wonder is a friend and one of my idols so it would be amazing for us to sit together and just go through our hits and goof around together like we always do. Also, Lionel Richie. He came from a group, I came from a group and then we both went solo, though me much later in life. And our collective catalogs span decades. We each have hits for days both old and new. However, I may have a few more newer hits though. LOL. Bring it, Lionel!
You're an iconic, successful solo artist. What was the biggest challenge going from being a part of a group to going solo?
The biggest challenge going solo is branching out from the group and creating your own success as a solo artist. With an established group, it's easier for people to want to take the path of least resistance and work with the name or group that everybody knows. When you go solo you have to pave your own way of creating and building your new identity while trying to keep fans and create new ones. For me, I also had the added challenge with the stigma of my drug addiction. It took a while for the industry to embrace me once again after I gained my sobriety. I had to prove myself and earn the trust of people to support me and my new career.
What are you up to now music-wise?
I'm working on winning a GRAMMY! LOL! I am so honored with 13 nominations but I'm coming for the win! Honestly, I'm in the best space musically that I have been in my whole career. Mainly I'm just having fun. I've been recording a lot and I'm working on my next single. I have a few surprise collaborations with other artists coming out soon as well. Since going solo 20 years ago, I have been fortunate to have a great management and label team at P Music Group, headed by Michael Paran, who has spearheaded my solo career. Together we are in full control of my destiny and that allows us to create the best music and live experience for my fans. There's so much going on in the world.
You're a positive, hopeful figure on social media. How are you staying grounded?
I try to spread as much love and light as I can during these trying times. Whether through my music, social media, or a virtual performance my goal is to stay connected with my fans and bring them some joy. This is the longest I've been off the road and I miss my fans, band, dancers, and crew. It's been challenging but on the bright side, I am getting to enjoy some things I didn't have time to do when I was always on the road performing. My wife and I always start each morning with our daily prayer and the time at home gives me a chance to write and record songs, take long walks, swim, or do cardio in the gym. We've also been catching up on TV, watching great movies and talk shows and keeping up with the news. I've been given a second chance in life and music so even though times are uncertain I will always thank God and say, "I'm Blessed."
Up Close & Personal: Ashton Travis On 'PHOENIX MODE,' The Sounds That Shaped Him
Ashton Travis
Up Close & Personal: Ashton Travis close-personal-ashton-travis-phoenix-mode-sounds-shaped-him
He may be on the rise, but the H-town native has already hit his desired level of success
Houston's given us Beyoncé, Travis Scott, Megan Thee Stallion and now, Ashton Travis.
He may be on the rise, but for the H-town native, Travis has already attained his desired level of success.
Ashton Travis On Making 'PHOENIX MODE'
"I'm proud. Put my name next to the greats," he says on the latest Up Close & Personal. "That's on the way. Really, I'm already there."
The "Passion & Pain!" singer also shares the sounds that shaped him, how it was working on his EP PHOENIX MODE (out now) and why he's decided to have no vocal collabs so far.
"I just want people to be introduced to me," he says, adding that he is open to working with people in the future.
Travis also talks about how it's been working on his forthcoming LP. Watch the interview to get to know more about Ashton Travis and his music.
GRAMMY Rewind: Ludacris Dedicates Best Rap Album Win To His Dad At The 2007 GRAMMYs
Cultural Foundation
COLLECTION:live
Museum Tickets
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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.


text:
Q: Java - Continous loop from the switch cases. What have I done wrong here? Below is my code for one of my small projects. I have written what is required however its either I am missing something or haven't put a valid code to stop the continous looping with the println"Enter your keyword here". Can someone find my fault in this source code. What am I doing wrong here? I keep getting asked "Enter your keyword" question after I choose the exit option.
import java.util.Scanner;

public class JobApplication {

    public static void main(String[] args) {

        Scanner input = new Scanner(System.in);

        System.out.println("Job Search Portal");
        System.out.println("_ _ _ _ _ _ _ _ _ ");
        System.out.println("name - To Enter Your Name:  ");
        System.out.println("dob - To Enter Your Date of Birth:  ");
        System.out.println("profession - To enter your profession");
        System.out.println("years - To enter the number of years you've workd");
        System.out.println("income - To enter your income from previous employer");

        String keyword = null;
        String name = null;
        String dob = null;
        String profession = null;
        int years = 0;
        long income = 0;
        String exit = null;

        do {
            System.out.println("\nEnter your keyword here");
            keyword = input.next();

            switch (keyword.toLowerCase()) {

                case "name":
                    System.out.println("Please enter your name: ");
                    name = input.next();
                    break;
                case "dob":
                    System.out.println("Please enter your date of birth");
                    dob = input.next();
                    break;
                case "profession":
                    System.out.println("Please enter your profession");
                    profession = input.next();
                    break;
                case "years":
                    System.out.println("Please enter the number of years experience you have");
                    years = input.nextInt();
                    if (years >= 2) {
                        if (years > 40) System.out.println("You are too old ");
                    } else {
                        System.out.println("You are in experienced");
                    }
                    break;

                case "income":
                    System.out.println("Please enter your previous income");
                    income = input.nextLong();
                    break;

                case "exit":
                    System.out.println("The following are your details!");
                    System.out.println("Name: " + name);
                    System.out.println("Date of Birth: " + dob);
                    System.out.println("Profession: " + profession);
                    System.out.println("Experience: " + years + " years");
                    System.out.println("Yearly Salary: K" + income);
                    System.out.println("We will get back to you soon!");
                    System.out.println("Good luck!");break;

                default: System.out.println("Enter a valid choice!");

        }

    }while(true);
  }
}

A: You can use label for loops as described here.
In your example:
mainLoop: do {
//and then
break mainLoop;

However in my opinion changing condition in main loop would be better solution.

A: The reason why this keeps happening is because you're running it infinitely with your current condition of while(true). You need some condition to exit your while loop. Looking at your code, it looks like you want to stop asking questions after the user types in exit. Change your while condition to this:
while(keyword.toLowerCase().compareTo("exit") != 0);

or (as @Tom pointed out), better yet:
 while (!keyword.toLowerCase().equals("exit"));

This will guarantee that it runs at least once, and will exit when the user types in exit. Cheers!

A: instead of While(true) use flag variable to control the loop.
i have rectify your code.. you can check it out.

import java.util.Scanner;
public class JobApplication {
public static void main(String[] args) {

    Scanner input = new Scanner(System.in);
    System.out.println("Job Search Portal");
    System.out.println("_ _ _ _ _ _ _ _ _ ");
    System.out.println("name - To Enter Your Name:  ");
    System.out.println("dob - To Enter Your Date of Birth:  ");
    System.out.println("profession - To enter your profession");
    System.out.println("years - To enter the number of years you've workd");
    System.out.println("income - To enter your income from previous employer");

    String keyword = null;
    String name = null;
    String dob = null;
    String profession = null;
    int years = 0;
    long income = 0;
    String exit = null;

    int flag=0;

    do {
        System.out.println("\nEnter your keyword here");
        keyword = input.next();

        switch (keyword.toLowerCase()) {

            case "name":
                System.out.println("Please enter your name: ");
                name = input.next();
                break;
            case "dob":
                System.out.println("Please enter your date of birth");
                dob = input.next();
                break;
            case "profession":
                System.out.println("Please enter your profession");
                profession = input.next();
                break;
            case "years":
                System.out.println("Please enter the number of years experience you have");
                years = input.nextInt();
                if (years >= 2) {
                    if (years > 40) System.out.println("You are too old ");
                } else {
                    System.out.println("You are in experienced");
                }
                break;

            case "income":
                System.out.println("Please enter your previous income");
                income = input.nextLong();
                break;

            case "exit":
                System.out.println("The following are your details!");
                System.out.println("Name: " + name);
                System.out.println("Date of Birth: " + dob);
                System.out.println("Profession: " + profession);
                System.out.println("Experience: " + years + " years");
                System.out.println("Yearly Salary: K" + income);
                System.out.println("We will get back to you soon!");
                System.out.println("Good luck!");
        flag=1;
        break;

            default: System.out.println("Enter a valid choice!");

    }

}while(flag == 0);
}
}

redpajama_set_name: RedPajamaStackExchange


text:
Q: Java Creating a date in PST returns a date in PDT public class TestTimeZone {

  public static void main(String[] args) throws ParseException {
    System.setProperty("user.timezone", "PST");
    TimeZone.setDefault(null);
    Date d1 = new Date(1257062400000L);
    Date d2 = new Date(d1.getTime() + 3600000);
    DateFormat f = new SimpleDateFormat("yyyy-MM-dd-HH");
    System.out.println(f.format(d1).equals(f.format(d2)));  // true
    System.out.println(d1.equals(f.parse(f.format(d1))));   // false
    System.out.println(d1);                                 // Sun Nov 01 01:00:00 PDT 2009
    System.out.println(d2);                                 // Sun Nov 01 01:00:00 PST 2009
  }
}

*

*d1 and d2 are clearly different, so their formats shouldn't be same.

*when you format and parse d1, you get d2

*I set time zone to PST and then create d1, it should be created as a PST date, why is it getting created as a PDT date?

A:
d1 and d2 are clearly different, so their formats shouldn't be same

Well they wouldn't be if you had an unambiguous format - but you don't. (Heck, even leaving time zones aside you're only formatting to the hour, so it's trivial to create non-equal Date values that format to the same string.)
You're formatting the local time in the system default time zone, which means that if the time zone's UTC offset goes back (as it does in America/Los_Angeles on November 1st 2015, for example) you can have the same local time occurring twice... so you get the same string output for two different times. When you call parse, how are you expecting the formatter to infer information as to which of the original values you meant?
Note that there's no such thing as a java.util.Date in a particular time zone - a Date just represents a number of milliseconds since the Unix epoch.
Also note that PST isn't really a time zone identifier - you'd be better off using the IANA identifiers such as America/Los_Angeles. If you really want a time zone of UTC-8 with no DST changes, you can use Etc/GMT+8 instead. The +8 (instead of -8) is due to the use of Posix-style offsets here. Somewhat confusing... Another alternative would be to call TimeZone.setDefault(new SimpleTimeZone(-28800000, "UTC-8")).


text:
Buffalo Ceremony Held in Yellowstone, Despite Government Shutdown
From Buffalo Field Campaign
While the most powerful government in the world remains shut down and the gates to America's National Parks closed, the spirit of protecting the buffalo prevailed over these obstacles.
National Parks across the U.S. have been closed to the public since October 1st, when the federal government shut down amidst a political deadlock in Washington, D.C.
Despite the closures, buffalo opened the gates to Yellowstone National Park on Monday afternoon.
Led by Blackfeet tribal member and spiritual leader of the Blackfeet Confederacy, James St. Goddard, members of Buffalo Field Campaign and some visitors from afar entered the west entrance of Yellowstone National Park to gather and pray for the well-being and recovery of America's last wild buffalo.
St. Goddard approached Park Rangers to request access to Yellowstone National Park in order to exercise his First Amendment rights through a traditional prayer for the buffalo. According to National Park Service management policies, "The American Indian Religious Freedom Act reaffirms the First Amendment rights of Native Americans to access National Park System lands for the exercise of their traditional religious practices."
Park Rangers responded that St. Goddard's buffalo prayer request would have to be run up the "chain of command."
St. Goddard said the ceremony must be held before the coming winter for the Central Interior buffalo herds that have not recovered since Yellowstone National Park and the state of Montana slaughtered over half the herd during the winter of 2007-2008.
The Central Interior herds have also been heavily impacted by intensive hunting from the Confederated Salish and Kootenai Tribes, Nez Perce, and to a lesser extent, the Confederated Tribes of the Umatilla Indian Reservation and Montana hunters. This summer, the Park estimated 1,400 buffalo in the Central Interior – a disturbing and dramatic decline from the 3,500 buffalo that inhabited the region in 2005. Some scientists consider the Central Interior buffalo genetically distinct from the Northern Range buffalo.
While we waited at the entrance, more Park Rangers arrived, as did a group of elder ladies from Ohio, and a teacher and his students from Utah. The latter approached St. Goddard and his entourage to find out what was happening.
Word finally came down from the Park's "chain of command" that non-tribal members be excluded from entering the Park to participate in the ceremony. That command was rejected and the negotiation finally concluded with approval from Park Rangers to open the gate.
With a Park Ranger escort, the determined company made their way to Fountain Flats to hold their prayer in the presence of trumpeter swans, curious ravens, Yellowstone's geysers, and buffalo bulls grazing along the Firehole River.

redpajama_set_name: RedPajamaCommonCrawl


Universal Credit is a major reform that will transform the welfare state in Britain. The system continues to be rolled out nationally, and I am pleased that Universal Credit is now available in all jobcentres for single claimants. I think it is positive that people claiming Universal Credit are 13 per cent more likely to be in work than people claiming Jobseeker's Allowance, and are earning more money on average.
For those individuals who think they may face difficulties before their first Universal Credit payment, an advance payment can be requested. The maximum amount available as an advance has recently been doubled, as has the amount of time claimants have to repay. Over 50 per cent of new claimants now receive an advance.


Bonanza slots is a video slot that operates on the Big Time Gaming platform. The slot includes 5 reels along with 117649 paylines. Inspired by the mining industry the slot has an amazing look. The reels and graphics look wonderful and it must be said that the developer has worked hard on both the aspects. The Bonanza slots can be tried by the players on any of the Big Time Casinos.
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The playing cards having values A to 9 have lower value whereas the green, red and blue coloured gems and a diamond have a higher value. All the wins will pay according to the combinations formed in left to right direction.
The wild symbol of this Bonanza slots is a dynamite and can replace all the symbols except the scatter symbols. Each Cart will add a symbol to the reel. Moreover, this feature is set for the reels 3, 4 and 5 as well. Every winning symbol that forms a reaction's part will get substituted by the symbols coming onto the reels from right side. The letters D, L, O, and G form the scatter symbols. On landing these scatter symbols onto reels you will get twelve free spins. During free spins feature you will be getting additional five free spins from every scatter symbol.
An unlimited multiplier can also be won during the Free Spins round which will keep on increasing after every reaction which the player creates. Only carts will contain the Free Spins scatter symbols. 3 scatter symbols will award 5 free spins while on the other hand 5 scatter symbols will award 10 free spins additionally.
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Why video is the go-to format for e-commerce and travel-oriented businesses.
What dynamic video ads are and how they are updated and optimized in real-time.
How technology is enabling businesses to transform their entire product catalog into video ads, automatically and affordably.
How real companies are using dynamic video ads on Facebook to promote their businesses and drive online sales.
Check here the recording of the Webinar - and if you have any question left or want to know more, please get in touch. We'd love to hear from you!


Cemetery records of Van Houten Cemetery in Franklin Lakes, Bergen County, New Jersey.
Stella C. Van Houten resided in Bergen County, New Jersey. This foundation was established in 1978 and named in memory of her husband and herself.
Stella C. Van Houten resided in Bergen County, New Jersey. This foundation, providing funding for health and human services, education, education of medical .
Jun 26, 2011 . Elmwood Park in Bergen County, New Jersey � The American Northeast (Mid- Atlantic). Van Houten-Hillman House .
Jun 26, 2011 . Allendale in Bergen County, New Jersey � The American Northeast (Mid- Atlantic). Van Houten-Yeomans Homestead .
View David Van Houten's professional profile on LinkedIn. . for volunteer commitments to Spectrum for Living and the Volunteer Center of Bergen County.
Mar 13, 2011 . There is a Van Houten family cemetery in Franklin Lakes. Van Houten Cemetery - Bergen County, New Jersey It appears from a quick Google .
Dec 14, 2009 . Emigration - Emigrant from Germany to Bergen County, New Jersey. Source [Van Houten Information from Sandra Pautz May 2004 page 21] .
Your full-service heating contractors in Sussex County, NJ, VanHouten Plumbing . boiler service needs in Sussex County and Southern Bergen County.
Some of the original settlers of what is now Bergen County were . Tunis, Roeloff, and Nicholas Van Houten, John Van Dolsen, John and Cornelius Eckerson, .
Edward W. and Stella C. Van Houten Memorial Fund. Stella C. Van Houten resided in Bergen County, New Jersey. This foundation, providing funding for health .
The Passaic stop on NJ TRANSIT's Main/Bergen County Line is 1 mile down Van Houten Ave. from Dingbatz at Passaic Ave.The 702 bus available nearby stops .
Bergen County Historical Society . Van Houten-Yeomans Homestead . John H Van Houten came to this neighborhood in 1792 and later purchased land.
VanHouten Plumbing & Heating LLC has provided Sussex County, Southern Bergen County, and its surrounding communities with a wide range of professional .
Demarest, Old Burial Ground at Demarest, Bergen Co., NJ . Van Houten Farm Family Cemetery; Oakland, NJ 07436; Find a Grave for Van Houten Family .
Van Houten-Ackerman House (Wyckoff, New Jersey) is located in New Jersey . National Register of Historic Places listings in Bergen County, New Jersey .
Van Houten-Hillman House is located in New Jersey. Location: 891 .  See also. National Register of Historic Places listings in Bergen County, New Jersey .


text:
Horse heaven, Jaguar Heaven and Milagros
I came on this 2009 journal segment and its value has ripened, so I post it in cyberspace.
Thurs, Feb 5 Chicago, 2009, visiting the parents in Hyde Park
Read Inana's songs, Sumerian goddess last night.
A sleepless night in apt 614. I pray, half awake, conjure up a half-dream sense of celestial power. Stars appear in black immense cosmic space. A creature appears, Milagros, a small figure in the midst of dark, a little like Mary Poppins. She channels star energy. She has a starry heaven metallic hat. I can draw it. Feels like pink, light circuitry.
That day, the flight Chicago-Oakland is cancelled in Denver. I think of Milagros when my chest is anxious and tight, and feel a distinct warmth. It really surprises me. So I talk to her when I'm afraid I'm going to have to go into SFO at 11pm and Customer Service find a formerly non-existent seat on a United flight into Oakland. Milagros my practical angel. Thank you! Arrived in Oakland and got to Jo and Chris by 9pm without my luggage.
Friday, Feb 6 in Oakland, Johanna's TV room
Dream: Feast of nuns (Hebrew not Catholic)
I was preparing an important dish. Planned to teach it to people who would teach to large classes. It was a special flat meal, like quiche, with special ingredients. There was something very unusual, rare, maybe magical about it. We were in an old stone house, as in Europe (I don't usually dream of European landscapes). The five people arrive together instead of their designated times, I'd scheduled everyone too close.
Delfina one of the 5. She says "I looked it up" and shows a white piece of paper. At the top is a line of Hebrew nuns, vavs and zayns. (I was learning the Hebrew letters in Chicago). I can't write them here, but like this (don't know how many in the line). I noticed that the first was a nun and was violet.
I thought: yes, these are the symbols for the ingredients in the order to be added. It was simpler than all the elaborate directions in my recipe. I wasn't certain we were going to use it because there was so much going on.
But the image kept appearing - 1111111
I think there was more to the dream, but can't recall it anymore. This was the most powerful part of the dream.
Feb 7 on way back to Watsonville
Get home in the rain, go off at Exit Rio del Mar to park and write in the car in the rain. Thinking of nephew Sammy with aspbergers as a song comes on the radio about loving. Sammy might have a hard time finding a young woman to love him. Overwhelmed, I pull off the hiway to cry. God please help him, praying pretty hard, and weeping on the steering wheel. Then, out of the blue, sense of Milagros, a quick bright image of a fairy who arrives after the curse, to give the saving last blessing. It's a clear feeling, full of grace and love. The prayer was answered even as I prayed it. Sammy will be OK.
In the night I hear the words: Horse heaven, Jaguar Heaven
DREAM 1:
Young brown boy is taking me on his vehicle (sometimes a motorbike, sometimes a bicycle) to get a horse heaven (horse latitude?) Tee shirt. He's peddling fast because it may be closing time. We get to the market – lots of men (Filipino?) outside, hanging around, playing cards mostly, drinking maybe coffee. They look up. One man in particular, the boy asks, "Lo-o?" which I understand as 'closed'? (but in Khmer it means beautiful, so I'm not sure what I think it means.)
The man nods, but gestures to go back. He's in charge. "Sa likod," I ask? I think in the dream that we are speaking Tagalog.
We go down into a gloomy textile open market. Most stalls are closed in the low light. Feels deserted.
On the way, I take out $20: two crisp $10 (round trip) and one $5 for a tip. I can't decide. If I give it to him now will he still take me back?
We get to the back stall of textiles that is still open. There a room in the back with tall shelves filled with merchandise.
There's still time. The shopkeeper, the guardian, has what we want on the table in front. But then we move back to where there are three really smart people, self-confidently aware of their star power. The line is full now.
I wake up, I think: horse latitude?
Either of two subtropical atmospheric high-pressure belts that encircle the Earth around latitudes 30°–35° N and 30°–35° S and that generate light winds and clear skies. Because they contain dry, subsiding air, they produce arid climates in the areas below them (i.e. the Sahara). The Southern Hemisphere, which has more water area than the Northern, has the more continuous belt of subsiding air. The belts contain several separate high-pressure centres and shift a few degrees away from the equator in summer.
DREAM 2: Milagros finds me a seat
In a lecture hall, a woman is talking from the dais. I have a seat up near the front to show I'm interested and will do well.
But I'm sharing a single seat with a short woman in a beige yellow suit. I get up to give her the seat – its not worth it to sit this way – she falls backward headfirst. I get up and walk down the wide middle aisle back to the seat I first had, but now it's full. There is nowhere to sit. I see that the lecture hall is now filled up. I don't care if I'm walking in full view, I'm looking for a seat.
Then look over to the right and see a woman in a hat with a star on it. She gestures that she has a seat for me. It's in the back. When I get over to her, she says to me conspiratorially, "I saved it for you."
------- -x----- - my first seat
------- ------
-------- xxxxxx - lots of people sitting, no room
--------- --------
----xx--- ------- - where we sit
When I do a dream reflection on this dream, I realize that the woman in the hat is Milagros.
dream bazaar, everyday


For the last 15 years internet-based treatments have been suggested as one way to meet the high need for psychological therapies for mental health disorders. Numerous controlled studies, literature reviews and meta-analyses have documented that therapist-guided internet-based interventions are more effective than waiting-lists, more effected than unguided internet interventions and as effective as face-to-face treatment, with attrition in line with face-to-face treatments. In spite of numerous studies examining predictors of effect from internet-based treatments, we do not have knowledge about who are most likely to benefit from this treatment format.
Moreover, we do not know who may benefit from unguided programs, from guided programs and blended therapy with face-to-face and internet interventions. Even though priority may be given to mental health (mHealth) to address these issues, a broader scope is also natural because of the diffuse imprecise borders with somatic health.
The eHealth field is, however, in extreme expansion in Europe and the world. Applications can be divided into different groups, depending on their function, content and delivery mode and categorized by user groups. They can for instance aim for understanding, monitoring, diagnosis, advice, treatment, or self-management and be targeted at adults, parents and children, teachers and so on.
At this moment, there are thousands of apps and programs online, which are supposed to help you; get to sleep, get less depressed, less anxious, relax, or get confident. The quality of these products is often open for debate, which is a risk as consumers are being tricked into believing that psychological methods are of no use. It is time for psychologists to get involved in activities to survey, monitor, investigate, and evaluate eHealth applications, as well as in efforts to guarantee the quality of applications and guidelines on proper use of eHealth applications. At the same time, exposure should be given to experiences with safe and effective applications. This should preferably be done in international collaboration and together with other health professions.
In order to develop a better understanding of the domain and develop a sensible strategy, in 2015, EFPA therefore decided to install this Task Force on e-Health.


Thе Unites States iѕ оnе оf thе world's mоѕt popular destination fоr students, professionals, аnd retired people соnѕidеring immigration. Sоmе well-off people likе tо seek immigration tо thе United States bесаuѕе thеу love thе lifestyle аnd culture оf thе country. Mоѕt people feel disappointed whеn thеir immigration application iѕ rejected fоr nо apparent reason. Often, immigration applications gеt rejected bесаuѕе thе right forms hаvе nоt bееn completed properly. But, thiѕ holds true nоt juѕt fоr thе United States. Thе ѕаmе problems соuld arise еvеn fоr thоѕе seeking immigration tо аnу оthеr country in thе world frоm Europe tо Asia. Therefore, it iѕ аlwауѕ bеѕt tо seek hеlр frоm аn immigration law attorney if уоu wаnt tо immigrate tо аnоthеr country.
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An immigration law attorney helps tо minimize thе chances оf аn application gеtting rejected. Moreover, thеу understand еvеrу individual case оn itѕ merits. Thеу understand hоw tо make thе bеѕt оf уоur individual professional аnd financial profile tо file a successful immigration application. Thе attorney wоuld аlѕо knоw hоw tо hеlр уоu if уоur application dоеѕ gеt rejected fоr аnу reason. Yоu соuld еvеn seek professional hеlр if уоu hаd filed thе application bу уоurѕеlf thе firѕt time.
Immigration attorneys hаvе vast experience in handling ѕеvеrаl types оf applications. Thеу аrе thе ideal people tо seek advice еvеn if уоu wаnt tо file уоur application yourself. Thеу wоuld аlѕо bе аblе tо tеll уоu with ѕоmе amount оf accuracy if уоu аrе eligible fоr immigration. Yоu соuld аlѕо seek hеlр with long-term stay visas frоm аn immigration law attorney. Sоmеtimеѕ уоur requirement соuld bе resolved with ѕuсh a visa withоut requiring thе difficult process оf immigration.
Alwауѕ ensure thаt уоu work оnlу with reputed law firms аnd professionals. Working closely with a certified immigration law attorney аlѕо ensures thаt уоu dо nоt еnd uр dоing ѕоmеthing illegal. Thеrе аrе ѕеvеrаl fake law firms online whiсh offer too-good-to-be-true services. Dо nоt register with ѕuсh sites withоut ensuring thаt thеir credentials аrе correct. Fake law firms оftеn lure people with false claims оf successful immigration options. Students аrе thе mоѕt vulnerable. Sеvеrаl cases hаvе bееn detected whеrе students wеrе еvеn granted admission tо fake universities tо еаѕе thеir immigration process tо аnоthеr country. Work with оnlу thе certified аnd trusted lawyers tо ensure thаt уоu dо nоt еnd uр in police custody аnd stranded in a foreign country. Nеvеr fake аnу information in уоur application fоrm either.


text:
TITANIUM SWISS GROUP LAUNCHES ITS NEW WEBSITE CREATED AND DESIGNED BY RELEVANCE
Titanium Swiss Group is pleased to announce the launch of our new website and corporate rebranding of all the companies. Having grown significantly over the past few years into a major player in the Swiss construction industry, the team at Titanium Swiss Group decided they needed a sophisticated, modern, and user-friendly look, as well as a dynamic website to reflect our expertise and world-class offerings and to elevate themselves from the competition.
The launch of the website
The website launches this Thursday, March 5th, and aims to combine information on all of Titanium's companies, as well as showcasing leading construction management projects we have had the opportunity to complete. Additionally, the website highlights the suppliers we have exclusive arrangements with, and their preferential products. Our editorial team will be adding articles to the site on a regular basis to keep you in touch with all the latest information from each of our group companies as well as exciting new development projects taking place in Geneva. Look out for new additions to the group, as well as new services and suppliers.
The website has been created and designed by Relevance, a website creation and digital marketing agency headquartered in Monaco. Relevance was first approached by Titanium's CEO, Toni Autieri, to rebrand the group and the group's companies and to build a modern, user-friendly and informative website which would take it's deserved place on Google and other major search engines in Switzerland.
CEO of Titanium Swiss Group said: "Titanium Swiss Group is pleased to announce the launch of its new website: a modern design and a dynamic platform that reflects the image of our Swiss construction companies. It is the result of a collaboration based on exchange and trust."
The functionalities
The website is in French and English, mirroring Titanium's local position in Geneva as well as the company's and the city's international outlook.
"The connection and communication between Relevance and Titanium was easily established despite my obligations as a CEO," Mr Autieri said. "Thanks to today's telecommunication tools, we were able to find a way to work remotely."
Rumble Romagnoli, CEO at Relevance said: "with Titanium Swiss Group we have a really great connection. It makes it so much easier for an agency to help promote a company or even a group of companies if you have a great connection with the CEO, and the staff. Trust is important both ways. Our team at Relevance is honored to have successfully rebranded the 9 Titanium Swiss Group companies, keeping the individuality of each company, but also uniting them into one group. I take my hat off to the design team who have masterminded the incredibly powerful and determined new look, and the development team who have built the group's first website in their history, which brings the group together in one dynamic digital platform. At Relevance we now look forward to promoting Titanium Swiss Group and helping them build for a new future online."
TITANIUM SWISS GROUP – REVIVE THE STRATEGIC MARKET
Posted on 10 August 2021 10 August 2021
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