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3 Nights in Nashville: A Chicagoan's Guide to Drinking in Music City
In Chicagoans Guide by Karl December 4, 2013
Earlier this year, you may remember our Chicagoan's Guide to Drinking in Cleveland. Rather than a straight list of beers to try, or bars to go to, or a travelogue of things to do, we thought it'd be better just to tell you how we drank in that fair city.
Today, we recap a recent visit to Music City, Nashville USA, home of Hot Country, hot chicken, Americana and afficionados of Fireball whiskey.
I tend to think in a fairly hyperlocal manner here in Chicago about our beer, and my thoughts don't stray too often to the South. Whether or not that's because the beer just doesn't make it up here, or because there still isn't a whole ton of craft brewing in the south (I think it's the former), believe it or not they've got a lot more good beer than you'd expect. My assumption was that I'd be resigned to average swill in any number of country bars. I was (mostly) wrong.
Something to remember right up front: I don't honestly mind drinking what I just referred to in the last paragraph as "average swill" as long as it's in the right circumstances. You're going to see that those circumstances are on full display in Nashville. Yes, I'm trying to pre-emptively get in front of the "oh look at the craft beer guy who went to Nashville and just drank a bunch of High Life and shitty weird liqueur" commentary a little, but regardless, if you can't relax long enough to suck back a High Life when necessary you probably don't belong here anyways.
Here's what I learned about drinking down south, which as was the case last time, doesn't always include beer.
1) Get to Know Yazoo Brewing early.
I'm not sayin' you gotta go to the brewery — although you're probably going to walk right past it when you go to Arnold's for lunch one day. You know, like I did:
Yep. Just wandered past it. Nashville is a little smaller than you think.
If you really want to go to Yazoo, plan ahead — they're only open for tastings and such a couple days a week. But for the most part, places you go will have at least one if not two or three different kinds of Yazoo available. My recommendation is to find all the Dos Perros you can and drink as much of it as possible, whenever possible.
The pale ale is fine, and the hefe is pretty standard, but that Dos Perros — it's gonna come in handy. It's a fully flavorful brown ale with a nice amount of complexity and a hefty enough body to let you know that you're drinking something, but it clocks in at just under 5% ABV — the very definition of "sessionable." And Nashville is nothing if not a session town. (Musician joke!)
There will be a lot of places where your options are "swill" and "Dos Perros." You should pick the Dos Perros. However, don't do it every time. This leads me to…
2) You're Gonna Drink Some Macrobrew (And You Just Might Like It)
Okay, so when I say "like it" I mean "appreciate it in a different way than just watching TV on a Tuesday and drinking four High Lifes."
What I mean is, going to Nashville and wandering from honky tonk to honky tonk on Broadway on a Saturday night is basically the American version of Oktoberfest. It's beer and crowds and loud music and beer and relative abandon and believe me, no one is drinking wine. Folks are drinking Bud Light, and High Life, and Coors Light (heavens praise the bars like Legend's Corner for selling Banquet) and it's kinda just what you do.
More From GDB: Where To Drink Near Wrigley Field
Basically, if it's 1:30am, and you're on the 3rd-floor balcony of Honky Tonk Central (THIS IS A REAL NAME OF A REAL PLACE) watching bachelorette party after bachelorette party wander by and there are three people hovering next to you sucking down cigarettes because it's actually legal to do that there, and you DON'T have at least a Silver Bullet in at least one of your hands, things just ain't gonna seem right.
It's an experience that everyone should embark upon at least once in their lives, and I now understand why folks call it "NashVegas" because Vegas is another thing every American needs to do at least once. Ditch the craft-beer snobbery (which you shouldn't have anyway; lighten up, Francis) and drink a goddamn macrobrewed beer and yell a request at the band. It just feels right there, you know? I drank a whole mess of High Life, Silver Bullet and even a half a Bud Light Lime (don't ask about this one) and I feel just fine about it.
3) Learn to Accept — No, Appreciate — the Fireball
In case you haven't heard, Fireball Whiskey (or as I call it, Fireball "whiskey") is pretty much all the rage in Nashville and other points south. Hell, HuffPo even called it "the most popular liquor brand you've never heard of" back in July. What is it? If you ever drank Hot Damn or Goldschlager in your first few years of undergrad…well, it's better than that but you're starting to get the right idea. It's actually the same stuff as Dr. McGillicuddy's something something something; I don't remember because that's how powerful branding and marketing is. Now it's just… Fireball.
It's also ubiquitous — Fireball machines at bars are lined up next to Jagermeister machines, which should also give you an indication of how this particular drink works. It should run you no more than $4-$5 a shot, it will be served in a little plastic glass so you can't throw it and hit someone in the head when you get all redneck crazy, and it tastes like an Atomic Fireball. (Get it?)
I fought against the idea of Fireball for a while, and now I've made my peace with it. It is a product of its location, and I don't expect it to catch on up here where it's cold for 7 months out of the year, but when you're squished into a tiny bar in a Southern city and it's hot and humid outside, what else are you gonna drink? Might as well make your insides glow aflame a little bit.
Note: When you're in a bar and they play that Florida Georgia Line song that references Fireball whiskey in the chorus (and you will hear it), there could be no more appropriate time to do a shot from that little plastic glass while yelling "woo-hoo" like a 19-year-old sailor on shore leave in Thailand.
More From GDB: Drinking Across the Frozen Tundra: A Chicagoans Guide to Green Bay, Wisconsin
4) A Brief Aside To Discuss the Food
We went to: Hattie B's for hot chicken. Arnold's for traditional meat-and-three (get the roast beef and learn a new appreciation for the majesty of salt), Broadway Brewhouse for football-watching snacking, Patterson House mostly cocktails but also for sustenance (see below), a place called Whiskey Kitchen because it was on the way to a Drive-By Truckers show, Husk for a super-fancy Southern dinner and Pancake Pantry for a final breakfast.
This is Husk Nashville, which may be the prettiest damn restaurant I've ever been to. Stately manor, indeed.
Because this is a guide about drinking in Nashville, I feel obligated to mention that there was no booze at Arnolds or Pancake Pantry.
5) Sip Cocktails at Patterson House And Feel At Home
This isn't one of those "it's so comfy and friendly I felt like I was at home" sort of "you'll feel at home"s. Rather, if you've been to the Violet Hour more than a couple times, you will feel at home because you will feel just like you're at the Violet Hour. That's because the owners basically wanted it to be the Violet Hour.
As Nashville's CityPaper put it:
A Nashville entrepreneur since his teen years, [owner] Goldberg hit on The Patterson House idea during a trip to Chicago more than a year ago. In the Windy City, he discovered The Violet Hour. [snip]
"It was an amazing experience," Goldberg recalled…"The more I learned the more I became interested and the more I wanted to bring this to Nashville."
Chicagoans will recognize the exterior with no posted name or sign. The waiting space and the curtains that are drawn back to reveal the bar. The rules posted on the wall. Even some of the drinks are the same. None of this is a bad thing. In fact, it wasn't a cocktail but a food dish that brought us back twice in two days — you'll have to believe me when I say it's no hyperbole that the chicharonnes are better than the ones at Publican. I'll await your cries of "blasphemer" and "how dare you" and "take it back you heathen" over here on Twitter.
More than anything, for us, it was a bit of a grounding experience. Even though we were a few hundred miles from home and had already spent a few days over on the east coast before coming to town, sitting at the bar and bullshitting with the mixologist/bartender/I don't know what they want to be called was a little touch of fancy-pancy home when we needed it. You'll appreciate it too.
6) Visit Nashville, Drink Schlafly
When we visited Cleveland, I was surprised to find that 21st Amendment beers were prominently featured there. Similarly, Schlafly has a presence in Nashville which you should take advantage of if at all possible.
It's a little weird, but just run with it. You'll probably be drinking a Dos Perros when you see that they have Schlafly available, at which point you'll order a Schlafly, and afterwards probably go back to a Dos Perros.
7) So, The Bars: Where Should You Drink?
Short answer is: Everywhere.
Basically, we didn't wander into a single bar where we felt out of place. From the Lower Broadway joints (including some I may or may not be able to fully recall) to some beer bars in Midtown, to cocktail joints to fancier places, everything felt as comfortable as any of my favorite places in Chicago, if not moreso.
In the process of writing up this little travelogue, I went and looked at a bunch of lists of places that claim to explain the "Best 5 Bars in Nashville," "Best Craft Beer Bars in Nashville," "Best Local Bars in Nashville," "Best Dive Bars in Nashville" and so on. I only saw a handful of places included on those lists that I actually went to, which means a couple things.
A) I had a hell of a good time at all my destinations, so if a lot of folks think that all these other places are better means I have a lot of work to do when we go back to Nashville.
B) There are a whole hell of a lot of great places to drink in Nashville. A lot of them look like this which make for pretty awesome pictures:
8) A Summary, Or Other Things I Haven't Mentioned Yet And Some Stuff I Have Mentioned
Drink Yazoo. Drink Jackalope. Drink Fat Bottom. Drink cocktails, and Fireball, and cocktails that have Fireball in them if you can find them. Listen to a lot of music. Listen to music in a lot of different places. Appreciate that people are playing in bars for free at 3pm on a Monday because they have a dream and some talent and tip them appropriately, you lousy bastard.
Wander a lot; it's a city that's okay for walking if you stick to the downtown/Midtown area. Get a bunch of beers at Broadway Brewhouse. Get talked into a Bushwacker, which is basically a boozy milkshake, at Broadway Brewhouse. Look around and realize that even though you can smoke in a lot of places in Tennessee, many people choose not to, which is kinda unbelieveable.
Marvel at the fact that there are a half-dozen breweries on tap at a bunch of bars that you don't even recognize. Appreciate the fact that even though you may think you know a lot about beer, there's still so much more to learn. Drink new stuff just because it's new.
Don't go if you don't like country music and bluegrass, because you're just asking for a world of hurt.
Actually, go anyways. I dare you not to have a good time.
3 Nights in Nashville: A Chicagoan's Guide to Drinking in Music City was last modified: August 31st, 2021 by Karl
Karl has written about food, travel and beer for Chicago Magazine, Thrillist, Time Out Chicago, AskMen and more. His book, Beer Lovers Chicago, is now available via Amazon and other booksellers.If you're buying, he's likely having a porter or a pale ale.


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Current matters
Past applications
National Competition Policy Website
National Gas Law
Policy notes
Declaration is a pathway available under Part IIIA of the Competition and Consumer Act 2010 (Cth) for third parties to share the use of certain infrastructure facilities of national significance (ie to have a service provided by a facility declared). Further information can be found in the document Access to Monopoly Infrastructure in Australia available below for download.
If a service is declared, access seekers acquire a legal right to:
negotiate access to the service with the service provider; and
if necessary, have their request for access determined through arbitration by the Australian Competition and Consumer Commission (ACCC).
A party wanting access to a particular service may apply to the Council to have the service 'declared'. The Council considers the application before forwarding a recommendation to the designated Minister, who decides whether to declare the service. The Minister's decision may be appealed to the Australian Competition Tribunal. The Council cannot recommend that a service be declared unless it is affirmatively satisfied that all of the four criteria in section 44CA of the Competition and Consumer Act 2010 (Cth) are met.
The Council must also consider whether the facility that is used (or will be used) could meet the total foreseeable demand in the market over the declaration period and at least costs compared to two or more facilities.
The Council has prepared a Guide to Declaration which reflects the Council's current thinking as it has evolved through dealing with applications since 1996, and draws on relevant decisions of the Australian Competition Tribunal and the Courts. The Council notes, however, that each application raises its own unique issues. As such, the Council's thinking continues to evolve and the views expressed in the guide are neither definitive nor binding.
Parties contemplating an application for declaration should have regard to the Council's Guide to Declaration. While it cannot prejudge any application the Council also encourages potential applicants to contact the Council Secretariat in advance of lodging an application.
Declaration of Services, A guide to Part IIIA of the CCA 2010, April 2018 (PDF, 844KB)
Access to Monopoly Infrastructure in Australia (PDF, 413KB)
NCC Annual Report 2018-19
The Council's Annual Report is now publicly available following its tabling in Parliament on 16 October 2019.
Application for certification of the NSW water infrastructure access regime
On 31 July 2019, the Council received an application under section 44M of the Competition and Consumer Act 2010 (CCA) for certification of the NSW third-party access regime for water infrastructure services.
New appointment - NCC Executive Director
Following recent agreement between the Australian Competition and Consumer Commission (ACCC) and the NCC and in accordance with the Memorandum of Understanding between the two agencies, Mr Richard York, a Principal Economist in the Legal and Economic Division of the ACCC, has been designated as Executive Director, NCC.

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It was the first of December and I was so excited to put up the Christmas tree (I had been counting down)! We were ready to put the finishing touches on - the sentimental ornaments and the star - with my five-year-old son, when we discovered that somehow a little snow globe we'd bought in 2011 to celebrate his first Christmas with us had broken. Read More..
Now I know this may be a bit controversial or some may even say polarising, but when December comes I get a little bit like Buddy from the movie Elf. Which just happens to be my favourite Christmas movie. Sorry not sorry! I get so excited, because Christmas is my favourite time of year. Read More..


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Pusha T From A to B: "We Argue, We Fight, We Disagree. We Make Great Music. We Love It."
Last week, Pusha T joined Red Bull Music Academy host Anupa Mistry on stage for a Q&A at Berlin's Soviet-era Kino International movie theatre. For 90 minutes, the rapper and G.O.O.D. Music record label president discussed his discovery of music – and some other things – in his youth alongside neighbors Pharell Williams, Chad Hugo, and Timbaland, making his way to the present day, talking the fallout of his summer beef with Drake, his working relationship with Kanye West, and the status of lyricism in hip-hop in 2018.
Born in the Bronx and raised in Virginia Beach, Terrence LeVarr Thornton, better known as Pusha T, is one of the most influential rappers alive. Thornton began his music career in 1992 when he and his brother No Malice formed rap duo Clipse. Their albums Lord Willin' (2002) and Hell Hath No Fury (2006), both of which were produced by The Neptunes, are accepted masterworks of the genre, each elevating the sonic scope and lyricism of grim, drug-centric gangster rap. After founding Re-Up Records and releasing a handful of mixtapes, the brothers pursued solo careers on the heels of 2009's 'Til the Casket Drops. Since signing to Kanye West's G.O.O.D. Music in 2010, Thornton has released three studio albums on G.O.O.D. Music and Def Jam Recordings. His seven-track 2018 album Daytona, which was produced exclusively by Kanye West, is arguably his strongest and most cohesive effort yet, featuring his sharpest writing and the most damaging diss track in recent rap history.
ANUPA MISTRY: So we are here in Berlin. 4,228 miles from Virginia Beach, according to Google Maps. And that's where you were raised and where you became Pusha T. What can you tell us about where you grew up and how it might be culturally distinct from other big cities in America that people might feel like they know more about?
PUSHA T: Well, I'd have to say that Virginia Beach isn't really a big city, it's not. And I think that's what makes it so special about everything that's came out of there. It's a military town, actually. So when it came to musical influences, I always knew about what was going on in southern hip-hop, Bay Area hip-hop. Of course, New York. New York was a heavy influence in Virginia at the time. It was just a small town with a lot of different influences, and I would probably base that on the military first.
Living in Virginia at that time, you gotta think about it, it's a military town. It's also a college town. Norfolk State University, Hampton University, ODU, a little further out, Virginia State. Colleges everywhere. And during this time, the New Yorkers flooded our area, super flooded our area. The drug culture was super heavy. It was really, really a big thing at the time. So just living through that and actually, I actually seen Big in a club. Raekwon was friends with some of my friends. So when these albums hit, it was like chaos through the town.
You had everybody in Virginia at the time talking like they had adopted all of this slang of like Wu-Tang [Clan] and you just saw the Bad Boy influence super heavy. And these guys were great. These guys were great. Living through that time, seeing it, it had a major impact on me.
So you and your brother started rapping together around '92-ish?
No, no. My brother was always rapping. I wasn't rapping. My brother is five years older than me. When he was in middle school, junior high school, he was part of a rap group that the principal called a gang. And it was a duo. It was a group of guys who were all duos, and the producer and DJ for everybody was Timbaland.
So I didn't start rapping until probably '93, maybe even later than that. I just remember it not being cool to say that you were rapping. When I was growing up, I remember watching my brother and them be into it, and then when my generation sort of came it was like, "You rap? Get outta here. You better go get on the block. Go get some money or something like that." But it definitely wasn't about rap at the time. I had friends who were in the music industry. And I told you Timbaland was the DJ for my brother and those guys. He lived up the street one way. Pharrell [and] Chad [Hugo] lived up the street a mile away.
I wasn't rapping when I knew them. It was just something in the water, who knows. It's like the weirdest story ever to know how close in proximity we all lived. And we all knew each other. It's crazy.
So then, what changed? When did you start thinking rapping could be cool?
Teddy Riley, producer of New Jack Swing, everything great in R&B during the '90s. He moved to Virginia Beach. He actually moved next door to Pharrell's high school. They had a talent show, Pharrell and the Neptunes, N.E.R.D, was discovered. Again, we were all friends at this time. And he was just doing work. Pharrell was writing little parts to "Rump Shaker" and doing SWV things. And I'm like, "This is like a business." Again, I was like, "Isn't this for the guys who are on TV? This ain't for us." Pharrell really, really drove in the fact of like, "Look man, this thing can happen. It can really happen."
Well that actually brings me to this really interesting point, which is I think that you have become known as carrying on a specific rap tradition, and I'm wondering if early Clipse had an aesthetic goal in mind similar to what you might have now?
Making music was just so fun with early Clipse. Just imagine discovering the music business with your friends, care-free, all day. Me and Pharrell talk every morning from nine in the morning already. So it's nine in the morning, we're talking, by 12, we're together on bikes. Bikes turn to cars. Studio. I don't even know if it was an aesthetic. I don't know. It was competitive. We would work all day. And this is the reason why I don't know how to work in studios now. Now, I still don't know how to pull all-nighters. Guys being there with their Hennessy and stuff and they do like this whole ritual. Weed, Hennessy, three in the morning, five. "Look at me, I'm up. Ah!" [laughter]
OK. I don't know how to do that. I still don't know how to do that now. But it's because of the way we were taught, the way I was taught. We'd work, nine, 12 in the morning to ten at night, go eat, and then we'd go to the club. And we'd go to the club simply to hear and watch people and how they reacted to the music. We'd go there, we'd listen, we'd watch, and the next night or the next morning, Pharrell would be like, "Yo man, I'm going to kill the '[It's All About the] Benjamins,' I'm going to kill that." Or whatever record was out. And that was the motivation.
I think one of the things that I find really interesting is that Clipse came out and had this credibility, and then merging my two worlds. I was an early Clipse fan, but I really liked boy bands. And then you put out a track with Justin Timberlake.
I loved R&B. You put out a track with Kelis.
All of that was my shit. But you know, I think we have to keep in mind that those worlds were really divided at that time.
Shout out to Neptunes. They were the darling producers. They were super producers. They owned, what was it 49 or 51%, Shiv? They owned 51% of the charts at that time. So 51% of the charts, that got to be street records and that got to be pop records.
I think a different type of artist would maybe get clowned for doing something like that. That didn't happen with the Clipse.
Yeah, but the records were hot. This wasn't like a compromise. I didn't have to rhyme about rainbows or nothing. Everybody wanted a piece of the streets. Everybody wanted the edge. That's what they wanted at the time.
It's been almost ten years since 'Til the Casket Dropped came out.
Looking back, did you have a sense that that was going to be as long of a hiatus as it has turned out to be?
Well, I knew that my brother didn't want to rap anymore. He told me about it on tour. We were overseas and he was like, "Hey, man, I don't really want to rap anymore. I sort of want to do the solo thing. And I wrote a book. Here, take it." He was like, "Read it."
What were your thoughts?
I was like, "Oh you gonna write a book? I can't write a book. You just want to be better than me." [laughter]
He gave me a lot of time to think about it. He was like, "Man, you want to do your solo career anyway. You should go ahead. You should go for it because right now, I'm just not on that wave. I'm not on that wave right now." We're going through a lot. We're talking about '09, April '09. Everybody who we came into the music industry with, outside of my rap friends, were indicted on a drug conspiracy.
It was a drug conspiracy, and everybody got from ten to 34 years. For me, of course it was a terrible blow. For my brother, I feel like – and I'm not trying to speak for him – but I think he saw things a little differently. His kids would go to bible study with their kids. He saw the effects in a different way than I saw it. If you ask me, through the kids. And he was not with it.
Did you see the shift happening at all?
Yeah. My brother's a very… We've always called him the voice of reason, anyway. He's very shrewd, very direct, the voice of reason, [a] no nonsense type of person. When things got shaky with the whole prison situation, indictments, so on and so forth, I could just tell. We made it through it, but again, he's watching the effects daily through children. His kids, friends with my God-kids, and so on and so forth. Money can't patch it up. They can come over and stay the night, but they do go back home and things are different. I feel like he was over it at that point, and that's really just what it was.
Were you ready to go solo when he broke that news to you?
I don't know. I just knew it was something that we couldn't stop. I just couldn't stop. I'm like, "Man, I feel I'm nice. I think I'm good." [laughs] He sprung this on me. There were internet rumblings of, "What if Pusha T was solo?" And you got the Re-Up Gang mixtapes, where it was four of us and everybody gets a verse and people were picking their favorites. I don't feel like I had a choice. I have management. I got management. I got friends that are relying and living off of what it is that I do. It was just, "That's the next step, let's go."
Ironically, I think I was like in Sweden and [Kanye West] called, he was like, "Hey, man, want to come to Hawaii and work on this album with me?" I was like, "Sure." And that's how I got like all my [air miles]. I'm a million miler, right? So I got all of these miles because I kept flying from like Hawaii to Sweden, Hawaii… I was on tour in Europe at the time when my brother told me this. So when [Kanye] asked me to come, I was like, 'OK. Boom. If I have three days off, I'll just fly out there.' And then he'd fly me out there, fly me back, fly me out there, fly me back. This happened like a trillion times
So you went out to Hawaii, you delivered two really incredible appearances on Kanye's record: "So Appalled" and "Runaway." Did you feel like you had to prove yourself? Are we hearing some of that tension or struggle on those records?
You're definitely hearing somebody cracking the whip. Ye was nuts. I don't even know him either at this time, I don't know him well. I know him in passing, met him in the studio a couple times. I believe it was earlier that year or maybe the year before, Don C's birthday gift to Ye was the Clipse coming to perform Hell Hath No Fury in its entirety at the Louis Vuitton store in New York. It was like an opening or something.
I love that you did birthday parties.
Yeah, a couple bar mitzvahs. I do them. [laughter]
You're talking about Kanye being a really big fan of yours, but what drew you to him as a collaborator? Was it just the promise of Hawaii?
Well, no. Ye, production-wise, has always been top-notch to me. He heightened, to me, Hov's [Jay-Z] greatness. Definitely. That marriage was like… Hov was always my favorite rapper, so just as a rapper I'm like, "OK, he's like the greatest rapper. Cool."
Lyrically, you just, I'm keyed in, I'm listening to him, and then he gets with Ye and these records and it's like, "Wait a minute, that's even intensified." So, I was always like, "OK. Wait a minute. This guy's great." You know, Graduation hit. "Can't Tell Me Nothing" was my every day, every night, every minute song. He was just always innovating. Always innovating. So it was a no brainer. It was like, "I'm going."
You talked a bit about kind of the work flow, the work environment, differences between Kanye's production process and Chad and Pharrell's, but what about musically? You talked about Pharrell and Chad giving you brightness in rap whereas before you were hearing just darkness. What about with Kanye? What was Kanye giving you that you couldn't maybe get from Pharrell?
Nostalgic soul. Nostalgic soul samples. Or, if it wasn't a sample, he definitely knew how to recreate that feeling. And when it comes to me, he always tells me, "Your voice is the instrument. I gotta strip down every song for you because you're more of an instrument than I am this time."
To me, he's found my sound. He's found the new Pusha T sound, musically. If you go to "Numbers on the Board," if you go to "Nostalgia," if you go to "The Games We Play," today you go to "Come Back Baby," he's found that sweet spot that musically he knows. He just knows.
He knows like, "Hey, this is your beat." We'll go away to wherever we are recording, and I have faith. I always have faith that he's going to find that sound. He does. I mean, listen, it can take forever. It can take days, weeks, but he finds it. When we're doing this whole five album five weeks thing, that all started from just me and him going to work on my album. We didn't find my album. We found Teyana [Taylor]'s album first, we found a couple joints for himself, then boom! "The Game We Play" comes. He's like, "Ah! That's your record. Go write that now!" But this days, maybe a week or so away. It takes time. It's like an art, man. Was it 6,000? We were like 6,000 records he's like listening to? Some days it's just him listening to songs. And he's like, "Oh! Pull that up!" Start doing whatever he does.
Is there a method to any of that? Is there a spreadsheet, or like what is the playlist?
Yeah, you go to Amoeba Records in LA, you grab a whole bunch of records, you buy a bunch, you load them up, and you listen to them. That's what he does. That's his process. That's what I've seen him do for me and for all of those projects. Like I said, he finds a sweet spot and creates the magic from there.
So you've detailed a bit of the Daytona process, going away, finding a sound, finding some other records in the process. But you had a record before going into Wyoming.
Before going into Wyoming, right, what I do is, I just go around and I sit with producers. All types of producers, new young, whatever. I hear anything that I like, I take it, I rhyme to it, I rap to it, lay it down and just store it. When I feel like I've found my voice on the project, and then found the direction and just the whole theme of the project, I take it to Ye and be like, "Yo, I got my album."
And you know, nine times out of ten he hasn't heard the verses. I may have given him the beats, I may have given him the beats, and he'll be like, "Oh I like that one," or "I don't like that one," or whatever. So between me picking and between him picking through that, I write all of those and then I let him hear it. And I be like, "Yeah, we got the album. What's up? Let's round this out real quick."
This time, a lot was going on at the time, with him. [laughs] He was like, "Hey man, I actually think I can do this better." And I was like, "Alright." You know, I'm ready to come out though. I'm like, fuming inside. And he's like, "I think I can do it better." And I was like, "Yo. You do know that you picked all of these beats. You did this. You A&Red this project." He was like, "I know, man. I'm just telling you I can do it better. Why don't we just go away? I need some therapy, anyway." [laughs]
The record you kind of had and put away, what was the theme or the story you were trying to tell with that record? And how might it be different from what we hear in Daytona?
It's like, you know, it's like he does this great, great convincing job of you know, like, "Listen, man. This is your sound, bro. You can't abandon your sound." I'll be like, "Yo, man, it's one song." He's like, "No. We don't want one song. We don't. We just want it all like this." Everybody comes into the room. They're like, "I think he's right." [laughter] I have no backing, no nothing.
Does anyone say, "No"?
I mean, I do. I say no a lot. I mean some people do. But I don't know. It's just how it goes.
One of the things that you said about Daytona is that you're trying to channel first album energy.
So how do you channel first album energy pretty much two decades into your career?
I just have a chip on my shoulder, honestly. I really do when it comes to rap. Um, cause I don't think lyric driven hip-hop goes out of style. I don't believe that. Even with rap changing and the different subgenres of rap and the different sounds, the chip on my shoulder is competing with those sounds.
It's like . . . I want to be the disruption to all of this. And I don't want you to think that you can do what I do. I don't want you to feel like you can do that. I'm not into that. I feel like if you feel like you can do what I do, then I've lost. So looking for first album energy, I just try to tap into like the brash, you know, young Pusha T who just doesn't give a damn. Like, he's a rebel. That guy? That guy's loony.
Perhaps we could also talk about some of the other ways that you were challenged on this record, musically, not just in terms of Kanye's kind of work flow, or that kind of thing.
Of course! I'm used to the work flow now. That's whatever. But the seven song thing was a challenge because we had more. We had more. We had more that I had fallen in love with, and he hadn't fallen in love with them.
By this time I mean . . . You guys really gotta understand, I came in with the full, G.O.O.D., Kanye West A&Red album that "Hey, you know, he's probably gonna put some drums, whatever. Boom."
By the time he heard it, and he had made the decision like, "No, nobody else is touching this," number one, he gets very selfish. Extremely. And then he got hype and was like, "Oh no! I'm making an album. Teyana's making an album. Like everybody gets an album! Nas is getting an album!"
Its like Oprah. "You get an album! You get an album!" [laughter]
Yes! It wasn't that, but he found his bounce. He found his bounce, and I really think he was inspired. I feel like he fell in love with the keyboards and the drum machines, and he fell in love with all that stuff all over again right in front of my eyes.
He found seven and he was like, "No I love this. Matter of fact, everybody getting seven. We gonna give every. I'm doing seven for everybody. I like the number. [applause]
I was like, "You gonna give me you like the number reason? You like bullying me at this point." He's like, "No. I actually do like the number."
There's probably some numerology reason for seven.
Listen, I'm sure. He could make it up right now if you asked him. What really sold me, because he really knows I'm so, so anti . . . The idea of everybody putting 25 tracks on an album to get their streams up and all of that is such a poverty way of cheating to me. I'm not into it. So I was like, "You know what? You're right. We need to be totally against everything and we need have a whole other mantra in regard to what we are doing in this wave." And he sold me on it.
How did he sell you on the album art?
I don't know if you guys follow my tweets or whatever. Maybe some of you do. But that whole process was really happening in real time. And I was doing radio promo with no album artwork. Album's coming out the next day. I tweeted. I said, "Ay, listen guys. This album is coming out. I don't got the artwork yet, but when I get it, you're gonna have it." I'm tweeting that. I send that tweet out. I got an photographer who's done the photos for My Name is My Name, Darkest Before Dawn. He's done all… He's done so much for G.O.O.D. Music.
We got him in to do a photo shoot. I found a great photo, it's a photo of myself. I'm happy with it. I like pictures of myself on my album. I like myself. I want to be seen. Yes. I don't think that's a lot to ask. [laughter]
So I'm like, "Yo! OK, cool." I found it, I mocked it up. I was like "Hey, this is what I like." 'Cause it was winding down. He's doing all these projects. He's doing mine. I'm like, "You don't need to worry about this type of stuff, man. Just let me just do this." At 12, one o'clock in the morning I get a call. It's him and he's like, "Hey, man. You know I just don't feet like this art is capturing the greatness of what's on this album." And I'm like, "First of all, it's a picture of me. I better be capturing the greatness of what's on this album. What do you mean?" [laughter]
"No, I'm telling you that I got an idea. I got this idea. I got an idea. I'll get back to you. We not putting that out quite yet, OK?" "OK." That was it. I wake up in the morning… Um, oh no. That's one thing. You know he told me the price of the art and I was like, "Hey! We don't have to spend that on my art."
Yeah! I was like, "Hey! I was like, I don't want to do that! I don't want you to do that!" He was like, "No, I want to do it." And I was like, "Alright." I still didn't know what it was gonna end up being until the next day, and I had to do like radio… By the time it came out – No! I'm sorry. When the album came out, I was doing radio phoners and I was getting these wild, wild, interviewers who were like, "Listen. I feel a way." And I was just like, "Oh, OK. You feel a way. What's wrong?" They were like, "This art is so disrespectful," so on and so forth. It was like, "Whoa, wait a minute." I was trying to explain to everybody like, "Listen, this art was done, honestly, just trying to capture… It was drugs, luxury, everything that picture said. Granted, it was from Whitney [Houston]'s bathroom, right? The home bathroom, I believe, not the hotel. I think it was the home bathroom.
I think it might have been…
But nobody was trying to play Whitney out or nothing. The picture was just like it was perfect. It was the perfect description. Organized chaos, drugs, luxury, ups, downs, everything I was describing on this album. And that's what it was. And I'm sticking by it. I love it, and it was paid for. And where'd the money go? To the person who sold it. So, with that being said, you know, it was for sale. You buy things you want. You sell things you wanna sell. That's how it goes. Retail 101.
There's a Daytona track called "Hard Piano" and on it you rap, "I won't let you ruin my dreams or Harvey Weinstein the kid, good morning Matt Lauer, can I live?"
This record came out when both of those men were facing and admitting the serious allegations of sexual assault.
When you are writing a punchline, how do you think through the word play versus the way those references might play out in the public consciousness?
I rap for an intelligent individual, man. I really do. I rap for people who know what's going on in society, know what's going on in current events. We call it sacrificing for the greater good, actually. That's when we just know what we're talking about and we know that there's a certain individual who's going to know what we are talking about, but maybe the other person might not. It ain't for them. It's really not.
You know, when I'm talking about Matt Lauer, and I'm talking about Harvey Weinstein, it's like man. It's "I won't let you ruin my dreams. Or Harvey Weinstein the kid. Good morning Matt Lauer. Look at my new digs. The rooftop can host a paint and sip for like 40." I'm talking about just not falling into any of those wild, weird, sexual-deviant behaviors. And I'm also talking about just my growth. I got different things to brag about. I just got married. Not into the whole chasing 90,000 women and so on and so forth. That's not it anymore. Times are changing. That's not the thing.
I would extend this to people making all genres of music in general, but do you feel like rap has a responsibility to be more socially responsible in the language that artists use?
Yeah. I would say yes. But, I'm saying yes because I'm from the era of "The Message." That was one of the first rap songs. Rap to me is you talk about what's going on outside right now. You tell me the story of what's happening. What do you see? What's going on? You address the issue. You attack the issue. Whatever it is. I don't know rap that doesn't do that. I don't necessarily listen to rap that doesn't do that. I may have fun to it, I may bounce to it. Whatever.
When you hear my records, I want you to try to solve the puzzle. I want you to discover things and say, "Oh my God! That's what he was talking about!" But I want you to do that four weeks later. I want that to happen. That's the goal. Man, I may have just now deciphered Reasonable Doubt. That was '96. And I needed the book to code it. That's the beauty of hip-hop to me. That's the beauty of rap. That's the art in it. That's the greatness in it. I don't know. Everything else is good. Like I said, the other sub-genres and what they do, and the fun you can have with them, so on and so forth. It's cool, but this right here, this is something different to me.
So, when you talk about having a message addressing an issue, attacking an issue, what is the issue at heart when you're putting out a record addressing a rapper like Drake?
Yeah, what is the issue?
Oh, it's the competitive spirit. It's the competitive spirit. He puts out records and he says what he says, and it's just about combating that. And coming back at it, lyrically. That's what it is that I do. I feel like that's another aspect of what that competitive spirit is, and just standing your ground and showing what you believe in.
After all of the discussions that your record has brought up – and there's Eminem and Machine Gun Kelly kind of back and forth this year – what is your sense of how people understand this competitiveness, or this tradition of beef and diss records in rap that you're talking about? Do people get it?
I don't know if people get it. I don't know. I don't really know. I don't know how they look at it. You can look at social media, and you can read comments that say, "Hey, Pusha T went crazy! But he sold less records." You know? Or you can look at comments like, "Man, that wasn't that good." You know? Whatever. "A billion streams." I don't really know. I don't know how people take it. I feel like I know how my people take it. Now, I know what they think. They're me. So they look at it how I look at it. We chop heads off, that's it. And that's really it for me.
But that's the battle wave. It's funny because people will play with the whole battle notion in their raps. They'll say slick things, they'll do this, they'll say this, they'll say that. Right? But then when it comes it's, "Oh, it's too far! Oh, you can't do this! I'ma write a whole dissertation about why this wasn't supposed to be." Bruh. It's not even fun at this point.
I think you have to be really careful in toying with it. I feel like once you play in it, now you have to really play. You have to really play. Even with that whole situation, you gotta really think about it. I really didn't do. It happened during my album roll-out. So I did interviews during my album roll-out, and of course that was happening. So it's like, "OK," and I have to talk about that. But since that I haven't really talked about it. Because to me it ain't nothing to talk about. It's just action. When it's time for action, we go for action. And that's it. It's like war games. Why we gotta talk about it? If we gonna get busy, we gonna get busy. You don't walk to the bus stop to fight, to talk. You don't do that, right?
And that makes sense. Content is king. So you gotta keep your content to yourself until it's time to engage. So I don't really know how people think anymore. I don't. I'ma tell you what I do notice, though. And I've seen this a few times. There's not a lot of emphasis put on the battle wave and things like that anymore. Before, you could almost be taken out of this game by losing a battle. Actually, people have been. It's not like that anymore. People be over it. It's cool. You take the L and go on. People forget about it. "Oh yeah, that happened, but whatever. Dope song." [laughter] That's how it goes. And it's cool, it's whatever.
So, at G.O.O.D., how come Kanye gets to make the decisions, then, if you're the president?
As far as what?
Well, like… "No, this should be the album art. No, it should be seven tracks. No, I could do it better."
I feel like there's certain things that I personally don't put as much emphasis on. I'm gonna say, "Listen. These verses are crack. Take this. This song is crack. I love it." He's definitely gonna be like, "OK, listen. I produced this, I want it to look a certain way. Why wouldn't you let the DONDA staff do this?" And then he gets into that. By the time I have him fully engaged creatively, you want his genius. You definitely want his genius involved in your project. He's really passionate about it.
I'm not passionate about art. Art like that. Like I said, it could've been a picture of my face, "Hey. It's Daytona." Bro, it's like fire. I can't wait it to get out. The picture? Leave me alone.
We're talking about Kanye's vision. G.O.O.D. Music was, slash is, Kanye's vision.
Why should people who are disappointed or angry at Kanye's current vision of the world buy into G.O.O.D. Music's vision right now?
I don't know that. [laughter] We disagree. I don't know. I feel like Kanye… He's been a person who definitely tries to get his point across, right? At all costs. He's willing to go through all types of hell and damnation to get his point across, and piss people off, and everything, if he believes that it's gonna pay off in the end. I truly believe that everything that he thinks, and all of his views … He feels like, "Hey, it's gonna pay off in the end."
Even though we don't agree, I personally know that… I know him. I know him, I know his heart. And I know that he's… More so than anything, he's all about making things better. Just for the world, for people, he's about peace, he's about giving people a shot. I'm not like that. But he is. When it comes to us and dealing in that, and the working dynamic of that, we just agree to disagree. And it's not like I'm… It's not an excuse to be made. He doesn't want no excuses made for him either. He doesn't. Like I wouldn't. But I can just say that I know him personally, and I know that he is, and his mind is telling him, "Man, I need to go through these channels to sort of make these others things happen. And I'm willing to exercise that, and y'all can stone me." But he'll go for it like that.
What are you most proud of?
Right now? What am I most proud of? I had an awesome wedding the other day. So great. [applause] Listen, that even happened during the firestorm of everything. I'm just happy how everything has turned out this year: personally, musically, business-wise, for everybody at G.O.O.D. You guys get to watch the reality show. This is what it is, it's real. Every aspect of it over here is real with us. We argue, we fight, we disagree. We make great music. We love it. I don't know if everybody loves it. We do, though.
Anupa Mistry
Courtesy of RBMA
Radicalizing the Youth of America with TRAVIS SCOTT


Single fructosamine measurements should be interpreted in the light of clinical signs of diabetes, body weight and blood glucose concentration. in general, the closer the fructosamine concentration is to the reference range for healthy dogs and cats, the better the glycemic control.. Insulinoma: over-secretion of insulin results in persistent hypoglycemia, decreasing fructosamine levels. however, fructosamine is not recommended as a test for this insulin-producing tumor. hyperthyroidism: in cats with hyperthyroidism, fructosamine levels were significantly lower than healthy cats. this could be due to increased catabolism of proteins..
Fructosamine forms through the binding of glucose to proteins in your cat's blood stream. the higher the blood glucose, the greater the amount of fructosamine formed. similarly, the lower the blood glucose, the smaller the amount of fructosamine formed..
Diabetes in cats – testing and monitoring. by kristiina for the diagnosis of diabetes mellitus in cats? by an elevated serum fructosamine test.. a fructosamine test is a what is fructosamine testing? which can cause a sharp increase in the blood glucose level in cats. fructosamine monitoring.. Fructosamine is a compound that is formed when glucose combines with protein. this test measures the total amount of fructosamine (glycated protein) in the blood. this test measures the total amount of fructosamine (glycated protein) in the blood..
Fructosamine is a compound that is formed when glucose combines with protein. this test measures the total amount of fructosamine (glycated protein) in the blood. this test measures the total amount of fructosamine (glycated protein) in the blood.. Insulinoma: over-secretion of insulin results in persistent hypoglycemia, decreasing fructosamine levels. however, fructosamine is not recommended as a test for this insulin-producing tumor. hyperthyroidism: in cats with hyperthyroidism, fructosamine levels were significantly lower than healthy cats. this could be due to increased catabolism of proteins..


text:
Welcome to Tobago, where the party is always in full swing
Almost every weekend throughout the year, a different community holds a party to celebrate harvest. Family, neighbours, travellers — everybody is welcome. Just come prepared to dance 'til dawn.Monday, 6 January 2020
By Amelia Duggan
Carnival sees January and February filled with fêtes (parties), calypso shows and soca concerts that culminate in flamboyant costumed parades on Shrove Monday and Tuesday.
Photograph by Tobago Tourism
It's time to dance. The congregation here in the village of Belle Garden may see me as a visitor in their midst but, right now, I'm just part of the celebration. The choir is on their feet, clapping and singing, while the brass section, keys and percussion players are giving it everything they've got. The priest shakes my hand and two ladies jive over to me, stamping their feet, and pulling me into joyful hugs. The atmosphere is electric.
This isn't a standard Sunday morning service; it's the morning of the Harvest — an annual celebration that began, centuries back, as a Christian thanksgiving and has grown to become a raucous village-wide cookout that can go on until dawn. It's held by a different community nearly every weekend throughout the year and – astonishingly – is open for free to the whole island and any wandering travellers. Come by, everyone told me, no questions asked.
The houses along the main street of Belle Garden are hives of activity: gazebos and speaker systems are being erected, crates of vegetables are being lugged to and from kitchens, and out on front lawns men in aprons are tending to bubbling cauldrons of meat. The heat is intense; the smells divine. "The Harvest is important for our civilisation," a gentleman named Harold tells me. His house is bustling with family and friends, all lending a hand with preparations for this evening. "It's a gesture. It's about love across the board, about giving back." Harold excuses himself, pulling an apron over his head and hurrying back to the kitchen, but not before he helps me pick the ripest mangoes drooping from the tree beside his property. "Swing by tonight for the party!" he shouts as he disappears into the house.
There's a generosity of spirit in Tobago, a neighbourliness, that strikes me as incredibly rare in this day and age. Wandering next door, I'm welcomed by Dominic. He tells me he's been up since dawn preparing a menu to impress his guests. A lot of work goes into this day. "Put it this way, tomorrow we will start thinking about next year!" He's overseeing the callaloo soup, a beloved mix of dasheen leaves, ochre, pumpkin, celery, hot peppers and garlic, which he's 'spicing up' with pigtail. Platters of goat, chicken and crab lie seasoned under banana leaves, ready for the pot. "The best part of the day for me is the preparations and the liming (hanging out) — you know, people coming by to interact," he tells me. "We're an island of traditions. I hope I have the fortune to be able to do this every year and that one day my children will keep it on." I say my goodbyes, promising to come by later for the feast, and am forbidden from leaving without accepting a plate of fresh bread and saltfish — by now, my third breakfast of the day.
Tobago: full of life
Surrounded by ocean, ringed with beaches and with a thick forested interior, Tobago is a little slice of Caribbean paradise. But from party-loving people to white-tailed hummingbirds, it's the life bursting from every corner that makes it unforgettable.
Tobago is an island of festivals so it's likely that any visit will coincide with a riotous cultural celebration. The most famous is Carnival, which sees January and February filled with fêtes (parties), calypso shows and soca concerts that culminate in flamboyant costumed parades on Shrove Monday and Tuesday. Heritage Festival sees the island reconnect with its customs and agricultural roots, with folk dancing, fiddle music, an 18th-century wedding parades and storytelling over the last fortnight in July. And the list goes on: visit around Easter to experience Tobagonians' unique penchant for goat racing; during the last week of Easter for the Tobago Jazz experience; or on Saint Peter's Day in June to share in the Fisherman's Festival. Tobago, it's clear, knows a thing or two about partying.
I return to Belle Garden at dusk to find the streets busy and music blaring. Harvest is in full swing. I'm handed a sorrel shandy and ushered up the steps to Harold's house like a guest of honour. I find him gleefully presiding over a dozen pots, piling food high onto paper plates and handing them out to guests. "Be easy! Be happy! Have a good time," he orders, sending me back outside into the warm evening. I tuck into my provisions — boiled cassava, plantain and sweet potato — then mop up my bushmeat stew with some flaky buss up shut bread. It's delicious. Then it's on to the next house, the next party, and the next Harvest dinner. I am starting to get full.
Harvest — an annual celebration that began, centuries back, as a Christian thanksgiving and has grown to become a raucous village-wide cookout that can go on until dawn.
Photograph by Amelia Duggan
Three more cultural activities to try
Buccoo's weekly Sunday School is a religious experience only for those who love to lime (local slang for a relaxed party). The main attraction is The Buccooneers, an award-winning 10-person steel pan band that gets going at 9pm, covering international and soca hits. Later, a DJ takes over and the seafront space fills with locals looking to wind up the weekend with a dance. My guide, Harris of Jungle Tours, insists its the perfect place to find romance. "Some people are like parrots — they'll mate for life. Others are like Tobago's Blue Backed Mannequins – they put on a courtship display to find the best partner!" Beers are cheap and there's street food on sale too, including lobster when it's in season.
Fort King George & Museum
Tobago's strategic position off the coast of mainland South America saw it change hands 22 times during the Colonial Era in tussles between the British, French and Dutch. The legacy of these occupations is seen in place names, customs and cuisine today. To get a sense of this formative period in Tobago's history, visit the well-preserved Fort King George atop Scarborough Hill. I picked up a guide who took me to see bullet-riddled walls, slave cells and tudor cannons — details I may otherwise have missed. The island's foremost museum is housed in a former barracks here, showing historic maps, colonial trinkets, and the largest collection of native Amerindian artefacts in the Caribbean.
Store Bay Market
The permanent stalls beside the calm Caribbean beach of Store Bay are home to some of the island's best artists and craftsmen. Visit One Love Arts where Collins Andrews-Toussaint carves and whittles, while his wife, Lerelynne, makes beaded and shell jewellery. Or Sammy and Cats Leather hut for one-of-kind belts and shoes. This is also the spot to try traditional Tobagonian sweets made from crushed coconut and nuts, like sugar cake, toolum and bene balls.
For more information visit visittobago.gov.tt
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Tobago: watch the island come to life
Top seven most beautiful places in Tobago
Changing winds and glistening waters — making the most of Tobago's beaches
Tobago's food scene: the island where the clay-oven is king
Fiery blooms and dancing birds: Tobago's jungles are full of life


Lawyers Lyn-Ni and Merie discussing the Mengkapor case with two of the Semaq Beri plaintiffs.
The past week saw a flurry of court-related matters and activities involving Orang Asli cases in which COAC was directly involved in. The following is brief update on them.
All of these cases involved work by dedicated pro bono lawyers, including Steven Thiru, Aaron Matthews, Yogeswaran, Amani Williams-Hunt, RS Pani, Lee Lyn-Ni, Merie Chen, Darmain Segaran, Ragumaren, Renu Zecchariah, Lim Heng Seng and M. Rajkumar.
30 September 2015, Ipoh High Court.


The original DASH store owned by Kim, Kourtney, and Khloe Kardashian, as seen on "Keeping Up with the Kardashians".
The original DASH store, owned and run by Kardashian sisters Khloe, Kourtney, and Kim, was located at 4774 Park Granada #5 in Calabasas, CA. The shop appeared on the first couple of seasons of E!'s reality show "Keeping Up With the Kardashians", and showed the sisters working there. This store is now closed.
The girls have since moved the California DASH store to 8420 Melrose Avenue in Los Angeles, and have also opened stores in New York City and Miami, FL.


86 /- acres of all wooded land.
Rustic Farm House with some updates. Large metal Garage and several out buildings. Nice place for horses. Seller will finance this property with $5,000.00 down payment.
Endless business opportunities! This 3791 heated/cooled square foot commercial building was used formerly as a bank and is in great shape. The convenient location of this property is just one of its many attributes. The building is very spacious with its many offices. Check it out because this property could be the perfect location for your new business! Endless possibilities!


» What's a first world problem stressing you out today?
What's a first world problem stressing you out today?
Asda was due to arrive at 12. It came at 11:45. Had to answer the door dripping wet in a dressing gown!
We have to replace the roof on the lovely house we own free and clear and it's going to cost a lot of money.
We had to replace the four skylights too. I never knew they were so bloody expensive.
Did the skylights break or something?
I went for a job interview and I really want it but they said they will likely decide by Friday so I have to wait to find out if I got it.
DS1 can make Beaver camp night because it's the first night of cricket club and he has to be there to register (he's desperate to play cricket but peaved that there's a clash).
My landlord very efficiently got the side gate fixed after it blew off in last week's storm but the new gate is unpainted and doesn't match the rest of the fencing so I'll need to paint it.
And my puppy has conjunctivitis which is making him whiny and clingy.
No, they started leaking when it rained. They were original to the house, so over 30 years old. It turned out that most of the water was from the roof leaking and the water running down the outside of plywood shaft from the ceiling to the roof.
They were the kind that opened with a crank operated by a pole, a feature that we never used and the new ones are all of one piece and don't open, so they are less prone to leaking. We have sliding glass doors across one whole side of the house, so we just open a few of those if we want to air out the house.
I've just scarfed a bag of Worcester sauce french fries too quick and now my mouth's burning.
Delurking is your cricket club hugely over subscribed? I'm involved with a cricket club (& Beavers ) & we would always try to work round a clash like that.... esp. if you offer to help occasionally .
I booked my taxi home from work to pick me up at 4pm. He didn't turn up until 4:45 and I'm STILL not home. Taxi driver is moaning all the way (it's a disability account service so I really rely on them).
Skylights are the worst thing. We had them sealed up, new roof, cost a fortune.
I have a financial advisor coming this evening to the house but I don't have any tea bags & don't want to go to the shop. I'm very worried because I can't not offer a drink, but also don't want to admit I don't have tea.
I forgot to pick up a new book whilst in town. I have been looking forward to getting it. I now have nothing to read in bed tonight.
I can't find the lids for my Le Creuset soup bowls.
I want to book next year's holiday and I can't decide where to go. Biggest first world problem ever but I hate feeling disorganised.
I'm getting my hair done at a new salon next week and they've patch tested me and now I can't wash my hair for 48 hours and I feel like a scruff.
There are no tea bags in this house, and what's worse, I forgot my PIN number for my debit card, and I've now blocked the card and waiting for a new pin to arrive. So I can't even nip out for tea bags. Life can be so cruel!
Just noticed DP used one of the guest towels yesterday for swimming, and we have 6 visitors arriving in 4 hours. I did all the washing yesterday to avoid having any laying about when all the bedrooms will be full, so now I can't wash the towel as it's the only thing dirty. Aargh.
I'm struggling to find a hotel in Venice as there are too many to choose from.


Donner Girl is settling into her job as a dressage horse, and a show horse.
I am excited to welcome Donner Girl to my barn. This pretty 2004 bay mare is by Don Gregory out of Whiskey Girl. Her grand-sire is Donnerhall. She is a nice size, 16+ hands, and has 3 white socks.


You truly have a heart of gold and are gifted at seeing families from the outside in and giving them true treasures they will cherish for a lifetime. I hope you always see that inherent beauty in the world and help others see it too. Sometimes you feel the weight of the world on your shoulders and I hope you learn to realize that the sun truly does indeed rise each day. Each day offers you a renewed sense of wonder, hope and possibility. Keep following your heart and stay true to your art and you will always feel that comfort and sense of peace in showing truth, grace and love. It's okay to be vulnerable at times, to acknowledge bumps in the road, pain, uncertainty; feeling lost and wanting true clarity. The path of an Artist often serves self doubt, and each journey on this road brings you closer to yourself, your own accomplishments and overcoming insecurities. Photography gives you such a tremendous and beautiful platform to express yourself, don't forget that. Stay true to your goals of showing people the true hope and love in their worlds, for this will be your greatest gift to others. The ability to help others see their own lives as something true and beautiful. And, like all the woman before you and all those after you, that opportunity to illustrate that we are all truly one and connected. That we all have such cherished gifts to offer.
Jodi Lynn is a lifestyle family photographer in Northern California who aims to document love and truth. Her love affair with photography bloomed when she began documenting her growing family after the birth of her second son almost 9 years ago. She wanted to capture her own family's life unfolding…the laughter, the joy, the love, the fear and everything in between. A few years later and after the birth of her daughter and third child, Jodi realized photography was something she felt a calling towards, something that truly felt like home. She left a career in elementary education to focus on this tremendous gift she wanted to share with the world. Jodi Lynn has spent the last four years learning all she can about photography and shooting every chance she can get, her own children being her greatest muses. She challenges herself to grow as an Artist and find the true magic in the families she captures; to showcase those real moments that are uniquely theirs. She aims to provide authentic, emotive, joyful and timeless family heirlooms….capturing her subjects lives as something true and beautiful. Jodi has been featured on Lookslikefilm and Lemonade + Lenses and was a Rangefinder Magazine's 2016 Portrait Winner as well as a finalist in the Shoot + Share contest in 2016.
Thank you for reading Katie !


If you've been following the Skripal/Novichok/Chemical weapons/Syria drama unfold through TruePublica you'll be up to date on most, if not all, the relevant information there is to know.
On several occasions, we have published news relating to the D-Notices sent out by the state to censor the mainstream media in both print and broadcast to ensure that their version of the story, one filled full of holes, didn't go, well, mainstream.
One question raised a few times by our readers was, who is it actually decides when to issue a D-Notice and who sits on its committee.
Here is the explainer and an interesting one it is too.
In the UK the original D-Notice system was introduced in 1912 and run as a voluntary system by a joint committee headed by an Assistant Secretary of the War Office and a representative of the Press Association. Any D-Notices or DA-notices were only advisory requests, and so are not legally enforceable; hence, news editors can choose not to abide by them. However, they are today slavishly complied with by the media.
In 1971, all existing D-Notices were cancelled and replaced by standing D-Notices, which gave general guidance on what might be published and what was discouraged; and what would require further advice from the secretary of the Defence, Press and Broadcasting Advisory Committee (DPBAC). In 1993, the notices were renamed DA-Notices (Defence Advisory Notices).
From here, it gets interesting because in 2015 the 'committee' from all accounts seemed to change shape, which beforehand had been made up of state officials, and some elements of the press, particularly in times of real national security such as the world wars. Nowadays it is made up of a few state officials and mostly – the mainstream media.
There are 15 senior media people who sit on this censorship committee. As well as the BBC, ITV, ITN and Murdoch's Sky News, representing broadcasters, there are a variety of representatives from the broadsheet and tabloid press, regional and Scottish newspapers and magazines and publishing – including two News UK and Harper Collins, (both owned by Murdoch) as well as Trinity Mirror, the Daily Mail and the Guardian.
On the government side of the committee are the chair from the MoD and four intelligence connected representatives from the MoD (Director General Security Policy), Foreign Office (Director for National Security), Home Office (unspecified post) and Cabinet Office (Deputy National Security Adviser for Security, Intelligence, and Resilience).
The DSMA committee itself obviously likes to project the view that it is a rather dull and uninteresting meeting of minds and that there's nothing going on to report. But these meetings are to discuss and agree what can and cannot be printed or broadcast in the mainstream media. Then, instead of going back to their respective places of work and simply passing on the message – the state then issues notices to the same people who just agreed not to print the scandals the government just asked them not to print in the first place.
SpinWatch makes an interesting point by highlighting exactly how much the mainstream media collude directly with government on controlling the output.
"as a former vice chair of the committee (a journalist) put it, 'is emphatically not censorship… but voluntary, responsible media restraint'. Then working at Sky News, that vice chair, Simon Bucks, is now CEO at the Services Sound and Vision Corporation, the broadcasting service which says it is 'championing the Armed Forces'. Bucks also wrote that the DSMA committee is 'the most mythologised and misunderstood institution in British media… "Slapping a D-notice" on something the establishment wanted suppressed has been the stuff of thrillers, spy stories and conspiracy theories for more than a century".
The reader should have gathered from that statement alone, that indeed, slapping a D-Notice on the media is not the stuff of conspiracy theories otherwise they wouldn't be doing it in the first place. The conspiracy is that that the mainstream media stand accused of colluding in important cover-ups with and for the state. That is not a theory – that is a fact.
Thankfully this draconian measure failed.
No doubt being caught up in the expenses scandal that the Telegraph printed didn't exactly help with Mr Watson's general view that Britain should benefit from a free press. His proposal came a couple of days after the World Press Freedom report showing Britain is now languishing nicely in 40th place in a group of other countries who also despise free speech – by those who try to hold power to account.


Our crew of talented instructors includes retired airline captains and pilots from the sharpest aviation universities.
If you're learning to fly with us, or just getting an IPC in our G-1000 172, our friendly CFIs will always teach you something new. They work as independent contractors, not employees of our club.
Certificates held: ASEL, AMEL, Instrument, Commercial, ATP, CFI, CFII, MEI, Advanced and Instrument Ground Instructor. Synthetic Flight Instructor with CRMi privileges in the UK.
Type ratings: Beech King Air 300, Cessna Citation 560 XL and Gulfstream 450/550 (G5).
Certificates held: ASEL, AMEL, Instrument, Commercial, ATP, CFI, CFII, MEI, Advanced and Instrument Ground Instructor.
Nigel has been flying for around 40 years, owns a highly modified Beechcraft Bonanza and has extensive experience in Bonanza's. He retired from the Auto industry recently, is an active Experimental Aircraft Association member and is currently building a Lightsport tail wheel aircraft called a Bushcat. Limited availability.
Aviation Medical Examiner: email aarts@umich.edu to schedule an exam.


Oil Gas Upstream Within the Business Unit Pumps Systems the Business Field Oil Gas specializes in the delivery of systems with progressing cavity pumps for the production of crude oil and other highly viscous materials; the pumps above mentioned are used throughout the world.
Generally do not change the appearance or the traction of the concrete. FAQs About Concrete Grinding, Sealing Polishing. When the concrete is ground, how thick is the surface that is removed? It depends on the condition of the slab and the preferences of our customer, but normally between 1/16 inch and inch.
The process of completing and producing a profitable rate of production (ROP) from an oil well involves the understanding of hydraulic extraction and flow control. Pipeline Construction The requirements of a pipeline system utilize a sophisticated joint technology.
We are offering our clients with Large Coconut Oil Mill Machineries equipments which include expellers, expeller spares, seed cleaner, decorticator and filter press. These are widely used for the extraction of both edible and non-edible oil. The crushing capacity of this machine varies from 4 tons per day to 100 tons per day.
If removal cannot be done by hand, grinding the seed is an option. This links to a website describing the various methods used for seed coat removal depending on the seed being extracted for oil. Step 6. Extract oil mechanically with an oil press, expeller, or a wooden mortar and pestle.
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Feb 08, 2017Hi, I'm curious what equipment everyone using to grind their cannabis prior to extraction. Hand grinding? Food processor? Blender? Leaf shredder?


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Favorite Contemporary Novels
By Margo Hammond & Ellen Heltzel Published: Dec 5, 2005
I want to read novels that are worth my time and money. Which are the best contemporary novels you've read, and why have they meant a lot to you?
Margo responds:
I appreciate how frustrating it is to delve into a novel and find it just isn't your cup of tea -- especially if you've shelled out good money for it. But no one can offer you book recommendations that will be 100 percent foolproof. I can only tell you what I find interesting.
Among the fairly recent literary novels that have left me weak in the knees, I'd include Kazuo Ishiguro's The Remains of the Day and Ian McEwan's Atonement. In both cases, I found myself weeping at the end of the story, which is something I don't normally do. I think this was because the writer created a world with fully realized characters that haunted me long after I closed the book.
In The Remains of the Day, published in 1989, a butler named Stevens searches for a housekeeper who worked at his Oxford establishment 20 years ago. As he drives through the English countryside, he begins recalling the period they worked together, just before England entered World War II. But the more he reminisces about those days, the more we realize how deluded he has been about his life. We see -- even before Stevens does -- that his employer was not a noble man, but a Nazi sympathizer. Furthermore, although Stevens was in love with the housekeeper, he was too blind to tell her and too cowardly to leave with her once the boss's anti-Semitism became apparent. When he finally arrives and meets with the housekeeper, he discovers what the reader has known all along: He has lost his chance to connect with her.
Atonement is also set in England, just before World War II. In this novel, a precocious girl named Briony, who wants to be a writer, witnesses a passionate exchange between her sister, Cecilia, and Robbie, the son of a servant on their country estate. Reading menace into Robbie's action, she lets her imagination run wild and levels a false accusation at him, changing his life -- and her sister's -- forever. Because of Briony's action, Robbie is jailed and eventually goes off to war. Briony later tries to atone for her childish actions, but no amount of creativity can bring back a love that has been irretrievably lost.
For something far less weighty, try two of my favorite mystery writers: Walter Mosley and P.D. James. For the former, I suggest you begin with Devil in a Blue Dress, where Mosley first introduces black detective Easy Rawlins, who lives in the Watts section of Los Angeles in 1948. The stories are eye-opening sociology lessons about being black in the '40s as well as engaging tales of intrigue.
My favorite P.D. James mysteries are the ones starring Adam Dalgliesh. Her latest, the 13th to feature the man from Scotland Yard, is entitled The Lighthouse. P.D. James is a master of characterization and always comes up with wonderful plots, but I particularly love how she evokes the Cornish countryside and coast, where many of her stories are set. You can almost hear the howling wind. So put on a sweater and enjoy the chilly British weather!
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The United States has ranked near the bottom in terms of how we care for older adults. That has to change.
There is a tentative optimism among advocates that congestion pricing could get done, but they're not there yet, as any veteran of the final hours of Albany budget negotiations can tell you.
Opinion	What happens when Albany clout is gone?
Add non-public schools to the issues affected by a changed political climate.


text:
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text:
Google confirms Android phones to go on sale this year
19 Aug 200858 Views
Android phone video
Google has confirmed through the official Android developers' blog, that after working on the first Android devices with its partners in the Open Handset Alliance, these devices will indeed be shipping in the fourth quarter of this year.
Not only this but developer advocate, Dan Morill, said Google is almost finished developing the final Android 1.0 version, which will be the standard for the first wave of smart phones with this operating system.
"We've been working with our Open Handset Alliance partners to incorporate much of that feedback, and finish the first devices. Since those devices are shipping in the fourth quarter, the platform is now converging on a final 'Android 1.0' version," he said on the blog.
Morill also revealed the Android developer roadmap, which clearly states that Android 1.0 devices will be "available at retail" in the fourth quarter followed by the release of the source code.
Finally, later this year, there will be a key announcement on the Android Developer Challenge II, which will no doubt make available more funding like the US$10m in awards given out for the first challenge for innovative apps built specifically on the Android mobile platform.
This developer roadmap comes shortly after Taiwan-based mobile handset manufacturers HTC announced it would be the first company to release a smart phone – named the Dream – with the Android OS, which was approved yesterday by the Federal Communications Commission (FCC) for use in the US http://tinyurl.com/5m7ln8.
Pictured: Google gets its skates on with the new roadmap for the Android mobile operating system
Related: Android, HTC, Google, FCC
Google completes Fitbit acquisition after EU probe
Hundreds of Google employees form workers' union
EU approves Google's Fitbit acquisition – but with conditions


This a very awesome story about a families Pitbull named Ember who helps save their young sons life.
The family rescued the Pitbull as a pup and now she returns the favor. Very cool.
The dog wakes up the parents relentlessly until the mother finally follows her to the restroom where she finds her son having a medical emergency. If Ember hadn't had woke up the parents the boy may no longer be with us. I solute you Ember.


Shopping online with Gadgets Boutique should be simple and stress-free.
If you're not 100% satisfied with your purchase, you can return your order to our Sydney warehouse for store credit within 30 days. Provided the product is unopened, in brand new condition. For health and safety reason, the only product that cannot be returned for change of mind are earphones/headphones.
Goods are sent from Australia and delivered by Royal Mail on arrival, If you're not available for delivery you will be notified with a calling card so you can collect your item at your nearest post office or schedule a time for redelivery with a courier.
We don't charge VAT on purchases. However, if you are charged VAT on delivery, we will refund you the amount paid in tax (this amount excludes royal mail handling fee). To be eligable, please email us a copy of the VAT receipt for your purchase.


You are now leaving Pornhub. Re-authorization of the Individuals with Disabilities Education Act. The page you are trying to access: The hunter becomes the hunted K views. It helped with talking over that engine noise as well.
See terms and conditions. You can cancel anytime. Asian Vixen Leilani Wong fucked hard by boyfriend. Voice output device with dynamic display.
the way I look at it, if a SO of mine feels the need to go see other men take their clothes off....she doesn't need me or respect me.
Even if you don't consider what she did as too severe, the fact still stands that she doesn't seem mature enough to start playing house with someone. Having kiddies with her would be a terrible mistake, because kids require patience and a stable mother.
will it be a signed death-wish and awkwardness in the morning? I don't want that.
I'm a fun person that likes to laugh, have a good time and enjoy good conversation with positive people. I love sports and outdoor activitie.


The system will extract closing balances from one period into the next, automatically when a new period, for an existing portfolio, is first opened.
For example, assume you have processed a portfolio for the period April 6 2009 to April 5 2010 within CGT and Dividend Scheduling. When you first open the period April 6 2010 to April 5 2011 the system will convert the Balances Carried Forward as at April 5 2010 into Balances Brought Forward as at April 6 2010.
These balances will then be available on the Balances B/F screen for inspection and editing should the need arise.
In the great majority of cases when an acquisition is made within one Tax Year it will appear in the following year as a Balance transaction.
For example, an acquisition in June 2009 will appear as a Purchase transaction in the Tax Year it was acquired but in 2010/11 it will appear as a Balance B/F transaction.
However in some situations, normally towards the end of a Tax Year, a transaction will be carried into the later year as a Sundry transaction.
For example, an ex dividend acquisition made in March 2009 will appear as a Purchase transaction in the Tax Year it was acquired but will appear as a Sundry transaction in the 2009/10 Tax Year although retaining the narrative of Purchase.


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Adam Chełmoński (ur. 28 marca 1890 w Warszawie, zm. 16 sierpnia 1959 we Wrocławiu) – polski prawnik, adwokat, poseł na Sejm RP, wiceminister sprawiedliwości, profesor prawa administracyjnego i gospodarczego, wykładowca Uniwersytetu Stefana Batorego w Wilnie, Uniwersytetu Wrocławskiego i Wyższej Szkoły Ekonomicznej we Wrocławiu, działacz organizacji zawodowych.

Życiorys
Urodzony 28 marca 1890 roku w Warszawie. Był synem internisty dr. Adama Chełmońskiego i bratankiem malarza Józefa Chełmońskiego. Wychowywał się w Warszawie i we wsi Adamowizna w okolicach Grodziska Mazowieckiego, gdzie jego ojciec zakupił dom. Uczęszczał do gimnazjum rządowego w Warszawie, jednak został z niego usunięty za udział w strajku z 1905 roku. Egzaminy maturalne zdał eksternistycznie w 1909 roku i wstąpił na petersburską politechnikę, ale szybko przeniósł się na Uniwersytet Petersburski, gdzie cztery lata później ukończył prawo. Już w okresie studiów interesował się prawem cywilnym, a w szczególności prawnymi aspektami obrotu handlowego. Otrzymał propozycję pracy na macierzystej uczelni z perspektywą objęcia profesury i w tym celu zdecydował się uzupełnić studia w Paryżu w zakresie prawa cywilnego. Powrócił z nich tuż przed wybuchem I wojny światowej i podjął pracę naukową w Petersburgu. Od 1915 roku pracował w Kancelarii Departamentu Cywilnego Senatu, a dwa lata później został zatrudniony w Departamencie Kasacyjnym tegoż Senatu jako zastępca sekretarza. Od tego samego roku został także radcą prawnym Ministerstwa Aprowizacji. Równolegle był pracownikiem naukowym w katedrze prawa cywilnego na macierzystej uczelni.

Po rewolucji październikowej został pracownikiem porządkującej sprawy polskie w Rosji Komisji Likwidacyjnej i w 1919 roku wrócił do Polski, gdzie odbył aplikację adwokacką i rozpoczął samodzielną praktykę w zawodzie. W czasie wojny polsko-bolszewickiej zgłosił się jako ochotnik do Wojska Polskiego, odbywał służbę w Sądzie Wojskowym dla Warszawy. Później został awansowany na stopień porucznika rezerwy w korpusie oficerów sódowych ze starszeństwem z 1 czerwca 1919. Po wojnie początkowo pracował jako prawnik dla Ministerstwa Przemysłu i Handlu, później został radcą prawnym elektrowni w Warszawie, a od 1927 roku m.in. Izby Przemysłowo-Handlowej w Warszawie i Banku Polskiego. Ponadto od 1922 roku pełnił obowiązki szefa katedry prawa handlowego i wekslowego na Uniwersytecie Stefana Batorego w Wilnie, gdzie początkowo prowadził wykłady w charakterze zastępcy profesora, w 1929 uzyskał habilitację, w 1930 otrzymał tytuł profesora nadzwyczajnego na tej uczelni.

Został wybrany posłem na Sejm RP I kadencji 1922–1927 z ramienia Związku Ludowo-Narodowego z okręgu kieleckiego, lecz przedwcześnie zrzekł się mandatu na początku 1926. W 1925 roku został członkiem Komisji Kodyfikacyjnej Rzeczypospolitej Polskiej, w której m.in. współredagował projekt prawa handlowego jako przewodniczący sekcji prawa handlowego. Jego umiejętności i kompetencja jako prawnika spowodowały, że został powołany w 1925 roku w skład Rady Adwokackiej w Warszawie i w latach 1932–1934 pełnił funkcję jej wicedziekana, a od 1934 do 1935 roku – dziekana. W 1928 został radcą w Państwowej Radzie Prawniczej. 23 września 1932 roku objął funkcję redaktora naczelnego "Palestry", która właśnie stała się organem prasowym Rady. Z dniem 24 kwietnia 1937 roku zrezygnował z kierowania redakcją "Palestry", jako że tego samego dnia został podsekretarzem stanu w Ministerstwie Sprawiedliwości. W latach 1937–1939 był członkiem OZON-u.

Okres II wojny światowej spędził poza granicami okupowanej Polski – wraz z rządem schronił się w Rumunii i został w niej internowany. Po wojnie początkowo doradzał kilku ministerstwom i wrócił do pracy naukowej, podejmując pracę na tworzonym właśnie Uniwersytecie i Politechnice we Wrocławiu. Ostatecznie w 1947 r. osiadł wraz z rodziną we Wrocławiu, w pełni angażując się w pracę na Uniwersytecie i w Wyższej Szkole Handlowej. Pełnił m.in. funkcję prodziekana Wydziału Prawno-Administracyjnego Uniwersytetu (1948–1950), kierownika Katedry Prawa Cywilnego III (1950–1952), Zespołu Katedr Prawa Cywilnego (1952–1955) i Katedry Prawa Cywilnego (od 1955 r.). W 1947 r. zaangażował się w tworzenie prywatnej Wyższej Szkoły Handlowej we Wrocławiu (później upaństwowionej i przemianowanej na Wyższą Szkołę Ekonomiczną). Od 1950 r. był kierownikiem Katedry Finansów i Kredytu, a rok później został szefem Katedry Prawa i kierował nią do śmierci. Pełnił także funkcję dziekana Wydziału Finansowego WSzE (1951–1952), a krótko przed śmiercią został wybrany na jej rektora, jednak nie zdążył objąć tej funkcji.

Należał do Polskiego Towarzystwa Ekonomicznego, był przewodniczącym zarządu oddziału PTE we Wrocławiu (1950–1954). W latach 1957–1959 doradzał organom władzy państwowej w zakresie prawa jako członek komisji kodyfikacyjnej przy Ministerstwie Sprawiedliwości i Głównej Komisji Arbitrażowej. Był także wiceprzewodniczącym Komitetu Nauk Prawnych PAN i członkiem redakcji "Orzecznictwa sądów polskich i Komisji Arbitrażowych" oraz "Studiów Cywilistycznych".

Zmarł 16 sierpnia 1959 roku we Wrocławiu. Został pochowany na tamtejszym cmentarzu św. Wawrzyńca (pole 8-aleja główna-007).

Jego synem był prawnik, prof. Adam Chełmoński (1929–2001).

Ordery i odznaczenia

 Krzyż Oficerski Orderu Odrodzenia Polski (27 listopada 1929)

Przypisy

Bibliografia

Adwokaci II Rzeczypospolitej
Członkowie Komisji Kodyfikacyjnej (II Rzeczpospolita)
Członkowie władz II Rzeczypospolitej internowani w Rumunii w czasie II wojny światowej
Ludzie urodzeni w Warszawie
Ludzie związani z Petersburgiem
Odznaczeni Krzyżem Oficerskim Orderu Odrodzenia Polski (II Rzeczpospolita)
Pochowani na cmentarzu św. Wawrzyńca we Wrocławiu
Politycy Obozu Zjednoczenia Narodowego
Polscy adwokaci
Porucznicy audytorzy II Rzeczypospolitej
Posłowie na Sejm I kadencji (1922–1927)
Rektorzy Uniwersytetu Ekonomicznego we Wrocławiu
Uczestnicy wojny polsko-bolszewickiej (strona polska)
Urodzeni w 1890
Urzędnicy Ministerstwa Sprawiedliwości II Rzeczypospolitej
Wiceministrowie II Rzeczypospolitej
Wykładowcy Uniwersytetu Ekonomicznego we Wrocławiu
Wykładowcy Uniwersytetu Stefana Batorego w Wilnie
Wykładowcy Uniwersytetu Wrocławskiego
Zmarli w 1959

redpajama_set_name: RedPajamaWikipedia


text:
Freshman takes contest by storm.
Authors: Michelle Zilis
After four weeks of competition, it was a sultry rendition of a modern blues favorite and a powerful country ballad that won over the audience and helped freshman Lindsay Davis take home the 2006 CSU Idol winner title Friday night in the Ramskeller.
Belting out "Fallin'" by Alicia Keys in the first round and "There You'll Be" by Faith Hill in the second, Davis, a fashion design major, out-sang three other competitors during the final night of performances.
"It's really cool," Davis said of the victory. "It was an honor to just be competing against the other (performers). They were all so good."
Hosted by Live Life Late and ASAP, this year's Idol began with 15 singers. Rounds were held every Friday night for the past four weeks until three finalists were chosen by audience votes for the final night of competition.
Friday night's competition consisted of each contestant singing two songs, being evaluated by the three judges and having the audience ballots decide the victor.
"It was a really close competition this year," said event MC Baker Machado, junior speech/communication major. "All four finalists could have easily won and I wouldn't have been surprised."
After her first round, dean of Liberal Arts and Idol judge Blane Harding told Davis she "was really making the competition tough for the audience."
However, it was Davis' second song by Faith Hill that seemed to bring it home for her.
Deon Wilson, a sophomore open-option major and other finalist also showed his talent, singing Usher and Tyrese songs.
"I chose those songs for tonight's round because they're my greatest influences; I like their sound and they're kind of hot," Wilson said of his song choices.
Wilson worked the stage as the opening performer with outfits inspired by his songs and props to go along with them. During "Sweet Lady" Wilson wore a trucker hat that was strategically placed, and during "You Got it Bad," Wilson wore sunglasses and gave away a red rose to a woman sitting in the front row.
Wilson was praised by the judges for his audience connection along with his outfit choices.
Following Davis in the show, freshman Jodi Wilts rocked the house with two country songs, both accompanied by the country look and dance. She gave attitude and even got a standing ovation from some of the audience afterwards.
Second judge and senior liberal arts major Nic Redavid told Wilts her performance was, "awesome." He also told her it was, "one of, if not the best, performances throughout the whole competition."
Last to take the stage was senior biology major Nellie Stisser, who performed two songs from her favorite genre, Soul/R&B, to show off her wide vocal range.
Stisser's second song, "I Should've Cheated" by Keyshia Cole, was preformed with so much attitude that it blew most people away. Her small stature and modest dress made her appear sweet and innocent, yet she got out there for the performance and worked it, according to the reaction of the judges.
"You appear to be so innocent, and then here you are singing a song about cheating, it's fantastic," Harding told her when she finished.
Theresa French, a sophomore Engish literature major, was personally pulling for Stisser.
"I thought she was the best with both songs," she said. "Her voice was so strong and clear."
All four of the competitors were extremely praiseworthy of one another, claiming the competition was lots of fun, and it would be great to win, but all four were deserving. Wilson seemed to be a big hit among the lady competitors when asked whom, if not them, they would want to win. Wilson ended up as one of the two finalists.
"The competition was really fun," Stisser said. "Everyone was so down to earth it made it really enjoyable – just a great experience."


DoubleX Gabfest: The Philadelphia Kermit Gosnell trial, the movement of men who want to stop masturbating, and the crisis of American child care.
DoubleX Gabfest: Kermit Gosnell Trial, Anti-Masturbation Campaign, and the Crisis of American Child Care.
Listen to Slate's show about the Philadelphia "house of horrors" abortion story, the movement of men who want to stop masturbating, and the crisis of American child care.
In this week's Gabfest, DoubleX editor Hanna Rosin joins Slate senior editor Dan Kois and New Republic staff writer Noreen Malone to discuss the Philadelphia "house of horrors" abortion story, the movement of men who want to stop masturbating, and the crisis of American child care.
Hanna Rosin recommends that you read the New York Times story on the rehabilitation of Anthony Weiner and tell her if she's crazy to think he is actually rehabilitated.
Noreen Malone says you should read Zoe Heller's Notes on a Scandal.
Dan Kois says you should love pumpkin seeds the Kois way.


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Q: Why is my interaction significance different depending on the model? In this minimal reproducible example, there is an outcome variable and two predictors (age and sex).
outcome <- c(1, 2, 2, 3, 3, 4, 4, 4, 4, 5,
             5, 5, 5, 5, 5, 6, 6, 7, 8, 9)

sex <- c("M","M","M","M","F","M","F","F","M","M",
         "F","F","F","F","M","M","F","F","F","F")

age <- c("C","C","C","A","C","C","C","C","C","A",
         "C","C","A","C","C","C","C","A","A","A")

dt <- data.frame(outcome = o, sex = as.factor(s), age = as.factor(a))

The boxplot suggests there is an interaction:

When I check the interaction as part of a model I get a different statistical significance than when I check the interaction alone.
anova(lm(outcome ~ sex + age + sex:age, dt))

anova(lm(outcome ~ sex:age, dt))

The first gives a p-value of 0.187499 for the interaction term, while the second a p-value of 0.007738.
Can someone explain the difference?

A: The tests are making different comparisons.  In general, the tests in anova() compare the full model to the model with that term left out.  (Edited to add:  though things are more complicated when interactions are involved; the main effect tests being an example of that.)  In the first case, the full model is
outcome ~ sex + age + sex:age

and leaving out sex:age gives
outcome ~ sex + age

the main effects model.  So in that case you are really testing the interaction, and it is not significant:  in the plot, it looks like C and M both give lower values than the other level (A and F respectively).
In the second case, the full model is
outcome ~ sex:age

Here sex:age is a 4 level factor containing all combinations of the factor levels.  Leaving it out gives
outcome ~ 1

So in this case the test is for any kind of difference at all among the groups, and there's obviously something going on, so it comes out significant.

A: The reason why they are different is that in one model you included the main effects and the other model you only included the interaction term. This will yield different p-values.
These two models would be the same:
anova(lm(outcome ~ sex + age + sex:age, dt))

anova(lm(outcome ~ sex*age, dt))

Note the * notation in the model means it includes the main effects and the interaction and the : only means the interaction term.

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