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August 2019 Releases
July 2019 Releases
June 2019 Releases
May 2019 Releases
April 2019 Releases
March 2019 Releases
February 2019 Releases
December 2018 Releases
October 2018 Releases
September 2018 Releases
A Sea For Yourself
Adrian and the Sunsets
Allan, Davie
Allen, Richie
Allman, Sheldon
Almer, Tandyn
Animated Egg, The
Astro Sounds
Atkins, Chet
Avantis, The
Aztecs, The
Bad Roads, The
Bandits, The / Calvin Cool & The Surf Knobs
Barnes, George
Baroques, The
Barrence Whitfield Soul Savage Arkestra, The
Baugh, Phil
Beaver and the Trappers
Beck, Jeff
Belairs, The
Berry, Chuck
Big Brother & the Holding Company
Billy Lee & the Rivieras
Bloomfield, Mike
Blue Cheer
Blues Magoos
Blues Project, The
Bob B. Soxx and the Blue Jeans
Booker T. & the MG's
Bostweeds, The
Bow Street Runners
Brogues, The
Bruce & Terry
Bryant, Jimmy
Buckaroos, The
Buckinghams, The
Burger, Jack
Burke, Solomon
Burton, James & Mooney, Ralph
Butch Engle & The Styx
C.A. Quintet
Cage, John & Sun Ra
Canned Heat
Canterbury Fair
Captain Beefheart and His Magic Band
Carras, Nicholas
Casey, Al
Castleman, William
Catalinas, The
Challengers, The
Chocolate Watch Band
Chymes, The
Clark, Gene
Clark, Gene and Dillard, Doug
Cochran, Eddie
Cochran, Wayne
Cohen, Leonard
Cohn, Al
Cole, Jerry
Commander Cody & His Lost Planet Airmen
Condello
Counts IV, The
Cryan' Shames, The
Crystals, The
Cyrkle, The
Daisy Chain, The
Dale, Dick and His Del-Tones
Deacons, The
Debutantes, The
Del-Vetts, The
Dennis The Fox
Diddley, Bo
Drake, Pete
Druids of Stonehenge, The
E-Types
East Nashville Teens, The
Electric Prunes, The
End Result, The
Everly Brothers, The
Fallen Angels, The
FARM (featuring The Dragon Brothers)
Feathers, Charlie
Fifty Foot Hose
Five Americans, The
Five Royales, The
Foggy Notions
Fulsom, Lowell
Garcia, Dick
Garland, Hank
Gee Cees, The (Glen Campbell) / Jimmy Gordon
Gene & Debbe
Glazer, Tom & Dottie Evans
Gramercy Six
Great Scots
Greg Martin Group, The
Groupies, The
Guess Who, The
Gundella
Guryan, Margo
Hapshash and the Coloured Coat
Harris, Wynonie
Havens, Richie
Headstones, The
Highwaymen, The
Hollies, The
Holy Modal Rounders
Hooker, Earl
Hooker, John Lee
Hopkins, Lightnin'
Iceberg Slim
Ides Of March, The
Incredible String Band, The
Ingman, Nick
International Submarine Band (featuring Gram Parsons), The
Irwin, Bob and the Pluto Walkers
Isley Brothers, The
J.K. & Co.
Jackson, Chuck
Jackson, Wanda
Jon & Robin
Kaleidoscope, The
Kennelmus
Kessel, Barney
Kickstands, The
King, Albert
King, Freddy (Freddie)
Knaves, The
Knickerbockers, The
Knights, The
Kustom Kings (1964), The
Lanham, Roy
LaVette, Bettye
Leathercoated Minds, The
Leaves, The
Left Banke, The
Litter, The
Living Children
Lloyd, Adrian
Lorber, Alan
Louvin Brothers, The
Love Exchange, The
Love Is A Drag
Lovin' Spoonful, The
Lowe, Mundell
MacLean, Bryan
Mahal, Taj
Mamas and the Papas, The
Mann, Manfred
Martian Denny Orchestra, The
Maze, The
McAuliff, Leon
Merry-Go-Round, The
Meters, The
Midnighters, The
Mighty Sparrow, The
Mile Ends, The
Millennium, The
Mineo, Attilio
Missing Links, The
Moore, R. Stevie
Morly Grey
Mourning Reign
Mr. Gasser & the Weirdos
Munson, Alan
Music Emporium
Music Machine, The
Myers, Dave and His Surf Tones
Neighb'rhood Childr'n
Neil, Fred
Nesmith, Michael
New Colony Six, The
New Mastersounds, The
Newcastle Five, The
Oakland Elementary School Arkestra
Original Surfaris, The
Oscar & the Majestics
Others, The
Owens, Buck and His Buckaroos
Paisleys, The
Paper Garden
Parks, Van Dyke
Parsons, Gram
Patterson, Bobby
Paul Butterfield Blues Band
Peanut Butter Conspiracy, The
Perhacs, Linda
Playboys (Scott Walker), The
Pleasure Seekers, The
Preachers, The
Pyramids, The
Raney, Jimmy
Rascals, The
Redding, Otis
Reed, Lula
Remains, The
Rhythm Rockers, The
Rich, Charlie
Rich, Don and the Buckaroos
Rip Chords, The
Rising Sons, The
Road Runners, The
Roberts, Howard
Rockets, The
Ronny & the Daytonas
Rooks, The
Runaways, The
Rush, Otis
Ryder, Mitch & The Detroit Wheels
Sam the Sham and the Pharaohs
Saturday's Children
Seagrams, The
Seeds, The
Senay, Eddy
Sentinals, The
Shadows of Knight, The
Shady Daze, The
Shindo, Tak
Shirelles, The
Simpson, Red
Sinclair, Ranny
Sir Douglas Quintet
Sir Winston & the Commons
Sloths, The
Smokey and His Sister
Soft Machine, The
Solomon, Jerry
Something Weird
Sonics, The
Southwest F.O.B.
Sparkles, The
Spence, Alexander 'Skip'
Spiders, The
Standells, The
Starr, Andy
Starr, Thom
Stephens, Leigh (Blue Cheer)
Stooges, The
Strawberry Alarm Clock, The
Sunrays, The
Surfaris, The
Syndicate of Sound
Tanner, Paul
Temptations, The
Things to Come
Third Bardo, The
Thompson, Bob
Thompson, Claudia
Tjader, Cal
Tornadoes, The
Toys, The
Trashmen, The
Travis, Merle
Travis, Merle and Maphis, Joe
Tropics, The
Tucker, Moe
Twentieth Century Zoo
Ultimate Spinach
Uniques, The
Usher, Gary
Vanilla Fudge
Various Artists - 2131 South Michigan Avenue
Various Artists - A Christmas Gift For You
Various Artists - A Fine Time! The South Side of Soul Street
Various Artists - Ain't It Hard!
Various Artists - Don't Press Your Luck!
Various Artists - Garage Beat '66
Various Artists - Golden State Recorders
Various Artists - Gritty 60's Garage & Punk
Various Artists - Jazz For Hi-Fi Lovers
Various Artists - King Strings
Various Artists - Lost Legends of Surf Guitar
Various Artists - My Goodness, Yes!
Various Artists - Northwest Battle Of The Bands
Various Artists - Out In The Streets Again! The Soul Sounds of Scepter
Various Artists - Shake What You Brought!
Various Artists - The Soma Records Story
Various Artists - We're Gonna Change The World
Various Artists - We're Gonna Have A Party! The Soul Of Wand Records
Various Artists - What's Shakin'
Vettes, The
Vincent, Gene
Waters, Muddy
Watson, Johnny 'Guitar'
Wayne, Bobby
Wendy & Bonnie
West Coast Pop Art Experimental Band
Wiggins, Little Roy
Willet, Slim
Wray, Link
Yellow Balloon, The
Young Rascals, The
Youngbloods
Private Pressings & Outsider Art
Country/Rockabilly
Modern Harmonic
Genre Menu
The Sounds of Sundazed
Sundazed and Modern Harmonic proudly present original albums, expanded editions, unique compilations and more on vinyl and CD! Our catalog is bulging with both classic AND overlooked blasts from the 60s & 70s: a universe filled with the sounds of garage, pop, soul, surf, psych, country, and much more!
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Sundazed Music?a world where bigtime pop, jazz and country reissues peacefully coexist with overlooked classics from the uncharted depths of garage, psych, surf and rockabilly
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Captain Beefheart and His Magic Band Upon the My-O-My / I Got Love On My Mind 7" single - Colored Vinyl
Item #: S 261 (color) -
On colored vinyl!In 1974, as Captain Beefheart recorded his eighth album, Unconditionally Guaranteed, he was eager to reach a wider audience while regaining the critical acclaim of his earlier work. Listening to album's lead single, "Upon The My-O-My" b/w "I Got Love On My Mind," it's hard to believe anyone found this effort lacking. True, the music may be a bit more polished around the edges, but the Captain's commanding voice rules over all. Long out of print, Sundazed resurrects this...
Carras, Nicholas - Date Bait - LP
Item #: MH-8201 -
Preorder now and save! This title will be available 8/23/19!Please note that orders containing any items that are on preorder will ship in full when all items are in stock. A JAZZ & ROCK RUMBLE! FIRST EVER LP RELEASE OF THIS ROCK & JAZZ SOUNDTRACK!INCLUDES A DVD OF THE ENTIRE FILM PLUS BONUS GOODIES INCLUDING A CUT TO SYNC WITH YOUR LP!INCLUDES A ZINE STYLE INSERT WITH LINERS AND PHOTOS!CUT BY KEVIN GRAY AT COHEARENT AUDIO AND PRESSED AT THIRD MAN IN DETROIT! Nicholas Carras' powerhouse score...
Carras, Nicholas - High School Caesar - LP
Preorder now and save! This title will be available 8/23/19!Please note that orders containing any items that are on preorder will ship in full when all items are in stock.BONGO JAZZ STYLINGS & REPREHENSIBLE RUFFIANS! FIRST EVER LP RELEASE OF THIS ROCK & JAZZ SOUNDTRACK!INCLUDES A DVD OF THE ENTIRE FILM PLUS BONUS GOODIES INCLUDING A CUT TO SYNC WITH YOUR LP!INCLUDES A ZINE STYLE INSERT WITH LINERS AND PHOTOS!CUT BY KEVIN GRAY AT COHEARENT AUDIO AND PRESSED AT THIRD MAN IN DETROIT! The true...
Carras, Nicholas - Mr. Peters' Pets: Motion Picture Soundtrack - LP
BONGO SKINS & SKIN FLICK! • A TOP NOTCH JAZZ RECORD THAT JUST HAPPENED TO BECOME AN ADULT FILM SCORE!?! • LOTS OF BANG FOR YOUR BUCKS, ON THIRD MAN PRESSED YELLOW VINYL! • INCLUDES A ZINE-STYLE INSERT WITH A GREAT SET OF NOTES FROM A BODACIOUS PAIR OF WRITERS, AND A DVD OF THE FILM PLUS A SPECIAL EDIT TO SYNC WITH YOUR LP! A jazzy romp through the titillating '60s. On Mr. Peters' Pets, composer Nicholas Carras ventures deep into the bongo-crazed percussion world of exotica! This is a jubilant...
Cash, Johnny - Johnny Cash at San Quentin LP
Item #: LP 5362 -
Perhaps even more so than its predecessor, Johnny Cash at San Quentin captures Cash at his most raw and uninhibited. The artist?s raucous rapport with his captive audience is obvious on an inspired mix of Cash classics ("I Walk the Line," "Folsom Prison Blues"), jailhouse ballads ("Starkville City Jail," "San Quentin"), traditional tunes ("Wreck of the Old 97," "There'll Be Peace in the Valley") and well-chosen covers (Bob Dylan's "Wanted Man," the Lovin' Spoonful's "Darling Companion"). The...
Cash, Johnny - Johnny Cash Live At Town Hall Party 1958! LP
FIRST TIME ON VINYL?The birth of country cool! The Johnny Cash you hear on these two remarkable live performances is not the venerable legend of today. This was the young, feral Cash, full of piss, vinegar and sly orneriness. Even to those who know every note, joke and guitar lick on Johnny Cash At Folsom Prison or San Quentin, hearing Cash in his prime, aided and abetted by the Tennessee Two, guitarist Luther Perkins and bassist Marshall Grant, is a revelation. These historic documents,...
Cash, Johnny - Original Sun Singles '55-'58 2 LP Set
Pressed at R.T.I.To hear Johnny Cash's swaggering Sun Records-era material is to marvel at one of the primal source-streams of what was fast becoming the headwaters of rock 'n' roll. Cash's craggy, lunch-bucket vocals on gleaming original versions of songs like "Cry! Cry! Cry!," "Get Rhythm," "Big River," and "I Walk the Line," backed by the signature guitar style of Luther Perkins and Marshall Grant?s steady bass, are really just the tip of the iceberg corralled on this stunning collection....
Cash, Johnny - Original Sun Singles '55-'58 CD
Item #: SC 11205 -
To hear Johnny Cash's swaggering Sun Records-era material is to marvel at one of the primal source-streams of what was fast becoming the headwaters of rock 'n' roll. Cash's craggy, lunch-bucket vocals on gleaming original versions of songs like "Cry! Cry! Cry!," "Get Rhythm," "Big River," and "I Walk the Line," backed by the signature guitar style of Luther Perkins and Marshall Grant?s steady bass, are really just the tip of the iceberg corralled on this stunning collection. "Folsom Prison...
Castleman, William - Space Thing: Motion Picture Soundtrack - LP
SCIENCE FRICTION GROOVES! • FUNKY SPACE GROOVES SPRINKLED WITH WELL PLACED LINES OF "DIALOGUE" • LOTS OF BANG FOR YOUR BUCKS, ON SPACE AGE SILVER VINYL! • INCLUDES A ZINE STYLE INSERT WITH A GREAT SET OF NOTES AND A DVD OF THE ENTIRE ASS-TRO EXCURSION! In 1968 A.D., years before (and possibly inspiring?) the Star Wars franchise David Friedman pounded out this "science friction" that takes place in the year 2069. The "film" borrows greatly (and literally) from Star Trek, cleverly re-purposing...
Catalinas, The - Fun Fun Fun - LP
The first wave of the surf music explosion spawned countless short-lived bands and one-shot studio projects. Many of those projects were quickly forgotten, but a handful have continued to inspire hushed reverence among surf aficionados. The latter category includes the Catalinas' lone album, originally released in 1964 and out of print for more than four decades.An all-star studio supergroup featuring legendary producer Terry Melcher, future Beach Boy Bruce Johnston and fabled Wrecking Crew...
Chad & Jeremy - Distant Shores CD
No one did lush orchestral pop better than Chad Stuart and Jeremy Clyde. In 1966, while other moptop combos were falling by the wayside, Chad & Jeremy created Distant Shores?their most sparkling and mature album yet. Recorded between TV appearances (Batman and My Three Sons among others), Distant Shores is the album of swirly, baroque pop Chad & Jeremy were destined to create. ...
Chad & Jeremy - I Don't Want to Lose You Baby - CD
Item #: SC 6226 -
With the 1965 release of Chad & Jeremy's sweeping second Columbia LP, the shaggy-haired troubadours began to weave timely folk-rock anthems by Bob Dylan and Phil Ochs into their British Invasion-style repertoire. Of course, the dynamic duo still retained that magical ability to break young girls' hearts with their stirring harmonies on chart-bound singles like "I Don't Wanna Lose You Baby" and "I Have Dreamed." ...
Chad & Jeremy - Of Cabbages And Kings - CD
"A stellar job collecting, organizing, and packaging-ranges from glistening orch-pop to hushed, acoustic Simon & Garfunkelisms to exquisitely appointed pre-Pepper baroquedelia." --The Big TakeoverBy the time the ambitious gem Of Cabbages and Kings was released, the paisley transition for Chad & Jeremy was complete: from the Dickensain tombstone-tale of "Rest in Peace" to the ambitious five movements of "The Progress Suite," it's a perfect slice of '67 pop/rock.Original album includes "Rest in...
Challengers, The - Go Sidewalk Surfing! Limited Edition LP
NOW ON TRANSLUCENT GOLD COLORED VINYL! The Challengers were one of the first--and one of the best--of the California surf combos. They were also one of the most prolific, turning out a series of ultra-cool LPs that stand with the surf genre's most beloved recordings. The Challengers, led by drummer/producer Richard Delvy, originally grew out of the breakup of the pioneering surf outfit the Bel Airs, and took their predecessors' achievements several steps further, creating some of the era's...
Champs, The - Go Champs Go! - LP
Numbered and limited to 1000! Composed of legendary Los Angeles session men, The Champs are responsible for one of the best instrumentals ever recorded, the ultra-infectious "Tequila." Their Tex Mex longplayer is full of driving guitar and propulsive rhythms, accompanied by the punctuating persistent sax sounds of Chuck Rio (who penned the boozy bruiser that became their biggest hit). Cut all analog directly from tape by Kevin Gray, presented in glorious mono, and pressed at RTI on gold vinyl! ...
Chocolate Watch Band - In the Midnight Hour / Psychedelic Trip - 7" Single
Item #: S 242 -
Now On Colored Vinyl! Was there a more influential band from the West Coast's Class of '66 punks??? If any convincing is required, listen no further than the Watch Band's pulverizing take on "In the Midnight Hour." In a tradition established with their first official single, "Sweet Young Thing," this outtake features an absolutely stunning rhythm track coupled with frontman Dave Aguilar's raving original vocal. Definitive! (Inexplicably, the orig. producers chose to replace Aguilar's superior...
LTD Color!
Chocolate Watch Band - No Way Out - COLORED VINYL LP
Item #: LP 5306-CLR -
On Colored Vinyl! No Way Out, the thrilling debut album by the Chocolate Watch Band, immediately finds that cosmic sweet-spot of perfect garage-rock traction: where the rubber meets the road and the train keeps a-rollin.' Nobody ever did Mick Jagger any better (even Mick, himself) than the Watch Band's frighteningly superb frontman Dave Aguilar. "Are You Gonna Be There (At The Love-In)" and "Let's Talk About Girls" are on everyone's list of Top 20 garage rock anthems of all time. And that's...
Chocolate Watch Band - No Way Out LIMITED EDITION CD
No Way Out, the thrilling debut album by the Chocolate Watch Band, immediately finds that cosmic sweet-spot of perfect garage-rock traction: where the rubber meets the road and the train keeps a-rollin.' Nobody ever did Mick Jagger any better (even Mick, himself) than the Watch Band's frighteningly superb frontman Dave Aguilar. "Are You Gonna Be There (At The Love-In)" and "Let's Talk About Girls" are on everyone's list of Top 20 garage rock anthems of all time. And that's just the tip of the...
Chocolate Watch Band - No Way Out LP
Chocolate Watch Band - The Inner Mystique LIMITED EDITION CD
The Inner Mystique, the hypnotic second album by the Chocolate Watch Band, takes up exactly where its sacred predecessor left you: looking for your perfect match at the local Love-In. When Watch Band lead singer par excellence Dave Aguilar grabs you by the lapels and tells you "I'm Not Everybody Else," you have no choice but to believe him. He's not. And when session vocalist Don Bennett extols the virtues of "Medication," who could doubt his sincerity? Especially when he stokes the fires to...
Chocolate Watch Band - The Inner Mystique LP
Chymes, The - He's Not There Anymore / Quite A Reputation - 7" Single
Item #: DJ 550 -
Three teenaged gals from the suburbs of Los Angeles had their shot at pop music notoriety during mid 1966, thanks to Turtles lead singer Howard Kaylan. Kaylan and Nita Garfield, his then-girlfriend and songwriting partner, witnessed a performance the trio; duly impressed, they penned three songs for Candice, Irisse and Stephanie with musical backing tracks provided by the Turtles during the session. The resulting Chattahoochee label single captures an AM-radio friendly summertime girl group...
Clark, Gene - Doug Dillard and Gene Clark - The Fantastic Expedition of Dillard & Clark CD
Groundbreaking album that helped define country-rock!In 1965 Missouri-born Gene Clark was riding the crest of unprecedented success and adulation as a member of the Byrds. Anointed as America's answer to the Beatles, the Byrds topped the charts with folk-rock anthems like "Mr. Tambourine Man," "Turn! Turn! Turn!" and "Eight Miles High." Gene was front and center as tambourine player, singer and principal songwriter for the group. But in early 1966 he flew the Byrds' coop. A gifted songwriter,...
Clark, Gene - Doug Dillard and Gene Clark - The Fantastic Expedition of Dillard & Clark LP
Clark, Gene - Echoes / I Found You
Though they were enjoying tremendous international success, life with the Byrds was proving increasingly difficult for Gene Clark in 1965. Thus, in early 1966, Gene flew solo and started recording his solo debut album for Columbia with the Gosdin Brothers on backing vocals. From these sessions, this promotional single was pulled. Sourced from the original analog tapes, bedecked with the Columbia promo labels and packaged in a replica of the promotional picture sleeve, this Sundazed single is...
Clark, Gene - Gene Clark with the Gosdin Brothers CD
On the first solo album by an ex-Byrd, Gene Clark doesn't stray too far from the nest. Cut in 1966 upon Clark's departure from the iconic L.A. combo, with current Byrds Chris Hillman and Michael Clarke forming the rhythm section, and spotlighting brothers Vern and Rex Gosdin, a pair of former bluegrass pals of Hillman's who chime in with sweet harmony vocals, Gene Clark with the Gosdin Brothers stands as one of Clark's supreme achievements. Add session guitarists Glen Campbell and Jerry Cole...
Clark, Gene - Gene Clark with The Gosdin Brothers LP
Clark, Gene - Roadmaster - COLORED VINYL LP
On colored vinyl! Legendary Gene Clark album assembles abandoned 1972 sessions and more!By 1972, singer/songwriter Gene Clark had settled into a new life in Mendocino far from the intrusive media glare and fan adulation that still surrounded someone of his stature as a former member of the Byrds. However, he still owed A&M Records one more album. Gathering together the cream of the Los Angeles country-rock fraternity-innovative guitarist Clarence White, Chris Ethridge on bass, ex-Byrd and...
Clark, Gene - Roadmaster CD
Legendary Gene Clark album assembles abandoned 1972 sessions and more!By 1972, singer/songwriter Gene Clark had settled into a new life in Mendocino far from the intrusive media glare and fan adulation that still surrounded someone of his stature as a former member of the Byrds. However, he still owed A&M Records one more album. Gathering together the cream of the Los Angeles country-rock fraternity-innovative guitarist Clarence White, Chris Ethridge on bass, ex-Byrd and Burrito Brother...
Clark, Gene - White Light CD
Former Byrds singer/songwriter?s stark 1971 masterpiece!As founding member of folk-rock pioneers the Byrds, Gene Clark had emerged as a uniquely gifted singer/songwriter and master of the minor key melancholy ballad. His departure from the group in 1966 was met with critical anticipation and commercial indifference. Tiring of the Hollywood fast lane by 1969, Gene and new wife Carlie moved up to Mendocino on the Northern California coast where the tranquility, pastoral beauty and laid back...
Clark, Gene - White Light LP
Former Byrds singer/songwriter's stark 1971 masterpiece! As founding member of folk-rock pioneers the Byrds, Gene Clark had emerged as a uniquely gifted singer/songwriter and master of the minor key melancholy ballad. His departure from the group in 1966 was met with critical anticipation and commercial indifference. Tiring of the Hollywood fast lane by 1969, Gene and new wife Carlie moved up to Mendocino on the Northern California coast where the tranquility, pastoral beauty and laid back...
Clark, Gene and Dillard, Doug - Why Not Your Baby / Lyin' Down The Middle
Remarkably, both "Lyin' Down the Middle" and "Why Not Your Baby" were issued ONLY as single sides at the time by A&M; they were not included on any original Dillard & Clark album. Proudly presented here from the original A&M mono masters, this re-imagined single reveals Dillard & Clark sailing forefront of the nascent California country-rock movement.
Cochran, Eddie - Eddie Cochran Live At Town Hall Party 1959 LP
Following in the footsteps of our ultra-cool Johnny Cash Town Hall PartyLPs, we're back with three more live-in-the-studio sessions from '58-'59,featuring Gene Vincent, Eddie Cochran and Merle Travis. Taken from TexRitter's legendary Town Hall Party television series, our LPs capturerockabilly legends Gene Vincent, Eddie Cochran and guitar-picking icon MerleTravis at the absolute top of their games, each playing incredible livematerial—and never before released on vinyl. If you missed...
Cochran, Wayne - WAYNE COCHRAN! - Vinyl - Mono Edition
Soul-Shakin' DynamiteWayne Cochran! The exclamation point is there for a reason. Known as "The White Knight of Soul," Cochran was flamboyant in both voice and attire. Crowned by a swooping white pompadour, he held back nothing on stage. His performance style was very reminiscent of fellow Georgia native Little Richard Penniman. Like Penniman, music led Cochran to his current career as a minister. Anyone who's ever witnessed a fire-and-brimstone southern gospel service can see the connection...
Cohen, Leonard - Live Songs LP
Leonard Cohen?s intimate, emotion-charged live performances yielded the 1973 release Live Songs, which mixes a handful of previously recorded favorites with several new songs, including ?Passing Thru,? ?Tonight Will Be Fine? and the harrowing, rarely-performed 13-minute epic ?Please Don?t Pass Me By (A Disgrace).?By the time Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the...
Cohen, Leonard - New Skin for the Old Ceremony LP
1974's New Skin for the Old Ceremony saw Leonard Cohen taking a turn away from the spare sound of his earlier releases, with such numbers as "Chelsea Hotel #2," "There Is a War," and "A Singer Must Die" featuring expanded instrumental arrangements and some of the most expressive vocal performances of Cohen's career.By the time Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's...
Cohen, Leonard - Songs from a Room LP
Cohen's sophomore effort Songs from a Room (recorded with producer Bob Johnston, renowned for his work with Bob Dylan, Johnny Cash, the Byrds and Simon and Garfunkel) was a worthy follow-up, boasting such enduring compositions as "Bird on the Wire," "Story of Isaac" and "A Bunch of LonesomeHeros."By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most...
Cohen, Leonard - Songs of Love and Hate LP
With 1971's Songs of Love and Hate, Cohen delivered one of his most emotionally intense sets, with such memorable numbers as "Avalanche," "Famous Blue Raincoat" and "Joan of Arc" ranking with his greatest compositions.By the time Leonard Cohen began his recording career in 1967, the iconoclastic Canadian troubadour was already well established as a poet and author. He quickly emerged as one of the era's most original and influential singer-songwriters, building a large and legendary body of...
Cohn, Al - Cohn On The Saxophone - LP
A swingin' beat-gen jazz classic back in print! Sax-man Al Cohn, best known for his work with fellow Lester Young tenor-sax disciple Zoot Sims, has all the pots bubbling on this classic 1956 LP. Five stars in DownBeat? You bet! Al Cohn first sprung on the national scene as one of the saxophonists on the Woody Herman hit "Four Brothers," a crazy arrangement of "Jeepers Creepers" featuring each "brother" on a wild-and-crazy swingin' sax solo. Along with fellow "brother" Zoot Sims, Cohn became...
Cole, Jerry - Hot Rod Dance Party
11 sizzling instrumental tracks on colored vinyl!
Cole, Jerry - Surf Age - CD
Item #: KST SC 1002 -
Could anything be better than surf music played by crazed spacemen? Not likely! And here's the proof: Guitar-wrangler Jerry Cole and His Spacemen's stupidly rare 1964 album, Surf Age!While most of Cole's albums were cranked out at the astounding pace of up to two or three per day, Surf Age, was by comparison a production of epic proportions. For the sessions, Cole and his hand-picked all-star crew of LA studio cats labored to create an album unlike any other, an endlessly inventive amalgam of...
Commander Cody & His Lost Planet Airmen - Live In San Francisco 1971 - CD
Located 40-odd miles west of Detroit, Ann Arbor was a cauldron of social change in the '60s. Radical politics, courtesy of Students for a Democratic Society and John Sinclair's White Panther Party, mixed with a vibrant music scene which featured adventurous acts like Iggy Pop and the Psychedelic Stooges. In the midst of this fervor, local musician George Frayne IV felt the urge to form a country swing/boogie band, of all things. Cobbling together the name Commander Cody and his Lost Planet...
Commander Cody & His Lost Planet Airmen - Live In San Francisco 1971 - LP
The LP edition comes in a gatefold jacket with a replica poster and bumper sticker. On translucent gold RTI pressed vinyl! Located 40-odd miles west of Detroit, Ann Arbor was a cauldron of social change in the '60s. Radical politics, courtesy of Students for a Democratic Society and John Sinclair's White Panther Party, mixed with a vibrant music scene which featured adventurous acts like Iggy Pop and the Psychedelic Stooges. In the midst of this fervor, local musician George Frayne IV felt the...
Condello - Phase 1 - LP
Mike Condello did it all in four decades in the music business: serve as music director for two local Phoenix TV shows (Teen Beat and The Wallace & Ladmo Show), lead his own bands like Hub Cap and the Wheels, parody the Beatles with Commodore Condello's Salt River Navy Band, and even play with luminaries like Keith Moon, the Tubes, and Jackson Browne. In 1968, he also led his own band -- which released the psychedelic masterwork Phase 1 on Scepter Records. Featuring a young Bill Spooner...
Counts IV, The - Discussion of the Unorthodox Council / Spoonful / It's All Over Now, Baby Blue 7" EP
Item #: SEP 179 -
Goldsboro, North Carolina's solitary claim to sixties garage-rock fame is the legendary Counts IV. Joe Booher (lead guitar, vocals), Al Peluso (bass, vocals), Don Roof (rhythm guitar, harmonica, vocals), and Rick Turner (drums) had previously waxed the swingin' frat-rocker "Listen to Me" on JCP Records (in '64, when several members of the band were still enlisted at local Seymour Johnson Air Force Base).On the astounding '66 recordings collected here, however, the pounding rhythms were now...
Crow - The Best of Crow - CD
Pure Rock N' Roll from the Midwest on Vinyl and Compact Disc! With a lowdown bass lick, uptown R&B horns and surging organ punctuating a catchy chorus, "Evil Woman (Don't Play Your Games With Me)" hit the Top 20 like a comet in 1969 and propelled Crow from Midwest club band into national touring act overnight. Thanks in part to covers by Black Sabbath and Ike and Tina Turner, it's one of the most recognizable hits of the era and, inexplicably, one of the few to not make the transition into the...
Crow - The Best of Crow - LP
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I began with marimba chord samples that I had recorded a few months back.
I played between 20 and 30 different chord rolls—plenty to make something out of later on, which is today!
I had hoped that one of the marimba chords would turn out to be so interesting that I could ignore all the others, but that didn't work out, which is okay.
I narrowed down my choices to a handful of chords that sounded better than the rest and played the chords on the grid controller. The goal was to de-familiarize them and come up with a new sequence. Playing the chords by tapping the rubber pads, I left space after each one so that they could resonate within their own echoes. I recorded sequences that were odd lengths—not 4 or 8 bars, but 15 or 23 bars long. Why? I'm trying to surprise myself.
With these chord sequences as placeholders, I began trying out other parts.
What might "go" with them?
I have thousands of sounds that could potentially sound good with the marimba chords, but it rarely works out that way. Most of the time, very few sounds fit. In fact, on this project I have only found three or four sounds that fit.
Why is it so difficult to find sounds that fit?
Sometimes nothing fits, which is its own kind of helpful information.
The challenge with finding sounds that fit is that it takes a while to get to know both the sound I'm trying to fit to and the sounds that could potentially do the fitting.
I'm surprised that a sound that fits is not one with a similar timbre to the marimbas but rather one that contrasts by occupying a distinctly different frequency stratum of the mix.
This suggests a lesson: pay attention to contrast.
As I auditioned sounds I was simultaneously writing new parts that might work with them. Like the sequenced marimba chords, these new ideas are also placeholders—attempts at filling out the mix in a meaningful way.
Even though they're placeholders, I try to make these parts as complete as possible by performing them as well as I can, thereby giving me a decent chance of sequencing a part that can be used later on. Sometimes what was once a placeholder part becomes, with a bit of editing, a final part. The for now unattainable goal is to play everything only once and perfectly. That would be something, wouldn't it?
You never know, so make the part excellent the first time.
While I'm trying new sounds and new parts, larger-scale forms are suggesting themselves. If a part is sounding good, I'll keep playing it for a while. This playing can outline a possible new section that I'll then have to fill in with other parts. It helps to be able to see everything I'm doing as a left-to-right sequence on the screen.
This suggests a lesson: the arrangement page is the musical score.
Everything I do in terms of part-making is potential scaffolding to hold up something else later on.
I solo a part and like the sound of that, so I delete all the other sounds that were once around it. Musics don't always have to be busy. Now the sound can shine on its own.
I accidentally drag the marimba sequence a few beats too far and now one of its chords is newly juxtaposed against another part. The accidental counterpoint sounds interesting so I'll leave it (for now).
Accidents and errors are welcome and I go with them if I like how they sound.
But in general, chance procedures aren't the ideal way to develop the kind of music I like to listen to because I like the sound of intentionality.
One way to develop the music is to question it at each of its passing moments. I don't mean question the music while making it! I mean question the music when I'm listening back to what I've done and thinking about how arrange it into a more cohesive and intentional whole.
Is this boring me? If so, why?
Is this repeating too much or not enough?
Is this part adding something?
Is this part getting in the way?
Why is this part even in here?
Is this part distracting from the main one?
Do I need a main part?
Is there even a main part?
What aspect of the part is irritating?
Are the details within this part sufficiently audible?
Is this effect drawing attention to itself rather than the effect it seeks to create?
Is static what you want for this section, or should it be changing?
Why is this music reminding me of (…)?
Is the tempo a bit off?
Is the percussion merely adding energy without helping the mood?
How else can I incorporate pulsation into the music?
Has the music become out of touch with its overall sense?
If only the end section sounds good, do you even need the beginning?
Could I start from the end?
Do I like this piece as it is? If not, why?
I know some ways to work, but what makes music production fascinating is the complexity of the possible interactions between a musician and the technologies/musical system at hand.
At any given moment, a sound can morph in infinite directions. Likewise, at any moment, my understanding of what the piece is can shift.
Am I engaging the production process in a way that is both systematic yet also open-ended and exciting?
One of the primary tasks involved in building a piece of music or a piece of writing is figuring out as early as possible in the process what materials you're working with. Our process won't reveal itself until we're further along it, so there's so sense worrying about that until we get there. But our materials we can decide upon now, even if that deciding feels arbitrary because, at least in the case of electronic music production, what constitutes one's materials is perpetually in flux and potentially has no end. I can decide, for instance, that my piece will use at maximum one or two tracks of percussion. I can also decide on the (initial) sound sets for those tracks. My rationale is that two tracks of particular sounds afford me exponentially more options than one track does (especially in terms of polyrhythm and timbral call and response), but that any more than two tracks will be overkill. Am I missing out by not adding more tracks and more sounds? Maybe. But I gain a sense of clarity from having chosen to make do with just one or two tracks. I feel this clarity as I get to work figuring out what I might do with my chosen palette of percussion.
As I get further along the process of recording parts with my decided upon two tracks, the limitations I've set for myself come in handy. Now I have a super narrow frame for attention: each track of percussion has only three or four sounds, thus I only have 6-8 different sounds total for accomplishing whatever I'm trying to do. Though it's difficult to capture in words, the moment of confronting a super narrow set of options feels like a crux of composing insofar as in that instant I have to decide how to make do with what I have. Conditions aren't ideal, so I invent a way forward despite them. In sum, improvising with, and adapting to, the moment happen because I decided beforehand on the materials that set the conditions for creativity.
I'm listening to Weezer's cover of "Take On Me", a synthpop hit from 1984 by the Norwegian band A-Ha. I like both versions of the song: the original was exceptional—a song almost sublime in its MIDI-sequenced tightness, arranged just so, here for a pristine three and a half melancholy minutes then gone—and Weezer's cover is a surprisingly moving tribute. Even though A-Ha was a trio powered by drum machines and sequenced keyboards, their song remains intact 35 years later with almost a billion views on YouTube and now, through Weezer's rendering of it in rock form. The story of how Weezer came to cover "Take On Me" and other 80s gems is this: in 2018 a young fan reached out to the band on Twitter and suggested that they do a version of Toto's "Africa." Surprisingly, the band obliged and their Toto cover became their first hit in a decade. Maybe the success of that song got the band thinking about covering other songs? In any case, cover songs they did, and as a side note: when someone covers TLC's "No Scrubs" and doesn't change the lyrics to fit a male singer (TLC were an all-female 90s R&B group) it's always worth a listen.
As I listened and re-listened to "Take On Me" I thought about what kinds of things the song was telegraphing to those of us around for the original. To start, the Weezer cover traffics in nostalgia for our always receding musical past, and maybe it exemplifies what Simon Reynolds has called retromania. Cover songs trigger our minds in certain ways: when you listen to a cover of a song whose original version you know well, you jump into a super-fast comparative mode, trying to figure out what is the same and what is different between the two versions. And when that original is powerful, something else happens as well: your comparative mind shuts down a bit and you lose yourself in the music, not quite sure whether you're hearing the new through the prism of the old or the old through the new. Or some combination of both of these ways of listening.
Out of this layered production process "Take On Me" emerged and became a chart-toping hit, in part thanks to an expensive and innovative video whose hand-drawn comic book graphics kept the song in heavy rotation on MTV.
If you toggle back and forth between A-Ha's and Weezer's versions of "Take On Me" a few differences become apparent. First, the original is in A major, while Weezer's cover is transposed down a step, presumably to better suit vocalist Rivers Cuomo's vocal range. Production-wise, the original has a crisper, livelier sound than Weezer's, while Weezer's has a darker, almost dull sound (the drums especially), albeit with more weight. This is strange insofar as the original was recorded onto a warmer-sounding analog tape-based system and not into a computer-based DAW as today's recordings usually are. Also, the original recording of "Take On Me" has more layers of textural nuance than Weezer's version. Little programming details—like the high register bumble bee-like keyboard line that flies around the stereo field and off into its own reverb (from 2:02-2:08), or the drum machine fills that sounds uncannily like what a real drummer would play—still sound amazing to me. Weezer partly makes up for that lack of nuance with some lovely filigree electric guitar arpeggios added to the chorus, but on the whole, the song's original version remains a testament to careful musical construction. Let's take this moment to remember a truth about music production: it's not about whether the instruments used are electronic or not. What matters is how the music is put together.
The second thing you notice is that Weezer's Cuomo seems a stronger singer than A-Ha's Morten Harket. Harket has a sweet choir boy voice, but I only recently noticed how his word enunciation wasn't always clear and when he hit sustained falsetto notes his energy and pitch could flag a wee bit. (I guess those 1980s Lexicon 224 reverbs could only do so much.) To me, Cuomo's voice sounds more present and careful in its phrasing and use of micro, almost Michael Jackson-esque breathy/rhythmic glottal stuttering sounds around the words. His voice is a subtle instrument. A third noticed thing is what we might call the transferability of great songs. In Weezer's version of "Take On Me" there's two new sections: a half-time bridge where the band breaks out the distorted electric rock guitars and sloshy cymbals and a brief break before the final chorus where the song reduces to just an unplugged acoustic guitar and intimate vocal. In the half-time section we hear the suppleness of A-Ha's harmonic progressions, and in the acoustic break how Harket's melody still holds up with even the sparest of accompaniment. A strong song maintains itself through all kinds of versioning by transferring its energies from one artist to another over time.
A fourth noticed difference between the two versions of "Take On Me" is the degree to which electronic pop can be "rockified", which in turn raises the question of what happens when rock music gets a synth pop (or say, electro R&B) treatment, which in turn might push us to consider the general porousness of various pop musical styles. Weezer keeps the chord progressions and melody and basic keyboard parts from A-Ha's original, but adds crunchy distorted electric guitars, bass, and drum set to the mix. I've written on this blog before about the "trickle-down" influence of EDM aesthetics on rock and pop. Weezer's covers of 1980s songs now have me thinking about the hegemonic power of rock style to shape how we hear and imagine every other kind of music.
The impact of Weezer's cover of "Take On Me" is heightened by the band's video for the song, which is delightful and frames a simple story within a story. The simple story's protagonist is a teenage Cuomo and his band. When mom leaves the house he grabs a slice of pizza and mobilizes his bandmates to rip through Weezer's version of the song. The viewer sees Cuomo and his mates growing up in the 80s to the sounds of synth pop and rock: there's Cuomo in his bedroom doodling a giant "W" (for Weezer) in a notebook and imagining make one day making it big. This simple story is simultaneously set inside A-Ha's original video for their song with its hand-drawn graphics. Weezer quotes this video by having it temporarily turn teenage Cuomo and Co. into a comic strip—as if the comic is a visual representation of Weezer's cover version interpenetrating with A-Ha's original recording. The cumulative effect feels like layering nostalgia, and so for some viewers, these two versions of one song might bring back vague memories now blended into a single sensation. In music, the past lives in the present and the present uncovers the past. When conditions are right, some songs find unexpected ways to get us feeling again.
Paul Bertolli, Cooking by Hand (2003), p. 27.
I work on projects in distinct stages for various reasons, not least of which is simplifying my workflow so I have some idea of what I need to do each day. (Oh I'm editing today? Okay great.) This has an inherent benefit: it creates separation between different ways of working. For my current project, I divided it into four stages. The first stage was recording a series of marimba chords. I placed no limits on what I would play, except of course for the self-imposed limitations of what chords I could actually come up with while recording. For the most part, I played triads with open voicings, but there were always a few outlier chords, and upon re-listening to what I played, these chords were super interesting because I could hear that I had no idea where I wanted to go with them. Which is just as such things should be.
The second stage of composing was mapping each of the chords I played to my grid controller so I could re-play them by tapping the pads. Even before mapping the chords, I had a sense that this would be an important start to getting some distance from whatever I had intended while playing the chords on the marimba. By mapping the chords, one chord per pad, I turned them into marimba samples that could be used however I wanted. Finally the sounds were free!
The third stage was trying out various ways of sequencing the marimba chords mapped to the pads. I had between thirty and forty chords from which to choose, so the hardest part was knowing where to start and how many to use. Would my sequences be 4 or 24 bars long? Would there be one or two sequences per piece, or five or six? The only way to know was to try out different sequences to hear how they sounded. As a side note, playing the chords on the pads became a challenging game of trying to remember what sound was mapped to what pad.
The fourth stage was to manipulate my chord sequences in various ways. I repeated them, I added and subtracted space between them, I transposed them, and I moved them about the timeline of the piece, so that a beginning might appear again at the end, or the middle part of one might be superimposed upon the end of another. I was always pleasantly surprised when I dragged a sequence into a new position and heard an unexpected juxtaposition with the other parts. Since I had kept my marimba playing to a single key per session, the chords could function in a modular way.
By the fourth stage, I had forgotten all about having played the original marimba chords. I knew the key but couldn't tell you what the chords were. But this had been my goal all along: to transport the chords from the gestural space of playing an acoustic instrument onto a grid controller and then re-sequence them onto the virtual space of the screen. It was still me playing, but I now had separation between my original idea and the new place I had arrived at. Which is just as such things should be.
Move from a blur to clarity.
Move from sharp attack to slow.
Move from everything sounding at once to a single sound.
Move from bass-heavy to treble-light.
Move from sparseness to density.
Move from thick to transparent.
Move from on-beat to off-beat.
Move from left-panned to right-panned.
Move from macro to granular.
Move from static to dynamic.
Move from presets to your own sounds.
Move from stereo to mono.
Move from minimum input to maximal output.
Move from a single piece to a series of pieces.
Move from dry to reverb'ed.
Move from overlap to call and response.
Move from beats to pulsation.
Move from theory to practice.
Move from judgment to attention.
Move from stasis to change.
Move from bass line to melody.
Move from sequenced to through-performed.
Move from argument-like to meditation-like.
Move from you to your listener's experience.
Move from programming to playing.
Move from relying on bass to relying on chords.
Move from relying on chords to relying on rhythms.
Move from contemplation to action.
Move from theme to variation.
Move from anything's possible to constraints.
Move from random to deliberate.
Move from separate tracks to a cohesive mix.
Move from effects to the effect that you want created.
Move from rhythm to polyrhythm.
Move from certainty to ambiguity.
Move from what worked then to what might work now.
Move from nostalgia to equanimity.
Move from drum fills to effects fills.
Move from in the style of to drawing on a style.
Move from saying multiple things to saying just one thing.
Move from loop dragging to finger drumming.
Move from discrete to flowing.
Move from popular today to still interesting ten years from now.
Move from the notated score to the sequenced arrangement.
Move from background music to foreground music.
Move from an imperfect performance to a precise, edited one.
Move from audio to MIDI.
Move from Oblique Strategies to direct strategies.
Move from guessing how it might sound to trying it out.
Move from grand intentions to small-scale tinkering.
Move from making mistakes to experimenting.
Move from thinking in tracks to thinking in moods.
Move from sounding to muted.
Move from more volume to more EQ.
Move from adding to removing.
Move from linear to cyclical.
Move from fixing errors to embracing them.
Move from outcome-oriented to process-oriented.
Move from what didn't work to what might.
Move from saturated with to hinted at.
Move from hardware to software.
Move from having to know to getting to know.
Move from borrowing to creating.
Move from a consistent volume to a fading up and down volume.
Move from accidental to deliberate.
Move from passive listening to critiquing listening.
Move from suggesting to articulating.
Move from just repeating to tracing a musical line over time.
Move from cadencing to leaving you hanging.
Move from abrupt shifts to crossfades.
Move from totally in tune to slightly out of tune.
Move from obvious texture to a more subtle one.
Move from sounding like to evoking.
Move from a small gesture to a grand one.
Move from a relaxed to an urgent mood.
Move from super dark to super bright.
Move from on the click track to around it.
Move from accompaniment music to standing on its own music.
Move from vague to clear-headed music.
Move from verse-chorus to bridge structure.
Move from tried and true to not yet proven technique.
Move from trying-to-be-commercial to happy-to-stay-underground music.
Move from perceptually boring to perceptually fascinating music.
Move from more of the same to a bit more of the new sounds.
Move from perfecting the music to actually putting it out there.
Move from distinct sounds to felt resonances.
Move from a piano sound to a piano-ish sound.
Move from playing to re-sequencing.
Move from the tempo as is to a more appropriate speed.
Move from the arrangement back into a new loop.
Move from a common time feel to an odd one.
Move from promoting the music to giving it away.
Move from trying to write a hook to designing an enticing space.
Move from trying to show off with sound to healing with sound.
Move from music that is unrelated to your life to music that soundtracks it.
Move from working on the music in bits in pieces to finishing it in big chunks.
Move from waiting for musical inspiration to building music prototypes.
Move from composing themes to improvising them.
Move from the first take to the seventh.
Move from yesterday's musical work to today's further refinements.


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The Best and Worst of Abortion TV Since the 1970s
From Maude's dilemma to abortions "at an ATM."
Nina Liss-Schultz
Managing EditorBio | Follow
Previously, on TV: the abortion-quandary plotline, featuring an uncertain pregnant woman agonizing over her decision. For years, this was how abortion was portrayed—a right-wing fantasy, essentially, present even in shows with broadly liberal politics. But as the medium flowered in the new century, so did abortion TV. Now abortions could be just another part of a woman's day. They could be funny. They could be something other than a moral cataclysm for middle-class white women. A brief survey of abortion TV, from "Maude's Dilemma" to Veep's jokes and beyond.
1972: Maude Bea Arthur's title character decides to get an abortion after unexpectedly becoming pregnant at 47 years old.
1973: All My Children In the first Roe-era TV episode to feature abortion, lead character Erica Kane gets a serious infection after ending her pregnancy to pursue a modeling career.
1989: A Different World Kim's boyfriend, Dwayne, tells her to "get rid of" her pregnancy. She eventually realizes it's a false alarm.
Has TV Ever Gotten Abortion Right?
1991: Murphy Brown The TV journalist decides to carry her pregnancy to term. She gives birth on the final episode of the season.
1998: ER After a bombing at a women's clinic, Dr. Del Amico refuses to perform an abortion that had been interrupted by the attack, even though it's necessary to save the victim's life.
2000: South Park Kenny tries to trick his mother into having an abortion.
2004: Degrassi: The Next Generation In a two-part episode that US broadcasters declined to air until 2006, Manny gets an abortion after her pregnancy is outed to the school.
2004: Days of Our Lives A secret abortion leaves Mimi infertile.
2010: Friday Night Lights Tami Taylor helps a high school student get an abortion and is yelled at by the boyfriend's mother.
2010: True Blood Arlene discovers she's pregnant by her ex-husband, a murderer. A friend offers to take her to a clinic, but Arlene says she thinks it's wrong. Witchcraft ensues.
2011: The Good Wife A rumor goes around that the girlfriend of Alicia Florrick's son had an abortion.
2011: Grey's Anatomy Cristina Yang goes through with an abortion after her husband comes around to the idea.
2014: Jane the Virgin After discovering she was accidentally artificially inseminated, Jane Villanueva considers an abortion but decides to carry the pregnancy to term.
2015: Girls "Nah, I can't go for a run because I had an abortion yesterday," Mimi-Rose tells boyfriend Adam.
2015: Scandal Olivia Pope, impregnated by the president, gets an abortion while his ex-wife, a senator, filibusters a bill to defund Planned Parenthood.
2016: Crazy Ex-Girlfriend Paula Proctor already has two sons when she becomes pregnant again. With the support of her family, she decides to end the pregnancy to finally pursue a law degree.
2017: Veep While being considered for a Supreme Court nomination, Selina Meyer—who once memorably said, "If men got pregnant, you could get an abortion at an ATM"—jokes about her position on abortion: "I can give them my actual abortion if I can find it lying around here somewhere."
2019: Euphoria After briefly fantasizing about raising a child with her boyfriend, teenager Cassie turns to her mom for help scheduling an appointment at the clinic.
Yep, the Mother Jones Staff Has a Bunch to Say About "The Snyder Cut" Too
Dan Spinelli, Sam Van Pykeren, Edwin Rios, and Matt Cohen
"The World Tried to Make Women Like You Wilt. You Didn't": How Maria Garcia—and a Whole Generation—Are Honoring Selena and Finding Themselves
Brits Watching the Meghan and Harry Interview Were Horrified by Something Else: US Pharma Ads

redpajama_set_name: RedPajamaCommonCrawl


text:
« NO NEED TO PANIC ABOUT GLOBAL WARMING
OBAMA'S CRONY CAPITALISM »
THE FEDERAL RESERVE AND THE ZERO DECADE
The Zero Decade
The Fed doubles down to reflate the housing market.
The two most powerful men in Washington have a big disagreement. No, not President Obama and Speaker John Boehner. We mean Mr. Obama and Federal Reserve Chairman Ben Bernanke, who can't seem to agree on the health of the U.S. economy.
On Tuesday night, the President proclaimed that the "state of our Union is getting stronger," employers are hiring faster than they can find skilled workers, and manufacturing is booming. Less than a day later, Mr. Bernanke and his Open Market Committee (FOMC) downgraded their already modest growth outlook and said the recovery is so vulnerable that the Fed must keep interest rates at near-zero for another three years.
The contradiction may not be as profound as it seems. Mr. Obama is running for re-election and this time he needs to sell audacity more than hope, while the Fed is still trying to reflate the housing market that it seems to believe is the main driver of economic growth. The Fed is straining to deliver the asset-price "stimulus" that Mr. Obama can't any longer get out of Congress.
That's the best way to understand the FOMC's remarkable announcements on Wednesday, followed by Mr. Bernanke's quarterly press conference. The central bank had already promised to keep short-term rates near-zero through most of 2013, but now it feels the need to assure investors it will keep them there through the end of 2014. That would be six years in total, more than half of what may eventually become known as the Fed's Zero Decade.
Getty Images Federal Reserve Chairman Ben Bernanke
Mull that one over: The Fed is declaring that it needs to run the same super-easy monetary policy when the economy is growing by 2% or 3% as it did amid the worst of the financial panic. And keep doing it past the horizon. The unavoidable implication is that the Fed doesn't think the economy will grow any faster until what would be halfway through Mr. Obama's second term. The other implication is that the Fed has no idea what to do other than to push even harder on the monetary accelerator. Maybe this time, it hopes, the economy's clutch will engage.
This not-so-quiet desperation was clear in a second Fed release that hasn't received as much attention as it deserves. In a statement redefining how it interprets its policy mandate from Congress, the FOMC said it has "reached broad agreement" on new operating principles.
The Fed's dual mandates are stable prices and full employment, and the Fed said sometimes the two are complementary. But from now on when they're in conflict, the Fed essentially said, it will put inflation aside and instead focus principally on cutting joblessness.
It's no coincidence that such a restatement of principles is coming now, when the Fed is looking to justify its extraordinary monetary interventions. If there were any doubt about this intention, Mr. Bernanke put it to rest in his press conference when he said more "quantitative easing" is likely if growth doesn't accelerate soon.
One problem with all of this was pointed out yesterday by Kevin Warsh, who as a Fed governor sat on the FOMC until early last year. Speaking at Stanford, Mr. Warsh said that "exceptionally accommodative monetary policy" has its uses in a crisis or recession. But the Fed's "recent policy activism—measures that go beyond a central bank's capacity or traditional remit—threatens to forestall recovery and harms long-term growth."
That's a useful warning for markets to hear. Consider that Mr. Bernanke's transparent goal is to drive down long-term interest rates to reduce mortgage rates to reflate the housing bubble. But intervening so directly to keep rates artificially low has made the bond market useless as a price signal or indicator of risk across the larger economy.
The Fed is thus pushing investors of all kinds further out on the risk curve, with consequences no one can foresee—least of all the Fed, as we are now learning from the just-released FOMC transcripts from 2006.
Recall that during the last decade the Fed assured everyone there was nothing to worry about as it kept rates too low for too long, only to create a housing bubble it never did recognize. Recall, too, how its second round of bond-buying (QE2) in 2010-2011 was supposed to lift stock prices but in addition sent commodity prices soaring. Consumer confidence plunged as Americans felt the strain of higher prices for food and energy, and the economy has done notably better since QE2 ended.
Where will the risk-taking excesses show up this time? Who knows, and perhaps the Fed will retreat before the worst happens. But it was fascinating to see last week that investors were willing to buy $15 billion in 10-year Treasury inflation-protected securities, or Tips, despite a negative real yield. That's right, investors were willing to accept negative current returns in exchange for security against a future inflation breakout.
We mean no counsel of doom because the good news is that the U.S. private economy is performing remarkably well considering all of the burdens government has put on it. Imagine what it could do if our politicians promised not to stick it with new taxes, and the Federal Reserve returned to a normal policy that focused on long-term growth rather than reflating bubbles.
This entry was posted on Saturday, January 28th, 2012 at 5:21 am	and is filed under Democrats, Economy, Election 2012, Federal Reserve, Housing Market, Interest Rates, Obama, Obama Administraiton and Policy, Stimulus, Wall Street. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


Schizophrenia is a sort of persistent mental illness in which one has difficulty distinguishing between what is real and what is not. Some of the more well-known symptoms that are linked to Schizophrenia are hallucinations, delusions, and incoherent speech. Some of the proposed causes behind Schizophrenia are anxiety while pregnant, genetics, prenatal viral infections, environmental factors, and chemical imbalance in the brain.
This chronic illness could be controlled and managed with appropriate treatment and assistance from friends and loved ones. However, with some simple home treatments, it is simple to cut down on the amount of schizophrenic episodes that are currently being experienced.
While one review found no special advantage to using gingko to treat schizophrenia, one study published back in 2002 by Xiang Yang Zhang wrote that there was an improvement of symptoms in patients taking this herb. Ginkgo Biloba has numerous benefits for the health of one's brain, though, and is not to be overlooked.
This herb is a sort of natural antioxidant and its particular neuro-protective properties help the brain to be protected. It's often utilized in treating different kinds of brain disorders, including Schizophrenia. Those experiencing Schizophrenia should take this herb as a tea or supplement. If it is taken as a tea one cup can be prepared from a teaspoon of the extract twice daily. Strain the solution and cool it off before drinking it. Typically it takes 4-6 months before seeing any benefit from this option.
It should first be noted that St. John's wort can have certain interactions with newer antipsychotic drugs within the clozapine family. Talk to your medical professional for guidance on how best to handle a scenario similar to this before attempting to take the herb.
The seeds of green cardamom may also be utilized to control the many signs of Schizophrenia. Green cardamom seeds have healing properties that are quite great for the nervous system. The easiest method to use green cardamom seeds is to produce an herbal tea. Drink this tea twice per day to help with Schizophrenia symptoms.
Licorice has compounds and minerals which may assist in managing and controlling the brain's healthy state of being. This herb is quite successful in controlling anxiety and tension. The curative properties of licorice could be successfully utilized in treating schizophrenia. For this solution, the best results are had by consuming it on a bare stomach in the morning. It's desirable to have breakfast after one hour so that the herb gets correctly digested and properly enters the bloodstream.
Basil leaves have antioxidant properties which could be utilized for helping with various brain disorders, including schizophrenia. Regularly drinking tea prepared with basil leaves can boost brain functionality and consequently assist in controlling the symptoms associated with schizophrenia. Attempt to drink this herb tea twice daily for optimal results.
Indian gooseberry is a sort of natural antioxidant. Additionally, it boosts the immune system, giving a much-needed boost to your body to fight against psychological disorders like schizophrenia. One way of consuming the herb would be to bring the dried leaves of Indian Gooseberry and grind them all to create a smooth powder. Take one teaspoonful of the powder with hot water two times each day.
Chamomile has compounds and crucial minerals along with relaxing and soothing properties which help a great deal in issues of the brain and nervous system. Chamomile may be utilized as a mood enhancer, or to encourage restful sleep for those suffering from schizophrenia. Take one teaspoonful of chamomile in one cup of boiling water and enjoy it as a calming tea.
Some experts note that vitamin D may play a part in cutting down on inflammation and boosting the body's immune system function. Physicians sometimes advocate supplementary vitamin D for patients, particularly those at danger depression. Studies show that vitamin D is abnormally low among individuals with certain kinds of mental illness like acute depression and schizophrenia.
Another proposed alternative treatment is supplementation with all the amino acid glycine, although there have not been studies that prove its effectiveness. Glycine is really a protein building block which could indirectly cut down on an individual's schizophrenia symptoms by enhancing the functionality of particular receptors within the brain. Within this capacity, glutamate functions as a standard brain messenger substance (neurotransmitter).
There isn't any data to indicate that fish oil or omega-3 essential fatty acids can do anything to improve an individual's symptoms of schizophrenia. However, fish oil is commonly known as an exceptional nutritional supplement for other health reasons (many of which are specific to the brain) and could really be recommended to individuals experiencing schizophrenia.
Another "alternative" strategy for treating schizophrenia requires following a healthy diet, characterized by low-fat, high-fiber, whole grains, fruits and vegetables, and oily fish (a great source of omega-3 essential fatty acids as mentioned above). Still another strategy entails following a diet that is gluten-free. This is based on the assumption that gluten intolerance may underlie some symptoms of schizophrenia in certain individuals. There isn't any evidence that a strict diet change can efficiently treat schizophrenia. However, all individuals, irrespective of sickness, ought to be urged to follow a heart healthy, low fat, high fiber diet.
Studies indicate that early surroundings, genetics, neurobiology and societal and emotional processes are significant contributory factors. Current psychiatric research is concentrated in the purpose of neurobiology, but no single organic cause has been discovered. Because of the many potential combinations of symptoms, there are many differing opinions about whether the analysis represents just one illness or perhaps a variety of distinct syndromes. Because of this, Paul Eugen Bleuler termed the ailment the schizophrenias (plural). Those who continue to research the disease consider it to be brought on by an imbalance of crucial compounds within the mind. This illness is characterized by distortions in thinking & understanding, which are commonly accompanied by emotions which aren't appropriate.


text:
extern crate x11rb;

pub mod error;
mod run;

pub use x11rb::protocol::xproto::{Atom, Window};
pub use x11rb::rust_connection::RustConnection;

use std::thread;
use std::time::{ Duration, Instant };
use std::sync::{ Arc, RwLock };
use std::sync::mpsc::{ Sender, channel };
use std::collections::HashMap;
use x11rb::connection::{Connection, RequestConnection};
use x11rb::{COPY_DEPTH_FROM_PARENT, CURRENT_TIME};
use x11rb::errors::ConnectError;
use x11rb::protocol::{Event, xfixes};
use x11rb::protocol::xproto::{AtomEnum, ConnectionExt, CreateWindowAux, EventMask, Property, WindowClass};
use error::Error;

pub const INCR_CHUNK_SIZE: usize = 4000;
const POLL_DURATION: u64 = 50;
type SetMap = Arc<RwLock<HashMap<Atom, (Atom, Vec<u8>)>>>;

#[derive(Clone, Debug)]
pub struct Atoms {
    pub primary: Atom,
    pub clipboard: Atom,
    pub property: Atom,
    pub targets: Atom,
    pub string: Atom,
    pub utf8_string: Atom,
    pub incr: Atom,
}

impl Atoms {
    fn intern_all(conn: &RustConnection) -> Result<Atoms, Error> {
        let clipboard = conn.intern_atom(
            false,
            b"CLIPBOARD",
        )?;
        let property = conn.intern_atom(
            false,
            b"THIS_CLIPBOARD_OUT",
        )?;
        let targets = conn.intern_atom(
            false,
            b"TARGETS",
        )?;
        let utf8_string = conn.intern_atom(
            false,
            b"UTF8_STRING",
        )?;
        let incr = conn.intern_atom(
            false,
            b"INCR",
        )?;
        Ok(Atoms {
            primary: Atom::from(AtomEnum::PRIMARY),
            clipboard: clipboard.reply()?.atom,
            property: property.reply()?.atom,
            targets: targets.reply()?.atom,
            string: Atom::from(AtomEnum::STRING),
            utf8_string: utf8_string.reply()?.atom,
            incr: incr.reply()?.atom,
        })
    }
}

/// X11 Clipboard
pub struct Clipboard {
    pub getter: Context,
    pub setter: Arc<Context>,
    setmap: SetMap,
    send: Sender<Atom>
}

pub struct Context {
    pub connection: RustConnection,
    pub screen: usize,
    pub window: Window,
    pub atoms: Atoms
}

#[inline]
fn get_atom(connection: &RustConnection, name: &str) -> Result<Atom, Error> {
    let intern_atom = connection.intern_atom(
        false,
        name.as_bytes()
    )?;
    let reply = intern_atom.reply()
        .map_err(Error::XcbReply)?;
    Ok(reply.atom)
}

impl Context {
    pub fn new(displayname: Option<&str>) -> Result<Self, Error> {
        let (connection, screen) = RustConnection::connect(displayname)?;
        let window = connection.generate_id()?;

        {
            let screen = connection.setup().roots.get(screen)
                .ok_or(Error::XcbConnect(ConnectError::InvalidScreen))?;
            connection.create_window(
                COPY_DEPTH_FROM_PARENT,
                window,
                screen.root,
                0,
                0,
                1,
                1,
                0,
                WindowClass::INPUT_OUTPUT,
                screen.root_visual,
                &CreateWindowAux::new()
                    .event_mask(EventMask::STRUCTURE_NOTIFY | EventMask::PROPERTY_CHANGE)
            )?
                .check()?;
        }

        let atoms = Atoms::intern_all(&connection)?;

        Ok(Context { connection, screen, window, atoms })
    }

    pub fn get_atom(&self, name: &str) -> Result<Atom, Error> {
        get_atom(&self.connection, name)
    }
}

impl Clipboard {
    /// Create Clipboard.
    pub fn new() -> Result<Self, Error> {
        let getter = Context::new(None)?;
        let setter = Arc::new(Context::new(None)?);
        let setter2 = Arc::clone(&setter);
        let setmap = Arc::new(RwLock::new(HashMap::new()));
        let setmap2 = Arc::clone(&setmap);

        let (sender, receiver) = channel();
        let max_length = setter.connection.maximum_request_bytes();
        thread::spawn(move || run::run(&setter2, &setmap2, max_length, &receiver));

        Ok(Clipboard { getter, setter, setmap, send: sender })
    }

    fn process_event<T>(&self, buff: &mut Vec<u8>, selection: Atom, target: Atom, property: Atom, timeout: T, use_xfixes: bool)
        -> Result<(), Error>
        where T: Into<Option<Duration>>
    {
        let mut is_incr = false;
        let timeout = timeout.into();
        let start_time =
            if timeout.is_some() { Some(Instant::now()) }
            else { None };

        loop {
            if timeout.into_iter()
                .zip(start_time)
                .next()
                .map(|(timeout, time)| (Instant::now() - time) >= timeout)
                .unwrap_or(false)
            {
                return Err(Error::Timeout);
            }

            let event = match use_xfixes {
                true => self.getter.connection.wait_for_event()?,
                false => {
                    match self.getter.connection.poll_for_event()? {
                        Some(event) => event,
                        None => {
                            thread::park_timeout(Duration::from_millis(POLL_DURATION));
                            continue
                        }
                    }
                }
            };

            match event {
                Event::XfixesSelectionNotify(event) if use_xfixes => {
                    self.getter.connection.convert_selection(
                        self.getter.window,
                        selection,
                        target,
                        property,
                        event.timestamp,
                    )?.check()?;
                }
                Event::SelectionNotify(event) => {
                    if event.selection != selection { continue };

                    // Note that setting the property argument to None indicates that the
                    // conversion requested could not be made.
                    if event.property == Atom::from(AtomEnum::NONE) {
                        break;
                    }

                    let reply = self.getter.connection.get_property(
                        false,
                        self.getter.window,
                        event.property,
                        AtomEnum::NONE,
                        buff.len() as u32,
                        u32::MAX
                    )?.reply()?;

                    if reply.type_ == self.getter.atoms.incr {
                        if let Some(mut value) = reply.value32() {
                            if let Some(size) = value.next() {
                                buff.reserve(size as usize);
                            }
                        }
                        self.getter.connection.delete_property(
                            self.getter.window,
                            property
                        )?.check()?;
                        is_incr = true;
                        continue
                    } else if reply.type_ != target {
                        return Err(Error::UnexpectedType(reply.type_));
                    }

                    buff.extend_from_slice(&reply.value);
                    break
                }

                Event::PropertyNotify(event) if is_incr => {
                    if event.state != Property::NEW_VALUE { continue };

                    let cookie = self.getter.connection.get_property(
                        false,
                        self.getter.window,
                        property,
                        AtomEnum::NONE,
                        0,
                        0
                    )?;

                    let length = cookie.reply()?.bytes_after;

                    let cookie = self.getter.connection.get_property(
                        true,
                        self.getter.window,
                        property,
                        AtomEnum::NONE,
                        0, length
                    )?;
                    let reply = cookie.reply()?;
                    if reply.type_ != target { continue };

                    let value = reply.value;

                    if !value.is_empty() {
                        buff.extend_from_slice(&value);
                    } else {
                        break
                    }
                },
                _ => ()
            }
        }
        Ok(())
    }

    /// load value.
    pub fn load<T>(&self, selection: Atom, target: Atom, property: Atom, timeout: T)
        -> Result<Vec<u8>, Error>
        where T: Into<Option<Duration>>
    {
        let mut buff = Vec::new();
        let timeout = timeout.into();

        self.getter.connection.convert_selection(
            self.getter.window,
            selection,
            target,
            property,
            CURRENT_TIME,
            // FIXME ^
            // Clients should not use CurrentTime for the time argument of a ConvertSelection request.
            // Instead, they should use the timestamp of the event that caused the request to be made.
        )?.check()?;

        self.process_event(&mut buff, selection, target, property, timeout, false)?;

        self.getter.connection.delete_property(
            self.getter.window,
            property
        )?.check()?;

        Ok(buff)
    }

    /// wait for a new value and load it
    pub fn load_wait(&self, selection: Atom, target: Atom, property: Atom)
        -> Result<Vec<u8>, Error>
    {
        let mut buff = Vec::new();

        let screen = &self.getter.connection.setup().roots.get(self.getter.screen)
            .ok_or(Error::XcbConnect(ConnectError::InvalidScreen))?;

        xfixes::query_version(
            &self.getter.connection,
            5,
            0,
        )?;
        // Clear selection sources...
        xfixes::select_selection_input(
            &self.getter.connection,
            screen.root,
            self.getter.atoms.primary,
            xfixes::SelectionEventMask::default()
        )?;
        xfixes::select_selection_input(
            &self.getter.connection,
            screen.root,
            self.getter.atoms.clipboard,
            xfixes::SelectionEventMask::default()
        )?;
        // ...and set the one requested now
        xfixes::select_selection_input(
            &self.getter.connection,
            screen.root,
            selection,
            xfixes::SelectionEventMask::SET_SELECTION_OWNER |
                xfixes::SelectionEventMask::SELECTION_CLIENT_CLOSE |
                xfixes::SelectionEventMask::SELECTION_WINDOW_DESTROY
        )?.check()?;

        self.process_event(&mut buff, selection, target, property, None, true)?;

        self.getter.connection.delete_property(self.getter.window, property)?.check()?;

        Ok(buff)
    }

    /// store value.
    pub fn store<T: Into<Vec<u8>>>(&self, selection: Atom, target: Atom, value: T)
        -> Result<(), Error>
    {
        self.send.send(selection)?;
        self.setmap
            .write()
            .map_err(|_| Error::Lock)?
            .insert(selection, (target, value.into()));

        self.setter.connection.set_selection_owner(
            self.setter.window,
            selection,
            CURRENT_TIME
        )?.check()?;

        if self.setter.connection.get_selection_owner(
            selection
        )?.reply()
            .map(|reply| reply.owner == self.setter.window)
            .unwrap_or(false) {
            Ok(())
        } else {
            Err(Error::Owner)
        }
    }
}

redpajama_set_name: RedPajamaGithub


Paloma joined the Cameron-Brooks team in 2017, bringing with her five years of luxury retail management experience including retail operations, visual merchandising, and client development.
As a Recruiting Specialist, Paloma helps manage our Junior Military Officer recruiting for various bases across the United States. She works closely with candidates throughout the hiring conferences.
Paloma is a native of California, where she received her Bachelor's Degree in Interpersonal Communication and Organizational Development from California State University, Long Beach. She currently lives in Fredericksburg, TX, where she enjoys spending time with her family, traveling, visiting art museums, and listening to live music.


text:
Agency Number : 615.320.0591
The Crisis Line : 615.244.7444
Board & Advisory Board
Work & Volunteer
Agency Funding Partners
Agency Videos
Crisis Chat Now
Agency Number :615.320.0591
Honey Alexander Center Press Release
FAMILY & CHILDREN'S SERVICE OPENS
HONEY ALEXANDER CENTER
The move is only the third for the 75-year-old Nashville institution.
NASHVILLE, TENN. – JUNE 17, 2019 – With construction complete, Family & Children's Service (FCS), one of Nashville's oldest and most respected nonprofits, officially celebrated the opening of its brand-new facility, The Honey Alexander Center, today. Approximately 200 people gathered for the event including Honey Alexander and her husband Sen. Alexander and their four children; Mayor David Briley; other members of city leadership; FCS Board Members; major donors to the capital campaign; neighbors; community service professionals; as well as past clients served by FCS.
The new building features a:
• Crisis Call Center that can handle more than 60,000 calls per year;
• Counseling Suite that will serve 2,500+ individuals a year; and a
• Training & Conference Center that can accommodate more than 225 people
…among many other exciting amenities.
The center is named for former Tennessee First Lady Honey Alexander, who has been a champion of child health and welfare since the 1980s and a long-time supporter of FCS.
"Honey Alexander has been a powerful advocate for children and families for decades," said FCS CEO Michael McSurdy. "She has also been a longtime volunteer, board member and chair, and generous supporter of Family & Children's Service. We're grateful to her and the whole Alexander Family for helping to make this project possible. Because of them, we will be able to continue to meet our mission to serve our community's most vulnerable children and families for the next 75 years and beyond."
Family & Children's Service is also greatly appreciative to the Frist Family and the HCA Foundation for its leadership gifts.Pete Bird of The Frist Foundation said, "The new facility is perfect for the community members it serves and for the staff members who serve them. The work is hard, and clients are dealing with tough situations. This building will help everyone to better navigate their challenges. Plus, it will be a great asset to the larger community."
Special leadership donors (donors who gave transformational gifts of $100k to $1 million) recognized at the event include:
• Senator Lamar Alexander and his children Drew, Leslee, Kathryn and Will Alexander
• The Frist Foundation
• The Ansley Fund of the Frist Foundation
• The Dorothy Cate and Thomas F. Frist Foundation
• HCA Healthcare and the HCA Foundation;
• Brian Shulman and The Shulman Family Foundation
• the Annette & Irwin Eskind Family including the Laurie & Stephen and Donna & Jeffrey Eskind Families
• The Jane & Richard Eskind Family Foundation
• The Joe C. Davis Foundation
• The Memorial Foundation
• The Haslam Family Foundation
Brian Shulman of The Shulman Family Foundation said, "My father overcame a difficult childhood and broke the cycle. Our family enjoyed a wonderful childhood here and although he is not with us now, it is a privilege and honor to support FCS and the tireless work they do to help those in need of support dealing with mental health and abuse issues. We have an obligation to reach out and support those in need, especially with our expanding population."
"Thanks to these donors, and many others, we have been able to meet more than 90% of our fundraising goal before our grand opening," said McSurdy.
The new building, which was once a warehouse, sits on 1.8 acres of land in West Nashville off Charlotte Avenue. CEO Michael McSurdy said, "It is important for nonprofits to have a presence in urban Nashville core. By increasing visibility for nonprofits, Nashville shows that as it grows it also cares about the health and wellbeing of all of its citizens."
Hastings Architectural Associates worked with Solomon Builders on the project. The facility is 32,000 square feet, more than twice the size of the agency's former Midtown offices andwill house 50 of the agency's 90+ employees. The balance of FCS' employees are collocated in partner nonprofits across the county and state.
Family and Children's Service by the numbers:
• Number of employees: 90
• Number of Agencies where FCS staff are collocated: 31 partner agencies
• Annual budget: $5.6 million
• Founding: 1943
• 60,000 total clients served last year
• 2,154 clients served in counseling programs
• 3,872 clients served through support and case management
• 23,715 crisis calls answered
• 13,326 individuals connected to healthcare
• Over 10,000 hours of volunteer and intern services provided
MEDIA CONTACT: Amy Atkinson, APR; Amy Atkinson Communications on behalf of Family & Children's Service; cell 615.419.8483; email amy@amyacommunications.com
© 2012 - 2019 Family and Children's Service. All rights reserved.


text:
Europe ANC leaders meet With Georgian Ambassador Salome Samadashvili
BRUSSELS?Leaders of the European Armenian Federation (ANC Europe) Wednesday met with Georgia?s Ambassador to the European Union for a briefing about meeting held with European officials and a leader of the Armenian community of Samtskhe-Javakheti (Javakhk) earlier this month.
Armenian National Committee of Europe chairman Kaspar Garebedian and the organization?s communication director Bedo Demirjian met with Ambassador Salome Samadashvili and briefed her on a series of meeting held earlier this month in Brussels between the coordinator of the Council of Armenian Organizations (NGOs) of Javakhk and director of the A-Info news agency Artak Gabrielyan.
The ANC Europe delegation also presented Samadavili with a Memorandum to the European Parliament, which details the issues facing Javakhk and highlights demands that have been put forth by the Council of Armenian Organizations (NGOs) of Samtskhe-Javakhk.
The ambassador was also informed that an ANC Europe delegation would be visiting Tbilisi in coming days to meet with European representatives in Georgia as a follow-up to Gabrielyan?s meetings in Brussels. The ANC Europe leaders also informed the ambassador of their intentions to meeting with Georgian officials to reinforce the serious nature of the Javakhk issue.
Samadashvili commended the delegation for its detailed briefing and pledged to share the ANC Europe?s concerns with the authorities in Tbilisi.
During his visit to Brussels, Gabrielyan met with Euro-Parliament Vice-Speaker Yorghos Papastamakos (member of the Euro-Parliament South Caucasus delegation), Traian Ungureanu, member of the Euro-Parliament Committee of Foreign Relations and Andrey Kovachev, Vice-Chairman of Euro-Parliament Committee of Foreign Relations, Charles Tannock, member of the Euro-Parliament Committee on Foreign Relations and Human Rights and Jiri Mastalka, member of the Euro-Parliament Bureau and Euronest.
At these meetings, Gabrielyan introduced the plight of the Armenian community Javakhk, highlighting that his visit to Brussels comes as a result of the refusal of Georgian authorities to meet with representatives of the Javakhk Armenian community.
He also presented each person with a Memorandum to the European Parliament, which details the issues facing Javakhk and highlights demands that have been put forth by the Council of Armenian Organizations (NGOs) of Samtskhe-Javakhk.
The demands Samtskhe-Javakheti Armenians include:
1. Granting of autonomous territorial status (with its own directly elected assembly) to Samtskhe-Javakheti and the adjacent Armenian majority Tsalka district within a federal Georgia;
2. Allowing the use of the Armenian language in public administration in those municipalities―such as Akhalkalaki and Ninotsminda―in which Armenians make up a majority; an unfulfilled accession commitment Georgia undertook when it joined the Council of Europe in 1999, namely the signing of the European Charter for Regional and Minority Languages;
3. Social and economic development projects for the region to bring it up to par with the rest of the country;
4. Improved Armenian representation in local and state institutions; and
5. An end to social engineering by the settlement of ethnic non-Armenians from other parts of the country in Samtskhe-Javakheti.
Gabrielyan also stressed that the Council wanted the European Union and Europe, in general, to be engaged in this process and to urge its ally, Georgia, to properly address the issues pertaining to Javakhk.
Photo: ANC Europe's Bedo Demirdjian (left) and Kaspar Garabedian (right) flank Ambassador Salome Samadashvili.
Source: Asbarez, 28 March 2012
http://asbarez.com/102003/europe-anc-leaders-meet-with-georgian-ambassador/
Newer PostMashtots Park: An example of misuse of public spaces in Armenia
Older PostLongtime Associated Press correspondent Joseph Panossian dies at 74
In the hotel where I was staying in Limassol, Cyprus, I had the chance to meet the owner Avgerinos Nikitas, a 91 years old Cypriot. Hrach Kalsahakian
Եգիպտոս-Կիպրոս-Հունաստան սփյուռքի հարցերով արդեն իսկ գործող ձևաչափին կներգրավվի նաև հայաստանյան կողմը. Մխիթար Հայրապետյան
Լույս է տեսել Ստեփան Գրիգորյանի հեղինակած «Հայկական թավշյա հեղափոխություն»-ը գիրքը


3D flexible head matches perfectly with all facial curves.Effectively prevents skin imitation and tingling sensation.
Engineering design prevents lose from getting blunt.Self polishing when in use allows the blades to always be sharpened.
Flexing mechanism allows the header section to tilt forward and back, allowing the hair to be gripped firmly at the roots.
Product Name: Shave Power Bank Brand: Pisen Type: Mobile Power Bank Color:&n..


text:
Patti Smith: Dream of Life (2008)
Distributor: Palm Pictures
Starring: Sam Shepard, Flea, Patti Smith, Lenny Kaye, Oliver Ray
Director: Steven Sebring
Producer: Steven Sebring, Margaret Smilov, Scott Vogel
more cast&credits
There are no trailers available for this movie
"Patti Smith: Dream of Life" - Synopsis
When people ask her "how does it feel to be a rock icon?" Patti Smith says she "always thinks of Mount Rushmore." Twelve years in the making, artist/photographer Steven Sebring's directorial debut takes a lyrical, stream-of-consciousness approach that is exactly right in his affecting portrait of the "rock 'n' roll Joan of Arc" (Stephen Holden, The NY Times) who can bring a crowd of devotees to their feet chanting "Glor-i-a!" as effectively as she can share her pain over the early death of her husband, Fred (Sonic) Smith and her brother, and the loss of her close friend Robert Mapplethorpe and of other artists she admires (Allen Ginsberg, Gregory Corso, William S. Burroughs).
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text:
Louis Lozowick papers, 1898-1974
Series 6: Printed Material, 1920-1974
6.4:Miscellaneous Items, 1922-1971
The papers of Louis Lozowick in the Archives of American Art were digitized from 7 reels of microfilm in 2007. The bulk of the papers have been scanned, and total 10,057 images.
Broadside (in French and Russian), 1922
Select: Broadside (in French and Russian), 1922
Clippings and Articles
Select: Clippings and Articles
American Artists' Congress, 1935-1940, n.d.
Select: American Artists' Congress, 1935-1940, n.d.
Contemporary Indian Artists (series in Design), 1958
Select: Contemporary Indian Artists (series in Design), 1958
Jewish Art, 1932-1967, n.d.
Select: Jewish Art, 1932-1967, n.d.
Miscellaneous Subjects (art related), 1942-1971, n.d.
Select: Miscellaneous Subjects (art related), 1942-1971, n.d.
Miscellaneous Subjects (not art related), 1931-1972, n.d.
Select: Miscellaneous Subjects (not art related), 1931-1972, n.d.
Unidentified (in Russian and Yiddish), 1959, n.d.
Select: Unidentified (in Russian and Yiddish), 1959, n.d.
Illustrations of Artists at Work, in their Studios, Galleries, etc., n.d.
(3 folders)
Select: Illustrations of Artists at Work, in their Studios, Galleries, etc., n.d.(3 folders)
Miscellaneous Publications (art related), 1939-1947, n.d.
Select: Miscellaneous Publications (art related), 1939-1947, n.d.
Picture Post Cards (blank), n.d.
Select: Picture Post Cards (blank), n.d.
Select: Reproductions
A-Z, and Unidentified, n.d.
Select: A-Z, and Unidentified, n.d.
Soviet Art, n.d.
Select: Soviet Art, n.d.
Research Material [for "the Jew In Art"?], 1923-1945, n.d.
Select: Research Material [for "the Jew In Art"?], 1923-1945, n.d.
Research Material for Lozowick's Writings on Russian Art and Artists, 1925-1954, n.d.
Select: Research Material for Lozowick's Writings on Russian Art and Artists, 1925-1954, n.d.(3 folders)
Research Material for "Solomon Nunes Carvalho,", 1952
Select: Research Material for "Solomon Nunes Carvalho,", 1952
Biographical Information, 1923-1973
Writings, 1917-circa 1970
By Lozowick, 1917-circa 1970
By Other Authors, 1911-1949,
Organizations, 1930-1972
Printed Material, 1920-1974
Exhibition Catalogs, Announcements, Invitations, 1922-1973
By Lozowick, 1922-1947
About Lozowick, 1923-1974
Miscellaneous Items, 1922-1971
Sketches, n.d.
People, 1892-1971
Works of Art, 1920s-1964
Miscellaneous Subjects, 1932-1962
Negatives and Lantern Slides, n.d. (Unfilmed)


There are Councils for Voluntary Services (CVS) usually based in each district, borough or city across the country. CVSs are sometimes called local infrastructure organisations and exist to support, develop and deliver services to front line voluntary and community organisations.
Identifying gaps in services and developing new initiatives to meet unmet need.
Each CVS in Essex is part of a network that is in touch with over 164,000 local charities, voluntary and community groups across the country. For more information about local support and development agencies visit the NAVCA website here.
Essex Council for Voluntary Youth Services (ECVYS) is a member-led umbrella organisation, providing representation, training, grants, sign-posting and networking for Voluntary Youth Organisations throughout Essex. Collectively, ECVYS is the independent voice of over 107,000 thousand young people and over 15,000 volunteers!
Have a look at our website https://ecvys.org.uk you will find updates on ECVYS activities, meetings, events, training and grants.
Healthwatch Essex is an independent charity which aims to capture the Lived Experience of the people of Essex around Health & Social care. The charity does this in various ways including academic research, high quality engagement and our telephone information and signposting service. The charity uses this information to add insight to commissioning, design and delivery of services across Essex. The charity uses this Insight to raise the debate around ongoing issues and to ensure that the Lived Experience of the residents of Essex are heard at the strategic level of decision making.
The Essex Compact is a written understanding between the Statutory, Voluntary and Community Sectors as to how they will work together. In the development and delivery of public policy and services, statutory organisations and the voluntary and community sector have distinct but complementary roles. All members signed up to the Essex Compact pledge to strive to work with partners to make services excellent.
All members accept the need to communicate with and listen to other partners. Statutory organisations and the voluntary and community sector have different forms of accountability and are answerable to different stakeholders, but common to both is a commitment to integrity, objectivity, accountability, openness, honesty, leadership and inclusivity. Each organisation which signs up to the Compact is required to appoint one or more Compact Champions whose task is to promote the Compact within their organisation.
The Essex Compact Steering Group offers a Compact Mediation Service to resolve disagreements and complaints between the voluntary and community sectors and the statutory sector which compromise the stated commitments and undermine the spirit of the Essex Compact.