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The BIG NET – " Big Moon "
Posts Tagged 'Suicide Squeeze Records'
The PARANOYDS – " Hungry Sam EP "
Posted: October 11, 2019 in MUSIC
Tags: David Ruiz, Laila Hashemi, Lexi Funston, Los Angeles, Staz Lindes, Suicide Squeeze Records, The Paranoyds
The core of the Los Angeles four-piece began with Laila Hashemi (keyboardist-vocals) and Lexi Funston (guitars/vocals) whose friendship carried from preschool days to the halls of the Santa Monica-Malibu Unified School District. Ditching the playground for a practice space in high school, they caught up with Staz Lindes (bass/vocals) and welcomed David Ruiz (drums, vocals) in 2015. The Paranoyds' mission was to craft songs with the gritty spunk and dark playfulness of a cult-classic splatter film is shared equally. The band notes that "Lexi and Staz are the predominant writers but the songs get all their true personality once David and Laila have something to say about it." Their self-described "sister vocal act" shares the snarling, over-it-but-totally-into-it vocals throughout their songs, moving from dirty surf-pop guitar jams to power-packed garage rock.
The Paranoyds' debut release on Suicide Squeeze offers a taste of what The Paranoyds have been performing on the road. Once back in their native Southern California, the band began work with Mark Rains at Station House Studios to follow up a handful of EPs that have previously captured the bands' energetic and exciting sounds. "Hungry Sam" is a binge-worthy feast of chugging guitars and belly-rounded drums that stands as a live show favorite for the band. Funston sums up the regret and dread of dealing with excess, leading the band in a chorus of "I was hungry", and her manic laugh is the bursting point which sends the band on a downward spiral. Hashemi's kooky, playful keys sound like the soundtrack of a final lap in a classic video game, powered by Ruiz's rumbling drums and a wipeout bass walk from Lindes. B-side "Trade Our Sins" is a cautionary slowdance fit for the end of the night or the end of the world. Desire's doomsday has arrived, and as Lindes warns "the train is coming" over a simple waltz of guitars and keys, we hear of two lovers in a now-or-never moment to share in sins delights before it's too late. All seems well though, as the song closes with a cheeky whistle punctuated by ecstatic moans and a final, satisfied sigh. While the band describes this b-side as a one-off from their core sound, it offers an enchanting, seductively playful gem for those wishing to know a sultry, downtempo side of the band.
The Paranoyds have kept a low profile on social media, keeping in the punk traditions of eschewing societal norms. They do what precocious punk bands do best – hit the road and make the world listen. They know the world is watching, from their outings as direct support for DIIV, Albert Hammond Jr., Sunflower Bean, and BRONCHO. Inevitably, more eyes will be on The Paranoyds, and they have the power to let their snarky, punk driven paranoia drive them to the sweet spot of insanity.
released July 14th, 2019
The COATHANGERS – " The Devil You Know "
Posted: May 2, 2019 in ALBUMS, MUSIC
Tags: Atlanta, Julia Kugel, Suicide Squeeze Records, The Coathangers, The Devil You Know
In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It's a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. "The writing process was done with an open heart," says guitarist/vocalist Julia Kugel. "Everything that came before had to go away. And we started there, at ground zero." With each album, you could hear the individual songwriters honing their style. But with The Devil You Know, it feels like we're hearing the first Coathangers record written as a true unit.
"The Devil You Know is a collection of glorious cassette-tape jams with unfussy production, tight melodies, and precise vocal harmonies." – Pitchfork
"The Devil You Know is a vital and exciting record – one which gathers up the past and pointedly thrusts it into the present. Topics like institutionalised evil, war and greed are always valid targets and The Coathangers go for the throat – and draw blood – pleasingly and memorably at every opportunity. This should be their moment of glory." – Drowned in Sound
"The Coathangers infuse every note they play with an intense energy that bristles with anger, attitude, and snarky humor." – New Noise
The Coathangers new studio album, The Devil You Know, out now on Suicide Squeeze Records.
The Coathangers' repress of The Devil You Know is out now on limited-edition color-in-color-out variant of coke bottle green (out) and magenta (in) vinyl. Limited edition of 500 copies.
L.A WITCH – " Octubre "
Posted: March 28, 2019 in ALBUMS, MUSIC
Tags: California, Ellie English, Irita Pai, L.A Witch, Los Angeles, Octubre, Sade Sanchez, Suicide Squeeze Records
Produced by Gregg Foreman (Cat Power, Delta 72). L.A. Witch's eponymous debut album tapped into the allure of warm nights on the West Coast while hinting at the loneliness and lawlessness of living on the periphery of a country founded on a dark past. The three-piece composed of Sade Sanchez, Irita Pai, and Ellie English culled sounds from the outlaws of warmer climes, whether it was 13th Floor Elevators' lysergic rock n' roll or the cool hand fatalism by The Doors on songs like The End. It's an album transmitting subdued revelry while also smirking at the inevitable consequences of the night.
There is no better season for these kinds of songs than the autumn, when the promises of summer have abated and the nights of reckoning grow longer. L.A. Witch seized the moment by revisiting some of their early tracks and reshaping them into Octubre, a five-song EP that delves deeper into their darker side.
Tags: Julia Kugel, Suicide Squeeze Records, The Coathangers, The Devil You Know
The Coathangers have been creating their special blend of garage punk for 13 years, and now after a long break in their breakneck recording and touring schedule, they will come back with a matured sound and a fresh new album, The Devil You Know. "There's a big significance," singer and guitarist Julia Kugel says of the band's 13-year staying power. "I've been doing this for over a third of my life. We're very lucky to be able to keep doing it."
Since 2007, the band has kept to a fairly steady release schedule, with an album or EP release just about every other year with a baker's dozen singles sprinkled throughout and an ambitious touring schedule to boot.
However, after releasing and touring their live album in 2018, the band took the latter half of the year off for some personal time to reflect on themselves, not only as a band but as friends. "Having time off to process," Kugel says, "gave us some time to write and relax and just be normal — to be in one place for a little bit and not be moving. Then we came back together having reflected on life.
"You know, even with our friendship, sometimes it's important to just be friends and not bandmates."
That time to reflect on the band and themselves helped inspire some of the more inward-focused tracks on the new album. "It's like, 'Where am I in all of this?'" Kugel says of the new album's perspective. "We've always been pretty honest in our lyrics, and it's always been personal. But this one we definitely touched on all the most hurtful parts.
The COATHANGERS – " Bimbo "
The Coathangers 'The Devil You Know'
Out March 8th, 2019 via Suicide Squeeze Records.
DEATH VALLEY GIRLS – " Disaster (Is What We're After) "
Posted: August 20, 2018 in ALBUMS, MUSIC
Tags: Bonnie Bloomgarden, California, Darkness Rains, Death Valley Girls, Larry Schemel, Los Angeles, Suicide Squeeze Records
At the core of Death Valley Girls, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel a modern spin on Fun House's sonic exorcisms, ZZ Top's desert-blasted riffage, and Sabbath's occult menace. On their third album Darkness Rains, Death Valley Girls churn out the hypercharged scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy.
Death Valley Girls 'Darkness Rains' out October 5th, 2018
Beyond-beyond excited to present to you "Disaster (Is What We're After)" from our new record, Darkness Rains, out October 5th on Suicide Squeeze Records. Video starring Iggy Pop and directed by Kansas Bowling,
The Kansas Bowling-directed clip is a direct homage to a scene in Danish filmmaker Jørgen Leth's 1982 film, 66 Scenes of America, in which Andy Warhol eats a hamburger. Iggy Pop of course puts his own spin on the simple activity, nodding along to Death Valley Girls' infectious rocker and even taking a healthy, low-carb approach halfway through when he discards one of the buns.
"We're strong believers in opti-mysticism and connecting with people through rock n' roll," Death Valley Girls said of the video. "Having Iggy dig our music was more than amazing for us. When [director] Kansas told us she had a dream about recreating the 'Andy Warhol Eating a Hamburger' short film but with Iggy starring for our music video, we were cautiously excited about the possibility. Next thing we know we're in Miami with Iggy himself, and a rock n' roll dream became reality!"
Album opener "More Dead" is a rousing wake up call, with a hypnotic guitar riff and an intoxicating blown-out solo underscoring Bloomgarden's proclamation that you're "more dead than alive." The pace builds with "(One Less Thing) Before I Die", a distillate of Detroit's proto-punk sound. At track three, Death Valley Girls hit their stride with "Disaster (Is What We're After)", a rager that takes the most boisterous moments off Exile On Main Street and injects it with Zeppelin's devil's-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing with the hypnotic guitar drones and cult-like chants of "TV In Jail On Mars".
Releases October 5th, 2018
The COATHANGERS – " Hurricane "
Posted: May 16, 2018 in ALBUMS, MUSIC
Tags: Atlanta, Julia Kugel, Stephanie Luke, Suicide Squeeze Records, The Coathangers
Atlanta garage punks The Coathangers are releasing their first-ever live album, simply titled LIVE, on June 1st via Suicide Squeeze Records. It was recorded across two nights at Alex's Bar in Long Beach last November, which were free shows "replete with magicians, tarot card readings, burlesque dancers, palm readers, and a giant paper mache rabbit for photo-ops." It's a career-spanning collection of songs, from their 2007 self-titled debut through 2017's Parasite EP. "It's like our anthology… our entire career in 38 minutes," said guitarist/vocalist Julia Kugel. The show was recorded by Dylan Ely and front-of-house engineer Eric Huff, and Kugel's husband Scott Montoya mixed it in their new home studio.
Along with the album's release, The Coathangers are also putting out some live videos from those Alex's Bar shows, and we're premiering the one for "Hurricane" from 2011's Larceny & Old Lace. "This song is based on a friend of ours from New Orleans who was similar to a lot of our friends, and us, at the time. Just full of crazy energy and strong, and sometimes dangerous in ways. Yet still empowering! It's one of my favorite songs because it's so creepy and sort of evil, yet still really fun to sing," said drummer/vocalist Stephanie Luke.
The Coathangers recently wrapped up a run supporting their labelmates Minus the Bear's Planet of Ice 10th anniversary,
L.A. WITCH – " Drive Your Car "
Tags: Irita Pai, LA Witch, Los Angeles, Sade Sanchez, Suicide Squeeze Records, United States
Though the band hails from Los Angeles, they do not partake in any sort of witchcraft. Yet their ability to conjure a specific time and place through their sound does suggest a kind of magic. On their eponymous debut album, L.A. Witch's reverb-drenched guitar jangle and sultry vocals conjure the analog sound of a collector's prized 45 from some short-lived footnote cult band. The melodies forgo the bubblegum pop for a druggy haze that straddles the line between seedy glory and ominous balladry; the production can't afford Phil Spector's wall-of-sound, but the instruments' simple beauty provides an economic grace that renders studio trickery unnecessary; the lyrics seem more descendent of Johnny Cash's first-person morality tales than the vacuous empty gestures of pre-fab pop bands.
This isn't music for the masses; it's music for miscreants, burnouts, down-and-out dreamers, and obsessive historians. Album opener Kill My Baby Tonight is the perfect introduction to the band's marriage of '60s girls-in-the-garage charm and David Lynch's surreal exposés of Southern California's underbelly. Sade Sanchez's black velvet vocals disguise the malicious intent of this murder ballad, with the thumping pulse of bassist Irita Pai, the slow-burn build of drummer Ellie English, and Sanchez's desert guitar twang helping beguile the listener into becoming a willing accomplice to the narrator's crimes. Brian follows the opening track with a similarly graceful, if not somewhat ominous, slow-mo take on a well-worn jukebox 7". It's a vibe that permeates the entire album, from the early psychedelic hue of 13th Floor Elevators on tracks like You Love Nothing, through the motorik beat and fuzzed-out licks of Drive Your Car, to the grittier permutation of Mazzy Star's sleepy beauty on Baby In Blue Jeans.
TY SEGALL – " Sentimental Goblin EP "
Posted: October 26, 2017 in ALBUMS, MUSIC
Tags: California, Los Angeles, Sentimental Goblin, Suicide Squeeze Records, Ty Segall
It's tough to keep up with garage rock's wunderkind Ty Segall. Between his steady release schedule of LPs, raucous side projects like Fuzz and GØGGS, and collaborations with fellow songwriters Mikal Cronin and Tim Presley, it's as if a season can't pass without Segall dropping a new record. And that's not even taking his cassettes, splits, and EPs into consideration. Fortunately, Segall's bottomless well of creativity, production savvy, and boundless fascination with the various niches of the rock world makes every new release an occasion to celebrate. Suicide Squeeze Records is proud to offer the latest entry in Ty's impressive canon with the Sentimental Goblin 7". Side A features "Pan", a fuzz-soaked proto-metal jam that links Beatles' pioneering guitar dirge "I Want You (She's So Heavy)" to later lurch classics by Sir Lord Baltimore and Pentagram. In true Segall fashion, he switches gears on side B and conjures the erudite pop appeal of T. Rex and Bowie with the lush glam rocker "Black Magick". Suicide Squeeze Records is proud to release Sentimental Goblin to the world on March 17, 2017. The initial pressing consists of 1000 copies on half blue / half yellow vinyl and includes a download card. The third pressing consists of 1000 copies on half pink / half purple vinyl and includes a download card. In a testament to his restless creativity and tireless work ethic, Ty also provides the artwork for the record.
L.A WITCH – " L.A Witch "
Posted: October 2, 2017 in ALBUMS, MUSIC
Tags: Ellie English, Irata Pai, L.A Witch, Sadie Sanchez, Suicide Squeeze Records
At Last the long wait is over! The dark, the broody, the brilliant L.A. Witch have finally released their debut full-length LP, simply titled 'L.A. Witch' -not to be confused with their 2013 EP also entitled 'L.A. Witch'– and to borrow an old cliche, it's all killer.
The entirety of the album is drenched with luscious reverb and a sedating drone that calls hints of Greg Sage's Wipers all while remaining true to the untouchable L.A. Witch sound -think 60s garage/ splatter movie soundtrack/southern swamp rock with pop sensibilities.
Tracks 'You Love Nothing' 'Get Lost' and 'Drive Your Car' are tracks that have all appeared elsewhere in the L.A. Witch back catalogue but each one slips seamlessly into this collection of nine individual masterpiece's. Each track is a standalone, there's no doubting that, however each track also seems to intertwine, to mesh a series of fragmented magic dripping with sweetly sinister overtones into one gigantic orgiastic feast that you know is probably bad for your health, but hey, your gonna dive right in anyway.
'Kill My Baby Tonight'. The album opener kicks off with a blissful swamp/country twang before singer/guitarist Sade Sanchez ominously, somewhat unexpectedly, promises that she's "gonna hurt her baby tonight". Which isn't actually that surprising at all considering the obvious influences the all-girl trio take from the cult-horror cinema of the 1970's. The imagery is all over their work and with Sanchez's swooning, seductive but murderously intent vocal, bassist Irita Pai's stalking, premeditated Geezer Butler/horror creep drone and drummer Ellie English's night-crawling Clifton James on PCP footstep creep, well you know damn well that once in the L.A. Witch web, you ain't getting outta here alive. And death'll be slow too. Real slow.
But hey, if death was guaranteed a soundtrack like 'Kill My Baby Tonight' and other killer tracks from this brilliant debut LP, well, sign me up Grim Reaper! I'm half-way there. So, so, so good. Gets better with every listen. The vibe of this album is phenomenal, feels simultaneously old school and very fresh. Definitely one of my favourite albums from this year.
L.A. Witch's self-titled debut LP is out now on Bandcamp and is released by Suicide Squeeze Records.


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Tan Pin Pin (, born 1969) is a Singapore-based film director. She is best known for the documentary film Singapore GaGa (2005). It was the first Singaporean documentary to have a theatrical run. In 2014, her documentary To Singapore, With Love (2013) was denied for all ratings by the Media Development Authority, effectively banning it in Singapore.

Early life
The oldest of three girls, Tan was born to architects in a middle-class neighborhood. Educated at Raffles Girls' Secondary School and Victoria Junior College, Tan was a Loke Cheng Kim scholar. She received her first degree in law from Oxford University, graduating with an M.A. in England, United Kingdom. Subsequently, she received her MFA in film and television from Northwestern University. In her first year at Oxford, she came across photography books, including Robert Frank's The Americans (1958) and August Sander's Citizens of the Twentieth Century (1986), and started taking photographs. After graduation in 1991, she travelled to China with her camera.

Kenneth Paul Tan of the Lee Kuan Yew School of Public Policy states that "Pin was at the start of a trend among a younger generation of filmmakers to use film to examine and maybe even interpret the past, motivated by a sense of loss coming from how quickly Singapore has evolved."

Career
Her films have screened at festivals including Berlin, Busan, Cinéma du Réel, Visions du Réel, Rotterdam and at the Flaherty Seminar. They have also screened on Discovery Channel. In Singapore, they have received sold-out screenings, toured schools and was acquired by Singapore Airlines for their in-flight entertainment services. Her video installations have been shown in the President's Young Talent Show, Singapore Art Show and the Aedes Gallery in Berlin.
She has won or been nominated for more than 20 awards. According to Twitchfilm's Stefan, watching Invisible City "made you think, about existentialism, about memories, about immortality." Singapore GaGa, voted the Best Film in 2006 by The Straits Times, is described as "one of the best films about Singapore". Moving House, Pin Pin's thesis film for her Northwestern University MFA, won the Student Academy Award for Best Documentary.

Other awards include two Asian Television Awards, Cinéma du Réel's Prix de la SCAM and Taiwan International Documentary Festival's Asian Vision Award. Her films are distributed by Objectifs Films. She recently completed Yangtze Scribbler and thesaurus. 2015 will see the release of Tan's short film as part of an omnibus to commemorate Singapore's 50th year of independence.

Film Community
Tan Pin Pin is a founding member of filmcommunitysg, a collective of independent filmmakers in Singapore.

She was on the team in 2011 that lobbied the Singapore Film Commission to include documentaries and films with artistic and cultural merit in the New Talent Feature Grant Scheme. Tan was on the Board of The Substation (2004–2011) and was also on the Board of the National Archives of Singapore (2007–2009).

Tan, with Yuni Hadi, co-founded the Fly by Night Video Challenge which has seen several hundred short films made in the seven years it was run. She has been on film juries of Cinemanila International Film Festival, Jeonju International Film Festival and DMZ Docs amongst others.

Films

Moving House (1997)

Moving House (1997) was about the exhumation of Tan's great-grandparents' grave in 1995. The site was off Sixth Avenue in Singapore. This was the first of three documentaries about grave exhumations.

microwave (2000)

Tan's microwave takes a humorous jab at the world's obsession with everybody's favourite plastic doll. The film was done in a single shot and has screened in multiple festivals around the world.

Rogers Park (2001)

The 2001 short Rogers Park is a snapshot of the lives of three people – a man, a woman, and a boy. They live under one roof and yet in emotionally separate spaces in Chicago's Rogers Park.

Rogers Park was a Student Academy Awards Regional Finalist, won the Golden Reel Award and the Chicago Filmmaker Award. It also screened at the Clermont Film Festival in France.

Moving House (2001)

Kenneth Paul Tan states that "Raphaël Millet describes Northwestern University-trained Tan Pin Pin as a 'pioneer' of the documentary genre in Singapore and country, her 22-minute Moving House among the 'first breakthroughs'in a genre that is important for recording the history of 'a young nation still in the making'...... In Singapore Gaga (2005) for instance, Tan captures and then privileges the marvelous diversity, idiosyncrasies and musicality of ordinary voices in Singapore, voices that have mostly been overpowered by the ubiquitous and bland pronouncements of officialdom"

Professor Tan goes on to point out that "Tan's film points to two stages of violence which are visually resonant. At the first stage, in the 1950s-70s, large numbers of Singaporeans living in village communities were dispersed and resettled-sometimes against their will-into modern public housing estates. In the earlier decades, these mass produced high-rise apartment blocks-though clean,safe and convenient- were criticized for alienating the individual, atomizing community and lacking aesthetic character...... The visual and conceptual resemblance between apartment blocks and columbaria is uncanny, and the film does not miss the opportunity to foreground the irony."

Moving House gives an insight into what it is like for one of the 55,000 families in Singapore forced to relocate the remains of their relatives from a cemetery to a columbarium. The film was one of six documentary ideas commissioned by Discovery Networks Asia and is the first documentary it funded that was entirely conceptualised, initiated and directed by a Singaporean

Moving House won the Student Academy Award for Best Documentary, Best Documentary at the USA-Asean Film Festival, an award for Discovery Channel's Asia First Time Filmmaker Award, a Certificate of Merit at the Chicago International Film Festival, and the Documentary Prize at Nextframe.

Building Dreams (2002)

The 8-part series on the history of Singapore architecture Building Dreams featured two episodes Tan directed – Dawn of a New Era and Spaces of Memory. The pieces showed a rare look inside the dome of the Old Supreme Court Building, Singapore, as well as a house designed by renowned Singaporean architect Ho Kwong Yew. Building Dreams was produced for Arts Central by Xtreme Productions.

Gravedigger's Luck (part of Afterlife Series) (2003)

Tan released Gravedigger's Luck, part of Discovery Network's Afterlife series. It documents a man who tries multiple luck-enhancing methods to counter the curse of bad luck he believes he has because of his job as a grave exhumer. Gravedigger's Luck was the runner up for Best Documentary at the Asian Television Awards, and the runner up for Best Infotainment Programme. She was the series consultant for the Afterlife series.

80km/h (2003)

80km/h is a single continuous take of the 38-minute-long drive across the island of Singapore on the Pan Island Expressway, and the view along the way.

Kenneth Paul Tan states, "This is a 38-minute art film that documents the journey on the Pan Island Expressway (PIE) from the eastern end of Singapore to its Western end, all filmed in one take from a car moving at a constant speed. By reproducing the project ever year, Tan hopes that by 2013 she will be able to 'stack' the ten layers of recordings for 'a real time layered survey of our landscape".

80km/h was shown in the Singapore Short Cuts film programme (2004) jointly organised by National Museum Singapore Cinematheque, the Substation and the Singapore Film Commission.

Crossings: John Woo (2004)

In 2004, Tan directed Crossings: John Woo, part of the Crossing series commissioned by Discovery Channel, showing the history and life of one of Hollywood's most celebrated directors John Woo. The film showcased rarely seen clips from Woo's earlier works. Crossings: John Woo premiered on Discovery.

Singapore GaGa (2005)

Singapore GaGa, a survey of Singaporean life as expressed in sounds, is Tan's best-known film. The film is Singapore's first documentary to have a cinema release and it enjoyed a seven-week sold out run at The Arts House. Apart from being acquired for screening on board Singapore Airlines, it has also played in film festivals around the world.
Singapore GaGa was voted Best Film in 2006 by The Straits Times. In January 2016, the film was withdrawn from Malaysia's Titian Budaya Festival in Kuala Lumpur after authorities rejected an appeal to the chief censor to not withdraw a scene where ventriloquist Victor Khoo said "animals" in Malay, as the word has a double meaning. The censor's report added that the "dialogue can create doubt and restlessness among citizens and may finally cause a security threat, disturbance of public peace and national defence".

Invisible City (2007)

The 2007 documentary Invisible City, chronicles the ways people attempt to leave a mark before they and their histories disappear. Tan interviews people – photographers, journalists and archaeologists – who are propelled by curiosity to find a City for themselves. '

In a book chapter by Professor Kenneth Paul Tan, Tan Pin Pin's narrative approach is outlined and its impact analysed. "She interviews Ivan Polunin, an English doctor who moved to Singapore in 1948 and was a university lecturer and part-time documentarian for the BBC up to the 1970s, by which time he had produced hundred of hours of film footage capturing, among other things, the lives of fisherman working on kelongs and the Cantonese-speaking heartlands of old Singapore. Tan's interview with the elderly Polunin takes place shortly after he underwent brain surgery, a trauma that has caused him to lose, by his own admission, much 'brainpower'".

The film enjoyed a five-week sold out run at The Arts House in Singapore and screened at Berlinale, Pusan. Invisible City also won the Prix de la Scam at Cinéma du Réel, and the Asian Vision Award, Merit Award, at the Taiwan International Documentary Festival.

The Impossibility of Knowing (2010)

The Impossibility of Knowing documents Tan's attempt to capture the aura of spaces in Singapore that have experienced trauma. Tan was among four Asian directors who were commissioned by the DMZ International Documentary Film Festival to make a short film on the theme of "peace, life, and communication". The Impossibility of Knowing premiered on 11 September 2010.

The film also screened at Visions du Réel and the Oberhausen International Short Film Festival.

In November 2015, the film was withdrawn from the Titian Budaya Festival in Kuala Lumpur after Malaysian censors raised issues with it.

Snow City (2011)

In 2011, Tan released Snow City. Snow City had its international premiere at the Singapore Biennale and was invited to screen in competition at Cinéma du Réel.

To Singapore, With Love (2013)

In 2013, Tan released To Singapore, With Love, which revolves around political exiles, some of whom have not been home for as long as 50 years. The documentary won Tan the best director award in the Muhr AsiaAfrica documentary section at 10th Dubai International Film Festival and the Best Asean Documentary at the Salaya International Documentary Festival. It was made with the support of the Asian Cinema Fund and the Busan International Film Festival, where it had its world premiere in competition. The film also screened at Malaysia's FreedomFilmFest, the Berlin International Film Festival's Forum programme, Film Society of Lincoln Center, Seoul International Documentary Festival, Brazil's It's All True, Jogja-Netpac Film Festival, International Film Festival of Kerala, Diaspora Film Festival, Incheon and London's SEA ArtsFest, where it enjoyed four sold-out screenings over two days.

The film was banned in Singapore, with the Media Development Authority claiming that it undermined national security as "the individuals in the film have given distorted and untruthful accounts of how they came to leave Singapore and remain outside Singapore," and that "a number of these self-professed 'exiles' were members of, or had provided support to, the proscribed Communist Party of Malaya (CPM)." In response, a group of 39 artists, including filmmakers Anthony Chen, Royston Tan and Kelvin Tong, released a joint statement expressing "deep disappointment" and urged the Media Development Authority to reverse the ban. Tan stated that she would consider re-submitting the film for a rating in the future.

On 2 October 2014, Tan submitted the film, unchanged, to the Media Development Authority's Film Appeals Committee (FAC) to review the film's ban. On 12 November 2014, Tan's review was denied. In a statement,. Of the 12 FAC members present, nine voted to uphold the classification while the other three voted that the film be given a Restricted 21 (R21) rating instead.

7 Letters (2015)
In 2015, Tan directed one out of seven short films in 7 Letters, "Pineapple Town", created to celebrate Singapore's Golden Jubilee. The Straits Times noted that "Tan's work," her first attempt at fiction, "has an allusive, multilayered depth that lingers in the mind after the credits roll". Variety found Tan's segment "at once upfront and nuanced about the complexities of cultural identity".

In time to come (2017)
Tan released IN TIME TO COME in April 2017. Set in Singapore, IN TIME TO COME follows the ritualistic exhuming of an old state time capsule, and the compilation of another. As enigmatic remnants of life from 25 years ago emerge - a bottle of water from the Singapore River, a copy of Yellow Pages, a phone charger - today's selection of items are carefully primed for future generations to decode. Interwoven are carefully composed shots of moments we rarely think to preserve: the in-between minutes of daily life spent waiting for things to happen, shot in locales as diverse as the lush jungle to a residential district infused with haze.

The film world premieres at Visions du Réel in April 2017. Thereafter, it embarks on a whirlwind tour, travelling to Hot Docs, Canada, É Tudo Verdade, Brazil and The Art of the Real, Lincoln Centre, USA.

Activism
In June 2010, Tan led a group of Singapore filmmakers to protest the Asian Film Archive's head Tan Bee Thiam's supposed conflict of interest. Their letter led to Tan Bee Thiam's resignation as executive director.

Filmography
 IN TIME TO COME (2017)
 Pineapple Town (2015)
 To Singapore, With Love (2013)
 Yangtze Scribbler (2012)
 remember (2012)
 Snow City (2011)
 The Impossibility of Knowing (2010)'' 9 August (2008)
 Invisible City (2007)  Singapore GaGa (2005)
 Crossings: John Woo (2004)
 80km/h (2003)
 Afterlife (2003)
 Building Dreams (2002)
 Moving House (2001)
 Rogers Park (2001)
 microwave (2000)
 Moving House'' (1997)

References

External links

Tan Pin Pin's official website
Official website for Tan Pin Pin's film IN TIME TO COME
Official website for Tan Pin Pin's film To Singapore, with Love
Watch Tan Pin Pin's videos on her Vimeo page
Interview with Tan Pin Pin on The Straits times "Seeing Invisible Worlds"
Article on Oscar win in the Chicago Tribune "Student Film Strikes Oscar Gold"
Article from The Daily Beast in Newsweek Magazine "Letter From Singapore: A Short-Term Lease On Eter"

Article on Open House Notebook "The Films of Tan Pin Pin"
Interview about Yangtze Scribbler on iremember.sg "Tan Pin Pin: The Hidden Depths of Memory"
Interview about The Impossibility of Knowing on Singapore Kopitiam "A Few Points With Tan Pin Pin"
Interview about IN TIME TO COME on sensesofcinema, by Joanne Leow.

1969 births
Singaporean film directors
Singaporean artists
Singaporean women film directors
Singaporean people of Chinese descent
Living people
Victoria Junior College alumni
Northwestern University alumni
Alumni of the University of Oxford

redpajama_set_name: RedPajamaWikipedia


I highly recommend Cappuccino - an amazing cafe! The high quality of coffee and food can't be beat. The entire staff is friendly and attentive making my experience here a delight. Can't wait to come back for a buttery croissant and warm latte!


text:
Question Search
Views of Palin Fluid as Spotlight Remains on GOP Ticket
Public Sees Obama Ads Getting More Negative
Summary of Findings
Sarah Palin continued to be a dominant factor in presidential campaign coverage last week, but her impact on the race remains unclear and her public image is very much in flux.
Palin clearly has boosted John McCain's visibility. From mid-June through the last week of August, Barack Obama consistently led McCain as the candidate the public was hearing the most about in the news. McCain received an expected bump following the Republican convention, but he continued to top Obama last week as 41% pointed to McCain as the more visible candidate while 32% named Obama. Notably, 17% said they had been hearing the most about Palin – even though they were specifically asked to name a presidential candidate.
According to the Pew Research Center's Project for Excellence in Journalism, stories revolving around Palin accounted for 50% of the campaign coverage newshole last week. And as the public learns more about her, opinions about Palin are changing. Three-in-ten (31%) say their view of her has become more favorable in recent days, while nearly as many (27%) say their opinion has become less favorable. Only 37% say their opinion of Palin has not changed in recent days.
A solid majority (67%) heard at least a little about Palin's recent interview with ABC News. While a plurality of those who heard about the interview (40%) said Palin did a good job, relatively few (12%) rated her performance as excellent.
With his heightened visibility, views about McCain have become more fluid as well, even as opinions of Obama and Joe Biden have largely remained stable. More than half of the public says their opinion of McCain has changed in recent days – with slightly more saying their view has become more favorable (28%) rather than less favorable (25%). Fewer than half (45%) say their opinion of the Arizona senator has not changed lately.
In contrast, nearly six-in-ten (58%) say their opinion of Obama has not changed in recent days. Some 20% say they their opinion of the Democratic nominee has become more favorable in recent days, while an equal percentage say their view of Obama has become less favorable. Similarly, 58% say their view of Biden has not changed in recent days. Among those whose opinions have changed, slightly more say their view of Obama's running mate has become less favorable (18%) than more (14%).
Republicans More Positive About McCain and Palin
Republicans are showing more enthusiasm than Democrats for each of their nominees. Fully 53% say their opinion of McCain has become more favorable in recent days. By contrast, only 38% of Democrats say their opinion of Obama has become more favorable recently. More than half of Democrats (54%) say their view of Obama has not changed recently.
Among independents, some 28% say their opinion of McCain has become more favorable in recent days. Only 14% of independents say their opinion of Obama has become more favorable.
Republicans are also enthusiastic about Palin: 58% say their opinion of Palin has become more favorable in recent days. By contrast, only 25% of Democrats say they have come to have a more favorable view of Biden recently.
Palin's image is split among women: 30% say their view of her has become more favorable while 29% say their view of her has become less favorable. On balance, men's views of Palin are more favorable than less (33% vs. 25%) in the past few days.
Is Obama Changing His Tone?
About six-in-ten (58%) say they have seen a McCain television commercial in the past few days and 54% say they have seen an Obama ad. The public's perception of the tone of the campaign ads has changed significantly over the past month.
In early August, most of those who had seen Obama's ads said they were mainly positive messages about Obama; very few thought they were negative messages about McCain. Today, the public is divided about the tone of the Democratic nominee's ads: 24% say they are mostly positive messages about Obama while just as many (25%) say they are negative messages about his opponent. On balance, Republicans and independents now see Obama's ads as more negative than positive. Just the opposite was true a month ago.
Views of McCain's television ads are similar to views of Obama's. One-in-four say McCain's ads are mostly positive messages about the GOP nominee, while 27% say they are mostly negative messages about his opponent. Last month, 19% said McCain's ads were mostly positive and 31% said they were mostly negative.
The increase in the percent that now see the McCain ads as having a positive message comes primarily from Republicans and independents. Fully 42% of Republicans now say McCain's ads are mostly positive messages about the nominee. This is up dramatically from 23% who said McCain's ads were delivering a positive message just a month ago. Among independents, 26% now say McCain's ads are mainly positive – up from 18% in August.
Public Continues to See Bias in Campaign Coverage
Views of how the press is covering the presidential campaign have changed little in recent months. Half of the public continues to think that the press is showing bias in its coverage of the candidates, with 36% saying the press is biased toward Obama and 14% saying it is biased in favor of McCain. Some 40% say the press has not shown bias one way or the other. In late July, 42% said the press was biased toward Obama and 6% said the press was biased toward McCain.
Most Republicans (63%) continue to say the press is biased in favor of Obama, while most Democrats (52%) say the press has not shown any bias. Notably, the percentage of Democrats who say the press is biased in favor of McCain has increased from 10% in late July to 24% now.
Lipstick on a Pig
On the campaign trail last week, Barack Obama attracted a good deal of attention when he commented from the stump that although "you can put lipstick on a pig, it's still a pig."
His words registered widely with the public. Fully 55% heard a lot about it and another 25% heard a little. Only one-in-five heard nothing at all about Obama's comment. Among the public who had heard a lot or little about the remark, a solid majority (66%) believe that Obama intended it as a joke about McCain's polices. Very few (21%) say that he intended to insult Palin.
Predictably, the answers cut along party lines. Republicans are evenly divided between seeing the comment as a joke about McCain (42%) or an insult directed at Palin (43%). Democrats overwhelming interpret the comment as a joke (83%) rather than an insult (8%).
In other news, more than a third of the public (35%) heard a lot about Palin's interview with ABC News, and a comparable percentage (32%) said that they had heard a little about it. Among those who heard a lot or little about the interview, roughly half (52%) said that her performance was excellent (12%) or good (40%), while 37% rated it only fair (22%) or poor (15%). Republicans gave Palin a far better rating than Democrats. Fully 82% of Republicans called her performance excellent or good, while just 28% of Democrats thought she performed that well. Responses by gender mirror the public as a whole.
These findings are based on the most recent installment of the weekly News Interest Index, an ongoing project of the Pew Research Center for the People & the Press. The index, building on the Center's longstanding research into public attentiveness to major news stories, examines news interest as it relates to the news media's agenda. The weekly survey is conducted in conjunction with The Project for Excellence in Journalism's News Coverage Index, which monitors the news reported by major newspaper, television, radio and online news outlets on an ongoing basis. In the most recent week, data relating to news coverage were collected from September 8-14 and survey data measuring public interest in the top news stories of the week were collected September 12-15 from a nationally representative sample of 1,006 adults.
The Presidential Campaign Then and Now: 2004 to 2008
The American public sees the current presidential campaign as more interesting — but less informative — than the Bush vs. Kerry contest in 2004.
Comparing attitudes measured shortly after the party conventions in each year, the public is more likely to describe this year's race as interesting rather than dull. In addition, fewer Americans view the campaign's tone as too negative compared with the 2004 contest at this point.
Currently, 68% say that the campaign is interesting, while one-in-four (26%) describe it as dull. The percentage that sees the race as interesting is up 18 points from the fall of 2004, when half found the campaign interesting and a sizeable minority (42%) described it as dull. Across many subgroups, greater percentages call the campaign interesting now than did so four years ago. Some of the greatest change is found among individuals under 30 years of age (+28%) and among Democrats (+24%).
When the public is asked to characterize the tone of the presidential campaign thus far, fewer now than in 2004 describe the race as too negative. Four years ago, more than six-in-ten (62%) said that the campaign was too negative, while just 32% said it was not. Now, 43% describe the race as too negative and a slight majority (51%) says it is not.
This shift in the balance of opinion is found across gender and party, but nowhere is it stronger than among young people (those under 30). For this group, 58% said that the campaign was too negative in 2004, while just three-in-ten (30%) describe it this way today. That is markedly different than older Americans. Among those 65 and older, a majority (61%) described the presidential race as too negative in 2004 and still half (52%) describe the campaign as too negative this year.
Where the public appears less satisfied with this campaign than with the 2004 contest is in how informative the race has been. In September four years ago, a solid majority (63%) described the campaign as informative, while a third (33%) found the campaign not informative. Currently, just over half (54%) see the campaign as informative and a substantial minority (41%) see it as not.
Hurricane Ike Draws Large News Audience
Hurricane Ike attracted a large news audience last week with 50% of the public paying very close attention to the devastating storm. Nearly four-in-ten (38%) listed Ike as the single news story they were following more closely than any other, making it the public's top news story of the week.
The latest Pew News Interest Index survey was conducted before this week's dramatic events on Wall Street.
Interest in news about Ike topped that of recent storms Hurricane Gustav and Tropical Storm Hanna and surpassed interest in news about widespread flooding in the Midwest last spring. Still, interest in Ike was nowhere near that of Hurricane Katrina – 70% of Americans were following news about Katrina very closely in September, 2005.
The public divided its attention last week between the hurricane and the presidential campaign. Interest in the campaign remained high as 40% followed campaign news very closely and 32% listed this as their most closely followed story. For its part, the national news media continued to focus heavily on the presidential race – devoting 39% of the overall newshole to campaign news. Coverage of Hurricane Ike accounted for 14% of the newshole.
News that the federal government was taking control of mortgage giants Fannie Mae and Freddie Mac, last week's biggest financial story, drew the very close attention of 28% of the public. Some 6% listed this as their most closely followed news story, and the media devoted 6% of its overall coverage to the story.
About the News Interest Index
The News Interest Index is a weekly survey conducted by the Pew Research Center for the People & the Press aimed at gauging the public's interest in and reaction to major news events.
This project has been undertaken in conjunction with the Project for Excellence in Journalism's News Coverage Index, an ongoing content analysis of the news. The News Coverage Index catalogues the news from top news organizations across five major sectors of the media: newspapers, network television, cable television, radio and the internet. Each week (from Sunday through Friday) PEJ will compile this data to identify the top stories for the week. The News Interest Index survey will collect data from Friday through Monday to gauge public interest in the most covered stories of the week.
Results for the weekly surveys are based on telephone interviews among a nationwide sample of approximately 1,000 adults, 18 years of age or older, conducted under the direction of ORC (Opinion Research Corporation). For results based on the total sample, one can say with 95% confidence that the error attributable to sampling is plus or minus 3.5 percentage points.
In addition to sampling error, one should bear in mind that question wording and practical difficulties in conducting surveys can introduce error or bias into the findings of opinion polls, and that results based on subgroups will have larger margins of error.
For more information about the Project for Excellence in Journalism's News Coverage Index, go to journalism.org.
Complete Report PDF Topline Questionnaire
News Interest
Palin Fatigue Now Rivals Obama Fatigue
Interest in Economic News Surges
Election Weekend News Interest Hits 20-Year High
McCain's Image Improves - With Big Assist From Palin
Many Say Press Has Been Too Tough on Palin

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to add "transaction fee" to ERC20 or BEP20 smart contracts? There's new tokens that "charge a transaction fee" aside the usual ETH gas fee. I'm talking about a transaction fee that subtracts from the token itself. Let's say 100 tokens are transferred. 1 token goes into a central account as "transaction fee". It's doable since coins like $GRUMPY have it but I can't find the function on the code that would allow me to do that.

A: intrested here too.
I have something simple see _transfer function below.
Problem is it will create 2 transactions and more Gas Fees to pay.
Dont know if you splitt and send the fee to the contract itself if this reduce fees.
This is just an idea not testet. Intrested in other solutions from the community.
function _transfer(address sender, address recipient, uint256 amount) internal virtual {

    require(sender != address(0), "ERC20: transfer from the zero address");
    require(recipient != address(0), "ERC20: transfer to the zero address");

    address FeeReceiverAdr = 0xE037D395bB24C69bD0347F4e1652199BF60a41d1;
    address payable FeeReceiver = payable(FeeReceiverAdr); // Correct since Solidity >= 0.6.0

    _beforeTokenTransfer(sender, recipient, amount);

    uint bpsfee = 1618;
    uint bps = 100000;

    uint256 senderBalance = _balances[sender];
    require(senderBalance >= amount, "ERC20: transfer amount exceeds balance");
    _balances[sender] = senderBalance - amount;
    _balances[recipient] += taxedValue;

    _balances[FeeReceiver] +=  fee;

    emit Transfer(sender, recipient, taxedValue);
    emit Transfer(sender, FeeReceiver, fee);
}

A: I found a solution that may help! In case anyone was still looking around for clarity. Here is a code snippet for enabling ERC20 % distribution. Code has not been audited, so please use it at your own risk, but this should be enough to start experimenting.
// SPDX-License-Identifier: MIT

pragma solidity ^0.6.0;
contract TransfertTokenAndPercentageToTargetAddress{
// pay 1% of all transactions to target address
//test address = testnet
address payable target = 0x326Da5Aa845675a1967e1F7E31A32a4412eD47DD;

// state variables for your token to track balances and to test
mapping (address => uint) public balanceOf;
uint public totalSupply;

// create a token and assign all the tokens to the creator to test
constructor(uint _totalSupply) public {
    totalSupply = _totalSupply;
    balanceOf[msg.sender] = totalSupply;
}

// the token transfer function with the addition of a 1% share that
// goes to the target address specified above
function transfer(address _to, uint amount) public {

    // calculate the share of tokens for your target address
    uint shareForX = amount/100;

    // save the previous balance of the sender for later assertion
    // verify that all works as intended
    uint senderBalance = balanceOf[msg.sender];

    // check the sender actually has enough tokens to transfer with function
    // modifier
    require(senderBalance >= amount, 'Not enough balance');

    // reduce senders balance first to prevent the sender from sending more
    // than he owns by submitting multiple transactions
    balanceOf[msg.sender] -= amount;

    // store the previous balance of the receiver for later assertion
    // verify that all works as intended
    uint receiverBalance = balanceOf[_to];

    // add the amount of tokens to the receiver but deduct the share for the
    // target address
    balanceOf[_to] += amount-shareForX;

    // add the share to the target address
    balanceOf[target] += shareForX;

    // check that everything works as intended, specifically checking that
    // the sum of tokens in all accounts is the same before and after
    // the transaction.
    assert(balanceOf[msg.sender] + balanceOf[_to] + shareForX ==
        senderBalance + receiverBalance);
}

}

redpajama_set_name: RedPajamaStackExchange


text:
Couscous Vs Paella: What is the difference?
Add to my interest
BY Roberta Schira,
Today's topic takes us to the Mediterranean basin with a foray into the Middle East. This is the cradle of two dishes which appear in the menus of thousands of restaurants all over the world: couscous and paella. Both are typical dishes for placing centre-table and sharing. These are dishes which thrive on conviviality: no one prepares couscous or paella for a single diner. A multi-coloured mound of chopped vegetables mixed with meat, fish or seafood. But that's where the resemblance ends.
THE ORIGINS OF COUSCOUS AND PAELLA
Paella would seem to originate from a generous region, that of the Valencian countryside, with plenty of chickens and rabbits providing meat, and fresh vegetables.The vicinity of a vast area called Albufera, meaning lagoon, characterized by paddy fields, provides the main ingredient on which this dish is based. From Valencia, paella has spread to the rest of Spain and today every region has its own particular version.
As far as couscous is concerned, there is growing evidence that the method of steaming couscous grains over a stew bubbling in an earthenware pot could have originated from an area of western Africa before the tenth century. From there, the recipe spread throughout the Mediterranean basin. Like the one described above, this dish belongs to the Arab culture, that of Maghreb in particular. In Italy, it is also widespread in Sicily and Sardinia where it is known as fregola.
THE INGREDIENTS FOR COUSCOUS AND PAELLA
The essential ingredient of paella is rice, flavoured with saffron which is equally important. Paella would not be paella without its typical amber hue of yellow. The ingredients used for paella vary according to the region you happen to be in: the type of meat may vary (rabbit ,chicken, duck), and the same applies to fish (seafood, sea snails) while mixta paella is made from a combination of meat and fish. The most authentic paella is made using rice from the Albufera, a lagoon in the south of Valencia. In this area rice has been farmed from time immemorial.
Couscous, however, requires a spice mix of which the essential ingredients are cinnamon, black pepper, chilli pepper, cumin, coriander and paprika. Another all-important ingredient of couscous are semolina grains, more typically made from wheat, even though they may also be of millet, barley or spelt. Couscous combines vegetables and meatwith steamed wheat semolina grains ( whose diameter of one millimetre prior to cooking becomes increasingly large).
WHAT DO YOU NEED TO COOK COUSCOUS AND PAELLA?
The term paella derives from the name of the pan in which it is cooked, the paellera, a wide pan with shallow sides whose long handle has been replaced by two small ones.
The couscousier works rather similarly to a primitive bain-marie. It is an earthenware pot (today they also exist in stainless steel), consisting of two sections: a tallish saucepan in which the stew and its liquid are left to simmer and a more rounded perforated section that fits on top for containing the semolina while it cooks in the steam. If the two sections are not hermetic, they may be sealed with damp cloths or with fresh dough (water and flour), to prevent the steam from escaping at the sides.
HOW TO COOK COUSCOUS AND PAELLA
According to tradition, paella should be cooked in the open air, possibly over a fire of orange wood, which is widely available in Valencia. Apart from conferring a particular aroma to the paella, this wood makes a fire that is of a consistent temperature and easy to control. The first step consists in making a vegetable stock, then the pieces of chicken and rabbit are browned in the pan. The meat is followed by the various vegetables and, finally, the rice, which has to be poured into the pan in the shape of a cross and stirred once only.
The semolina destined to become couscous is mixed with water and manually pressed into balls which are then dusted with dry semolina to keep them separate and subsequently passed through a sieve. Nowadays, couscous is sold pre-cooked. You just have to place the couscous in a bowl and pour over some water or boiling broth, taking care to cover the bowl. The couscous will swell and, in the space of a few minutes, is ready to serve, after being mixed with a fork. The vegetables and meat are cooked separately from the semolina, apart from the final 30 minutes of cooking when all ingredients are combined.
HOW TO SERVE COUSCOUS AND PAELLA
When tasted, no two dishes could be so different on the palate. Both are complex, like all those recipes which spring from what is readily available locally or from what is left over from the fruits of the garden, farmyard or fishing net.
One strict rule applies when making paella. It may seem to be an end in itself but it has a lot to do with the final flavour: it is absolutely forbidden to stir the rice after adding the vegetable broth or fish, because it is actually the part which remains stuck to the bottom of the pan which gives this dish its characteristic taste of being roasted to an extreme, almost smoky and slightly bitter. A taste which recalls those Neapolitan sauces which seem to go on cooking for ever and are almost brown in colour.
The texture of couscous is finer and the pieces of vegetables and lamb, as in the traditional Moroccan version, have to be small and compact. A mouthful of couscous releases spicy aromas and slides over the palate, while paella needs to be chewed more and the taste of saffron predominates at all times. In many countries people use their hands to eat couscous, while paella is enjoyed in forkfuls.
If you are now craving for a couscous or paella recipe to try at home, don't miss to look at our recipes!
What about a vegetarian couscous recipe with lemon, peppers and olives? And if you want to surprise your guests' eyes and palates, try this vegan sushi with couscous instead of rice.
Looking for the classic paella recipe? Here's how to cook a proper and traditional paella, that quintessentially Spanish dish of saffron rice and fish.
When a Chef is Truly in the Zone
Chef Paul Sorgule describes what it's like for a chef to be in the zone and how to get there.
Read more about When a Chef is Truly in the Zone
6 Unusual White Foods for the Curious Foodie
White food does not just mean potatoes, rice and bread. Play with the colour white in the kitchen with these lesser-known white foods.
Read more about 6 Unusual White Foods for the Curious Foodie
Michelin Chef to Sue Over Fake Seamless and Grubhub Accounts
Thai chef Pim Techamuanvivit's tweet about a fake account for her restaurant Kin Khao on Grubhub went viral.
Read more about Michelin Chef to Sue Over Fake Seamless and Grubhub Accounts
Street food in Puglia: 10 must try dishes


Me and my parents back in the day — Brooklyn Heights, circa 1980. I love this photo because we look like complete strangers standing at a bus stop. What could possibly be the connection between these three random dots? That, and my mom looks like a teenager although she is older in this photo than I am now.
We arrived in NYC without incident, in the end, and now all we have to deal with is the disorientation of jet lag and the tummy turmoil that the boys are suffering in the aftermath of the trip (and the less said about that the better for you, dear reader). I guess I always knew they would behave, but I try not to expect miracles from them. That way I am always grateful when they pull through with one.
My father had a wonderful gift for dispelling fear, putting things into perspective, listening when that was what was needed, or dispensing calming hugs. I very often turned to my mother when I was upset, but if I were in a real state, she would always send me to my dad, and it was always the right thing to do. I even remember crying in his arms because I was waiting for a boyfriend to write me and my father hushed me, saying, "Journalists don't write letters, love." What was it about my irascible father that made me feel so grounded and secure?
He looks like a slob in the family photo above, but he was usually quite into his clothes. He loved to wear sarongs, a habit he picked up during his days in Indonesia back in the 50s, and he always delighted when he found himself in a locale where he could wander around at will in one. Our family vacations in Mombasa always involved standing at wooden counters in dimly lit shops as a salesman unfurled colorful lengths of cotton pulled from tights stacks that lined the walls. Later, when my parents traveled to Myanmar, they brought back beautiful silk sarongs, and my father, ever the clothes horse, delighted in wearing them when he had guests.
In the final weeks of his life, my father's hospice nurse, Dan, showed me how to steady him in his trips from the bed to the living room or the bathroom by pulling his sarong tightly around him and holding it firmly at the small of his back. I held the cloth, tethering him to me, and we marched slowly from place to place. Yet even when he was helpless as a child, he remained to me a giant of a man.
He died four years ago today, here in New York City.
My dear Siobhan, this is so beautiful!
I remember your amazing Dad strutting around in his sarongs. He was always so spectacular to me & even more so when you told me the story of how his whole head of hair turned prematurely white at a young age…..the war.
Some of my best and most memorable experiences in Kenya, were made on the various trips you're wonderful family brought me along on. I experienced my homeland in such a raw exciting way because of your very cool, fun loving, adventurous parents. Despite my love of the beaches of Mombasa, our Safari to Loita where the Maasai live as they have since ancient times, was the most poignant….I loved it. I'm forever grateful for our friendship and for the opportunity to spend time with you, your beautiful Mom & spectacular Dad…may he rest in peace.
Thanks so much, Kate. Your comment got me thinking about how much I also got out of our friendship. And I think that is what the most memorable friendships are — opportunities to learn and grow together. Thank you, then, for sharing those years with me, and all those good laughs!
that is wonderful siobhan, may he rest in peace. have a nice stay in the city of cities!
Thanks, Nina — we'll do our best!
Thanks, Celi. I think we'll have a grand time once our minds catch up with our bodies. The boys were perfect on the trip over, and are dealing with the big city admirably.
Beautifully written tribute to your dad. Thank you for sharing your memories with us!
Thanks so much. It's nice to have such a kind audience.
Such a loving tribute to your father. I hope your boys' tummy troubles are already a thing of the past and that you all enjoy the rest of your visit.
They seem to be on the mend! Poor things, I think that they don't fully understand why things are so topsy turvy, so it all goes straight to their stomachs.
What a lovely tribute to your father. I lost my father about the same time and miss his loving ways. I do hope you enjoy your time in New York.
Thanks so much. Already, we are all quite exhilarated to be here. Although they do say a change is as good as a rest and at the moment, with jet lag, rest would be welcome!
A very touching tribute to a well loved parent. Really lovely.
Thanks so much. I like to tell stories about him to keep him in our lives.


After a defendant is convicted of capital murder and sentenced to death at trial, the appellate process begins. For survivors of the defendant's victim, it may seem like an endless process. However, these appeals do follow an established process and typically take approximately 5 to 6 years from time of conviction to execution of the death sentence.
A capital conviction and death sentence normally is reviewed both in state court and then federal court. Once the appellate process begins, the interests of the Commonwealth and of the victim are represented by the Virginia Attorney General's Office in Richmond.
A defendant who is sentenced to death is entitled to an automatic appeal to the Supreme Court of Virginia. At this point, the defendant is called the "appellant" and the Commonwealth is called the "appellee." The record of the trial, including all papers filed in the trial court, the physical evidence presented at trial and a written record of all trial testimony is compiled and filed in the Supreme Court of Virginia.
The defendant's attorney then files a brief in which it is argued that error occurred during the trial and that the defendant's conviction and/or death sentence should be reversed. The Attorney General's Office will file a brief for the Commonwealth responding to the defendant's allegations of error. The defendant then may file a reply brief. After all briefs have been filed, the Supreme Court of Virginia will schedule the case for oral argument.
Oral argument is very formalized, with each side having thirty minutes to discuss what happened in the lower court and whether it warrants reversal of the conviction or death sentence. No new evidence or facts not appearing in the record of trial can be presented to the Supreme Court of Virginia. The defendant, of course, will be represented by his or her attorney, and the Commonwealth will be represented by an Assistant Attorney General.
Oral arguments are held in Richmond, are open to the public, and you are welcome to attend. Defendants are not brought to court for oral argument although members of the defendant's family are permitted to attend.
Appellate courts, however, do not announce their decisions at the conclusion of the oral argument. A decision by the Virginia Supreme Court can be expected in approximately seven weeks.
Based on its resolution of the claims, the Court affirms or reverses the conviction, the sentence or both. If the defendant's conviction or sentence is reversed, the case is returned to the trial court. In such cases, the Commonwealth's Attorney will take over the case again and make any further decisions regarding re-prosecution or resentencing. If the Court affirms the conviction and sentence, the defendant usually petitions the United States Supreme Court for what is known as "certiorari" review.
The defendant, now called "the petitioner," files a petition for a writ of certiorari in the United States Supreme Court in Washington, D.C., asking the Court to review the case and arguing that his federal constitutional rights were violated by the trial court or the Supreme Court of Virginia.
The Commonwealth, called "the respondent," files a "brief in opposition" responding to the petition. The Commonwealth argues that there is no reason for the Supreme Court to review the defendant's case because the case is of limited importance or because the defendant's constitutional rights were not violated. In the vast majority of cases, the Supreme Court refuses to hear the case and, with a short written order, denies the defendant's petition. At this point, the defendant's direct appeal is complete.
A death-sentenced defendant also is entitled to seek state habeas corpus review, which is basically just an additional appeal, differing from the direct appeal described above in that the defendant may raise claims based on facts outside the trial record. In Virginia, the range of claims available to be raised in the state habeas process is quite limited, and a petitioner may raise only claims which could not have been raised on direct appeal. In addition, the petition cannot contain any claims which were pursued during the direct appeal. Claims generally ripe for review in state habeas corpus are allegations of errors by the prisoner's trial counsel.
State habeas review begins when the defendant, now called "the petitioner," files a petition for a writ of habeas corpus in the Supreme Court of Virginia. This petition must be filed in the Virginia Supreme Court within 60 days after the United States Supreme Court denies certiorari after direct appeal.
In the petition, the prisoner again presents claims in which it is argued that his conviction and/or sentence are unlawful or were obtained in violation of his constitutional rights. The Commonwealth, or "respondent," answers the application, specifically refuting the petitioner's claims and arguing that no error occurred in either the guilt-innocence or punishment phases of the trial.
The Supreme Court of Virginia reviews the petition and, in nearly all cases, decides the case without an evidentiary hearing. If the Supreme Court of Virginia decides a hearing is necessary to properly resolve the petitioner's claims, the hearing is held in the circuit court where the prisoner was convicted, ordinarily before the same judge who presided at the trial. The petitioner will be present at any hearing ordered to be held on a habeas corpus petition. Such hearings are open to the public.
The trial court reviews the claims, makes findings of fact and conclusions of law regarding those claims, and recommends to the Supreme Court of Virginia that it either grant or deny relief. Only the Supreme Court of Virginia, however, can make the final decision upholding or overturning the petitioner's conviction and/or sentence.
As with the direct appeal, the prisoner can petition the United States Supreme Court for certiorari review after denial of his state habeas action, although this is extremely rare. At this point, the Attorney General's Office seeks an execution date by notifying the trial court that the prisoner has completed his state habeas review. The trial court must hold a hearing within 10 days after receiving the notice, and must set an execution date for a date within sixty days after the hearing. This date, in almost all instances, will be stayed by a federal court while the prisoner seeks federal habeas corpus review.
Federal habeas review follows state habeas review. It is initiated when the prisoner requests that the United States District Court stay his execution date and appoint him counsel to file a federal habeas petition on his behalf. The federal district court will appoint counsel and allow counsel several months to file the petition. Here, the prisoner is called "the petitioner," and the Commonwealth is called "the respondent."
In the petition filed in the United States District Court, the defendant argues that the conviction and/or sentence should be overturned because the conviction was obtained in violation of the defendant's federal constitutional rights. In its answer, the Commonwealth responds to each of the defendant's claims, arguing that relief must be denied and the conviction and sentence upheld.
Normally, the Commonwealth urges alternative bases for denying relief, including (1) various procedural bases, for example that a claim is foreclosed because the defendant did not object at trial or because the claim relies on a rule that is inapplicable in federal review, and (2) that the defendant's constitutional rights were not violated.
The record of all the previous state court proceedings, including the trial, direct appeal, and state habeas action, are filed in the United States District Court. In rare instances, the United States District Court holds a hearing to resolve some or all of the prisoner's claims. Such hearings are held before a single district court judge. They are open to the public. The petitioner is also entitled to be present.
Federal law requires that the federal courts give considerable deference to the earlier decisions of the state courts in rejecting a prisoner's claims. For this reason, successful federal habeas petitions are unusual.
Once the district court has disposed of a habeas case, the losing side can appeal to the United States Court of Appeals for the Fourth Circuit.
The losing side, now called "the appellant," files a legal brief explaining why the district court's decision was wrong. The prevailing party, called the "appellee," files a brief arguing that the district court's decision was correct. In death penalty cases, the Fourth Circuit will require both sides to present oral argument. This argument is usually, but not always, held in Richmond. Prisoners do not attend oral argument in the Fourth Circuit.
Appellate proceedings in the Fourth Circuit are conducted much like those in the Supreme Court of Virginia, except a panel of three judges decides the case first, with possible reconsideration later by the full court. Full court reconsideration, however, is rare.
When the Fourth Circuit has finished with a federal habeas appeal, the losing side can petition the United States Supreme Court for certiorari review. As with certiorari after the direct appeal, the Supreme Court rarely agrees to hear and consider such cases.
If the Commonwealth prevails in the Fourth Circuit, the Attorney General's Office will ask the trial court to set an execution date. Absent executive clemency or action by the United States Supreme Court, the execution is carried out on the date set by the trial court.
Executive clemency is the power of the Governor to grant full or conditional pardons, reprieves of executions and commutations of sentences. It is initiated when the prisoner files a petition for executive clemency directly with the Governor. After reviewing the petition and fully acquainting himself with the facts of the case, the Governor grants or denies clemency.
Executions in Virginia are ordinarily set for 9:00 p.m. and take place at the Greensville Correctional Center in Jarratt, Virginia. The inmate has the option of choosing to be put to death in the electric chair or by lethal injection fifteen days prior to the date of execution. If they do not choose, the latter is used.
As a member of the victim's family, you may request to witness the execution, although doing so is purely voluntary on your part. Advance approval must be obtained from the Virginia Department of Corrections and the Victim Notification Program of the Virginia Office of Attorney General is available to assist you in making such a request.
(Special thanks to the Virginia Office of Attorney General, Victim Notification Program for contributing this overview).


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Der Lake O'Hara ist ein Gebirgssee in den Höhenlagen des Yoho-Nationalparks in der kanadischen Provinz British Columbia.

Lage
Der See liegt westlich der nordamerikanischen kontinentalen Wasserscheide. Die kanadische Provinz Alberta und der Banff-Nationalpark liegen östlich des Sees. Über den östlich des Sees liegenden Abbot Pass verläuft eine Route zum Lake Louise.

Der See ist über eine Busverbindung erreichbar.

Einzelnachweise

Weblinks

 Lake O'Hara bei Natural Resources Canada

Ohara
Ohara
SOhara
Columbia-Shuswap Regional District


In this article, we present you the required system specifications for the proper operation of Noblurway Mosaic.
Noblurway Mosaic operates on Microsoft Windows 7, Windows 8 and Windows 10.
Please contact us to discuss you needs.
WE CAN OFFER YOU A FULL PACKAGE!
Noblurway Mosaic can be easily integrated with market main recording stations (Pro Tools, Pyramix, Nuendo…).
We will detail, below, the required hardware in order to use Noblurway Mosaic in studio.
Here are the specifications to know in order to ensure a proper operation in studio.
We recommend you to use HP Z440 workstations with a XEON processor and Windows 7 64 bits.
The display of the video and the rythmo will be done with a projector or a big TV screen.
In order to ensure the readability and the sharpness of the scrolling rythmo (no blur), we recommend to use the following equipment.
DLP 3D projector with a 120 Hz display frequency (we recommend some OPTOMA projectors, please contact us).
The synchronization of Noblurway Mosaic with the recording station is done with the reading of a LTC signal (chase time code), or with a RS-422 interface. Here is the required equipment for these 2 solutions.


text:
OTDT Roundabout 22 September 2014
September 22, 2014 Chris Jacobs
A wrap-up of everything covered and uncovered from the past week.
-We start with a local story: Video game review series Classic Game Room is old enough to have a 15th anniversary DVD and get it funded by Kickstarter. They now have a new DVD for their spin-off CGR Undertow.
-Moving from Pittsburgh to Hollywood, Roberto Orci isn't doing the Power Rangers movie now. Apparently the third Star Trek takes precedence.
-LINE is prepping for an IPO. SoftBank isn't interested.
-In addition to VOCALOID x Late Night, there's now VOCALOID x Bunraku puppetry. Oh, and a new DIVA game for the 3DS.
-Speaking of music, I'm not sure how high-octane a concert can be when it's at Mt. Fuji. That's elevation, Holmes.
-Finally, Game Informer is one of many that was covering Tokyo Game Show. Here's a nice link-dump.
Speaking of link dumps, here's what OTDT covered in the past seven days, via the site and Facebook.
Daigaku Z: The Adventure Continues
Dengeki Bunko Fighting Climax adds Valkyria Chronicles heavies.
Smash Bros. bans were an accident.
Contest to star with Rodanthe* in a music video.
New comics anthologies from Pixiv and Shogakukan
Persona lost its rhythm until 2015
For more up-to-date coverage on all the American Otaku news that drives you, you can also follow OTDT on Twitter, Instagram and Tumblr as well as Google+, Pintrest, and Path.
tagged with Classic Game Room, hatsune miku, LINE, Nintendo 3DS, OTDT roundabout, Power Rangers, Project DIVA, Tokyo Game Show, video games, Vocaloid


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Jerusalem Post Blog Home New World Order
The United States Courts For The Next Few Days
By SAM GREENBLATT
The question of law is does the President under the Constitution have the authority to impose a 90-day embargo on immigration? President Donald Trump appealed the injunction against his visa executive order by Washington State Federal Justice Robart issued by a federal judge in Washington State. A panel of the 9th Circuit Court of Appeals refused to rescind the injunction on an emergency basis. Every President has full freedom to protect the homeland the presidential authority comes from Section 212 F of the Immigration and Nationality Act of 1952. These seven nations were identified in 2015 in a law passed by Congress and President Barack Obama used the law to prohibit entry of certain individuals whose entry would be contrary to American national interests.
Many President's has exercised this law and the actions were never ruled illegal. It is the President's right in his power to exclude people who may cause harm to the populous of this country. The President has in his foreign affairs power the ability to do this. That power has never been successfully challenged granted by the Constitution that gives the President the authority to protect the American people. The President has the authority to protect the American people from foreign nationals; Judge Robart issued an emergency Temporary Restraining Order on the grounds the states of Washington and Minnesota would suffer irreparable harm. There is no explanation what damage they will suffer. The President does have the authority to apply extra vetting measures to travelers coming into the country.
President Trump has taken bold move to make the world safe citing national security concerns. He is not defying the injunction. Mr. Trump ordered his Justice Department immediately to appeal, which the courts will hear on Monday. The injunction is too broad in scope and lacks gradation. These seven countries have no right to receive a visa and we have the right to determine who enters our sovereignty. This matter will be appealed to the Supreme Court if monday proves unsuccessful.
We may have to live with the vagueness resulting from this Executive Order, and an ambiguous injunction against that order. The protests in the people in the street have tar and feathered the Executive Order with little understanding of it.


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People with mental health problems say that the social stigma attached to mental ill health and the discrimination they experience can make their difficulties worse and make it harder to recover.
Mental illness is common. It affects thousands of people in the UK, and their friends, families, work colleagues and society in general.
One in four people will experience a mental health problem at some point in their lives.
Around one in ten children experience mental health problems.
Depression affects around one in 12 of the whole population.
Rates of self-harm in the UK are the highest in Europe at 400 per 100,000.
450 million people world-wide have a mental health problem.
Most people who experience mental health problems recover fully, or are able to live with and manage them, especially if they get help early on. But even though so many people are affected, there is a strong social stigma attached to mental ill health, and people with mental health problems can experience discrimination in all aspects of their lives.
Many people's problems are made worse by the stigma and discrimination they experience – from society, but also from families, friends and employers.
Nearly nine out of ten people with mental health problems say that stigma and discrimination have a negative effect on their lives.
We know that people with mental health problems are amongst the least likely of any group with a long-term health condition or disability to:
be in a steady, long-term relationship
live in decent housing
be socially included in mainstream society.
This is because society in general has stereotyped views about mental illness and how it affects people. Many people believe that people with mental ill health are violent and dangerous, when in fact they are more at risk of being attacked or harming themselves than harming other people.
Stigma and discrimination can also worsen someone's mental health problems, and delay or impede their getting help and treatment, and their recovery. Social isolation, poor housing, unemployment and poverty are all linked to mental ill health. So stigma and discrimination can trap people in a cycle of illness.
The situation is exacerbated by the media. Media reports often link mental illness with violence, or portray people with mental health problems as dangerous, criminal, evil, or very disabled and unable to live normal, fulfilled lives.
This is far from the case.
Research shows that the best way to challenge these stereotypes is through firsthand contact with people with experience of mental health problems.
A number of national and local campaigns are trying to change public attitudes to mental illness. These include the national voluntary sector campaign Time to Change.
The Equality Act 2010 makes it illegal to discriminate directly or indirectly against people with mental health problems in public services and functions, access to premises, work, education, associations and transport.
From: http://www.mentalhealth.org.uk/help-information/mental-health-a-z/S/stigma-discrimination/


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text:
The Handbook, the Field, ...
The Handbook, the Field, and the Archive: Photographic Practices and the Rise of Anthropology in Italy (1861-1911)
Agnese Ghezzi
The research aims to provide a critical analysis of the interconnection between photography and ethnography along the institutionalization of the anthropological discipline in Italy from 1861 to 1911. The investigation is built on the analysis of photographic collections from the Museum of Ethnology and Anthropology (Florence), the Pigorini Museum of Prehistory and Ethnography (Rome), the Italian Geographical Society (Rome), Castello D'Albertis Museum of World Cultures (Genoa) and it addresses the hybrid nature of visual sources such as ethnographic photography, produced at the intersection between scientific necessity, aesthetic pleasure, travel documentation, and commercial use.
The time span follows the first fifty years of the Italian unification and analyses the discipline's role within the new nation, as well as the connection with colonial endeavour and geographical explorations. The research aims at reconstructing the mixed environment that characterized anthropology in its making, informed by the interaction of multiple actors, agendas, institutions, geographies and systems of knowledge, and it traces the role played by photography in such dynamic exchanges.
Rather than focusing on specific biographies and taking an authorial perspective, the research looks at photography in its multiple manifestations within the anthropological discipline, looking at publications, archives, expeditions, and exhibitions. The study of Italy allows reconsidering dominant narratives on the connection between anthropology and photography, to position the case in a wider global context, to analyse the peculiar traits of Italian colonial culture before the Libyan war and the fascist era. Moreover, the research considers how Italian anthropology looked at national popular traditions, and how it visualized them through photography.
Agnese Ghezzi Doktorandin
E-Mail: agnese.ghezzi@imtlucca.it


text:
Next Episode...
A pilgrimage through Doctor Who, episode by episode
Doctor Who: All Episode Reviews
DW 50 Years 50 Stories
DW Classic Countdown
The Run Report
All the London Parkruns
Doctor Who episode 324: The Time Monster – Episode One (20/5/1972)
At this stage, producer Barry Letts and script editor Terrance Dicks have every reason to be pleased with themselves. They've turned a show that by all accounts seemed to be on the brink of cancellation between 1969-71 into a success story about to go into its tenth series; they've weathered the storytelling challenges of the previous producer's decision to strand the Doctor on Earth, and they've created a team of regulars and an aesthetic for the show that's added two million onto the viewing figures, pushing it back towards its mid-1960s heyday. In this imperial phase, surely they're entitled to enjoy themselves.
The beginning of The Time Monster reminds me of a later imperial phase: a dream sequence of the Master laughing evilly amid ominous warnings of doom is pretty much exactly how The End of Time begins in 2009. The erupting volcanoes also feel like a call-back to the Mind Parasite's attacks in The Mind of Evil, although there it was the Doctor looming over the Master and laughing. UNIT is once again hunting for the Master. Which also means we get to see the UNIT Fam for the first time in four months. And they're not quite as they were. Benton is as put-upon and stolid as ever, to be fair, but both the Brigadier and Yates have been letting their hair grow, and Nick Courtney and Richard Franklin are playing them as fun guest star turns rather than as series regulars.
In this, they're only responding to the script. Robert Sloman's previous co-write, The Dæmons, showed the Fam with their hair down. This goes further, having the Brigadier seem to be a bit of a buffoon ('That's a fearsome looking load of electronic nonsense you've got together, Dr Ingram? How does it all work? In words of one syllable'), cancelling Benton's leave on a whim, and cracking jokes about the Doctor consulting the entrails of a sheep. I love Nick Courtney, but this is not the same Brigadier who was running a top-secret paramilitary organisation in Season Seven, or even organising a world peace conference 16 episodes ago.
The whole script, though, has an archness to it that encourages arch performances: the scenes between Wanda Moore and Ian Collier are excruciating, with wry dialogue ('May God bless the good ship Women's Lib!') accompanied by some teeth-grindingly whimsical music from Dudley Simpson (elsewhere, Simpson adds a jaunty comic theme to the scenes of the Doctor and Jo using Bessie's Super Drive). Some of the actors respond to this better than others: while equally OTT, John Wyse's brilliantly cantankerous performance ('What, pray, is "interstitial time"?') is a highlight. Delgado and Manning are good enough to stick to their guns, and deliver entirely consistent performances (Delgado also gets the best line, claiming to be 'A lifelong pacifist' to avoid having to meet the Brigadier in person). And Jon Pertwee, who looks like he's wandered off the set of Whodunnit?, makes the interesting choice to play against the script, making the Doctor almost as distracted and cranky as he was during Season Eight.
I like some of this: the living dreams of visions and mystic crystal revelations are so of their time they're almost timeless, and it's a pleasure to see Delgado back. But I could have done without this feeling quite as self-indulgent, or the cliffhanger of the Master apparently going mad in the middle of an experiment.
Next episode: The Time Monster – Episode Two
Written by Matthew Posted in Complete Review, Doctor Who, Episode by Episode
7 December 2020 - 09:57 Pingback: Doctor Who episode 323: The Mutants – Episode Six (13/5/1972) | Next Episode...
Doctor Who episode 323: The Mutants – Episode Six (13/5/1972)
Doctor Who episode 325: The Time Monster – Episode Two (27/5/1972)
Will Howells


This museum has obtained the most important treasure trove of Egyptian Antiquities on the planet. This is one place you have to visit, whereas in Cairo. You nevertheless need to be aware that the museum is in close neighborhood of Tahrir Square, which is the focus point of any public rebellion in Cairo. Your tour firm will probably be up to date on any occasion that may put you at risk on this part of Cairo.
Does a mini travel kettle sound like one thing you your self would need to personal? It is a cleaner, cheaper and extra handy choice than counting on resort provisions and an excellent one is not expensive both. You will discover some nice portable kettles for travelling right here which make nice items for individuals who travel rather a lot or for your self. All are well rated and reviewed by their owners in your peace of thoughts – no poor merchandise to type by means of, just the very best rated travel kettles.
The Tufftaag had the strongest attachment loop and sturdiest card holder of all the tags we looked at. With two layers of strengthened aluminum and a steel attachment cable that screws together tightly, it was the one tag that survived the pulling, bending, and banging of our stress testing. Meanwhile, the Hibate Metal Luggage Tag bent with minimal pressure, the Travelambo Real Leather-based Baggage Bag Tag broke when pulled, and a budget exhausting plastic of the Travelon Baggage Tag simply snapped in two.


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I'd deffo love to hear your suggestions for 'That Friday Feeling' songs and don't forget a reason why you'd like to see the song..
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Hi Neasa, when are you going to update your blog again ????????